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BARROSO, MIGUEL.

Published by Spain, circa 1588. (1588)

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Item Description: Spain, circa 1588., 1588. Pen and ink, and brown wash, heightened with white, on 2 sheets of heavy blue paper, joined together by the artist. Sight: 493 x 402 mm. (ca. 19 3/8 x 15 3/4 inches). This is one of a well-known group of drawings for liturgical vestments, made by Spanish artists active at the Escorial between 1587 and 1598. Miguel Barroso (1538-1590), who trained with Gaspar Becerra, arrived at the Escorial in 1587, and worked there continuously for the rest of his career; he was named painter to Philip II in 1589. Along with his contributions to the frescos and altarpieces in the chief cloister, under the direction of Pellegrino Tibaldi, he is known to have worked as a draughtsman for embroideries of the vestments of the Monastery of El Escorial, and a number of drawings by him for these are conserved at the Library at the Escorial, bound together in a single folio. Priscilla E. Muller, reviewing the discussion of these in Angulo and Pérez Sánchez’s "Corpus of Spanish Drawings," notes that "Twelve drawings by Miguel Barroso, a Spaniard of Italianate training who was engaged for work at the Escorial from 1587 until 1590 [constitute] a group of New Testament scenes drawn in 1588 for the embroidery of vestments, several of which remain at the Escorial. Deliberately linear and compositionally stylized, the drawings do not reflect a personal manner. [as] might be expected of any drawings that might be uncovered relating to his Escorial paintings, which are less bluntly narrative if hardly less Mannerist than the New Testament embroidery drawings."Angulo and Pérez Sánchez note that additional pattern drawings for these vestments, attributed to other masters, are also conserved in a second folio at the Escorial Library (Corpus catalogue nos. 309-385), and they go on to point out that additional drawings are known to have left the Escorial in the course of the nineteenth century, mentioning sheets at the Biblioteca Nacional in Madrid, the National Gallery in Edinburgh and the Musée des Beaux-Arts in Orléans; others are known in the collections of the Louvre, the Yale University Art Gallery, the Metropolitan Museum of Art, and the Pierpont Morgan Library. Apart from these, few Spanish designs for embroideries seem to have survived. This particular drawing would appear to have been designed for a cope. Whether it relates directly to the groups above remains to be determined, given among other things, its comparatively high degree of finish, and especially its very large size (which noticeably exceeds the dimensions of the drawings catalogued by Angulo and Pérez Sánchez); it is also on blue paper (whereas most of those are on greenish-grey). That it is neither signed nor pricked for transfer, as many (but not all) of those are, is not conclusive. Bookseller Inventory # B96280-3

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MINKKINEN, ARNO RAFAEL.

Published by N.p., [1973]. (1973)

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Item Description: N.p., [1973]., 1973. 1f. (title/colophon leaf), 20 vintage selenium-toned gelatin silver prints, each signed on the verso in pencil by the artist. Sheet size: 10 x 7.5 inches. Image size: 5.5 x 3.5 inches. 4to. Clamshell box with stretch-fabric wrap-around band, mounted with title. Contents loose, as issued. Edition of 20 copies, signed and numbered in ink by the artist in the colophon. Images dated between October 1971 and October 1973, printed by the artist and assembled in 1976. Fine, as issued. Bookseller Inventory # B115892-1

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SCHWITTERS, KURT & DOESBURG, THEO VAN.

Published by [The Hague?] (1922)

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Item Description: [The Hague?], 1922. Poster, lithographed in red and black on off-white paper. 300 x 302 mm. (circa 11 3/4 inches square). One of the great icons of Dada graphic art, this collage-like broadside was designed as a combination poster and program for a series of soirées planned for the dada campaign mounted by Theo and Petro Van Doesburg and Kurt Schwitters in Holland in 1923. At one time attributed to Van Doesburg alone, it is now universally agreed that the work was collaboratively designed with Schwitters; Jean Leering suggests that Schwitters was responsible for the elements printed in black (which predominate), and Van Doesburg for the elements in red ("DADA" repeated five times in various positions). Two different issues of the poster are known, distinguished by textual elements in the top right corner of the design: the present, original version, which mentions the Haagsche Kunstkring, where the event was first to be performed, and a second version, issued for readers of the review "Mécano."We quote at length from John Elderfield’s account of the performances: "The tour was scheduled to begin with a performance at the Hague Kunstring on December 27, 1922, but, because Schwitters had problems with his passport, it was postponed until January 10. Van Doesburg began the proceedings. Solemnly attired in dinner jacket, black shirt and white tie--but with a matching white-powdered face--he started to give an explanatory lecture on Dadaism (based on his article "Wat is Dada?"). He said that the Dadaists would do something unexpected, Schwitters recalled. ‘Just then, I stood up and barked loudly.’ (‘Frantic applause and noisy cheers,’ reported a contemporary newspaper.) ‘A few people fainted and were carried out, and the newspapers reported that what "Dada" means is "bark."’ (This alone netted them a second evening, in Haarlem; but there Schwitters blew his nose instead, and the newspapers dutifully reported that.) When Van Doesburg had finished his lecture, Schwitters recited his ‘Revolution in Revon,’ which apparently caused an uproar. According to some reports, the disorder was not quelled without the intervention of the police and the expulsion of some demonstrators. For light relief, there was announced some Dada piano music to be played by Van Doesburg’s wife. Then Schwitters recited his poem, ‘An Anna Blume,’ followed--to everybody’s surprise--by some Heine, accompanied at Schwitters’ insistence by a Chopin Étude. But when Schwitters changed back to sound-poems again, reciting them so as to mimic the melody of the Chopin, the audience disturbance started again. This eminently successful repertoire was repeated in Haarlem, Amsterdam, Rotterdam and elsewhere throughout Holland. The tour finally ended in Utrecht, where Schwitters was presented with a nine-foot high bouquet of rotting flowers, with some bones and other debris attached, and a putrid laurel wreath, all apparently stolen from the local cemetery. ‘The success was unprecedented,’ Schwitters wrote. ‘The police wept, and the public fought furiously among themselves, everyone trying to save a little bit of the bouquet; all around, people gave us and each other black eyes and bloody noses. It was an unparalleled Dadaist triumph.’" Minuscule trim at edge of the blank lower margin; a few extremely faint small creases; expert conservation by Studio TKM Associates. An exceptionally beautiful copy, very bright and fresh. Bookseller Inventory # B104859-3

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Pope, Arthur Upham & Ackermann, Phyllis (editors).

Published by London/ New York (Oxford University Press), 1938-1939. (1939)

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Item Description: London/ New York (Oxford University Press), 1938-1939., 1939. 10 vols., as follows:I-III. Text 2,817pp., 1 lrg. folding map. 967 text illus.IV-IX: Plates. 1,482 collotype plates (partly in color), printed on rectos only, loose in 6 portfolios, as issued.[X]: Edition de luxe: Extra Colour Plates. 4 color plates (1 double-page) of Persian rugs, printed on fine laid paper, loose in portfolio, as issued. Lrg. folio. Stout folio. Tan cloth, 3/4 black morocco. The very rare édition de luxe of the original edition, reputedly limited to 150 copies, with all plates printed on rectos only and loose in 6 portfolios; the spectacular collotype plates were replaced by halftones in the later, reduced reissues. Bookseller Inventory # B105193-1

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LEWITT, SOL.

Published by New York (Parasol Press Ltd.) (1973)

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Item Description: New York (Parasol Press Ltd.), 1973. (4)ff., 28 original etchings, each initialled in pencil by the artist on the verso, printed on Rives BFK. 270 x 270 mm. (10 5/8 x 10 5/8 inches). Tissue guards. Lrg. sq. 4to. (285 x 285). White silk over boards, stamped in black. Paper slipcase (slightly abraded). Edition limited in all to 25 copies and 10 artist’s proofs, signed and numbered by LeWitt in pencil in the center of the last leaf. Printed by Kathan Brown at the Crown Point Press, Oakland. "Departing from his other offset-printed books, LeWitt’s Crown Point books are beautifully hand printed and bound. ‘Grids.’ holds twenty-eight full page etchings. The progressions are listed first, from combination number one (‘Straight/Straight’) through number twenty-eight (‘Straight, Not-Straight, Broken/Straight, Not-Straight, Broken’). The cut of the etched lines into the soft paper (the lines which at first glance appear straight, and then on closer inspection reveal their freely drawn character), produce a vital page design and pleasurable viewing experience. A hand printed and bound LeWitt exerts a stronger sense of weight and permanence that creates a bridge between the intuitive idea guiding his books, and a stronger, more engaging contact sustained by the viewer while paging through LeWitt’s system" (Minneapolis). A fine copy. Bookseller Inventory # B70925-2

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SCHWITTERS, KURT.

Published by Hannover, [circa 1930]. (1930)

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Item Description: Hannover, [circa 1930]., 1930. Poster, printed in orange and black offset, with text and photomontage incorporating 14 photographic portraits. 625 x 338 mm. (ca. 24 3/4 x 15 1/4 inches), printed on coated card stock. Designed for the exhibition at the Handelsmuseum, Hannover. Schwitters himself is included at upper left, along with thirteen other designers affiliated with the Bund der Gebrauchsgraphiker. Schwitters was a founding member of the Ring ‘Neue Werbegestalter,’ having worked as a designer for the Pelikan firm earlier in the decade. In 1929, he was retained by the Magistrat of the city of Hannover to coordinate municipal typography and graphic design. The poster is discussed in the Hannover Stadtbibliothek catalogue, "Der Typograph Kurt Schwitters" under the heading "Kurt Schwitters als Gebrauchs- und Werbegraphiker in Hannover": "Um das optische Zentrum des Plakats (eine runde rote Scheibe mit dem Signet des Bundes des Gebrauchsgraphiker in der Mitte) sind Fotos Hannoverscher Graphiker angeordnet: Metzig, Heseler, Harter, Prelle, Hildebrand, Huch, Dröge, Rademacher, Horrmeyer, Hesse, Schacht, Schwitters, Reinstein, Peffer (im Uhrzeigersinn gelesen)." A very fine copy. Bookseller Inventory # B95463-1

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BARIL, TOM.

Published by Boston (Robert Klein Gallery) (1999)

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Item Description: Boston (Robert Klein Gallery), 1999. (2)ff., 10 dust-grained photogravure plates, each signed, numbered and titled in pencil by the photographer. Image size: 20 x 16 inches (508 x 406 mm.). Sheet size 30 1/4 x 25 inches (768 x 6235 mm.). Guard sheets. All contents loose, as issued. Large folio. Publisher’s portfolio (cloth over boards) by the Jovonis Bindery. One of 50 sets from the limited edition of 64 in all, the plates printed by Scott Mathes at the Renaissance Press, on Rives Moulin du Gué. Film positives made by Tom Baril and Paul M. Taylor. Photogravure plates made by Paul M. Taylor. Plates cancelled by Tom Baril. Letterpress by Wild Carrot Press. Design by Paul McMenamin.The subjects are: "Two Callas," "Dahlia," "Eustoma," "Gladiola," "Brugmansia," "Passion Vine," "Hosta," "Lisianthus," "Hollyhock," and "Calla Lily." Born in 1952, Baril began printing for Robert Mapplethorpe while still a student, and has been credited with developing the lush quality of the late photographer's black and white prints. When he moved towards studio work, Baril sought close-up views of flowers using a pinhole camera with minimal depth of field. Bookseller Inventory # B141829-1

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KOKOSCHKA, OSKAR.

Published by Wien (Die Wiener Werkstätte) (1908)

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Item Description: Wien (Die Wiener Werkstätte), 1908. (16)pp. 8 full-page color lithographs, printed in red, green, blue, yellow, brown and black, incorporating text at right. Kokoschka’s "Die traeumenden Knaben" dates from 1908, when, at the age of twenty-one, he was commissioned by the Wiener Werkstätte to write and illustrate a book for children. Though published by the Werkstätte in that year in an edition of 500 copies, and exhibited at the Wiener Kunstschau, very few copies were sold, and eventually the remaining stock was bought up by the publisher Kurt Wolff, who released 275 copies as a limited edition in 1917, placing the loose sheets in a slightly different binding which carried a colophon with his imprint under the back cover. This is one of the initial 225 copies constituting the rare first issue of 1908. This copy is incomplete, lacking Kokoschka’s decorative black-and-white dedication leaf, and it has been taken apart and framed, as a suite of 8 full-page color lithographs, grouped together in two large gilt frames. The original gold-painted binding unique to these 1908 copies separately accompanies the framed prints. (Like the 1917 issue, this bears a decorative lithographic vignette designed by Kokoschka mounted on the front cover.) The framed color lithographs are lightstruck. One of the landmarks of the modern illustrated book (and, as Eleanor Garvey has pointed out, one of the very first important livres de peintre to originate east of the Rhine), "Die traeumenden Knaben" arises out of a well-established Viennese Jugendstil tradition, and shows the direct influence of his teachers Carl Czeschka and Berthold Löffler, and Gustav Klimt, to whom the work is dedicated. What is remarkable about it is the new primitivist idiom in which the graphic conventions of art nouveau are recast: the deliberate awkwardness of the forms, the angularity of the line, and the emphatic, simplifying use of gesture, all extremely well suited to the poetic text, with its inchoate desires and freakish wonders. Kokoschka’s ‘picture-poem’ was not a children’s book at all; in point of fact, it was on one level the tormented record of an affair he had briefly had with a young Swedish girl, and represented for him a kind of love letter in pictures. The famous final image of the book, "Das Mädchen Li und ich," is a stylized but recognizable portrait of the couple in the manner of Adam and Eve-- an extraordinary idea, given the real name of the girl, which was Lilith. Kokoschka probably began work on the project around the start of 1907, and was able to adapt it to the purposes of his fortuitous commission, arranging for his drawings to be transferred to lithographic stones by mechanical means. Bookseller Inventory # B137756-1

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VOGENAUER, ERNST RUDOLF.

Published by Muenchen Pfingsten (Heinr. Graf) (1924)

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Item Description: Muenchen Pfingsten (Heinr. Graf), 1924. (4)pp. (single sheet folding), set in letterpress with title, dedication, poem by Vogenauer, and table/colophon (signed in ink by Heinrich Graf); 10 original drypoint etchings by Vogenauer, all signed in full and numbered I/X in pencil and tipped onto Bütten paper mounts blindstamped with the printer’s initials; 1 additional trial proof of the first etching, annotated and initialled in pencil. Image size varies, from 55 x 48 mm. to 130 x 70 mm. (2 1/8 x 1 7/8 inches to 5 1/4 x 2 3/4 inches). Mount size: 263 x 197 mm. (10 3/8 x 7 3/4 inches). 4to. Publisher’s original portfolio (red boards, 1/4 vellum, with asymmetrical blue paper supralibros printed in black with title and artist’s name). Vorzugsausgabe: copy no. I of X deluxe copies, from the edition of 50 in all (of which 25 were sold). The Heinrich Stinnes copy, with his ownership inscription in ink, dated July 1924, on title and on the inside cover of the portfolio, and with his collector’s mark in red at the lower left corner of the prints (as well as his discreet pencilled annotation at foot of the mounts). In his collector’s note, Stinnes records that only these first ten copies were printed before the plates were steel-faced. This extremely rare portfolio was published by Ernst Rudolf Vogenauer (1897-1969) in the year of his participation in the Bucharest avant-garde exhibition "Contimporanul," organized by the co-editors of the eponymous review, Marcel Janco and Max Hermann Maxy. Here Vogenauer’s work was shown together with the work of some fifteen other East- and West-European artists (Maxy was in charge of the West-), including Arp, Schwitters, Klee and Viking Eggeling, among others. As Jürgen Holstein and others have pointed out, Vogenauer’s drypoint etchings---proposed as an imaginary series of ex-libris designs for celebrated leftist political and cultural figures--are conceived in an ideologized Constructivist style reminiscent of the work of the Cologne "Gruppe progressiver Kunst," and at the same time are marked by a graphic delicacy quite close to that of Paul Klee. The subjects of the prints are titled as follows: 1. An Lenin. 2. Klara Zetkin. 3. Toller. 4. Szemere. 5. Lebedour. 6. Guilbeaux. 7. Nexö. 8. Holst. 9. Whitehead. 10. Siegrist. This copy includes an extra trial proof of the first drypoint--which incorporates Lenin’s famous appeal, ‘Workers of the World, Unite!’--annotated in pencil in the margins "mit diesem Papier nicht drucken" and signed with initials.Particularly compelling is the massively geometrical typography, rather in the spirit of Paul Renner and the later Weimar Bauhaus (Moholy-Nagy), which sets off the spidery elegance of the drypoints with quite unusual effectiveness. Vogenauer had studied with F.H. Ehmcke in Munich, and worked at various small presses throughout his career, running afoul of the East German state after the War for his ‘excessive formalism.’ Very fresh condition. OCLC records one copy only, at the Deutsche Nationalbibliothek. Bookseller Inventory # B105230-3

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LEWITT, SOL.

Published by New York (Parasol Press Ltd.) (1975)

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Item Description: New York (Parasol Press Ltd.), 1975. Title/colophon leaf, and 6 original etchings, each signed and numbered in pencil, printed on Rives BFK, loose as issued. 608 x 507 mm. (24 x 19 7/8 inches). Tissue guards. Lrg. folio. (625 x 525 mm.). Publisher’s black cloth box. Edition limited to 25 copies and 10 artist’s proofs, printed by Kathan Brown at the Crown Point Press, Oakland. A fine copy. Bookseller Inventory # B115790-1

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CLERCQ, LOUIS DE.

Published by , 1859-60. (1859)

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Item Description: , 1859-60., 1859. Albumen print from a waxed paper negative (calotype). Image Size: 26.5 x 19 cm. (10.5 x 11.5 inches). "Born to a wealthy family in the north of France, Louis De Clercq [1836-1901] was a military courier for Napoleon III during the Austrian campaign of 1859. When he was sent by the Marquis de Vogüé to Latakieh in early September 1859, Louis De Clercq was twenty-three years old and already a passionate archaeologist. He was to join the geographer and explorer Emmanuel Guillaume Rey in his exploratory mission of Syria. Rey was also actively involved with photography, and it is likely that the two photographed together, and even influenced one another in their work. However, Rey’s photographs remained unknown, while De Clercq, upon his return to France, published his ‘Voyage en Orient, 1859-60,’ six extraordinary albums of photographs in five volumes, consisting of 222 plates of rare beauty as well as of scientificand archaeological interest. The area covered during De Clercq’s trip was from Syria in the north to Egypt in the south. Most of his photographs deal with the ancient architecture of the Near East, but they are of a most unusual fashion and seen as never before through a modern eye" (Perez).Though De Clercq self-published these volumes in a reported edition of 50, only about a dozen sets--both intact and broken--are known to have survived, most of them in institutional collections. Bookseller Inventory # B115899-1

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CLERCQ, LOUIS DE.

Published by , 1859-60. (1859)

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Item Description: , 1859-60., 1859. Albumen print from a waxed paper negative (calotype). Image Size: 26.5 x 19 cm. (10.43 x 7.48 inches). "Born to a wealthy family in the north of France, Louis De Clercq [1836-1901] was a military courier for Napoleon III during the Austrian campaign of 1859. When he was sent by the Marquis de Vogüé to Latakieh in early September 1859, Louis De Clercq was twenty-three years old and already a passionate archaeologist. He was to join the geographer and explorer Emmanuel Guillaume Rey in his exploratory mission of Syria. Rey was also actively involved with photography, and it is likely that the two photographed together, and even influenced one another in their work. However, Rey’s photographs remained unknown, while De Clercq, upon his return to France, published his ‘Voyage en Orient, 1859-60,’ six extraordinary albums of photographs in five volumes, consisting of 222 plates of rare beauty as well as of scientific and archaeological interest. The area covered during De Clercq’s trip was from Syria in the north to Egypt in the south. Most of his photographs deal with the ancient architecture of the Near East, but they are of a most unusual fashion and seen as never before through a modern eye" (Perez).Though De Clercq self-published these volumes in a reported edition of 50, only about a dozen sets--both intact and broken--are known to have survived, most of them in institutional collections. Bookseller Inventory # B115898-1

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Le Coq, Albert von.

Published by Berlin (Dietrich Reimer ), 1922-1933. (1933)

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Item Description: Berlin (Dietrich Reimer ), 1922-1933., 1933. Vols. 1-3, 5-7 as follows: I: Die Plastik. 29pp., 45 plates (partly in color). II: Die manichäischen Miniaturen. 62, (2)pp., 10 plates (partly in color). III: Die Wandmalereien. 53, (1)pp., 27 plates (partly in color). V: Neue Bildwerke. 32, (2)pp., 32 plates (partly in color). VI: Neue Bildwerke II. Mit einem Beitrag über die Darstellungen und den Stil der Wandgemälde aus Qyzil bei Kutscha. 89, (1)pp., 33 plates (partly in color). VII: Neue Bildwerke III. Mit Geleitworten von Otto Kümmel, Heinrich Lüders und Friedrich Sarre. 80pp., 38 plates (partly in color). Prof. illus. throughout the set with figs. in text. Sm. folio and lrg. folio. Bindings worn. Lacks vol. IV: Atlas zu Wandmalereien. Vols. VI-VII written in collaboration with Ernst Waldschmidt. Bookseller Inventory # B138729-3

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ERNST, MAX.

Published by Paris (Editions du Carrefour) (1930)

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Item Description: Paris (Editions du Carrefour), 1930. (182)pp. 69 captioned full-page illustrations after collages of steel-engravings. 4to. Dec. pale blue wraps. (with Ernst illustration). One of 40 numbered copies on watermarked Hollande Pannekoek, with large uncut margins of irregular format, from the limited edition of 1100 in all (of which 20 on Japon). The second of Ernst’s three collage novels, and the least known, though, Evan Maurer has noted, "this work comprises some of Ernst’s most powerful statements on the complexity of human nature, sexuality and desire." Lightly sunned at spine. A very fine copy. Bookseller Inventory # B35700-6

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BARIL, TOM.

Published by Boston (Robert Klein Gallery) (2001)

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Item Description: Boston (Robert Klein Gallery), 2001. (2)ff., 10 dust-grained photogravure plates, each signed, numbered and titled in pencil by the photographer. Image size: ca. 14 5/8 x 11 3/16 inches (370 x 285 mm.) Sheet size: 23 7/8 x 20 1/4 inches (607 x 510 mm.). All contents loose, as issued. Lrg. folio. Publisher’s portfolio (silk over boards with stamped calf supralibros). One of 50 sets from the limited edition of 59 in all, the plates printed by John Goodman in Florence, Massachusetts, on Lana Gravure. The subjects are: "Smokestacks" (1994), "Verrazano Narrows" (1993), "Brooklyn Bridge" (1993), "Manhattan Bridge" (1993), "New York Public Library" (1995), "Woolworth Building" (1997), "Empire State Building" (1999), "Chrysler Building" (1995), "Brooklyn Bridge" (1999), and "Factory NJ" (1994).Born in 1952, Baril began printing for Robert Mapplethorpe while still a student, and has been credited with developing the lush quality of the late photographer's black and white prints. Working initially with landscapes and urban structures before moving into studio subjects, Baril produced iconic images of Boston, Chicago, New York and San Francisco. Bookseller Inventory # B137200-2

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BEATO, ANTONIO.

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Item Description: Average image size: 257 x 360 mm. (ca. 10 1/8 x 14 1/4 inches). Mount size: 382 x 471 mm. (ca. 15 x 18 1/2 inches). Panorama: Image size: 250 x 722 mm. (9 7/8 x 28 1/2 inches). Mount size: 403 x 854 mm. (ca. 15 7/8 x 33 5/8 inches). Exceptionally large prints, of which 11 are signed "A. Beato" in pen and brown ink within the image (none are signed in the negative). All are horizontal compositions unless otherwise noted, formally titled in pen, in script, on the mounts, beneath the image. Descriptions follow an old pencilled numbering sequence at the top of the mounts:1. "Vue panoramique du Temple de Karnak" signed "A. Beato" in brown ink, in the center of the image (just beneath the base of the central obelisk). Central fold (verso of the mount with slender linen reinforcement).2. "Temple de Karnak, 1ere pylone, vue du Nord," signed A. Beato in brown ink, within the image. Vertical composition.3. "Temple de Karnak, 1ere pylone, vue du Nord." (A different view than no. 2 above.)4. "Temple de Karnak, vue générale, vue du Nord." 5. "Temple de Karnak, vue de l’Est," signed A. Beato in brown ink, within the image.6. "Temple de Karnak, vue du Sud," signed A. Beato in brown ink, within the image.7. "Temple de Karnak, grande salle, vue du Nord," signed A. Beato in brown ink, within the image.8. "Temple de Karnak, à Thèbes," signed A. Beato in brown ink, within the image.9. "Temple de Karnak, grandes colonnes du milieu," signed A. Beato in brown ink, within the image. Vertical composition.10. "Ramesseum à Thèbes, vue générale," signed A. Beato in brown ink, within the image.11. "Ramesseum à Thèbes, avec la statue de Sisostris," signed A. Beato in brown ink, within the image. Cf. Ferri fig. 155.12. "Vallée des tombeaux des rois, à Thèbes," signed A. Beato in brown ink, within the image.13. "Medinet-Habou à Thèbes, débris de l’intérieur." Cf. Bull & Lorimer p. 85.14. "Medinet-Habou à Thèbes, 2mes piliers et colonnes," signed A. Beato in brown ink, within the image. The panorama is neatly split at the fold, without loss. A few prints lightly foxed; the group is otherwise in generally fine condition, apart from a little light soiling to the mounts. Bookseller Inventory # B107705-1

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BROUWS, JEFF.

Published by N.p. (The Artist) (2009)

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Item Description: N.p. (The Artist), 2009. (2)ff., 18 archival digital pigment print photographs, each signed, numbered, dated and titled by the artist in ink on the verso. Image size: 160 x 205 mm. (6 1/4 x 8 1/8 inches). 1 additional plate recapitulating the 18 images. Wove paper guards. Oblong 4to. Cloth clamshell box, with mounted photographic vignette. Edition of 9 copies in all, signed, numbered and dated by the artist in the colophon. Prints made on the Epson StylusPro 9800 using K3 Ultrachome Inks. In an artist's statement, Brouws wrote that he "has combined anthropological inquiry and a bleak aesthetic beauty mining the overlooked, the obsolete, the mundane." Fine, as issued. Bookseller Inventory # B115891-1

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Köln. Brauhaus Winter.

Published by Köln (1920)

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Item Description: Köln, 1920. (4)pp. Single sheet, folding, opening to reveal an interior text printed on a spectacular bright scarlet ground. Dada typographic designs on the exterior (attributable to Johannes Baargeld), including a hand with occult symbols, and a text in Hebrew. Sm. 4to. Self-wraps. Texts by Johannes Baargeld and Max Ernst. One of the most brilliant ephemera of German Dada. "This dada exhibition has spawned more anecdotes than any other, some of them contradictory. Certainly it opened, and ended, turbulently, and was equally eventful while it was running. [It] was organized hurriedly, as a separate manifestation after the montages and sculptures by Ernst and Baargeld had been removed from a juryless exhibition organised by the Artists’ Union of Cologne in the Museum of Decorative Arts. They hired a glass-roofed court partly exposed to the rain at the rear of the Brasserie Winter, reached through the gentlemen’s lavatory. Visitors were challenged to destroy what they didn’t like, and everything stolen and destroyed was constantly replaced. Several of the works which disappeared were reproduced in "Die Schammade": Baargeld’s ‘Antropofiler Bandwurm,’ a relief construction of odds and ends like a frying pan, cog, springs and a bell, and Ernst’s wire sculpture, which has certain similarities with Janco’s ‘Construction,’ reproduced in the Zürich ‘Dada’ 1. The critics tended to be bemused" (Ades). The public, however, appears more than anything else to have been disoriented. It seems that the manifestation which most scandalized the audience was not the spectacle of a young girl in first communion dress reciting obscene poetry, but a "pornographic" image reported to the police which, on investigation, proved to be a reproduction of Dürer’s ‘Adam and Eve’ incorporated in an Ernst collage. A fine copy. Bookseller Inventory # B06026-4

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ALBERS, JOSEF.

Published by New York/New Haven (Harry N. Abrams/ Ives-Sillman) (1972)

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Item Description: New York/New Haven (Harry N. Abrams/ Ives-Sillman), 1972. 2 vols. (12)pp., 127 silkscreen plates (121 color), contained in 66 printed folders, 33 in each portfolio. Plate size: 380 x 510 mm. (15 x 20 in.). Lrg. oblong folio. Linen portfolios and slipcases. All contents loose, as issued. Edition of 1000 hand-numbered copies, printed on white wove Mohawk Superfine paper, signed by Albers on the title leaf. A mint set, in the original shipping carton. Bookseller Inventory # B67573-8

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GREENE-MERCIER, MARIE ZOE.

Published by [Chicago, 1953]. (1953)

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Item Description: [Chicago, 1953]., 1953. Collage of cut colored wove papers and woven cloth cord, mounted on four layered planes of glass, signed "Marie Zoe Greene" in black ink on the glass at lower right. 600 x 495 mm. (23 1/2 x 19 1/2 inches). Original massive wood frame. An important abstract collage construction in glass and colored paper by Greene-Mercier, one of Moholy-Nagy's first students at the New Bauhaus in Chicago. Dating from 1953, "Collage Seventeen" was one of twenty "polyplane collages," which represent a breakthrough of sorts in her work, and a fascinating chapter in postwar modernist abstraction. The series occupied Greene-Mercier for a decade. On its completion, the complete series was given an exhibition at the Art Institute of Chicago in March-April 1955, at the invitation of Carl O. Schniewind, in the Department of Prints and Drawings.We quote at length from an article by Lloyd C. Engelbrecht on "Marie-Zoe Greene-Mercier: The Polyplane Collages," which appeared in "Art International" in 1978:"Marie-Zoe Greene-Mercier is best known for her grandly-scaled monumental sculpture, such as the two French Government commissions at Barcarès and Arras. Less well known is a series of collages in which she explored the spatial relationships created by separating paper and other materials by multiple panes of glass, which she has named 'polyplane collages.'"There are twenty of these collages in all, the earliest dating from 1946. The first ten to be completed were exhibited on numerous occasions as individual works, and all twenty were shown as a group in the Art Institute of Chicago in 1955. Although some were shown again as a group in the following two years in the same city, since 1957 only a few have been exhibited, at infrequent intervals. With the patina of time acquired in the last twenty years they now seem to be part of a whole, much like a musical suite in which the individual movements each make their statement, at the same time complementing one another."Greene-Mercier first turned to collage in 1945, when she made a series of three collages using the 'traditional' methods involving pieces of paper and glue. She soon yielded to the sculptor's fascination with construction in space and began to experiment with panes of glass, which she inserted between the pieces of paper. The twenty collages with panes of glass were the result, and since they followed the three without glass, she numbered them from four to twenty-three. The first two were made with three panes of glass, and the rest with four panes. Paper was pressed, and patterned Japanese paper, burlap, thread, string and rope were used as well. The panes of glass are bound tightly together with tape, and the glass is set flush with the other materials except in those collages in which parts of the glass panes were cut away for the artist by a master glass cutter ."Each collage makes a statement in the Constructivist idiom, and the forms suspended in orthogonally defined space go back to the origins of Constructivism; Malevich exhibited a black square hovering over a white ground in 1915. What Greene-Mercier has accomplished is to articulate orthogonally defined space in a new way, although employing traditional materials. (She once remarked that she rejected the idea of using plexiglass because she was attracted to the long tradition of glass as a material for artists.)"Born in 1911, Greene-Mercier first came to Chicago in 1933, shortly after graduating from Radcliffe, and was involved in Constructivist art in Chicago from the time of her arrival. In 1934 she assisted James Johnson Sweeney with an exhibition of abstract art at the University of Chicago which included the first showing of paintings by Mondrian in the city. At the New Bauhaus she studied with Archipenko and Gyorgy Kepes, as well as with Moholy-Nagy. One of her polyplane collages, "Collage Eight" (1946), was included in the exhibition "Abstract and Surrealist American Art" at the Art Institute of Chicago in 1947. Her successful. Bookseller Inventory # B97936-1

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Item Description: 4to. Contemporary flexible boards. All leaves numbered in a contemporary hand, in a different sequence than bound. Title of the first suite with small marginal loss at lower inner corner; intermittent light soiling; generally in fine condition. An album of three Bolognese suites for architectural design and decoration by Agostino Mitelli and others, published as pattern books for artists and designers. Contents as follows: 1. Santi, Domenico. Varii modioni del Sig. Domenico Santi cavagliere. [Bologna], 1683. 12 copperplate-engraved plates, including dec. title. Plate size: ca. 160 x 114 mm. (ca. 6 1/4 x 4 1/2 inches). Designs for brackets and corbels, involving foliate and grotesque ornament, all very freely drawn. Unknown to Guilmard, who cites only Santi’s "Primo libro di soffitti" ("Nous n’avons pas rencontrés d’autres livres"). Berlin 5762. Mitelli, Agostino. Agostino Mitelli inventore e dipinse. Marc’Antonio Chiarini dissegnò, et intagliò. Marc’Antonio Fabbri forma in Bologna. 6 etched plates, including dec. title, 5 with credit, "Mitelli inv. et pin.," through-numbered. Plate size: ca. 205 x 125 mm. (ca. 8 1/8 x 4 7/8 inches). Designs for balusters, columns, piers, quoins and other elements, for stairhalls, vestibules, and parapets. Mitelli (1609-1660), father of Giuseppe Maria Mitelli, was one of the preëminent quadratura painters of the century, creating a manner known as the "Bolognese style" that remained in fashion until the advent of Neoclassicism. He produced four sets of prints for architectural design and ornament. "Almost nothing is known about Marcantonio Chiarini (1652-1730) except for several series of prints, like his ‘Vedute di prospettiva’ of 1699" (Fuhring). The suite is undated, though one plate is dated 1650 over a doorway. Berlin 2618; Guilmard p. 314; cf. Fuhring, Peter: Design Into Art (London, 1989), no. 1873. Beni, Pietro. Vasi, et urne, intaliate p Pietro Beni. N.p., n.d. 10 copperplate-engraved plates. Plate size: ca. 120 x 90 mm. (ca. 4 3/4 x 3 1/2 inches). Undated, the suite is perhaps circa 1700. Little is known of Pietro Beni, cited simply as "18th century?" by Thieme-Becker. Some of the designs, which are atmospherically detailed and in landscape or architectural settings, are proposed on a mammoth scale, dwarfing pensive bystanders: monumental funerary urns, an immense foliate vase supported by a horse and two attendants. Guilmard p. 321; Thieme-Becker III.325. Bookseller Inventory # B90906-1

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HARVEY, CIG.

Published by N.p. (The Artist) (2010)

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Item Description: N.p. (The Artist), 2010. 12 vellum pockets imprinted with text, containing 24 archival Chromogenic print photographs on Kodak Endura luster paper, mounted on gatefold leaves of Stonehenge white paper, each leaf signed on the verso by the artist. Image size with margins: 200 x 200 mm. (8 x 8 inches). Wrap-around letterpress cover/colophon leaf, printed in gold. Sq. 4to. Clamshell box (full navy goatskin gilt). All contents loose, as issued. Edition of 15 copies, signed and numbered by the artist in the colophon. Book design by Cig Harvey and Claire Donnelly. Fine, as issued. Bookseller Inventory # B115890-1

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Strahan, Edward.

Published by Boston (Georgie Barrie), 1883/1884. (1884)

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Item Description: Boston (Georgie Barrie), 1883/1884., 1884. 4 parts (10 sections) in 2 vols. viii, 122, 68pp. 162 hors-texte plates including 23 chromolithographs (some in windowed card mats), tipped-in photogravures and engravings. Numerous wood-engraved illus. Titled tissue guards. Massive folio. Later plain cloth over heavy boards (light wear). A.e.g. Japan Edition, limited to 500 hand-numbered copies."No other American house of the Aesthetic era was as thoroughly documented, inside and out, as the mansion built for William Henry Vanderbilt (1821-1885) in 1882 on Fifth Avenue in New York. Occupying the entire block between Fifty-First and Fifty-Second Streets, 'Mr. Vanderbilt's house' was actually a complex of three houses, one for William H. Vanderbilt and his wife, the other two for his daughters. The architect of record of the Vanderbilt 'Triple Palace' is one John Butler Snook, but there is reason to believe that Herter Brothers, the premier American Aesthetic decorating firm, may actually have designed the house. Herter Brothers was certainly responsible for the interiors, which include some of the most lavish American Aesthetic room-scapes ever conceived. The monumental 'Mr. Vanderbilt's House and Collection,' edited by Edward Strahan (pseudonym of Earl Shinn, a self-taught art historican) and published in 1883 in ten folio parts, records for posterity the major rooms and their furnishings through detailed text, as well as hundreds of illustrations in line and color. The result is a uniquely valuable visual archive of an American Gilded Age interior in the loftiest Aesthetic taste" (Holzenberg). Two plates loose in Vol. II, crack in card mat of the frontis. to Vol. I, occasional light wear to the tissue guards; in general a handsome, clean copy of this stupendous publication. Bookseller Inventory # B45758-2

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BROUTIN, GÉRARD-PHILIPPE, et al.

Published by Paris (Éditions Georges Fall) (1972)

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Item Description: Paris (Éditions Georges Fall), 1972. 70pp. Prof. illus. 21 signed original gouaches and ink drawings hors texte, nearly all in color, by J.-B. Arkitu, Édouard Berreur, Gérard-Philippe Broutin, Françoise Canal, Jean-Paul Curtay, Myriam Darrell-Spacagna, Jean-Pierre Gillard, Micheline Hachette, Isidore Isou, Alain de Latour, Maurice Lemaître, Patrick Poulain, François Poyet, Roland Sabatier, J.-L. Sarthou, Alain Satié, Jacques Spacagna, Frédéric Studeny, Jacqueline Tarkieltaub, Dany Tayarda, and Jean-Jacques Venturini. 4to. Portfolio. Contents loose, as issued, in publisher’s slipcase and chemise by Duval (printed boards), the text within printed wrapper, and the plates loose in wove paper folder. Édition de tête: one of 75 hand-numbered copies in this portfolio format, with the suite of original gouaches and ink drawings. A remarkable production, with unique works of exceptional quality. A fine copy. Bookseller Inventory # B104635-1

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DASHTI, GOHAR.

Published by Tehran/Boston (Robert Klein Gallery, in association with Azita Bina-Seibel & Ars Libri) (2014)

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Item Description: Tehran/Boston (Robert Klein Gallery, in association with Azita Bina-Seibel & Ars Libri), 2014. (4)ff. (title, colophon, and two text leaves, in parallel Farsi and English), with 8 archival digital pigment prints (8.5 x 11.625 inches), each signed in pencil by the artist. Oblong 4to. Portfolio. Cloth. Ties. Tissue guards. Contents loose, as issued. Edition limited to 25 numbered copies, signed and numbered in pencil in the colophon by the artist. Portfolio designed by Stephen Stinehour. English translation by Sassan Tabatabai. Bookseller Inventory # B126736-9

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Item Description: Rouen (Robert Machuel), 1745. 8 vols. 2 engraved portraits, and 6 copper-engraved plates (of which 5 are plans). Fine contemporary mottled calf, handsomely gilt at spine. A later French edition of the work first published in Rome in 1650-1653, written in the form of 54 letters from the author to the Neapolitan physician Schipano; the first French translation appeared in 1661-1664. "The prince of all such travellers is Pietro de la Valle, the most insatiate in curiosity, the most intelligent in apprehension, the fullest and most accurate in description" (H. Yule, after Cox). Della Valle’s journey, undertaken over twelve years, took him through the Near East, Persia, and India, and, on his return, through Arabia, Cyprus, Malta and Sicily. "Della Valle left Venice in 1614 on a pilgrimage to the Holy Land. From there he travelled through Syria to Persia, where he married the Circassian Setti Manni and spent some time at the Court of Shah Abbas. He carried on his travels to the west coast of India, finally returning to Italy in 1626. The greatest number of letters are dated from Persia. Ten letters are dated from Constantinople" (Blackmer). A very handsome and fresh copy, with the rococo ex-libris throughout of M. Huvier du Mée. Bookseller Inventory # B62465-1

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American Antiquity.

Published by Menasha, Wisconsin/Washington, D.C., 1935-1990. (1990)

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Item Description: Menasha, Wisconsin/Washington, D.C., 1935-1990., 1990. Vols. 1 - 55#2 + General Index to vols. 1-30. Wraps. Bookseller Inventory # B32062-1

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Jerimadeth.

Published by Paris (1972)

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Item Description: Paris, 1972. [No. 1: all published.] (8)pp., including introduction by Goldschmidt. 20 signed and numbered contributions hors texte, including original gouaches, drawings, collages, and prints in various media (etching, woodcut, screenprint, lithography; some hand-colored), by Jean-Bernard Arkitu, Édouard Berreur, Gérard-Philippe Broutin, Françoise Canal, Jean-Paul Curtay, Myriam Darrell, Jean-Pierre Gillard, Micheline Hachette, François Poyet, Roland Sabatier, Jacques Spacagna, Jacqueline Tarkieltaub, Antoine Grimaud and Patrick Poulain; an original photocopy by Pierre Jouvet, two texts by Isidore Isou and Alain de Latour, and a superb mixed-media assemblage by Maurice Lemaître. Lrg. 4to. Publisher’s chartreuse silk box and chemise, hand-painted in gold on the front cover and spine. Contents loose, as issued. Edition limited to 50 hand-numbered copies, signed in the justification by the editors. Conceived as the first of a series of Lettrist portfolios, only this inaugural volume of "Jerimadeth" appeared. A fine copy. Bookseller Inventory # B104636-1

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BEUYS, JOSEPH & Brodmann, Jürg.

Published by Heidelberg (Edition Staeck) (1973)

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Item Description: Heidelberg (Edition Staeck), 1973. Edition of 125 copies. 5 sheets of letterhead stationery for the Stiftung zur Förderung der Kuenste (and Fundaziun per Promover igl Art), each stained with fat, and each signed in full by Beuys in blue ink at lower right; each numbered IV/2.2-097/125 in pencil on the verso. Together with: "Zertificat bezüglich Opus Nr. IV/2.2. - 097/125," an elaborate formal certificate with mounted embossed paper seal, fully signed by Beuys in black ink, and signed twice by Brodmann and dated 24. September 1973 1.37 in his hand. Sheet size: 295 x 208 mm. (ca. 11 5/8 x 8 1/4 inches). Loose guards (blank second sheets of stationery). Bookseller Inventory # B116875-1

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BUCHHOLZ, ERICH.

Published by [Berlin, n.d.].

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Item Description: [Berlin, n.d.]. Original composition in red gouache, black ink and gold metallic paint, on textured ochre leatherette, mounted on a red buckram slipcase, with inserted red buckram chemise and inner sleeve of white Bütten paper, reinforced with loose panels of cardboard.Painted panel: 368 x 275 mm. (ca. 14 1/2 x 10 3/4 inches). Slipcase: 423 x 325 mm. (ca. 16 5/8 x 12 3/4 inches). This large and majestically impressive handmade portfolio represents a variation of Buchholz’s painted wooden relief, "Roter Kreis im Goldkreis," of 1922, of which Ingrid Weisenmayer has commented "Der Dreiklang der Farben Schwarz, Gold und Rot steigert die Wirkung der einzelnen Farben noch zusätzlich. Es ist charakteristisch, dass Buchholz, der sich so vehement von jeglicher Kunsttradition distanzieren wollte, auf mittelalterliche Traditionen zurückgreift, und diese in einen modernen Kontext stellt" (Weisenmayer, in Gassen/Mengden). Comparison might equally be made with another painted panel of 1923, Buchholz’s "Neue Tafel Nr. 70." These and similar motifs were reprised by the artist many times, through late in his career. Slight rippling of the panel at foot; a little light rubbing, otherwise in fine, bright condition. Bookseller Inventory # B108477-1

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