‎Fin de siècle‎

‎Bartoletti Susan Campbell‎

‎Growing Up in Coal Country‎

‎Wilmington Massachusetts U.S.A.: Houghton Mifflin 1996. 6th Large squarish heavy book dark gray boards two very tiny tears at top front edge at middle very bright silver lettering on spine red inside covers and adjacent end papers ink note inside front cover 127 photo paper pages profusely illustrated with photos especially of child labor in mines. DJ glossy black with b/w photo of boys at mine on front smaller b/w photo of mine workers on back in white frame. DJ has very light wear to bottom tips. DJ and book both Near Very Fine. Hard Cover. Fine/Near Very Fine. Houghton Mifflin Hardcover‎

Referenz des Buchhändlers : 36030 ISBN : 0395778476 9780395778470

‎Bartolini Luigi (Cupramontana 1892 – Roma 1963)‎

‎Fiori‎

‎Acquaforte. Lastra mm 118x152, foglio 160x222 mm. Firma a matita a sinistra Luigi Bart. Titolo a matita in basso a sinistra non ben leggibile. Possiamo ipotizzare Invadenza. L’incisione non è catalogata in nessuno dei numerosi repertori sull’artista da noi consultati; è notorio che la catalogazione delle opere di Bartolini non è ancora completa. Bellissima prova, impressa su carta coeva, piccolo strappo perfettamente restaurato nella parte superiore, leggera abrasione al verso, per il resto in ottimo stato di conservazione. Luigi Bartolini è considerato uno dei maggiori incisori italiani del Novecento, insieme a Giorgio Morandi e Giuseppe Viviani. Oltre ad essere un prolifico incisore (al suo attivo oltre mille acqueforti), fu anche pittore e scrittore. Partecipò sia come pittore che come incisore a diverse edizioni della Biennale di Venezia dal 1928 al 1962. Presente a varie manifestazioni artistiche, sviluppò diverse maniere definite: ‘maniera bionda’, ‘lineare’ e ‘nera’. Ricordiamo soprattutto le acqueforti della serie Marche e della serie Sicilia.  Iniziò la sua produzione grafica nel 1914 e il suo stile si rifà alla tradizione naturalistica dell’Ottocento. Molte sue incisioni si possono ricollegare ad alcune opere del Goya, di Telemaco Signorini e di Giovanni Fattori. Eccellente nella rappresentazione della natura morta e del paesaggio, spesso il Bartolini rappresentò dolcemente le cose e gli oggetti più umili, i soggetti di natura più dimessi. In essi ritroviamo il sentimento che diviene immagine e la forma che si sviluppa in espressione. Con Bartolini l’incisione torna ad essere un mezzo di espressione poetica libera dal simbolismo e dal vedutismo allora in voga presso le accademie. Nelle sue acqueforti prevale ora un tratteggio leggero (genere biondo), ora una ricerca del chiaroscuro alla Rembrandt (genere nero). Etching. Plate mm 118x152, sheet 160x222 mm. Signature in pencil on the left Luigi Bart. Title in pencil at lower left not well readable. We can assume Invadenza. This work is not catalogued in any of the several repertories we consulted about the artist; it is well known that the cataloguing of Bartolini's works is not yet complete.  Beautiful proof, printed on contemporary paper, small tear perfectly restored in the upper part, light abrasion on the back, otherwise in excellent condition. Born in Cupramontana near Ancona, Luigi Bartolini was the twentieth century Italian etcher, who came closest to the stature of his great rival, Morandi. As a teenager, he saw the collection of etchings, including work by Callot, owned by the Corradi family in Iesi. From 1907 to 1910 Bartolini studied at the Istituto di Belle Arti in Siena, and started to etch c. 1909. He moved to Rome in 1910, where until 1912 he frequented the Accademia di Belle Arti, while also attending lectures on literature and the history of art, and courses on anatomy at the University in Rome. Bartolini studied the etchings of Goya and took lessons on drawing at the Accademia di Spagna. From there, he went to Florence in 1913, where he attended the Scuola del nudo. Bartolini continued his anatomical research, as well as studying architecture, making himself the most assiduous student of all Italian twentieth century printmakers. He also visited the Uffizi and Florentine print dealers to look at the etchings of Rembrandt and Fattori. Bartolini painted his first oils just before the outbreak of the First World War. Although he painted pictures throughout the rest of his career, and was awarded the Premio Marzotto for them in 1956, they have been far eclipsed in fame by his etchings and writings. During the First World War, Bartolini published his first collection of poetry. A very prolific and accomplished writer, in this field he is best known today as the author of the novel, 'Ladri di biciclette' (Bicycle thieves), of 1946, which was quickly turned into a celebrated film by Vittorio de Sica and Cesar Zavattini. After the First World War, Bartolini held a series of minor teaching posts in Macerata, Sassari, Avezzano, Pola, and Caltagirone, while he continued to etch, and started a long career as a polemical journalist and critic of art and architecture. From 1923 to 1929, he wrote for the Naples periodical, 'Cimento', but he also contributed to 'Il Selvaggio', 'Quadrivio', 'Italia letteraria', and 'L'Ambrosiana'. Bartolini's 1924 exhibition of etchings at the Casa d'Arte Bragaglia in Rome was a great success, and later that year he showed 70 etched landscapes of the Marches at the Casa Palazzo di Roma. The following year he visited Paris, where he paid particular attention to the paintings of Van Gogh. Bartolini's political convictions led him to being assaulted by Fascists and hospitalised in 1928. Two years later, he won a prize at the Venice Biennale, where he had exhibited a portfolio of etchings. In 1930, the Turin publisher, Buratti, began to issue a series of portfolios of etchings by contemporary Italian artists under the editorship of Cipriano Oppi, selecting Bartolini for the first album. The following year, Buratti published 'Le carte parlanti', a portfolio of 10 of Bartolini's etchings, which was published in an edition of 20. In 1932, Bartolini shared the first prize at the Prima mostra dell'incisione moderna at the Uffizi with Morandi and Boccioni. His close friend, the leading anti-Fascist art historian, Lionello Venturi, acted as his agent selling his etchings in Paris. Bartolini's correspondence with his compatriots in exile led to his imprisonment, from which he was released on Mussolini's personal intervention. He was then placed under political surveillance. From 1933 to 1938, Bartolini taught in Merano, where he painted and etched in the open air, finding subjects on the banks of the fast flowing Adige. Despite being under political su...‎

‎Bartolini Luigi (Cupramontana 1892 – Roma 1963)‎

‎Gli amanti crucciati 2‎

‎ Acquaforte,1952. Lastra mm. 148x82. Firma a matita in basso a destra Luigi Bartolini. Dedica a matita in basso “Auguri per il 1954”. Tiratura a 20 esemplari, inserita nelle copie di testa del libro Ombre fra le metope, Schwarz Editore 1953, stampato da Luigi Maestri, Milano. Luigi Bartolini è considerato uno dei maggiori incisori italiani del Novecento, insieme a Giorgio Morandi e Giuseppe Viviani. Oltre ad essere un prolifico incisore (al suo attivo oltre mille acqueforti), fu anche pittore e scrittore. Partecipò sia come pittore che come incisore a diverse edizioni della Biennale di Venezia dal 1928 al 1962. Presente a varie manifestazioni artistiche, sviluppò diverse maniere definite: ‘maniera bionda’, ‘lineare’ e ‘nera’. Ricordiamo soprattutto le acqueforti della serie Marche e della serie Sicilia.  Iniziò la sua produzione grafica nel 1914 e il suo stile si rifà alla tradizione naturalistica dell’Ottocento. Molte sue incisioni si possono ricollegare ad alcune opere del Goya, di Telemaco Signorini e di Giovanni Fattori. Eccellente nella rappresentazione della natura morta e del paesaggio, spesso il Bartolini rappresentò dolcemente le cose e gli oggetti più umili, i soggetti di natura più dimessi. In essi ritroviamo il sentimento che diviene immagine e la forma che si sviluppa in espressione. Con Bartolini l’incisione torna ad essere un mezzo di espressione poetica libera dal simbolismo e dal vedutismo allora in voga presso le accademie. Nelle sue acqueforti prevale ora un tratteggio leggero (genere biondo), ora una ricerca del chiaroscuro alla Rembrandt (genere nero). Bibliografia https://www.luigibartolini.com/gli_amanti_crucciati_74.html Etching,1952. Plate mm. 148x82. Signature in pencil at lower right Luigi Bartolini. Dedication in pencil at the bottom "Auguri per il 1954".  Limited edition of 20 copies, inserted in the leading copies of the book Ombre fra le metope, Schwarz Editore 1953, printed by Luigi Maestri, Milan. Born in Cupramontana near Ancona, Luigi Bartolini was the twentieth century Italian etcher, who came closest to the stature of his great rival, Morandi. As a teenager, he saw the collection of etchings, including work by Callot, owned by the Corradi family in Iesi. From 1907 to 1910 Bartolini studied at the Istituto di Belle Arti in Siena, and started to etch c. 1909. He moved to Rome in 1910, where until 1912 he frequented the Accademia di Belle Arti, while also attending lectures on literature and the history of art, and courses on anatomy at the University in Rome. Bartolini studied the etchings of Goya and took lessons on drawing at the Accademia di Spagna. From there, he went to Florence in 1913, where he attended the Scuola del nudo. Bartolini continued his anatomical research, as well as studying architecture, making himself the most assiduous student of all Italian twentieth century printmakers. He also visited the Uffizi and Florentine print dealers to look at the etchings of Rembrandt and Fattori. Bartolini painted his first oils just before the outbreak of the First World War. Although he painted pictures throughout the rest of his career, and was awarded the Premio Marzotto for them in 1956, they have been far eclipsed in fame by his etchings and writings. During the First World War, Bartolini published his first collection of poetry. A very prolific and accomplished writer, in this field he is best known today as the author of the novel, 'Ladri di biciclette' (Bicycle thieves), of 1946, which was quickly turned into a celebrated film by Vittorio de Sica and Cesar Zavattini. After the First World War, Bartolini held a series of minor teaching posts in Macerata, Sassari, Avezzano, Pola, and Caltagirone, while he continued to etch, and started a long career as a polemical journalist and critic of art and architecture. From 1923 to 1929, he wrote for the Naples periodical, 'Cimento', but he also contributed to 'Il Selvaggio', 'Quadrivio', 'Italia letteraria', and 'L'Ambrosiana'. Bartolini's 1924 exhibition of etchings at the Casa d'Arte Bragaglia in Rome was a great success, and later that year he showed 70 etched landscapes of the Marches at the Casa Palazzo di Roma. The following year he visited Paris, where he paid particular attention to the paintings of Van Gogh. Bartolini's political convictions led him to being assaulted by Fascists and hospitalised in 1928. Two years later, he won a prize at the Venice Biennale, where he had exhibited a portfolio of etchings. In 1930, the Turin publisher, Buratti, began to issue a series of portfolios of etchings by contemporary Italian artists under the editorship of Cipriano Oppi, selecting Bartolini for the first album. The following year, Buratti published 'Le carte parlanti', a portfolio of 10 of Bartolini's etchings, which was published in an edition of 20. In 1932, Bartolini shared the first prize at the Prima mostra dell'incisione moderna at the Uffizi with Morandi and Boccioni. His close friend, the leading anti-Fascist art historian, Lionello Venturi, acted as his agent selling his etchings in Paris. Bartolini's correspondence with his compatriots in exile led to his imprisonment, from which he was released on Mussolini's personal intervention. He was then placed under political surveillance. From 1933 to 1938, Bartolini taught in Merano, where he painted and etched in the open air, finding subjects on the banks of the fast flowing Adige. Despite being under political suspicion, he was given a one - man show of 50 etchings at the second Rome Quadriennale in 1935, when he was awarded the first prize for printmaking. Bartolini still encountered political difficulties, and his ...‎

‎Bartolini Luigi (Cupramontana 1892 – Roma 1963)‎

‎La fonte (Tre donne alla fontana)‎

‎Acquaforte e punta secca, 1924. Misure della lastra 85x130 mm. Prova d’autore, firmata a matita in basso “L. Bartolini”. Esemplare rifilato al rame ed applicato su cartoncino coevo. Perfetto stato di conservazione. All’incisione, databile al 1924-25 come altre opere analoghe dell’artista, Bartolini assegnerà poi il titolo definitivo di Tre donne alla fontana. Un’esemplare dell’opera definitiva è passato in asta a Berna nel novembre del 2007: https://www.mutualart.com/Artwork/Tre-donne-alla-fontana/591860B3A0845475 Luigi Bartolini è considerato uno dei maggiori incisori italiani del Novecento, insieme a Giorgio Morandi e Giuseppe Viviani. Oltre ad essere un prolifico incisore (al suo attivo oltre mille acqueforti), fu anche pittore e scrittore. Partecipò sia come pittore che come incisore a diverse edizioni della Biennale di Venezia dal 1928 al 1962. Presente a varie manifestazioni artistiche, sviluppò diverse maniere definite: ‘maniera bionda’, ‘lineare’ e ‘nera’. Ricordiamo soprattutto le acqueforti della serie Marche e della serie Sicilia.  Iniziò la sua produzione grafica nel 1914 e il suo stile si rifà alla tradizione naturalistica dell’Ottocento. Molte sue incisioni si possono ricollegare ad alcune opere del Goya, di Telemaco Signorini e di Giovanni Fattori. Eccellente nella rappresentazione della natura morta e del paesaggio, spesso il Bartolini rappresentò dolcemente le cose e gli oggetti più umili, i soggetti di natura più dimessi. In essi ritroviamo il sentimento che diviene immagine e la forma che si sviluppa in espressione. Con Bartolini l’incisione torna ad essere un mezzo di espressione poetica libera dal simbolismo e dal vedutismo allora in voga presso le accademie. Nelle sue acqueforti prevale ora un tratteggio leggero (genere biondo), ora una ricerca del chiaroscuro alla Rembrandt (genere nero). Rara. Etching and drypoint, 1924. Plate size 85x130 mm.   Artist's proof, signed in pencil at the bottom "L. Bartolini". Example trimmed to copper and applied on contempoary paperboard. Excellent state of preservation. Rare. Born in Cupramontana near Ancona, Luigi Bartolini was the twentieth century Italian etcher, who came closest to the stature of his great rival, Morandi. As a teenager, he saw the collection of etchings, including work by Callot, owned by the Corradi family in Iesi. From 1907 to 1910 Bartolini studied at the Istituto di Belle Arti in Siena, and started to etch c. 1909. He moved to Rome in 1910, where until 1912 he frequented the Accademia di Belle Arti, while also attending lectures on literature and the history of art, and courses on anatomy at the University in Rome. Bartolini studied the etchings of Goya and took lessons on drawing at the Accademia di Spagna. From there, he went to Florence in 1913, where he attended the Scuola del nudo. Bartolini continued his anatomical research, as well as studying architecture, making himself the most assiduous student of all Italian twentieth century printmakers. He also visited the Uffizi and Florentine print dealers to look at the etchings of Rembrandt and Fattori. Bartolini painted his first oils just before the outbreak of the First World War. Although he painted pictures throughout the rest of his career, and was awarded the Premio Marzotto for them in 1956, they have been far eclipsed in fame by his etchings and writings. During the First World War, Bartolini published his first collection of poetry. A very prolific and accomplished writer, in this field he is best known today as the author of the novel, 'Ladri di biciclette' (Bicycle thieves), of 1946, which was quickly turned into a celebrated film by Vittorio de Sica and Cesar Zavattini. After the First World War, Bartolini held a series of minor teaching posts in Macerata, Sassari, Avezzano, Pola, and Caltagirone, while he continued to etch, and started a long career as a polemical journalist and critic of art and architecture. From 1923 to 1929, he wrote for the Naples periodical, 'Cimento', but he also contributed to 'Il Selvaggio', 'Quadrivio', 'Italia letteraria', and 'L'Ambrosiana'. Bartolini's 1924 exhibition of etchings at the Casa d'Arte Bragaglia in Rome was a great success, and later that year he showed 70 etched landscapes of the Marches at the Casa Palazzo di Roma. The following year he visited Paris, where he paid particular attention to the paintings of Van Gogh. Bartolini's political convictions led him to being assaulted by Fascists and hospitalised in 1928. Two years later, he won a prize at the Venice Biennale, where he had exhibited a portfolio of etchings. In 1930, the Turin publisher, Buratti, began to issue a series of portfolios of etchings by contemporary Italian artists under the editorship of Cipriano Oppi, selecting Bartolini for the first album. The following year, Buratti published 'Le carte parlanti', a portfolio of 10 of Bartolini's etchings, which was published in an edition of 20. In 1932, Bartolini shared the first prize at the Prima mostra dell'incisione moderna at the Uffizi with Morandi and Boccioni. His close friend, the leading anti-Fascist art historian, Lionello Venturi, acted as his agent selling his etchings in Paris. Bartolini's correspondence with his compatriots in exile led to his imprisonment, from which he was released on Mussolini's personal intervention. He was then placed under political surveillance. From 1933 to 1938, Bartolini taught in Merano, where he painted and etched in the open air, finding subjects on the banks of the fast flowing Adige. Despite being under political suspicion, he was given a one - man show of 50 etchings at the second Rome Quadriennale in 1935, when he was awarded the first prize for printmaking. Bartolini still encountered political difficulties, and his 'Modi', published by Edizioni del Cavallino in 1938, was censured by Al...‎

‎Bartolini Luigi (Cupramontana 1892 – Roma 1963)‎

‎Vaso con fiori dedicato a Vincenzo Cardarelli‎

‎Acquaforte, 1930 circa. Lastra mm 125x165, figlio mm 355x505. Firma a matita in basso a destra “L. Bartolini”. Dedica incisa in lastra, in basso “V. Cardarelli”. Dalla biografia di Luigi Bartolini si evince che nel gennaio 1928 ha inizio la corrispondenza epistolare con Vincenzo Cardarelli, che durerà fino al febbraio 1930. Pertanto, la datazione della lastra viene ricondotta a tale periodo. Luigi Bartolini è considerato uno dei maggiori incisori italiani del Novecento, insieme a Giorgio Morandi e Giuseppe Viviani. Oltre ad essere un prolifico incisore (al suo attivo oltre mille acqueforti), fu anche pittore e scrittore. Partecipò sia come pittore che come incisore a diverse edizioni della Biennale di Venezia dal 1928 al 1962. Presente a varie manifestazioni artistiche, sviluppò diverse maniere definite: ‘maniera bionda’, ‘lineare’ e ‘nera’. Ricordiamo soprattutto le acqueforti della serie Marche e della serie Sicilia.  Iniziò la sua produzione grafica nel 1914 e il suo stile si rifà alla tradizione naturalistica dell’Ottocento. Molte sue incisioni si possono ricollegare ad alcune opere del Goya, di Telemaco Signorini e di Giovanni Fattori. Eccellente nella rappresentazione della natura morta e del paesaggio, spesso il Bartolini rappresentò dolcemente le cose e gli oggetti più umili, i soggetti di natura più dimessi. In essi ritroviamo il sentimento che diviene immagine e la forma che si sviluppa in espressione. Con Bartolini l’incisione torna ad essere un mezzo di espressione poetica libera dal simbolismo e dal vedutismo allora in voga presso le accademie. Nelle sue acqueforti prevale ora un tratteggio leggero (genere biondo), ora una ricerca del chiaroscuro alla Rembrandt (genere nero). Opera rarissima, non descritta dai repertori. Etching, circa 1930. Plate mm 125x165, son mm 355x505. Pencil signature at lower right "L. Bartolini". Dedication engraved on plate, at bottom "V. Cardarelli". From Luigi Bartolini's biography it is clear that in January 1928 he began his correspondence with Vincenzo Cardarelli, which lasted until February 1930. Therefore, the dating of the plate can be traced back to that period. Born in Cupramontana near Ancona, Luigi Bartolini was the twentieth century Italian etcher, who came closest to the stature of his great rival, Morandi. As a teenager, he saw the collection of etchings, including work by Callot, owned by the Corradi family in Iesi. From 1907 to 1910 Bartolini studied at the Istituto di Belle Arti in Siena, and started to etch c. 1909. He moved to Rome in 1910, where until 1912 he frequented the Accademia di Belle Arti, while also attending lectures on literature and the history of art, and courses on anatomy at the University in Rome. Bartolini studied the etchings of Goya and took lessons on drawing at the Accademia di Spagna. From there, he went to Florence in 1913, where he attended the Scuola del nudo. Bartolini continued his anatomical research, as well as studying architecture, making himself the most assiduous student of all Italian twentieth century printmakers. He also visited the Uffizi and Florentine print dealers to look at the etchings of Rembrandt and Fattori. Bartolini painted his first oils just before the outbreak of the First World War. Although he painted pictures throughout the rest of his career, and was awarded the Premio Marzotto for them in 1956, they have been far eclipsed in fame by his etchings and writings. During the First World War, Bartolini published his first collection of poetry. A very prolific and accomplished writer, in this field he is best known today as the author of the novel, 'Ladri di biciclette' (Bicycle thieves), of 1946, which was quickly turned into a celebrated film by Vittorio de Sica and Cesar Zavattini. After the First World War, Bartolini held a series of minor teaching posts in Macerata, Sassari, Avezzano, Pola, and Caltagirone, while he continued to etch, and started a long career as a polemical journalist and critic of art and architecture. From 1923 to 1929, he wrote for the Naples periodical, 'Cimento', but he also contributed to 'Il Selvaggio', 'Quadrivio', 'Italia letteraria', and 'L'Ambrosiana'. Bartolini's 1924 exhibition of etchings at the Casa d'Arte Bragaglia in Rome was a great success, and later that year he showed 70 etched landscapes of the Marches at the Casa Palazzo di Roma. The following year he visited Paris, where he paid particular attention to the paintings of Van Gogh. Bartolini's political convictions led him to being assaulted by Fascists and hospitalised in 1928. Two years later, he won a prize at the Venice Biennale, where he had exhibited a portfolio of etchings. In 1930, the Turin publisher, Buratti, began to issue a series of portfolios of etchings by contemporary Italian artists under the editorship of Cipriano Oppi, selecting Bartolini for the first album. The following year, Buratti published 'Le carte parlanti', a portfolio of 10 of Bartolini's etchings, which was published in an edition of 20. In 1932, Bartolini shared the first prize at the Prima mostra dell'incisione moderna at the Uffizi with Morandi and Boccioni. His close friend, the leading anti-Fascist art historian, Lionello Venturi, acted as his agent selling his etchings in Paris. Bartolini's correspondence with his compatriots in exile led to his imprisonment, from which he was released on Mussolini's personal intervention. He was then placed under political surveillance. From 1933 to 1938, Bartolini taught in Merano, where he painted and etched in the open air, finding subjects on the banks of the fast flowing Adige. Despite being under political suspicion, he was given a one - man show of 50 etchings at the second Rome Quadriennale in 1935, when he was awarded ...‎

‎Bartolini, Luciano - Rene Block/ Britta Schmitz‎

‎Eterna Metamorfosi.‎

‎Berlin., Nationalgalerie Berlin., 1984. 29,5 x 22 cm. 120 S. OKarton., 7026D Auflage 1000 Exemplare. Einbandkanten mit kleinen Bereibungen. Sonst gutes bis sehr gutes Exemplar.‎

‎Katalog zur Ausstellung Berlin 5. Oktober bis 11. November 1984 durchgehend mit Abbildungen versehen.‎

Referenz des Buchhändlers : 7026DB

‎Bartolomeo fl. 16th century Sereno Creator‎

‎Commentari della guerra di Cipro e della lega dei principi cristiani contro il turco. Ora per la prima volta pubblicati da MS. autografo con note e documenti Italian Edition‎

‎Nabu Press 2010-09-27. Paperback. Good. Nabu Press paperback‎

Referenz des Buchhändlers : SONG117309833X ISBN : 117309833X 9781173098339

‎Bartsch, R‎

‎Geliebt bis ans bittere Ende. Roman.‎

‎Halle, Mitteldt. Vlg. 1959. 611 S. OLwd.‎

Referenz des Buchhändlers : 800285

‎Bartsch, R‎

‎Man kann nicht immer stumm sein. Roman.‎

‎Halle, Mitteldt. Vlg. (1953). 440 S. OLwd. m. Schutzumschlag v. K. Zimmermann.‎

‎Erstausgabe. - Bartsch (*1929), Prosaschriftsteller, Fernseh- u. Hörspielautor.‎

Referenz des Buchhändlers : 612119

‎Bartz Karl‎

‎Pietro il Grande‎

‎trad. di Cristina Baseggio tela edit. con titoli oro al dorso e sovrac. ill., fioriture, piccole rotture in sovrac.‎

‎Baruchello, Gianfranco‎

‎BARUCHELLO. [Einladung / Invitation] Galerie Schmela, Düsseldorf, 19. Aug. bis 14. Sept. 1969.‎

‎Düsseldorf., Galerie Schmela., 1969. 15 x 21 cm. OKarton-Klappkarte., 67885B Papier altersbedingt etwas nachgedunkelt, sonst sehr gutes Exemplar‎

‎Einladungskarte der Galerie Schmela.‎

Referenz des Buchhändlers : 67885BB

‎Baruchello, Gianfranco‎

‎BARUCHELLO. Galleria Schwarz - Milano, dal 3 al 30 aprile 1970.‎

‎Milano., Galleria Schwarz., 1970. 24 x 17 cm. 36 S. OKarton (Softcover)., 67370BB 1. Auflage. Einband etwas nachgedunkelt und angestaubt sowie an den Kanten teilweise gering bestoßen, sonst gutes Exemplar. Catalogo n. 97.‎

‎Text in Italienisch, Französisch und Englisch. Mit einem Gespräch zwischen Umberto Eco und Gianfranco Baruchello. Enthält 18 Abbildungen, davon 8 in Farbe. Beiliegend: Einladungskarte "BARUCHELLO. SUR LA CONTRADICTION PRINCIPALE. PEINTURES", Galerie Craven, Paris, 7 mars au 7 avril 1973.‎

Referenz des Buchhändlers : 67370BB

‎Bashkirtseff, Marie :‎

‎Enfance (L') candide et passionnée. Cahier inédit d’une étude “La rencontre du duc de Hamilton et la névrose de Marie Bashkirtseff” par Louis Ginies. Trois aquarelles de François de Marliave et un croquis de Bonaventure Laurens.‎

‎Aix en Provence, Editions du Feu, 1929 ; in-folio, broché ; (3) ff. blancs, 30, (4) pp., (2) ff. blancs, couverture cr ème imprimée en rouge et noir, illustrée au centre du croquis-portrait tiré en noir et blanc et collé ; 3 aquarelles de François de Marliave dont 1 hors-texte en frontispice, croquis-portrait de Marie Bashkirtseff par Bonaventure laurens, tiré en sanguine.‎

‎EDITION ORIGINALE, tirée à 1150 exemplaires sur vélin pur fil Montgolfier (N°145), de ce cahier qui ne figure pas dans les fameux “Carnets” avec une note liminaire de Pierre Borel. Bel exemplaire malgré de tout petits manques en bord extérieur du second plat et quelques rares rousseurs.‎

Referenz des Buchhändlers : 5286

‎Bascove Ed‎

‎Stone and Steel: Paintings & Writings Celebrating the Bridges of New York City‎

‎Jaffrey New Hampshire U.S.A.: David R Godine Pub 1998. Stated first edition. Teal cloth gilt titles. Paintings by Bascove accompanied by writings by various poets and authors celebrating the bridges of New York City. A near fine copy in like DJ. 90 pp. 1st Edition. Hardcover. Near Fine/Near Fine. David R Godine Pub Hardcover‎

Referenz des Buchhändlers : 11859 ISBN : 1567920810 9781567920819

‎Basel - His, Eduard‎

‎Basler Gelehrte des 19. Jahrhunderts. Mit 38 Abbildungstafeln.‎

‎Base, Benno Schwabe & Co. Verlag 1941. 432 Seiten und 38 Kunstdrucktafeln. Titelvergoldeter, rotbrauner Original-Leinwand-Einband. 23x16 cm‎

Referenz des Buchhändlers : 131561

‎BASELITZ GEORG‎

‎Georg Baselitz Paintings 1960-83‎

‎London: Whitechapel Art Gallery. 1983. First edition. Paperback. Very Good. Poster for the exhibition. Folded. One colour plate. Whitechapel Art Gallery. paperback‎

Referenz des Buchhändlers : 017442

‎Baselitz, Georg‎

‎1. April - 9. Mai 1976. Galerieverein München e.V. und Staatsgalerie moderner Kunst.‎

‎Mchn., Staatsgalerie., 1976. 27 x 21 cm. 131 S., 3 Blatt. OKarton mit OUmschlag., 64306AB 1.Auflage. Umschlagränder etwas nachgedunkelt, sehr kleiner Besitzvermerk unter dem Umschlag am Innendeckel. Sonst gutes Exemplar.‎

‎Zeigt Arbeiten von 1962 bis 1975 in einem breiten Querschnitt. Mit Texten von Carla Schulz-Hoffmann, Günther Gercken und Johannes Gachnang.‎

Referenz des Buchhändlers : 64306AB

‎Baselitz, Georg‎

‎15. Mai bis 5. Juli 1987. [Plakat] Kestner-Gesellschaft Hannover.‎

‎Hannover., Kestner Gesellschaft., 1987. 84 x 59 cm., Umschlag Sehr gutes Exemplar.‎

‎Liegender Kopf auf vierbeiniger Steele, Typographie.‎

Referenz des Buchhändlers : 33134AB

‎Baselitz, Georg‎

‎16 Holzschnitte Holzschnitte, rot und schwarz, 1981/.‎

‎München. Köln, Galerie Fred Jahn. Galerie Rudolf Zwirner., 1982. 23 x 16,5 cm. 40 S. OKarton., 3473A Erste Auflage. Einbandkanten mit kleinen Bereibungen. Sonst gutes bis sehr gutes Exemplar.‎

‎Erschienen zu den Ausstellungen München November 1982 uind Köln Dezember 1982 durchgehend mit ganzseitigen Abbildungen der Holzschnitte sowie einem Text von Per Kirkeby versehen.‎

Referenz des Buchhändlers : 3473AB

‎Baselitz, Georg‎

‎50 Jahre Malerei. Herausgegeben von Götz Adriani. [Museum Frieder Burda, Baden-Baden, 21. November 2009 bis 14. März 2010].‎

‎Baden-Baden / Ostfildern., Museum Frieder Burda / Hatje Cantz Verlag., 2009. 29 x 20 cm. 207 S. OPappband mit OUmschlag., 61707BB Erste Auflage. Sehr gutes, frisches Exemplar.‎

‎Mit Texten von Frieder Burda, Götz Adriani, Georg Baselitz, Siegfried Gohr und Kay Heymer. Biografie und ausgewählte Bibliografie sowie Ausstellungen von Detlev Gretenkort. Durchgehend mit meist farbigen Abbildungen versehen, teilweise doppelseitig.‎

Referenz des Buchhändlers : 61707BB

‎Baselitz, Georg‎

‎Arbeiten auf Papier 1961 - 1968.‎

‎Köln., Galerie Thomas Borgmann., 1985. 24,5 x 19,5 cm. 32 unpaginierte S. OKarton., 65402AB Erste Auflage. Rücken etwas aufgehellt, sonst tadelloses Exemplar.‎

‎Katalog zur Ausstellung Köln September bis Oktober 1985 durchgehend mit ganzseitigen, zum Teil l farbigen Werkabbildungen versehen‎

Referenz des Buchhändlers : 65402AB

‎Baselitz, Georg‎

‎Baselitz Vaerker fra 1990 - 93.‎

‎Kopemhagen., Louisiana., 1993. 30 x 23 cm. 80 S. Illustrierter OKarton., 11570D Erste Auflage. Einbandkanten mit kleinen Bereibungen. Gutes bis sehr gutes Exemplar. Louisiana Revy Vol. 33, No. 3, May 1993.‎

‎Durchgehend mit meist farbigen Werkabbildungen des Künstlers für den genannten Zeitraum versehen. Text in dänischer Sprache mit inliegendem englischem Textheft.‎

Referenz des Buchhändlers : 11570DB

‎Baselitz, Georg‎

‎Bilder 1965-1987. Herausgeber Werner Hofmann und Christos M. Joachimides. [Centro Mostre di Firenze, Sala d`Arme di Palazzo Vecchio, 29. April-28. Juni 1988; Hamburger Kunsthalle, 22. Juli-4. September 1988].‎

‎Milano., Electa., 1988. 28 x 25 cm. 101 S. OKarton., 64224BB 1. Auflage. Gutes bis sehr gutes Exemplar.‎

‎Mit Texten von Werner Hofmann, Christos M. Joachimides, Wieland Schmied und Demosthenes Davvetas. Durchgehend mit meist farbigen Abbildungen versehen.‎

Referenz des Buchhändlers : 64224BB

‎Baselitz, Georg‎

‎Bilder 1977 - 1978. Van Abbemuseum Eindhoven.‎

‎Eindhoven., Van Abbemuseum., 1979. 27 x 21 cm. IV S., 26 Tafeln, 1 Blatt. OKarton., 52227A Auflage 1000. Einbandkanten mit kleinen Bereibungen , Rückenkanten stellenweise etwas beschabt, Sonst gutes Exemplar‎

‎Durchgehend mit Abbildungen versehen, meist auf Klapptafeln. Mit einem Text von R. H. Fuchs in Deutsch und Englisch.‎

Referenz des Buchhändlers : 52227AB

‎Baselitz, Georg‎

‎Bilder, die den Kopf verdrehen. 2. April bis 2. August 2004, Kunst und Ausstellungshalle der Bundesrepublik Deutschland, Bonn.‎

‎Bonn., Kunst und Ausstellungshalle der Bundesrepublik Deutschland., 2004. 28 x 24 cm. 319 S. OPappband., 65427AB 1. Auflage. Sehr gutes Exemplar.‎

‎Mit Texten u.a. von Wenzel Jacob, Richard Schiff, Uwe M. Schneede, Peter Gorsen, Norman Rosenthal, Susanne Klein sowie einige ausgewählte Texte von Baselitz. Zeigt einen gewichtigen Werkquerschnitt sowie Fotodokumentationen. Gebundene Ausgabe.‎

Referenz des Buchhändlers : 65427AB