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

        PERCHE' A ROMA SI DICE (II) NUOVI VAGABONDAGGI ROMANESCHI

      Edizioni Piazza Navona, ROMA 1980 - ITALIANO Brossura editoriale morbida, illustrata, con alette e con segni di usura da scaffalatura, pagine lievemente ingiallite ai bordi rimanendo comunque in buonissimo stato di conservazione, illustrazioni in nero fuori testo La libreria offre per un periodo limitato uno sconto del 20% su tutti i suoi libri. Il prezzo originale dell'articolo era 900,00 euro.

      [Bookseller: Biblioteca di Babele]
 1.   Check availability:     AbeBooks     Link/Print  


        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]
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        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]
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        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]
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        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]
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        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]
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        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]
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        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]
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        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]
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        Asger Jorn. The Final years 1965 - 1973.

      First Edition, 241 pages sider, Borgens Forlag, Copenhagen, 1980, Hardcover cloth with dust jacket, very fine, in very fine slipcase With noumerous photographs of the works in B/H and colours

      [Bookseller: Andersens Antikvariat]
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        Michael John Hill (b. 1956) - Signed 1980 Oil, Autumnal Landscape.

      1980 - Michael John Hill (b. 1956) - Signed Original 1980 Oil. A view over harvesting fields in autumn by the highly collectable British artist Michael John Hill, signed and dated to the lower right. Presented in a gold frame with hessian inner. Signed and dated. On canvas board. There are a few surface marks and spots of surface dirt, and a few very minor surface marks to the frame. Inspection under UV light shows no signs of restoration. Size: Large (30-60cm) Framed: Yes Style: Realism [Attributes: Signed Copy]

      [Bookseller: Sulis Fine Art]
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        THE GOLDEN BOUGH. A Study in MAgic and Religion. Third Edition. Thirteen Volumes

      London: Macmillan (1980) Reprints . - 225x150: 9 parts in 13 volumes. Textured papered boards (Hardback) in dust jacket, Very Good/Good-Very Good. spines a few jackets a little faded. Weight: 10300g. This item is heavy and may require additional shipping . [Attributes: Hard Cover]

      [Bookseller: BOOK NOW]
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        gesang des abgeschiedenen. traum und umnachtung. aus sebastian im traum. illustrationen von roswitha quadflieg.

      Hamburg, Raamin-Presse 1980. 49 S. mit 14 farbigen Original Kunstharz-Illustrationen v. Rowitha Quadflieg geprägter Original-Pappband im OSchuber (Christian Zwang) 28,5 x 18,5 cm. Eins von 120 num. u. von Roswitha Quadflieg im Druckvermerk sign. Exemplaren. Hier Nr. 13. Sehr gutes Exemplar. (= 11. Druck der Raamin-Presse ).

      [Bookseller: Antiquariat Stefan Küpper]
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        Portrait de Peter Handke. Photographie originale tirée par 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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        TROIS FILLES DE LEUR MÈRE. Illustrations originales de Georges Pichard.

      L'Hérésiarque, Paris, (janvier) 1980 - Pierre LOUYS - Georges PICHARD, illustrateur TROIS FILLES DE LEUR MÈRE. Illustrations originales de Georges Pichard. L'Hérésiarque, Paris, (janvier) 1980 1 volume grand in-folio (43 x 31 cm), 269-(1) pages. 53 illustrations à pleine page en noir dont 1 en frontispice. Feuillets de garde et doublure en papier illustré de compositions de G. Pichard également. Vignettes érotiques dans le texte (lettrines, bandeaux, culs-de-lampe) par le même artiste. Reliure éditeur bradel toile marron illustrée sur le premier plat d'une composition en couleurs par G. Pichard (27 x 13,5 cm, en ovale dans un encadrement de filets dorés, titre doré au dos du volume. Exemplaire est en excellent état, proche du neuf. Premier tirage des illustrations érotiques de Georges Pichard. Tirage de luxe à 2.015 exemplaireS. Celui-ci, 1 des 1.800 exemplaire sur papier à grain de Rives ivoire 170 gramme (notre exemplaire n'a pas été numéroté au composteur - exemplaire de passe). Il s'agit du second volume de la collection Plein Folio de la maison d'édition l'Hérésiarque (le premier volume (publié en 1978), également illustré par G. Pichard est Les Mémoires d'une chanteuse allemande). Ce second volume donne l'intégralité du célèbre texte érotique de Pierre Louys Trois filles de leur mère publié pour la première fois en 1926. Louys écrivait en guise d'avis à la lectrice : Ce petit livre n’est pas un roman. C'est une histoire vraie jusqu’aux moindres détails. Je n’ai rien changé, ni le portrait de la mère et des trois jeunes filles, ni leurs âges, ni les circonstances. Inspiré, selon la légende, par les rapports de l'écrivain à la femme de José-Maria de Heredia et ses trois filles (dont la plus jeune, Louise, avait été mariée à Louÿs) aux mœurs réputées alors assez libres, il présente les aventures d'un jeune homme de vingt ans, « X. », qu'une prostituée de trente-six ans, Teresa, et ses trois filles, Mauricette, quatorze ans et demi, Lili, dix ans, et Charlotte, vingt ans, visitent à tour de rôle, avant qu'ils ne se livrent tous ensemble à une grande mise en scène de jeux obscènes. Néanmoins, au-delà de son éventuelle valeur autobiographique, l'ouvrage tire sa puissance, rehaussée par la qualité des dialogues, de sa force de transgression et de profanation de l'univers bourgeois auquel appartenait l'auteur. Selon André Pieyre de Mandiargues, qui écrivit en 1970 une préface pour la première édition en librairie, chez l'Or du Temps, ce « roman se rattache de plusieurs façons à (.) l'idéal du genre [érotique] » et constitue le « chef-d'œuvre de Pierre Louÿs ». Annie Le Brun y voit « un des plus bouleversants livres jamais écrits sur la fatalité des désirs ». Les illustrations in-folio dues au talent de Georges Pichard (1920-2003) en font une des plus belles versions illustrées de ce célèbre texte. C'est seulement à partir de 1977 (soit un an seulement avant les Mémoires d'une chanteuse Allemande et deux ans avant Trois filles de leur mère) que Georges Pichard se tourne presque exclusivement vers l'illustration érotique (pornographique dirons certains). Il avait commencé cependant plusieurs années auparavant avec la série des Paulette (1971-1984) et Blanche Epiphanie. Georges Pichard avait commencé dans la publicité pour le compte de l'agence Drager puis déssinateur d'humour il travailla de longues années pour Le Rire et Le Fou-Rire. Ses premières bandes-dessinées sont publiées dans Pilote, Charlie Mensuel et France Soir. L'un des principaux représentants de la bande dessinée pour adultes de son époque, Pichard aime surtout mettre en scène des femmes bien en chair aux prises avec l'adversité, comme Blanche Épiphanie, Ténébrax et Paulette sur des scénarios de Georges Wolinski. C'est cette série, publiée pendant des années dans les premières pages de Charlie Mensuel, qui le fait réellement connaître en France. Ce sera ensuite Caroline Choléra, et Marie-Gabrielle de Saint-Eutrope, dont le graphisme reste l'un des plus élaborés jamais entrepris par l'auteur. Son dessin es [Attributes: First Edition; Hard Cover]

      [Bookseller: Librairie L'amour qui bouquine]
 18.   Check availability:     IberLibro     Link/Print  


        Minotaure, revue Artistique et Litteraire

      1980 - 3 volumes Genève, 1980-1981, in-4, 3 volumes, pleine toile de l'éditeur sous jaquette illustrée, emboîtage de l'éditeur, Ensemble complet en trois volumes de la réédition de la célèbre revue Minotaure, en trois volumes par Skira. "Lorsque dans un certain nombre d'année, on voudra se rendre compte des dessous de notre temps, c'est à dire des préoccupations, des recherches, des curiosités de ces groupes à demi secrets qui forment l'opinion la moins extérieure d'une époque, celle qui travaille dans l'ombre, qui prépare les courants, influence les snobismes, met en valeur les hommes nouveaux, il sera nécessaire de consulter Minotaure. Il est certain que le témoignagne de Minotaure sera un jour considérable dans l'histoire intellectuelle de la période qui a suivi 1933" Edmond Jaloux Le premier volume reproduit les quatre premiers numéros ; le second ouvrage regroupe les numéros 5 à 8, et le dernier volume contient les numéros 9 à 13 de la revue. Reproductions en couleurs sur papier fort des couvertures de Pablo Picasso, Gaston-Louis Roux, André Derain, Francisco Borès, Marcel Duchamp, Joan Miró, Salvador Dalí, Henri Matisse, René Magritte, Max Ernst et d'André Masson. Bel ensemble. Rare. [Attributes: Hard Cover]

      [Bookseller: Librairie Alain Brieux]
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        Die babylonisch-assyrische Medizin in Texten und Untersuchungen - 6 Bände : 1. Keilschrifttexte aus Assur 1 / 2. Keilschrifttexte aus Assur 2 / 3. Keilschrifttexte aus Assur 3 [1964] / 4. Keilschrifttexte aus Assur 4, Babylon, Nippur, Sippar, Uruk und unbekannter Herkunft [1971] / 5. Keilschrifttexte aus Ninive 1 [1980] / 1. Keilschrifttexte aus Ninive 2 [1980].

      XXX + XXVI + XXXII + XXXVII + XLIII + XL S. : 100 + 100 + 100 + 116 + 123 + 157 Taf. Leinen. Guter bis mittelmäßiger Zustand. Bibliotheks-Exemplare mit Stempeln und Signaturaufklebern. Bd. 1 - 3: Einbände berieben, Kanten angestoßen, Buchrücken eingerissen und mit Tape überklebt. Schnitte angestaubt. Bd. 4: Einband berieben, Kanten angestoßen, Buchrücken eingerissen und mit Tape überklebt. Buchblock gebrochen, eine Tafel lose. Schnitte angestaubt. Bd. 5 und &: Einbände minimal berieben, Schnitte minimal angestaubt. ISBN, Bd. 5: 3110075717 , Bd. 6: 3110075717

      [Bookseller: Antiquariat für Fachliteratur Matthias G]
 20.   Check availability:     booklooker.de     Link/Print  


        The Vatican Frescoes of Michelangelo.

      New York: Abbeville Press,, 1980. 2 volumes, folio. Original red-morocco backed white morocco, spines lettered in gilt, red and blue circular designs inlaid to front covers, elaborately embellished with gilt floral decoration, marbled endpapers. With the accompanying text supplement volume, original cream limp cloth, front cover lettered in gilt and decorated with red and blue strapwork, red moiré endpapers, as issued. Housed in the blue solander case, elaborately decorated with white, red, and gilt strapwork, as issued. [With:] 18 loose photographic plates, housed in the red folder in the blue cloth portfolio, as issued. Illustrated with 352 colour photographic plates. A fine copy. First and limited edition, first printing, number 173 of 400 English-language copies. A further 200 were published in Japanese. This work was published shortly before a painstaking 14-year restoration of the Sistine Chapel from 1981 to 1995 to remove the dust and decay that had obscured the frescoes' colours and intricate designs.

      [Bookseller: Peter Harrington]
 21.   Check availability:     Biblio     Link/Print  


        Summa Aurea. Sette vol. (1-6 : Liber primus - liber quartus, 7: Introduction generale) L 7 volumes: pp., introdcution in french, texts in latin], VG, [vols.d]

      Paris/Grottaferrata, 1980/1987, cinque vol. in sette, in-8vo ril. in mezza pelle e canapone, titoli in nero ai dorsi, pp. 403 + 807 + 1106 + 576 + viii-332. Introduzione in francese, testo in latino. A cura di Jean Ribaillier. "Spicilegium Bonaventurianum"

      [Bookseller: Libreria Piani già  Naturalistica]
 22.   Check availability:     Direct From Seller     Link/Print  


        The Bottle Bottle-Opener.

      Remscheid. Vice Versand. 1980. Etikett etwas gebräunt mit kleinem Einriss, an den oberen Ecken mit kleinen Papierverlusten, sonst sehr gutes Exemplar. Korkenzieher, nach Außen gehend montiert in Weinflasche, mit Etikett ( Glas, Kork, Metall, Papier). Nummer 24 / 42 auf dem Etikett links nummerierten und rechts monogrammierten Exemplaren. Höhe 36,5 cm, Durchmesser 7 cm. Bei der Flasche handelt es sich um einen Chateau Lafite Rothschild, das Etikett ist identisch, der Name aber durch \"Created by George Brecht\" ersetzt. Dabei, hier als scherzhafte Variante, eine Originalfalsche Lafite Jahrgang 1973 mit einem nach Innen [!] gehend montierten Korken - diese wurde wohl durch den Sammler kreiert, es ist aber auf Grund dessen Freundschaft mit vielen Künstlern nicht auszuschließen, dass es sich auch um eine gemeinschaftliche Idee nach Leeren der Flasche gehandelt haben könnte. [Vgl. J. Hendricks, \"Fluxus Codex\", Detroit-New York 1988, S.219; P. Schmieder, \"Unlimitiert\", Köln, 1998, S. 162-163, No. V50; H. Ruhé, \"George Brecht. The Editions\", Amsterdam-Verona 2005, Nr. M49]. Versand D: 3,00 EUR 20. Jahrhundert / 20th Century, Amerika / America, Deutschland / Germany, Kunst, Editionen, Multiples

      [Bookseller: Antiquariat Querido - Kunst und Fotograf]
 23.   Check availability:     buchfreund.de     Link/Print  


        Waiting for the Barbarians

      Secker & Warburg, 1980 - First few leaves a little wrinkled, otherwise a very nice copy in dust-wrapper which is sunned at the spine panel as usual. Signed by the author on the title-page [Attributes: First Edition]

      [Bookseller: Bertram Rota Ltd]
 24.   Check availability:     AbeBooks     Link/Print  


        RYCERZ MOVIE POSTER/THE KNIGHT/POSTER

      1980 - THE KNIGHT - 1980, Dir: LECH J. MAJEWSKI, Cast: PIOTRSKARGA, DANIEL OLBRYCHSKI, , Nac. film: POLONIA, Company: , Designer: , , Nac. poster: POLONIA, Measures (Cm. and Inches) : 68x94 cm 27x37 in, 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]
 25.   Check availability:     ZVAB     Link/Print  


        MESIAC NADEDINE turgeniev MOVIE POSTER/MESIAC NADEDINE turgeniev/POSTER

      1980 - MESIAC NADEDINE turgeniev - 1980, Dir: , Cast: , , Nac. film: POLONIA, Company: , Designer: , , Nac. poster: DINAMARCA, Measures (Cm. and Inches) : 68x94 cm 27x37 in, 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]
 26.   Check availability:     ZVAB     Link/Print  


        Bez milosci MOVIE POSTER/WHITHOUT LOVE/POSTER

      1980 - WHITHOUT LOVE - 1980, Dir: Barbara Sass, Cast: Piotr Adamczewski , Leonard Andrzejewski , Stefan Baczynski, , Nac. film: POLONIA, Company: , Designer: , , Nac. poster: POLONIA, Measures (Cm. and Inches) : 68x94 cm 27x37 in, 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]
 27.   Check availability:     ZVAB     Link/Print  


        The Bottle Bottle-Opener.

      Remscheid. Vice Versand. 1980 - Etikett etwas gebräunt mit kleinem Einriss, an den oberen Ecken mit kleinen Papierverlusten, sonst sehr gutes Exemplar. Korkenzieher, nach Außen gehend montiert in Weinflasche, mit Etikett ( Glas, Kork, Metall, Papier). Nummer 24 / 42 auf dem Etikett links nummerierten und rechts monogrammierten Exemplaren. Höhe 36,5 cm, Durchmesser 7 cm. Bei der Flasche handelt es sich um einen Chateau Lafite Rothschild, das Etikett ist identisch, der Name aber durch "Created by George Brecht" ersetzt. Dabei, hier als scherzhafte Variante, eine Originalfalsche Lafite Jahrgang 1973 mit einem nach Innen [!] gehend montierten Korken - diese wurde wohl durch den Sammler kreiert, es ist aber auf Grund dessen Freundschaft mit vielen Künstlern nicht auszuschließen, dass es sich auch um eine gemeinschaftliche Idee nach Leeren der Flasche gehandelt haben könnte. [Vgl. J. Hendricks, "Fluxus Codex", Detroit-New York 1988, S.219; P. Schmieder, "Unlimitiert", Köln, 1998, S. 162-163, No. V50; H. Ruhé, "George Brecht. The Editions", Amsterdam-Verona 2005, Nr. M49].

      [Bookseller: Antiquariat Querido - Frank Hermann]
 28.   Check availability:     IberLibro     Link/Print  


        The Vatican Frescoes of Michelangelo.

      New York: Abbeville Press, 1980 - 2 volumes, folio. Original red-morocco backed white morocco, spines lettered in gilt, red and blue circular designs inlaid to front covers, elaborately embellished with gilt floral decoration, marbled endpapers. With the accompanying text supplement volume, original cream limp cloth, front cover lettered in gilt and decorated with red and blue strapwork, red moiré endpapers, as issued. Housed in the blue solander case, elaborately decorated with white, red, and gilt strapwork, as issued. [With:] 18 loose photographic plates, housed in the red folder in the blue cloth portfolio, as issued. A fine copy. Illustrated with 352 colour photographic plates. First and limited edition, first printing, number 173 of 400 English-language copies. A further 200 were published in Japanese. This work was published shortly before a painstaking 14-year restoration of the Sistine Chapel from 1981 to 1995 to remove the dust and decay that had obscured the frescoes' colours and intricate designs. [Attributes: First Edition]

      [Bookseller: Peter Harrington. ABA member]
 29.   Check availability:     AbeBooks     Link/Print  


        Special Collection. 24 Photo Lithos.

      München, Rogner & Bernhard. 1980 - 40,5 x 28 cm. 24 s/w Fototafeln. OKart. mit Orig.-Umschlag (minimal berieben). Erste deutsche Ausgabe der exquisiten erotischen Aufnahmen des berühmten Glamour- und Modefotografen Helmut Newton (ursprünglichen Helmut Neustädter, 1920-2004). [Attributes: First Edition; Hard Cover]

      [Bookseller: Unterwegs Antiquariat M.-L. Surek-Becker]
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        IL CODICE DI LEONARDO DA VINCI BIBLIOTECA TRIVULZIANA GIUNTI BARBERA 1980

      GIUNTI BARBERA 1980 - IL CODICE DI LEONARDO DA VINCI NELLA BIBLIOTECA TRIVULZIANA DI MILANO GIUNTI BARBERA 1980 In 4°, 2 volumi, pag. 134 + 102, legatura editoriale, astuccio e copertina in piena pelle con titolo in oro al dorso. Primo volume con la trascrizione e l'apparato critico dell'opera e secondo volume con la riproduzione anastatica del codice. In ottime condizioni. [Attributes: First Edition; Hard Cover]

      [Bookseller: paolo tonnarelli]
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        Japonica

      Oil on canvas on board, 405 x 305 mm, gilded frame, artist's label verso. Circa 1980s Jackman studied at RMIT and the NGV art school and has been exhibiting professionally for over 40 years. This tonal realist oil exquisitely captures the colour and movement of the Japonica, with a strong background of contrasting light. Hilary Jackman is represented in the National Gallery of Victoria and other regional collections.

      [Bookseller: Douglas Stewart Fine Books]
 32.   Check availability:     Direct From Seller     Link/Print  


        Frank Lloyd Wright: Selected Drawings Portfolio. Volume 2.

      New York: Horizon Press, 1980 - Volume 2. Portfolio, 41 x 55 cm. Publisher's blue cloth clam shell case. 2 pages, 50 leaves of plates (consists of plates 51-100): color illustrations. Introduction to second portfolio by Olgivanna Lloyd Wright. Plates loose as issued. #A567 of 700 copies. A gorgeous retrospective of Wright's work. This is an oversized or heavy book, which requires additional postage for international delivery outside the US. [Attributes: Hard Cover]

      [Bookseller: Sequitur Books]
 33.   Check availability:     IberLibro     Link/Print  


        The Works of Joseph Conrad

      Johnson Reprint Company / Harcourt Brace Jovanovich, New York 1980 - Limited reprint from 1980 (reprint of the edition published by Heinemann in 1921) Copy no. 8 of 780 copies. Printed at The Curwen Press in Plaistow, London on on one hundred percent rag paper mould made at St. Cuthbert"s Mill, Wells, Somerset. 20 vols. 8vo. Handsome set of this fine paper reprint of the standard edition of the works of Joseph Conrad, comprising - vol. 1. Almayer's Folly ; Tales of Unrest - vol. 2. An Outcast of the Islands - vol. 3. The Nigger of the "Narcissus" ; Typhoon - vol. 4. Lord Jim - vol. 5. Youth - vol. 6. Romance - vol. 7. Nostromo - vol. 8. The Secret Agent ; The Inheritors - vol. 9. A Set of Six - vol. 10. Under Western Eyes vol. 11. A Personal Record ; The Mirror of the Sea - vol. 12. 'Twixt Land and Sea - vol. 13. Chance - vol. 14. The Shadow-line ; Within the Tides - vol. 15. Victory - vol. 16. The Arrow of Gold - vol. 17. The Rescue - vol. 18. Notes on Life and Letters - vol. 19. The Rover - vol. 20. Suspense. Bound in blue Nigerian goatskin, spine with raised bands, titles in gilt, t.e.g., at Robert Hartnoll Limited Bodmin, Cornwall. Fine copy Printed at The Curwen Press in Plaistow, London on on one hundred percent rag paper mould made at St. Cuthbert"s Mill, Wells, Somerset. 20 vols. 8vo Limited reprint from 1980 (reprint of the edition published by Heinemann in 1921) Copy no. 8 of 780 copies.

      [Bookseller: James Cummins Bookseller, ABAA]
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        CHRONOS. TEMI DI VERSIONE DAL GRECO PER IL BIENNIO DEL GINNASIO

      PALUMBO, NAPOLI 1980 - INTERLINGUE Brossura editoriale ingiallita, con usura ai bordi ed agli angoli e con traccia di umidità, timbro omaggio al frontespizio, pagine leggermente brunite causa tempo, in italiano e greco La libreria offre per un periodo limitato uno sconto del 20% su tutti i suoi libri. Il prezzo originale dell'articolo era 900,00 euro.

      [Bookseller: Biblioteca di Babele]
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        Ragazza con vaso di fiori

      Livorno, Graphis Arte, 1980 - Litografia originale a colori. Cm 45x60. pp. . . . Tiratura 125 + LXXV. . [Attributes: Hard Cover]

      [Bookseller: Studio Bibliografico Marini ALAI - ILAB]
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        EM-2 Concept and Design: A Rifle Ahead of Its Time

      Collector Grade Publications 1980 - HB with no d/j. Largely VG. Very slight scuffing to ffep. Small nick to spine. 292pp. 26x20cm approx. 1.065kg [Attributes: Hard Cover]

      [Bookseller: ADRIANABOOKS]
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        Secrets to Shooting: a System of Muscular Coordination and Synchronization Between Hands and Eyes; Shooting and Sports

      Cosco Press, Columbus, GA 1980 - Columbus, GA: Cosco Press. 1980. F First Edition. H Hardcover. Near Fine. EXCEPTIONALLY RARE - SIGNED COPY. Signed and inscribed by Lucky McDaniel to a retired USMC Colonel: "To. The very best of shooting always Lucky McDaniel". Original gold cloth binding; original jacket (jacket has roud rippled area to front cover; a few spots and minor wear). Signed: I Signed By Author [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Arundel Books]
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        Hellbrauner Kalbsledereinband um 1765 mit reicher floraler Goldprägung und ein ovales Medaillon mit dem Gnadenbild und der Umschrift "Fundatrix Monastery Ettalensis", der Jungfrau und dem Kind auf beiden Decken. - Enthält: Braun, Heinrich: Encomia sanctorum ordinis S. P. Benedicti digesta per singulos anni dies.

      Mit gest. Frontispiz von J. A. Schmidt.9 Bll., 384 S., 4 Bll. 17,3 x 11,2 cm. Prachtvoller süddeutscher Barockeinband zu dem Supralibros siehe Schmalzl, Ettaler Einbandkunst (in: Festschrift Ettal 1980), Abb. 13. - Etwas berieben. Vorderes Vorsatzblatt recto mit Schulpreiseintrag, verso mit neuerem Exlibris Victor v. Stedingk

      [Bookseller: Antiquariat Turszynski]
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        SOL LEWITT: AUTOBIOGRAPHY 1980

      Multiples, Inc. & Lois and Michael K. Torf, New York & Boston 1980 - np (130pp), 1098 b&w illustrations. "Autobiography" is Sol LeWitt's cheerfully obsessive 1980 photographically illustrated artist's book cum inventory in which each page is arranged in a 3 x 3 grid that displays the majority of the noted late conceptual artist's belongings at the time. A bright white, otherwise handsome example (cited on pages 92-97 of Giorgio Maffei and Emanuele de Donno's "Sol LeWitt: Artist's Books" as well as page 155 of Martin Parr and Gerry Badger's "The Photobook: A History Volume II", and pages 322-323 of The Hasselblad Center's "The Open Book") showing some mild foxing to the extremities of the first and last half-dozen pages along with the foredge of the textblock. It has been priced accordingly. [Attributes: First Edition; Soft Cover]

      [Bookseller: Arcana: Books on the Arts]
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