Renger-Patzsch, AlbertAntiquariat.de
1 151 résultats
1931réf. 103597BBMünchen, Einhorn-Verlag, (1931). 4°. [2] Bl. u. 100 Tafeln. OPbd. mit Deckelvignette (von Alfred Mahlau, Lübeck) mit illustr. Orig.-Schutzumschlag (von Friedrich Vordemberge-Gildewart, Hannover).
réf. 60610BBo.J. [3 Warenabbildungen] (Petra Petitpierre, geborene Frieda Kessinger, geboren am 13. Mai 1905 in Zürich, gestorben am 23. Dezember 1959 in Murt
2017réf. 130590Prestel. New. Perfect. 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--; 5.44 X 0.96 X 9.13 inches; 304 pages . 2017. 3791382535 . Prestel unknown
2007réf. 58012Jovis Verlag Gmbh / D. A. P. /Distributed Art Publishers Distributed . New. Paperback. FREE UPGRADE to Courier/Priority Shipping Upon Request – – IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- 224 pp. With 32 col. Ills. 23 x 18 cm. -- with a bonus offer-- . 2007. 393631487X . Jovis Verlag Gmbh / D. A. P. /Distributed Art Publishers (Distributed) paperback
2015réf. 115063Spector Books. New. Paperback. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened - Text in English French and German. -- with a bonus offer--; German Edition . 2015. 3944669584 . Spector Books paperback
2016réf. 123898DOM Publishers. New. Paperback. 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-- . 2016. 3869223715 . DOM Publishers paperback
1927réf. EXE00002Édition originale de la traduction des deux textes russes de Malévitch. Avec 92 illustrations. La typographie et la reliure ont été conçues par Moholy-Nagy.
1930réf. 106034BBBerlin, Klinkhardt & Biermann, 1930. Gr.-8°. 60 S., [2] Bl. mit 60 Abb. auf Tafeln. Illustr. OKart. (Fototek, Band 1).
1925réf. 14323ABo. O. [Weimar], -, o. J. [um 1925]. Lose Blattsammlung in OHpgm.-Mappe., Abbildung 1|Abbildung 3|Beispiel
1928réf. 106618BBAachen, La Ruelle'sche Akzidenzdruckerei (Jos. Deterre & Sohn), o. J. (1928). 4°. 74 S. und 14 Tafeln. Illustr. OPbd. [11 Warenabbildungen] (Aachener Werkbücher, Band 1).
1914réf. 14325ABo. O. [Weimar], -, o. J. [1914]. Lose Blattsammlung in OHpgm.-Mappe., Abbildung 1|Beispiel
réf. EN-097o.J. Holzschnitt, um 1922, auf weichem Japan, verso von anderer Hand mit Bleistift bezeichnet. 17:29,5 cm, Blattgröße 29:46 cm. Leicht stockfleckig.- Graphische Arbeiten von Erich Dieckmann tauchen äußerst selten im Kunsthandel auf! Der vorliegende Holzschnit entstand in der Zeit seines Studiums am Bauhaus bei Johannes Itten.
1931réf. 105258BBMünchen, Einhorn-Verlag, (1931). 4°. [2] Bl. u. 100 Tafeln. OPbd. mit Deckelvignette (von Alfred Mahlau, Lübeck) mit illustr. Orig.-Schutzumschlag (von Friedrich Vordemberge-Gildewart, Hannover).
1929réf. 107154BBMünchen, Kurt Wolff, o. J. (1929). 4°. Titel und 100 Duotone-Tafeln. Illustr. Orig.-Kartonumschlag (mit Weintrauben-Motiv). [15 Warenabbildungen] (2. Aufl., 5.-10. Tsd.).
réf. 60397BBo.J. [4 Warenabbildungen] (Petra Petitpierre, geborene Frieda Kessinger, geboren am 13. Mai 1905 in Zürich, gestorben am 23. Dezember 1959 in Murt
1925réf. 108469Berlin-Friedenau, 1924. 1925. gr.-8° (25 x 17,5 cm), 63 (1) S. mit zahlreichen Abbildungen, Illustr. Orig.-Karton. Umschlaggestaltung von Mies van der Rohe.
réf. EN-142o.J. Aquarell und Feder in Schwarz, auf Japan, auf festes Velin aufgezogen, rechts unten schwer lesbar signiert und datiert ?23? und mit Bleistift in der rechten unteren Ecke bezeichnet ?Dorff?. Blattgröße 32,2:27,4 cm.
1923réf. 61194Weimar-München, Bauhausverlag, (1923). Gr.-8°. Mit 9 ganzs. farb. Orig.-Lithographien, 11 Farbtafeln u. 147 tlw. ganzs. Textabbildungen. 225 (1) S., Typographischer, rot- u. blaugepr. OPpbd. (von Herbert Bayer).
1928réf. 107386BBMünchen, Kurt Wolff, (1928). 4°. 21, (1) S., [1] Bl. u. 100 Tafeln. OLn. mit silbergepr. Rückentitel u. Deckelvignette (von Alfred Mahlau, Lübeck) mit illustr. Orig.-Schutzumschlag (von Friedrich Vordemberge-Gildewart, Hannover).
1923réf. 18829Weimar und München, Bauhausverlag, 1923). 225 S. mit zahlr. teils farb. Abb. im Text und 9 ganzseit. farb. Originallithographien (alles in der Kollation). Kl.-4°. OPp. nach einem Entwurf von Herbert Bayer (etw. bestoßen, Rücken restauriert). [5 Warenabbildungen]
1928réf. 107168BBMünchen, Kurt Wolff, (1928). 4°. 21, (1) S., [1] Bl. und 100 Tafeln. OLn. mit silbergepr. Rückentitel u. Deckelvignette (von Alfred Mahlau, Lübeck) mit illustr. Orig.-Schutzumschlag (von Friedrich Vordemberge-Gildewart, Hannover), Orig.-Bauchbinde ("Aufregend und begeisternd für jeden, der Augen hat! "...ein erstaunliches Bilderbuch", sagt Thomas Mann") in Orig.-Pappschuber. [16 Warenabbildungen]
1980réf. 3948DGo. O., -, 1980. Acryl. ca. 33 x 32,7 cm., Abbildung|Abbildung
réf. EN-143o.J. Aquarell und Feder in Schwarz, auf Bütten, mit Feder betitelt, datiert und signiert ?Olevano 1931 / C. Grossberg?. Blattgröße 49,7:40 cm. - Provenienz: Privatsammlung, Hessen. - Während seines Romaufenthaltes besuchte Großberg im Jahr 1931 auch das Bergstädtchen Olevano, das schon im 19. Jahrhundert das Ziel zahlreicher Maler aus Nordeuropa war.
1929réf. 106516BBBerlin und Dessau, C. Dünnhaupt u. Reklameverlag Internatio, (1929). 4° (30 x 21 cm.). [16] Bl. mit 12 farblithogr. Tafeln von C. E. Hinkefuss. Farblithogr. illustr. OKart. (Blockbuch mit Kordelheftung).
1931réf. 3085Wien Vienna: np 1931. first edition. Very Good/Very Good. WALTER GROPIUS ON THE FOUNDING OF THE BAUHAUS. Historical Significance & Context: In 1919 Walter Gropius issued the founding manifesto of the Bauhaus proclaiming a radical reorientation of modern creative practice. Rejecting the isolation of the fine arts the manifesto called for the unification of architecture art and craftsmanship the return to the workshop and the dissolution of hierarchies between artist and artisan. Visionary and programmatic in tone it articulated what modern art and architecture ought to become and announced the Bauhaus as the institutional vehicle for that transformation. The present 1931 letter stands as a unique and illuminating complement to that manifesto. Written more than a decade later it sheds direct light on how and under what conditions the Bauhaus program was conceived. Where the manifesto speaks publicly and declaratively the 1931 letter looks inward and backward offering a first-person account of the psychological intellectual and institutional circumstances that made its issuance possible. Written at a moment of professional maturity the letter reflects Gropius's considered judgment rather than youthful idealism. By 1931 he had already served as Bauhaus director for nearly a decade 1919-1928 achieved international recognition and emerged as one of the central figures of modern architecture. The depth of Gropius's reflection was prompted by a formal scientific inquiry from Dr. Josef Strasser in Vienna October 1930. Strasser was conducting research into the "inner psychological happenings" and "decisive resolutions" of "leading personalities of modern civilization" placing Gropius in a study alongside titans like Albert Einstein Sigmund Freud and Thomas Mann. Writing to Strasser Gropius recalls that when he was called in 1919 to assume leadership of the Weimar Academy of Fine Arts and the School of Applied Arts he was in a state of emotional emptiness following wartime and personal upheaval and had been cut off from the systematic gradually developed work of his prewar career. The opportunity he writes abruptly reawakened his creative energies. Gropius in this letter states that working "for a few days and nights almost without interruption and without the support of others" he personally drafted the program for a "new universal institute for creative work under the leadership of architecture" and that he himself named the new institution the Bauhaus. He emphasizes that the program was conceived to be sufficiently broad and adaptable for later practical implementation and notes with retrospective confidence that its fundamental structure withstood all subsequent challenges. Of particular importance is his discussion of institutional governance. In negotiating with the Thuringian state Gropius insisted on the broadest possible powers Vollmachten underscoring his conviction that artistic and pedagogical innovation required institutional autonomy. He concludes by identifying this decision-to found a new kind of institution and the extraordinary concentration of will it demanded-as decisive for the remainder of his career. Founded in 1919 the Bauhaus became the single most influential school of art design and architecture of the 20th century redefining the relationship between fine art craft industry and modern life. Its integrated approach to architecture typography furniture graphic design and pedagogy reshaped modern visual culture worldwide. Although forced to close by the Nazis in 1933 the Bauhaus exerted lasting global influence through the emigration of its faculty and students shaping modern architectural and design practice across Europe and the United States including at institutions such as the Harvard Graduate School of Design where Gropius later taught. Seen in this context the 1931 letter functions as an interpretive key to the 1919 manifesto. It does not restate Bauhaus ideals; rather it deepens our understanding of them by revealing the lived experience deliberate authorship and institutional strategy behind their formulation. As such it stands as a rare foundational document offering exceptional insight into one of the decisive moments in the history of modern architecture and design. The letter in full English translation: Very honored Dr. Strasser I must ask your forgiveness for only now complying with your request and replying to your letter of October 12 which you repeated on February 20 1931. I was traveling for a long time and therefore repeatedly had to set writing aside. To your questions I reply as follows: Decisive for my life's work was my decision to take over the Weimar Academy of Fine Arts and the School of Applied Arts in the year 1919. When the call reached me I found myself in a state of emotional emptiness. Through the upheaval of personal and wartime experiences the suppression of all intellectual work during the war and the distance from my own prewar work which had been developed systematically and gradually my creative energies suddenly reawakened when the new opportunity presented itself. In just a few days and nights working almost without interruption and without the support of others I drafted the program for a new universal institute for creative work under the leadership of architecture and named the new institute the "Bauhaus." This program was sufficiently broad and adaptable for later practical implementation and in its fundamental structure withstood all subsequent challenges. In concluding the contract with the Thuringian state I insisted on having the broadest possible powers Vollmachten; the material financial terms on the other hand proved to be little in my favor. This decision to build a new institute and the sudden extreme concentration of my will proved decisive for my further career. I greet you as your very devoted Gropius Scarcity: Public auction records underscore the extreme rarity of foundational Bauhaus material. Only a single copy of the 1919 printed manifesto-Manifest und Programm des Staatlichen Bauhauses in Weimar formulated by Walter Gropius as the school's first director-appears in documented auction history. Even this surviving example is a printed programmatic statement intended for circulation rather than reflection; no manuscript draft is known to have entered the market and the manifesto itself offers no contemporaneous insight into the personal or institutional conditions under which the Bauhaus was conceived. Letters by Gropius that have appeared at public auction are logistical social or technical in nature: travel notes professional courtesies responses to criticism or generalized pedagogical advice written decades after the founding of the Bauhaus. None approach the intellectual density or historical function of the present 1931 letter which stands apart as a rare first-person account explaining how the Bauhaus program was conceived authored and structurally implemented. While the Bauhaus manifesto is widely cited and endlessly reproduced the present letter occupies a singular complementary position as the interpretive document that explains its genesis. Typed letter signed "Gropius" in German one page 7 × 9 3â„4 in. on personal letterhead dated March 7 1931 addressed to Josef Strasser in Vienna. Signed in pencil. A hint of toning; otherwise fine. Housed in custom presentation folder. np unknown
