Pevsner Antoine (36 results)

Softcover, 84 pages, poor condition; still bound pages loose from covers; light edgewear to spine; no internal marks. Foreign shipping may be extra.

Flexible Photographic boards. Condition: Fine. First edition, first printing. Text in French language. Avec un avant-propos de Jean-Claude Marcadé.

Softcover, 54 pages, POOR condition; spine is missing, 1st page bottom half torn off and missing; creases; abrasion to inside rear cover; As is. Foreign shipping may be extra.

30,5 x 24 cm. Condition: Gut. 151 Pages ; With many Illustrations Antoine Pevsner (30 January [O.S. 18 January] 1886 12 April 1962) was a Russian-born sculptor and the older brother of Alexii Pevsner and Naum Gabo. As the originators of Constructivism and pioneers of kinetic art, the brothers are considered pioneers of twentieth-century sculpture. They made numerous prominent pieces, for instance Antoine's widely known sculpture The Flight of the Bird, located at the General Motors Technical Center in Warren, Michigan ; Original Cloth binding in very good condition, inside and outside. Dust jacket some blotchy. In English. Please note our pictures PG-0140 Sprache: Englisch Gewicht in Gramm: 1280.

Softcover, 84 pages, good condition; light edgewear to spine and a few scuffs to covers; long crease to rear cover; small crease to lower right corner of pages; no internal marks. Foreign shipping may be extra.

Wrappers. Condition: Good. I Maestri della Scultura 75. [4] pp. text in Italian, illustrated in b/w, followed by sixteen full-page color plates (with color cover illustration indexed as no. XVII). Head and heel of spine and corners lightly bumped, wrappers edgeworn, several small stains to wrappers; text and plates clean and unmarked. NOTE: Large size (14"Hx10.5"W) may require additional shipping charges. Size: Large Folio.

First Edition. First edition. Softcover. Joint exhibition catalog for these two brothers who were both Russian artists. Features Herbert Read's essay "Constructivism: The Art of Naum Gabo and Antoine Pevsner" along with biographies of the two men by Ruth Olson and Abraham Chanin. Includes numerous black and white illustrations. A very good copy in wrappers with some slight wear along the spine and some other minor wear. Internally a clean copy.

Softcover, 54 pages, very good condition; except moderate rubbing, scuffs and edgewear to covers; no internal marks. Foreign shipping may be extra.

Paperback. Condition: Very Good. First edition. Sq.16mo. (140x160mm) 70pp. preface by Jean Cassou. B/w plates. A little thumbed.

Leichte Alterungs- und Gebrauchsspuren. Softcover. Original kartoniert. Kein Versand aufgrund von EPR Regelungen in EU-Länder außerhalb Deutschlands. No shipping to EU countries outside of Germany due to EPR regulations.

Hardcover. Bw illustrated dj, gray cloth bound boards with silver text. 149 pp. Over 100 bw and color illustrations. "The photographs of Pevsner's works are spread out on my table. They reflect the spirit of examination, logic and patient penetration which, having pushed their author to the greatest depth of himself, led him to draw from nothingness forms that will perpetuate his name. Pevsner communicates to his works this absolute character of complete things by themselves; they do not ask for any comment. So it is not only with humility, but also with fear, that I write." -translated from introduction. VG- some wear to dj especially at edges, red sticker on spine, boards with some foxing. pages are excellent.

Softcover, 112 pages, in French; very good condition; clean and crisp; no internal marks. Foreign shipping may be extra.

Gr.-4°. 151, (3) S. mit zahlr. (teils farb.) Abbildungen, OLwd. mit ill. OUmschl. (dieser u. die Papierränder minim. nachgedunkelt). Sonst sehr gutes Exemplar. DEA.

Leinen. Condition: Sehr gut. 31x24cm; 151 S. Hardcover oder Leinen. überwiegend Ill. Zustand: Sehr Gut, eher ungelesen; * Die Photos sind original von uns erstellt worden, u.a. erkennbar an einem kleinen weißen Stück Papier im oberen Schnitt. Ab und an verwenden Suchmaschinen Verlagsphotos, bei den Portalen selbst, werden aber nur unsere Originalphotos gezeigt.

1.Auflage, O.Leinen, ill.Schutzumeschlag, 4°, 151 S. teilw.ganzseitige farbige Abbildungen.

151 + 2 S. OLwd. m. Osch. In egnl. Sprache. - Osch. m. kl. Randläsuren, leichte Gbrsp., gutes Expl.

Condition: Bon état. in-8, broché, couv. illustrée, 23 pp. et 32 planches en noir. Catalogue de l'exposition au Musée national d'art moderne, décembre 1956 - mars 1957. Bon état.

no binding. Condition: Sehr gut. 1 S. Folded Poster. Published on the occasion of the exhibition at Peter Blum, N.Y., 1999. Sprache: Englisch Gewicht in Gramm: 50.

SOFTCOVER. Condition: Fine. 1st Edition. Quarto size (4to) in photo illustrated stiff card covers, 53pp, plates, illustrations in text, etc. Text in Norwegian / Norsk throughout . [CONDITION: A well preserved almost AS NEW unmarked copy (very slight shelf rub to top corner tip of front cover) ] . . . We always ship in STRONG PROTECTIVE CARD PARCELS.

Soft cover. Condition: Very Good. Naum Gabo; Photography by Michael Duffett and David Nye (illustrator). 1st Edition. File this under 'Ouch, do I really want to sell this?'. Apparent first edition (NAP). Once listed, this will be the Only signed copy of this book for sale anywhere on the Internet. To find the artist's signature on any book is rare indeed. The signed inscription is to the former New York Times art critic John Russell. Mr. Russell wrote Mr. Gabo's obituary for the New York Times in 1977. This 63 page book was published by The Tate Gallery for the exhibition of 3 November--12 December 1976. There is a frontispiece photograph of the artist (and his dog) posing in front of one of his huge sculptures. The Foreword, which runs from page 9 to 20 is written by Sir Norman Reid. That is followed by an essay (pages 21-26) titled The Realistic Manifesto, 1920 written by Gabo and his brother, the sculptor Antoine Pevsner. There are 23 pages of photographs of his works followed by Biographical Notes & Principal Exhibitions (51-55). A seven-page Catalogue provides a short description of the works in the exhibition. The book concludes with a short Bibliography. The book is in very nice condition. You can see the covers in the photos. There's just a bit of light toning. There is one very tiny spot at the front bottom corner. There aren't any tears. The page edges are quite clean. The spine is not slanted. The book is very solidly bound from cover to cover with nicely tight pages throughout and nicely tight covers as well. The glossy pages are in excellent condition. They are very clean. There isn't any foxing. I'm not seeing any soiling anywhere in the text. There are two speck-sized spots on the blank side of the Bibliography page. The pages are not toned. There are no markings. No attachments. And with the exception of the artist's signed inscription, no one has written their name or anything else anywhere in the book. 'Naum Gabo, born Naum Neemia Pevsner (1890-1977), was an influential sculptor, theorist, and key figure in Russia's post-Revolution avant-garde and the subsequent development of 20th century sculpture. His work combined geometric abstraction with a dynamic organization of form in small reliefs and constructions, monumental public sculpture and pioneering kinetic works that assimilated new materials such as nylon, wire, lucite and semi-transparent materials, glass and metal. Responding to the scientific and political revolutions of his age, Gabo led an eventful and peripatetic life, moving to Berlin, Paris, Oslo, Moscow, London, and finally the United States, and within the circles of the major avant-garde movements of the day, including Cubism, Futurism, Constructivism, the Bauhaus, de Stijl and the Abstraction-Création group. Two preoccupations, unique to Gabo, were his interest in representing negative space--"released from any closed volume" or mass--and time. He famously explored the former idea in his Linear Construction works--used nylon filament to create voids or interior spaces as "concrete" as the elements of solid mass--and the latter in his pioneering work, Sculpture (Standing Waves), often considered the first kinetic work of art.' 'John Russell was a British American art critic. He was an unpaid intern at the Tate Gallery in 1940, but moved to the country after the gallery was bombed. During World War II he worked in Naval Intelligence for the Admiralty. There he met Ian Fleming, who helped him to secure a reviewing position at The Sunday Times. Art critic Hilton Kramer of The New York Times hired Russell in 1974. Russell was chief art critic there from 1982 to 1990. Gabo died less than a year after the Tate exhibition. Shortly after the exhibition, Russell wrote, 'he presented the Tate with a substantial number of his sculptures, models for sculptures, and drawings. It was a matter of particular pride with him that in 1971 he received an honorary knighthood from Queen Elizabeth II in recognition not only of his life's work, but of his close association with Britain.'. Inscribed by Author(s).

Éditions du Griffon, Neuchatel 1961. 4to. 153 pages. Illustrations in b/w and colour. Orig. cloth in dust jacket. Near fine / Near fine jacket.

Brosch. 8°, 23 S. Text u. 32 Tafeln. Einband min. berieben, Vorderdeckel unten eckknittrig, Textteil min. gebräunt. EA. Mit einem Text von Jean Cassou (4 S.), einer «notice biographique» und einer «bibliographie sommaire»; das Verzeichnis der ausgestellten Werke in 81 Nummern. Erschienen zur Ausstellung im Musée national de l'art moderne.

Condition: Good. [Exhibition catalogue]. 4to. 83 pp. Soft gray illustrated wraps with red lettering. Fair with chipped spine reinforced with tape, soiling, split binding and loose pages. Black and white plates. Illustrated vellum endpapers. Includes an introduction by Herbert Read and text by Ruth Olson and Abraham Chanin. Catalogue created on occasion of exhibition of works by Naum Gabo and Antoine Pevsner at the Museum of Modern Art in New York, NY from February 10, 1948 through April 25, 1948. Scarce. From the Collection of the Art Historian Peter Selz.

Hardcover. Condition: Very Good. First Edition. Hardback. No Dustjacket. 4to. Unpublished typescript thesis. Bound in plain green cloth with very good tipped in black and white photos. pp 57 (text) and 33pp photos. Art, sculpture. Slight nick atbhead of spine else Very good (very slight warping caused by the sticking in of the photos).

Condition: Sehr gut. 32 unpaginierte Seiten Text (16 Blatt) auf grünen Papier und 6 Tafeln. Broschur mit typographischer Deckelgestaltung (Max Bill). 21 x 14,6 cm. -- Kleinformatiger Katalog zu der Ausstellung "Antoine Pevsner. Georges Vantongerloo. Max Bill", die vom 15. Oktober bis zum 13. November 1949 im Kunsthaus Zürich stattfand. Wichtige Dokumentation zur "Konkreten Kunst" und zu Max Bill als Vertreter der "Zürcher Schule der Konkreten" - mit einem frühen Abdruck von Bills programmatischem Text "Die mathematische Denkweise in der Kunst unserer Zeit". -- Mit einer Einleitung von Wilhelm Wartmann, dem langjährigen Direktor des Zürcher Kunsthauses, je einem Text von Pevsner (Propos d`Antoine Pevsner), Vantongerloo (Historique) und Max Bill (Mathemat. Denkweise) sowie je zwei Werkabbildungen auf Tafeln. Mit Verzeichnis der 151 ausgestellten Werke sowie einem kurzem Literaturverzeichnis (1 Seite). -- Sehr gut und frisch erhaltener Katalog. ___ ### Due to the current unstable customs policy: NO SHIPPING to the USA at this time! // Derzeit kein Versand in die USA ! ###. ___ Sprache: Deutsch Gewicht in Gramm: 1550.

Hardcover. Condition: Very Good. Dust Jacket Included. 1st Edition. 4to. D/w. Documentation. 118 col.& b/w plates.

Softcover. Condition: Gut. 1. Auflage. 56 S., zahlr. Abb., kart., 26 x 19 cm.

Soft cover. Condition: Very Good. 1st Edition. 8° - Catalogue of the artist's exhibition in Paris in 1957. 23 text pages followed by 32 b/w photographs of the artist's sculptures. Text in german. Book protected in plastic wrap.

Condition: Gut. 23 + 1 S. und XXXII Tafeln. OBrosch. Einband mit leicht berieben und mot kleine Randläsuren. In franz. Sprache. - Ebd. berieben, Gbrsp. - Pevsner, (1884 -1962), besucht die Kunstschule in Kiew und die Akademie in St. Petersburg zwischen 1902 und 1910. 1911 bis 1913 macht er in Paris Bekanntschaft mit Archipenko und Modigliani. 1913 übersiedelt er nach Paris und beginnt mit abstrakter Malere. 1915-16 lebt er in Oslo, von wo er nach Moskau weiterzieht. Hier unterrichtet er ab 1917 an der Kunstakademie. Zusammen mit seinem Bruder veröffentlicht er 1920 in Moskau das "Realistische Manifest". 1923 kehrt er nach Paris zurück. Im Jahr 1931 ist er, zusammen mit Theo van Doesburg, Naum Gabo, Auguste Herbin und Georges Vantongerloo Gründungsmitglied der Künstlerbewegung Abstraction-Création in Paris. 1946 beteiligt er sich an der Ausstellung Konkrete Kunst der Galerie René Drouin, gemeinsam mit Sonia Delaunay-Terk, Kandinsky, Alberto Magnelli und Herbin. (Zitat).

151 + 2 S. OLwd. m. Osch. Leicht stockfleckig, gutes Expl.