Minsky richard (29 Ergebnisse)

Softcover/Paperback. Zustand: Very Good. Richard Minsky. Books, Bindings and Boxes. New York: Zabriskie Gallery, 1974. Postcard. Roughly 2 13/16 x 6 1/2".

hardcover. Zustand: Very Good. May have light to moderate shelf wear and/or a remainder mark. Complete. Clean pages.

HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

Softcover/Paperback. Zustand: Very Good. Richard Minsky. Center for Book Arts March 5th, 1978 "Dear Member" letter. New York: Center For Book Arts, 1978. Single sheet. Very good.Two horizontal creases from mailing.Light edge wear and toning. "Dear Member" letter dated March 5th, 1978 from Center for Book Arts President Richard Minsky. Announcing his own resignation as Executive Director and the need for a new building and fundraising, etc. "On the back of this letter is a reprint of member Richard Kostelanetz's essay, and enclosed is a reprint from Kontexts 1975 of Ulises Carrion's "The New Art of Making Books." I'd like to hear your comments on the subject, and will send out more information in future letters." Carrion reprint not present and neither is mailing envelope.…

Zustand: Good. Book plate stamp on first free endpaper.

Hardcover. Zustand: Very Good. Zustand des Schutzumschlags: Very Good. 1st edition ; 200 p. : ill. ; 22 cm. ; ISBN: 0689500122 (lib. bdg.); 9780689500121 (lib. bdg.) LCCN: 74-18189 ; LC: TT23; Dewey: 745.5/0973 ; OCLC: 1056744 ; "A Margaret K. McElderry book." ; "Traces the history of spinning and weaving, patchwork and quilting, silversmithing, jewelry making, glassblowing, pottery, woodworking, and bookbinding and examines the lives of two or three artisans working in each craft." ; spot on page 25 ; craftspersons include Allen and Dorothy Fannin, Kenneth and Sally Ann Mayberger, DeEtta Thomas, Bertha Thomas, Bobby Thomas, Dollie Bowling, Rose Hacker, Sandra Jean Simoni "Sas" Colby, Ralph Colby, Michael Snyder, Jill Snyder, Enoch Snyder, Robert Slayton Bourdon, Antonio Benetton, Betsy Bourdon, Ronald Hayes Pearson, Olaf Skoogfors, James Betts Hamlin, Judy Skoogfors, BOyd Welch, Joel Philip Myers, Rom Screven, Henry WIlliam Stiegel, John Masson, Trew Bennett, Anthony Bennett, Jeff London, Wendell Castle, Sam Maloof, Annette Lauer, Richard Minsky ; ex-lib, stamps, labels ; red cloth in attached color dustjacket ; VG/VG. Book.…

Zustand: New. In English.

Zustand: New. Dimension: 243 x 210 x 10. Weight in Grams: 526. . 2013. 1st Edition. Paperback. . . . . Books ship from the US and Ireland.

Hardcover. Zustand: Brand New. limited/numbered edition edition. 148 pages. 10.70x8.40x0.70 inches. In Stock.

Hardcover. Zustand: Like New. Immediate dispatch from Somerset. Book in excellent unread/unused condition. Hardcover. English. Pub Year 2011, See images for condition. About the book >.>.> The book art of Richard Minsky explores his journey and contributions to the field of book art, detailing his experiences as an artist, craftsman, and advocate. Minsky, who founded the Center for Book Arts in 1974, reflects on his unique approach to blending traditional crafts with contemporary artistic practice. The book highlights pivotal moments in his career, including his provocative reinterpretation of The Crisis of Democracy. By binding this text with leather, adorned with barbed wire, Minsky critically engages with its themes, transforming it into a multidimensional art piece that stimulates questions about freedom, governance, and the role of art in societal discourse.Minsky's narrative is underscored by a sense of community and collaboration, emphasising the importance of sharing knowledge among artists and craftsmen. He showcases his various pursuits, including music composition, scholarly book collecting, and his dedication to promoting early book artists whose legacies may have been overlooked. Minsky's work transcends conventional definitions, encouraging readers to consider book art as a confluence of various disciplines, where imagery, text, and material all contribute to a cohesive artistic vision. The book offers insights into the philosophical underpinnings of book art, particularly in response to cultural shifts driven by digital media. Minsky?s emphasis on the plural in book arts reflects a commitment to broadening the scope of artistic practice beyond mere illustration. This rich exploration of his career not only illuminates the evolution of book art but also serves as a testament to Minsky?s passion for fostering a vibrant artistic community. (LL).…

Zustand: New. In English.

Zustand: New. A fifty-year collection of sculptural book art from a pioneering contemporary book artist. Num Pages: 134 pages, 100 Colour. BIC Classification: AGB; AKH. Category: (G) General (US: Trade). Dimension: 274 x 216 x 16. Weight in Grams: 796. . 2011. Limited/Numbered Edition. Hardcover. . . . . Books ship from the US and Ireland. …

2011, 134pp. Illustrated. Hardcover. In very good condition.

Paperback. Zustand: Brand New. 1st edition. 136 pages. 9.50x8.25x0.50 inches. In Stock.

Hardcover. Zustand: Fine. 134 pp., bound in pictorial boards. Fine copy, profusely illustrated in colour. 27 x 21 cm.

HARDCOVER. Zustand: As New. 1st Edition. 1st printing. 4to in elaborately colour printed and gilt embossed boards, 134pp on thick art paper, illustrated in colour throughout . [CONDITION: A well preserved AS NEW unmarked and unread copy ] . . . We always ship in STRONG PROTECTIVE CARD PARCELS.

Gebunden. Zustand: New. A fifty-year collection of sculptural book art from a pioneering contemporary book artist.KlappentextrnrnExtraordinary sculptural bookworks and visual literature by a pioneering contemporary artist who changed the way people think about book.

Cloth. Zustand: As New. A gorgeous Limited Slipcase edition in As New condition with signed and numbered bookplate to rear pastedown in like dust-jacket. Housed in As New cloth slipcase. SIGNED by author Richard Minsky directly on the half title page. Includes the Limited edition Print of Essential Liberty; Selecting the most influential pieces that changed the way artists make books, and some of the least known masterworks from private collections, this volume presents the first comprehensive examination of a half century of Minsky's works . A wonderful work showing the bindings of master binder Minsky; Color Photographs; 4to; [6] 7-134 pages; FSA; Signed by Author Limited/Numbered Edition; First Printing. Illustrated by Maurice Sendak (illustrator).…

Hardcover. Zustand: Fine. 1st Edition. First edition, 134 pp., bound in red coth with gilded lettering and decoration. Light wear and age toning, fine copy. Illustrated in colour. 25 x 21 cm.

hardcover. Zustand: Very Good. 1st edition, 2nd printing. 2010, signed; red cloth covered boards with gold titles and accents; wear around edges; encased in a translucent dust jacket; slipcase is missing; 4to,9 3/4" to 12" tall ; author signature on half title page; interior is clean and unmarked; 134 pages. Additional shipping charges may need to be requested due to size or weight of book. Signed by Author. …

Hardcover. Zustand: Fine in Fine Archival Box. Limited Edition. Limited Edition. Hardcover. One of the best explorations of London sex work adverts. Drawn from Caroline Archer's collection of tart cards and her interviews with printers, designers, artists, sex workers, etc. Tart cards emerged in the 1960s and became prevalent in the United Kingdom throughout the 1980s and beyond. The 1990s and the evolving Russian takeover of the sex trade in London saw a marked change, from generally offset printed and/or hand written to glossy and 'generalized' cards. Cell phones and the loss of phone booths has radically shrunk their visibility. This is one of a specially bound limited edition, originally of 60 copies but in fact only approximately 30 were ever bound. 'Corset bound' in pink cloth and black lace and containing two bound in pockets with approximately 35 original tart cards. Tight, bright, and unmarred. 'Corset bound' with pink cloth spine, black cloth boards with lace and black ribbon ties (resulting in two bound in bookmarks); two enclosed pockets in rear board hold loose tart cards; black archival box with in blind lettering. 8vo. 118pp. Illus. (color plates).…

Hardcover. Zustand: Fine in Cloth. First Edition. First Edition. Hardcover. Important reference and overview of American publsihing and book design. Illustrated with 143 color photogaphs of individual titles. Fine. 134 pp. 4to. Red cloth covers with brilliant embossed gold design. Clean and sharp within. No dust jacket, as issued.…

Hardcover. Zustand: Near Fine. 134 pages in near fine condition. Pages are clean and unmarked with many colour illustrations throughout. Bound in red cloth with gilt titles and elaborate designs. No DJ as issued. 1ST EDITION. NF. Book.

Prima exemplaar met lichte gebruikssporen. Uitvoerig geïllustreerd in kleur en zwart-wit.

Hardcover. Zustand: Fine. Limited Edition. Limited Edition. Hardcover. This book is based on Tom Phillips' 1988 collage work 'The Class of 47', as exhibited in London at the National Portrait Gallery. "Tom Phillips sent copies of the 31 images to American poet Heather McHugh, who wrote poems about them. Tom then took these poems and transformed them by painting out some of the words. His new text sometimes reaffirms and other times contradicts the poet's interpretation of the pictures. Each page of handmade paper contains the image, expanded and revised both by hand and computer, and hand painted in watercolour following the artist's prototype." Designed, printed, and bound by Richard Minsky. "[P]rinted on Richard de Bas handmade paper with a Canon BJ-130 inkjet printer. The images and treatments were painted by hand in watercolours. The edition is limited to forty-seven copies bound in cloth, numbered 1-47, and an edition de tete of ten copies I-X, bound in leather with three additional pages coloured by Tom Phillips, containing his notes to the colourist. The Portrait Works (1989), p. 14-15." [publisher's statement] "No litany will ever stick as fast as the class register at primary school, those thirty names of serried figures in a gaslit room, who, benched together like tiny galley-slaves on a five year odyssey, will forever haunt each other's dreams. They provide us with our first typology (so little needing later extension) of bully, hero, creep, flirt, swot, saint and belle dame sans merci. A teacher could inflect this list with cunning insinuation: I used to await my own name to find out what the score was (as one can tell from readers of football results, before they get to the goals, whether a team has triumphed or been crushed or has squeezed a draw) waiting to hear if it was to be thrown away like a hiccup, indicating that I was for the while a safe cypher, or leaned upon with some dangerous almost decodable emphasis (meaning, watch out). Comic capital has often been made of such a recital, most recently in a sinister review sketch by Rowan Atkinson. More notably one remembers Sir Michael Redgrave's hypnotic readings from Beachcomber's List of Huntingdonshire Cabmen and Giles Cooper's radio play Unman Wittering and Zygo. the corresponding names in my own class were Whiting, Whittlesea and Zorn. Oh God!, wrote Swift, How I remember names! The list of faces is not so ordered. Though from many the labels of name have peeled off with time, they will as images bubble up unbidden from the depths of sleep, or will suddenly be brought to mind when a head turns in a bus queue or crush bar (them? not them?). Just once or twice the terrible truth of mortality is presented in a face whose new, augmented, lineaments startle, when encountered all at once without that gently gradual breaking of news one gets from one's own day by day mirrored self. Can that be Flinchecombe there whose features have been pumped up to fill a vast pneumatic head from the top of which the hair has rushed away without so much as a farewell wave? Yes it can, for he is saying to himself. I'm sure I know that fat and grizzled fellow shambling along there. yes. it's Phillips. never did think he'd come to much. As I played with scraps of collage for Curriculum Vitae IV, whose border is a forest of faces, the conjunction of random fragments of heads from various printed sources consistently threw up such darkly half-recognised physiognomies. To exorcise them, to lay their ghosts somehow (on paper at least) I made face-fetishes of each of the thirty. Pete Morris. yes. Fred Emmett, Daphne Blackwood, yes. Sylvia Daniels, yes. and, ah yes, Isabel. one by one (and one of them myself) fixed by paste and hustled out into the daylight of art. Where are they now? Now in part, here. It seemed appropriate only to use pieces of the Boy's Own or the Girl's Own Paper (my constant Human Documents of engraved vocabulary) whose hatchings and cross-hatchings in pre-1900 copies I got to know in those same early years of childhood from bound sets collected for war-salvage. Allen, Arkwright, Atwell, Beard, Bloomfield, Bussey, Callow. let us rest here in this rare reunion." Tight, bright, and unmarred; suite of prints bright and clean. Full black leather binding, inlaid color print, gilt lettering; suite of prints in portfolio with printed label. Oblong 4to. np. Illus. (hand colored plates). Limited number edition, this being X of X of the deluxe subset.…

Hardcover. Zustand: Fine in Very Good Archival Box. Limited Edition. Limited Edition. Hardcover. Minsky is a pioneering contemporary book artist and founded the Center for Book Arts in New York City. MiL is an auto/biographical account of his adventures and experiences during his US/UK Bicentennial Fellowship in London (1978-79).and other's observations of said same. The 45 at the rear includes recordings of Kathy Fire & Reverse doing her song "Libido" (Lyrics on the endpaper), and Tommy Weitzel's solo guitar "Ode to a Dead Sheep." Text Contributors include: Terry Carlson, Barry Fantoni, Faith Gillespie, Pam Hardyment, Kay Hartley, Brian Hoy, Robert Kenedy, Fran Landesman, Jay Landesman, Tom Phillips, Duncan Seligmann, Philip Smith, David Tuck, Kathy Fire, endsheet lyrics. "The story of Minsky's experience as a US/UK Bicentennial Fellow (1978-79), in his words, those of the editor, and observations by 15 people he encountered. A no-holds-barred account, including the story of Tom Phillips' Dante's Inferno giant fire disaster (with photos), and meetings with the British from the Heralds at the Garter Service to artists, punk rockers and bookbinders." [from the artist]. Tight, bright, and unmarred; archival case shows light shelf/edge wear, a touch of sunning to the spine, minor rubbing, else tight and unmarred. Quarterbound, black leather spine, black cloth boards, color xerox print onlay, 45rpm vinyl in pocket at rear pastedown. Oblong 4to. 64pp. Illus. (color and b/w plates). Numbered limited edition, this being 12 of 25. Signed by the artist.…

hardcover. Zustand: very good. Limited. Edited and introduced by Pamela Moore. Illustrated throughout with 90 mounted color photographs. [2] 64pp printed in letterpress on heavy boards; 45 rpm record in sleeve at rear. Oblong folio, black pictorial boards with color xerox transfer print inlaid; black leather spine (a bit worn and with some of the silver lettering quite dull); cloth slipcase. New York & London: Privately Printed by Richard Minsky, 1980. Limited first edition -- number 11 of only 25 copies, signed by Minsky. A very good copy, internally fine. Minsky is a pioneering contemporary book artist and founder of the Center for Book Arts in New York City. This volume is a biographical account and travelogue of his experiences (and other peoples' perceptions of his activities) during his US/UK Bicentennial Fellowship in London, 1978-79. Minsky, Richard (illustrator). …

First Edition. First edition, this one of 150 copies specially bound and signed (this, no. 73) with limitation label on rear pastedown, small 4to, pp. 134; color illustrations throughout; decorated and gilt blue cloth boards, fine in blue cloth slipcase. This copy additionally inscribed with presentation inscriptions from Minsky and Betty Bright, who wrote the introduction, to the binder Gregor Campbell.…

First Edition. First edition. The Center for Book Art's innovative 30th-anniversary publication. Number 3 of 75 copies SIGNED BY BRINGHURST (poet), HENRY (printer), KYLE (designer), and RICHARD MINSKY, The Center's founder and the project's coordinator. THIS COPY ADDITIONALLY INSCRIBED BY BRINGHURST, "for Allen Mears,/ who may appreciate/ more than most not only/ the poetry but also/ Barbara's and Hedi's/ magnificent engineering." Four 4to volumes bound in heavy cardstock -- three with Bringhurst's polyphonic poetry meant to be read by 3 people at once; and the last with Bringhurst's afterword describing the evolution of both poem and project, the subscribers list (Mear's name is 3rd on the list), and the colophon leaf. HOUSED IN ORIGINAL BOX WHICH WAS AVAILABLE TO BE PURCHASED SEPARATELY. Box measures approximately 17.25 x 17.25 x 4" and holds the elaborately constructed fold-out lecterns -- one for each book. As Bringhurst characterized the overall structure, this is "a wonderfully complex piece of biblio-engineering made to behave as if it were simple." TOGETHER WITH the original prospectus, various pre-publication announcements, and extensive correspondence (in the form of printed emails and typed, signed letters) between collector Allen Mears, Bringhurst and The Center, INCLUDING A SIX-PAGE TYPED LETTER SIGNED BY BRINGHURST discussing the genesis of the project, his hopes for it, a 2004 performance of the poem, etc., with a copy of his 2-page design notes with drawings "submitted to Hedi Kyle and Richard Minsky a couple of years ago." Altogether fine. Signed.…