Sökresultat

Lunds Konsthall, 1969. Kvadratisk 4to. Original grønt omslag. Mappe med løst indlagt materiale af de deltagende kunstnere (komplet). Fint eksemplar. Første oplag / First edition. Fine copy. Særdeles fin avantgarde publikation fra kredsen omkring Eks-skolen og tidskriftet TA' BOX.

Sovetakan grokh (Grogh), Armenia, 1988. 8vo. Original hardcover with dustjacket. 255 pages. Text in Russian. Illustrated. Well preserved. First edition - INSCRIBED by Peleshian to Danish film director and critic Chr. Braad Thomsen, dated 1990. - Artavazd Peleshyan (Artavazd (Art’ur) P’eleshyan; also Pelechian, Peleshian, b.1938) is an Armenian director of essay films, a documentarian in the history of film art, a screenwriter, and a film theorist. He is renowned for developing a style of cinematographic perspective known as distance montage, combining perception of depth with oncoming entities, such as running packs of antelope or hordes of humans. Filmmaker Sergei Parajanov has referred to Peleshyan as "one of the few authentic geniuses in the world of cinema". The first of Pelechian’s films to be screened in the West, "We" (1969) was shown at the International Short Film Festival Oberhausen in Germany, where it received first prize from the jury. His practice of cinematic montage escapes the classical rules of montage, developed by the film pioneers of the early decades of the 20th century, in particular, Sergei Eisenstein in the USSR, Georges Méliès in France, and D.W. Griffith in the United States. Whereas classical montage tended to place two images next to each other that are together of significance, Pelechian to the contrary strives to distance them, placing other images and sounds in between in order to emphasize the echo they have with each other. Distance montage thus structures itself by playing with repetitions and subtle variations in visual and sound motifs. He presents this scrupulous montage method in a famous theoretical text, “Contrapuntal Montage, or the Theory of Distance,” written at the beginning of the 1970s and published in a collection of texts published in Russian under the title Moyo Kino [My cinema] in 1988."- "A Pelechian film is constructed like a rosary, with a larger bead periodically separating series of smaller beads. The larger beads are the “support sequences,” and the smaller ones, distributed between them, are the “independent sequences”. There are a limited number of support sequences—two, three, four. They contain few shots, and consistently use select shots from previous support sequences. They function as a chorus. Between them, the independent sequences, sometimes reduced to a single shot, are subject to widely varied combinations of which the general rule is quickness allied with repetition.” - Barthélemy Amengual, “Sur Cinq Films d’Artavazd Pelechian” [On five films by Artavazd Pelechian], in Cahiers de la Cinémathèque, no. 67/68, December 1997.

Berlin: Compton Verney, 2005. Small thick 8vo. Hardcover in dustjacket. 644 pages illustrated with numerous color photographic images throughout. Only minimal shelfwear to jacket edges else fine clean copy. First edition. Cited in Parr and Badger , Vol 3. The" J. Street Project" is a film and photography project with depictions of streets and street signs in Germany that incorporate the word ‘Jude’ (German for ‘Jew’). Hiller found a total of 303 signs in streets, lanes, roads, avenues and alleys scattered throughout the country. The work focuses on the dissonance between these mundane, everyday signs and the memories they trigger of a genocidal history. (...) For this factual, indexical project Hiller maintained a neutral seriality in her approach. Cumulatively, however, it becomes clear that the signs are loaded with the memory of Jewish presence in the locations, not just from modern times but from thousands of years of history. The tension between past and present (...)highlights the sense of absence and traumatic loss. The place names operate as memorials of erasure. Curator Renée Baert has written: The spectrum of dissonances in this work produces a constant oscillation – in the gaps and contradictions between the banal signs and terrible history they evoke; between their simple references and the complex associations they engender; between charming alleyways, leafy avenues, shady glens and the absence of Jewish communities amongst these Juden-pathways. Through discovering these street names distributed throughout the German landscape, Hiller has constituted at once a powerful commemoration and an unyielding interrogation. (Saidye Brofman Centre for the Arts 2006). Hiller has written of the work: "These street names are ghosts of the past, haunting the present. The street signs in my images explicitly name what’s missing from all of the places. I hope the work will provide an opportunity or meditation not only on this incurable, traumatic absence, but also on the causes of more recent attempts to destroy minority cultures and erase their presence".

New York: Harper's Bazaar, 1951. Large magazine format in original wrappers. 200 pages. Cover worn at spine and has been repaired neatly to spineends, wear to edges. Contemporary price stamp to front (see photos). Inside clean and bright and overall a very good solid copy. Super issue featuring: Ginger Rogers, Suzy Parker, Madame Bousquet, Pamela Churchill, Evelyn Tripp, Jean Babilee. Fashion designs by Piguet, Gres, Schiaparelli, Desses, Balenciaga, Dior, Lanvin, Patou and others. Photos by Henri Cartier-Bresson, Richard Avedon, Jean Moral, Karen Radkai, Lillian Bassman, Louise Dahl-Wolfe, Plucer, Kay Bell, Genevieve Naylor. Drawing by Saul Steinberg.

Rome: Accademia Nazionale di San Luca, 2018. Large heavy 8vo in stiff wraps as issued. 296 pages, richly illustrated. Text in both Italian and English. Fine clean copy. First edition. Scarce.

La Société des Expositions du Palais des Beaux-Arts de Bruxelles / Richter 1994 / 1995. Large heavy 4to in wraps as issued. 339 pages. In Dutch, French and captions in English. Some wear to spine (see photos) else very good clean copy.  First edition. Hard-to-find. - The Wide White Space Gallery was founded by Anny De Decker and Bernd Lohaus, a former student of Joseph Beuys, in Antwerp in 1966 and was managed by them both until it closed in 1976. Through its close collaboration with such artists as Joseph Beuys, Marcel Broodthaers, Lawrence Weiner, Carl Andre, Daniel Buren and Panamarenko, the Wide White Space Gallery became one of Europe's leading avant-garde galleries within the short space of only ten years. Published on the occasion of the exhibition Achter het museum - Derrière le muséee at Palais des Beaux-Arts de Bruxelles, 28.10.-31.12.1994 and MAC, galerie contemporaine des Musées de Marseille, april/may 1996. This publication contains interviews with Anny De Decker and Bernd Lohaus; with the artists Lawrence Weiner and Daniel Buren; with Johannes Cladders, the former director of the Abteiberg Museum in Monchengladbach; and with the collectors Martin Visser and Isi Fiszman. It gives a complete account of the Wide White Space exhibitions and, as such, constitutes an historical survey of contemporary art with special reference to its reception. It lists, for example, all the works shown at each exhibition, with all relevant particulars, and also supplements this information with, amongst other things, references to contemporary reviews, details and/or illustrations of the invitation cards and posters, and photos of the exhibition openings. Heavy item that may require extra shipping costs, please inquire before ordering this item!

Offset lithographic poster on heavy paper, signed in black marker by Serra 2003. 35 × 41 inches / 88.9 × 104.1 cm. Minor edgewear. Rolled.

New York: Hearst Magazines / Harper's Bazaar, 1939. Large magazine format in original wrappers. Some minor soiling to front cover right top, wrappers edgeworn and wear to spine (see photos) but solid. 172 pages, richly illustrated, and complete issue. In all a good / very good copy.  A very rare 1939 vintage Harper's Bazaar issue with original cover by A.M Cassandre, the legendary Art Deco poster artist. Photos by Louise Dahl-Wolfe, Munkacsi, among others.

Canada: Regina Campus, 1972. 4to in simple wraps. 93 pages. Some minor sunning to cover. Last page with a small tear else clean fine copy. More photos available upon request. First printing. - A rare copy of the original pre-publication version produced in Canada during Ken Friedman's period as artist in residence at Saskatchewan University's Regina Campus in March 1972. Friedman states in the foreword that the final version will have an introduction by Jorge Glusberg, of the Centro de Arte y Communicacion in Buenos Aires, and a SYMPOSIUM, in which Dietricht Albrecht, Tom Albright, Alison Knowles, Richard Kostelanetz, Lucy Lippard, Michael Morris, George Neubert, Jock Reynolds, Klaus Staeck, and Denis Wheeler is planned.

London & New York: Quartet Books, 1987. 4to. Original boards with unclipped, very fine photoillustrated dustjacket. 135 pp. Profusedly illustrated with photos of Charlotte Rampling by Helmut Newton, Jeanloup Sieff among others. Text in English. A hint of wavyness to pages and lower corners lightly dented else overall a good, clean anbd attractive copy. The book was printed in a German, a French and an English version. This, the English is the most sought-after. First edition.

New York: The Museum of Modern Art, 2011. Large heavy clothed decorated hardcover with jacket. 12-1/4 inches high by 9-3/4 inches wide. 288 pages, profusely illustrated in color and black & white. Very good copy. First edition. "The artists associated with German Expressionism in the early decades of the twentieth century took up printmaking with a dedication and fervor virtually unparalleled in the history of the genre. The woodcut, with its coarse gouges and jagged lines, is the preeminent Expressionist medium, but the movement also revolutionized etching and lithography, to alternately vibrant and stark effect. This graphic impulse can be traced from the formation of the artist group Die Brücke in 1905 through the war years of the 1910s and into the early 1930s, when individual artists continued to produce compelling work even as the movement was winding down. This volume, published in conjunction with an exhibition at The Museum of Modern Art, showcases the Museum's outstanding holdings of Expressionist prints, enhanced by a selection of drawings, paintings, and sculptures from the collection. Featuring approximately 260 works by some 30 artists, the book presents a diverse array of individuals, including Max Beckmann, Erich Heckel, Ernst Ludwig Kirchner, Emil Nolde, Vasily Kandinsky and Oskar Kokoschka. Essays by Starr Figura, Associate Curator of Prints and Illustrated Books at MoMA, and Peter Jelavich, Professor of History, Johns Hopkins University, discuss the centrality of printmaking in German Expressionism and provide a sociocultural backdrop for the movement.".

Lund / Lunds Konsthall: 1971. (7 x 17 cm). Double both side illustrated flipbook. [150] pp. Text in both Swedish and English. Somewhat worn but complete and solid copy. First and only edition of this rare and beautiful flipbook item by Shinkichi Tajiri, designed by Tajiri with Marianne Nanne-Bråhammar and Anders Österlin og John Melin. Photos by Violet Cornelius and Åke Hedström. Shinkichi Tajiri was born as Shinkichi George Tajiri on 7 December 1923 in Los Angeles. He was a versatile artist. Although he expressed himself in many disciplines, he made his contribution to Cobra as an experimental sculptor. In addition, he was a painter and also made photographs, films and computer drawings. With Tajiri, versatile also means internationally oriented: American because of his birthplace, Japanese because he was born to Japanese parents from an old aristocratic Samurai family, French because his artistic career started in Paris, and Dutch because he moved to the Netherlands in 1956. Innovative artists' book made in conjunction with exhibition at Lunds Konsthall, Malmö, during October, 1971. Functions as flip book, animating photographs of Tajiri blowing up a balloon alongside Swedish text. Reverse direction, contains hundreds of black and white photographs of Tajiri and his artworks alongside English captions. Tajiri was a Japanese-American artist who resided primarily in the Netherlands and was associated with Karel Appel and COBRA; this book also suggests a shared affinity with Fluxus.

Harper's Bazaar, 1950. Large magazine format in original wrappers. 210 pages. Edgewear to cover, mainly back cover, and minor wear to spine (see photos) but complete and overall a very good well preserved attractive copy. A rare original vintage Harper's Bazaar issue from the Carmel Snow Era, an absolute Supermagazine with Alexey Brodovitch as the art director and Diana Vreeland fashion editor. Cover by Richard Avedon. Contents include The Winter Season. Dovima in elegant Balenciaga black taffeta evening cape; photo by Richard Avedon. Always leave them laughing (Charlotte Greenwood, Hermione Gingold, Josephine Hall, Lucile Watson); photographed by Richard Avedon . The sash plays a leading part: Balenciaga evening dresses. Bright mules and jeweled T-straps. The open coat. Gray after dark. Dresses for the dance. The black of evening. Copycat furs. Short story by Truman Capote - A Diamond Guitar. Pale tints, petal textures. Countess Bernadotte of Sweden. Beatelund, old country estate. Sweater dresses and tops. Here comes the holidays. Ben Rose, Kay Bell layout etc etc. Many photos by Richard Avedon, Louise Dahl-Wolfe, Karen Radkai, Evelyn Hofer, among others.

London, The Bodley Head, 1966 (1965). Folio oversized tall hardcover in orginal grey boards with unclipped dustjacket. Unpaginated. Illustrated throughout and printed in Switzerland with fine saturated gravure prints. Jacket with edgewear and minor tears to edges and spine (see photos). Inside clean and bright. Overall a very good well preserved attractive copy. One of the most coveted and influential photography books of the swinging '60s. Included in 'The Open Book' catalogue of important photo books, 'Book of Nudes' (196) and Auer (449). First edition, 3rd printing.

C. W. Stincks Boghandel, 1881. 26 x 34,5 med ramme. Ramme noget slidt men solid. Med ældre ophæng. Diverse brugsspor. Julegaven til forkælede børn (og voksne) anno 1881. - Første vers af sangen "Den lille Ole med Paraplyen" af Peter Lemche er gengivet nedenfor fotoet. Fotografen Christian Peter Lauritz Wismer, født 1843 i Helsingør, død 1891 i San Francisco.

Mexico: Casa Luis Barragan, 2002. 8vo in wraps with yellow dustjacket with orange lettering (25 x 19 cm). 120 unpaginated pages, mostly illustrations. First edition, fine copy.  Rare.

Zurich: JRP Ringier, 2014.Large oversized and heavy 4to in wraps as issued. Some minor edgewear. 360 pages. Clean and overall a very good copy. First edition. "In designing this year’s annual report for Ringier, New York based concept artist Wade Guyton took a series of photographs to reduce one of his large works to 360 individual component pieces, which he then had bound between two book covers. As simple as that. Leafing through the 2014 Ringier annual report, the reader will be able to contemplate a whole succession of pages, each depicting one section of Guyton’s full-scale work 3031, which is 8.60 meters wide 2.75 meters high. Some of the pages are simply black, while others show traces of ink from the plotter against the original unadorned beige canvas. Large and small. A large whole and its individual small components. Black and white. Guyton’s concept inspires a whole range of possible associations. In this year’s edition, the annual report itself appears as a separate appendix, such as one might find in an art book. Here, too, Guyton creates a contrast between LARGE and small. The figures, the real core of the report, are LARGE, while the accompanying text is small. Colors have been dispensed with completely. Wade Guyton was born in the American Mid West. As a young man he moved to New York, where he took several jobs, including working as a guard at the Dia:Chelsea art center. From the very beginning of his artistic career, Photoshop and inkjet printers were central to the works he produced. Guyton, now 42, first became widely known for the large Xs that he printed onto pages of magazines and catalogs. By 2012, his work had already been recognized with a retrospective exhibition at the Whitney Museum in New York and has also been widely exhibited in Europe."

London: Andre Deutsch, 1960. 4to in original publishers black hardcover complete with the beautiful dustjacket. Jacket is somewhat edgeworn but unclipped and complete and now protected. Overall a very attractive clean and a well preserved copy. First UK edition. A major jazz photobook classic, finely printed. This British edition is identical to the American Doubleday version. Jacket design by George Maas.

Conde Nast /The Vogue Company, Continental Edition London & New York, 1923. Magazine in original wraps as issued. Illustrated richly in b/w and color. pp. XII, 18 -72 (= 66 pages = complete). Somefoxing and wear to spine and cover (see photos) and edges, and one cut-out page 21/22 else complete and overall good and solid copy. Contains the most beautiful ads and advices for women what to wear. Ultra rare and very beautiful original 1923 Vogue with Plank's Jugendstil Vogue Cover. George Wolfe Plank (1883-1965) was an American artist illustrator, chiefly remembered for his long-term association with Vogue Magazine, which resulted in years of covers in an Art Deco style related to that of Helen Dryden and influenced by, among others, Edmund Dulac.

Published by The Cambridge Enchorial Press, 2005. Quarto large oversized hardcover with jacket. 280 pages, profusedly illustrated. Edgewear to jacket else a clean and overall very good copy. "Helmut Krone (1925-96) was a leading seditionary in the Creative Revolution (1954-64) that transformed graphic design and advertising, i.e., his campaigns for Volkswagen & Avis ("We try harder"). The book contains 800 illustrations: Krone's work, the work which influenced him, and the work his superceded. Relying on primary sources, the book incorporates Krone's portfolios, notes, and manuscripts; the records at Doyle Dane Bernbach; the contemporary trade press; and nearly 150 interviews with colleagues, competitors, and other seditionaries. The book is conceived as the definitive primer, not only on Krone, but on the arrival of modern advertising art direction; the thinking behind it and the questions which Krone asked himself in order to provoke new meanings from design, typography and photography -- methods which continue to stimulate new and relevant solutions today". Due to size and weight extra shipping will apply for this item - please inquire before ordering!

Copenhagen: Povl Branner, 1933. 8vo. Uncut in original publishers wraps as issued. 195 pages, plus complete with all flipbook photos at end - 480 cinematographic illustrations arranged in flicker-book style. Minor exterior wear and foxing to mainly topedge, else a good to very good copy. With 50 plates and 480 so-called film-reels (flip-book images), with captions. First edition thus - published not long after the Dutch version. Van der Velde (1873-1937), a Dutch gynecologist and sexologist, made his fame by writing sexual "manuals", with for the time great frankness. This work deals with female body-culture, including a description of the sexual organs. The so-called film-stroken (film-reels) at end of volume, serve, when fanned quickly, "moving" pictures of the female [nude/sparsely clothed] body, a revolution in those days. Very scarce!

Gutenberghus - Egmont H. Petersens Fond, 1946. Indbundet i 3 private hardcover bind med alle omslag medindbundne. Rabat kuponer er klippet ud og krydsogtværs er løst ellers komplet og velbevaret sæt. Flere tusind sider. Rigt illustrerede. Enestående samling af, komplet fra det første nummer Oktober 1946 til og med December 1949. Initiativtager var direktøren for Gutenberghus, teatermanden og komponisten Dan Folke, og målet var at skabe en ny stil i ugebladenes verden og et blad, som "kunne fungere som en god veninde" for den selverhvervende, moderne kvinde. Ud over at underholde og holde læserne orienteret om det nyeste inden for mode, boligindretning, håndarbejde, madlavning osv. skulle bladet også give råd og vejledning — fx i forbindelse med kærlighed, ægteskab og børn (Danmarks Nationalleksikon).

Berlin / Leipzig: Verlag Otto Beyer, 1930. Large magazine format. Some edgewear to cover and a small star formed hole going through the magazine (see more photos). Else overall very good. 50 pages including covers. Complete magazine. Rare original super issue of the legendary periodical, which in the first years of publication like no other stood for the influence of the Bauhaus in magazine design. This issue with one the best Arpke covers. - ‘Between 1929 and 1943, an outstanding new lifestyle magazine called Die Neue Linie (“The New Line”) was published by Beyer Press in Leipzig. No other publication in this period was so consistent in bringing avant-garde typographic ideas to a mass audience, as leading graphic designers from the Bauhaus, including László Moholy-Nagy, Umbo and Herbert Bayer, steered the look of the magazine, whose contents combined fashion, literature, graphic design and art. Unembellished fonts, dynamic diagonals and dramatic use of photomontage were key to the journal’s striking appearance. Its authors included Walter Gropius, Aldous Huxley, Gottfried Benn and Thomas Mann; even the advertising pages, designed by Bauhaus veterans Herbert Bayer and Kurt Kranz, were always attractively composed. Despite widespread media conformity during the Nazi era, strangely Die Neue Linie was largely spared the regime’s sanctions." ( Patrick Rossler).

Lepzig & Berlin, Teubner, 1930. Large tall 8vo uncut and still unopened unread copy in publishers wraps as issued. 27x19. XX+216 pp. + 78 plates with 120 reproductions and photos + 2 pp. book list. Printed wrappers, a sensational fine copy of the scarce first edition. First edition, 1st printing = Studien Der Bibliothek Warburg # 18.

New York: Grove Press, Inc., 1968. Paperback with all edges red as issued. 451 (1) pp. Only minor wear to extremities else clean and overall a very good well preserved copy. First edition, first paperback printing (stated) of Warhol's first novel, an experimental collection of four word-for-word transcriptions of tapes recorded by Warhol and Ondine between 1965 and 1967. "A Novel", Warhol's knowing response to James Joyce's Ulysses, follows an uninterrupted twenty-four hours in the life of Ondine, an actor who was famous mostly as a Factory fixture, Warhol film superstar and devoted amphetamine user. Warhol hired four typists (including Maureen Tucker, the drummer for the Velvet Underground and two high school girls) to transcribe audio tapes of conversations between him and Ondine between 1965 and 1967 and the book is a verbatim printing of the typed manuscripts, containing every typo, abbreviation and inconsistency that the typists produced from the twenty-four tapes (each chapter is named for its respective tape and side, from '1/ 1' to '24/ 2'). In his glossary for the 1998 edition of a, A Novel, Victor Bockris cites Billy Name, the book's editor, as the source for the title; "a" refers to both amphetamine use and as an homage to e.e. cummings. a, A Novel was the second of several publishing projects Andy Warhol produced in his lifetime. Warhol wanted to be a writer but much like his film work, spontaneous performances and an explicit lack of editing was used as a device. Warhol wanted to write a "bad" novel, "because doing something the wrong way always opens doors." Four typists were employed to transcribe the Warhol/Ondine tapes. Maureen Tucker, the drummer for the Velvet Underground was an expert typist. However, she refused to transcribe the swear words and left them out. Two high school girls were hired to work on some of the tapes. When one girl's mother heard what they were listening to she threw out the tape, losing several hours of conversation. All four hired typists transcribed the dialogue differently, some identifying the speakers, others not. The editor for a, A Novel, Billy Name, preserved the transcripts as is, with every typo and inconsistent character identification, and even moving from two column pages to single-column based on each typist's style. The final printed version was identical to the typed manuscripts. The book is a roman a clef, meaning that the fictional characters are thinly disguised actual persons. The "cast" is itemized in the glossary written by Victor Bockris in the 1998 paperback edition. A run-down of the major characters in the book are: Ondine is Robert Olivo, a Warhol superstar. Drella is Warhol himself (he was nicknamed by Lou Reed as "Drella" because Reed felt it fit both sides of Warhol's persona, being a combination of Cinderella and Dracula).Steve is Stephen Shore, a photographer who worked with Billy Name. Paul is Paul Morrissey, who had just joined the group and would eventually become the director of Warhol's later films. Lucky L is Paul America, newly popular in the Factory crowd for starring in My Hustler. Gerard Malanga was the star of many Warhol films, and is the only person whose real name is used in the book. Taxine or "Taxi," is Edie Sedgwick, the great female Warhol superstar. A, a novel was the beginning of the end of their relationship. Ingrid is Ingrid Superstar, a Warhol Superstar, who was brought to the Factory to "replace" Edie in late 1965. Rink or "Rink Crawl" is Chuck Wein, responsible for bringing both Edie and Ingrid to the Factory. Irving Du Ball is Lester Persky, a film producer. Moxanne is Genevieve Charbon, a French actress who Edie met in Paris that year. Rotten Rita is Kenneth Rapp, who, with Ondine and Billy Name, made up the "A-heads Trio." Rita was also known as the Mayor, like Ondine was known as the Pope. The Duchess is Brigid Polk, whose real name was Brigid Berlin. She would be Warhol's companion for the rest of his life, although he did not take part in her only conversation in the book. Billy Name is Billy Linich, a photographer who worked closely with Stephen Shore. He was also the designer of the Factory. Do Do or "Do Do Mae Doome," is Dorothy Dean. She worked at The New Yorker in the 60s. The Sugar Plum Fairy is Joe Campbell (actor) who starred in My Hustler and Nude Restaurant. Ron Via is Ronnie Vial, a member of the underground. Oxydol is Olympio Vasconzalez, who starred in Conquest of the Universe with Ondine. Lou is Lou Reed of the Velvet Underground, whose album cover Warhol created.