Sprache: Englisch
Verlag: Bloomsbury Publishing Plc, 2003
ISBN 10: 1573563870 ISBN 13: 9781573563871
Anbieter: Better World Books, Mishawaka, IN, USA
Zustand: Good. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.
Hardcover, no dust jacket. Previous owner's name penned inside front cover and on ffep. Slight wear on upper and lower edges of text. Cover small white stain on front upper corner of facing and slightly worn on facing and faded along spine. Else good. 348 pp.
Verlag: National Gallery of Victoria, Melbourne, 1995
ISBN 10: 0724101845 ISBN 13: 9780724101849
Anbieter: Gotcha By The Books, Brisbane, QLD, Australien
Erstausgabe
paperback. b&w and colour illustrations (illustrator). Catalogue for the Louise Bourgeois exhibition, National Gallery of Victoria 20 October - 27 November 1995; text by Jason Smith, and with an essay by Robert Storr; full-page b&w and colour plates, numerous b&w text illustrations; includes Chronology and Select Bibliography; Very Good throughout; wraps lightly rubbed, and with one or two stains, old price label to rear. . 52pp. 4to. Very Good in lightly rubbed wraps Very Good in lightly rubbed wraps.
Anbieter: Ria Christie Collections, Uxbridge, Vereinigtes Königreich
EUR 78,83
Anzahl: Mehr als 20 verfügbar
In den WarenkorbZustand: New. In.
Sprache: Englisch
Verlag: Atlanta : Peachtree Publishers : Garden Club of Georgia, c1989., 1989
ISBN 10: 0934601763 ISBN 13: 9780934601764
Anbieter: Joseph Valles - Books, Stockbridge, GA, USA
Erstausgabe
Hardcover. Zustand: Fine. Zustand des Schutzumschlags: Fine. 1st Edition. [1st edition, 1st printing; trade edition ] ; ix, 214 p. : ill. (chiefly col.) ; 31 cm. ; ISBN 9780934601764, 9780934601771, 0934601763, 0934601771 ; OCLC 20012286 ; LCCN 89016100 ; LC SB466.U65 G46 1989 ; Dewey 712/.09758 ; sand-colored cloth in color photographic dustjacket ; Contents: Savannah and the Coast --- Coastal Georgia -- The Piedmont plateau -- South Georgia -- Atlanta and North Georgia -- Index of Gardens -- Sources for quoted material -- Bibliography ; Graced with one of the longest growing seasons in North America, Georgia has a rich and interesting tradition of gardens and gardening. That tradition is vividly portrayed in Gardens of Georgia, commissioned by the Garden Club of Georgia, Inc., to commemorate its sixtieth anniversary and to celebrate the heritage and beauty of Georgia's gardens.As noted by Georgia founder James Oglethorpe in 1732, Georgia has a happy climate. From the broad-shouldered mountains of the Blue Ridge, through the red clay of the rolling piedmont, across the sprawling piney coastal plain, and on to the subtropical islands on the Atlantic, Georgia is blessed with four regions of gardening opportunities, distinctly defined by differences in elevation, climate, soil, and natural vegetation.Writer William Mitchell and photographer Richard Moore have portrayed the wonders of gardens historic and contemporary, public and private, and urban, suburban, and rural from each of these regions. Whether illustrating overall gardenscapes or capturing intimate vignettes and individual blossoms, Richard Moore's photographs have a depth of color and clarity of detail that immerse the reader into a world of delightful splendor. The text by Willaim Mitchell not only describes the settings as they are today, but also spins a rich background of history in the context of the botanical Eden observed by early explorers.The richest legacy of each generation is to preserve and protect an always vulnerable natural environment and help nature bring forth its green and glowing cycles of rebirth. Gardens of Georgia celebrates that legacy, sharing the ongoing dream of paradise--a new Eden--whether it is in a grand formal garden from an earlier era or a small plot of perennials in a Georgia yard. ; FINE/FINE. Book.
Anbieter: Revaluation Books, Exeter, Vereinigtes Königreich
EUR 115,89
Anzahl: 2 verfügbar
In den WarenkorbHardcover. Zustand: Brand New. 496 pages. 10.00x7.00x1.25 inches. In Stock.
Verlag: Museum of Modern Art, New York, 1994
Anbieter: Argosy Book Store, ABAA, ILAB, New York, NY, USA
hardcover. Zustand: near fine. BOURGEOIS, Louise (illustrator). Illustrated in color and in black and white. 254 pages. Oblong 4to, light blue cloth with black spine lettering. New York: Museum of Modern Art, (1994). Lightly scuffed rear cover and front gutter slightly creased, still a near fine copy.
Verlag: Columbia University Press, New York/ Morningside Heights, 1941
Anbieter: Between the Covers-Rare Books, Inc. ABAA, Gloucester City, NJ, USA
Erstausgabe
Hardcover. Zustand: Very Good. First edition. Octavo. xxii, 85pp. Small abrasion on rear pastedown, moderate foxing on the cover with a small tear along the joint, very good, lacking the unprinted glassine dust jacket. Contains the first book appearance of five poems by Louis Simpson (as Louis Marantz Simpson) [1923-2012], who eventually earned a Ph.D. at Columbia University and was awarded the Medal for Excellence from Columbia University; his first collection of poems was The Arrivistes: Poems, 19401949 (published in 1949 by Fine Editions Press).
Verlag: Columbia University Press, New York, 1941
Anbieter: Between the Covers-Rare Books, Inc. ABAA, Gloucester City, NJ, USA
Erstausgabe
Hardcover. Zustand: Very Good. First edition. Octavo. xxii, 85pp. Spine and edges sunned, very good being poet Daniel Hoffman's copy with his name penned on the front fly, lacking the unprinted glassine dust jacket. Contains the first book appearance of five poems by Louis Simpson (as Louis Marantz Simpson) [1923-2012], who eventually earned a Ph.D. at Columbia University and was awarded the Medal for Excellence from Columbia University; his first collection of poems was The Arrivistes: Poems, 19401949 (published in 1949 by Fine Editions Press).
Verlag: Exit Art New York, NY, 1993
Anbieter: Specific Object / David Platzker, New York, NY, USA
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.
Verlag: (Andre Emmerich Gallery), (New York), 1959
Anbieter: Type Punch Matrix, Silver Spring, MD, USA
Erstausgabe Signiert
Zustand: Very good. First Edition. 15-times signed limited first edition of this anthology of modern poetry written in response to Pre-Columbian sculpture, with leaves autographed by every contributing poet. For this project, Ashton selected and sent an individual photograph to each participant, soliciting a wide variety of poetic responses limited only by the title of the collection. The full list of contributors includes: Barbara Howes, James Wright, Louise Bogan, Theodore Roethke, John Malcolm Brinnin, I.A. Richards, William Carlos Williams, W.S. Merwin, Stanley Kunitz, C. Day Lewis, St.-John Perse, William Jay Smith, Richard Wilbur, Jean Garrigue, and Octavio Paz. Rare. 9.5'' x 6.5''. Original half green leather with marbled boards. Green topstain. Edition of 1500, of which 50 copies, containing autographs of contributing pets, have been especially bound and numbered; this copy no. 41. Black and white photographs by Boltin. [30], 63, [5] pages. First 15 leaves signed in pen, each by a different contributor. Moderate wear to boards, with some chipping to spine ends. Interior bright and unmarked. Signed.