Dane bill (17 Ergebnisse)

Paperback. Zustand: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged. Lorenz, Tony; Barrett, Dane (illustrator).

Paperback. Zustand: Brand New. 256 pages. 10.50x7.50x0.20 inches. In Stock. Lorenz, Tony; Barrett, Dane (illustrator).

Paperback. Zustand: Brand New. 256 pages. 10.50x7.50x0.20 inches. In Stock. Lorenz, Tony; Barrett, Dane (illustrator).

Zustand: New. Lorenz, Tony; Barrett, Dane (illustrator).

Zustand: Good. 8.5 x 11 in., oblong; original wrappers . 32 pages, 25 color illustrations New condition.Bill Dane (aka Bill Zulpo-Dane), born William Thacher Dane on November 12, 1938, is a North American street photographer best known for pioneering a way to subsidize his public by using photographic postcards. He has mailed over 50,000 of his pictures as photo-postcards since 1969.[ As of 2007, Dane's method for making his photographs available shifted from mailing photo-postcards to offering his entire body of work on the internet."What's that?" is not an uncommon response for viewers confronting one of Bill Dane's photographs. This is a curious question, given the fact that Dane approaches the "real world"with his camera as squarely as Atget, Evans, or Friedlander. He photographs what exists, with no manipulation or fabrication. So if the world does not make much sense in Dane's photographs, it is not his fault. He presents things as he sees them, and should not be held accountable for the unspeakably creepy landscape made of colored cotton (plate 21), nor for the misaligned segments of a Victorian dinner party (plate 7)?much less for the fact that the hosts's carafe appears to be pouring no wine.Dane rarely allows considerations of time or place to restrict his subject matter. Matthew Brady may have been limited to Civil War, but Dane's openness to all possibilities allows him to address such wide-ranging subjects as the myth of the Wild West (plates 17 and 22), Moses delivering the Ten Commandments (plate 13), and The End of Life as We Know It (plate 20). Clearly no subject is safe from Dane, least of all one which someone has bothered to depict before him. Consider his photographs of the excruciatingly bad painting of the Golden Gate Bridge (plate 19). We would not be surprised to learn that the painting was found, and photographed, in a dumpster. This particular view, as seen from the Marin Headlands, is grist for the mill of tens of thousands of tourist photographs every year. Dane accentuates the postcard motif by giving us an ersatz sunset reflected in the water, the by-product of the camera flash he makes no attempt to hide. No one would say of this photograph that is the next best thing to being there.Of course Dane's subject is how theses things are depicted as much as it is about the "subjects" themselves. Thus plate 19 may be in varying degrees about (a) the Golden Gate Bridge, (b) the torn and taped painting of the Golden Gate Bridge, (c) the strangely inept way in which the Golden Gate Bridge is painted, and (d) the way it all looks photographed. Try as we might, it is difficult to find plausible reasons why many such things exist as they do. Dane's universe is a place where appearances must be questioned, then questioned again. His work finally reminds us that the world is often and inexplicable place, and for our own piece of mind (and pleasure) we might was well get used to it.?from the introduction by Jeffrey Fraenkel.…

Zustand: Good. Folio. [ca 82 pp.]. Signed copy. Oblong. Soft Cover. Very Good. Stiff white paper wraps with black lettering. Dust Jacket Very Good, with die-cut circle in center. Mild wrinkling on DJ, else fine. B&W plates throughout. Text in English and in Spanish. Scarce.

Zustand: Good. Folio. 82 pp. Oblong. Very Good. Soft Cover. Stiff white wraps with black lettering. Dust Jacket Very Good, with die cut circular window in front. Pages fine. B&W plates throughout. Text in English and Spanish.

Zustand: Good. Folio. [ca 82 pp.]. Signed copy. Oblong. Soft Cover. Very Good+. Stiff white paper wraps with black lettering. Dust Jacket Very Good, with die-cut circle in center. B&W plates throughout. Text in English and in Spanish. Scarce.

paperback. Zustand: Good. Some markings and wear to the cover mainly.

Vintage reference photograph from "The Last Hunters," Episode 17 of Season 1 of the 1967-1968 television series. With manuscript pencil annotation on the verso identifying the episode name, actors Dane Clark and Danny Thomas, and the years 1967 and 1968. An anthology show featuring comedy, drama, and musical numbers. In this episode, a British officer is spying on Nazi criminals while being under surveillance of the Third Reich himself. Set in Los Angeles. 8 x 10 inches. Near Fine. …

Zustand: Good. Autographed. Folio. 82 pp. Oblong. Very Good. Soft Cover. Stiff white wraps with black lettering. Dust Jacket Very Good, with die cut circular window in front. Pages fine. B&W plates throughout. Text in English and Spanish. Inscribed on half-title page.

First Edition. First edition. Oblong hardcover. 326 pages. Printed in an edition of only 500 copies. A wide ranging collection of numerous photographs by Bill Dane. A near fine copy with a slight lean to the binding and a some light bumping to the bottom rear corner. No dust jacket as issued. Signd and inscribed by Dane to author and museum curator Tom Garver. Signed.…

Zustand: Good. Autographed. 4to. 25 pp. Soft Cover. Very Good. Illustrated stiff paper wraps. Color plates throughout. Signed on the title page. Exhibition invitation laid in. Two 8 x 10 color bromide plates laid in. Scarce.From the Collection of the Art Historian Peter Selz (1919-2019).

Zustand: Fine. 30'' x 20'' original one sheet lobby or outside advertisement colour poster from The Old Vic Theatre, London. In Fine condition. Sent rolled in a tube with end caps. We currently hold in stock over 100 other English and foreign theatre and cinema posters. Member of the P.B.F.A. THEATRE (Cinema) POSTERS. …

Zustand: Good. 8.5 x 11 in., oblong; One of presumably a few copies that are bound in orange cloth with the original wrappers preserved . 32 pages, 25 color illustrations New condition.Bill Dane (aka Bill Zulpo-Dane), born William Thacher Dane on November 12, 1938, is a North American street photographer best known for pioneering a way to subsidize his public by using photographic postcards. He has mailed over 50,000 of his pictures as photo-postcards since 1969.[ As of 2007, Dane's method for making his photographs available shifted from mailing photo-postcards to offering his entire body of work on the internet."What's that?" is not an uncommon response for viewers confronting one of Bill Dane's photographs. This is a curious question, given the fact that Dane approaches the "real world"with his camera as squarely as Atget, Evans, or Friedlander. He photographs what exists, with no manipulation or fabrication. So if the world does not make much sense in Dane's photographs, it is not his fault. He presents things as he sees them, and should not be held accountable for the unspeakably creepy landscape made of colored cotton (plate 21), nor for the misaligned segments of a Victorian dinner party (plate 7)?much less for the fact that the hosts's carafe appears to be pouring no wine.Dane rarely allows considerations of time or place to restrict his subject matter. Matthew Brady may have been limited to Civil War, but Dane's openness to all possibilities allows him to address such wide-ranging subjects as the myth of the Wild West (plates 17 and 22), Moses delivering the Ten Commandments (plate 13), and The End of Life as We Know It (plate 20). Clearly no subject is safe from Dane, least of all one which someone has bothered to depict before him. Consider his photographs of the excruciatingly bad painting of the Golden Gate Bridge (plate 19). We would not be surprised to learn that the painting was found, and photographed, in a dumpster. This particular view, as seen from the Marin Headlands, is grist for the mill of tens of thousands of tourist photographs every year. Dane accentuates the postcard motif by giving us an ersatz sunset reflected in the water, the by-product of the camera flash he makes no attempt to hide. No one would say of this photograph that is the next best thing to being there.Of course Dane's subject is how theses things are depicted as much as it is about the "subjects" themselves. Thus plate 19 may be in varying degrees about (a) the Golden Gate Bridge, (b) the torn and taped painting of the Golden Gate Bridge, (c) the strangely inept way in which the Golden Gate Bridge is painted, and (d) the way it all looks photographed. Try as we might, it is difficult to find plausible reasons why many such things exist as they do. Dane's universe is a place where appearances must be questioned, then questioned again. His work finally reminds us that the world is often and inexplicable place, and for our own piece of mind (and pleasure) we might was well get used to it.?from the introduction by Jeffrey Fraenkel.…

Zustand: Good. 8.5 x 11 in., oblong; One of presumably a few copies that are bound in orange cloth with the original wrappers preserved. 32 pages, 25 color illustrations.Signed presentation copy to Alan. New condition.Bill Dane (aka Bill Zulpo-Dane), born William Thacher Dane on November 12, 1938, is a North American street photographer best known for pioneering a way to subsidize his public by using photographic postcards. He has mailed over 50,000 of his pictures as photo-postcards since 1969.[ As of 2007, Dane's method for making his photographs available shifted from mailing photo-postcards to offering his entire body of work on the internet."What's that?" is not an uncommon response for viewers confronting one of Bill Dane's photographs. This is a curious question, given the fact that Dane approaches the "real world"with his camera as squarely as Atget, Evans, or Friedlander. He photographs what exists, with no manipulation or fabrication. So if the world does not make much sense in Dane's photographs, it is not his fault. He presents things as he sees them, and should not be held accountable for the unspeakably creepy landscape made of colored cotton (plate 21), nor for the misaligned segments of a Victorian dinner party (plate 7)?much less for the fact that the hosts's carafe appears to be pouring no wine.Dane rarely allows considerations of time or place to restrict his subject matter. Matthew Brady may have been limited to Civil War, but Dane's openness to all possibilities allows him to address such wide-ranging subjects as the myth of the Wild West (plates 17 and 22), Moses delivering the Ten Commandments (plate 13), and The End of Life as We Know It (plate 20). Clearly no subject is safe from Dane, least of all one which someone has bothered to depict before him. Consider his photographs of the excruciatingly bad painting of the Golden Gate Bridge (plate 19). We would not be surprised to learn that the painting was found, and photographed, in a dumpster. This particular view, as seen from the Marin Headlands, is grist for the mill of tens of thousands of tourist photographs every year. Dane accentuates the postcard motif by giving us an ersatz sunset reflected in the water, the by-product of the camera flash he makes no attempt to hide. No one would say of this photograph that is the next best thing to being there.Of course Dane's subject is how theses things are depicted as much as it is about the "subjects" themselves. Thus plate 19 may be in varying degrees about (a) the Golden Gate Bridge, (b) the torn and taped painting of the Golden Gate Bridge, (c) the strangely inept way in which the Golden Gate Bridge is painted, and (d) the way it all looks photographed. Try as we might, it is difficult to find plausible reasons why many such things exist as they do. Dane's universe is a place where appearances must be questioned, then questioned again. His work finally reminds us that the world is often and inexplicable place, and for our own piece of mind (and pleasure) we might was well get used to it.?from the introduction by Jeffrey Fraenkel. …

Softcover. Zustand: Near Fine. First edition. Tall octavo. 45pp. Printed wrappers. Fragile wrappers have slight archival mends on verso of spine, else a near fine copy. Issued as Old Cap. Collier Library Vol. 1, No. 77, Feb. 1, 1884. An obscure American mystery-detective title [none of the titles listed on title page are found in *Hubin*.…