Armory 1913 (191 Ergebnisse)

Buch. Zustand: Neu. Neuware - 1911 schuf der deutsche Bildhauer Wilhelm Lehmbruck seine einzigartige 'Kniende' in Paris. Die anmutige Dame reiste sofort: 1912 in die Sonderbund-Ausstellung nach Köln, 1913 zur Armory-Show nach New York. Seither erlebt diese bedeutsame Plastik einen erstaunlichen Wirkungserfolg. Sie ist das Kunstwerk zwischen Fin de Siècle und Expressionismus, sie ist die Figur zwischen dem 19. und 20. Jahrhundert, ein zentrales Symbol der Moderne. Die vielschichtige und variantenreiche Geschichte dieses Motivs in der Skulptur und Zeichnung ihrer Zeit zeichnet dieser üppig bebilderte Katalog nach. Paris 1912, im Energiefeld zwischen Rodin, Brancusi, Cézanne, Matisse und Duchamp schafft der Künstler aus Duisburg ein Schlüsselwerk der Skulptur im 20. Jahrhundert. Zugleich dokumentiert der Band das bunte Pariser Künstlerleben Anfang des 20. Jahrhunderts zwischen dem Café du Dome und dem Sale 41 des Salon des Indépendantes, in denen sich Wilhelm Lehmbruck und andere bedeutende Künstler der Zeit austauschten- Eine einzigartige Skulptur aus Deutschland- Umfassende Geschichte eines Motivs - Pariser Kunst und Kultur um 1912Ausstellung: 24. September 2011 bis 22. Januar 2012 im Lehmbruck Museum, Duisburg.

Tapa Blanda. Zustand: Muy Bien. Sus comienzos fueronimpresionistas. Sólo tenía veintiún años de edad cuando su obra tituladaLa Seine à Asnières (El Sena en Asnières)se exhibió en la Société Nationale des Beaux-Arts en 1902. Al año siguiente participó en el primerSalon d'Automney pronto cayó bajo la influencia deFernand Léger,Robert Delaunay,Jean Metzingery Henri Le Fauconnier. En 1907 Gleizes y algunos de sus amigos persiguieron la idea de crear una comunidad autosuficiente de artistas que le permitirían desarrollar su arte libres de toda preocupación comercial. Durante casi un año, en una gran casa enCréteil, Gleizes junto con otros pintores, poetas, músicos y escritores, se reunieron para crear. La falta de ingresos les forzó a abandonar el lugar a principios de 1908 y Gleizes se trasladó temporalmente a La Ruche, la comuna artística del barrio deMontparnasseen París.En 1910 se integró en elcubismo, del que fue uno de sus primeros y más importantes teóricos junto aJean Metzinger. Expuso en elSalon des Indépendantsde París de aquel año. Más tarde colaboró con Metzinger escriBiendo en 1912, la obraSobre el cubismo y los medios para comprenderlo, dotándolo de bases teóricas y estéticas. En otoño de ese año, junto a Metzinger se unió alGrupo de Puteaux, también conocido comoSection d'Or, dirigido porJacques Villony su hermanoMarcel Duchamp. En febrero de 1913, Gleizes y otros artistas introdujeron el Nuevo estilo de pintura entre el público estadounidense en el Armory Show deNueva York.Con el estallido de laPrimera Guerra Mundial, Albert Gleizes se realistó en el ejército francés. Le asignaron la tarea de organizar entretenimiento para las tropas, y como resultado de ello se le acercóJean Cocteaupara diseñar el escenario y los vestuarios para la obra deWilliam Shakespeare,Sueño de una noche de verano. Licenciado del ejército en el otoño de 1915, Gleizes y su nueva esposa, Juliette Roche, hija de un prominente y rico estadista francés, se trasladó a la ciudad de Nueva York. Desde allí, la pareja se embarcó haciaBarcelonadonde se les unióMarie LaurencinmásFrancis Picabiay su esposa. El grupo pasó el verano pintando en la zona turística deTosa de Mary en diciembre Gleizes tuvo su primera exposición individual de sus obras en lasGalerías Dalmauen Barcelona. Al regresar a Nueva York, Gleizes comenzó a escribir composiciones poéticas en verso y en prosa. Viajó a lasBermudas, donde pintó una serie de paisajes, pero cuando acabó la guerra en Europa, donde su carrera evolucionó más hacia la enseñanza a través de sus escritos y se vio involucrado en el comité de lasUnions Intellectuelles Françaises.En 1923 publicó, ya en solitario, la obraLa pintura y sus leyes, en la que anuncia el regreso del arte religioso y revaloriza la producción artística medieval.Soñando aún con sus días de comuna en Créteil, en 1927 fundó una colonia de artistas en una casa de alquiler llamadaMoly-Sabataen Sablons cerca de la casa familiar de su esposa en Serrières en el departamento deArdèche, en el valle delRódano.En 1931, Gleizes participó en el comité deAbstraction-Créationque actuó como un foro para elarte no representativointernacional. Para entonces, su obra reflejó el fortalecimiento de sus convicciones religiosas y en su libro de 1932,La Forme et l?histoireexamina el artecelta,románico, yoriental. De gira porPoloniayAlemania, dio conferencias tituladasArt et Religion, Art et ProductionyArt et Sciencey escribió un libro sobreRobert Delaunaypero nunca se publicó. En 1937, Gleizes fue contratado para pintar murales para laExposición General de segunda categoría de París (1937)en laExposición Universal de París. Colaboró con Delaunay en elPavillon de l'Airy conLéopold SurvageyFernand Légeren elPavillon de l'Union des Artistes Modernes. A finales de 1938, Gleizes se ofreció voluntario para participar en los seminarios gratuitos y grupos de discusión creados por Robert Delaunay en su taller de París.A finales de los años 1930, la acaudalada aficionada al artePeggy Guggenheimcompró mucha obra artística nueva en París, incluyendo obras de Albert Gleizes. Se llevó estas obras a los Estados Unidos, y hoy en día forman parte de lacolección Peggy Guggenheim. Durante laSegunda Guerra Mundial, Gleizes y su esposa permanecieron en Francia bajo la ocupación alemana. Sus convicciones religiosas se ahondaron y al final de la guerra fue aclamado por algunos como el autor que estableció los principios para la renovación del arte religioso. En 1948, Gleizes aceptó la oferta de un editor deCasablancapara crear una serie de dibujos ilustrando losPensées sur l'Homme et DieudeBlaise Pascal. En 1951, fue nombrado jurado del Premio de Roma y el gobierno de Francia le premió con laLegión de Honor. En 1952, hizo su última gran obra, un fresco tituladoEucharistque pintó para la capillajesuitaenChantilly.Albert Gleizes murió enAviñón,Vaucluseen 1953 y fue enterrado en el mausoleo de la familia de su esposa en el cementerio de Serrières. Libro, Book, Buch. Livre.

Zustand: New.

Taschenbuch. Zustand: Neu. Neuware - This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.

Hard Cover. Zustand: Very Good. Zustand des Schutzumschlags: Good. Brown paper covered boards in unclipped jacket. 212 pp. Black and white reproductions of art throughout, with a small section of color plates. A work issued in conjunction with a 50th anniversary exhibition of the noted 1913 "Armory Show" in which modern art was on display to Americans, creating an uproar. This book includes a reprint of the 1913 catalog issued for the show, as well as documenting its reception. Also present is a history of many of the pieces included in that show. GOOD jacket on a VERY GOOD book. Moderate to heavy chipping, tearing and creasing along the extremities, with some loss of jacket in several areas. General toning, with some soiling, minor staining, scuffing and creasing. Minor fading, scuffing, soiling and edgewear to the book.

Zustand: New.

Buch. Zustand: Neu. Neuware - This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.

Paperback. Zustand: Very good. First Edition. 7 x 11 in. Paper wraps. Color and B&W plates. Condition is VERY GOOD ; covers clean, spine toned, mild wear. Binding tight. Title pg quite foxed, text is clean, unmarked. Art. Stax.

Softcover. Zustand: Very Good. First edition, wrappered issue. Small quarto. Illustrated in both color and black and white. Illustrated wrappers. Wraps toned and soiled, a few small bumps along the edges, very good.

HARDCOVER. Zustand: Fine. Zustand des Schutzumschlags: Very Good. 1st Edition. Heavy 4to in brown boards, gilt lettering to spine and front cover. 212pp, plates in colour and (mainly) b/w, index etc. Complete catalogue of the original 1913 exhibition which toured New York, Chicago and Boston, famous for its introduction of modern European art, notably Dada and Cubism to a wide audience in the US. The organisers famously accepted, but failed to show, R Mutt's 'Fountain' (aka Duchamp's urinal), This anniversary show included 400+ of the original exhibits . [CONDITION: A well preserved near FINE clean and tight unmarked copy (page-block edges slightly tanned) in a dusty and slightly edge-worn but otherwise VERY GOOD Dust Jacket (small chip to top edge of front panel adjacent to spine, looks fine in its removable transparent protector) ] . . . We always ship in STRONG PROTECTIVE CARD PARCELS.

212pp. Prof. illus. 4to. Wraps.

212pp. Prof. illus. 4to. Boards. (small stain on front cover).

paperback. Zustand: Good. Henry Street Settlement Paperback. Scuffing to back cover. Spine is crinkled, ripped, and discolored in multiple places, but remains intact. Foxing to fore edge. Inscription in front fly leaf, otherwise free of handwriting.

Halbleinen. Zustand: Sehr gut. 333 S. : zahlr. Ill. Very good copy, back cover with small signs of wear. - Dwuj?zyczny katalog 1913. ?wi?to wiosny. Katalog wystawy jubileuszowej w stulecie otwarcia Gmachu G?ównego Muzeum Narodowego w Szczecinie / 1913. Frühlingsweihe. Katalog der Ausstellung zum hundertjährigen Eröffnungsjubiläum des Hauptgebäudes des Nationalmuseums Stettin zawiera teksty po?wi?cone sztuce polskiej, rosyjskiej, niemieckiej i francuskiej, a tak?e zapoznaje z kulturalnymi ?rodowiskami Pary?a, Sankt Petersburga, Szczecina oraz recypuj?cego w tym czasie europejskie idee - a wi?c przygl?daj?cego si? Staremu Kontynentowi z pozycji outsidera - Nowego Jorku. Dla dzisiejszej stolicy Pomorza Zachodniego, dawnej siedziby zarz?du niemieckiej prowincji, miasta caryc i repatriantów z ziem wschodnich historycznej Rzeczypospolitej, o?rodka studiów klasycznych oraz zamorskich ekspedycji etnograficznych wystawa i katalog stanowi? nie tylko impresj? na temat kosmopolitycznych tendencji w sztuce sprzed wieku, ale i aktualn? refleksj? nad obecnymi uwarunkowaniami kulturowymi tej dzielnicy Polski. / Spis tre?ci Przedmowa Grusswort Str.6 Wst?p Einleitung Str.9 Szymon Piotr Kubiak Wac?awa Ni?y?skiego ?wi?to lub ofiara wiosny teatr sztuki lub ofiara wiosny teatr i sztuki pi?kne u progu wielkiej wojny - wprowadzenie Vaclav Nijinskys Frühlingsfeier oder Frühlingsopfer. Das Theater und die bildenden Künste am Vorabend des Ersten Weltkrieges - eine Einführung Str.12 Iwona Danielewicz Misia Godebska - Protektorka, muza i macenaska artystów Misia Godebska - Protektorin, Muse und Mäzenin der Künstler Str.30 Magdalena Moskalewicz Armory show 1913 Marcel Duchamp i eksplozja w fabryce gontów Die Armory Show 1913 Marcel Duchamp und die Explosion in einer Schindelfabrik Str.44 Bogdana Kozi?ska Walter Riezler i Muzeum Miejskie w Szczecinie Walter Riezler und das Stadtmuseum Stettin Str.62 Beata Ma?gorzata Wolska Karta z dziennika 1913 roku (Tadeusza Makowskiego i Bronis?awa Malinowskiego) Tagebuchblätter aus dem Jahre 1913 (des Malers tadeusz makowski und des Anthropologen Bronis?aw Malinowski) Str.90 Dariusz Kacprzak Rok 1913- Kalendarium Artystyczne Das Jahr 1913 - Zeittafel Kunst Str.110 Dzie?a Werke Str.164 Spis dzie? eksponowanych Verzeichnis der ausgestellten Werke ISBN 9788363365363 pl Gewicht in Gramm: 250.

Hardcover. Zustand: Very good. Zustand des Schutzumschlags: Very good. First Melville House Printing [Stated]. The format is approximately 5.5 inches by 8.75 inches. [4], 268 pages. Illustrations. Selected Bibliography. Florian Illies (born 4 May 1971) is a German writer and art historian. He studied art history at the universities of Bonn and Oxford. He worked as culture editor for major German newspapers such as Frankfurter Allgemeine Zeitung and Die Zeit. In 2004, he cofounded the contemporary art magazine monopol with his wife Amélie von Heydebreck. In 2011, he became a partner at the Berlin-based auction house Villa Grisebach. In January 2019, he joined the Rowohlt Verlag publishing house as a managing director. As a writer, Illies is known for his bestsellers Generation Golf (2000) and 1913: The Year Before the Storm (2012). The latter book has been translated into two dozen languages. Shaun Whiteside (born 1959) is a Northern Irish translator of French, Dutch, German, and Italian literature. He has translated many novels, including Magdalene the Sinner by Lilian Faschinger, which won him the Schlegel-Tieck Prize for German Translation in 1997. Since May 2021, he has served as the president of the European Council of Literary Translators' Associations. Whiteside graduated with a First in Modern Languages at King's College, Cambridge. He worked as a business journalist and television producer before translating full-time. As he said in a brief interview, "Did I always want to be a translator? I certainly wanted to do something that involved travel and languages, but even when my work in television took me to far-off places, I kept coming back to translation, first for fun, and eventually as a way of earning a living." Jamie Lee Searle is a literary translator, writer and mentor. She translates German-language and Portuguese-language writing into English for publishing houses and cultural institutions such as the Goethe Institut, Ingeborg Bachmann Centre and Austrian Cultural Forum. Her previous publications include Urs Faes' Twelve Nights, Joachim B. Schmidt's Kalmann and Anna Kim's The Great Homecoming. Her co-translation (with Shaun Whiteside) of Florian Illies' 1913 was a Sunday Times bestseller and Radio 4 Book of the Week. An International Bestseller. "An absolute gem of a book." The Observer. Just before one of its darkest moments came the twentieth century's most exciting year. It was the year Henry Ford first put a conveyer belt in his car factory, and the year Louis Armstrong first picked up a trumpet. It was the year Charlie Chaplin signed his first movie contract, and Coco Chanel and Prada opened their first dress shops. It was the year Proust began his opus, Stravinsky wrote The Rite of Spring, and the first Armory Show in New York introduced the world to Picasso and the world of abstract art. It was the year the recreational drug now known as ecstasy was invented. It was 1913, the year before the world plunged into the catastrophic darkness of World War I. In a witty yet moving narrative that progresses month by month through the year, and is interspersed with numerous photos and documentary artifacts (such as Kafka's love letters), Florian Illies ignores the conventions of the stodgy tome so common in "one year" histories. Forefronting cultural matters as much as politics, he delivers a charming and riveting tale of a world full of hope and unlimited possibility, peopled with amazing characters and radical politics, bristling with new art and new technology . . . even as ominous storm clouds began to gather. Derived from a Kirkus review: In his first English-language translation, German author Illies scours the landscape of the year 1913, making a leap into a fascinating new structure of writing. The author uses excerpts from journals of now-famous people in the capitals of modernism, including Vienna, Munich, Paris and Berlin. He explains their ideas and snatches quotes and tosses them apparently willy-nilly into chronological chapters. However, due to the author's creative talent, the structure of the narrative wo.

No Binding. Zustand: Very Good. On March 1, 1921, in this autograph letter signed, Fred Wagner writes to "Mr. Folsom" - almost certainly Arthur H. Folsom, who had New York City gallery space in the early 20th Century focused on impressionism and other "modern" styles. Wagner wrote, "I am taking the liberty of sending you a small Box of unmounted Water-Colors and pastels, xpress/prepaid, to look them over with the view of selecting some to have in your Galleries for sale. You may remember some years ago you were interested in some of New York and had them at your place for a while. I have since sold them. I would like to get a market for this kind of work in N.Y. City. The Memorial Art Gallery Rochester gave me an Exhibition of Pastels about 2 dozen and sold Eight. hoping you will find them interesting I remain yours Truly Fred Wagner." Written on two pages (just the recto of each of two sheets) of Philadelphia Sketch Club letterhead, which measures approximately 8.5" x 5.5". Wagner was a member of the Sketch Club for more than 40 years, and was its Vice President in 1923. The signature is very clearly written. Frederick R. Wagner (1860-1940) was an American impressionist painter and pastel artist. From suburban Philadelphia, he began studying with Thomas Eakins at the Pennsylvania Academy of Fine Arts in 1878. He began teaching just four years later, and exhibited his artwork throughout his life. Among the most notable of his showings, he had two paintings in 1913's Armory Show in New York - considered to be the first major exhibition of Modern Art in the US. Condition: Each of the sheets has a set of two small, matching holes that do not affect the text - likely from a letter spike. Otherwise in very good condition, and it would be very easy to make a nice display with this letter. Signed by Author(s).

No Binding. Zustand: No Book Included. Zustand des Schutzumschlags: Good. 1st Edition. Dust Jackt Only, For First Edition (Gollancz 1928). Would Be Near Fine, No Wear Or Tear, But A Little Pinkish Dampstaining To Flaps And Rear Panel. (Se Wikipedia:) Edward Mcknight Kauffer (1890 -1954) Was An American Artist And Graphic Designer Who Lived For Much Of His Life In The United Kingdom. He Worked Mainly In Poster Art, But Was Also Active As A Painter, Book Illustrator And Theatre Designer. Edward Leland Kauffer Was Born On 14 December 1890, In Great Falls, Montana. By 1910 He Had Moved To San Francisco Working As A Bookseller And Studying Art At The California School Of Design From 1910 To 1912. At Around This Time Professor Joseph Mcknight Of The University Of Utah Became Aware Of Kauffer's Work, Sponsored Him And Paid To Send Him To Paris For Further Study. In Gratitude Kauffer Took His Sponsor's Name As A Middle Name. Kauffer Stopped In Chicago For Six Months In 1912/1913 And Studied At The Art Institute Of Chicago. While There He Witnessed The Armory Show, One Of The First Major Exhibitions To Introduce The Styles Of Modernism To American Viewers. This Likely Had A Major Impact On Kauffer, Who Would Work In Many Of The Same Styles Throughout His Career. He Arrived In Paris In 1913 And Studied At The Académie Moderne Until 1914. In Paris In 1923 He Met The Textile Designer Marion Dorn (1896-1964), And Subsequently Lived With Her In London, From Late 1923 To July 1940. They Married In 1950 And Moved To New York Until His Death In 1954. Kauffer Moved To London Upon The Start Of The First World War, And Remained There For Most Of His Career. He Was Briefly Associated With Robert Bevan's Cumberland Market Group And Had A One-Man Show At The Omega Workshops. In Brighton On The South Coast, He Designed A "Novel" Mural For The Lobby Of Embassy Court, A Modernist Block Of Flats Designed By Wells Coates In 1935. The Mural Consisted Of "Monochrome Photographs . Printed Directly On To A Light-Sensitive Cellulose Coating". Kauffer May Be Best Known For The 140 Posters That He Produced For London Underground, And Later London Transport. The Posters Span Many Styles: Many Show Abstract Influences, Including Futurism, Cubism, And Vorticism; Others Evoke Impressionist Influences Such As Japanese Woodcuts. He Created Posters For Shell Oil, The Great Western Railway And Other Commercial Clients, And Also Illustrated Books And Book Covers. Later He Also Became Interested In Textiles, Interior Design And Theatrical Design. He Returned To New York City In 1940 At The Beginning Of The Second World War, And Tried To Find Work In Advertising. He Struggled In The More Competitive Atmosphere Until He Was Approached To Do A Series Of Posters For American Airlines In 1947. American Airlines Remained His Primary Client Until His Death In 1954.

BLANDIN, André. ABCD. 27 pp., including 27 colored lithographs. 260 x 222 mm., publisher's illustrated cloth-backed boards. Brussels: Imprimerie scientifique Charles Bulens, Editeur, 1913. A delightful cubist alphabet whose fame has been eclipsed by the Cubies' ABC, which was published in the same year, but which directly satirized the contemporary art scene, and the Armory Show in particular. Blandin was a painter, draftsman, poster artist, exhibition organizer, magazine editor and friend of Apollinaire. In 1911 he organized an exhibition in Brussels, for which he asked Apollinaire to bring him some cubists. In 1914, a second exhibition, entitled "Great Zwans-Exhibition" ("zwans" in Brussels dialect means "burlesque"), can be compared with the Dada and Futurist movements. Some minor marginal foxing, but generally a fresh copy. Rare with OCLC listing only Princeton, Library of Congress, Bryn Mawr and BN worldwide.

Zustand: Good. - The collection consists of the following 8 hardcover books:1) Wilhelm Busch: Kritik des Herzens. Achte Auflage. Small octavo, 6-1/4 inches high by 4-1/2 inches wide. Bound in cream printed boards titled in red and black. Munchen: Verlag von Fr. Bassermann, 1903. SIGNED "Walt Kuhn / 1903". [4], 84 pages and 4-pages of ads. The binding is broken & soiled and the book is shaken.2) Wilhelm Busch: Max und Moritz: eine Bubengeschichte in sieben Streichen. 57 Auflage. Octavo, 8-1/2 inches high by 5-1/4 inches wide. Bound in printed cream boards titled in gray and black, with pictorial ads on the rear cover. Munchen: Verlag von Braun und Schneider, [1909]. INSCRIBED: "To Walt from Vera / Xmas '09". With the WALT KUHN BOOKPLATE. Title & 55 leaves printed on the rectos only. Illustrated with pastel coloring. There are tears in the margins of leaves 1 and 38 & a tiny hole touching an image on leaf 51. The binding is soiled.3) Wilhelm Busch: Der Fuchs. Die Drachen. Zwei lustige Sachen. Siebente Auflage. Octavo, 8 inches high by 5-1/2 inches wide. Bound in pictorial cream boards titled in red and black enhanced with color illustrations. Munchen: Verlag von Fr. Bassermann, 1908. INSCRIBED: "To Walt from HIS WIFE / Xmas '09". Title page, chapter page, 37 numbered leaves printed on the rectos only & 2-pages of ads. Illustrated with 36 colored drawings and 2 colored chapter heads. The covers are soiled otherwise the book is in very good condition.4) Wilhelm Busch: Die Kuhne Mullerstochter. Der Schreihals. Die prise. Der Oktavausgabe 4. bis 6. Tausend. Octavo, 8-1/2 inches high by 5-1/4 inches wide. Bound in pictorial cream boards illustrated in black & white on the front board and titled in black. With a pictorial ad on the rear cover. Berlin. Stuttgart. Leipzig: Deutsche Verlags-Anstalt, [1909]. INSCRIBED: "To WALT from VERA / Xmas '09". 31 leaves printed on the rectos only & 2-pages of ads. Illustrated in black and white. The front edge of the binding is damaged and the spine is torn. the contents are very good.5) Wilhelm Busch: Balduin Bahlmann der verhinderte Dichter. 38 bis 40 tausend. Octavo, 8-1/4 inches high by 5-1/2 inches wide. Bound in blue and white pictorial cloth titled in white on the front cover. Munchen: Verlag von Fr. Bassermann, 1907. INSCRIBED: "To Walt from His Wife / Xmas '09". 74 pages, illustrated in black and white. The covers are a bit soiled but in overall very good condition.6) Wilhelm Busch: Fipps, der Affe. 44 bis 48 Tausend. Octavo, 8-1/4 inches high by 5-1/2 inches wide. Bound in brown and white pictorial cloth titled in white on the front cover. Munchen: Fr. Bassermann, 1908. INSCRIBED: "To A Fipps Friend From Another / 1909". Title & 89 pages, illustrated in black and white. Very good condition.7) Wilhelm Busch: Schein und Sein: Nachgelassene Gedichte. Bound in light gray cloth titled in brown. Munchen: Lothar Joachim Verlag, 1909. INSCRIBED: "To Walt from His Wife / Xmas '09". vii & 95 pages plus colophon. Illustrated with a frontispiece portrait of the author. The binding is lightly bumped & soiled with a few small stains to the rear cover. There is a stain to the bottom edge of the book with some minor foxing to the fore-edge. There are small stains to the bottom edges of the first 3 leaves & occasional very light foxing & soiling to a few text pages.8) Wilhelm Busch:Gernach. Erstes bis funfzehntes Tausend. Bound in brown cloth titled in red and black. Munchen: Lothar Joachim Verlag, 1908. INSCRIBED: "To One Who Appreciates / V.S. 1909". (His wife's maiden name was Vera Spier.) [4], & 62 pages printed on the rectos only with profuse illustrations in black and white. The binding is soiled and there is a tear in the cloth along the front joint. The contents are very good. Perhaps best remembered for the important role he played in organizing the first Armory Show in New York City in 1913, the American artist Walt Kuhn (1877-1949) studied under Heinrich von Zugel, a member of the Barbizon School. He held his first exhibition at the Salmagundi Club in NYC in 1905, establishing himself as a serious artist as well as a cartoonist. Kuhn joined the faculty of the New York School of Art when it moved to Fort Lee, New Jersey in 1908, but left at the end of the school year, returning to New York where he married Vera Spier in 1909. He had his first solo exhibition in New York that same year. He took part in founding the Association of American Painters and Sculptors which, in 1913, was responsible for the first Armory Show which displayed both European and American modernist art. Kuhn collected German illustrated books of the early 20th century, especially those of the humorist, poet & artist Wilhelm Busch.

Publisher's boards, pictorial dustjacket. Fine. London, Thames & Hudson, 2000. 8vo. 408 pp. + 16 pp. of plates. With index. (Publisher:) "Duchamp left behind a large volume of correspondence: letters, postcards and telegrams that he wrote to relatives, friends, colleagues and professional acquaintances. Amazingly, these documents - an invaluable source of information in our attempts to understand the artist and his work - are little-known, and never before have they been collated and published in English. Noted art historian Francis M. Naumann has devoted over twenty years to assembling Duchamp's traceable letters, and he has translated and annotated them for a variety of publications. Here, in The Selected Correspondence of Marcel Duchamp, he and Hector Obalk have selected 285 of the artist's most important and informative documents, and arranged them chronologically. The letters were transcribed by Hector Obalk, annotated by Francis Naumann and translated where necessary from the original French by Jill Taylor. The book contains a selection of Duchamp's correspondence with Louise and Walter Arensberg, Constantin Brancusi, André Breton, Jean Crotti, Jacques Doucet, Katherine S. Dreier, Suzanne Duchamp, Arne Ekstrom, Yvonne Crotti-Lyon, Man Ray, Henry McBride, Walter Pach, Francis Picabia, John Quinn, Robert Lebel, Henri-Pierre Roché, Alice Rouillier, Alfred Stieglitz, Carrie, Ettie and Florine Stettheimer, Tristan Tzara, Jacques Villon, Beatrice Wood and many others. The Selected Correspondence of Marcel Duchamp is an essential volume for art historians and lovers of modern art, and will bring a special insight into the life and work of one of the most influential artists of the twentieth century".

Hardcover. Zustand: Good. Second Edition. Duodecimo, 94 pages, pictorial cloth (covers soiled), rear hinge started Text and Illustrations by the paradoxical Walt Kuhn, who was both a serious artist and a cartoonist. He was also principally responsible for creating and making successful the Armory Show at Chicago in 1913, which introduced Americans to the avant-garde art work being produced in Europe. This work was dedicated "To A Lot of People Who Take Themselves Too Seriously".

Hardcover. folio, 34cm, in 2 volumes, 144 & 126pp., with 130 mounted colour plates, bibliography, volume indexes, brown book fine grain linen, gilt titles, a fine set in fine jackets, in illustrated slip case. (Art). ~ Volume One covers American art from Colonial America to the Armory show held in New York in 1913. Volume Two includes the period from 1913 to the 1960's. A fine illustrated set and a valuable reference with Introduction by John Walker, Directory of the National Gallery of Art, Washington, D.C. ~ Another beautifully producted SKIRA publication. (Extra post may apply).

Hardcover. Zustand: Very good. Zustand des Schutzumschlags: Very good. First Printing [Stated]. xv, [1], 493, [3] pages. Illustrations. A Note on Archival Sources. A Guide to Abbreviations. Notes. Index. Robert Morse Crunden (December 23, 1940 - March 23, 1999) was an American historian. He was a professor of American studies and history at the University of Texas at Austin, and the author of many books. Crunden taught History and American Studies at the University of Texas at Austin from 1967 until his death in 1999. He was the director of the American Studies program from 1985 to 1990. He was awarded a Fulbright chair as the Bicentennial Professor of American Studies at the University of Helsinki in 1976-1977, and he was the director of the American Studies Research Center in Hyderabad, India from 1982 to 1984, also thanks to the Fulbright Program. He was awarded a Fulbright senior lectureship to teach at La Trobe University in Australia in 1978. Crunden was the author of many books, including American Salons: Encounters with European Modernism, 1885-1917, which was translated into many languages. In American Salons, Robert Crunden provides a sweeping account of the American encounter with European Modernism up to the American entry into World War I. Crunden begins with deft portraits of the figures who were central to the birth of Modernism, including James Whistler, the eccentric expatriate American painter who became the archetypal artist in his dress and behavior, and Henry and William James, who broke new ground in the genre of the novel and in psychology, influencing an international audience in a broad range of fields. At the heart of the book are the American salons--the intimate, personal gatherings of artists and intellectuals where Modernism flourished. In Chicago, Floyd Dell and Margery Currey spread new ideas to Sherwood Anderson, Theodore Dreiser, and others. In London, Ezra Pound could be found behind everything from the cigars of W. B. Yeats to the prose of Ford Madox Hueffer. In Paris, the salons of Leo and Gertrude Stein, and Michael and Sarah Stein, gave Picasso and Matisse their first secure audiences and incomes; meanwhile, Gertrude Stein produced a new writing style that had an incalculable impact on the generation of Ernest Hemingway. Most important of all were the salons of New York City. Alfred Stieglitz pioneered new forms of photography at the famous 291 Gallery. Mabel Dodge brought together modernist playwrights and painters, introducing them to political reformers and radicals. At the salon of Walter and Louise Arensberg, Marcel Duchamp and Francis Picabia rubbed shoulders with Wallace Stevens, Man Ray, and William Carlos Williams. By 1917, no art in America remained untouched by these new institutions. From the journalism of H. L. Mencken to the famous 1913 Armory Show in New York, Crunden illuminates this pivotal era, offering perceptive insights and evocative descriptions of the central personalities of Modernism. Derived from a Kirkus review: `My purpose is to tell a story,'' Crunden writes in this spirited, learned, and epic first volume in a projected three-volume history of American encounters with modernism. After introducing the ``precursors'' of American modernism (James Whistler, William and Henry James), Crunden describes centers of modernism such as Philadelphia, Chicago, New Orleans, Los Angeles, and Baltimore, their special institutions, and the music, film, and people associated with themEzra Pound, William Carlos Williams, Sherwood Anderson, Jelly Roll Morton, Charlie Chaplin, Gertrude and Leo Steinwho were seminal to modernism in America. American encounters with European modernism took place in the salons of W.B. Yeats in England (where, ironically, Pound met T.S. Eliot and Robert Frost) and of the Steins in Paris (where Picasso painted Gertrude and discussed William James). The alchemy of people and places continued in N.Y.C., in the salons of Alfred Stieglitz, Mabel Dodge, and others, who in turn encouraged new artists, styles, criticism, exhibits such as the Armory Show, and various kinds of communal endeavors such as the Provincetown Playhouse. Each group had its own preoccupationswhether photography, education, politics, or paintingand each had its own personality. Crunden excels at depicting personalities, building his story on well-told biography and anecdote: The first encounter between modernism and postmodernism, he tells us, was a pretend tennis match between Man Ray and Marcel Duchamp in New Jersey. The author concludes with a stunning reading of Wallace Stevens's ``Sunday Morning'' as a summation of American modernism. Crunden assimilates an amazing amount of information and, like his modernists, brings an inventive form, charm, color, and imagination to what were once aesthetic abstractions. He tells his ``story'' very well indeed.

First Edition. An exceptional copy; fine in an equally fine dw, now mylar-sleeved. Particularly and surprisingly well-preserved; tight, bright, clean and especially sharp-cornered. Literally as new and still in the publisher's protective shrink-wrap.; 8vo 8" - 9" tall; 197 pages; Description: xiv, 197 p., [16] p. of plates : ill. ; 26 cm. Subjects: Cox, Kenyon, 1856-1919 --Correspondence.Painters --United States --Correspondence. Summary: Kenyon Cox was born in Warren, Ohio, in 1856 to a nationally prominent family. He eventually became a leading painter in the classical style - particularly of murals in state capitols, courthouses, and other major buildings - and one of the most important traditionalist art critics in the United States. An Artist of the American Renaissance is a collection of Cox's private correspondence from his years in New York City and the companion work to editor H. Wayne Morgan's An American Art Student in Paris: The Letters of Kenyon Cox, 1877-1882 (Kent State University Press, 1986). These frank, engaging, and sometimes naive and whimsical letters show Cox's personal development as his career progressed. They offer valuable comments on the inner workings of the American art scene and describe how the artists around Cox lived and earned incomes. Travel, courtship of the student who became his wife, teaching, politics of art associations, the process of painting murals, the controversy surrounding the depiction of the nude, promotion of the new American art of his day, and his support of a modified classical ideal against the modernism that triumphed after the 1913 Armory Show are among the subjects he touched upon. 1 Kg.

Softcover. Zustand: vg. 30 volumes. 8vo. All columes are illustrated wrappers with lettering to front wrapper. Scuffing, rubbing and staining to all wrappers. Owners' signature to front wrapper on some volumes. All volumes are illustrated throughout with b/w reprints from the water color paintings shown at the exhibition. Vols. 1942, 1944, 1946, 1947, 1948, 1949, 1950, 1951, 1952, 1953, 1954, 1955, 1956, 1957, 1958, 1960, 1961, 1962, 1963, 1964, 1965, 1970, 1971, 1972, 1973, 1974, 1979, 1980, 1981, 1982. In English. In very good condition. On the American Water Color Society. In 1866, the interest in the medium of water color was so pronounced that the American Society of Painters in Water Color was founded. The newly formed society held its first exhibition in the fall of 1867 and these annual exhibitions have continued through to the present time. American artist Winslow Homer was inspired by the success of a huge exhibition of nearly 600 European and American watercolors held by the ASPWC at the National Academy in 1873. This exhibition confirmed the significance of the American "watercolor movement." In 1878, the ASPWC name was changed to The American Water Color Society. The American school was able to produce an abundance of important artists of exceptional importance that worked in watercolor between the 1870's and the revolutionary Armory Show in New York in 1913, which included John Singer Sargent (1856-1925), John Marin (1870-1953) and Maurice Prendergast (1859-1924). Each artist represented an individual and unique approach to the medium. Today, watercolor has become known as the American medium.

Hardcover. 24.5cm, 41,22p., with over 50 examples of coats of arms, green cloth, gilt titles and stamping, a fine copy. (cdn).

Zustand: Good. 4to. 212 pp. Very Good. Soft Cover. Illustrated paper wraps. Minor toning on covers. Spine sunned. Minor signs of foxing on first few pages, else fine. Color and B&W plates throughout. Signed on endpaper by Peter Selz.From the Collection of the Art Historian Peter Selz.

Matted and framed. 21 x 21 inches. Rare set of ephemera from the International Exhibition of Modern Art, better known as The Armory Show of 1913, including: Stationary from the organizers of the show: The American Painters and Sculptors, New York, with Arthur B. Davies, Gutzon Borglum, Walt Kuhn, Elmer L. MacRae listed on the masthead Invitation to the Formal Opening of the International Exhibition of Modern Art, at the Lexington Avenue Armory, on February 17, 1913 Invitation to the Press Preview of the International Exhibition of Modern Art on February 16, 1913 ("Please present this card.") Two lapel buttons using the image of the uprooted pine tree, traken from the Massachusetts Revolutionary War era battle flag, with the text "The New Spirit" (created by Walter Kuhn) Postcard advertising the exhibition, with the flag with uprooted tree Postcard, Battleships [1913] by Elmer L. MacRae, treasurer of the Association of American Painters and Sculptors. Some yellowing to postcards, one spot to formal invitation, otherwise near fine Matted and framed. 21 x 21 inches.

Hardcover. Zustand: G. Third Edition. 1,050 pages. Clean text, good binding, former owner's name crossed out. Illustrated Art Map of Europe on the front endpapers and Art Map of the New World on the back endpapers. 35 chapters, Bibliography, Glossary, Chronological Table, Index. Profusely illustrated. With 648 figures. Includes Architecture, Sculpture, Painting, The Minor Arts;

Paperback. Zustand: As New. First edition. New York: Abbeville Press, 1993. First edition. As new paperback. 1st ed. Illustrated. An invaluable guide through the intricacies of the first century of modern art, ArtSpoke features the same lucid prose, thought-provoking ideas, user-friendly organization, and striking design as its predecessor, ArtSpeak: A Guide to Contemporary Ideas, Movements, and Buzzwords.Chronicling international art from Realism through Surrealism, ArtSpoke explains such popular but often misunderstood movements and organizations as Impressionism, Post-Impressionism, the Salon, the Fauves, the Harlem Renaissance, and so onas well as events ranging from the 1913 Armory Show to Brazil's little-known Semana de Arte Moderna. Concise explanations of potentially perplexing techniques, media, and philosophies of art making-including automatism, calotype, found object, Pictorialism, and Readymade-provide information essential to understanding how artists of this era worked and why the results look the way they do. Entries on concepts that were crucial to the development of modern artsuch as androgyny, dandyism, femme fatale, spiritualism, and many othersdistinguish this lively guide from any other art dictionary on the market.Also unique to this volume is the ArtChart, a handy one-page chronological diagram of the groups discussed in the book. In addition, there is a scene-setting timeline of world history and art history from 1848 to 1944, overflowing with invaluable information and illustrated with twenty-four color reproductions.Students, specialists, and casual art lovers will all find ArtSpoke an essential addition to their reference shelves and a welcome companion on visits to museums and galleries.