2 979 résultats
2003réf. BN155401comedia-Verlag 2003. 2003. Hardcover. Das trikontinentale Solidaritätsplakat Deutsch Spanisch Englisch Französisch Das trikontinentale Solidaritätsplakat Deutsch Spanisch Englisch Französisch Richard Frick Texte: Ulises Estrada Lescaille Nirta Muniz Reinaldo Morales Campos Jorge R. Bermúdez Alfredo G. Rostgaard Olivio Martinez Lázaro Abreu Padrón René Lechleiter comedia-Verlag hardcover
réf. 79980Marschlins Selbstverlag 1792. kartoniert; flexible hellgrüne unbedruckte Einbände handbeschriftete Rücken unbeschnittene Buchblöcke und Einbände / 2 Bände / Anz. Seiten: 371 187 258 / 12 x 185 cm / Zustand: gut leichte Gebrauchsspuren; Einbände knickspurig Rücken gebräunt Papier partiell leicht bis mässig stockfleckig Marschlins, (Selbstverlag), 1792 unknown
réf. 1059491 feuillet 210 X 297 mm. illustré au recto et une enveloppe 300 X 112 mm. illustrée du même dessin.Reina Sofia 2016 pages 204 et 205 ; Schraenen 1992 page 48.
réf. BN104769Guides de voyage Ulysse. Softcover. Chili Chili Guides de voyage Ulysse paperback
1985réf. 1901201173Helsinki: Eurographica 1985. 1st Edition 1st Printing. Soft cover. Fine/Fine. A signed numbered copy of Six and One Remorses for the Sky by Nobel Laureate Odysseus Elytis one of 350 copies signed at the title page. Published as the first title in Rolando Pieraccini's acclaimed Contemporary Poets in Signed Limited Editions series issued in the 1980s and 90s by his Finnish publishing company Eurographica. Printed in Italy by Tipografia Nobili established Pesaro 1823 on special Michelangelo Paper made at the Magnani Paper Mills in Pescia. Plain white stiff card wrappers enclosed in a grey dustwrapper with black titles deckled top edge and large folds. 50 pages with two facsimiles of manuscript poems at the rear. Fine unread condition. Scarce thus. Eurographica paperback
réf. 12183Collection complète, du n° 1 (Hiver 1973) au n° 23-24 (Printemps 1981). 24 numéros en 20 livraisons. Ensemble en bon état. /// Textes et illustrations de : Anne-Marie Albiach, Pierre Alechinsky, Antonin Artaud, Geneviève Asse, Paul Auster, Yves Bonnefoy, William Blake, Georges Braque, René Char, Eduardo Chillida, Jean Daive, René Daumal, André du Bouchet, Philippe Denis, Jacques Dupin, Odysseus Elytis, Claude Esteban, Claude Garache, Lorand Gaspar, Juan Gris, Martin Heidegger, George Henein, Emmanuel Hocquard, Vladimir Holan, Philippe Jaccottet, Roger Laporte, Michel Leiris, Ossip Mandelstam, Henri Michaux, Joan Miró, Eugenio Montale, Roger Munier, Bernard Noël, Boris Pasternak, Octavio Paz, Fernando Pessoa, Pascal Quignard, Charles Racine, Pierre Reverdy, Claude Royet-Journoud, Joseph Sima, Pierre Soulages, Arpad Szenes, Pierre Tal Coat, Antoni Tàpies, Dylan Thomas, Pierre Torreilles, Viera da Silva, Raoul Ubac, Robert Walser, etc.
1789réf. 10291Chur 1789. Schreiben des Hrn.U.v.S.M. an die Herren Verfasser des Journals für Aufklärung enthaltend eine ausführliche £Rezension des Buches Einband mit Alterungsspuren. Rara 8°. Pbd. d. Zt. Raetica unknown
réf. 8079Coated paper with black & white illus. Assen Netherlands: 1982. The rare promotional poster for one of Ulises Carrión’s experimental public installations; the present copy is in particularly fine condition and has not been folded or creased. Entitled The Robbery of the Year this exhibition was designed by the artist as a test of visitors’ self-restraint. A large diamond was placed on a cushion without any enclosure but with a single spotlight trained on it in an otherwise dark room. Visitors were invited to enter the room while a photographer took pictures of the space and the visitors. An expected theft failed to transpire and near the end of the exhibition the photographer was withdrawn. Soon thereafter the diamond disappeared. “De Diefstal van het Jaar was an exhibition of a diamond in which visitors are surreptitiously invited to steal the stone raising interesting questions about viewing and stealing a precious object worthy of public exhibition and evoking images associated with museum heists with subsequent analysis on issues such as the value and ownership of objects on display.”–Guy Schraenen ed. Dear reader. Don’t read. 2016 pp. 44 & 164 pictured. On his series of public experiments Carrión is quoted as saying: “In my work I use all kinds of materials objects processes and people as formal elements. The final result is only partially determined in advance and the process that leads to that point is influenced by all the factors mentioned above. It is a game without fixed rules and with no winners or losers.”–Guy Schraenen ed. “We have won! Haven’t we” 1992 p. 69. In excellent condition. unknown
réf. 8080Single A4 sheet printed on both sides illus. on recto. Amsterdam: 1982. Rare flyer for the lone film made by Ulises Carrión 1941-89. In the years after the closing of Other Books and So the artist focused much of his efforts on video works eventually founding Time Based Arts a gallery dedicated to supporting video artists. On the verso Carrión describes the film which was “originally produced for the International Media Meeting organized by the Agora Foundation in Maastricht from 19 to 25 April 1982.” “Ever since his participation in the activities of the In-Out Center Carrión along with other Amsterdam artists shared an increasing interest in the possibility of film and video to document their numerous ephemeral activities and to work with the question of time…Carrión found in the language of film a support for his questioning of narrative widening the possibilities beyond what was previously limited to literature…In his only film the record of a performance The Death of the Art Dealer 1982 Carrión transfers into performance and film the type of processes he had applied to the literary text. Holding a small television set showing a 1940s film by Max Ophuls Carrión moves to the right or left to the rhythm of the movements of the characters in the film. The soundtrack is that of the original film but the narrative itself is ignored. Instead what one observes is a fairly unnoticed and typically forgettable structural aspect. In a way Carrión’s movements are like the parentheses and punctuation marks that he had previously used to strikethrough text in his pieces on certain literary works.”–Joao Fernandes “Art as Subversion: Make and Remake to Make Anew” in Dear reader. Don’t read. p. 45. Pristine copy. ⧠Guy Schraenen ed. Dear reader. Don’t read. 2016 pp. 128 130-31 pictured. unknown
réf. 7894Unpaginated. Square 4to 247 x 204 mm. printed covers with flaps as issued. Mexico City: Taller Ditoria 2007. First printed edition of Ulises Carrión's typewritten manuscript of the same name. Carrión 1941-89 added handwritten punctuation to this work but it was never realized during his lifetime. Entirely letterpress-printed this book is now scarce on the market. It was co-produced by Martha Hellión one of the founders of Beau Geste Press. Near fine. This is a beautifully designed book printed on several special papers from a numbered edition of 600. ⧠Juan J. Agius & Ricardo Ocampo eds. Ulises Carrión: Books & More Catalogue Raisonné 2013 pp. 78-79 pictured. Guy Schraenen ed. Dear reader. Don't read. 2016 p. 84. unknown
réf. 8079Coated paper with black & white illus. Assen Netherlands: 1982. The rare promotional poster for one of Ulises Carrión’s experimental public installations; the present copy is in particularly fine condition and has not been folded or creased. Entitled The Robbery of the Year this exhibition was designed by the artist as a test of visitors’ self-restraint. A large diamond was placed on a cushion without any enclosure but with a single spotlight trained on it in an otherwise dark room. Visitors were invited to enter the room while a photographer took pictures of the space and the visitors. An expected theft failed to transpire and near the end of the exhibition the photographer was withdrawn. Soon thereafter the diamond disappeared. “De Diefstal van het Jaar was an exhibition of a diamond in which visitors are surreptitiously invited to steal the stone raising interesting questions about viewing and stealing a precious object worthy of public exhibition and evoking images associated with museum heists with subsequent analysis on issues such as the value and ownership of objects on display.”–Guy Schraenen ed. Dear reader. Don’t read. 2016 pp. 44 & 164 pictured. On his series of public experiments Carrión is quoted as saying: “In my work I use all kinds of materials objects processes and people as formal elements. The final result is only partially determined in advance and the process that leads to that point is influenced by all the factors mentioned above. It is a game without fixed rules and with no winners or losers.”–Guy Schraenen ed. “We have won! Haven’t we” 1992 p. 69. In excellent condition. unknown books
réf. 8080Single A4 sheet printed on both sides illus. on recto. Amsterdam: 1982. Rare flyer for the lone film made by Ulises Carrión 1941-89. In the years after the closing of Other Books and So the artist focused much of his efforts on video works eventually founding Time Based Arts a gallery dedicated to supporting video artists. On the verso Carrión describes the film which was “originally produced for the International Media Meeting organized by the Agora Foundation in Maastricht from 19 to 25 April 1982.” “Ever since his participation in the activities of the In-Out Center Carrión along with other Amsterdam artists shared an increasing interest in the possibility of film and video to document their numerous ephemeral activities and to work with the question of time…Carrión found in the language of film a support for his questioning of narrative widening the possibilities beyond what was previously limited to literature…In his only film the record of a performance The Death of the Art Dealer 1982 Carrión transfers into performance and film the type of processes he had applied to the literary text. Holding a small television set showing a 1940s film by Max Ophuls Carrión moves to the right or left to the rhythm of the movements of the characters in the film. The soundtrack is that of the original film but the narrative itself is ignored. Instead what one observes is a fairly unnoticed and typically forgettable structural aspect. In a way Carrión’s movements are like the parentheses and punctuation marks that he had previously used to strikethrough text in his pieces on certain literary works.”–Joao Fernandes “Art as Subversion: Make and Remake to Make Anew” in Dear reader. Don’t read. p. 45. Pristine copy. ⧠Guy Schraenen ed. Dear reader. Don’t read. 2016 pp. 128 130-31 pictured. unknown books
réf. 7894Unpaginated. Square 4to 247 x 204 mm. printed covers with flaps as issued. Mexico City: Taller Ditoria 2007. First printed edition of Ulises Carrión's typewritten manuscript of the same name. Carrión 1941-89 added handwritten punctuation to this work but it was never realized during his lifetime. Entirely letterpress-printed this book is now scarce on the market. It was co-produced by Martha Hellión one of the founders of Beau Geste Press. Near fine. This is a beautifully designed book printed on several special papers from a numbered edition of 600. ⧠Juan J. Agius & Ricardo Ocampo eds. Ulises Carrión: Books & More Catalogue Raisonné 2013 pp. 78-79 pictured. Guy Schraenen ed. Dear reader. Don't read. 2016 p. 84. unknown books
réf. 46437Paris: Maeght éditeur. Directeur: Claude Esteban. 20 volumes 19x26cm, brochés sous couvertures illustrées par Raoul Ubac, illustrations en noir dans et hors texte. N°1 à 23/24, hiver 1973 - printemps-été 1981 : 24 numéros dont 4 doubles : 9/10, 13/14, 19/20 et 23/24). Importante revue de poésie lancée par Adrien Maeght après la disparition de L’Éphémère. Animée par Claude Esteban 9 ans durant, elle occupe une place majeure dans le paysage poétique de ces années-là, tant par le travail de traduction que par l’émergence d’une nouvelle génération de poètes.Contributions de Anne-Marie Albiach, Pierre Alechinsky, Antonin Artaud, Geneviève Asse, Paul Auster, Yves Bonnefoy, William Blake, Georges Braque, Pierre Chappuis, René Char, Eduardo Chillida, Jean Daive, René Daumal, André du Bouchet, Philippe Denis, Claude Dupin, Odysseus Elytis, Claude Esteban, Claude Garache, Lorand Gaspar, Juan Gris, Martin Heidegger, George Henein, Emmanuel Hocquard, Vladimir Holan, Philippe Jaccottet, Roger Laporte, Henri Lefebvre, Michel Leiris, Ossip Mandelstam, Henri Michaux, Juan Miro, Eugenio Montale, Roger Munier, Bernard Noël, Boris Pasternak, Octavio Paz, Fernando Pessoa, Pascal Quignard, Charles Racine, Alain-Christophe Restrat, Pierre Reverdy, Claude Royet-Journoud, Jean-Luc Sarré, Joseph Sima, Pierre Soulages, Arpad Szenes, Pierre Tal Coat, Antoni Tàpies, Dylan Thomas, Pierre Torreilles, Viera da Silva, Raoul Ubac, Rosemarie Waldrop, Robert Walser, Louis Zukofsky, etc. - Ensemble en très bon état.
réf. 5677ULYSSES S. GRANT 1822-1885. Grant was the Eighteenth President and the head of the Union Army during the Civil War. A two volume first edition of Personal Memoirs of U.S. Grant. They are bound in green cloth and gilt stamped. The boards have minor wear and the corners are bumped. There are fold outs of Grant facsimile letters. The internal pages have slight foxing but are in fine condition. hardcover
réf. 5677ULYSSES S. GRANT 1822-1885. Grant was the Eighteenth President and the head of the Union Army during the Civil War. A two volume first edition of Personal Memoirs of U.S. Grant. They are bound in green cloth and gilt stamped. The boards have minor wear and the corners are bumped. There are fold outs of Grant facsimile letters. The internal pages have slight foxing but are in fine condition. hardcover books
1924réf. 136209München. Bremer Presse 1924. 384 n. n. Seiten. Breitrandiger Druck auf Zanders Büttenpapier mit Wasserzeichen. Original-Karton-Einband mit Rückenschild im Originalschuber. (Einband vor allem am Rücken gebräunt. Schuber mit Gebrauchsspuren. Ansonsten gutes u. sauberes Exemplar). 36x23 cm
1895réf. 100887New York NY: Century Co 1895. Second edition Expanded. Hardcover. Fine with minor wear to exterior; very tight and clean. Complete in two quarto volumes in banded and gilt-stamped and gilt-titled leather and marbled paper-backed boards; frontispieces plates some folding portraits maps facsimiles; 24 cm. Approx 500 papges per volume. Index. A beautiful set in a high-quality custom leather tooled binding contemporary to date of publication. "The marginal annotation of this edition has been undertaken with a view to supplementing the personal narrative by references not only to some of the books with which the author refreshed his memory before entering upon and during his autobiographical labors but also to a limited extent to works in which fuller details may be found concerning incidents which were necessarily briefly treated by General Grant either by reason of his own connections with the action being limited to a small details as in some of the Mexican War scenes or on account of the haste with which the first edition of the book was perforce completed." --Frederick D. Grant Preface to the Second Edition.Frederick Dent Grant 1850-1912 was the eldest son of Ulysses S. Grant. / "Books reviews pamphlets etc. cited in the marginal annotation to this edition": v. 1 p. xviii-xix. ¶ Ulysses S. Grant 1822-1885 stands as a pivotal figure in American history known for his roles as a Union general during the Civil War and the 18th President of the United States. Born Hiram Ulysses Grant in Ohio he entered the U.S. Military Academy at West Point and served with distinction in the Mexican-American War. During the Civil War Grant's strategic acumen and tenacity led to key victories including the capture of Vicksburg a turning point in the war. His success on the battlefield led to his appointment as Commanding General in 1864 and he accepted the surrender of Confederate General Robert E. Lee at Appomattox in 1865 effectively ending the Civil War. Grant's presidency 1869-1877 was marked by efforts to ensure civil rights for newly freed African Americans including the enforcement of Radical Reconstruction in the South and the passage of the Fifteenth Amendment granting African American men the right to vote. His administration faced challenges including an economic depression and accusations of corruption. In his later years Grant penned his memoirs which have been praised for their insight and literary style. Despite the controversies of his presidency Grant is often celebrated for his unwavering commitment to equality and his military leadership during one of the most tumultuous periods in American history." --Bing. ¶ Guerre du Mexique 1846-1848 -- Récits personnels. Military campaigns. Personal narratives. Time: 1846-1865 Geographic: United States -- History -- Civil War 1861-1865 -- Campaigns. United States -- History -- War with Mexico 1845-1848 -- Personal narratives. États-Unis -- Histoire -- 1861-1865 Guerre de Sécession -- Campagnes et batailles. United States. Century Co hardcover
réf. 11039Printed on one side with ms. date: “1976.” Single leaf 208 x 150 mm. London: 1975. Invitation/announcement for the artist’s fourth solo show held at art meeting place in London. The show occurred in 1975 but on this copy the year has been written in as “1976.” The rest of the show’s details have been printed in breaks in the text from page 133 of H.G. Wells’s You Can’t Be Too Careful. In fine condition. ⧠Guy Schraenen ed. Dear reader. Don’t read. 2016 pp. 174 & 178 pictured. unknown
réf. 11039Printed on one side with ms. date: “1976.” Single leaf 208 x 150 mm. London: 1975. Invitation/announcement for the artist’s fourth solo show held at art meeting place in London. The show occurred in 1975 but on this copy the year has been written in as “1976.” The rest of the show’s details have been printed in breaks in the text from page 133 of H.G. Wells’s You Can’t Be Too Careful. In fine condition. ⧠Guy Schraenen ed. Dear reader. Don’t read. 2016 pp. 174 & 178 pictured. unknown books
réf. 9235Audiocassette tape printed labels on side A & B housed in a plastic case. Orig. red paper pictorial liner. Amsterdam: Time Based Arts 1984. Rare audiocassette of a Carrión sound work; unrecorded by WorldCat. It was originally recorded in June 1983 and then issued through Time Based Arts the following year. “Trios & Boleros 1983 was produced as a part of a series by a number of artists writers and composers. The Dutch public broadcasting company VPRO allocated broadcast time to individual unrelated productions under the umbrella title of ‘Art on the Radio the Radio as Art’. No mathematical text analysis here: Ulises narrates the history of the bolero defining the classic form identifying the origins and greatest interpreters. He notes the impact of Cuban and Caribbean music on the genre… “The lecture is delivered against the musical background provided by these artists whose music filled his home…The program closes with the lyrics ‘Caminemos tal vez veremos después Walk on maybe we’ll meet again.’”–Martha Hawley ”Jacaranda Ulises Carrión and Sound” in Martha Hellion ed. Ulises Carrión: ¿Mundos personales o estrategias culturales 2003 p. 89. Near fine; one of the cassette labels is partially coming loose. ⧠G. Schraenen ed. Dear reader. Don’t read. 2016 pp. 128 & 141. unknown
1977réf. 30863Antwerpen: Guy Schraenen 1977. This copy fine. Scarce with a single OCLC record discovered. Audio cassette in original housing with stapled booklet 8 pages as liner. The first published collection of Ulises Carrión's conceptual audioworks; a number of which were created specifically for this Schraenen recording. As per the artist's statement printed to the liner: "Each piece is a series of vocal units that unfolds according to simple rules. Their beginning and end are arbitrary—they could go on infinitely. They should go on. They go on." Side 1: Hamlet for two voices 15'36 with Martha Hawley and Aritmética 5'19; Side 2: Three Spanish Pieces 7'21 Poema 1'57 First Spanish Lesson 7'13 and 45 Revoluciones por Minuto 3'59. Dear Reader p. 128; Hill 38. Antwerpen: Guy Schraenen unknown
réf. 9235Audiocassette tape printed labels on side A & B housed in a plastic case. Orig. red paper pictorial liner. Amsterdam: Time Based Arts 1984. Rare audiocassette of a Carrión sound work; unrecorded by WorldCat. It was originally recorded in June 1983 and then issued through Time Based Arts the following year. “Trios & Boleros 1983 was produced as a part of a series by a number of artists writers and composers. The Dutch public broadcasting company VPRO allocated broadcast time to individual unrelated productions under the umbrella title of ‘Art on the Radio the Radio as Art’. No mathematical text analysis here: Ulises narrates the history of the bolero defining the classic form identifying the origins and greatest interpreters. He notes the impact of Cuban and Caribbean music on the genre… “The lecture is delivered against the musical background provided by these artists whose music filled his home…The program closes with the lyrics ‘Caminemos tal vez veremos después Walk on maybe we’ll meet again.’”–Martha Hawley ”Jacaranda Ulises Carrión and Sound” in Martha Hellion ed. Ulises Carrión: ¿Mundos personales o estrategias culturales 2003 p. 89. Near fine; one of the cassette labels is partially coming loose. ⧠G. Schraenen ed. Dear reader. Don’t read. 2016 pp. 128 & 141. unknown books
1940réf. 061433New York & Oxford: Oxford University Press Printed at the Walpole Printing Office Mt. Vernon. 1940. First Edition . Hardcover. Very Good Plus. 12mo. LIMITED EDITION. NEW YORK & OXFORD : 1940. Edition limited to 2500 copies a lovely edition designed by Bruce Rogers in the Hesperides Series. Hardback. Illustrated; Vignettes designed by Bruce Rogers throughout. Title-pages printed in red and black. Brown smooth cloth; gilt lettered spine; gilt decorated spine; simple gilt rules to covers. Top-edge gilt; others untrimmed as issued. No owner name or internal markings. Pictorial bookplate of Guy Farquhar. Bright tight and clean. Usual browning to free end-papers. VERY GOOD INDEED. vii 442 pages. Includes bibliographical references. Will be well-packed for posting/shipping. 8vo. New York & Oxford: University Press. SCARCE EDITION. Oxford University Press [ Printed at the Walpole Printing Office, Mt. Vernon.]. hardcover
2013réf. BN333936Ravensburger Verlag GmbH 2013. 2013. Nur Mut kleiner Kater Maxi-Bilderspaß Nur Mut kleiner Kater Maxi-Bilderspaß Wensell Paloma und Ulises Wensell Ravensburger Verlag GmbH unknown
