6 900 résultats
1981réf. mon0004238157The Gallery 12/31/1981 4:00:00 P. paperback. Good. . The Gallery paperback
1978réf. 160892Alfred A. Knopf / Whitney Museum of American Art 1978. First Edition. Trade Paperback. Very Good. Exhibition catalog for a show held at the publisher's gallery. Book is in excellent condition with very light shelf wear to covers only. Binding is solid and square covers have sharp corners exterior shows no notable blemishes text/interior is clean and free of marking of any kind. 256 pages with a great many full color full page prints as well as many b&w. Contains full page Bleeker Street 1969 - the cover for a New Yorker compilation also laid in cover of the New Yorker 7/18/'70 at front and laid in 4 page flyer of the Hirshorn Museum and Scupture Garden show ""Saul Steinberg."" Publisher's page includes the words ""First Edition"". The catalog for a major Whitney Museum retrospective presenting drawings cartoons New Yorker covers watercolors and three-dimensional constructions by an artist who crossed boundaries between high art caricature and language. Keywords: Whitney Retrospective New Yorker Covers Cartoons Drawings Three Dimensional Works Watercolors Prints Art Language Border Romanian Born Calligraphy Line Philosophical Humor Street Signs Passport Stamps American Pop Art Alfred A. Knopf / Whitney Museum of American Art paperback
réf. 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
réf. 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
réf. 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
réf. 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
réf. 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
réf. 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
réf. 10096New York Knopf 1978. 4° 256 S. 274 teilw. farb. Abb. Broschur. Rücken min. gebräunt tadell. Saul Steinberg 1914-1999 war ein rumänisch-amerikanischer Zeichner und Karikaturist. Bekannt wurde er vor allem durch seine Cartoons und Titelbilder für das Magazin The New Yorker. Für diese Zeitschrift entstand auch ein Titelbild veröffentlicht am 29. März 1976 das später zu einem beliebten Postermotiv werden sollte: eine perspektivisch verzerrte Landkarte die von einer New Yorker Straße ausgehend einen Teil der Weltkugel abbildet und als grafische Idee für beliebige andere Orte abgewandelt wurde. 010 New York, Knopf, 1978 unknown
2012réf. 103846Random House. New. Hardcover. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- 768 pages; illustrated with black and white and a number of color images. -- with a bonus offer-- . 2012. 038552448X . Random House hardcover
2006réf. mon0000992399Yale University Press 2006-11-01. Paperback. Very Good. 2.0285 in x 23.0924 in x 15.4782 in. A clean tight copy. Yale University Press paperback
1978réf. 592467New York: Alfred A. Knopf in association with The Whitney Museum of American Art 1978. Hardcover. Fine. Limited edition. Square quarto. 256pp. Heavily illustrated. Spine a touch soiled else fine in a near fine slipcase with just a bit of wear along the edges. Numbered 257 of 300 copies Signed by Steinberg. Alfred A. Knopf in association with The Whitney Museum of American Art hardcover books
2021Saul Steinberg (1914-1999) rimane uno degli artisti più noti e insieme sconosciuti dell’arte del XX secolo. È stato un cartoonist, un disegnatore, un aforista grafico: eppure il suo nome rimane ai margini, fuori dai manuali di Storia dell’arte. Questo numero di "Riga" rinnova e ripensa il volume edito nel 2005, ampliandolo con nuovi materiali. Fra questi spiccano ventuno interviste, per la maggior parte inedite in italiano, rilasciate da Steinberg fra il 1952 e il 1993; due importanti saggi, che gettano nuova luce sulla sua vicenda artistica e biografica; una serie di scritti e disegni con cui illustratori e artisti hanno voluto rendergli omaggio. Senza voler stabilire graduatorie o classifiche, si può – si deve – parlare di Steinberg con la stessa attenzione riservata a Picasso, a Giacometti, a Warhol. Altrettanto complessa e ricca, la sua arte parla tante lingue contemporaneamente: disegno e parola, retorica e letteratura, filosofia e percezione. Steinberg è disegnatore e scrittore, sociologo e filosofo, psicologo e persino moralista. E tuttavia Steinberg è solo Steinberg: ovvero uno degli artisti più imitati, citati, riprodotti, perché all’unicità del suo segno corrisponde un’universalità di significati e di messaggi. Curatori: Marco Belpoliti, Gabriele Gimmelli, Gianluigi Ricuperati.
2021ill., br. Saul Steinberg (1914-1999) rimane uno degli artisti più noti e insieme sconosciuti dell'arte del XX secolo. È stato un cartoonist, un disegnatore, un aforista grafico: eppure il suo nome rimane ai margini, fuori dai manuali di Storia dell'arte. Questo numero di "Riga" rinnova e ripensa il volume edito nel 2005, ampliandolo con nuovi materiali. Fra questi spiccano ventuno interviste, per la maggior parte inedite in italiano, rilasciate da Steinberg fra il 1952 e il 1993; due importanti saggi, che gettano nuova luce sulla sua vicenda artistica e biografica; una serie di scritti e disegni con cui illustratori e artisti hanno voluto rendergli omaggio. Senza voler stabilire graduatorie o classifiche, si può - si deve - parlare di Steinberg con la stessa attenzione riservata a Picasso, a Giacometti, a Warhol. Altrettanto complessa e ricca, la sua arte parla tante lingue contemporaneamente: disegno e parola, retorica e letteratura, filosofia e percezione. Steinberg è disegnatore e scrittore, sociologo e filosofo, psicologo e persino moralista. E tuttavia Steinberg è solo Steinberg: ovvero uno degli artisti più imitati, citati, riprodotti, perché all'unicità del suo segno corrisponde un'universalità di significati e di messaggi.
1994Mm 160x220 Rivista "RIGA" n. 24 del 2005, volume interamente dedicato a Saul Steinberg - Brossura originale, 411 pagine con illustrazioni in nero nel testo. Opera in ottime condizioni. SPEDIZIONE IN 24 ORE DALLA CONFERMA DELL'ORDINE.
1978réf. 181512New York: Alfred A. Knopf - Whitney Museum of American Art 1978. First edition. Oblong hardcover. 256 pages. Features text by Rosenberg. Published in conjunction with a major retrospective exhibition at the Whitney. Includes 274 color and black and white illustrations list of plates chronology list of previous exhibitions list of selected exhibition catalogues books by Steinberg and a selected bibliography. A near fine copy with a slight and shallow horizontal slit to the front board in a close to near fine dust jacket with the same horizontal slit to the front panel and some other very minor wear. Still a very nice copy. Alfred A. Knopf - Whitney Museum of American Art unknown books
1978réf. 511765New York: Alfred A. Knopf in association with the Whitney Museum of American Art 1978. Softcover. Fine. First edition wrappered issue. Quarto. 256pp. Illustrated with the art works of Steinberg. Pictorial wrappers. Slight rubbing on the wrappers very near fine. Inscribed by Steinberg to author Mary McCarthy on the half-title page in the year of publication: "For Mary and Jim from Saul and the dear memory of Harold. Oct 78." Jim is Jim West McCarthy's fourth and final husband. Alfred A. Knopf in association with the Whitney Museum of American Art unknown books
Smith, Joel: Saul Steinberg 100th Anniversary Exhibition. Exhibition: New York, Pace Gallery, 2014. 84 pages, fully illustrated. Ring-binder. 22.5 x 24.5cms.
1971réf. 56995Mainz, 1971. origi.Broschur, 8°, 39 Seiten.
1979réf. 238315Reinbek bei Hamburg : Rowohlt, 1979. 253 S., Ill. Halbleinen, gebundene Ausgabe, SU.
1979réf. 149501Reinbek bei Hamburg : Rowohlt. 1979. 253 S. : überwiegend Ill. (z.T. farb.) 28*27 cm. OHalbleinenband, OSchu.
1987réf. 196344New York: The Pace Gallery 1987. First edition. Oblong softcover. Exhibition catalog for a show that ran October 31 through November 28 1987. Features an essay by Adam Gopnik. Includes numerous color illustrations. A very good plus fine copy in French style wrappers with some light soiling to the rear panel. The Pace Gallery unknown books
1964réf. 12480Wien, Hans Deutsch Verlag, o. J. (1964). Gr.-fol. Mit 5 sign. Orig.-Lithographien von Hans Fronius. 26 S., Illustr.-OPpbd.
réf. A9781163635858New. unknown
réf. B9781163635858New. unknown