cubist (12 risultati)

Hardcover. Condizione: As New. Condizione sovraccoperta: Fine. Jacket art by Bob Scott, AND (for "Jade Woman") cubist jacket painting by John Jinks (illustratore). 1st Edition. "The Very Last Gambado" states "First Edition: September 1990." Number line complete 10 9 8 7 6 5 4 3 2 1 -- the first printing. A small, light brown smudge to top page edges, but nonetheless as-new unread.(Boards resist opening past 60 degrees.) "Last Gambado" is inscribed to book collector Wayne Warga and signed "Jonathan Gash" in blue ink to the title page. (Our second volume, Jade Woman," is a jacketed hardcover Book Club Edition -- no printing stated; no ISBN found. "Jade Woman" is NOT signed.) Englishman John Grant made himself a successful career as a medical doctor, specializing in tropical diseases. Then he decided to see if he could also make a success in a second career, writing mystery novels set in the world of the antique dealers (and fakers) with whom he'd become familiar while working his way through med school in the antique and junk shops of London's Portobello Road. "The Judas Pair" -- written under the pen name of Jonathan Gash -- was a huge success, and the Lovejoy series eventually even gave birth to a television franchise, starring Ian McShane. So is it really the place of those of us who can claim no such chain of triumphs to complain that by the time Mr. Grant (Gash) gets to these, the 12th and 13th in the series, the formula by which he lards on the complexities, the number of hastily-sketched walk-on women and villains (and occasionally women villains) chasing our poor, down-on-his-luck antiques divvy across East Anglia (or Hong Kong) begins to seem a bit labored? The antique trivia and expertise are still here, as is the charming conceit that Lovejoy -- despite his unerring ability to recognize a valuable antique where others see nothing but dusty junk -- can never seem to keep so much as his electric bill paid, as he constantly fails in his efforts to be a better crook and less of a soft touch for the latest victimized widow. We enjoyed this one better on the second reading, though the sturm und drang endings do grow increasingly far-fetched. (In "Gambado," Lovejoy is hired as an "antiques consultant" by a movie crew filming a -- supposedly fictional -- heist at the supposedly invulnerable British Museum. Needless to say, skullduggery ensues.) 275 pp. and 210. pp., respectively. Two Jonathan Gash hardcover Lovejoy mysteries in jackets, combined into a lot to consolidate shipping charge, the pair now reduced from $20. Signed by Author(s).

Hardcover. Condizione: Fine. Condizione sovraccoperta: Fine. 1st Edition. A Fine copy in a Fine dust jacket. Cubism and Fashion demonstrates how the fundamental traits of Cubist art were translated into fashion during the critical years from 1908 into the early 1920s and how Cubism has continued to influence designers even to the present. This volume, by juxtaposing art and fashion, shows how many of the most glittering and elegant dresses of the teens and twenties benefited from Cubist concepts. Significantly, this book does not extol rudimentary drawings for apparel by Cubist artists, but rather presents a critical study of the most accomplished creations by Poiret, Vionnet, Chanel, and other premier designers who assimilated Cubist principles. Here their work is shown next to art works by Georges Braque, Robert Delaunay, Juan Gris, Fernand Léger, Pablo Picasso, and other seminal artists of the early twentieth century. Martin argues that the influence of Cubism has been at least as powerful for fashion as it has been for bringing about a new way of seeing in the fine arts. During the teens fashion made its transformation from a full, rounded, static, and exaggerated shell built on the human body to a soft, dynamic cylinder revealing the body and reveling in flatness. Includes 147 illustrations of which 132 are in color.

2 pages of text, 14 plates. - Publisher's titled white softcover; large-4to.(ca. 32 x 24 cm). *** [Ausklingender FRÜHLINGS-VERKAUF bis Donnerstag, den 14.05.2026 / Expiring SPRING-SALE until Thursday, May 14, 2026: um über 45% REDUZIERTER PREIS / PRICE-REDUCTION of over 45%; ehemaliger Preis / previously EUR 85,-] --- FIRST EDITION, LARGESIZE SOFTCOVER ORIGINAL. - Coverframe slightly sunned, left side of frontcover slightly spotty; else a very good copy of the fragile publication.

Softcover, Pictorial. Condizione: Very Good, Vintage. Condizione sovraccoperta: No Dust Jacket. Full Color Illustrations (illustratore). Indexed. Folio Paperback : soft cover edition in very good to better condition, a typical used book with slight wear to edges and spine. Overall good / nice copy of this scarce title. Excellent reading on the subject. A good book to enjoy and keep on hand for yourself. Or would make a GREAT GIFT for the fan / reader in your life. Reading is one of the great pleasures in life. Please send us a note if you have any questions. Thank you. Book.

Soft cover. Condizione: Near Fine. 1st Edition. Scarce and desirable. Signed and dated Oversize wrappers. Some chipping, curling Separation at gutters front and back. Published by Rudge. Signed by Author(s).

Condizione: In good condition. Illustrated with reproductions of Cubist-Expressionist paintings and graphics of the author. (illustratore). Illustrated with reproductions of Cubist-Expressionist paintings and graphics of the author. In publisher's illustrated cloth. The two volumes bound together. 205; (23)213 p. with 8 plates. György Szántó (18931961) studied architecture, later he worked as costume and scenic designer at Kolozsvár (Cluj). Szántó planned to be a painter but he was injured in WWI on his eyes which partly blined him. Between 19251926 edited one of the most important Eastern-European Avant-garde periodicals the "Periszkop". This book is his autobiographical novel of the years between 19211931 and also gives a portray of Hungary and Transylvania of the time. Describes how Szántó gave up his hope to be a painter as an outcome of his injury in the war. Traces the stories of the most important Hungarian Avant-garde and Modernist periodicals like Ma, Periszkóp, Diogenész and Korunk. Presents relevant facts of the life of Lajos Kassák and Zoltán Fábry. . In publisher's illustrated cloth. The two volumes bound together.

Paper wraps. Condizione: Good. Condizione sovraccoperta: none. Gontcharova and Larionov (illustratore). 1st Paris. Paris, Art Editions "The Target", 1920. Goncharova Natalia (1881-1962) and Mikhail Larionov [Russian Cubist Painter, (1881-1964). Khudojestvienoe izdatelstvo "Michen". [Art Editions "The Target"]. 13, rue Bonaparte. Paris. 1920. 8vo (24 x19,5 cm), (27) ff. : flexible printed card covers. Two plates by Gontcharova, six plates and a small illustration by Larionov, refined typography. Natalia Gontcharova (1881-1962) was one of the most famous artists of the Russian Avant-garde. Trained in Moscow where she met Larionov (1881-1964), he was to become her life companion. She contributed to a great number of important exhibitions and both Gontcharova and Larionov played a crucial role in the development of Russian art. They settled down in Paris shortly before the present edition, became French citizens in 1938 and got married in 1955. Larionov exhibited his Rayonnist works at The Target exhibition in 1913 in Moscou. . The illustrations by Larionov showed his freedom in changing from one style to another within the same book as he liked to do in 1912-1913. Name chosen by the bookseller Jacques Povolozky for his publishing house. The most striking work of the symbolist poet Alexandre Blok (1880-1921), the twelve red guards representing the new world. Printed by "Union", The most outstanding work of the poet ALEXANDRE BLOK (1880-1921), the 12 red guards are comparative with the Les Scythes are also a poem announcing the revolution. Also the production of the plates reflect on the loss of his brother, a soldier in the red army. The illustrations of Larionov showed his freedom in changing from one style to another within the same book as he liked to do in 1912-1913. The style of Goncharova is more conventional and more assured than her previous illustrations. Originally published by the ÃÂ ditions of d'art La Civile 1923 at the Union Printing House. Moscow. Goncharova, Larionov. Centre Pompidou. Paris. 1995. The most outstanding work of the poet ALEXANDRE BLOK.

Paper wraps. Condizione: Good. Goncharova, Mikhail Larionov (illustratore). 1st. Paris, Mishan Publishing Co. Editions d'art "La Cible., 1920. Khudojestvienoe izdatelstvo "Michen". [Art Editions "The Target"]. 13, rue Bonaparte. Paris. 1920. 8vo (24 x19,5 cm), (27) ff. : flexible printed card covers. This book contains the two most famous poems of Alexander Block, One of Russia's most famous poets. Two plates by Gontcharova, six plates and a small illustration by Larionov, refined typography. Natalia Gontcharova (1881-1962) was one of the most famous artists of the Russian Avant-garde. Trained in Moscow where she met Larionov (1881-1964), he was to become her life companion. She contributed to a great number of important exhibitions and both Gontcharova and Larionov played a crucial role in the development of Russian art. They settled in Paris shortly before the present edition, became French citizens in 1938 and were married in 1955. Larionov exhibited his Rayonnist works at The Target exhibition in 1913 in Moscow. . The illustrations by Larionov showed his freedom in changing from one style to another within the same book as he liked to do in 1912-1913. Name chosen by the bookseller Jacques Povolozky for his publishing house. The most striking work of the symbolist poet Alexandre Block (1880-1921), the twelve red guards representing the new world. Printed by "Union", The most outstanding work of the poet ALEXANDRE BLOCK (1880-1921), were The TWELVE Red Guards and THE SCYTHIANS Both are poems announcing the revolution. Goncharova, Larionov. Centre Pompidou. Paris. 1995.

No Binding. Condizione: Fine. Cubist Masters, 1929pochoir reproductions limited edition. Juan GRIS (1929. Numbered edition #1155.) Pochoir; paper size 10"x 8". From: L'Art Cubiste, Théories et Réalisations, Etude Critique, 1929. Published by Éditions Charles Moreau, Paris, 8 Rue de Prague, in 1929; printed by Atelier Daniel Jacomet, Paris in 1929. This work was set and printed in Didot typeface family (originated by Firmin Didot begun about 1764) and printed in May 1929 by Ducros and Colas, Maîtres-Imprimeurs in Paris. This is a numbered edition of unstated limitation, though the print offered here is copy #1155.

No Binding. Condizione: Near Fine. Cubist Masters, 1929pochoir reproduction limited edition. Louis Marcoussis. (1929. Numbered edition #1155.) Pochoir; paper size 8"x 10". From: L'Art Cubiste, Théories et Réalisations, Etude Critique, 1929. Published by Éditions Charles Moreau, Paris, 8 Rue de Prague, in 1929; printed by Atelier Daniel Jacomet, Paris in 1929. This work was set and printed in Didot typeface family (originated by Firmin Didot begun about 1764) and printed in May 1929 by Ducros and Colas, Maîtres-Imprimeurs in Paris. This is a numbered edition of unstated limitation, though the print offered here is copy #1155.

No Binding. Condizione: Fine. Cubist Masters, 1929 pochoir reproductions numbered edition. Georges BRAQUE. (1929. Numbered edition #1155.) Pochoir; paper size 10"x 8". From: L'Art Cubiste, Théories et Réalisations, Etude Critique, 1929. Published by Éditions Charles Moreau, Paris, 8 Rue de Prague, in 1929; printed by Atelier Daniel Jacomet, Paris in 1929. This work was set and printed in Didot typeface family (originated by Firmin Didot begun about 1764) and printed in May 1929 by Ducros and Colas, Maîtres-Imprimeurs in Paris. This is a numbered edition of unstated limitation, though the print offered here is copy #1155.

4to. 1¾ pp. To an "Editorial Board": "What you asked me in your last letter represents the hardest task for me. I am a badly organized and lazy person in regards to anything that is not related to my direct work, which is sculpture. There is enough literature, a few monographs, and lots of magazines and newspaper articles, but to put it all together is beyond my ability. I will send you the one that I received recently as an example. Incidentally this is one is flattering, but there are a few that are not so rewarding. Anyway - all that is not really important. I believe that the day will come when the contour of my art will become clear. Meanwhile, for those who want to know from where I came and how old I am - here is my short autobiography. I was born on 30th of August (new style) in v[illage] Druskeniki; Grodno county, in a pious Jewish family. I studied at vocational school in Vilna and in 1909 went to Paris to study scultpure (I did some as a self-taught since my early childhood). So I have lived here since that time, I even became a naturalized French citizen. I studied at the Academy and since 1912 have had several exhibitions in different salons, but not many. I did have a personal exhibition at the Rosenberg gallery in 1920 and a second one, very extensive in 1930. My works are in different personal collections and museums. There is not much exciting in happening in my life. That's all. With all my respect [.]". - Though Pablo Picasso is credited with creating Cubism, Lipchitz advanced and further interpreted the style by applying the principles of Cubist painting to sculpture. When he moved to Paris in 1909, he became acquainted with Picasso, as well as fellow sculptors Juan Gris and Alexander Archipenko. During this time he created Cubist sculptures including his "Sailor with Guitar". In 1924, Swiss avant-garde architect Le Corbusier built a studio for Lipchitz on the outskirts of Paris, whence our letter was written. By the time the Nazi's occupied France, forcing Lipchitz to move to the U. S., he was known around the world. - Folded with a small vertical fold tear at the upper edge and four file holes in the margin not affecting the text. With a moderate amount of foxing and some uneven age toning on the recto. A fragment of paper headed "Le Musée" is affixed to the upper left corner.