Text judith goldman (4 Ergebnisse)

Broschur, Gr.8°. Zustand: Sehr gut. 52 S. Das Buch ist in sehr gutem, sauberen Zustand. Einband minimal berieben. Sonst sauberes und wohlerhaltenes Exemplar. Exhibition catalog for a show that ran May 17 through June 30, 1986. Text in French with an introduction by Jean-Louis Prat and an essay by Judith Goldman. Includes numerous color and black and white illustrations, checklist, bibliography, and list of previous exhibitions. ISBN: 9782900923092 Due to new EU packaging regulations, we are currently unable to ship to many EU countries. Shipping to Germany, the Netherlands, Ireland, Finland, and the Baltic states is possible. Deliveries to border-based parcel lockers or cross-border parcel forwarding services remain possible. Shipping to all countries outside the EU also remains possible. Sprache: Französisch Gewicht in Gramm: 299.…

Zustand: Near Fine. French-language edition (softcover). 8vo (25cm x 21cm), 54pp. Illustrated throughout in colour and black & white. Original laminated card wrappers. There is some light rubbing of the covers, else this book is in very good condition. Text in French. ISBN 2900923093.

4to, unpaginated [~25pp.]. Original textured matter paper wrapper, very slight creasing at bottom corner. Numerous full-colour reproductions of Noland's painting, in attition to diagramatic illustrations of their composition. A near-fine copy.

New York; ULAE, 1982. First edition. 32,5x25 cm. (35, 21 blanks) pp. + 18 plates. Publisher's cloth with printed dustjacket. The jacket is slightly chipped, otherwise fine. The book accompanied the exhibition "Savarin Monotypes" at Whitney Museum of American Art 1982-83. With an essay by Judith Goldman. "Because of a discrepance in the brightness of the paper, a group of proofs was withheld from the edition of Jasper Johns' lithograph Savarin (1977-81). Thinking to use these proofs as substructures for a series of monotypes, Johns began painting with colored inks on sheets of plexiglass. A lithograph, or, in some instances, blank paper was laid over the freshly painted surface, then covered with a felt blanket and run through a hand lithographic press. By modulating the applied pressure, it was often possible to transfer several slightly varying proofs from one painting." (preface). From the library of Anders Tornberg Gallery in Lund, Sweden, and with a stamp confirming this on the last blank page.…