Lawrence peter ray (8 Ergebnisse)

Zustand: Good. - Octavo, color pictorial wraps. Lightly rubbed & creased with bottom corner of front wrap chipped; rear wrap lightly soiled with price-sticker partially removed. 142 pp. Stain to front wrap, inside wrap & first 3 leaves. Page edges very slightly darkened. Illustrated with some of Lawrence's story board drawings & with B&W stills from the film. Good. First edition.…

Soft Cover. Zustand: VG+. First Edition. 8vo. original printed paper wraps (a trifle rubbed and creased, internally clean); pp. 142, with illustrations. A very good copy.

142pp. Tall 8vo. Original wrappers. First UK edition. Script of the film with b/w illustrations.

Trade Paperback. Zustand: Like New. First Edition. First Edition, First Printing. Not price-clipped (£4.95 price intact). Published by Faber and Faber, 1986. Octavo. Paperback. Signed on title page (flat). Book is like new. An excellent copy of this screenplay of Peter Carey's landmark first novel. 100% positive feedback. 30 day money back guarantee. NEXT DAY SHIPPING! Excellent customer service. All books packed carefully and ship with free delivery confirmation/tracking. All books come with free bookmarks. Ships from Sag Harbor, New York. …

Zustand: new.

cells (S. A. Europ. J. of Cell Biolog. 36) 1985. S. 24 - 31. gr8. m. zahlr. Abb. Kopie. geklammert -3) -Sonderabdruck-.

Zustand: Very Good. Original double-sided triptych flyer exhibition programme. 8½'' x 4'' opening to 8½'' x 11½''. In Very Good condition. Member of the P.B.F.A. ART [British].

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.…