Søkeresultat

Los Angeles: Melrose Publishing Co., 1983. Squarish hardcover in original somewhat worn slipcase. Illustrated with 87 full page color photographs. Finely printed. Iconic nude pictures of women, very staged, very 1980's. First edition.

København, J.P. Madsen Linds Forlag,1912. Med 2 udfoldelige modeller. En del af tavle ligger løs (tarme) ellers velbevaret. Originaludgave.

Denmark: AS N.Olaf Møller, 1978. 4to. Original printed wraps as issued. (28) pp. Illustrated throughout with high contrast black and white photos. Only minior edgewear to cover, else fine copy. First edition. First and only edition, 1st printing.

London: George Allen & Unwin, 1939 (1938). Publishers clothed hardcover with gilt title and red topedge. No dustjacket. VIII, 546 pp. From a private collection with the names of previous owners to inner front cover. Light wear to edges and a couple of feeble barely visible pencil notes to the first 20 pages else clean and overall a very good copy. Originally published in the US 1938 by Henry Holt: this is the first UK edition identical in content with the American first.

Socle du Monde Herning, Denmark, 2004. 8vo. 15 booklets, illustrated with Danish and English texts by the artists. Complete. In original box. Well preserved. "This artist''s publication was put together at communications bureau IB&CO, Ikast. The project was organized by Jacob Fabricius for the 2004 edition of the art biennial ''Socle du Monde'' a tradition of artists collaborating with local industries, initiated by the shirt manufacturer Aage Damgaard who invited Piero Manzoni to work there in the 1950s. Herning Kunstmuseum still has one of the world''s finest Manzoni collections, including the Socle du Monde." -- artist''s statement. From the Goodiepal collection with the artists signature to box cover, see photos. Due to the weight and the fragility of the box for this publication additional shipping charges will be required for international orders.

London: Ivor Nicholson and Watson, 1936. Green clothed hardcover boards with titles to spine, no dustjacket. 350 pages. With plates. Binding a bit rubbed with a little soiling (see photo). Hinges a bit week, some foxing to topedge and endpapers. Overall a good acceptable copy. First edition. Elinor Glyn (née Sutherland 1864 –1943) was a British novelist and scriptwriter who specialised in romantic fiction, which was considered scandalous for its time Glyn pioneered risqué, and sometimes erotic, romantic fiction aimed at a female readership, a radical idea for its time. She became an upholder of women's right to explore and articulate their own sexuality. In her novel The Man and the Moment (1914), she coined the use of the word it to mean a characteristic that "draws all others with magnetic force. With 'IT' you win all men if you are a woman–and all women if you are a man. 'IT' can be a quality of the mind as well as a physical attraction." Her use of the word is often erroneously taken to simply be a euphemism for sexuality or sex appeal. She had intimate knowledge of the decor and haute couture of the courts of Europe and this was a part of the Glyn author persona which she cultivated and publicly projected. She had genuinely seen the courts of Russia, Spain, Britain and Egypt, and had circulated in high society in France and the United States. With such knowledge, Glyn was called on by radio presenters, magazine editors, chairs of women's associations and others to speak and entertain their audiences. She was asked to talk on etiquette and romance, on marriage and on beauty; her advocacy of sexual freedoms and discussions of marriage and divorce meant that she was a popular speaker. The press noted where she went, what she wore and what she was saying. Her opinions made the headlines. During World War I, Glyn became a war correspondent, working in France. At the signing of the Treaty of Versailles, 28 June 1919, Glyn was one of only two women present.

New York & London: Praeger Publishers, 1972. Square 4to in hardcover. Dustjacket with some wear (see photos) but now protected. 177 pp. Profusedly illustrated with Gorgoni's b/w photographs. Some minor handling wear but no markings and no stamps or notes. In all a very good attractive copy. First edition, hardcover published by Praeger. Influential book containing essay by Gregoire Müller discussing the new avant-garde art of the seventies. Lively photographic essays for each artist by Gianfranco Gorgoni. Includes: Dan Flavin, Sol LeWitt, Carl Andre, Robert Morris, Robert Smithson, Richard Serra, Keith Sonnier, Bruce Nauman, Joseph Beuys, Mario Merz, Walter De Maria, and Michael Heizer.

Published by Stelton, 2010. Large heavy hardcover with dustjacket. 197 pages, richly illustrated. Text in both Danish and English. Light wear to jacket else clean and fine. 1st edition. The classic Stelton book with the story behind iconic designs like Arne Jacobsen’s Cylinda-line and Erik Magnussen’s EM77 vacuum jug.

Uden trykkested, 1820. Håndkoloreret (Randkoloreret) træsnit i nyere ramme og i hjemmelavet passepartout. Ca. 13, 5 x 14, 5 cm (19,5 x 25 cm med ramme). Påsat mærkat bagpå rammen: Fra "Knud V. Engelhardts Studiesamling". Dekorativt kort. Fra "Samling af 50 Smaae Landkort i Træsnit til Brug for Skolerne paa Landet" trykte 1818 ff. - det første dansk producerede atlas overhovedet.

Paris: HAZAN / Musées D'Orsay et de l’Orangerie , 2017. Tall 8vo in wraps as issued. 221, (2) pp. Richly illustrated, with text in French. Very good clean copy. "The artistic revolt of Dada, which arose in Zurich in the midst of the turmoil of the Great War in 1916, expressed a rejection of the traditional values ??of civilisation that had led to the disaster of that period. In this context, a re-evaluation of other systems of thought and creation took place, leading many avant-garde artists to consider and appropriate radically different types of artistic production. For the first time, and in cooperation with the Rietberg Museum in Zurich and the Berlinische Galerie, an exhibition was devoted to the confrontation of the Dadaists with the art and culture of non-European countries. The stagings of the "Soirées nègres" at the Cabaret Voltaire, appealing to all the senses and combining music, poetry and dance, attacked the very notion of art and called into question the artistic values ??that had prevailed until then. As early as 1917, the Coray Gallery in Zurich exhibited African objects side by side with Dadaist works. The same year, Tzara wrote his "Note sur l’art nègre", published in the journal SIC where he stated "from black let us draw light". The masks of Marcel Janco, the costumes of Sophie Taeuber-Arp, the collages of Hannah Höch or the collective works refusing the notion of author bear witness to this research for a new formal language. This multidisciplinary exhibition will allow us to confront non-Western works that are both African but also Amerindian or Asian with Dadaist productions, highlighting processes of exchange and appropriation by these artists. Dada paintings, sculptures, photocollages, photographs will be mixed with non-Western sculptures in games of resonances supported by the scenographic staging of the exhibition. The Parisian stage will also highlight the fertile ground pre-existing in the French capital for non-European arts and the way in which this was able to nourish the movement. Thus, the exhibition finds its place at the Musée de l’Orangerie, by highlighting the links between gallery owner Paul Guillaume and the actors gravitating around Dada and around African art at that time. The Orangerie stage will also open up on the importance that this subject could have had in the genesis of the links between the surrealist movement and non-Western arts".

London: Collins Harvill, 1994. Publishers hardcover w jacket. XI, 285 pages. Dustjacket priceclipped else well preserved attractive clean copy First UK edition. A Void, translated from the original French La Disparition (lit. "The Disappearance"), is a French lipogrammatic novel, written in 1969 by Georges Perec, entirely without using the letter e, following Oulipo constraints. Perec would go on to write with the inverse constraint in Les Revenentes, with only the vowel “e” present in the work.

New York: Tudor Publishing Company, 1955. Octavo in publishers slightly worn but solid green hardcover, no jacket. XIX, 1036p. Name to pastedown else clean. “He that increaseth wisdom, increaseth sorrow.” Good vintage reprint of Burton's astounding compendium fully translated into English, a survey of melancholy in all its myriad forms. Edited by Floyd Dell and Paul Jordan-Smith.

New York and London: Anyone Coporation & MIT Press, 1999. Quarto in french wraps as issued. 296 pages. Text in English. Illustrated. Fine clean copy. 1st ed. "Architects, artists, and intellectuals address architecture's relationship to space and time in this latest addition to the series that began with Anyone. Architecture functions between tradition and innovation, between historical archetypes and that which as yet has no form. This historicity and concurrent openness to futurity are two of the subjects discussed in Anytime, which probes architecture's relationships with space and time. After a section called "Beginnings," in which ten young architects address rupture, change, and movement, the book is organized into five sections: Trajectories, The Collapse of Time, (M)anytimes, Futures, and Rethinking Space and Time. Contributors: Akira Asada, Hubert Damisch, Peter Eisenman, Zaha Hadid, Arata Isozaki, Fredric Jameson, Rem Koolhaas, Bruce Mau, John Rajchman, Michael Sorkin, and Bernard Tschumi, as well as architects whose work many (...) readers will encounter here for the first time."

New York: Picture Box and ZieherSmith, 2008. Two small 8vos in hardcover, complete with obi. 128 pages in all. Illustrated in color. Fine set. First edition. - INSCRIBED by Chuck Webster with colored pencils to half title, dated 2011. - "This two-volume set features the psychedelic, expressionistic figuration of Eddie Martinez in one volume and the Thomas Nozkowski-esque abstractions of Chuck Webster in the other. Both Brooklyn-based artists, represented in New York by Zieher-Smith, are enamored with paint--both, in fact, embrace painting's historical baggage, its romantic and spiritual undertones. Martinez combines fearlessly expressive paint handling with a feel for cartoon imagery and personal symbology. Webster, on the other hand, makes Minimal talismanic works that are formally rigorous and impeccably polished. Together they present a friendly argument for the myriad possibilities of contemporary painting. An interview with the artists, who are old friends, and a selection of their collaborative drawings form a bridge between the books. First monographs for both artists, these volumes also include essays by Joao Ribas and Geoffrey Young."

Denmark: Louisiana Museum of Modern Art, 2014. Stort format. Hardcover. 200 pages. Text in English. Illustrated with around 100 reproductions mainly in colour. Near fine clean copy. 1. ed.

Paris: Eric Losfeld, 1967 (1966). Large4to. Original boards with dustjacket. Unpaginated (around 70 pp.) Illustrated throughout in colour. Dustjacket worn but now protected in professional acid-free jacket. Guy Peelaert (1934-2008), once called the 'Michelangelo of Pop Art' is famous for illustrating the dreams and fantasies of the rock and pop world. He made the cover for The Rolling Stones (It's Only Rock 'n' Roll) and David Bowie's Diamond Dogs album fx., later he also designed film posters for films like Taxi Driver, Short Cuts, Paris, Texas and Wings of Desire. Peelaert is influenced by pop art and psychedelic art of the 1960's, both clearly shown in this early work (his first). The protagonist, Jodelle, is modelled after french singer Sylvie Vartan (Peellart's second comic strip heroine, Pravda, made her debut in 1968 and was modelled after singer Françoise Hardy). Deuxième édition de 1967 (la première est de 1966).

New York: Harry N. Abrams 1988. Oversized tall large and heavy folio hardcover, bound in publisher's grey cloth, pictorial dustjacket. 397 pp. 685 illustrations and photographs including 100 plates in full colour. Fine.  'Verve' was issued periodically in France between 1937 and 1960. Each issue of 'Verve' is considered individually with excerpts from every edition. Very large and heavy item and extra shipping will apply. Please inquire before ordering!

Paris: Gallimard: 1974. 8vo well preserved in publishers wraps as issued. 268 pp, 2 ff. Suntanning to cover (see photo) else fine. Name of Danish Joyce translator Bent Wiberg in ink to free front endpaper. Inside clean. Overall a very good copy. Nouvelle Traduites de l'Anglais par Jacques Aubert, Préface de Valéry Larbaud. First French edition.

Frankfurt am Main: Suhrkamp Verlag, 1991. Hardcover, w protected jacket. 566, (2) pp. Minor wear to jacket - overall a very good well preserved clean copy. Erste Auflage.

Edinburgh : James Thin, 1891. 8vo in the original blue gilt-blocked cloth with untrimmed edges. 123 pages. Contemporary name in ink to free front endpaper else clean. Binding extremities lightly rubbed. Overall a very good attractive copy. First edition of one of the most classic renowned translations : Hymn to Hermes. Homeric hymns. Hymn to Apollo. Hymn to Aphrodite. Hymn to Dionysus. Hymn to Demeter. Hymn to Pan. Hymn to Zeus. Hymn to Athena. Hymn to Aphrodite (Homeric hymn 5). Hymn to Pan (Homeric hymn 19).

Copenhagen: Forlaget Rhodos, 2007. Large 4° hardcover with fine jacket. 159 pp. Richly illustrated in color. Text in Danish and English. First edition. Fine copy.

Sun & Moon Press, 1993. Very thick paperback. X, 1334 pp. Sunning and some wear to cover, with a crease to backcover, clean inside.

London: Blain Southern, 2011. Large heavy 4to grey clothed hardcover with red lettering, no jacket as issued. 224 pages, richly illustrated. Text in English. Some superficial wear to cover, else only light rubbing to front upper corner front (see photo). Overall a fine and clean copy. First edition. Large thorough monograph.

New York: Henry Holt and Company, 2006. Publishers hardcover, with dustjacket, unclipped and now protected. 306 (1 ) pp. Minor wavyness to last pages. Name (surname) of previous owner in ink to innercover front else clean. Signed in hand to titlepage. First edition, 1st printing.

The MIT Press / An October Book, 2002 (2001). Large 8vo. Hardcover, w jacket. XXV, 492 pp. Very good clean copy.