Saul, JonasBiblio.com
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rif. 1998047946.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1971rif. 027271Vintage/Random House 1971. First Mass Market Paperback Edition 1st Printing. Soft cover. Very Good. Both Volumes 1 & 2 included in this important "documentary analysis of America's racial history & why it has been kept hidden." More important than ever with recent attempts to whitewash this country's history. In 360 & 379 pages with Indices respectively. Orig. published in hardcover in 1971 these are First Printings of the First mass market paperback editions from Vintage Books/Random House V-459 & V-460 from that same year. Condition is VG: both books are exceptionally clean inside & completely unmarked save for former owner's stamps to first pages of both 1 sentence written in pen on last page of Vol. 2. Exteriors show slight darkening & toning with random spotting/foxing to Vol. 2. Very mild spine creasing & just a hint of bumping to corners. Each is now protected in a new clear mylar collector bag. Our photos depict the Exact book you will receive never "stock" images of books we don't actually have! Same day shipping on all orders received Weekdays by 2 pm Pacific time; later orders weekends & holidays ship very next business day. Vintage/Random House paperback
1993rif. b136-29Jones & Bartlett Learning 1993. Hardcover. New. In the 1880s over fifty years after the discovery of the hyperbolic plane Poincare pointed out that this plane provides a very useful context for describing the properties of the solutions of an important class of differential equations. Jones & Bartlett Learning hardcover
rif. 51-6827Paris: Maeght Éditeur 1973. Original; wraps. 38.1x28.1 cm 15x11".Derrière le Miroir No. 205 - Septembre 1973. 1973. With 4 original lithographs.DLM édité en septembre 1973 pour l’exposition STEINBERG à la Galerie Maeght. Texte de Hubert Damish « Tables d’évidences ». 32 pages non reliées. 3 lithographies originales dont 2 en double page et 8 reproductions en noir. Tirage original.Famed worldwide for giving graphic definition to the postwar age Saul Steinberg 1914-1999 had one of the most remarkable careers in American art. While renowned for the covers and drawings that appeared in The New Yorker for nearly six decades he was equally acclaimed for the drawings paintings prints collages and sculptures he exhibited internationally in galleries and museums.Steinberg crafted a rich and ever-evolving idiom that found full expression through these parallel yet integrated careers. Such many-leveled art however resists conventional critical categories. “I don’t quite belong to the art cartoon or magazine world so the art world doesn’t quite know where to place me” he said. 1 He was a modernist without portfolio constantly crossing boundaries into uncharted visual territory. In subject matter and styles he made no distinction between high and low art which he freely conflated in an oeuvre that is stylistically diverse yet consistent in depth and visual imagination. Paris: Maeght Éditeur, 1973 paperback
rif. 51-6825Paris: Maeght Éditeur 1953. Original; wraps. 38.1x28.1 cm 15x11".With 22 lithographs 16 in color of which 4 are double-page spreads including covers.Note that since at least 1981 Maeght has been selling a facsimile Réédition of the original.It can be identified by the cover in which "Steinberg/1953" is printed. In the original of 1953 Steinberg's name is in his own handwriting and there is no date on the cover.DLM édité en mars 1953 pour la 1ère exposition de STEINBERG à la Galerie Maeght présentant 110 dessins inédits. 28 pages non reliées. 22 reproductions en couleurs dont 4 en double page.Famed worldwide for giving graphic definition to the postwar age Saul Steinberg 1914-1999 had one of the most remarkable careers in American art. While renowned for the covers and drawings that appeared in The New Yorker for nearly six decades he was equally acclaimed for the drawings paintings prints collages and sculptures he exhibited internationally in galleries and museums.Steinberg crafted a rich and ever-evolving idiom that found full expression through these parallel yet integrated careers. Such many-leveled art however resists conventional critical categories. “I don’t quite belong to the art cartoon or magazine world so the art world doesn’t quite know where to place me” he said. 1 He was a modernist without portfolio constantly crossing boundaries into uncharted visual territory. In subject matter and styles he made no distinction between high and low art which he freely conflated in an oeuvre that is stylistically diverse yet consistent in depth and visual imagination. Paris: Maeght Éditeur, 1953 paperback
rif. 51-6826Paris: Maeght Éditeur 1966. Original; wraps. 38.1x28.1 cm 15x11".Derrière le Miroir No. 157 - Mars 1966. 1966. With 19 reproductions: 7 in color of which 2 are double-page.Derrière le Miroir accompagnant l'exposition Saul STEINBERG à la Galerie Maeght en 1966. Format 38 x 28 cm 24 pages incluant 19 reproductions. Derrière Le Miroir n°157 including covers.Famed worldwide for giving graphic definition to the postwar age Saul Steinberg 1914-1999 had one of the most remarkable careers in American art. While renowned for the covers and drawings that appeared in The New Yorker for nearly six decades he was equally acclaimed for the drawings paintings prints collages and sculptures he exhibited internationally in galleries and museums.Steinberg crafted a rich and ever-evolving idiom that found full expression through these parallel yet integrated careers. Such many-leveled art however resists conventional critical categories. “I don’t quite belong to the art cartoon or magazine world so the art world doesn’t quite know where to place me” he said. 1 He was a modernist without portfolio constantly crossing boundaries into uncharted visual territory. In subject matter and styles he made no distinction between high and low art which he freely conflated in an oeuvre that is stylistically diverse yet consistent in depth and visual imagination. Paris: Maeght Éditeur, 1966 paperback
rif. 51-6828Paris: Maeght Éditeur 7. Original; wraps. 38.1x28.1 cm 15x11".Derrière le Miroir No. 224 - Mai 1977. 1977. With 4 original lithographs including covers.l.DLM édité pour l’exposition STEINBERG à la Galerie Maeght en mai 1977. Texte d’Italo Calvino « La Plume à la première personne ». 26 pages non reliées. 4 lithographies originales en couleurs et 22 reproductions dont 11 en couleurs et 1 en double page. Tirage original.IFamed worldwide for giving graphic definition to the postwar age Saul Steinberg 1914-1999 had one of the most remarkable careers in American art. While renowned for the covers and drawings that appeared in The New Yorker for nearly six decades he was equally acclaimed for the drawings paintings prints collages and sculptures he exhibited internationally in galleries and museums.Steinberg crafted a rich and ever-evolving idiom that found full expression through these parallel yet integrated careers. Such many-leveled art however resists conventional critical categories. “I don’t quite belong to the art cartoon or magazine world so the art world doesn’t quite know where to place me” he said. 1 He was a modernist without portfolio constantly crossing boundaries into uncharted visual territory. In subject matter and styles he made no distinction between high and low art which he freely conflated in an oeuvre that is stylistically diverse yet consistent in depth and visual imagination. Paris: Maeght Éditeur, 7 paperback
rif. 16-6365Paris: Madame Paul Jeffay 1959. Folio. 29 x 39cm. Sheets loose as issued iin original printed wrappers and board slipcase. One of 175 numbered copies; Engraved bookplate of Guy de Rothschild.OCLC Number / Unique Identifier:173028078.Ben Uri Collection text: The painter-engraver Paul Jeffay ne Saul Yaffie was born in Glasgow Scotland on 29 April 1898 to Russian-Jewish immigrant parents fleeing pogroms who had been among the first generation of 20th century Jews to settle in the Gorbals which became the heart of the Glasgow Jewish community. He studied at The Glasgow School of Art between 1912 and 1919 one of only three other Jewish students at that time winning numerous prizes. His tutors included the Estonian-born sculptor Benno Schotz who recalled that upon the outbreak of the First World War Yaffie won a poster competition for display in Glasgow tramcars depicting a woman and child fleeing from a fire. Jeffay’s studies were interrupted by his voluntary war service 1916-17 and after briefly being stationed in the same Jewish battalion as sculptor Jacob Epstein he served in the King’s Own Scottish Borderers.Following the Armistice Saul returned briefly to Glasgow before moving to Paris and settling in Montmartre around 1919. He participated in various ‘Salon des Independants’ exhibitions in the 1920s and 1930s adopting the pseudonym ‘Paul Jeffay’ and also working under the names Paul Lebeau and Solomon/Saül Yaffie/Yafie. In 1930 he founded his own studio in ‘Fontenay-aux-Roses’ where he remained with the exception of the Second World War years until his death in 1957. Between 1933 and 1939 Jeffay made three prolonged visits to Poland studying and sketching the Jewish community in the Warsaw Ghetto; the resulting album ‘Visages du Ghetto’ comprises a series of fourteen etchings. Jeffay’s studio was looted by the German Army during the Second World War and only a small portion of his work has survived.Paul Jeffay died in Paris France in 1957. A set of the engravings from the 'Visages du Ghetto' series was shown along with the original drawings at an exhibition organised by Ben Uri at at the Western Marble Arch Synagogue in 1994 entitled 'Visages du Ghetto: Paintings Drawings and Etchings of Pre-War Jewish Europe by Paul Jeffay 1898-1957' and a set of prints was afterwards gifted to the Ben Uri Collection by the artist's grandson. [Paris: Madame Paul Jeffay, 1959] unknown
rif. A9781032760100Paperback / softback. New. This book provides comprehensive guidelines on important aspects of isiXhosa orthography such as word division spelling and capitalisation. Authors’ primary focus has been those challenging areas of standardisation which have not yet been attended to. paperback
rif. 75-4706New York: Access Press Ltd. 1989. 8vo. Soft Cover ca. 100 pp. B&W and Color Plates. Very Good. Provenance: Richard A. Lorenz 1952-2001 author art conservator curator and artist Berkeley California. As a trustee of The Imogen Cunningham Trust Mr. Lorenz organized and curated exhibitions of Cunningham's photographs. New York: Access Press Ltd., 1989 paperback
rif. 68-7738NY NY: Julie Saul Gallery 1999. 8vo. Stapled Wraps. Brochure Tri-fold. 6 pp. Color Plates. VG. Provenance: Richard A. Lorenz 1952-2001 author art conservatorcurator and director of the San FranciscoRegional Art Conservation Center. As a trustee of The Imogen Cunningham Trust Mr. Lorenz organized and curatedexhibitions of Cunningham's photographs and authored four major books onthe photographer. NY, NY: Julie Saul Gallery, 1999. paperback
rif. 68-7688NY NY: Lieberman & Saul 1991. Promotional Tri-fold brochure 16.25" x 10". Color & B&W plates. Postmarked to Lorenz. VG. Provenance: Richard Lorenz. NY, NY: Lieberman & Saul, 1991 unknown
rif. A9781350420663Paperback / softback. New. Hoffman Averett and Argys' Women and the Economy is the only economics book that provides a broad analysis of the economic issues relating to women ranging from marriage and family to work and pay along with coverage of contemporary empirical research and policy issues. Women and the Economy uses contemporary economic theory to analyse various aspects of women's lives examining labour economics economics of the family economics of fertility and gender inequalities. The core market is students on upper-level optional modules on undergraduate economics courses and the book assumes a basic level of economics. New to this edition: Enhanced discussion of intersectionality More coverage of the childcare market Greater reference to LGBTQ issues Issues of race integrated throughout the text Increased comparative analysis between women in US and women in other industrialized economies New end-of-chapter exercises/problem questions New research findings and relevant emerging policy issues integrated in each chapter paperback
rif. 51-6273Philadelphia: The Falcon Press : distributed by Wittenborn New York City 1962. Folio. 28 x 38cm. Original linen binding slightly discolored and warped. Some fold-out plates and some pribted in 2 colors.The Notebooks and Drawings of Louis I. Kahn originally published in 1962 and long out of print was the first book on the architect to feature Kahn’s own images and words—and it was Kahn’s favorite book on his work. It includes his early sketches reproduced at full size from his European travels in the 1950s as well as renderings of the designs for several of his notable buildings along with unpublished speeches and excerpts from lectures radio broadcasts and other sources.Physical Description:83 p. : ill. port. plans ;OCLC Number / Unique Identifier:1397329651 Philadelphia: The Falcon Press : distributed by Wittenborn, New York City, 1962 unknown
2023rif. 1-1797124560Blackstone Pub 2023. Audio CD. New. unabridged edition. 5.25x5.50x1.00 inches. Blackstone Pub unknown
rif. B9781009472302Hardback. New. This Element introduces the replicator dynamics for symmetric and asymmetric games where the strategy sets are metric spaces. The authors provide conditions to approximate the replicator dynamics on a space of measures by means of a finite-dimensional dynamical system and a sequence of measure-valued Markov processes. hardcover
rif. 75-2595NY NY: Lorence Monk Gallery 1990. 4to. Soft cover Very Good 50 pp. Color plates. NY, NY: Lorence Monk Gallery, 1990 paperback
rif. B9780985963200Hardback. New. hardcover
rif. 51-6003Paris: Galerie Maeght 1953. Folio. Original wraps. 28 x 28cm Tear lower right corner of front cover stains on rear cover outside edge. .DLM édité en mars 1953 pour la 1ère exposition de STEINBERG à la Galerie Maeght présentant 110 dessins inédits. 28 pages non reliées. 22 reproductions en couleurs dont 4 en double page. Not the reprint or second edition. Paris: Galerie Maeght, 1953. paperback
rif. 51-6008Paris: Galerie Maeght 1973. Folio. Original wraps. 28 x 28cm DLM édité en septembre 1973 pour l’exposition STEINBERG à la Galerie Maeght. Texte de Hubert Damish « Tables d’évidences ». 32 pages non reliées. 3 lithographies originales dont 2 en double page et 8 reproductions en noir. Tirage original. Epuisé en diffusion. Paris: Galerie Maeght, 1973. paperback
rif. 0753824450.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
rif. 0898710200.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
rif. B9780977711758Paperback / softback. New. paperback
rif. B9780989991544Hardback. New. hardcover
rif. B9781013324789Hardback. New. hardcover
