reisman philip (20 Ergebnisse)

Zustand: Good. Good condition. (Drama, Plays, Screenplays) A copy that has been read but remains intact. May contain markings such as bookplates, stamps, limited notes and highlighting, or a few light stains. Bundled media such as CDs, DVDs, floppy disks or access codes may not be included.

Hardcover. Zustand: Good. New York, 1944; gray cloth covered boards; mild edge and corner wear; illustrated jacket with edges and corners chipped, top corner of front flap clipped; 8vo - over 7 3/4" to 9 3/4" tall; cancelled postage stamp on half-title page, acknowledgements and rear end paper; red arrow and Previous owner's name on copyright page; Interior is clean and unmarked; not paginated.

Hardcover. Zustand: Very Good. Zustand des Schutzumschlags: Good+. Hardcover in jacket. Book is sound and clean with light shelfwear; jacket has some small edge tears but is present and serviceable. Oversize, illustrated exhibition catalogue. 126 pages. Heavy book: priority or international shipping will be extra. Book.

Hardcover. Zustand: Fair. Philip Reisman (illustrator). 531pp, 12mo in black slipcase with illustrated pastedown, hinge split at ffep, page block remains secure, clean throughout, mildly soiled boards, spine has darkened leaving titles dulled, mildly soiled and worn slipcase, Fair book in Good+ slipcase.

Hardcover. Zustand: Very Good+. Zustand des Schutzumschlags: None. Philip Reisman (illustrator). Clean text and interior. Light soiling and wicking to rear cover. Tight, square binding. Frontispiece with clean tissue before title page. Decorative cover with bright colors intact.

Zustand: Fine. - Quarto [approximately 11 inches high by 8-1/2 inches wide], softcover bound in pictorial red & white wrappers with a portrait of Whitman by Hugo Gellert on the front cover. 38 pages. Black-and white illustrations by Rockwell Kent, Philip Evergood, Antonio Frasconi, Philip Reisman & others. Near fine. Contributors to this Walt Whitman issue of American Dialog include Langston Hughes, Walter Lowenfels, Abe Kapek, Soviet poet and critic Kornei I. Chukovsky, Leonore Marshall and Kirby Congdon. There are poems by David Ignatow, James Schevill and others.

Hardcover. Zustand: Good. No Jacket. Reisman, Philip (illustrator). First Thus. A Very Solid Clean Copy With Only Minor Aging. Black Paper Covered Boards With Red Linen Quarter Bind. Bright Gilt Sketch Of St Petersburg. Gilt Title On The Spine. Red Top Block Edge, Very Little Shelf Wear Rubbing And A Small 'Bleaching' Of Colour On The Rear Red Spine From A Liquid Spill. Still A Good Solid Book.

Zustand: Poor. Philip Reisman (illustrator). This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. In poor condition, suitable as a reading copy. No dust jacket. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,450grams, ISBN:0192502107.

Softcover. Zustand: Good. Reprint. Illustrated with black and white photographic plates. Mass market paperback. A good only copy with wrappers unglued from 3/4 of the spine, ink writing on last blank page, and tiny creased tears on a couple plates. This play, based on James Agee's novel *A Death in the Family*, won the Pulitzer Prize for drama. Includes the play and the screenplay in one volume.

Zustand: Good. 4to, 56 pp. Very Good. Soft Covers. Illustrated printed paper wraps. Staple binding. Bump to top right corner. Pages fine. B&W illustrations.

Hardcover. Zustand: Fine. Zustand des Schutzumschlags: Poor. 533 Pp. Red Cloth Spine, Stamped In Gilt And Black, Black Boards, Gilt. Illustrated Modern Library Edition, 1945. Fine. Dust Jacket With Front Panel Stamped In Red Andgold, Worn, Some Of Lettering Worn Away, Large Chip On Rear Cover; Poor.

Couverture souple. Zustand: bon. RO60003875: 1963. In-12. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 365 pages, photos in black & white. . . . Classification Dewey : 420-Langue anglaise. Anglo-saxon.

4°, 126 S. mit sehr vielen s/w und einigen farbigen Tafeln, Orig.-Leinenband mit Orig.-Umschlag. Umschlag mit winzigen Läsuren und leicht nachgedunkelt. Gutes Exemplar.- PLEASE NOTE: Additional shipping costs to destinations outside of the EU are required for this item beyond our standard rates due to its weight and value - we will inform you of the applicable amount at time of purchase.

Hardcover. Zustand: Very good. Zustand des Schutzumschlags: good. Philip Reisman (illustrator). Presumed First Edition/First Printing. 126 pages. Illustrated (more than 32 color and 95 black and white--from the DJ flap). Chronology. One-person Exhibitions. Group Exhibitions. Public Collections. Selected Bibliography. Index. Photo Credits. DJ has wear, soiling, and one edge tear repaired with tape. A couple of xerox pages related to the book and the author laid in (including a copy of a hand written note from Philip Reisman to Virginia discussing getting back to New York City--a place that 'never disappoints'). Reisman's business card taped to one of the xerox pages, which has his home address and phone number written in ink on the front. Martin H. Bush (1932-) is an art historian, educator, consultant, and gallery dealer. Bush was vice president of Academic Resources, Wichita State University, and founder of the University's Ulrich Museum. Bush also served as president of the ACA galleries, N.Y. From an obituary posted on-line: Philip Reisman, a Social Realist painter and printmaker known for his views of New York City street life, died in 1992. He was 87 years old. Mr. Reisman was born in Warsaw in 1904, and came to New York with his family at the age of 4. In his work he would come to expressively interpret scenes of various daily labor, seedy nightclubs and reflective moments within the city. His work is represented in the collections of the Museum of the City of New York, the Metropolitan Museum of Art in Manhattan, the Hirshhorn Museum in Washington and the Wadsworth Atheneum in Hartford, among others. In 1979 and 1980, a three-month exhibition of Mr. Reisman's work from the 1960's and 1970's appeared at the Museum of the City of New York. In honor of the show, Manhattan Borough President Andrew J. Stein proclaimed Nov. 13, 1979, to be Philip Reisman Day. In 1982, the artist was elected an Academician at the National Academy of Design. At the Art Students League Reisman learned composition and illustration from the respected illustrator Wallace Morgan and anatomy from George Bridgman. He was also influenced by George Luks, another League teacher. Later, Reisman studied graphics privately with Harry Wickey from 1927-1928. Reisman later taught etching. Reisman constructed an etching press out of an old colander machine that he bought secondhand. Reisman produced sixty-two etchings in the short period of time between 1927 and 1931. Reisman's prints consist primarily of two major themes: New York scenes of the 1920s and 1930s, and biblical subjects of the Old Testament. The New York prints capture the daily routine-a vendor selling fruit, a group of construction workers engaged in the pre-Depression building boom of the city. His depictions of everyday life capture a visual history of New York because they reflect the raw and powerful activity of the day. Reisman began painting in 1929. He was intrigued by composition with figures in motion. His subjects are never static-they are always in motion. In 1936 he was among a group of ten artists to be commissioned by the Work Projects Administration (WPA) to paint a series of murals for the new psychiatric building at Bellevue Hospital in New York City. The mural, painted in egg tempera, depicted various American industrial scenes and showed a productive, hopeful portrayal of life. Reisman's other paintings of the period depict the homeless and the downtrodden. The Works Project Administration (WPA) and the Public Works Art Project (PWAP) provided Resiman with opportunities for commission and travel during the 1930's. Exhibitions include several one-person shows at the ACA Gallery in New York between 1943 and 1963, and numerous group exhibitions with the National Academy of Design, Hudson Guild and Whitney Annual in New York. Reisman also illustrated short stories for Colliers magazine and an edition of Anna Karenina for Random House and created a mural for the Bellevue Hospital, New York in 1937. Reisman received awards from the Carnegie Institute, Nicholas Roerich Museum, National Academy of Design, American Ac.

Softcover. Zustand: Near Fine. Quarto. Photocopied draft. 186 photocopied leaves printed rectos only, unpunched sheets. Black punchless binder with side position spring-action clamp. Title page credits writer Reisman. Title page slightly toned, small crease and a couple impressions from metal clamp on front cover, about near fine. Screenplay based on James Agee's novel *A Death in the Family*, and Tad Mosel's Pulitzer Prize winning play based on the novel *All the Way Home.*.

Softcover. Zustand: Near Fine. Quarto. 186 mechanically produced leaves printed rectos only. Bradbound red wrappers. Inventory control number on first leaf. Title page credits writer Reisman. Title on a spine label, one corner chipped on rear wrap, a little smudging or staining on the front wrap, very good or better. Screenplay based on James Agee's novel *A Death in the Family*, and Tad Mosel's Pulitzer Prize winning play based on the novel *All the Way Home.*.

Zustand: Very Good. T.M. Cleland, Zdzislaw Czermanski, F.V. Carpentery, Ernest Hamlin Baker, Walter Buehr, Philip Reisman, Roger Duvoisin, Czermansk (illustrator). First Edition. Half blue grained morocco over blue beveled boards. Gilt particulars to spine. Marbled endpapers; five raised bands. C.P. Hall to foot of spine. Smyth sewn with covers nicely tabbed in. Retains all ads. Nice clean copy. Please expect possible extra postage as this is a large & heavy book. 11.25 x 14 in.

Ephemera. Philip Reisman (illustrator). Presumed First Edition/First Printing. Eleven inches by eight and a half inches, folder in half (8.5 inches by 5.5 inches). Written to Virginia [believed to be Dr. Virginia Powell, M.D. who was also Mrs. Bryan Mason of Chevy Chase Maryland]. Front cover has a drawing entitled Haiti by Philip Reisman, which has two mounted figures and a palm tree between them. One inside panel has a hand written note to Virginia, signed Louise and Philip that appears to be in Louise's writing. The note is undated but the accompanying envelop is post marked December 12th, 1982. The envelop has the return address stamped in the upper left corner, a 20 cent stamp on the upper right corner. Envelop has been neatly opened at the top with a letter opener. The holiday note discusses coping, Virginia moving with a van load, Philip's discipline of going 'to the studio every single day', and her looking forward to seeing Virginia and her husband in the New Year in Rockport. These artistic holiday cards were produced only in a limited number for family and friends of the artist and his wife. As ephemeral items, few survived the initial holiday season and even fewer have survived ourside of collections for several decades. In part from an obituary posted on-line: Philip Reisman, a Social Realist painter and printmaker known for his views of New York City street life, died in 1992. He was 87 years old. Mr. Reisman was born in Warsaw in 1904, and came to New York with his family at the age of 4. In his work he would come to expressively interpret scenes of various daily labor, seedy nightclubs and reflective moments within the city. His work is represented in the collections of the Museum of the City of New York, the Metropolitan Museum of Art in Manhattan, the Hirshhorn Museum in Washington and the Wadsworth Atheneum in Hartford, among others. In 1979 and 1980, a three-month exhibition of Mr. Reisman's work from the 1960's and 1970's appeared at the Museum of the City of New York. In honor of the show, Manhattan Borough President Andrew J. Stein proclaimed Nov. 13, 1979, to be Philip Reisman Day. In 1982, the artist was elected an Academician at the National Academy of Design. At the Art Students League Reisman learned composition and illustration from the respected illustrator Wallace Morgan and anatomy from George Bridgman. He was also influenced by George Luks, another League teacher. Later, Reisman studied graphics privately with Harry Wickey from 1927-1928. Reisman later taught etching. Reisman constructed an etching press out of an old colander machine that he bought secondhand. Reisman produced sixty-two etchings in the short period of time between 1927 and 1931. Reisman's prints consist primarily of two major themes: New York scenes of the 1920s and 1930s, and biblical subjects of the Old Testament. The New York prints capture the daily routine-a vendor selling fruit, a group of construction workers engaged in the pre-Depression building boom of the city. His depictions of everyday life capture a visual history of New York because they reflect the raw and powerful activity of the day. Reisman began painting in 1929. He was intrigued by composition with figures in motion. His subjects are never static-they are always in motion. In 1936 he was among a group of ten artists to be commissioned by the Work Projects Administration (WPA) to paint a series of murals for the new psychiatric building at Bellevue Hospital in New York City. The mural, painted in egg tempera, depicted various American industrial scenes and showed a productive, hopeful portrayal of life. Reisman's other paintings of the period depict the homeless and the downtrodden. The Works Project Administration (WPA) and the Public Works Art Project (PWAP) provided Resiman with opportunities for commission and travel during the 1930's. Exhibitions include several one-person shows at the ACA Gallery in New York between 1943 and 1963, and numerous group exhibitions with the National Academy of Design, Hudson Guild and Whitney Annual.

Ephemera. Philip Reisman (illustrator). Presumed First Edition/First Printing. Seven inches by five and three-quarter inches. Written to Virginia [believed to be Dr. Virginia Powell, M.D. who was also Mrs. Bryan Mason of Chevy Chase Maryland]. This note paper has "From Philip Reisman" with street address and phone number printed in the upper left corner. There is writing in Philip Reisman's hand, with his signature (Philip) at the bottom. Writing is only on the front side. Written on August 29, probably during the early 1980s. In this brief note, artist Reisman discusses conditions in New York City, concluded that 'New York never disappointed us, did it?". sending two poems by Michelangelo that he 'visualized' together, and expressing the hope 'to see you in New York soon'. Handwritten correspondence from Philip Reisman is scarce and increasingly prized by art historians and collectors. From an obituary posted on-line: Philip Reisman, a Social Realist painter and printmaker known for his views of New York City street life, died in 1992. He was 87 years old. Mr. Reisman was born in Warsaw in 1904, and came to New York with his family at the age of 4. In his work he would come to expressively interpret scenes of various daily labor, seedy nightclubs and reflective moments within the city. His work is represented in the collections of the Museum of the City of New York, the Metropolitan Museum of Art in Manhattan, the Hirshhorn Museum in Washington and the Wadsworth Atheneum in Hartford, among others. In 1979 and 1980, a three-month exhibition of Mr. Reisman's work from the 1960's and 1970's appeared at the Museum of the City of New York. In honor of the show, Manhattan Borough President Andrew J. Stein proclaimed Nov. 13, 1979, to be Philip Reisman Day. In 1982, the artist was elected an Academician at the National Academy of Design. At the Art Students League Reisman learned composition and illustration from the respected illustrator Wallace Morgan and anatomy from George Bridgman. He was also influenced by George Luks, another League teacher. Later, Reisman studied graphics privately with Harry Wickey from 1927-1928. Reisman later taught etching. Reisman constructed an etching press out of an old colander machine that he bought secondhand. Reisman produced sixty-two etchings in the short period of time between 1927 and 1931. Reisman's prints consist primarily of two major themes: New York scenes of the 1920s and 1930s, and biblical subjects of the Old Testament. The New York prints capture the daily routine-a vendor selling fruit, a group of construction workers engaged in the pre-Depression building boom of the city. His depictions of everyday life capture a visual history of New York because they reflect the raw and powerful activity of the day. Reisman began painting in 1929. He was intrigued by composition with figures in motion. His subjects are never static-they are always in motion. In 1936 he was among a group of ten artists to be commissioned by the Work Projects Administration (WPA) to paint a series of murals for the new psychiatric building at Bellevue Hospital in New York City. The mural, painted in egg tempera, depicted various American industrial scenes and showed a productive, hopeful portrayal of life. Reisman's other paintings of the period depict the homeless and the downtrodden. The Works Project Administration (WPA) and the Public Works Art Project (PWAP) provided Resiman with opportunities for commission and travel during the 1930's. Exhibitions include several one-person shows at the ACA Gallery in New York between 1943 and 1963, and numerous group exhibitions with the National Academy of Design, Hudson Guild and Whitney Annual in New York. Reisman also illustrated short stories for Colliers magazine and an edition of Anna Karenina for Random House and created a mural for the Bellevue Hospital, New York in 1937. Reisman received awards from the Carnegie Institute, Nicholas Roerich Museum, National Academy of Design, American Academy and Institute of Arts and Letters, and the Americ.

Ephemera. Philip Reisman (illustrator). Presumed First Edition/First Printing. Eleven inches by eight and a half inches, folder in half (8.5 inches by 5.5 inches). Text in on one interior panel and part of the back panel. Written to Virginia [believed to be Dr. Virginia Powell, M.D. who was also Mrs. Bryan Mason of Chevy Chase Maryland] and Bryan]. Front cover has a drawing entitled Work in progress by Philip Reisman, which shows portions of what is believed to be a New York City/Manhattan building,with decorations, a fire escape, and some notations related to details in the drawing. The holiday card is undated but the envelop is postmarked December 13th, presumed to be 1983 as it conveys good wishes for 1984. The envelop has the return address stamped in the upper left corner, a 20 cent stamp on the upper right corner, and a holiday greetings stamp/sticker at the lower left corner. Envelop has been neatly opened at the top with a letter opener. The holiday note discusses Virginia and Bryan's trip 'down under', and Philip's preparations at the studio for two Spring exhibits, one in N.Y.C. and the other 'at a museum in Wichita' (which led to Bush's heavily illustrated book on Reisman), and a brief reference to the Reisman's prospective 24 day trip to Tunisia--'If there is no war." The note ends with 'best wishes' for the coming year. The note appears to be written by Louise Reisman.These artistic holiday cards were produced only in a limited number for family and friends of the artist and his wife. As ephemeral items, few survived the initial holiday season and even fewer have survived ourside of collections for several decades. In part from an obituary posted on-line: Philip Reisman, a Social Realist painter and printmaker known for his views of New York City street life, died in 1992. He was 87 years old. Mr. Reisman was born in Warsaw in 1904, and came to New York with his family at the age of 4. In his work he would come to expressively interpret scenes of various daily labor, seedy nightclubs and reflective moments within the city. His work is represented in the collections of the Museum of the City of New York, the Metropolitan Museum of Art in Manhattan, the Hirshhorn Museum in Washington and the Wadsworth Atheneum in Hartford, among others. In 1979 and 1980, a three-month exhibition of Mr. Reisman's work from the 1960's and 1970's appeared at the Museum of the City of New York. In honor of the show, Manhattan Borough President Andrew J. Stein proclaimed Nov. 13, 1979, to be Philip Reisman Day. In 1982, the artist was elected an Academician at the National Academy of Design. At the Art Students League Reisman learned composition and illustration from the respected illustrator Wallace Morgan and anatomy from George Bridgman. He was also influenced by George Luks, another League teacher. Later, Reisman studied graphics privately with Harry Wickey from 1927-1928. Reisman later taught etching. Reisman constructed an etching press out of an old colander machine that he bought secondhand. Reisman produced sixty-two etchings in the short period of time between 1927 and 1931. Reisman's prints consist primarily of two major themes: New York scenes of the 1920s and 1930s, and biblical subjects of the Old Testament. The New York prints capture the daily routine-a vendor selling fruit, a group of construction workers engaged in the pre-Depression building boom of the city. His depictions of everyday life capture a visual history of New York because they reflect the raw and powerful activity of the day. Reisman began painting in 1929. He was intrigued by composition with figures in motion. His subjects are never static-they are always in motion. In 1936 he was among a group of ten artists to be commissioned by the Work Projects Administration (WPA) to paint a series of murals for the new psychiatric building at Bellevue Hospital in New York City. The mural, painted in egg tempera, depicted various American industrial scenes and showed a productive, hopeful portrayal of life. Reisman's other paintings of the per.