3027 risultati
2016rif. 1-3841762360Editorial Académica Española 2016. Paperback. New. 64 pages. Spanish language. 8.66x5.91x0.15 inches. Editorial Académica Española paperback
rif. 6206836185.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
rif. ria9786206836186_inpPaperback. New. New Book; Fast Shipping from UK; Not signed; Not First Edition; The permanent preservation areas of the Acaraú River which is part of the watershed that bears the same name are the subject of this study. In this Master's dissertation the aim was to understand the implications for water quality ba paperback
2016rif. x-3319372580Springer 2016. Paperback. New. reprint edition. 204 pages. 9.25x6.10x0.48 inches. Springer paperback
1994rif. RO60151102Hatier. 1994. In-8. Broché. Etat d'usage, Couv. convenable, Dos satisfaisant, Papier jauni. 128 pages. Texte en italien. Nombreuses annotations au crayon et à l'encre dans le texte.. . . . Classification Dewey : 450-Italien, roumain, rhéto-romain
rif. 9788561544508-11-72369CRONUS. New. CRONUS unknown
1730rif. 21858Ohne Ort und Jahr, (ca. 1730). 177 (recte 176) S. 2 mehrfach gefalt. farb. Tafeln (lavierte Federzeichnungen). Fol. Ldr. der Zeit (beschabt und etw. bestoßen). [5 Warenabbildungen]
rif. 11038Illus. to recto details on verso. Pictorial postcard mailed. Maastricht: Stichting Agora 1980. Postcard invitation for the artist’s 1980 presentation in Maastricht mailed to collector Tjeerd Deelstra b. 1937. Fine. unknown
rif. 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
rif. 9983Photocopied illus. printed on one side. Flyer. Porto Alegre: espaco no 1980. Flyer for a Ulises Carrión exhibition in Porto Alegre. In fine condition. unknown
rif. 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
rif. 9983Photocopied illus. printed on one side. Flyer. Porto Alegre: espaco no 1980. Flyer for a Ulises Carrión exhibition in Porto Alegre. In fine condition. unknown books
rif. 11038Illus. to recto details on verso. Pictorial postcard mailed. Maastricht: Stichting Agora 1980. Postcard invitation for the artist’s 1980 presentation in Maastricht mailed to collector Tjeerd Deelstra b. 1937. Fine. unknown books
1895rif. 1185221895 A Lyon, A.-H. Storck, imprimeur-éditeur - 1895 - Exemplaire nominatif à l'attention de Monsieur Bessières - Fort in-folio, broché, couverture rempliée - 282 p. - Nombreuses reproductions photographiques hors texte en N&B + 1 plan dépliant en fin d'ouvrage
rif. 2894648111.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
rif. 2894648758.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
rif. 31814737-nnew. unknown
rif. 31814737like new. unknown
rif. 1848902662.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
rif. 6206908054.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
rif. 8076Single sheet exhibition invitation torn into ca. two dozen pieces. Amsterdam: Pieter Brattinga Gallery 1981. One of Ulises Carrión’s rarest mail art projects with the original mailed envelope sent to the collector Tjeerd Deelstra b. 1937. As the artist intended explained below a small torn portion is not present. “In 1981 when the Print Gallery Pieter Brattinga invited Carrión to exhibit his work there Carrión thought of a response project in which he instructed participants to reconstruct in any way they desired the bottom half of an invitation which had been shredded. They were then to sign it and mail it back to the gallery. The lower section of the invitation included a definition of mail art which the artist had torn up and from which he had then removed a small fragment. This way the definition of mail art could never be reconstructed and the instruction given by the artist was impossible to accomplish. The project resulted in 243 responses in all sorts of formats; not only intervened letters but also objects. By making participants reconstruct the invitation the project had a cyclical component that was emphasized by having the word ‘feedback’ in its title. In this way Feedback Pieces takes one step further Carrión’s intentions to reformulate not only the artwork but also the communication system through which it travels.”–Aimé Iglesias Lukin “King Kong Archives: Ulises Carrión on Mail and Art” in Ulises Carrión: The Big Monster 2019 pp. 11-13 pictured. Both the envelope and torn-up invitation are in excellent condition. ⧠Juan J. Agius ed. Ulises Carrión & The Big Monster 2014 pp. 120-35 pictured. unknown
rif. 8076Single sheet exhibition invitation torn into ca. two dozen pieces. Amsterdam: Pieter Brattinga Gallery 1981. One of Ulises Carrión’s rarest mail art projects with the original mailed envelope sent to the collector Tjeerd Deelstra b. 1937. As the artist intended explained below a small torn portion is not present. “In 1981 when the Print Gallery Pieter Brattinga invited Carrión to exhibit his work there Carrión thought of a response project in which he instructed participants to reconstruct in any way they desired the bottom half of an invitation which had been shredded. They were then to sign it and mail it back to the gallery. The lower section of the invitation included a definition of mail art which the artist had torn up and from which he had then removed a small fragment. This way the definition of mail art could never be reconstructed and the instruction given by the artist was impossible to accomplish. The project resulted in 243 responses in all sorts of formats; not only intervened letters but also objects. By making participants reconstruct the invitation the project had a cyclical component that was emphasized by having the word ‘feedback’ in its title. In this way Feedback Pieces takes one step further Carrión’s intentions to reformulate not only the artwork but also the communication system through which it travels.”–Aimé Iglesias Lukin “King Kong Archives: Ulises Carrión on Mail and Art” in Ulises Carrión: The Big Monster 2019 pp. 11-13 pictured. Both the envelope and torn-up invitation are in excellent condition. ⧠Juan J. Agius ed. Ulises Carrión & The Big Monster 2014 pp. 120-35 pictured. unknown books
1974rif. 023315Bloomington , London., Indiana University Press., 1974. Edited and with an Introduction by Thomas F. Stanley. Einbandränder minimal fleckig, die Kanten des Schutzumschlags sind leicht berieben. 8°. H OLeinen mit OUmschlag.
rif. 44223187like new. unknown
rif. 1988058732.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
