3.377 Ergebnisse
2006Best.-Nr. 90625Museum; Et Al. New. Paperback. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- 56 pp. ; 32 color illustrations. -- with a bonus offer-- . 2006. 0932325831 . Museum; Et Al paperback
1996Best.-Nr. 57760Ewing New Jersey U.S.A.: Univ of California Pr. New. Hardcover. FREE UPGRADE to Courier/Priority Shipping Upon Request – – IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - FLAWLESS COPY BRAND NEW PRISTINE NEVER OPENED - 271 pages. "A free-spirited wave of creative energy swept through the San Francisco art community after World War II. Challenging accepted modes of painting Abstract Expressionists produced highly experimental works that jolted the public out of its postwar complacency. Susan Landauer's comprehensive examination of this dynamic movement provides the first clear picture of the artists and influences that came together in San Francisco's invigorating world of Abstract Expressionism. Landauer argues that Abstract Expressionism resulted from a broad collective impulse rather than the inspiration of a small band of New York artists. Documenting the interchanges between the East and West Coasts she cites areas of mutual influence and shows the impact of San Francisco on the New York School including artists such as Mark Rothko and Ad Reinhardt. San Francisco's Beat poets Dixieland jazz musicians and the area's stunning vistas were essential parts of Abstract Expressionism as were artistic and spiritual contacts with Asia. Under Douglas MacAgy and Clyfford Still the California School of Fine Arts became the undisputed center of vanguard abstraction on the West Coast. Artists such as Edward Corbett Jay DeFeo James Budd Dixon Frank Lobdell and Hassel Smith produced gritty provocative images whose impact extended well beyond California. Landauer also notes the importance of Grace L. McCann Morley director of the San Francisco Museum of Modern Art who opened the museum to major Abstract Expressionist figures and Jermayne MacAgy who brought local and international artists together. Enlivened by oral histories Landauer's book is a rewarding exploration of a vital period in modern art. Richly illustrated with 96 color plates it celebrates the energy and lasting impact of a special time." -- with a bonus offer--; Landauer Susan; Ashton Dore introduction The San Francisco School of Abstract Expressionism PAINTING AMERICAN MODERN 20TH CENTURY . 1996. 0520086104 . Univ of California Pr hardcover
1996Best.-Nr. 57761Ewing New Jersey U.S.A.: Univ of California Pr. New. Paperback. FREE UPGRADE to Courier/Priority Shipping Upon Request – – IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - FLAWLESS COPY BRAND NEW PRISTINE NEVER OPENED - 271 pages. "A free-spirited wave of creative energy swept through the San Francisco art community after World War II. Challenging accepted modes of painting Abstract Expressionists produced highly experimental works that jolted the public out of its postwar complacency. Susan Landauer's comprehensive examination of this dynamic movement provides the first clear picture of the artists and influences that came together in San Francisco's invigorating world of Abstract Expressionism. Landauer argues that Abstract Expressionism resulted from a broad collective impulse rather than the inspiration of a small band of New York artists. Documenting the interchanges between the East and West Coasts she cites areas of mutual influence and shows the impact of San Francisco on the New York School including artists such as Mark Rothko and Ad Reinhardt. San Francisco's Beat poets Dixieland jazz musicians and the area's stunning vistas were essential parts of Abstract Expressionism as were artistic and spiritual contacts with Asia. Under Douglas MacAgy and Clyfford Still the California School of Fine Arts became the undisputed center of vanguard abstraction on the West Coast. Artists such as Edward Corbett Jay DeFeo James Budd Dixon Frank Lobdell and Hassel Smith produced gritty provocative images whose impact extended well beyond California. Landauer also notes the importance of Grace L. McCann Morley director of the San Francisco Museum of Modern Art who opened the museum to major Abstract Expressionist figures and Jermayne MacAgy who brought local and international artists together. Enlivened by oral histories Landauer's book is a rewarding exploration of a vital period in modern art. Richly illustrated with 96 color plates it celebrates the energy and lasting impact of a special time." -- with a bonus offer--; Landauer Susan; Ashton Dore introduction The San Francisco School of Abstract Expressionism PAINTING AMERICAN MODERN 20TH CENTURY . 1996. 0520086112 . Univ of California Pr paperback
1994Best.-Nr. 68163Independent Curators International New York. New. Paperback. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- Corresponds to ISBN: 0916365425. 96 pp. With 84 ills. 30 x 22 cm. Description: "Accompanying an exhibition of irreverent and fantastic proposals for transforming Communist-era monuments in Russia that were submitted by more than 100 international artists in response to a 1992 invitation by Russian expatriate painters Vitaly Komar and Alexander Melamid this catalogue presents illustrations of a selection of the drawings altered photographs collages and other works created for the show documentary photographs of Soviet monuments and seven essays broadly exploring the political sociological and artistic character of propagandistic sculpture." -- with a bonus offer--; 0.5 x 11.3 x 8.3 Inches . 1994. 0916365425 . Independent Curators International, New York paperback
1961Best.-Nr. 37180New York: The Museum of Modern Art. As New. Paperback. FREE UPGRADE to Courier/Priority Shipping Upon Request – – IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - TEXT PRISTINE Mild cover foxing; else flawless. ASIN: B000ANGEE8. Book Description: Essays by John Rewald Harold Joachim Dore Ashton. Bibliographies lenders Catalog of 257 pieces 184 pgs color & black and white illus. -- with a bonus offer--; T-Rewred; Museum of Modern Art New York; Rewald John foreword; Redon Odilon; Joachim Harold; Ashton Dore; et al; Redon Odilon; et al Odilon Redon / Gustave Moreau / Rodolphe Bresdin - The Museum of Modern Art New York - December 4 1961 - February 4 1962 . 1961. The Museum of Modern Art paperback
1989Best.-Nr. 34641Univ. New. Paperback. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - FLAWLESS COPY - 171 pages 8 x 10" 32 halftones 70 color plates. -- with a bonus offer--; 520-nisbep; Nisbet Peter ; Ashton Dore ; Raum Hermann and Selz Peter Twelve Artists from the German Democratic Republic ART MODERN 20TH CENTURY GERMAN . 1989. 0916724719 . Univ paperback
2012Best.-Nr. 105677D. A. P. Distribution . New. Hardcover. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- 252 pages; many illustrations most in color. -- with a bonus offer-- . 2012. 8415118392 . D. A. P. (Distribution) hardcover
1988Best.-Nr. 84185Hudson Hills Press. New. Hardcover. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- 121 pages; 103 illustrations 4to. -- with a bonus offer-- . 1988. Hudson Hills Press hardcover
2003Best.-Nr. 84245Poligrafa. New. Hardcover. IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - FLAWLESS COPY BRAND NEW PRISTINE NEVER OPENED -- - Corresponds to ISBN: 8434310147. 288 pages. -- with a bonus offer; One of the most important influences in post-war Latin American art Fernando de Szyszlo's oeuvre has drawn from the mythical legacy of pre-Columbian cultures without forsaking the abstract language of the historical avant-garde. This monograph includes an extensive essay and presents a comprehensive survey of the artist's entire career. Essay by Dore Ashton. Clothbound 9.75 x 11.5 in./288 pgs / 184 color. END . 2003. 8434310147 . Poligrafa hardcover
2013Best.-Nr. 105935Galleries. New. Hardcover. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- -- with a bonus offer-- . 2013. Galleries hardcover
2014Best.-Nr. 107772Collection. New. Hardcover. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened - -- with a bonus offer-- . 2014. 0300204132 . Collection hardcover
2007Best.-Nr. 84959Yale University Press. New. Hardcover. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- 224 pages 40 black & whitee and 120 color illustrations. -- with a bonus offer-- . 2007. 0300107374 . Yale University Press hardcover
1884Best.-Nr. 71938New York: Harper & Brothers Publishers 1884. First edition illustrated by Doré. Hardcover. Good. Gustave Dore. Elephant folio 46.5 cm Rebacked. Gray pictorial cloth with full-cover angel illustration by Doré stamped in gold and black on the front board. All edges gilt. New endpapers and flyleaves. Captioned pages before the illustrations. Worn and stained boards. Stains to fore-edge margins of the pages throughout the first third of the text- the largest on the front free endpaper measuring 2" tall by 1 1/2" wide. Occasional foxing. Number "277" in pen on the title page. Some small tears and creases to a few pages. Missing one plate - "Nevermore." Illustrated with engravings by the pre-eminent French Victorian artist Gustave Doré. The first edition thus of this beautifully illustrated edition of the classic Poe poem. This was Doré's last book a masterpiece published a year after his death. Six-page introduction by Edmund Stedman- "plainly there was something in common in the working moods of Poe and Doré." The Poe-Doré combination is indeed one of the most revered author-illustrator relationships. Title page vignette designed by Elihu Vedder. If shipping this item will require extra postage charges due to its size and weight. Harper & Brothers, Publishers hardcover
1884Best.-Nr. 71938New York: Harper & Brothers Publishers 1884. First edition illustrated by Doré. Hardcover. Good. Gustave Dore. Elephant folio 46.5 cm Rebacked. Gray pictorial cloth with full-cover angel illustration by Doré stamped in gold and black on the front board. All edges gilt. New endpapers and flyleaves. Captioned pages before the illustrations. Worn and stained boards. Stains to fore-edge margins of the pages throughout the first third of the text- the largest on the front free endpaper measuring 2" tall by 1 1/2" wide. Occasional foxing. Number "277" in pen on the title page. Some small tears and creases to a few pages. Missing one plate - "Nevermore." Illustrated with engravings by the pre-eminent French Victorian artist Gustave Doré. The first edition thus of this beautifully illustrated edition of the classic Poe poem. This was Doré's last book a masterpiece published a year after his death. Six-page introduction by Edmund Stedman- "plainly there was something in common in the working moods of Poe and Doré." The Poe-Doré combination is indeed one of the most revered author-illustrator relationships. Title page vignette designed by Elihu Vedder. If shipping this item will require extra postage charges due to its size and weight. Harper & Brothers, Publishers hardcover books
1872Best.-Nr. 11698Grant and Co. London. 1872. FIRST EDITION. Folio. 16.1 x 12.6 inches. Illustrated with 54 fine full page wood engravings by Dore including half title and extra title page each with a printed tissue guard. One plate is bound in upside down. 124 smaller vignettes among the text and several illustrated initials. Some light spotting to a few pages but generally a very clean copy in a fine late nineteenth or early twentieth century leather binding by Montecot of Paris successor to Lavaux. Half red straight-grained morocco. Spine with raised bands each with gilt wavy line decoration. The compartments ruled decorated and lettered in gilt. Burgundy morocco grain paper on boards. All edges gilt. Marbled endpapers. Multicolour silk page marker. Overall a near fine copy of this impressive work a cornerstone of any 19th century London or illustrated book collection. ----- Number 73 on Gordon Ray's check list of 100 outstanding illustrated books published in England between 1790 and 1914. -- Ray 207. ------ More photos available on request. Grant and Co. London. 1872 hardcover
Best.-Nr. 141183aafParis, Féchoz et Letouzey, Libraires Editeurs, 5 rue des Ste Péres. Imp. Lemercier & CIe, Paris, s.d. (1851), in-4to oblong, 1 feuille de titre en 3 tons + 24 lithographies en noir sur 12 feuillets, recto-verso illustré façon BD + 1 feuille blanche. exlibris Peter E. Obergfell, reliure demi-basane de l’époque, dos lisse.
2004Torino, Utet, 2004, due volumi contenuti in grande scatola in radica a due scomparti: I. Facsimile in-4° (cm. 38 x 26), rilegato in velluto blu, pp. 70 con la riproduzione di 50 miniature + Commentario, 8° legatura editoriale tutta tela con sovraccoperta illustrata a colori, pp. 176 con testo integrale in latino, traduzione e apparato critico. Tiratura di 330 copie numerate, la ns. copia la n. 96. Stato di nuovo.
1868Best.-Nr. 47979Paris: Hachette et Cie 1868. Leather. Very Good. Folio. Pp. iv 194 1 portrait of Dante and 75 engravings; 407 1 60 engravings. 1872; 1868. Bound in full dark green morocco with thick borders in gilt to the boards front and rear with titles stamped right on the leather to the compartments compartments with thick gilt borders and gilt stamped crest of The Most Noble Order of the Garter with the motto Honi soit qui mal y pense. The leather is rubbed at the extremities some scuffing and peeling at some edges volume 2 boards with heavier scuffs and marks with a rip in the leather at the upper front joint. All engravings with captioned guards some guards a little foxed sporadic foxing throughout with light water staining for about the last 20 leaves of volume 2 but only at the fore-edge corner tips and pretty unobtrusive. Overall a very clean and bright set. All edges gilt marbled endpapers hinges strong and the bindings tight and square. With a little bit of touch up to the leather this set can look even better. Both Dante's and Dore's masterpieces in two volumes. Translated into French by Pier-Angelo Fiorentino with the Italian Text. Hachette et Cie unknown
1863Best.-Nr. 70409Traductions de Louis Viardot, avec les dessins de Gustave Doré, gravés par H. Pisan, 2 vol. in-folio reliure postérieure demi-chagrin à coins rouge, dos à 5 nerfs orné, tête dorée, triple filet doré en mors et coins, daté "1883" au dos en queue, Louis Hachette, Paris, 1863, 2 ff., XXIII-459 pp., et 1 f. (paginé I-II) de table des grandes compositions, avec 62 planches hors texte (y compris le frontispice) sur papier vélin fort, gravées sur bois et tirées sur fond teinté chine ; 2 ff., 515 pp. et 1 f. (paginé I-II) de table des grandes compositions, avec 58 planches hors texte (y compris le frontispice) sur papier vélin fort, gravées sur bois et tirées sur fond teinté chine
1867Best.-Nr. 2080502106916969Not Available 1867. Soft Cover. Fine. The book is in fine condition. Not Available paperback
19882 vols., roy. 8vo., First Edition thus, with numerous full-page and smaller engraved illustrations; red cloth, blocked and lettered in gilt, red goatskin backs lettered in gilt, gilt tops, silk ribbon markers, a fine copy in publisher's cloth slip-case blocked and lettered in gilt. EDITION LIMITED TO 500 NUMBERED COPIES (THIS COPY NO. 462). All five books are contained in two volumes, uniting for the first time Screech's new translation [2006] with Dore's immortal illustrations (all reproduced at their original size) from the famous Garnier Freres edition of 1854.
1854Best.-Nr. 44612, , 1854-1858. 9 en-têtes originaux au crayon et à l'encre noire, brune et rouge, dessinés en marge d'illustrations découpées et collées en un album in-12 oblong de (24) ff., demi-toile verte chagrinée, dos lisse muet (reliure de l'époque).
1855Best.-Nr. 73043Se trouve à Paris, ez bureaux de la Société générale de librairie [on esté imprimez par Bénard et Ce.], 1855, in-8, XXXI-[1]-614-[1] pages, bois gravés dans le texte et à pleine page, Percaline noire de l'éditeur, titre et composition dorés sur le dos, "Comprenez-vous maintenant pourquoi tout ce qui est amateur de livres a une dévotion spéciale aux Contes drolatiques, et les estime au point de s'exclamer que, de tous les ouvrages de Doré, S'il n'en reste qu'un seul, ce sera celui-là (Béraldi)?" Cinquième édition, posthume, et première édition illustrée des Contes drolatique, "chef-d'oeuvre où chaque vignette est une trouvaille" (Béradi). Rare en reliure d'éditeur. Leblanc, bibliographe de Gustave Doré, relève que les tirages de cette cinquième édition ont été très variés ; il constate en effet que, sur 8 exemplaires collationnés, aucun n'est exactement semblable à l'autre. Voici les particularités qui caractérisent le nôtre : - Le titre annonce 425 dessins ; - On lit "sujets" en page VIII ; - La page XXI est chiffrée XX ; - La légende de la page 326 est "Le joyeulx curé de Meudon" ; - Le nom et l'adresse de Fain n'apparaissent pas à la page 425, ni la signature 36. ; - Le titre du conte Naifveté apparait bien à la table des matières de la page 426. Au demeurant, les bibliographes ne s'accordent pas tout à fait pour définir quel serait le tout premier tirage. Leblanc penche pour ceux qui, entre autres particularités, annoncent 424 dessins au titre. Gustave Doré (1832-1883) a dessiné les très beaux bois de ces Contes drolatiques à l'âge de 21 ans, de manière concomitante à ceux de l'édition des Oeuvres de Rabelais. L'idée d'illustrer ces textes lui avait été suggérée par le Bibliophile Jacob, Paul Lacroix, qui avait été chargé par la veuve de Balzac de la révision philologique du texte. Les illustrations se placent dans une veine caricaturale et "drolatique" ; elles révèlent l'immense talent de Gustave Doré, son attrait pour le paysage et son aisance dans le portrait de personnages grotesques comme dans les scènes burlesques. "Cette illustration est à nulle autre semblable par sa puissante originalité : elle est gauloise, rabelaisienne, et pétillante d'esprit. Doré a certainement, dans les Contes drolatiques, répandu le meilleur de son talent. Ils n'eurent cependant aucun succès et toute l'édition fut mise au rabais. Aujourd'hui, c'est l'un des ouvrages de Doré les plus recherchés" (Leblanc). Ex-libris manuscrit au faux-titre : "Hadriani Seguilii". Fine mouillure en tête des premiers feuillets, percaline un peu fatiguée. Leblanc, p. 39 et suiv. ; Carteret III, p. 48 et suiv. ; Béraldi, T. VI, p. 34, n° 89 ; Brivois, p. 32; Vicaire I, 190-193. Couverture rigide
Best.-Nr. 63705Paris: Bureaux de la Société générale de librairie 1855. FIRST EDITION THUS. 8vo. 20 x 12.5 cm. pp.xxxi16141. Contemporary full red morocco signed by Galette sides with triple gilt fillet borders spine with richly gilt decorated compartments between raised bands gilt decorated inner dentelles marbled endpapers all edges gilt. Contained in a green marbled paper covered slipcase with red morocco trim. 425 illustrations by Gustave Doré engraved on wood by Lavieille Rouget Pisan Brévière and Piaud. A very pretty copy in excellent fresh condition. First illustrated edition of the Contes drolatiques with 425 illustrations by Gustave Dore praised by Ray "Doré's early masterpiece" Carteret "le chef-d'œuvre d'illustrations de Gustave Doré" and Beraldi who though it the most likely to endure of all Doré's books - "S'il n'en reste qu'un seul ce sera celui-là !" Béraldi. Although the title refers to this edition as the "cinquiesme édition" it is actually the fourth edition of Les contes drolatiques which was first published between 1832-1837. It is well recorded that Balzac's widow granted permission for the illustrated edition only on the condition: "that no artist but Doré should be allowed to illustrate her husband's works" Anthony North-Peat Gossip from Paris 1864-69 p. 324. Carteret III pp. 48-53; Bulletin de la Librairie Morgand et Fatout II 6445; Berny Livres anciens romantiques et modernes III 92; Rahir VI 1875; Ray 244. Paris: Bureaux de la Société générale de librairie, 1855. hardcover
Best.-Nr. 06698Paris: Au Bureau du Journal Amusant 1859. Gustave Dorés Amusing Attack on the 'Excesses' in French History DORÉ Gustave. Les Folies Gauloises Depuis les Romains Jusqu'a nos Jours. Album de Moeurs et de Costumes par Gustave Doré. Paris: Au Bureau du Journal Amusant 1859. First edition. Oblong folio 10 7/8 x 14 1/8 inches; 277 x 359 mm. Twenty fine numbered lithographed plates by Gustave Doré printed by Vayron. Later quarter red cloth over marbled boards spine lettered in gilt. Some light wear to corners. Varying degrees of foxing throughout most noticeable on plates nos. 4 5 16 17 & 18. Still a very good example of this rather scarce Doré album. "This dazzling survey of French manners and costume through the ages was the last of Doré's albums. It is marked by a solidity of conception and a sophistication of outlook to which he hardly aspired in his earlier collections of lithographs. His measured satire of the sedate Romanticism of Lamartine no. 20 should be compared with Thomas' broad burlesque of Delacroix's Faust in Le rêve 144. Though Beraldi places Les folies gauloises in 1852 remarking that its earlier plates anticipate Les contes drolatiques in their presentation of the Middle Ages it did not appear until 1859 Ray 245; Leblanc p. 115. La Menagerie Parisienne; Les Differents Publics de Paris; and Les Folies Gauloises: These three oblong lithographic albums all contain full-page satirical cartoons with Doré captions. They are Doré's book editions by Philipon/Aubert Doré did contribute heavily to one or more of their magazines Musee Francais-Anglais. They are all about the same size in the 10 ½ x 13 ½ range. All are undated but Menagerie and Publics are almost certainly 1854 while the date of Folies continues to be debated but it was probably 1859. The evidence in favor of the early Folies date was that Doré's art style had changed considerably by 1859 but there is one other possibility - Doré may have drawn the illustrations in 1854 but for some unknown reason they might not have been published until 1859. The name of the publishing company headed by Philipon/Aubert was in a state of flux in the 1850s which these albums reflect. Menagerie was published by the Bureau du Journal pour Rire while Publics and Folies were published by the Bureau du Journal Amusant. All three of these lithographic albums are very rare. Most copies were long ago taken apart to sell the lithographs individually. But Les Folies Gauloises literally "Gallic Follies" is a much stronger attack on the excesses in French history. Like Publics it also contains 20 lithographs. Amusingly enough the English edition of Folies actually claims that the illustrations are of British history adding a new full page of text by Thomas Wright to accompany each illustration. The quality of the English edition is not that great but it is the only edition you have a realistic chance of acquiring without paying a fortune. Malan p. 35. Each of the twenty lithographs represent a particular period in French history beginning with the barbarian hordes Gauls observing a human sacrifice then proceeding to a thirteenth-century Inquisition a fifteenth-century tournament a festival during the reign of Henri III the premiere performance of a 1695 drama by Racine the "edifices" of fashionable women's wigs in the court of Louis XVI a harp recital in 1810 and finally ending with the Romanticism of 1830 and 1840. These fine lithographs typify Doré's vivid and witty imagination. Ray Art of the French Illustrated Book 245; Beraldi VI p. 29; Malan Gustave Doré p. 35; Renonciat La Vie et l'Oeuvre de Gustave Doré p. 46-47; Leblanc p. 115. Paris: Au Bureau du Journal Amusant, 1859 unknown