Geismar thomas (17 risultati)

Decorative Canvas Hardcover. Condizione: Good. No Jacket. Published August 1946. 712 pp. Solidly bound copy with moderate use. No dj. Fraying on fore edge of front cover board. Slightly bumped cover board corners.

Hardcover. Condizione: Poor. No Jacket. Boards are moderate to severely edgeworn. Binding is so loose that the book will stay open to any given page. Shows more than the usual amount of shelf wear. Please note the image in this listing is a stock photo and may not match the covers of the actual item. Book.…

Hardcover with dustjacket in illustrated slipcase; unpaginated; very good condition; light rubbing to slipcase; book as new; clean and crisp; no internal marks. Shipping will be extra for this oversize book.

Hard Back/Hard Cover. Condizione: Book Very Good. No Dustjacket. First in This Edition. 712 pages. Very clean light brown binding with dulled gilt titles to spine & small decoration to front. Ink stamps to front endpapers. Page-edges lightly yellowed o/w contents very clean & tidy.

Hardcover. Condizione: USED Good. Former library copy.

Hardcover, 8vo, green cloth, stated 1st edition, 712pp, Very Good minus in Good dust cover, dj has moderate edge wear with no sizable chips lacking, still nice on brodart cover. 27 pp intro by Geismar. Scarce edition.

Hardcover. Condizione: Like New. As new dust jacket. First edition. Fine copy. As new in as new dust jacket and box. Folio. Dramatic and compelling catalog. Binding is tight, sturdy, and square. Ships from Dinkytown in Minneapolis, Minnesota. Due to the size/weight of this book is not available for expedited/priority shipping; extra charges to apply for international shipping.…

Hardcover. Condizione: New. BRAND NEW, STILL IN SHRINK WRAP. MULTIPLE COPIES AVAILABLE. This work presents a private collection of American folk art sculpture. Weather vanes are the focus of this collection of mostly 19th-century pieces, but included are ship's figureheads, decoys, and a painting of a stalking tiger, reproduced in a four-page gatefold. All the sculpture has been specially photographed for this book, with many pieces shown in double page spreads and from multiple perspectives. An illustrated catalogue includes descriptive captions and provenance, and this is repeated and provided loose in a plastic sleeve attached to the binding, ready to be removed and referred to alongside the plates. An introduction sets the collection and specific works in the context of American folk art history.…

Hardcover. Condizione: Fine. Condizione sovraccoperta: Very Good+. Book and dust jacket have been lightly worn, rubbed, and soiled. Includes VG+ slipcase and a separate catalog of contents inserted at back of book.

Condizione: Very Good.

Hardcover. Condizione: Good. Cloth/no dust jacket Octavo. green cloth, gilt lettering, 712 pp, cover lightly frayed at the edges, markings in pencil throughout text Standard shipping (no tracking or insurance) / Priority (with tracking) / Custom quote for large or heavy orders.

Soft Cover. Condizione: Very Good. 3rd Printing: March 1993. 240 pp. Over-sized and/or over weight book; may require extra postage. Please note that large and/or heavy items may incur an additional shipping charge. A great, almost spotlessly clean copy! Solidly and tightly bound, essentially and nearly flawless copy with minimal internal and external wear and use. Copy with crisp pages, clean text, and light shelf wear. Smooth covers. Relevant materials included from previous owner. Thomas Geismar (Cover Design) (illustratore).…

Soft cover. Condizione: Very Good. 1st Edition. First edition, first printing of this landmark document in the history of twentieth century graphic design and environmental wayfinding. 4to (8.5" x 11"), printed wrappers, 228 unnumbered pages, b/w and two-tone illustrations. Prepared by the American Institute of Graphic Arts for the U.S. Department of Transportation and published in November, 1974 as DOT-OS-40192, Symbol Signs codified the now-ubiquitous system of passenger and pedestrian pictograms used in airports, railway stations, and public facilities throughout the world. The report presented the initial set of thirty-four transportation symbols that would become the foundation of the internationally recognized AIGA/DOT symbol system. Committee members included Thomas Geismar, Seymour Chwast, Rudolph de Harak, John Lees, and Massimo Vignelli, with additional research and development by Roger Cook and Don Shanosky. Although no individual design credit is given, the publication itself stands as an exemplary artifact of 1970s American modernist information design, its austere typographic program strongly recalling the visual language associated with Vignelli and Unimark during the period. An increasingly desirable primary source for collectors of graphic design, signage, and modernist visual culture. From the library of NYC-based graphic designer David Leigh, with his stamp on the title page and the bottom edge of the text block, and his nomenclature on the spine (Symbol Signs/DOT). Creasing to spine. Moderate bumping and rubbing to extremities, with chipping to bottom edge of rear wrapper. Moderate bumping and rubbing to extremities. Contents near fine.…

dj. Very Good (covers nice, contents clean & tight); little wear (few nicks; short, closed tear front cover) d/j. 12mo., grey cloth in dust jacket; 712 pages First Edition, first printing. With "1946" on the title page and "Published in August 1946" on the copyright page. Edited by Maxwell Geismar (illustratore).…

Couverture rigide. Condizione: bon. RO60107450: 1946. In-12. Relié. Bon état, Couv. convenable, Dos satisfaisant, Intérieur acceptable. 712 pages. Tranche jaune (légèrement passée). . . . Classification Dewey : 420-Langue anglaise. Anglo-saxon.

Small Glazed Bds. w/o. Dj. First Editions. Two beautiful children's books designed by the great designer Chermayeff who uses bright colorful shapes in bold designs to teach children about snakes, birds and other creatures. Irresistible. Published without dustjackets. Both books are fine and are being sold as a collection. Press release for a gallery exhibition of Chermayeff's collages laid in. Book.…

12 pp.; 28 x 21.6 cm; loose leaves; black-and-white; edition size unknwon; unsigned and unnumbered; photocopy / xeroxed Exhibition brochure / checklist published in conjunction with show held May 1 - July 23, 1993. Curated by Jean-Noël Herlin, with research by Karen Bubb and Sarah Wagner. Selected artists include Jean-Noël Herlin, Karen Bubb, Sarah Wagner, Wolfgang Paalen, Tom E. Lewis, Joseph Cornell, Laurence Vail, A. Raymond Katz, Irving Kriesberg, Yves Tanguy, Piet Mondrian, Fernand Léger, Claude Bentley, David Smith, Matta, Jean Follett, Pablo Picasso, Marcel Duchamp, Robert Brownjohn, Ivan Chermayeff, Thomas Geismar, George Brecht, Jim Dine, Claes Oldenburg, Jim Davis, Elaine de Kooning, William T. Wiley, Frank Stella, Man Ray, Red Grooms, Michael Todd, Ay-o, George Ortman, Nam June Paik, Harry Soviak, Arni Hendin, Thomas Downing, Gerald Oster, Reginald Neal, Dakota Daley, Nicholas Quennell, Bela Julesz, Michael Noll, Dan Flavin, Louise Nevelson, Peter Saul, Lila Katzen, Elaine Sturtevant, Kim MacConnel, Liliana Porter, Mel Bochner, Lawrence Weiner, Eleanor Antin, Jean Dubuffet, Yoko Ono, Larry Bell, Marilyn Levine, Larry Rivers, Susan Weil, Arman, Dorothea Rockburne, Robert Rauschenberg, Robert Kushner, Lynda Benglis, Marcia Hafif, Joan Miró, Karole Armitage, Beverly Naidus, Meret Oppenheim, Ronnie Cutrone, Keith Haring, Michael Graves, Judith Shea, Gordon Matta Clark, James Lee Byars, Louise Lawler, and Izhar Patkin, and many others. Materials presented drawn largely from the Jean-Noël Herli Archive. "Exhibition invitations? I've seen a few. Any working art critic inevitably acquires an extensive knowledge of this genre of printed ephemera. Heralding gallery and museum shows, invitations flood the mailbox, crowd the desk and all too often accumulate so intractably on the kitchen counter as to seem part of the decor. You can't live with them, and until the show is over, you can't throw them out. Still, life without such art-world byproducts would be a lot more difficult. Not only do they convey the important facts -- the who, when and where -- of shows that need to be seen. They're also advertisements bent on seducing us into attendance by being clever, eye-catching or provocative -- although sometimes they nip interest in the bud. (There's probably no art lover with mailing-list credentials who hasn't held up some gallery announcement and said, "Forget it!") Invitations are style statements in a minor key, ancillary artworks of a collective sort. Designed by artists, by graphic designers, by art dealers and museum curators -- usually a combination of the above -- they are the advance guard for the real thing. Their merit is judged in the very act of reading one's mail." -- Roberta Smith, "Art Invitations As Small Scraps Of History," New York Times, May 16, 1993. Very Good. Light edge wear. Contents clean and unmarked.…