Hagedorn Edward (11 results)

Condition: Good. Prospectus. 16mo. 8 pp., String Bound Wraps, Very Good, Illustrated.

Condition: Good. Single Sheet 11 x 8.5 inches, folded into 4 pages. Good. Some shelf wear, wrinkles and minor soiling. Three perforations along spine. B&W plate; essay. Extremely Scarce.From the Collection of the Art Historian Peter Selz (1919-2019).

Softcover. Condition: Sehr gut. 10. Auflage. 37 Seiten Zustand: GUTER Zustand. HC1-537-5/8-00777888 Sprache: Deutsch Gewicht in Gramm: 61.

Couverture souple. Condition: bon. RO40237326: 1924. In-8. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 147 pages. Tampons de bibliothèque sur le 1er plat et en page de titre. Dos muet. . . . Classification Dewey : 420-Langue anglaise. Anglo-saxon.

LeatherBound. Condition: New. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. Leatherbound edition. Condition: New. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. Pages: 168. A perfect gift for your loved ones. Reprinted from 1924 edition. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. IF YOU WISH TO ORDER PARTICULAR VOLUME OR ALL THE VOLUMES YOU CAN CONTACT US. Resized as per current standards. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Language: English Pages: 168.…

LeatherBound. Condition: New. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. Leatherbound edition. Condition: New. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. Pages: 180. A perfect gift for your loved ones. Reprinted from 1924 edition. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. IF YOU WISH TO ORDER PARTICULAR VOLUME OR ALL THE VOLUMES YOU CAN CONTACT US. Resized as per current standards. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Volume no.22 1924 Language: English Pages: 180 Volume no.22 1924.…

Hardcover. Condition: Very Good. No dustjacket as issued. Limited Edition. 129 copies printed. Signed by Rexroth, Hagedorn, and Henry Herman Evans of Peregrine Press on the Colophon. The binding is tight, corners sharp. Light handling on the boards and spine. Text and images unmarked. Publisher prospectus is laid in. 4to. Unpaginated. Signed by Other.…

Hardcover. Blue cloth portfolio boards with a tan mounted plate on front cover with a black illustration; 10 loose bw plates. "86 copies printed by Henry Evans in San Francisco, in 1952. The artist has numbered and signed each copy." - last plate signed and numbered. VG (light shelfwear to boards. Pages are very clean and clear.). …

Condition: Good. 4to. Sheets loose as issued on rag paper, watermarked J. Whatman, 1949. One of 50 copies. There was also a small format version, which is the one generally being sold.16 leaves unbound in a folded printed cover, with six black and white wood engravings. Contents: Untitled Figure Study by Mark Milsk; Untitled Abstract Design by Ivan Majdrakoff; Untitled Nude by Hagedorn; Untitled Abstract Face Medley by Mark Luca; The Blue Jay by James Scheville; Winter Is Never Quite So Bare by Harold W. Hackett, Jr.; Two Fears by James Boyer May. Poems by Lawrence C. Spingarn, Dennis Dunn, George P. Elliott , Robert Duncan, James Schevill, Harold W. Hackett jr. James Boyer May and James Cleghorn. One of 50 copies edited and printed by Henry Evans. Poems by Contents fine, cover is a bit worn along spine fold and edges, with some discoloration, else Very Good.…

Condition: Good. 12 x 9 inches. Pencil, ink and charcoal drawings of nudes. Provenance: Estate of the artist.James Steward - exhibition notes 1996.When Berkeley-based artist Edward Hagedorn died in 1982, few members of the Bay Area art-going public would have known of his work. Although he lived in the Bay Area for eighty years, after much early success the eccentric and idealistic Hagedorn, troubled by personal shyness, ceased to exhibit his work publicly in the late 1930s. Yet he remained obsessed with creating images of primal force. Despite living the last thirty years of his life as a virtual recluse-described by an artist colleague as a "walking question mark with no use for success"-he left behind him a remarkable body of work that is only now coming to be known. This work suggests that it is fair to appraise Hagedorn as the most important Expressionist artist to have come out of California.Born in San Francisco in 1902, Hagedorn enrolled at the San Francisco Art Association by the age of sixteen, and then around 1923 to 1925 at the California School of Fine Arts, where his teachers included artists who had been profoundly influenced by the Armory Show and who had even participated in the Pan-Pacific Exposition.Hagedorn exhibited frequently throughout the late 1920s and '30s with members of the "Society of Six," even winning honors from the Brooklyn Museum and the Pennsylvania Academy, sharing their Fauvist-influenced, Expressionist aesthetic. However he resisted frequent overtures from dealers and curators that might have brought him increased acclaim. Enabled in part by the inheritance of substantial means from his maternal family, Hagedorn abruptly ceased to show his work publicly in the late 1930s. The spirit went out of much of his work from about 1940, and although Hagedorn continued to make art throughout most of his life, it often devolved into trivializing depictions of the female nude.…

Condition: Good. 10.5 x 8 inches. Pencil, ink and charcoal drawings of nudes. At the beginning of each series is the name of the model and dates of sitting, including Janet Eiten, Carol Saunders, Marthena Bosch, Jane Kithcell, Virginia Langford. Provenance: Estate of the artist.James Steward - exhibition notes 1996.When Berkeley-based artist Edward Hagedorn died in 1982, few members of the Bay Area art-going public would have known of his work. Although he lived in the Bay Area for eighty years, after much early success the eccentric and idealistic Hagedorn, troubled by personal shyness, ceased to exhibit his work publicly in the late 1930s. Yet he remained obsessed with creating images of primal force. Despite living the last thirty years of his life as a virtual recluse-described by an artist colleague as a "walking question mark with no use for success"-he left behind him a remarkable body of work that is only now coming to be known. This work suggests that it is fair to appraise Hagedorn as the most important Expressionist artist to have come out of California.Born in San Francisco in 1902, Hagedorn enrolled at the San Francisco Art Association by the age of sixteen, and then around 1923 to 1925 at the California School of Fine Arts, where his teachers included artists who had been profoundly influenced by the Armory Show and who had even participated in the Pan-Pacific Exposition.Hagedorn exhibited frequently throughout the late 1920s and '30s with members of the "Society of Six," even winning honors from the Brooklyn Museum and the Pennsylvania Academy, sharing their Fauvist-influenced, Expressionist aesthetic. However he resisted frequent overtures from dealers and curators that might have brought him increased acclaim. Enabled in part by the inheritance of substantial means from his maternal family, Hagedorn abruptly ceased to show his work publicly in the late 1930s. The spirit went out of much of his work from about 1940, and although Hagedorn continued to make art throughout most of his life, it often devolved into trivializing depictions of the female nude. …