newhouse jill (45 risultati)

Paper. Condizione: Good. Good paper copy ex. cat. 55 works listed many B/W illustrations throughout, price list laid in.

Paper. Condizione: Very Good. ExCat. Illustrates 22 wrks by 16 artists.

Paper. Condizione: Good. Paper ex cat Winter 1982, 32 pp., 34 b/w illus, price list laid in, lists 32 works, 1 pp text, list of represented artists on back cover of catalogue.

Paper. Condizione: Good. Paper, ex. cat., 40 pp, lists 55 works, 1 pp intro by both dealers, lists 18 works by Americans, 1 pp list of artists represented on back cover. Price list laid in.

Paper. Condizione: Good.

Paper. Condizione: Good. Good paper copy ex. cat. price list laid in, 43 B/W illus, 12 works not illustrated.

Paper. Condizione: Good. Good paper copy ex. cat. 15 illus. in B/W and 4/C.

Paper. Condizione: Good. Good paper copy ex. cat., 40 pp, lists and illus. in B/W 46 works 20 are American artists.

0 Includes illustrations. Very good. light shelf wear, ex museum stamp.

Paperback. Condizione: Very Good. No Jacket. Minor shelf and handling wear, overall a clean solid copy with minimal signs of use. Secure packaging for safe delivery.

Soft cover. Condizione: Very Good. Softcover staple bound, 16 pages, very good condition save for some pencil marks (price, inventory number) inside cover.

Paper. Condizione: Good. Good paper copy ex. cat, 24 pp, 1 paragraph of text, lists and illus. 21 works in B/W, 1 4/C illus. on front cover, price list laid in.

Paperback. Condizione: VG. Exhibition catalog. Many sepia-toned photographs. ALMOST IMMEDIATELY AFTER THE INVENTI ON of photography in 1839, painters in France began to use photographic imagery as study material. These works infiltrated the studio surreptitiously. The Beaux-Arts tradition, in which most painters were trained, required strict attention to preparatory drawing; hence, few self-respecting painters would acknowledge using images produced "mechanically." However, for centuries, artists had incorporated drawing "aids," such as the camera obscura or Lorraine glass, into their practice and were enticed by photographic cameras as well. By the iSyos, when Auguste Giraudon commissioned genre subjects, photographs were regularly found in the studio; but because the prejudice endured, it was understood from the outset that "Giraudon's artist" would remain anonymous. This hesitant reception of photographic imagery had to do with a general belief among the art elite that photography, assumed to be a rote mechanical process, threatened the sphere of the authorial, interpretive artist. In his "Realist Manifesto" of 1855, Gustave Courbet urged his followers to "translate the customs, the ideas, the appearance"1 of the epoch-a job seemingly suited to photography. However, in 1857, Champfleury, the Realist spokesman, framed the issue as man against machine, interpretation vs. imitation: "the reproduction of nature by man will never be a reproduction nor an imitation, it will always be an interpretation."2 So too, in his review of the Salon of 1859, Baudelaire, guardian of Romantic values, railed that photographic works were devoid of the artist's soul: "if [photography] be allowed to encroach upon the domain of the impalpable and the imaginary . so much the worse for us!"3 Despite the art establishment's negative consensus, photography, wildly popular with the bourgeoisie, inevitably made inroads. By 1859, advocates, including Eugene Delacroix, lobbied successfully for an annual photographic exhibition linked to the Salon des Beaux-Arts, while painters as diverse as Ingres and Courbet are known to have employed photographs in their studios. That photography could breed such anxiety, if only among the theorists, was related to an emerging cultural breach: the competing priorities between Romantic idealism and the new Positivist notions that promoted the supremacy and empirical description of the physical world. In the realm of art, even among those with a Positivist inclination, there was a looming fear that creativity would somehow be subsumed by science, and worse, that a mechanistic portrait of the world, seemingly manifest in camera images, would prevail. In an age that increasingly turned to science for answers, even artists who looked to their immediate, external environment for subjects assumed that it was important to preserve high art's function as a "window" to the metaphysical and transcendent aspects of existence, using it to tackle the issues that science could not explain. 30 pages. ages.

Gallery exhibition catalog, with 74 color reproductions of various artists, including Vuillard, Bonnard, Dufy, many more. -- Softcover. Condition: near fine.

Softcover. Condizione: Very Good. 1st. A selection of nineteenth-century French and American drawings and watercolors. 34 b&w plates, illustrated stapled covers. Light wear to cover edges, slight discoloration to spine and bottom front cover edge; otherwise, a very tight, clean copy.

Soft cover. Condizione: Fine. No Jacket. Catalog for Autumn 1998, with 22 drawings by Pierre Bonnard, Jules Breton, Gustave Caillebotte, Thomas Sidney Cooper, Jean-Baptiste-Camille Corot, Edgar Degas, Eugene Delacroix, Alexandre Desgoffe, Paul Gauguin, Theodore Gericault, Jean-Auguste Dominique Ingres, Johann Barthold Jongkind, Adolf Von Menzel, Jean Francois Millet, Hubert Robert, Theodore Rousseau. About 44 pages, 9 x 9".

Unbound. Condizione: Near Fine. No Jacket. Plates by four artists: Adolph Von Menzel (German), J.B.C. Corot (French), Theodore Gericault (French), and Sir Edward J. Poynter (British). Trifold; 8" x 8". Light rubs and bumped corners on outside; pages clean inside. A lovely copy. Art Catalog.

Soft cover. Condizione: Good. 1st Edition. very rare, illustrated gallery exhibition catalog ; includes price list insert.

Condizione: Very Good. Condizione sovraccoperta: None. 24 pages. Features black & white examples of drawings by: William Holbrook Beard, Stanford White, William Morris Hunt, Jules Laurens, Anthony Devis, Francois Auguste Ortmans, James David Smillie, Edouard Bertin, and more. Covers show light wear. Record # 610026.

Paperback. Condizione: Fine. New York: Beacon Hill Fine Art, 1997. 42 pages; checklist of 85 works; 18 color illustrations of oils and watercolors; 16 illustrations of pencil on paper drawings; essay by Linda Ferber, recognized expert on the life and works of the artist. Pictorial Wrapper (softcover). Fine. Oblong 8vo. Exhibition Catalogue.

paperback. Condizione: Good. Good paperback, bumped/creased with shelfwear; may have previous owner's name inside. Standard-sized.

Softcover. Condizione: Very Good+. First Edition; First Printing. Stapled glossy boards, clean and square, mild shelf rubbing. Book is firm in binding, 26 pages, b&w plates. Free of any markings, not ex-library. ; BARBIZON; Square 4to 9" - 11" tall; 26 pages.

Softcover. Condizione: VG. White stapled wraps. 16 pp. 14 bw repros. Issued in conjunction with a 1981 exhibition featuring landscape and figurative drawings by American artist James D. Smillie (1833-1909). With one page of biographical information. Catalogue lists 46 works with dimensions and annotations. A nice introduction to this artist.

Softcover. Condizione: VG. Slate wraps. [28] pp. 12 bw plates. Essays by Alexandra Murphy and Michael Schulman, annotated, illustrated catalogue of 12 works.

Paperback. Condizione: Good. one big folding card, has a checklist for the 14 pictures and a biography; good overall, plus; only slight shelfwear.

Softcover. Condizione: VG. Yellow wraps. [20] pp. 13 bw plates. Essay by Colin Eisler.

Softcover. Condizione: VG. White illus. tri-fold; 6 panels; 7 plates, 5 color, 2 duotone. Published in conjunction with the "Los Angeles Art Show, Five Centuries of Art" held January 23 - 27, 2008 in Santa Monica; Neffe-Degandt / Jill Newhouse held Booth B22; Contains plates by Albert Marquet, Henri Matisse, Kees Van Dongen, Raoul Dufy, Edouard Vuillard, Edgar Degas, and Bonnair.

Soft cover. Condizione: Very Good. New York, New York: Beacon Hill Fine Art, 1996. Softcover. Brown & color illus. wraps. 41 pp. 4 bw, 34 color plates. VG. Issued in conjunction with a 1996-1997 exhibition of these "found" art pieces rendered by American landscape artist William Trost Richards (1833-1905). With an illustrated essay by Linda Ferber, and introductory remarks by Debra J. Force and Jill Newhouse. The catalogue lists 85 works. 17 drawings are illustrated; 19 oils and watercolors.

Softcover. Blue illus. stapled wraps. [40] pp. 43 bw plates. From the introductory note. "The fifty-five works represented here in our second catalogue constitute a sampling of the art of the nineteenth and early twentieth centuries in France and America. To this general selection we have added a special group of American still life drawings and watercolors chosen in cooperation with Jeffrey Brown of North Amherst, Massachusetts." Good (Sunning at spine; Some light rippling and staining due to water or other liquid).

Softcover. Condizione: VG. Light green wraps. [48] pp. 46 bw plates. A diverse selection of french and American works from the 19th and 20th centuries.