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Displayed below are some selected recent viaLibri matches for books published in 1980

        Invisible Man

      Franklin Library, 1980. Hardcover. Fine. Franklin Library, Pennsylvania 1980. Signed Limited Edition. Signed by Ralph Ellison on an endpage. I guarantee the signature is authentic. Leather boards. Gold gilt. Illustrated. Book Condition: Fine, clean boards.

      [Bookseller: 1st Editions and Antiquarian Books, ABA,]
 1.   Check availability:     Biblio     Link/Print  


        RITORNO A BAGATELLE LOUISIANA PARTE SECONDA

      RIZZOLI, 1980. ITALIANO 0,69 Traduzione di Augusto Donaudy, pagine brunite attorno ai testi, guardie e controguardie figurate e con lievissima fioritura, rilegatura editoriale cartonata, sovraccoperta illustrata, scolorita e con segni di usura ai bordi USATO

      [Bookseller: Biblioteca di Babele]
 2.   Check availability:     maremagnum.com     Link/Print  


        Milieu 80: heute. für: Walter Mehring.

      Hamburg. Hanne Darboven im Selbstverlag. 1980 - Auflage [250] Exemplare. 43 x 31 cm. 2 Blatt, 137 paginierte Blatt, 1 Blatt vakat. Lose Bögen in Karton-Manschette wie von Hanne Darboven ausgeliefert, in aufwändig gestalteter Halbleinenkassette mit Papierbezug analog der schwarz-weißen Marmorierung von Aktenordnern mit faksimiliertem Titelschildchen. Die Manschette mit Falzeinrissen, leichter Abklatsch von Tesastreifen auf dem ersten, nicht bedruckten Blatt. Sonst tadellos frisches Exemplar. Exemplar 200 / 250 nummerierten Exemplaren. Textarbeit, bestehend aus 137 paginierten gleichgroßen Textbögen und zwei Titelblättern. Die Auflage von 250 Exemplaren im Selbstverlag herausgegeben wurde nicht komplett in einer dafür angefertigten Box geliefert. Ein Teil der Auflage, der aus Hanne Darbovens Nachlass stammt, enthält nur die jeweils um die Papierbögen gelegten Kartonmanschetten. Hier in einer neu gestalteten Box. [Attributes: Soft Cover]

      [Bookseller: Antiquariat Querido - Frank Hermann]
 3.   Check availability:     ZVAB     Link/Print  


        Man Ray Portfolio

      Milan: Electa Editrice, 1980. First edition. Number 469 of 1000 copies. A portfolio that includes a folded sheet with 4 pages with introductory text by Romeo Martinez and information about each image. Also includes 12 loose images on 11.75" x 15.75" sheets of paper and with each having a tissue guard. All images in fine condition and in a fine folded cardstock holder and in a near fine glossy cardstock sleeve. A nicely printed collection.

      [Bookseller: Jeff Hirsch Books, ABAA]
 4.   Check availability:     Biblio     Link/Print  


        A Confederacy of Dunces. Foreword by Walker Percy.

      Baton Rouge and London: Louisiana State University Press, 1980 - Octavo. Original grey cloth, titles to spine in black. With the dust jacket. An excellent copy in the dust jacket that is faded and very slightly rubbed and creased at the extremities with tape repairs to two short closed tears to the verso. First edition, first printing, in the first issue jacket with Walker Percy blurb on rear panel. "In his posthumously published novel A Confederacy of Dunces (1980), Toole mocked everything to do with his region, the South and his hometown of New Orleans, making his hero, Ignatius Reilly, sound sometimes like a Southern traditionalist on speed" (Richard Gray, A Brief History of American Literature, 2011, p. 335) [Attributes: First Edition]

      [Bookseller: Peter Harrington. ABA member]
 5.   Check availability:     ZVAB     Link/Print  


        August Sander. Photographs of an Epoch, 1904-1959

      Aperture, Milerton, [1980]. Fine. First Edition, Limited edition: No. 210 of 400 copies numbered and signed by August Sander's son, Gunther. 11 1/4 x 9 1/2 inches, 125 pages, two-tone cloth with cloth slipcase, The book is accompanied by a silver gelatin photograph of the image, "Landscape near Heisterbach, 1935" printed from the original negative and signed by Gunther Sander. The photograph measures 8 x 10 inches, housed in folding paper portfolio case measuring 19 x 16 inches. All contained in original cardboard shipping case.

      [Bookseller: Dawson's Book Shop]
 6.   Check availability:     Biblio     Link/Print  


        Consultation 1$ / Consultations

      [New York: The Offices of Fend Fitzgibbon, Holzer, Nadin, Prince and Winters, 1980]. Light wear, else close to near fine in side-stapled printed wrappers.. First Edition. Quarto, side-stapled, 18 pages. "Consultation 1$" stamped in blue to the front cover. Consultations for improving 112 Greene street, with each artist providing suggestions. Richard Prince's contribution is a single page which reads almost literally: "Comfortable booths with leather padded seats and high-back chairs will be installed to afford the convenience... It should re-enforce its advantage of being meaningless and consider itself a soup bone within striking distance". This short-lived collaborative, whether it was really an art advisory service, an advice corporation, a conceptual art platform, or something else entirely, did produce several publications which are rare to the point of almost nonexistence. A "stopper" for Richard Prince collectors; one of the greatest pieces of art ephemera of the era.

      [Bookseller: Harper's Books, Inc. ]
 7.   Check availability:     ABAA     Link/Print  


        FIRESTARTER [SIGNED]

      Huntington Woods, Michigan: Phantasia Press, 1980. First Edition, Limited, #248/725. Hardcover. Octavo, 428 pages; VG/VG; spine black and red pictorial with yellow lettering; price uncut '$35.00'; housed in a VG slipcase with no wear; limitation page in rear, of the 725 numbered and signed copies, this is number 248, signed by King and dated July 6, 1980; LP consignment; shelved case 8, Dupont. Full-priced Rockville.

      [Bookseller: Second Story Books]
 8.   Check availability:     Biblio     Link/Print  


        POPism: The Warhol '60s

      New York: Harcourt Brace Jovanovich, 1980. First Edition. Hardcover. Very Good. Signed by Author. Signed by Warhol in thick black permanent marker on front panel of dust jacket and again on front free endpaper. First edition, second printing. 310 pp. Original black cloth with metallic blue stamping. Near Fine with a bit of waviness to textblock in Near Fine unclipped dust jacket with a bit of bleed from signature on front flap. Warhol's reminiscences of the heyday of his career.

      [Bookseller: Burnside Rare Books, ABAA]
 9.   Check availability:     Biblio     Link/Print  


        WOODCUTS AND WOOD BLOCKS.

      New York, NY: Abaris Books, 1980. Book. Very good condition. Hardcover. First Edition. Quarto (4to). 768 pages of text including a bibliography, index, and a list of the titles of works by Durer. Hardcover binding with minor shelfwear. No dustjacket. A few pages with minor creasing. The editor Walter L. Strauss's indispensable The Woodcuts and Woodblocks of Albrecht Durer is the catalogue raisonne of Durer's work with reproductions of every known work and a summary of comments upon each individual work. The text is clean and unmarked..

      [Bookseller: Kurt Gippert Bookseller (ABAA)]
 10.   Check availability:     Biblio     Link/Print  


        Selected Plays

      Franklin Library, 1980. Hardcover. Fine. Franklin Library, Pennsylvania 1980. Signed Limited Edition. Signed by Tennessee Williams on an endpage. I guarantee the signature is authentic. Leather boards. Gold gilt. Illustrated. Book Condition: Fine, clean boards and pages.

      [Bookseller: 1st Editions and Antiquarian Books, ABA,]
 11.   Check availability:     IOBABooks     Link/Print  


        Invisible Man

      Franklin Library, 1980. Hardcover. Fine. Franklin Library, Pennsylvania 1980. Signed Limited Edition. Signed by Ralph Ellison on an endpage. I guarantee the signature is authentic. Leather boards. Gold gilt. Illustrated. Book Condition: Fine, clean boards.

      [Bookseller: 1st Editions and Antiquarian Books, ABA,]
 12.   Check availability:     IOBABooks     Link/Print  


        François Truffaut rêve de vivre dans un monde d'enfants.

      - 1 manuscrit autographe 1 In-4 octobre 1980 bon Autre questionnaire de Proust, légèrement antérieur (daté de d'octobre 80), comprenant des réponses différentes. Les réponses sont de la main de Truffaut à l'encre bleue et les questions sont manuscrites au stylo noir (d'une autre main) : - [.] - 7 votre occupation préférée : tourner des films - 8 votre rêve de bonheur : vivre ma retraite dans un monde d'enfants - 9 quel serait votre plus grand malheur : que mes enfants disparaissent avant moi - [.] - 15 vos auteurs favoris en prose : Henri-Pierre Roché [l'auteur de Jules et Jim] Genet Proust - 16 vos poètes préférés : Cocteau Audiberti Queneau - [.] - 26 le fait militaire que vous admirez le plus : la désertion les mutineries - 27 la réforme que vous estimez le plus : le divorce des enfants avec les parents en Suède - [.] Cinéaste, l'un des fondateurs de la Nouvelle vague. [Attributes: Signed Copy]

      [Bookseller: Traces Ecrites]
 13.   Check availability:     AbeBooks     Link/Print  


        RAW (The Graphix Magazine, Issues 1-8) [containing MAUS a Survivor's TALE by Art Spiegelman)

      New York: Raw Books, 1980-1986. 8 volumes. First edition and printing of the avant-garde graphics magazine, which also contain as inserts the first editions/printings of parts one through seven of Speigelman's graphic novel MAUS, thus the complete later-issued book MAUS with part one of the book MAUS II. Post-modern illustrations to every page in "comic book" style by various contributors. Black and white, and with colour illustrations to the wrappers. The MAUS illustrations are by Spiegelman Folio (14.25" x 10.5"), stitch bound in the original and vivid colour illustrated wrappers, the issues of MAUS being folio (7" x 5.25") in colour wrappers stitch bound and tipped in to RAW. One issue of RAW with the wrapper tear as an elemental part of the design, as issued and as designed. The volumes now housed in a very handsome and fine blue cloth-covered clamshell box with MAUS and RAW deeply embossed on the upper cover and MAUS embossed on the spine. A very fine set in excellent state of preservation. RARE. THE FIRST PRINTINGS OF THE FIRST 8 ISSUES OF RAW, A GROUNDBREAKING WORK IN THE TRANSFORMATION OF COMIC BOOKS INTO "GRAPHIC NOVELS" INTENDED FOR ADULTS, AND CONTAINING MAUS, THE FIRST GRAPHIC NOVEL TO WIN THE PULITZER PRIZE. MAUS is a postmodern tale of the Holocaust. It depicts Spiegelman interviewing his father about his experiences as a Polish Jew and Holocaust survivor. The work employs postmodernist techniques and represents Jews as mice, Germans as cats, and Poles as pigs. Critics have classified MAUS as memoir, biography, history, fiction, autobiography, or a mix of genres. MAUS came to mainstream attention in 1986 when Pantheon published a collected volume of the first six chapters, all of which are contained here in their first and original appearance in print. This collection also contains the first installment of what would later be published in book form as MAUS II. RAW was a comics anthology edited by Art Spiegelman and Françoise Mouly and published by Mouly from 1980 to 1991. It was a flagship publication of the 1980s alternative comics movement, serving as a more intellectual counterpoint to Robert Crumb's visceral Weirdo.

      [Bookseller: Buddenbrooks, Inc.]
 14.   Check availability:     Biblio     Link/Print  


        Victoria Plum - a large quantity of original illustrations for the Victoria Plum series by Angela Rippon, illustrated by Colin Petty c. 50 works.

      328 - Victoria Plum written by Angela Rippon. A large collection of original illustrations including 'Victoria Plum goes on a Picnic', and Victoria Plum nature books, watercolour, pencil, pen and ink on artboard, card and paper, sized between., 80 x 140mm. to 290 x 420mm., occasional marginal wear, with 3 Victoria Plum books, including 'Victoria gives a Flying Lesson' and the 'Victoria Plum Annual', 2 with owner inscriptions, 1 marked on first page, slightly rubbed, 8vo, all from the early 1980's. Aprprox 50 original artworks, by Colin Petty [Attributes: First Edition]

      [Bookseller: Finecopy ABA]
 15.   Check availability:     AbeBooks     Link/Print  


        Leicestershire.

      Wymondham, Melton Mobray: Sycamore Press, 1980 - Text by Rigby Graham. Introductory Note by Alan Tucker, Number 117 of 150 copies published by Sycamore Press for distribution by The Gadsby Gallery. Signed by Rigby Graham on the Colophon. 13.25 X 14.75 ins. 160 pp. Quarter black leather with gilt rule and green cloth covered boards. Gilt title on spine. Colour pictorial endpapers. One of the most impressive topographical books of the late 20th century with 161 illustrations - 52 in colour with some tipped-in and 109 monotone and black and white line drawings. Published to commemorate the 150th anniversary of John Flower's "Views of Ancient Buildings in the Town and County of Leicestershire". Rigby Graham's "Leicestershire" is considered a remarkable late flowering of English topographical books. Graham was a prolific landscape painter who was influenced by the English Neo-Romantics: John Piper, Paul Nash and Graham Sutherland especially. A very fine copy in its original orange slipcase. [Attributes: Signed Copy; Hard Cover]

      [Bookseller: BOXWOOD RARE BOOKS & PRINTS (PBFA)]
 16.   Check availability:     AbeBooks     Link/Print  


        Music for Chameleons

      Random House, New York - Copyright is 1980. 262 pages. Signed in name only by Truman Capote on the title page. Signed in name only by Tennessee Williams, the subject of the dedication, on the dedication page. Publisher's promotional photograph issued with review copies of this book is laid in. There is a very slight and small stain on fore edge. Price clipped dust jacket is slightly darkened along upper edge of inside flaps, and shows slight surface wear. Otherwise a bright, crisp, and clean copy with its dust jacket now in a protective sleeve. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Lloyd Zimmer, Books and Maps]
 17.   Check availability:     AbeBooks     Link/Print  


        My world of bibliophile binding.]

      Kyuryudo Co. Ltd, [Tokyo] 1980 - First edition, folio, pp. 195, [5]; text in Japanese; the first 62 pages are a description of bookbinding techniques illustrated by 174 diagrams. The remainder of the book is dedicated to high-quality, full color photographs of fine bindings produced by Miura, some in folding spreads. Original red silk, gilt title direct on spine, gilt designs on cover, fine in original pictorial slipcase; bookplate of John Howll Books. Inscribed by author on half-title page, with the English title provided on title page. [Attributes: First Edition; Hard Cover]

      [Bookseller: Rulon-Miller Books (ABAA / ILAB)]
 18.   Check availability:     AbeBooks     Link/Print  


        Agón o El canto del cisne. Scénario original inédit de Luis Buñuel comportant des corrections manuscrites de Jean-Claude Carrière

      S.n. 1980 - - S.n., s.l. 1980, 21x29,5cm, relié. - Dernier scénario tapuscrit de Luis Buñuel, resté inédit. Reliure en demi basane marbrée, dos à quatre fins nerfs, plats de cartonnage caramel, reliure réalisée à la demande de Luis Buñuel. Tapuscrit original inédit du scenario de Luis Buñuel, constitué de 109 feuillets abondamment raturés et corrigés par Jean-Claude Carrière, collaborateur du cinéaste pendant près de vingt ans, et de 2 feuillets entièrement rédigés de la main du même. 11 feuillets ont été reliés en tête, il s'agit d'extraits du texte autobiographique Pesimismo (1980) de Luis Buñuel. Ce scenario, totalement inédit, a été rédigé en français ; la seule version connue est une traduction en espagnol, publiée en 1995 qui a été réalisée à partir d'une copie postérieure aux corrections et ajouts de ce tapuscrit. Ce tapuscrit ne présente pas de page de titre. En effet, Buñuel et Carrière envisagèrent plusieurs titres : El Canto del cisne (Le chant du cygne), Haz la guerra y no el amor (Faites la guerre pas l'amour), Una ceremonia secreta (Une cérémonie secrète), Guerra si : amor, tampoco (Guerre, oui : amour, non plus) ou encore Una ceremonia suntuosa (Une cérémonie somptueuse, en hommage à André Breton). Le titre final sera cependant Agón, comme l'explique Buñuel dans un entretien avec José de la Colina : « J'ai été en Normandie pour écrire avec Carrière le scenario d'un film dont on ne sait pas encore comment il s'appellera. Nous avons envisagé quelques titres. Par exemple, Agón, c'est-à-dire : l'Agonie, dont la signification originale est le combat. Le thème de notre intrigue se trouve être la bataille entre la vie et la mort, comme dans notre « Agonie » espagnole. C'est mon titre le plus court, c'est pourquoi je l'aime. Mais ce pourrait être aussi Le chant du cygne, qui aurait un sens ambivalent : la fin de la civilisation occidentale et le dernier film de Luis Buñuel. ». (« Agón o El canto del cisne según Luis Buñuel » in Contracampo, nº1, 1979) C'est ce dernier titre qui a été choisi pour la reliure du tapuscrit que nous proposons. Malgré les longues réflexions concernant le titre du film et l'aboutissement du tapuscrit, le projet fut tué dans l'œuf. Buñuel et Carrière avaient pour habitude de s'isoler plusieurs mois durant dans un petit hôtel de San José de Purúa (Mexique) pour achever leurs scenarii. A leur arrivée au mois d'août 1978, les chambres monacales dans lesquelles ils avaient coutume de séjourner avaient changé et, au grand dam de Buñuel, le bar n'existait plus. Dans ses souvenirs, Buñuel se plait à justifier l'abandon du projet par cette disparition : « Notre époque dévastatrice, qui détruit tout, n'épargne même pas les bars. » (Luis Buñuel, Mon dernier soupir, 1982). C'est justement une histoire ancrée dans cette « époque dévastatrice » voire pré-apocalyptique, que déroule le scenario, dénonçant une triple complicité : science, terrorisme et information, alliance macabre selon Buñuel. Il imagine une histoire complexe, mettant en scène un groupe de terroristes internationaux se préparant à commettre un grave attentat en France. Finalement, on apprend qu'une bombe atomique vient d'exploser à Jérusalem. La guerre mondiale est imminente et la mobilisation générale est décrétée. Le chef de la bande de terroristes renonce à son projet et informe les autorités du lieu exact où ils peuvent récupérer la bombe avant qu'elle n'explose : une péniche postée à côté du Louvre. Les terroristes renoncent ainsi à leur projet devenu superflu, puisque les gouvernements vont se charger eux-mêmes de la destruction du monde, sur fond d'omniprésence des médias et de l'information. Si la trame narrative fait étrangement écho à des préoccupations actuelles, elle s'inscrit au sein de la réflexion artistique et sociétale qui traverse toute l'œuvre de Buñuel : « Je suis passionné par le terrorisme, qui est déjà universel et pratiqué comme un sport. Il semblerait que ce soit maintenant une tentation de la part de quelqu'un qui est jeune et [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Librairie Le Feu Follet]
 19.   Check availability:     IberLibro     Link/Print  


        Quel Lungo Treno

      BRESCIA: Editrice La Scuola, 1980. Brossura. BUONO. 14,5 21,5. L'Alfiere USATO

      [Bookseller: Controcorrente Group srl BibliotecadiBab]
 20.   Check availability:     Biblio     Link/Print  


        Vache aveuglée. Photographie Originale de l'artiste

      Par l'auteur 1980 - - Par l'auteur, s.l. 1980, 22x22cm sur papier Ilford 30x40cm, une feuille. - Grande photographie originale en noir et blanc réalisé par Marc Trivier. Tirage argentique original non signé, comme la plupart des œuvres de Trivier. Précieuse épreuve argentique originale du célèbre photographe belge, un des artistes contemporains les plus secrets, qui malgré un succès international précoce, a préféré limiter sa production pour conserver la cohérence de son œuvre. Marc Trivier ne tire pas de nouveaux exemplaires de ses anciens portraits, le papier de tirage qu'il utilisait n'est d'ailleurs plus commercialisé. L'artiste « réalise lui-même ses tirages sur papier baryté Ilford, consacrant plusieurs jours de travail à chacun, avec une concentration particulière pour rendre les blancs, par contraste avec des noirs d'une rare densité. Un tirage de Marc Trivier ne ressemble à aucun autre. Lorsqu'il accepte de les exposer, il les suspend dans des cadres en inox de sa fabrication, laissant libre cours à la vie du papier. » (Xavier-Gilles, « Marc Trivier et la tragédie de la lumière » in Le Monde Libertaire, 2011). Cette « vie du papier » participe de l'œuvre au même titre que les diverses altérations que subissent les photographies lorsqu'elles sont exposées : « Dans les boites, les tirages gondolent, mais qu'importe : le photographe affectionne ce genre d'accident. » (Claire Guillot, « Les face à face sans échappatoire du photographe Marc Trivier », Le Monde, 2011). Marc Trivier a une sensibilité particulière pour l'aspect matériel de ses productions. Alors que la photographie relève par essence du multiple, cette intervention de l'artiste dans tout le processus de création confère une aura autographique à ces tirages. Photographies d'artistes, de fous, d'arbres ou d'abattoirs, Marc Trivier aborde tous ces sujets avec un regard aussi précis qu'intense. « Dans sa cosmogonie, chaque chose, chaque être, végétal, animal ou humain, mérite le même respect. Car tous sont confrontés à la même loi d'airain : la solitude. » (Luc Desbenoit). La beauté qui émane de ses photos vient de cette nudité. Il n'y a ni retouches, ni recadrages. On retrouve dans son œuvre le même format carré souligné par le carré du négatif que Trivier laisse sur ses tirages. Ce cadre piège notre regard dans des photographies où le fard de la couleur est rejeté pour un noir et blanc incisif. Toute artificialité ayant disparu nous ne faisons pas face à la mise en scène d'un sujet mais à une présence exacerbée par la lumière irradiante et singulière, témoin d'un instant de vie et non de pose. C'est cette lumière, liée au médium photographique, qui unit les séries de Marc Trivier : « Les photographies de Marc Trivier écrivent une tragédie de la lumière, celle-ci n'accueillant les êtres - hommes, arbres ou bêtes - qu'en les brûlant, avant disparition." » (Xavier-Gilles in Le Monde Libertaire). C'est aussi elle, délivrée de tous les artifices, qui donne à ses œuvres l'aura qui les rend si présentes. Cette « brûlure » de la lumière nous renvoie à un instant réel, au « ça a été » de Barthes (La Chambre Claire, 1980) : « De trente-cinq ans de pratique photographique, d'obsessions, c'est peut-être ça qui reste : un mode d'enregistrement singulier de la brûlure de la lumière, décliné d'une image à l'autre, en une succession de propositions qui se ressemblent et pourtant chacune est aussi singulière que la fraction de temps auquel elle renvoie. » (Marc Trivier). « La photographie ne dit qu'une chose : « C'était. » On ne fixe que ce qui a été. S'il y a une tragédie, elle est là. » (Marc Trivier) Warhol, Foucault, Beckett, Dubuffet . les plus grands écrivains et artistes ont posés pour Trivier. Simultanément l'artiste s'intéressent également aux marges de la société, à ce que les hommes ne veulent pas voir. Il photographie alors les aliénés et les abattoirs qu'il place en regard des célébrités. Dès la fin des années 1980 son œuvre est unanimement reconnue et il reçoit le prestigieux Young P [Attributes: First Edition]

      [Bookseller: Librairie Le Feu Follet]
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        Portrait de Paul Delvaux. Photographie Originale de l'artiste

      Par l'auteur 1980 - - Par l'auteur, s.l. 1980, 22x22cm sur papier Ilford 30x40cm, une feuille. - Grand portrait photographique original en noir et blanc réalisé par Marc Trivier. Tirage argentique original non signé, comme la plupart des œuvres de Trivier. Précieuse épreuve argentique originale du célèbre photographe belge, un des artistes contemporains les plus secrets, qui malgré un succès international précoce, a préféré limiter sa production pour conserver la cohérence de son œuvre. Marc Trivier ne tire pas de nouveaux exemplaires de ses anciens portraits, le papier de tirage qu'il utilisait n'est d'ailleurs plus commercialisé. L'artiste « réalise lui-même ses tirages sur papier baryté Ilford, consacrant plusieurs jours de travail à chacun, avec une concentration particulière pour rendre les blancs, par contraste avec des noirs d'une rare densité. Un tirage de Marc Trivier ne ressemble à aucun autre. Lorsqu'il accepte de les exposer, il les suspend dans des cadres en inox de sa fabrication, laissant libre cours à la vie du papier. » (Xavier-Gilles, « Marc Trivier et la tragédie de la lumière » in Le Monde Libertaire, 2011). Cette « vie du papier » participe de l'œuvre au même titre que les diverses altérations que subissent les photographies lorsqu'elles sont exposées : « Dans les boites, les tirages gondolent, mais qu'importe : le photographe affectionne ce genre d'accident. » (Claire Guillot, « Les face à face sans échappatoire du photographe Marc Trivier », Le Monde, 2011). Marc Trivier a une sensibilité particulière pour l'aspect matériel de ses productions. Alors que la photographie relève par essence du multiple, cette intervention de l'artiste dans tout le processus de création confère une aura autographique à ces tirages. Photographies d'artistes, de fous, d'arbres ou d'abattoirs, Marc Trivier aborde tous ces sujets avec un regard aussi précis qu'intense. « Dans sa cosmogonie, chaque chose, chaque être, végétal, animal ou humain, mérite le même respect. Car tous sont confrontés à la même loi d'airain : la solitude. » (Luc Desbenoit). La beauté qui émane de ses photos vient de cette nudité. Il n'y a ni retouches, ni recadrages. On retrouve dans son œuvre le même format carré souligné par le carré du négatif que Trivier laisse sur ses tirages. Ce cadre piège notre regard dans des photographies où le fard de la couleur est rejeté pour un noir et blanc incisif. Toute artificialité ayant disparu nous ne faisons pas face à la mise en scène d'un sujet mais à une présence exacerbée par la lumière irradiante et singulière, témoin d'un instant de vie et non de pose. C'est cette lumière, liée au médium photographique, qui unit les séries de Marc Trivier : « Les photographies de Marc Trivier écrivent une tragédie de la lumière, celle-ci n'accueillant les êtres - hommes, arbres ou bêtes - qu'en les brûlant, avant disparition. » (Xavier-Gilles in Le Monde Libertaire). C'est aussi elle, délivrée de tous les artifices, qui donne à ses œuvres l'aura qui les rend si présentes. Cette « brûlure » de la lumière nous renvoie à un instant réel, au « ça a été » de Barthes (La Chambre Claire, 1980) : « De trente-cinq ans de pratique photographique, d'obsessions, c'est peut-être ça qui reste : un mode d'enregistrement singulier de la brûlure de la lumière, décliné d'une image à l'autre, en une succession de propositions qui se ressemblent et pourtant chacune est aussi singulière que la fraction de temps auquel elle renvoie. » (Marc Trivier). « La photographie ne dit qu'une chose : « C'était. » On ne fixe que ce qui a été. S'il y a une tragédie, elle est là. » (Marc Trivier) Warhol, Foucault, Beckett, Dubuffet . les plus grands écrivains et artistes ont posés pour Trivier. Simultanément l'artiste s'intéressent également aux marges de la société, à ce que les hommes ne veulent pas voir. Il photographie alors les aliénés et les abattoirs qu'il place en regard des célébrités. Dès la fin des années 1980 son œuvre est unanimement reconnue et il reçoit le prestigieux [Attributes: First Edition]

      [Bookseller: Librairie Le Feu Follet]
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        Arbre. Photographie Originale de l'artiste

      Par l'auteur 1980 - - Par l'auteur, s.l. 1980, 22x22cm sur papier Ilford 30x40cm, une feuille. - Grande photographie originale en noir et blanc réalisée et tirée par Marc Trivier. Tirage argentique non signé, comme la plupart des oeuvres de Trivier. Epreuve unique tirée par l'artiste. Précieuse épreuve argentique originale du célèbre photographe belge, un des artistes contemporains les plus secrets, qui malgré un succès international précoce, a préféré limiter sa production pour conserver la cohérence de son œuvre. Marc Trivier ne tire pas de nouveaux exemplaires de ses anciens portraits, le papier de tirage qu'il utilisait n'est d'ailleurs plus commercialisé. L'artiste « réalise lui-même ses tirages sur papier baryté Ilford, consacrant plusieurs jours de travail à chacun, avec une concentration particulière pour rendre les blancs, par contraste avec des noirs d'une rare densité. Un tirage de Marc Trivier ne ressemble à aucun autre. Lorsqu'il accepte de les exposer, il les suspend dans des cadres en inox de sa fabrication, laissant libre cours à la vie du papier. » (Xavier-Gilles, « Marc Trivier et la tragédie de la lumière » in Le Monde Libertaire, 2011). Cette « vie du papier » participe de l'œuvre au même titre que les diverses altérations que subissent les photographies lorsqu'elles sont exposées : « Dans les boites, les tirages gondolent, mais qu'importe : le photographe affectionne ce genre d'accident. » (Claire Guillot, « Les face à face sans échappatoire du photographe Marc Trivier », Le Monde, 2011). Marc Trivier a une sensibilité particulière pour l'aspect matériel de ses productions. Alors que la photographie relève par essence du multiple, cette intervention de l'artiste dans tout le processus de création confère une aura autographique à ces tirages. Photographies d'artistes, de fous, d'arbres ou d'abattoirs, Marc Trivier aborde tous ces sujets avec un regard aussi précis qu'intense. « Dans sa cosmogonie, chaque chose, chaque être, végétal, animal ou humain, mérite le même respect. Car tous sont confrontés à la même loi d'airain : la solitude. » (Luc Desbenoit). La beauté qui émane de ses photos vient de cette nudité. Il n'y a ni retouches, ni recadrages. On retrouve dans son œuvre le même format carré souligné par le carré du négatif que Trivier laisse sur ses tirages. Ce cadre piège notre regard dans des photographies où le fard de la couleur est rejeté pour un noir et blanc incisif. Toute artificialité ayant disparu nous ne faisons pas face à la mise en scène d'un sujet mais à une présence exacerbée par la lumière irradiante et singulière, témoin d'un instant de vie et non de pose. C'est cette lumière, liée au médium photographique, qui unit les séries de Marc Trivier : « Les photographies de Marc Trivier écrivent une tragédie de la lumière, celle-ci n'accueillant les êtres - hommes, arbres ou bêtes - qu'en les brûlant, avant disparition. » (Xavier-Gilles in Le Monde Libertaire). C'est aussi elle, délivrée de tous les artifices, qui donne à ses œuvres l'aura qui les rend si présentes. Cette « brûlure » de la lumière nous renvoie à un instant réel, au « ça a été » de Barthes (La Chambre Claire, 1980) : « De trente-cinq ans de pratique photographique, d'obsessions, c'est peut-être ça qui reste : un mode d'enregistrement singulier de la brûlure de la lumière, décliné d'une image à l'autre, en une succession de propositions qui se ressemblent et pourtant chacune est aussi singulière que la fraction de temps auquel elle renvoie. » (Marc Trivier). « La photographie ne dit qu'une chose : « C'était. » On ne fixe que ce qui a été. S'il y a une tragédie, elle est là. » (Marc Trivier) Warhol, Foucault, Beckett, Dubuffet . les plus grands écrivains et artistes ont posés pour Trivier. Simultanément l'artiste s'intéressent également aux marges de la société, à ce que les hommes ne veulent pas voir. Il photographie alors les aliénés et les abattoirs qu'il place en regard des célébrités. Dès la fin des années 1980 son œuvre est unanimement reconnu [Attributes: First Edition]

      [Bookseller: Librairie Le Feu Follet]
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        Selected Poems 1965-1975

      London: Faber and Faber, 1980. First Edition. Paperback. Fine/fine. Signed by Heaney on the title page. Proof copy in the oversized proof jacket, bumped at the top overhang. Fine in plain white wraps under the jacket, square and firmly bound. A selection of Heaney's poetry, selected by himself. Includes work taken from Death of a Naturalist, Door into the Dark, Wintering Out, and North.

      [Bookseller: Carpetbagger Books]
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        Agón o El canto del cisne. Scénario original inédit de Luis Buñuel comportant des corrections manuscrites de Jean-Claude Carrière

      BUñUEL Luis Agón o El Canto del Cisne. Original unpublished screenplay by Luis Buñuel with significant manuscript corrections by Jean-Claude Carrière 1980, 210x295mm(8 1/4 x 11 5/8"), 109 ff., author's half bindingTypescript of Buñuel's last screenplay, which has remained unpublished. Half marbled sheep over beige paper boards, spine in five compartments, bound for Buñuel.The unpublished original typescript of Buñuel's screenplay, comprising 109 leaves with numerous corrections and deletions from Jean-Claude Carrière, who was a collaborator of the director's for nigh on twenty years, and two leaves entirely written in the latter's hand.11 leaves bound in at the beginning, extracts from the autobiographical text Pesimismo (1980) by Buñuel.This screenplay, entirely unpublished, was written in French. The only known version is of a Spanish translation published in 1995, which was based on a later copy with the corrections and additions from this typescript.This typescript has no title page. In fact, Buñuel and Carrière had several titles in mind: "El Canto del cisne" ("Swan Song"), "Haz la guerra y no el amor" ("Make War not Love"), "Una ceremonia secreta" ("A Secret Ceremony"), "Guerra si : amor, tampoco" ("War yes: love, no more") or even "Una ceremonia suntuosa" ("A Sumptuous Ceremony", in homage to André Breton). The title, in the end, however, was to be Agón, as Buñuel explained in an interview with José de la Colina : "I was in Normandy to write with Carrière, the screenplay of a film, but we didn't know what to call it. We had several titles in mind. For example, Agón, or 'Agony', whose original meaning is combat. The theme of our plot was the struggle between life and death, just as in our Spanish 'Agony'. This was the shortest of my titles, and that's why I like it. But it could also have been Swan Song, which would have had an ambivalent meaning: the end of Western civilization and Luis Buñuel's final film..." ("Agón o El canto del cisne según Luis Buñuel" in Contracampo, nº1, 1979)It was this latter title that was chosen for the binding of the typescript offered now for sale.Despite a good deal of time devoted to the title and the successful completion of the typescript, the project was strangled at birth. Buñuel and Carrière used to hole up for several months in a little hotel in San José de Purúa (Mexico) to write their screenplays. When they arrived in August 1978, the monastic cells in which they were used to staying had changed, and to Buñuel's great annoyance, there was no bar any more. In his memoirs, Buñuel liked to blame the failure of this project on this loss: "Our destructive era, which sweeps all before it, does not spare even bars," (Luis Buñuel, My Last Sigh, 1982).And it is just such a story, anchored in this "destructive era", or rather pre-apocalyptic era, that takes place in this screenplay, denouncing a triple complicity: science, terrorism and information, a macabre marriage, according to Buñuel. He imagines a complicated plot, in which a group of international terrorists are preparing to carry out a major attack in France. In the end, we learn that an atom bomb has just gone off in Jerusalem. World war is imminent and general mobilization is decreed. The leader of the terrorist cell gives up on his project and tells the authorities exactly where they can find the bomb before it goes off: a barge moored beside the Louvre. The terrorists give up on their project, it having become unnecessary since national governments would now see to the destruction of the world, against a background of omnipresent media coverage and information flow.If the narrative seems strangely relevant today, it was also inherent in the artistic and social reflections in all of Buñuel's work. "I'm fascinated by terrorism, which is already universal and pursued like a sport. It seems this has now become a temptation for anyone young who wants to go out and make a mark: it's a dandyism of our age...It's a temptation that is deeply stoked by the media, a means of achieving fame. Any old young person with a pistol or a submachine gun who takes over an airplane, terrifying a couple of countries, and getting the eyes of the world on themselves, becomes a star." (José de la Colina, op. cit).This fascination with terrorism had its roots in the ideology of Surrealism, which colored Buñuel's artistic beginnings, as he himself recalled. "One cannot forget the words of our youth, for example what Breton used to say: 'the simplest Surrealist act consists of going out into the street, revolver in hand, and firing at random into the crowd.' As for me, I haven't forgotten writing that Un chien andalou was nothing less than an incitement to murder," (Luis Buñuel, op. cit.). Jean-Claude Carrière reiterates elsewhere, thinking about the screenplay for Agón, this essential and everpresent Surrealist element to Buñuel's cinema: "This was not an entirely realistic film...We went back to Buñuel's hatred of establishment art, his 'Screw Art'. He said he was ready to burn all his films if he had to, in a great cultural sacrifice," (Jean-Claude Carrière, L'Esprit libre. Entretiens avec Bernard Cohn, 2011).The destruction of the aesthetic and the aesthetic of destruction: for Buñuel, the leitmotiv of Dada and Surrealism finds a troubling echo in the terrorist violence of the 20th century. Buñuel even saw to some extent Surrealism as partly responsible for what he saw as this modern way of communication.Though Buñuel never tackled the complex subject of terrorism before this last screenplay directly, he always introduced, in each of his films, a character or a situation that suggested this form of violence. Thus, in his last film, That Obscure Object of Desire (1977), there is an explicit allusion to terrorism, as Manuel Rodriguez Blanco highlights: "a last little wink in his final sequence: the improbable couple are walking down a passage...He gets further away and a bomb goes off. A wink to passing on...but also an evocation of a personal obsessions, terrorism" (Manuel Rodriguez Blanco, Luis Buñuel, 2000). A tragic premonition - a real bomb was to go off on 19 October 1977 at the Ridge Theatre in San Francisco, which was showing the film.At the same time a passionate aesthetic flight of fancy and an unbearable everyday threat, terrorism runs through both the work, but also the life of the director.Thus, as he writes in his memoirs, a visit to his office in the rue de la Pépinière from a young repentant fascist, come to tell him, bombs at the ready, of the planning of a major attack. The director tells us how, despite his warnings to both the French and Spanish authorities, he could not prevent the carrying out of the projected plot.This event was the beginning for Buñuel of his intense thinking about the complex matrices of terrorism, which he envisaged as a re-appropriation of the Surrealist language that had been perverted by science, politics, and the media. At the same time a negation of, and a product of, a self-destructive society, terrorism, for Buñuel, was not a means, but a destructive gesture in itself, devoid of all political or ideological pretext.The peak of absurdity and nihilism, the terrorists in Agón are thus caught short by society, which deprives them of their rebellion in bringing about Armageddon by itself.For, as backdrop to this entomological terrorism fomented by fragile criminals, Buñuel paints a portrait of a society that is organizing its own destruction, blinded by science and the media: "One thing is nonetheless for sure: science is the enemy of man. It encourages in us the instinct of omnipotence that leads to our destruction" (Luis Buñuel, op. cit.).The ever-presence of the media in itself plays the role of a catalyst, television being the cynical spokesman of governments and scientists. Buñuel explains this aversion in his memoirs: "I hate the proliferation of information. Reading the paper is the most painful thing in the world...The information-circus is an abhorrence...Just one hunt after another" (Luis Buñuel, op. cit.)The character of the journalist in Agòn thus approves the actions of the Prime Minister, who affirms that the situation on earth is wonderful, while the viewer sees images showing the destruction of the planet (the destruction of the forests, animal testing, hyper-industrialization, and so on). Buñuel makes a direct link between technological and scientific progress and the irreversible and imminent ecological tragedy of the modern age.Written in 1978, this swansong of a director who had lived through the century and on various continents, show a stunning sharpness and a prescience for some of the major preoccupations of the 21st century: terrorism, ecology, the technological onslaught and the excesses of the media. "Old and alone, I can only imagine chaos and catastrophe. One or the other seems inevitable to me...I also know that there's a tendency at the end of each millennium to start heralding the end of the world. Nonetheless, it seems to me that this whole century has led to unhappiness. Evil has triumphed in the great, ancient struggle. The forces of destruction and dislocation have carried the day. The spirit of man has made no progress towards enlightenment. It may even have slid backwards. Weakness, terror and death surround us. Where will the fountains of goodness and intelligence that one day may save us come from? Even chance seems to me impotent" (Luis Buñuel, op. cit.)This major work, the apotheosis of all the director's preoccupations and a merciless diatribe against a society bent on self-destruction was paradoxically itself condemned by Buñuel never to be published.Thus the screenplay with the uncertain title is very much the "Secret Ceremony" of a director who, at the twilight of his life, goes back over the founding motions of his cinematic œuvre: like Un Chien Andalou, Agón is a violent and absurd destruction of a viewpoint. S.n. s.l. 1980 21x29,5cm relié

      [Bookseller: Librairie Le Feu Follet]
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        NOUVEAUX POINCONS-Recherches techniques et historiques sur l'orfevrerie sous l'ancien regime

      Edition Berger, Levrault 1980 - In 4_, leg. t.t. ed. con tit. impr. al piatto e al dorso, sovrac. ill. col. sguardie ill. col. pp. 418, ill. in n. n.t. alcune a piena pagina; 1 tav. applicata in antiporta; pr_face de Pierre Duhaye, membre de l'Istitut Directeur des Monnaies et M_dailles. Segni del tempo alla sovrac. , margini leggermente sollevati e_ ingialliti, piccolo strappo al margine sup. ant., cop. e interno ottimo. [Attributes: Hard Cover]

      [Bookseller: Invito alla Lettura]
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        Daudet. Contes du Lundi. Tartarin de Tarascon. Lettres de mon moulin. Aux à ditions Les Heures Claires

      Les à ditions d'art Les Heures claires 0 - Six volumes in-4 (20 x 25 cm.), dont 3 volumes de texte et 3 volumes contenant les suites, relià s plein cuir pourpre/orange/rouge mosaà quà sous emboîtage bordà , quatre nerfs au dos avec caissons dorà s et une illustration en cuir mosaà quà , pour les livres: tranche de tête dorà e, gardes en soie moirà e blanche, texte encadrà , illustrations couleurs et vignettes monochromes in-texte, tranchefile, cahiers non-à barbà s, pour les suites: planches couleurs/monochromes et scà nes dà composà es selon couches couleurs sous chemise et coffret identique aux livres, 254 + 233 + 174 pages, un des 47 exemplaires sur Grand Và lin de Rives comportant une aquarelle originale et un dessin original d'un cul-de-lampe pour l'ensemble des trois ouvrages -une suite couleurs - une suite en noir - une dà composition couleurs (ici n°32), circa 1980, 1er papier sauf UN exemplaire rà servà à l'à diteur ; menus incidents aux emboîtages, par ailleurs excellent à tat pour cette à dition RARE. Lemarià Henry

      [Bookseller: Abraxas-libris]
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        PERCHE' A ROMA SI DICE…(II) NUOVI VAGABONDAGGI ROMANESCHI

      ROMA: Edizioni Piazza Navona, 1980. BROSSURA. BUONO. 16 21. USATO

      [Bookseller: Controcorrente Group srl BibliotecadiBab]
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        RAGING BULL MOVIE POSTER/TORO SCATENETO/POSTER

      UNITED ARTISTS 1980 - TORO SCATENETO - 1980, Dir: MARTIN SCORSESE, Cast: ROBERT DE NIRO, NICHOLAS COLASANTO, JOE PESCI, CATHY MORIARTY, FRANK VINCENT, , , Nac. film: USA, Company: UNITED ARTISTS, Designer: Tom Jung, , Nac. poster: ITALIA, Measures (Cm. and Inches) : -100X140-Cm.-40X55-INCHES-2 SH., , Type of product: POSTER, , POSTER are in excellent condition but may have normal wear such as edge wear or a slight hole. I try photograph any flaw but examining the photos closely is your best bet! Please see bigger picture for details., , La mayoría están en excelentes condiciones, pero puede tener desgaste del borde o algun agujero pequeño. Intento fotografiar cualquier defecto, pero el examen de las fotos de cerca es su mejor opción! Por favor ver la foto en grande para más detalles., , SHIPPING COSTS: Fold posters SPAIN 15? -Correo certificado EUROPE and all world 20?

      [Bookseller: BENITO ORIGINAL MOVIE POSTER]
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        RAGING BULL MOVIE POSTER/TORO SCATENATO/POSTER

      UNITED ARTISTS 1980 - TORO SCATENATO - 1980, Dir: MARTIN SCORSESE, Cast: ROBERT DE NIRO, NICHOLAS COLASANTO, JOE PESCI, CATHY MORIARTY, FRANK VINCENT, , , Nac. film: USA, Company: UNITED ARTISTS, Designer: Tom Jung, , Nac. poster: ITALIA, Measures (Cm. and Inches) : -140x200-Cm.-55x80-In.-4SH., Type of product: POSTER, , POSTER are in excellent condition but may have normal wear such as edge wear or a slight hole. I try photograph any flaw but examining the photos closely is your best bet! Please see bigger picture for details., , La mayoría están en excelentes condiciones, pero puede tener desgaste del borde o algun agujero pequeño. Intento fotografiar cualquier defecto, pero el examen de las fotos de cerca es su mejor opción! Por favor ver la foto en grande para más detalles., , SHIPPING COSTS: Fold posters SPAIN 15? -Correo certificado EUROPE and all world 20?

      [Bookseller: BENITO ORIGINAL MOVIE POSTER]
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        Tête. Photographie Originale de l'artiste

      Originael black and white photography made and shot by Marc Trivier.Unsigned silver print, like most of Trivier's works. Unique proof drawn by the artist.Irregular cut on the right edge of the photograph.Photographs of artists, madmen, trees or slaughterhouses, Marc Trivier approaches all these subjects with a look as precise as intense."In its cosmogony, every thing, every being, vegetable, animal or human, deserves the same respect. For all are confronted with the same law of brass: loneliness. (Luc Desbenoit)The beauty that emanates from his photos comes from this nudity. There is no editing or cropping. We find in his work the same square format that traps our eyes in photographs where the makeup of color is rejected for an incisive black and white. Since all artificiality has disappeared, we are not dealing with the staging of a subject but with a presence exacerbated by the radiant and singular light, witness of a moment of life and not of pose. It is this light, linked to and obsessed with Trivier's medium, that gives his works the aura that makes them so present:"Of thirty-five years of photographic practice, of obsessions, it is perhaps that which remains: a singular mode of recording of the burning of light, declined from one image to another, in a succession propositions that are similar and yet each is as singular as the fraction of time to which it refers. (Marc Trivier)Warhol, Foucault, Beckett, Dubuffet ... the greatest writers and artists have posed for Trivier. At the same time, the artist is also interested in the margins of society, which men do not want to see. He then photographs the lunatics and slaughterhouses he places next to celebrities. By the end of the 1980s his work was unanimously recognized and he received the prestigious Young Photographer Award from the International Center of Photography in 1988 as well as the Prix Photographie Ouverte (Charleroi). After the Palais de Tokyo in Paris and the Musée de l'Elysée in Lausanne, the Casino in Luxembourg, the European House of Photography in Paris devotes a major retrospective to him in 2011.The slaughterhouse series may seem remote from Trivier's other works. However, like the lunatics, slaughterhouses are part of these shameful images of a marginality that we do not want to see. It is a place rejected out of the city, far from the eyes, far from the men. There are no men in these photographs. Unlike the movie Franju, The Blood of Animals , in 1949, Trivier is not interested in the gesture of work in slaughterhouses. He captures them empty, peopled with corpses or blind animals before being led to death. The photographer is inspired by Bacon's painting, which he photographed in 1981, and his report to the body. We find all the pity of the English painter for meat and animals in the Trivier series. His pictures show us the beasts in martyrs like Marsyas or St Pierre. Trivier reveals the materiality of bodies, the bowels that black and white changes into marble, but also all that is human in animals: "We are meat, we are carcasses in power. If I go to the butcher, I always find it surprising not to be there, instead of the animal ... "(Bacon). Par l'auteur s.l. 1980 24x30 sur papier Ilfordune feuille

      [Bookseller: Librairie Le Feu Follet]
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        Vache aveuglée. Photographie Originale de l'artiste

      Originael black and white photography made and shot by Marc Trivier.Unsigned silver print, like most of Trivier's works. Unique proof drawn by the artist.Photographs of artists, madmen, trees or slaughterhouses, Marc Trivier approaches all these subjects with a look as precise as intense."In its cosmogony, every thing, every being, vegetable, animal or human, deserves the same respect. For all are confronted with the same law of brass: loneliness. (Luc Desbenoit)The beauty that emanates from his photos comes from this nudity. There is no editing or cropping. We find in his work the same square format that traps our eyes in photographs where the makeup of color is rejected for an incisive black and white. Since all artificiality has disappeared, we are not dealing with the staging of a subject but with a presence exacerbated by the radiant and singular light, witness of a moment of life and not of pose. It is this light, linked to and obsessed with Trivier's medium, that gives his works the aura that makes them so present:"Of thirty-five years of photographic practice, of obsessions, it is perhaps that which remains: a singular mode of recording of the burning of light, declined from one image to another, in a succession propositions that are similar and yet each is as singular as the fraction of time to which it refers. (Marc Trivier)Warhol, Foucault, Beckett, Dubuffet ... the greatest writers and artists have posed for Trivier. At the same time, the artist is also interested in the margins of society, which men do not want to see. He then photographs the lunatics and slaughterhouses he places next to celebrities. By the end of the 1980s his work was unanimously recognized and he received the prestigious Young Photographer Award from the International Center of Photography in 1988 as well as the Prix Photographie Ouverte (Charleroi). After the Palais de Tokyo in Paris and the Musée de l'Elysée in Lausanne, the Casino in Luxembourg, the European House of Photography in Paris devotes a major retrospective to him in 2011.The slaughterhouse series may seem remote from Trivier's other works. However, like the lunatics, slaughterhouses are part of these shameful images of a marginality that we do not want to see. It is a place rejected out of the city, far from the eyes, far from the men. There are no men in these photographs. Unlike the movie Franju, The Blood of Animals , in 1949, Trivier is not interested in the gesture of work in slaughterhouses. He captures them empty, peopled with corpses or blind animals before being led to death. The photographer is inspired by Bacon's painting, which he photographed in 1981, and his report to the body. We find all the pity of the English painter for meat and animals in the Trivier series. His pictures show us the beasts in martyrs like Marsyas or St Pierre. Trivier reveals the materiality of bodies, the bowels that black and white changes into marble, but also all that is human in animals: "We are meat, we are carcasses in power. If I go to the butcher, I always find it surprising not to be there, instead of the animal ... "(Bacon). Par l'auteur s.l. 1980 22x22cm sur papier Ilford 30x40cm une feuille

      [Bookseller: Librairie Le Feu Follet]
 32.   Check availability:     Direct From Seller     Link/Print  


        Abattoir. Photographie Originale de l'artiste

      Originael black and white photography made and shot by Marc Trivier.Unsigned silver print, like most of Trivier's works. Unique proof drawn by the artist.Photographs of artists, madmen, trees or slaughterhouses, Marc Trivier approaches all these subjects with a look as precise as intense."In its cosmogony, every thing, every being, vegetable, animal or human, deserves the same respect. For all are confronted with the same law of brass: loneliness. (Luc Desbenoit)The beauty that emanates from his photos comes from this nudity. There is no editing or cropping. We find in his work the same square format that traps our eyes in photographs where the makeup of color is rejected for an incisive black and white. Since all artificiality has disappeared, we are not dealing with the staging of a subject but with a presence exacerbated by the radiant and singular light, witness of a moment of life and not of pose. It is this light, linked to and obsessed with Trivier's medium, that gives his works the aura that makes them so present:"Of thirty-five years of photographic practice, of obsessions, it is perhaps that which remains: a singular mode of recording of the burning of light, declined from one image to another, in a succession propositions that are similar and yet each is as singular as the fraction of time to which it refers. (Marc Trivier)Warhol, Foucault, Beckett, Dubuffet ... the greatest writers and artists have posed for Trivier. At the same time, the artist is also interested in the margins of society, which men do not want to see. He then photographs the lunatics and slaughterhouses he places next to celebrities. By the end of the 1980s his work was unanimously recognized and he received the prestigious Young Photographer Award from the International Center of Photography in 1988 as well as the Prix Photographie Ouverte (Charleroi). After the Palais de Tokyo in Paris and the Musée de l'Elysée in Lausanne, the Casino in Luxembourg, the European House of Photography in Paris devotes a major retrospective to him in 2011.The slaughterhouse series may seem remote from Trivier's other works. However, like the lunatics, slaughterhouses are part of these shameful images of a marginality that we do not want to see. It is a place rejected out of the city, far from the eyes, far from the men. There are no men in these photographs. Unlike the movie Franju, The Blood of Animals , in 1949, Trivier is not interested in the gesture of work in slaughterhouses. He captures them empty, peopled with corpses or blind animals before being led to death. The photographer is inspired by Bacon's painting, which he photographed in 1981, and his report to the body. We find all the pity of the English painter for meat and animals in the Trivier series. His pictures show us the beasts in martyrs like Marsyas or St Pierre. Trivier reveals the materiality of bodies, the bowels that black and white changes into marble, but also all that is human in animals: "We are meat, we are carcasses in power. If I go to the butcher, I always find it surprising not to be there, instead of the animal ... "(Bacon). Par l'auteur s.l. 1980 22x22cm sur papier Ilford 30x40cm une feuille

      [Bookseller: Librairie Le Feu Follet]
 33.   Check availability:     Direct From Seller     Link/Print  


        Abattoir II. Photographie Originale de l'artiste

      Originael black and white photography made and shot by Marc Trivier.Unsigned silver print, like most of Trivier's works. Unique proof drawn by the artist.Photographs of artists, madmen, trees or slaughterhouses, Marc Trivier approaches all these subjects with a look as precise as intense."In its cosmogony, every thing, every being, vegetable, animal or human, deserves the same respect. For all are confronted with the same law of brass: loneliness. (Luc Desbenoit)The beauty that emanates from his photos comes from this nudity. There is no editing or cropping. We find in his work the same square format that traps our eyes in photographs where the makeup of color is rejected for an incisive black and white. Since all artificiality has disappeared, we are not dealing with the staging of a subject but with a presence exacerbated by the radiant and singular light, witness of a moment of life and not of pose. It is this light, linked to and obsessed with Trivier's medium, that gives his works the aura that makes them so present:"Of thirty-five years of photographic practice, of obsessions, it is perhaps that which remains: a singular mode of recording of the burning of light, declined from one image to another, in a succession propositions that are similar and yet each is as singular as the fraction of time to which it refers. (Marc Trivier)Warhol, Foucault, Beckett, Dubuffet ... the greatest writers and artists have posed for Trivier. At the same time, the artist is also interested in the margins of society, which men do not want to see. He then photographs the lunatics and slaughterhouses he places next to celebrities. By the end of the 1980s his work was unanimously recognized and he received the prestigious Young Photographer Award from the International Center of Photography in 1988 as well as the Prix Photographie Ouverte (Charleroi). After the Palais de Tokyo in Paris and the Musée de l'Elysée in Lausanne, the Casino in Luxembourg, the European House of Photography in Paris devotes a major retrospective to him in 2011.The slaughterhouse series may seem remote from Trivier's other works. However, like the lunatics, slaughterhouses are part of these shameful images of a marginality that we do not want to see. It is a place rejected out of the city, far from the eyes, far from the men. There are no men in these photographs. Unlike the movie Franju, The Blood of Animals , in 1949, Trivier is not interested in the gesture of work in slaughterhouses. He captures them empty, peopled with corpses or blind animals before being led to death. The photographer is inspired by Bacon's painting, which he photographed in 1981, and his report to the body. We find all the pity of the English painter for meat and animals in the Trivier series. His pictures show us the beasts in martyrs like Marsyas or St Pierre. Trivier reveals the materiality of bodies, the bowels that black and white changes into marble, but also all that is human in animals: "We are meat, we are carcasses in power. If I go to the butcher, I always find it surprising not to be there, instead of the animal ... "(Bacon). Par l'auteur s.l. 1980 22x22cm sur papier Ilford 30x40cm une feuille

      [Bookseller: Librairie Le Feu Follet]
 34.   Check availability:     Direct From Seller     Link/Print  


        Cochon Aveugle. Photographie Originale de l'artiste

      Originael black and white photography made and shot by Marc Trivier.Unsigned silver print, like most of Trivier's works. Unique proof drawn by the artist.Photographs of artists, madmen, trees or slaughterhouses, Marc Trivier approaches all these subjects with a look as precise as intense."In its cosmogony, every thing, every being, vegetable, animal or human, deserves the same respect. For all are confronted with the same law of brass: loneliness. (Luc Desbenoit)The beauty that emanates from his photos comes from this nudity. There is no editing or cropping. We find in his work the same square format that traps our eyes in photographs where the makeup of color is rejected for an incisive black and white. Since all artificiality has disappeared, we are not dealing with the staging of a subject but with a presence exacerbated by the radiant and singular light, witness of a moment of life and not of pose. It is this light, linked to and obsessed with Trivier's medium, that gives his works the aura that makes them so present:"Of thirty-five years of photographic practice, of obsessions, it is perhaps that which remains: a singular mode of recording of the burning of light, declined from one image to another, in a succession propositions that are similar and yet each is as singular as the fraction of time to which it refers. (Marc Trivier)Warhol, Foucault, Beckett, Dubuffet ... the greatest writers and artists have posed for Trivier. At the same time, the artist is also interested in the margins of society, which men do not want to see. He then photographs the lunatics and slaughterhouses he places next to celebrities. By the end of the 1980s his work was unanimously recognized and he received the prestigious Young Photographer Award from the International Center of Photography in 1988 as well as the Prix Photographie Ouverte (Charleroi). After the Palais de Tokyo in Paris and the Musée de l'Elysée in Lausanne, the Casino in Luxembourg, the European House of Photography in Paris devotes a major retrospective to him in 2011.The slaughterhouse series may seem remote from Trivier's other works. However, like the lunatics, slaughterhouses are part of these shameful images of a marginality that we do not want to see. It is a place rejected out of the city, far from the eyes, far from the men. There are no men in these photographs. Unlike the movie Franju, The Blood of Animals , in 1949, Trivier is not interested in the gesture of work in slaughterhouses. He captures them empty, peopled with corpses or blind animals before being led to death. The photographer is inspired by Bacon's painting, which he photographed in 1981, and his report to the body. We find all the pity of the English painter for meat and animals in the Trivier series. His pictures show us the beasts in martyrs like Marsyas or St Pierre. Trivier reveals the materiality of bodies, the bowels that black and white changes into marble, but also all that is human in animals: "We are meat, we are carcasses in power. If I go to the butcher, I always find it surprising not to be there, instead of the animal ... "(Bacon). Par l'auteur s.l. 1980 22x22cm sur papier Ilford 30x40cm une feuille

      [Bookseller: Librairie Le Feu Follet]
 35.   Check availability:     Direct From Seller     Link/Print  


        Champs. Photographie Originale de l'artiste

      Original black and white photography done and shot by Marc Trivier.Unsigned silver print, like most of Trivier's works. Unique proof drawn by the artist.Upper edge cut irregularly.Photographs of artists, madmen, trees or slaughterhouses, Marc Trivier approaches all these subjects with a look as precise as intense."In its cosmogony, every thing, every being, vegetable, animal or human, deserves the same respect. For all are confronted with the same law of brass: loneliness. (Luc Desbenoit)The beauty that emanates from his photos comes from this nudity. There is no editing or cropping. We find in his work the same square format that traps our eyes in photographs where the makeup of color is rejected for an incisive black and white. Since all artificiality has disappeared, we are not dealing with the staging of a subject but with a presence exacerbated by the radiant and singular light, witness of a moment of life and not of pose. It is this light, linked to and obsessed with Trivier's medium, that gives his works the aura that makes them so present:"Of thirty-five years of photographic practice, of obsessions, it is perhaps that which remains: a singular mode of recording of the burning of light, declined from one image to another, in a succession propositions that are similar and yet each is as singular as the fraction of time to which it refers. (Marc Trivier)Warhol, Foucault, Beckett, Dubuffet ... the greatest writers and artists have posed for Trivier. At the same time, the artist is also interested in the margins of society, which men do not want to see. He then photographs the lunatics and slaughterhouses he places next to celebrities. By the end of the 1980s his work was unanimously recognized and he received the prestigious Young Photographer Award from the International Center of Photography in 1988 as well as the Prix Photographie Ouverte (Charleroi). After the Palais de Tokyo in Paris and the Musée de l'Elysée in Lausanne, the Casino in Luxembourg, the European House of Photography in Paris devotes a major retrospective to him in 2011. Par l'auteur s.l. 1980 20x30 sur papier Ilfordune feuille

      [Bookseller: Librairie Le Feu Follet]
 36.   Check availability:     Direct From Seller     Link/Print  


        Viande. Photographie Originale de l'artiste

      Originael black and white photography made and shot by Marc Trivier.Unsigned silver print, like most of Trivier's works. Unique proof drawn by the artist.Photographs of artists, madmen, trees or slaughterhouses, Marc Trivier approaches all these subjects with a look as precise as intense."In its cosmogony, every thing, every being, vegetable, animal or human, deserves the same respect. For all are confronted with the same law of brass: loneliness. (Luc Desbenoit)The beauty that emanates from his photos comes from this nudity. There is no editing or cropping. We find in his work the same square format that traps our eyes in photographs where the makeup of color is rejected for an incisive black and white. Since all artificiality has disappeared, we are not dealing with the staging of a subject but with a presence exacerbated by the radiant and singular light, witness of a moment of life and not of pose. It is this light, linked to and obsessed with Trivier's medium, that gives his works the aura that makes them so present:"Of thirty-five years of photographic practice, of obsessions, it is perhaps that which remains: a singular mode of recording of the burning of light, declined from one image to another, in a succession propositions that are similar and yet each is as singular as the fraction of time to which it refers. (Marc Trivier)Warhol, Foucault, Beckett, Dubuffet ... the greatest writers and artists have posed for Trivier. At the same time, the artist is also interested in the margins of society, which men do not want to see. He then photographs the lunatics and slaughterhouses he places next to celebrities. By the end of the 1980s his work was unanimously recognized and he received the prestigious Young Photographer Award from the International Center of Photography in 1988 as well as the Prix Photographie Ouverte (Charleroi). After the Palais de Tokyo in Paris and the Musée de l'Elysée in Lausanne, the Casino in Luxembourg, the European House of Photography in Paris devotes a major retrospective to him in 2011.The slaughterhouse series may seem remote from Trivier's other works. However, like the lunatics, slaughterhouses are part of these shameful images of a marginality that we do not want to see. It is a place rejected out of the city, far from the eyes, far from the men. There are no men in these photographs. Unlike the movie Franju, The Blood of Animals , in 1949, Trivier is not interested in the gesture of work in slaughterhouses. He captures them empty, peopled with corpses or blind animals before being led to death. The photographer is inspired by Bacon's painting, which he photographed in 1981, and his report to the body. We find all the pity of the English painter for meat and animals in the Trivier series. His pictures show us the beasts in martyrs like Marsyas or St Pierre. Trivier reveals the materiality of bodies, the bowels that black and white changes into marble, but also all that is human in animals: "We are meat, we are carcasses in power. If I go to the butcher, I always find it surprising not to be there, instead of the animal ... "(Bacon). Par l'auteur s.l. 1980 22x22cm sur papier Ilford 30x40cm une feuille

      [Bookseller: Librairie Le Feu Follet]
 37.   Check availability:     Direct From Seller     Link/Print  


        Michel. Liège 1980

      Large original photographic portrait in black and white directed and shot by Marc Trivier.Unsigned silver print, like most of Trivier's works. Unique proof drawn by the artist.Photographs of artists, madmen, trees or slaughterhouses, Marc Trivier approaches all these subjects with a look as precise as intense."In its cosmogony, every thing, every being, vegetable, animal or human, deserves the same respect. For all are confronted with the same law of brass: loneliness. (Luc Desbenoit)The beauty that emanates from his photos comes from this nudity. There is no editing or cropping. We find in his work the same square format that traps our eyes in photographs where the makeup of color is rejected for an incisive black and white. Since all artificiality has disappeared, we are not dealing with the staging of a subject but with a presence exacerbated by the radiant and singular light, witness of a moment of life and not of pose. It is this light, linked to and obsessed with Trivier's medium, that gives his works the aura that makes them so present:"Of thirty-five years of photographic practice, of obsessions, it is perhaps that which remains: a singular mode of recording of the burning of light, declined from one image to another, in a succession propositions that are similar and yet each is as singular as the fraction of time to which it refers. (Marc Trivier)Warhol, Foucault, Beckett, Dubuffet ... the greatest writers and artists have posed for Trivier. At the same time, the artist is also interested in the margins of society, which men do not want to see. He then photographs the lunatics and slaughterhouses he places next to celebrities. By the end of the 1980s his work was unanimously recognized and he received the prestigious Young Photographer Award from the International Center of Photography in 1988 as well as the Prix Photographie Ouverte (Charleroi). After the Palais de Tokyo in Paris and the Musée de l'Elysée in Lausanne, the Casino in Luxembourg, the European House of Photography in Paris devotes a major retrospective to him in 2011.The photographs of the lunatics that Trivier made during the same contemporary were exhibited alongside those of the artists during the Paris retrospective of 2011. While the photographs of doctors like those of Charcot in the nineteenth century stress the illness of patients and make them to pose in such a way as to make their symptoms visible, those that Trivier takes do not seek to make the madman a mere witness of a pathology, or even another, someone who would be characterized by his difference. As with his other series, he leaves the system of the pose which is an artifice to reach the humanity of his subjects. These men have a powerful look. They are similar to artists and sometimes reveal a higher vitality. They stand straight in their chair, and we defy for some of the look. Par l'auteur s.l. 1980 22x22cm sur papier Ilford 30x40cm une feuille

      [Bookseller: Librairie Le Feu Follet]
 38.   Check availability:     Direct From Seller     Link/Print  


        Arbre. Photographie Originale de l'artiste

      Large original photographic portrait in black and white directed and shot by Marc Trivier.Unsigned silver print, like most of Trivier's works. Unique proof drawn by the artist.Photographs of artists, madmen, trees or slaughterhouses, Marc Trivier approaches all these subjects with a look as precise as intense."In its cosmogony, every thing, every being, vegetable, animal or human, deserves the same respect. For all are confronted with the same law of brass: loneliness. (Luc Desbenoit)The beauty that emanates from his photos comes from this nudity. There is no editing or cropping. We find in his work the same square format that traps our eyes in photographs where the makeup of color is rejected for an incisive black and white. Since all artificiality has disappeared, we are not dealing with the staging of a subject but with a presence exacerbated by the radiant and singular light, witness of a moment of life and not of pose. It is this light, linked to and obsessed with Trivier's medium, that gives his works the aura that makes them so present:"Of thirty-five years of photographic practice, of obsessions, it is perhaps that which remains: a singular mode of recording of the burning of light, declined from one image to another, in a succession propositions that are similar and yet each is as singular as the fraction of time to which it refers. (Marc Trivier)Warhol, Foucault, Beckett, Dubuffet ... the greatest writers and artists have posed for Trivier. At the same time, the artist is also interested in the margins of society, which men do not want to see. He then photographs the lunatics and slaughterhouses he places next to celebrities. By the end of the 1980s his work was unanimously recognized and he received the prestigious Young Photographer Award from the International Center of Photography in 1988 as well as the Prix Photographie Ouverte (Charleroi). After the Palais de Tokyo in Paris and the Musée de l'Elysée in Lausanne, the Casino in Luxembourg, the European House of Photography in Paris devotes a major retrospective to him in 2011. Par l'auteur s.l. 1980 22x22cm sur papier Ilford 30x40cm une feuille

      [Bookseller: Librairie Le Feu Follet]
 39.   Check availability:     Direct From Seller     Link/Print  

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