150 résultats
1962GW-671Heritage Press 1962 New York: Heritage Press 1962. Illustrated with lithographs in color By Jean Charlot. Hardcover in fine condition. Prior owner's bookplate on front pastedown. An otherwise clean tight copy. Comes with slipcover in very good condition. Shipped in well-padded box. Smoke-free shop. Hardcover. Fine/No Jacket. Heritage Press hardcover
20041108-13New Directions New York 2004 New Directions 2004. First edition. First printing. Very fine in a very fine jacket. A pristine unread copy. Purchased new and never opened. With mylar dust jacket protector. Shipped in well padded box. 10" x 6.5". 109 pp. 33 "micro-poems" combined with 33 lithographs by Jan Peter Tripp. Gray cloth Rear Poetry. 1st Edition. Hardcover. New/New. New Directions, New York hardcover
1976ABE-1664205841696FOLIO London 1976 FIRST EDITION THUS with the publisher's marbled boards slipcase. Charles Keeping has made a series of six coloured exclusive lithographs to accompany this collectable edition. 1st Edition. Hardcover. Near Fine. FOLIO London hardcover
193811642<p>Verve. Paris. 1938 1939. FOLIO. 14.1 x 10.4 inches. Two issues bound in one hardback volume. Fully illustrated throughout with drawings paintings and photographs these 2 numbers contain original full colour lithographs by Chagall Miro Rattner Klee Matisse & Derain. The two issues have been bound into one hardbound volume and the binding has been beautifully hand painted in acrylic and oils with an abstract design including the volume title to both the boards and the spine by noted Neo-Expressionist American painter Gaylen Hansen. There is some rubbing to the edges and one small split to the outer edge of the front board without loss which has been strengthened to the inside with clear tape but generally the book is in very good condition. Included with the volume is a fine hardback copy of the fully illustrated book issued in 2007 to accompany the retrospective exhibition "Gaylen Hansen: Three decades of Paintings" at the Seattle Art Museum October 2007 - January 2008 and Salt Lake City Art Center February - April 2008.</p> Verve. Paris. 1938 1939 hardcover
1947160841947. S.l. Manuel Bruker 1947. Un vol. au format in-4 343 x 265 mm de 70 pp. en feuilles sous couverture agrÂŽmentÂŽe au premier plat d'une lithographie et ÂŽtui-chemise de plein cartonnage crÂme dos lisse titre frappÂŽ ˆ l'oser brun. Tirage unique ˆ 150 exemplaires numÂŽrotÂŽs seulement ; tous sur vÂŽlin blanc pur-fil du Marais. L'exemplaire - outre les compositions figurant dans l'ouvrage - recÂle une suite ˆ part desdites compositions sous chemise muette. Cette suite a ÂŽtÂŽ tirÂŽe sur vÂŽlin le colophon ne mentionnant que la rÂŽalisation de vingt suite sur Japon uniquement. Par ailleurs une de ces lithographies est numÂŽrotÂŽe et signÂŽe ˆ la mine de plomb par Paul Colin. ''Natif de LunÂŽville Paul Colin fut sociÂŽtaire de la SociÂŽtÂŽ nationale des Beaux-Arts et du Salon d'Automne il a illustrÂŽ de nombreuses oeuvres littÂŽraire''. in BÂŽnÂŽzit. ''En 1867 le jeune Verlaine sÕoctroie un dÂŽrivatif frivole : composer une plaquette Les Amies qui contient six sonnets consacrÂŽs aux amours saphiques et qui para”tra alors clandestinement.'' BÂŽnÂŽzit III Dictionnaire des peintres p. 107. Marques d'usage ÂŽparses affectant l'ÂŽtui-chemise. Exemplaire quant ˆ lui parfaitement prÂŽservÂŽ. b42961 unknown
19634277New York: no publisher stated 1963. 1963 New York: no publisher stated 1963. Folio. Limited edition 25 of 150 numbered and signed copies. Folio. 28 pp. 3 tipped-in lithographs with decorative white lace guards patterned black boards bound with red string Bottom corner of frontis. lithograph creased. Board corners bumped edges creased with moderate wear a few light scuffs and spots of soiling to both boards. Good. Signed by Authors. 1st Edition. Hardcover. Good. New York: [no publisher stated], 1963. hardcover
1953182631953. Paris Scripta & Picta 1953. Un fort vol. au forma tin-folio 383 x 289 mm de xxx - 126 pp. en feuilles sous couverture titrÂŽe et ÂŽtui-chemise cartonnÂŽ dos lisse titre dorÂŽ en long. Edition originale. Tirage unique ˆ 269 exemplaires seulement. Celui-ci comptant parmi les 245 numÂŽrotÂŽs du tirage sur vÂŽlin d'Arches second papier aprÂs seulement les 24 de tÂte sur Japon nacrÂŽ. Il s'agrÂŽmente - ici en premier tirage - des superbes compositions originales en couleurs de Jacques Villon lithographiÂŽes sur les presses de Mourlot FrÂre. ''L'oeuvre gravÂŽe de Jacques Villon marque une date dans l'histoire de cette technique. L'importance accordÂŽe ˆ la lumiÂre le sens de la construction et de l'unitÂŽ de l'espace n'ont cessÂŽ de prÂŽoccuper l'artiste tout au long de sa carriÂre. in Bailly-Herzberg citant la prÂŽsente contribution de l'artiste. En 1913 Villon crÂŽe ses chefs dÕÃuvre cubistes sept grandes pointes sÂches o les formes se cassent en plans pyramidaux obscurcis. La mÂme annÂŽe il expose au cÂŽlÂbre Armory Show de New York qui contribue ˆ introduire l'art moderne aux ƒtats-Unis. Ses Ãuvres connaissent une grande popularitÂŽ et se vendent sans peine. Sa notoriÂŽtÂŽ grandit tellement que dÂs les annÂŽes 1930 il est mieux connu aux ƒtats-Unis quÕen Europe. La galerie Louis CarrÂŽ organise une exposition de son Ãuvre ˆ Paris en 1944 ˆ la suite de quoi il reÂoit des rÂŽcompenses dans un certain nombre dÕexpositions internationales. En 1950 il reÂoit le prix Carnegie et en 1954 il est nommÂŽ commandeur de la LÂŽgion d'honneur. L'annÂŽe suivante il reÂoit la commande des vitraux de la cathÂŽdrale ˆ Metz La France. En 1956 le grand prix de la Biennale de Venise lui est dÂŽcernÂŽ ˆ lÕexposition. Les plus grandes rÂŽalisations de Villon en gravure sont sa crÂŽation dÕune langue purement graphique pour le cubisme une rÂŽalisation dont aucun autre graveur y compris ses camarades cubistes Picasso ou Braque ne pourrait se vanter. Un caractÂre Didot a spÂŽcialement ÂŽtÂŽ fondu pour cette ÂŽdition par la Fonderie Peignot. ''Il m'a ÂŽtÂŽ demandÂŽ par un de mes amis au nom de quelques personnes qui veulent en faire un beau livre de traduire ˆ ma faÂon Les Bucoliques .''. BÂŽnÂŽzit X Dictionnaire des peintres p. 517 - Bailly-Herzberg Dictionnaire de l'estampe en France p. 335. Petite fente affectant une coupe du coffret. Dont les plats prÂŽsentent par ailleurs d'infimes frottements. Quelques serpentes effrangÂŽes. Nonobstant trÂs belle condition. b42961 unknown
1860252816Garnier 1860. Boards. Good. 72 lithographs 200 images foxed throughout reading copy comic book style marbled boards worn and torn leather spine Garnier hardcover
197033453New Mexico State University: Keith Wilson & Thomas Rose 1970. First Edition. Hardcover. Very Good. 4to - over 9¾" - 12" tall. Signed. Copy #14 of one hundred signed copies of this limited edition signed by both Rose and Wilson in black ink on dedication pages nice tight clean unmarked copy text nice elegant small square gold bookplate of former owner in center of first endpaper undamaged boards show light soiling at top front tip and a bit of wear on top tip on back approx. 11 3/4" x 11 3/4" Very Good or better. Keith Wilson & Thomas Rose hardcover
0259215570.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1887113992I. D. Sytin. Moscow. 1887. I. D. Sytin. Moscow. 1887. First edition. Small landscape sewn paperback with gilt and coloured front cover containing 32 coloured examples using the lithographic process. Covers worn and lightly creased ownership name and doodle to rear cover. SCARCE. paperback
191643931Berlin: Dietrich Reimer Ernst Vohsen 1916. Limited First edition. Hardcover. g- to vg. 1/50. Folio 19 1/2 x 13 1/2". 6 28pp Booklet 100 loose leaves Plates as issued. Original full vellum portfolio with lettering and publisher's logo in gilt to front cover. Booklet's front cover gold-lettered numbered and hand-signed by the artist Hermann Struck. The plates are housed in their stiff paper chemise as issued with printed title to front cover.<br /> <br /> In this spectacular monograph artist Hermann Struck who was serving in the Imperial German army as a translator liaison officer and military artist sketched the faces of one hundred prisoners of war in the German camps. <br /> <br /> Among the French British Belgian and Russian inmates were also included soldiers from the British Empire mostly from India as well as the French Empire Algeria Tunisia Morocco and Senegal.<br /> <br /> The prisoners' age range from 12 Anton Matyszewski a volunteer from Lomza Russian Poland to 56 Mohammed ben Ahmed Spahi from Djelfa French Algeria. <br /> <br /> It is interesting to note that the Jewish prisoners were identified first by their religion then by the place they came from exemple: Chacus Krasikow Jew from Lubin Russian Poland; Isaak Chotoran Jew from Kiev Ukraine; Bomblatt David Polish Jew from Warsaw etc. Bomblatt David is sketched twice: After Struck drew his face he added a second sketch depicting the prisoner reading the Talmud. <br /> <br /> Each plate is handsigned in pencil by the artist.<br /> <br /> The booklet contains a foreword and an essay on ethnology in the World War by Prof. Dr. Felix von Luschan 1854-1924 an Austrian doctor anthropologist explorer archaeologist and ethnographer who joined the German Society for Racial Hygiene in 1908. The society was an eugenic organization whose goal was "for society to return to a healthy and blooming strong and beautiful life." As Alfred Ploetz its founder put it the Nordic race was supposed to regain its "purity" through selective reproduction and sterilization. The society ceased to exist after WWI.<br /> <br /> One of 50 numbered copies of which this is No. 30.<br /> <br /> Some foxing to portfolio with strings missing. Minor age-toning and foxing to wrappers of booklet. 5" closed tear at lower front joint of chemise. Only plates 4 and 5 are foxed along edges not affecting illustrations. Text in German Gothic script Booklet captions of plates in German. Portfolio in overall fair to good booklet in very good chemise in fair to good- plates in very good condition. Hermann Struck 1876-1944 was a German Jewish artist known for his etchings. A fervent Zionist and Jewish activist Struck visited the Land of Israel in 1903 displayed his art at the Fifth Zionist Congress and was a founder of the Mizrachi Religious Zionist movement. At the same time he was a German patriot and volunteered for military service in World War I serving as a translator liaison officer and military artist. Hermann Struck was awarded the Iron Cross 1st Class and promoted to an officer for bravery in 1917 he became the referent for Jewish affairs at the German Eastern Front High Command. Struck immigrated to Palestine in 1922 taught at Bezalel Academy and helped establish the Tel Aviv Museum of Art. He visited Berlin every summer until the Nazis rose to power.<br /> <br /> From the beginning of the war the German authorities found themselves confronted with an unexpected influx of prisoners. In September 1914 125050 French soldiers and 94000 Russian ones were held captive. Before 1915 conditions of detention in Germany were very harsh and marked by temporary lodging and the absence of infrastructure. The prisoners slept in hangars or tents where they dug holes to keep warm. The humid forts requisitioned to serve as places of detention led to numerous cases of pulmonary illness. The German authorities also commandeered schools barns and various other types of shelters. Camps were established in the countryside as well as near the towns which had consequences when epidemics of cholera or typhus threatened to spread to the civilian population. Not all the camps were situated on German territory; a certain number were built in occupied territories notably in northern and eastern France. They began to be developed starting in 1915 when the number of prisoners being held captive in Germany reached 652000. According to official directives each prisoner had to have use of 26.9 square foot 2.5 m². The camps mixed a large number of nationalities sharing the same quarters: French Russian British American Canadian Belgian Italian Romanian Serbian Montenegrin Portuguese and Japanese prisoners were found there as well as Greeks and Brazilians. Equally soldiers of various social origins rubbed elbows: workers peasants bureaucrats and intellectuals were among those held. The number of prisoners rose very quickly. From February to August 1915 it went from 652000 to 1045232. In August 1916 it reached 1625000 jumping to 2415000 by October 1918. For more information see: Uta Hinz's "Gefangen im Großen Krieg: Kriegsgefangenschaft in Deutschland 1914-1921" in German. Essen Klartext Verlag 2006. Dietrich Reimer (Ernst Vohsen) hardcover
1947535008London: Frederick Muller 1947. Hardcover. Very Good/Near Fine. First edition. Faint dampstain on bottom corner of the pages just registering at the edges of the margins else very good in near fine dust jacket. Anthology illustrated with attractive color lithographs. Because of the fragile binding copies are usually found with the binding cracked or signatures or plates loose. This is a tight and clean copy and is scarce thus. Frederick Muller hardcover
2090202118203663Not Available N.A. Soft Cover. Fine. The book is in fine condition. Not Available paperback
0846701111New. hardcover. New. Satisfaction Guaranteed or your money back. hardcover
1965002863Paris: Aux depens d'un amateur 1965. Book. Fine. Soft cover. Signed by Illustrators. Loose sheets in lithographed wrappers. In grey cloth clamshell box with white lettering. Illustrated with 22 original lithographs in color including wrappers by Leonor Fini. Text in French translated by Andre du Bouchet. Printed on Grand Velin de Rives with BFK watermark. One of 50 copies with an extra suite of the lithographs on Grand Velin de Rives. This is number 83 of a limited edition of 200 copies hand signed by Leonor Fini and Andre du Bouchet on the limitation page. All lithographs protected by tissue guards. The clamshell box is in very good condition with a few vague stains The contents are in mint condition. Sheets measure 40 x 30 cm. . Aux depens d'un amateur paperback
1965002853Paris: Aux depens d'un amateur 1965. Book. Fine. Soft cover. Signed by Illustrators. Loose sheets in lithographed wrappers. In grey cloth clamshell box with white lettering. Illustrated with 22 original lithographs in color including wrappers by Leonor Fini. Text in French translated by Andre du Bouchet. Printed on Grand Velin de Rives with BFK watermark. One of 50 copies with an extra suite of the lithographs on Grand Velin de Rives. This is number 83 of a limited edition of 200 copies hand signed by Leonor Fini and Andre du Bouchet on the limitation page. All lithographs protected by tissue guards. The clamshell box is in very good condition with a few vague stains The contents are in mint condition. Sheets measure 40 x 30 cm. . Aux depens d'un amateur Paperback
1927005871Praze Prague: V. Neubert 1927. First Edition . Illustrated Wrappers. Very Good. 11 7/8" Tall. First Edition. 32 Pp Of Stunning Full-Color Lithographs Including Covers Endpapers Title Page Etc. Every Side Of Covers And Every Side Of Every Page Is So Illustrated. Apparently The Translator's Copy For The 1929 New York Edition In English As Translations For Each Page Are Laid In Loosely. A Bright Clean Copy. Three Small Chips Along Bottom Of Front Cover Spine Partially Split And All Pages And Cover Have A 3/4" Closed Tear Along The Bottom Edge. <br/> <br/> V. Neubert unknown
1938LD5809Paris: Editions Lidis 1938-1949. Limited Edition. Paperback. Very Good. Printed wraps; 4to; with full-color original lithographs by Walter Spitzer. From a limited edition of 4000 copies "sur velin vercors" with the watermarked signature of Jean-Paul Sartre. Only the first volume is numbered 4887. Complete limitation with variations is 5012 copies. Covers faintly rubbed; spine tips and corners gently bumped; VG presents nicely in clear acetate dust jackets. Internally bright and clean. <br/><br/> Editions Lidis paperback
003004Paris: XXe Siecle 1975. Book. Fine. Hardcover. 1st Edition. Published as a tribute to Gualtieri di San Lazzaro the founder of the magazine XXe Siecle. Loose sheets as issued. In original wrappers and cloth clamshell box with the portrait of Gualtieri di San Lazzaro mounted on the inside. With 15 lithographs by Max Bill Alexander Calder Marc Chagall Max Ernst Hans Hartung Joan Miro Henry Moore Graham Sutherland Georges Braque Lucio Fontana Rene Magritte Pablo Picasso Serge Poliakoff and Alberto Magnelli. All but one Chagall printed in color. Text by Gualtieri di San Lazzaro Pierre Volboudt Nina Kandinsky Marc Chagall Andre Verdet Marino Marini and others. This is number 310 of a limited edition of 575 copies all printed on Velin d'Arches by Fernand Mourlot l'Imprimerie Arte Pierre Chave Les Ateliers Bellini and Curwen Studio London. 141vii pp. 38 x 288 x 55 cm. Except from the inevitable offsetting from the lithographs to the facing text pages this is a very fine almost mint copy in collectors condition. . XXe Siecle Hardcover
1961055142New York / Monte Carlo: George Braziller / Andre Sauret 1961. 1st Edition 1st Printing. Hardcover. Fine/Fine. 153 Pp. Red Cloth Stamped In Black. First Edition. Printed In France. With Three Original B/W Lithographs By Picasso Dated In The Plate And One Color Lithograph Dated Twice The Second Date Being The Date Picasso Added Colors. Fine In Fine Black And White Dust Jacket With Price $17.50 With Slight Tanning To Spine Panel. <br/> <br/> George Braziller / Andre Sauret hardcover
1952008730New York: Printed at The Spiral Press 1952. First edition. Paperback. This original Robert Frost 1952 Christmas Card is the first published appearance of this poem and is twice signed by Frost. 3875 copies were printed for 14 different names. This is one of 475 printed for the poet himself. And this particular copy is signed twice by Frost. On the title page in two lines directly below his printed name Frost wrote: Robert Frost your subject. A printed laid-in slip reads This Christmas poem though not isolationist is so dangerously near isolationist it was thought better to send it out for Independence Day instead of Christmas. Just below this print in two lines Frost initialed R. F. and dated July 4 53. <br /> <br />The binding is beige laid paper wrappers with flaps folded over thin card beneath fastened to the contents by two staples at the center fold. The covers feature a dark green printed underwater scene with six fishes invertebrates and plants. The contents printed in black and gray-green feature a frontispiece lithograph of ocean waves and a half-page lithograph of sea birds on rocks. Condition approaches near fine the binding clean tight and sharp cornered the binding staples intact and uncorroded the wraps showing just a few faint creases emanating from the spine. The contents are clean with no spotting or soiling. <br /> <br />With the permission of Frost and his publishers in 1929 The Spiral Press began printing an annual Robert Frost Christmas Card featuring one of his poems. The tradition continued until 1962 Frost's final Christmas. Each annual Christmas poem publication was printed with varying names on the title page to accommodate their being sent by various Frost publishers artists and important friends. This copy is one of those printed for Frost himself the imprint Holiday Greetings from Robert Frost printed on the title page. <br /> <br />By a full decade this is the first publication of the poem Does No One But Me at All Ever Feel This Way in the Least. The poem was not published in a Frost collection until his last In The Clearing published in 1962 when Frost was nearly 90 years old. Does No One But Me is seven stanzas of six lines each in iambic pentameter. It is a complaint about the lost possibilities of the sea exacerbated by American homesickness to function as a protective boundary that could have defined and ensured the promise of greatness of a New World. What comes across most powerfully in this poem is the coalition of forces both human and natural conspiring to prevent newness. <br /> <br />By late 1952 when this poem first appeared in his annual Christmas card and he inscribed this copy Robert Frost 1874-1963 was entering the final decade of his life as the most highly esteemed American poet of the twentieth century with an accumulating hoard of academic and civic honors. Nearly a decade had passed since he had won his still-to-this-day-unrivalled fourth Pulitzer Prize for Poetry. This is all the more remarkable given that he did not publish his first volume of poetry until he was nearly 40 years old. He would continue writing publishing and barding around his term until his end. Two years before his death he became the first poet to read in the program of a U.S. Presidential inauguration Kennedy January 1961. <br /> <br />References: Crane B24; Tuten and Zubizarreta; ANB <br/><br/> Printed at The Spiral Press paperback
198117285New York: The Limited Editions Club 1981. Limted Edition. Hardcover. Book condition is Very Good bound in 3/4 blue Fabriano Roma paper covered boards handmade in Italy and 1/4 black buckram cloth and gilt title ; housed in a Very Good- blue slipcase. Toning staining and edgewear to slipcase. Very minimal edgewear to book covers. Text is clean and unmarked illustrated with lithographs throughout. 168 pages. ; 8vo. 9 3/4"h x 6 1/2"2. <br /> <br /> This Limited edition of Rilke's Selected Poems is presented in a format planned by Katy Homans two thousand copies have been printed for the members of The Limited Eitions Club at the Press and Letterfoundry of Michael & Winifred Bixler in Boston Massachusetts. The lithogrpahs printed in New York by Burr Miller were drawn on the plate by Robert Kipniss this copy is number 1514. Signed by the illustrator Kipniss. The Limited Editions Club hardcover
0365804428.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1960173978Cambridge MA: Dept. of Printing and Graphic Arts Harvard College Library 1960. Limited to 600 copies in three formats this being No. 75 of copies 51 to 150 that contain an extra set of lithographs. Hardcover. VG/VG case showing very mninor wear to the leather at the base of the spine. pale bluish green printed paper-covered boards with black leather spine with gilt title. 61 pp. 13 mounted lithographs along with a complete extra set of the original lithographs contained in the book separately cased and enclosed with the book in a box case. all contained in a linen covered clamshell case with matching black leather spine with gilt title. Numbered 75 on the limitation page and also signed by the artist and the translator. From a total edition of 600 this is number 56 of 100 copies 51-150 signed by both artist and translator printed on hand-made paper and containing an extra suite of 13 loose lithographs each signed or initialed by Stein in pencil. Dept. of Printing and Graphic Arts, Harvard College Library hardcover