de Carrasco, Concepcion Arenal GarciaBiblio.com
3 673 résultats
réf. 1141967766.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
réf. 61548Iowa City: Windhover Press 1990. First edition limited to 251 copies this being copy no. 1 inscribed by Strand to the printer Kim Merker. Folio pp. 60 printed on Umbria paper on rectos only in black and blue title page in black gray and blue; 2 woodcuts in the text; a fine copy in original plain gray wrappers made by Tim Barrett. Inscribed by Strand on the half-title: "To Kim / Whose book this is from one whose book this is too - with continuous affection / Mark." Merker published Strand's first book Sleeping With One Eye Open in 1964 at the Stone Wall Press. Berger Printing and the Mind of Merker 97. Windhover Press unknown
réf. 61547Iowa City: Windhover Press 1990. First edition limited to 251 copies this being one of 26 lettered copies signed by the poet and the illustrator this being copy 'Y'; folio pp. 60 printed on Umbria paper on rectos only in black and blue title page in black gray and blue; 2 woodcuts in the text repeated on 2 separate prints in pocket at the back as issued; light wrinkle to the tops of the first half dozen leaves else fine copy in original plain gray wrappers made by Tim Barrett Japanese-style thong-and-loop clasps. The printer Kim Merker's copy. Bifoliate prospectus laid in. Berger Printing and the Mind of Merker 97: "those twenty-six copies . sold out instantly. Windhover Press unknown
1999réf. 61574New York: Alfred Knopf 1999. First edition slim 8vo pp. 10 55 4; as new in the dust jacket. Signed by Strand on the title page. From the library of Kim Merker. In 1990 Strand was chosen Poet Laureate of the United States and he is the winner of the Pulitzer Prize. Alfred Knopf unknown
1971réf. 61658Cambridge: Halty Ferguson 1971. First edition limited to 1000 copies12mo pp. 29 5; original cream cloth stamped in gilt on the upper cover; near fine. From the library of Kim Merker. Halty Ferguson unknown
1973réf. 61583Iowa City: Pillar Guri Press 1973. Edition limited to 150 copies on handmade Japanese Shogun paper printed by Shari Madsen in red and black; small 4to pp. 16; 2 screen-print portraits from photographs; original black wrappers printed in black; fine. From the library of Kim Merker. Pillar Guri Press unknown
1964réf. 61611Iowa City: Stone Wall Press 1964. First edition limited to 225 copies this no. 41; 8vo pp. 53 3; original red cloth gilt-stamped spine publisher's slipcase. Fine copy from the library of Kim Merker. This copy inscribed by Strand to Merker: "To Kim / Who published the first and most recent - elegantly beautifully. With high regard and abiding affection. / Mark Strand." Berger Printing & the Mind of Merker 16: "Mark was a student at the Writers Workshop at the time." This is his first book. Stone Wall Press unknown
1998réf. 000693Metropolitan Museum of Art 1998. Hardcover. Fine/Fine. Metropolitan Museum of Art hardcover
1952réf. 49789Lausanne: Editions Clairefontaine 1952. First edition slim 4to pp. 121 7; black & white photographic illustrations; pictorial wrappers spine ends and some areas of edges chipped; overall a very good copy of what is considered one of Paul Strand's most significant works. Editions Clairefontaine unknown
1999réf. 31261New York: Alfred Knopf 1999. First edition slim 8vo pp. 10 55 4; fine copy in the dust jacket. Inscribed on the title-p. "To Gwin and Ruth Kolb / Mark Strand." In 1990 Strand was chosen Poet Laureate of the United States and he is the winner of the Pulitzer Prize. Gwin Kolb was an eminent Johnsonian scholar and longtime professor at the University of Chicago. Alfred Knopf unknown
réf. 13828Norway 2024. Limited Edition/Unique. Hardcover. Fine. Limited Edition/Unique. Hardcover. Relief print on thin Japanese paper. Japanese binding. "The paper is translucent soft airy and completely silent. Quick movements of the papers is physically impossible. Each sheet has one visual element a shape which is mirrored as you turn the page. The fragile paper is printed with motives developed from Arabic ornamentation. This expression was originally created out of mathematics and geometry to avoid imagery that might lead to idolatry. I wanted to combine the book as a system with this geometry to see what that could bring. I find it fascinating how the images switch between flat and spatial and that despite the strict patterns associations may vary and go towards modernism the oriental and paradoxically also towards figuration. The transparency causes overlaps between the pages that create new shapes and new colors." Artistic Artist Statement "Always keep the books tightly stored in the packaging and laying flat. Open the top cover slowly so that the vacuum does not damage the sheets. Flip through the book slowly dragging the edges low over the spread. This will show the play of colors and it will reduce possible creases in the paper. Do not use gloves they will reduce sensitivity and manageability." Practical Artist Statement Please note: we will have several iterations of Randi's remarkable color work with us.`. Tight bright and unbound. Black cardstock boards relief printed on Japanese paper. Oblong fo. np. Illus. color prints. Limited numbered edition this being 1 of 2. hardcover
réf. 1032675640.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
2019réf. 11103Norway 2019. Limited Edition. Hardcover. Fine. Limited Edition. Hardcover. Some of the books in the series were made into a film and the film becoming an artwork unto itself. The film of an alternative version was awarded the Critic's Prize on the juried regional exhibition in Trondheim 2017. "The paper is translucent soft airy and completely silent. Quick movements of the papers is physically impossible. Each sheet has one visual element a shape which is mirrored as you turn the page. The fragile paper is printed with motives developed from Arabic ornamentation. This expression was originally created out of mathematics and geometry to avoid imagery that might lead to idolatry. I wanted to combine the book as a system with this geometry to see what that could bring. I find it fascinating how the images switch between flat and spatial" and that despite the strict patterns associations may vary and go towards modernism the oriental and paradoxically also towards figuration. The transparency causes overlaps between the pages that create new shapes and new colors. The sheets melt together in a way which makes it almost impossible for the reader to predict the next sheet's exact pattern and color or to remember precisely the last motif. It plays with the illusions of form color space and order. The image is transformed with each turn of a page and becomes ephemeral. A book starts to exist the moment its pages are turned. Since the book is a media of intimacy presence and touch haptic communication inevitably establishes meaning in itself a communication which invariably will be in some kind of relation to the mental content. It is an arena where perception and thinking operate together it might also bring awareness of your own perception. Books have been holy objects for many different reasons. The fragility of the paper and the actions necessary may add a ritualistic element to the act of reading. I see the reader' act as a performance a slow motion ballet. In a materialistic culture of mass consumption and noisy offensive expressions I find it appropriate to react by focussing on tranquility care and consideration. Like mandalas which often are written in sand to be washed away I have tried to create a space for a contemplative experience displaying the ever changing character and relativeness of existence where different elements always are colored and influenced by their surroundings." Artist statement Randi Annie Strand visual artist born in Norway 1962. Lives in Oslo. MA from Bergen Academy of Art and Design 92. Language signs and sensory experiences are central elements in her works. Her ideas have been realised through different media and techniques. Tight bright and unmarred. Black stiff board black cloth spine Japanese string binding relief prints hand printed using hand cut stencils on 11-12 gram Japanese paper. Oblong fo. np each iteration has 4 to 7 sheets. Illus. color plates. Numbered limited edition this being 1 of 1 copies. Please Note: we have a number of variations of this work and there is a discount when buying 3 or more. hardcover
2019réf. 11102Norway 2019. Limited Edition. Hardcover. Fine. Limited Edition. Hardcover. Some of the books in the series were made into a film and the film becoming an artwork unto itself. The film of an alternative version was awarded the Critic's Prize on the juried regional exhibition in Trondheim 2017. "The paper is translucent soft airy and completely silent. Quick movements of the papers is physically impossible. Each sheet has one visual element a shape which is mirrored as you turn the page. The fragile paper is printed with motives developed from Arabic ornamentation. This expression was originally created out of mathematics and geometry to avoid imagery that might lead to idolatry. I wanted to combine the book as a system with this geometry to see what that could bring. I find it fascinating how the images switch between flat and spatial" and that despite the strict patterns associations may vary and go towards modernism the oriental and paradoxically also towards figuration. The transparency causes overlaps between the pages that create new shapes and new colors. The sheets melt together in a way which makes it almost impossible for the reader to predict the next sheet's exact pattern and color or to remember precisely the last motif. It plays with the illusions of form color space and order. The image is transformed with each turn of a page and becomes ephemeral. A book starts to exist the moment its pages are turned. Since the book is a media of intimacy presence and touch haptic communication inevitably establishes meaning in itself a communication which invariably will be in some kind of relation to the mental content. It is an arena where perception and thinking operate together it might also bring awareness of your own perception. Books have been holy objects for many different reasons. The fragility of the paper and the actions necessary may add a ritualistic element to the act of reading. I see the reader' act as a performance a slow motion ballet. In a materialistic culture of mass consumption and noisy offensive expressions I find it appropriate to react by focussing on tranquility care and consideration. Like mandalas which often are written in sand to be washed away I have tried to create a space for a contemplative experience displaying the ever changing character and relativeness of existence where different elements always are colored and influenced by their surroundings." Artist statement Randi Annie Strand visual artist born in Norway 1962. Lives in Oslo. MA from Bergen Academy of Art and Design 92. Language signs and sensory experiences are central elements in her works. Her ideas have been realised through different media and techniques. Tight bright and unmarred. Black stiff board black cloth spine Japanese string binding relief prints hand printed using hand cut stencils on 11-12 gram Japanese paper. Oblong fo. np each iteration has 4 to 7 sheets. Illus. color plates. Numbered limited edition this being 3 of 3 copies. Please Note: we have a number of variations of this work and there is a discount when buying 3 or more. hardcover
réf. 11101Norway 2019. Limited Edition. Hardcover. Fine. Limited Edition. Hardcover. Some of the books in the series were made into a film and the film becoming an artwork unto itself. The film of an alternative version was awarded the Critic's Prize on the juried regional exhibition in Trondheim 2017. "The paper is translucent soft airy and completely silent. Quick movements of the papers is physically impossible. Each sheet has one visual element a shape which is mirrored as you turn the page. The fragile paper is printed with motives developed from Arabic ornamentation. This expression was originally created out of mathematics and geometry to avoid imagery that might lead to idolatry. I wanted to combine the book as a system with this geometry to see what that could bring. I find it fascinating how the images switch between flat and spatial" and that despite the strict patterns associations may vary and go towards modernism the oriental and paradoxically also towards figuration. The transparency causes overlaps between the pages that create new shapes and new colors. The sheets melt together in a way which makes it almost impossible for the reader to predict the next sheet's exact pattern and color or to remember precisely the last motif. It plays with the illusions of form color space and order. The image is transformed with each turn of a page and becomes ephemeral. A book starts to exist the moment its pages are turned. Since the book is a media of intimacy presence and touch haptic communication inevitably establishes meaning in itself a communication which invariably will be in some kind of relation to the mental content. It is an arena where perception and thinking operate together it might also bring awareness of your own perception. Books have been holy objects for many different reasons. The fragility of the paper and the actions necessary may add a ritualistic element to the act of reading. I see the reader' act as a performance a slow motion ballet. In a materialistic culture of mass consumption and noisy offensive expressions I find it appropriate to react by focussing on tranquility care and consideration. Like mandalas which often are written in sand to be washed away I have tried to create a space for a contemplative experience displaying the ever changing character and relativeness of existence where different elements always are colored and influenced by their surroundings." Artist statement Randi Annie Strand visual artist born in Norway 1962. Lives in Oslo. MA from Bergen Academy of Art and Design 92. Language signs and sensory experiences are central elements in her works. Her ideas have been realised through different media and techniques. Tight bright and unmarred. Black stiff board black cloth spine Japanese string binding relief prints hand printed using hand cut stencils on 11-12 gram Japanese paper. Oblong fo. np each iteration has 4 to 7 sheets. Illus. color plates. Numbered limited edition this being 1 of 3 copies. Please Note: we have a number of variations of this work and there is a discount when buying 3 or more. hardcover
2015réf. 10195Norway 2015. Limited Edition. Hardcover. Fine. Limited Edition. Hardcover. Some of the books in the series were made into a film and the film becoming an artwork unto itself. The film was awarded the Critic's Prize on the juried regional exhibition in Trondheim 2017. "The paper is translucent soft airy and completely silent. Quick movements of the papers is physically impossible. Each sheet has one visual element a shape which is mirrored as you turn the page. The fragile paper is printed with motives developed from Arabic ornamentation. This expression was originally created out of mathematics and geometry to avoid imagery that might lead to idolatry. I wanted to combine the book as a system with this geometry to see what that could bring. I find it fascinating how the images switch between flat and spatial" and that despite the strict patterns associations may vary and go towards modernism the oriental and paradoxically also towards figuration. The transparency causes overlaps between the pages that create new shapes and new colors. The sheets melt together in a way which makes it almost impossible for the reader to predict the next sheet's exact pattern and color or to remember precisely the last motif. It plays with the illusions of form color space and order. The image is transformed with each turn of a page and becomes ephemeral. A book starts to exist the moment its pages are turned. Since the book is a media of intimacy presence and touch haptic communication inevitably establishes meaning in itself a communication which invariably will be in some kind of relation to the mental content. It is an arena where perception and thinking operate together it might also bring awareness of your own perception. Books have been holy objects for many different reasons. The fragility of the paper and the actions necessary may add a ritualistic element to the act of reading. I see the reader' act as a performance a slow motion ballet. In a materialistic culture of mass consumption and noisy offensive expressions I find it appropriate to react by focussing on tranquility care and consideration. Like mandalas which often are written in sand to be washed away I have tried to create a space for a contemplative experience displaying the ever changing character and relativeness of existence where different elements always are colored and influenced by their surroundings." Artist statement Randi Annie Strand visual artist born in Norway 1962. Lives in Oslo. MA from Bergen Academy of Art and Design 92. Language signs and sensory experiences are central elements in her works. Her ideas have been realised through different media and techniques. Tight bright and unmarred. Black stiff board black cloth spine Japanese string binding relief prints hand printed using hand cut stencils on 11-12 gram Japanese paper. Oblong fo. np each iteration has 4 to 7 sheets. Illus. color plates. Numbered limited edition this being 2 of 5 copies. hardcover
2016réf. 10198Norway 2016. Limited Edition. Hardcover. Fine. Limited Edition. Hardcover. Some of the books in the series were made into a film and the film becoming an artwork unto itself. The film was awarded the Critic's Prize on the juried regional exhibition in Trondheim 2017. "The paper is translucent soft airy and completely silent. Quick movements of the papers is physically impossible. Each sheet has one visual element a shape which is mirrored as you turn the page. The fragile paper is printed with motives developed from Arabic ornamentation. This expression was originally created out of mathematics and geometry to avoid imagery that might lead to idolatry. I wanted to combine the book as a system with this geometry to see what that could bring. I find it fascinating how the images switch between flat and spatial" and that despite the strict patterns associations may vary and go towards modernism the oriental and paradoxically also towards figuration. The transparency causes overlaps between the pages that create new shapes and new colors. The sheets melt together in a way which makes it almost impossible for the reader to predict the next sheet's exact pattern and color or to remember precisely the last motif. It plays with the illusions of form color space and order. The image is transformed with each turn of a page and becomes ephemeral. A book starts to exist the moment its pages are turned. Since the book is a media of intimacy presence and touch haptic communication inevitably establishes meaning in itself a communication which invariably will be in some kind of relation to the mental content. It is an arena where perception and thinking operate together it might also bring awareness of your own perception. Books have been holy objects for many different reasons. The fragility of the paper and the actions necessary may add a ritualistic element to the act of reading. I see the reader' act as a performance a slow motion ballet. In a materialistic culture of mass consumption and noisy offensive expressions I find it appropriate to react by focussing on tranquility care and consideration. Like mandalas which often are written in sand to be washed away I have tried to create a space for a contemplative experience displaying the ever changing character and relativeness of existence where different elements always are colored and influenced by their surroundings." Artist statement Randi Annie Strand visual artist born in Norway 1962. Lives in Oslo. MA from Bergen Academy of Art and Design 92. Language signs and sensory experiences are central elements in her works. Her ideas have been realised through different media and techniques. Tight bright and unmarred. Black stiff board black cloth spine Japanese string binding relief prints hand printed using hand cut stencils on 11-12 gram Japanese paper. Oblong fo. np each iteration has 4 to 7 sheets. Illus. color plates. Numbered limited edition this being 4 of 5 copies. hardcover
1978réf. 422217New York: Atheneum 1978. Hardcover. Fine/Fine. First edition. Fine in fine dustwrapper. Affectionately Inscribed by Strand to fellow poet Daniel Hoffman and his wife. Atheneum hardcover
réf. 119766Winnipeg: Wallingford Press 1919 1st edition. hardcover 276p. Poor. Short 8vo. Library bound margins trimmed. Ex-libris with few of the usual suspects. Pages worn. First 11 pages with chipping at margins title page with closed tears these pages reinforced with tape clear tape now toned at edges. Rear bottom corner of volume once dampened staining the bottom corner of final 10 pages blue not at all touching text. A complete copy of a scare title. Peel3 4548. Wallingford Press Hardcover
1987réf. ABE-10121315069Abrams New York 1987 A superb look at this subtle realists work. Great reproductions. The paintings vary from still life to figure studies and portraits. Language: eng Language: eng 0.0 Language: eng 0.0 Language: eng 0.0 Language: eng. Illus. by Profusely Illustrated. Soft cover. Near Fine. Abrams New York paperback
réf. 109070Winnipeg: Wallingford Press 1919 1st edition. Wrappers 276p. Fair. 8vo. Notable wear. Title page detached notable paper loss to extremities only affecting the word "price" at foot. Final page detached likewise with notable paper loss some text loss. Pages toned as always. Occasional marginal lining in pencil. Fragile. A scare title of an important event in Canadian history. Peel3 4548. Wallingford Press Paperback
réf. 109075Winnipeg: Wallingford Press 1920. Mass market paperback 31pp. Very good plus. Browning. Peel3 4539. Wallingford Press Paperback
réf. 109076Winnipeg: Defence Committee 1920. Mass market paperback 126pp. Very good plus. Light soiling. Peel3 4579. Weinrich 832A. Defence Committee Paperback
réf. 112077Winnipeg: Defence Committee for the Dominion Labor Party 1920. hardcover 96pp. Very good. Later cloth. Monor browning to pages. Prevous owners nameto inside cover and it is Roy St. George Stubbs!. The first portion of Peel3 4579 printed as a separate publication. Defence Committee for the Dominion Labor Party Hardcover
réf. A9780803952874Paperback / softback. New. In Treating Secondary Victims the author builds upon a foundation of both the research literature on incest victims and families as well as her own clinical experience to provide a conceptual framework for intervention and treatment of the non-offending mother. paperback
