STRAND, PaulABAA
3 676 résultats
1972réf. 88933New York: Aperture 1972. Hardcover. Fine/Near Fine. First edition. Large quartos. Two volumes. Each volume is fine in fine dustwrapper but for two small creases on the front flap of Volume 2 and a tiny tear on the front panel of Volume 1. Very nice copies of this two volume retrospective. Aperture hardcover books
2015réf. 110043NY:: Farrar Straus and Giroux. Near Fine in Near Fine dust jacket. Hardcover. First printing. About fine in like dust jacket. . 2015. 0374117012 . Farrar, Straus and Giroux, hardcover books
1990réf. 569466New York: Alfred A. Knopf 1990. Softcover. Very Good. Uncorrected proof. Cream printed wrappers. Light stains on wrappers and on top page corners else very good. Alfred A. Knopf unknown books
1964réf. 69660Iowa City: Stone Wall Press 1964. First edition limited to 225 copies this no. 19; 8vo pp. 53 3; original red cloth gilt-stamped spine without the publisher's slipcase. Near fine copy from the library of Kim Merker. 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 books
1990réf. 69655Iowa City: Windhover Press 1990. First edition limited to 251 copies this being copy no. 37; 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. 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 books
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 books
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 books
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 books
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 books
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 books
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 books
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 books
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 books
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 books
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 books
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 books
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 books
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 books
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 books
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 books
1973réf. 593154New York: Atheneum 1973. Hardcover. Near Fine. First edition hardcover issue. Yellow cloth gilt. Slightest soiling on the spine near fine issued without dust jacket. Published as a paperback original this is one of approximately 10 copies prepared by the publisher in hardcovers for the use of the author. This copy Inscribed by Strand using most of the front fly to fellow poet Donald Justice and his wife Jean: "for Don and Jean with love and thanks and better story in the making Mark Strand. Iowa City. Sept. 1973. The Yewell Street Story is merely a diversion." Laid into the book are seven pages carbon typed manuscripts on rectos only of a long poem by Strand "The Untelling" and the final poem in the book not identified as being by Strand except for a small pencil note "Strand" on the first page likely in Justice's hand. The seven-page manuscript has one small hand-correction and has been neatly folded into thirds else fine. The hardcover issue is rare. The association is significant. The carbon typescript is a bonus. Atheneum hardcover books
1968réf. 010786New York : Atheneum 1968. Book. Fine. Cloth. SIGNED AND INSCRIBED BY AUTHOR. 1st Edition. 8vo - over 7¾ - 9¾" tall. First Edition. An important Association Copy of Mark Strand's Second Book of Poems. SIGNED AND INSCRIBED on the half-title page "for Willis with affection and admiration with warm memories of the beginning of this enterprise. - Mark.". Fine. Octavo. In a Very Good Dust Jacket. Small chips at folds and spine ends. Spine sunned and rubbed yet still legible. Strand served as the U.S. Poet Laureate from 1990 to 1991 and later won the Pulitzer Prize for Poetry. He and Barnstone worked together on the translations of Borges's The Sonnets: A Dual-Language Edition with Parallel Text 2010. From the collection of noted poet and translator Willis Barnstone. . Atheneum Hardcover books
1964réf. 010787Iowa City: The Stone Wall Press 1964. Book. Very Good Plus. Cloth. SIGNED AND INSCRIBED BY AUTHOR. Limited and Numbered First Edition. 8vo - over 7¾ - 9¾" tall. Association Copy of the Author's First Published Book of Poems. SIGNED AND INSCRIBED by author on title page "for Willis now I've learned to sleep with both eyes open I hope. Mark Strand 1972". Printed by KK Merker from Romanee type on Curtis Rag paper. This is number 116 of 225 copies. Very Good. Octavo. Cloth-bound with a sunned spine but gilt lettering still legible. Mark Strand won the Pulitzer Prize for Poetry in 1999 a prize for which Barnstone was nominated on four occasions but never won. Their friendship and admiration for one another spanned through the decades. . The Stone Wall Press Hardcover books
1990réf. 132909Iowa City: Windhover Press 1990. original handmade paper wrappers with japanese style binding paper spine label later clamshell box. Windhover Press. folio. original handmade paper wrappers with japanese style binding paper spine label later clamshell box. Not paginated. Two Woodcuts by Neil Welliver. Limited to 225 numbered copies this copy is unnumbered signed by Strand on the colophon Berger 97. A fine copy in fine later clamshell box. A collection of eighteen poems by Mark Strand illustrated with two woodcuts by Neil Welliver. Printed on Windhover paper. This edition was printed on a Vandercook Test press from handset Spectrum types. Composition and printing by Kim Merker and Don Howell; binding by Larry Yerkes. Windhover Press unknown books
2016réf. 142375Limited to 24 copies of which this is one of 14 deluxe portfolios. A fine copy of this magnificent portfolio illustrating Strand's poem written in 1990. Twelve chine collé woodcuts and three letterpress pages interleaved with Kitakata Japan paper housed in a linen clamshell box with constructed inner folder. Each woodcut signed by Briggs colophon signed by Briggs and Strand. Colophon bears Roman numeral unique number for the each of the 14 portfolios. The cloth covered portfolio box inner chemise folder and letterpress pages were designed by Alice Leora Briggs and Kelly Leslie. Portfolio box and folder were constructed by Jace Graf of Cloverleaf Studios Austin Texas. From the artist's website: "Alice Leora Briggs born in an oil boomtown in West Texas grew up in Idaho's Snake River Valley and woke up later on la frontera the borderlands of the U.S. and México. Her investigations into human frailties have generated thousands of drawings woodcuts letterpress broadsides site-specific installations and books. Her artworks have been featured in over fifty solo exhibitions and are in over thirty-five public collections including Crystal Bridges Museum of American Art Library of Congress Oxford's Bodleian Library and Yale's Beinecke Rare Book and Manuscript Library. Publications include Dreamland: The Way Out of Juárez 2010 an illuminated manuscript-police blotter with writer Charles Bowden The Room 2016 a suite of twelve woodcuts with poet Mark Strand and Abecedario de Juárez: An Illustrated Lexicon 2022 with photojournalist Julián Cardona. Briggs was a Fulbright Scholar at the Academy of Fine Arts and Design in Bratislava Slovakia and received a Guggenheim Fellowship in 2020." Austin TX: Flatbed Press 2016. Briggs Alice Leora. The box measures 25.25 x 21.75 x 1.375 inches. Individual prints interleaved with Japan Kitakata paper. Flatbed Press books
