1988, ISBN: 9780940872103

edizione con copertina rigida

Griffon Neuchatel, 1970. This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. In good all round condition. Dust Jacket in … Altro …

Griffon Neuchatel, 1970. This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. In good all round condition. Dust Jacket in good condition. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,1350grams, ISBN:, Griffon Neuchatel, 1970, 0, Alexandria, VA, U.S.A.: Time Life Books, 1970. A near fine black paste on picture cover hardcover in a very good plus price clipped dust jacket. Copyright 1970, 2nd edition.., Time Life Books, 1970, 0, Clarendon Press, 1970. This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. In poor condition, suitable as a reading copy. No dust jacket. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,450grams, ISBN:, Clarendon Press, 1970, 0, London: Lutterworth Press, 1965. Revised edition, octavo, illustrated by Shirley Briggs, pp 142, a slight mark to the front endpapers, cloth very slightly bumped at the corners, otherwise a very good copy without dustwrapper. [The illustrations, I think a mixture of woodcuts and line drawings, are striking. Shirley Ann Briggs (1918 - 2004) was an American artist, photographer, writer, editor, and naturalist. She spent a large portion of her career participating in efforts to inform the public about the environment in regards to synthetic chemicals such as pesticides. A talented artist and writer, Briggs would often use the combination of her understanding environmental hazards (such as pesticides) with her artistic skills to achieve her goals in regard to environmental education. After graduate school she moved to Baltimore to work for Glenn L. Martin Company as a mechanical arts illustrator and would later move on to work for the U.S Fish and Wildlife Service. She also worked as chief of the Bureau of Reclamation’s graphics sections and drew diagrams for the Smithsonian Institution’s National Museum of Natural History. After Rachel Carson's passing in 1964 Briggs became the executive director of the Rachel Carson Council (without pay) between the years of 1970 and 1992. She served as an essential editor and illustrator of a number of Rachel Carson's works.] . Cloth. Very Good. Illus. by Shirley Briggs., Lutterworth Press, 1965, 3, The Museum, 1988-01-01. Paperback. Very Good. Laguna Art Museum. Catalog for Exhibition held January 5 - March 4, 1988. Paper covers, 53 pp. Includes 22 full color photograph reproductions. Preface by William G. Otton. Introduction by Michael McManus. In very good condition with light bumping to edges of covers and Light overall scuffing. Binding tight. Pages clean and unmarked. NOT Ex-Library. [Excerpt from Intro] Emerging in the late 1980s as a significant addition to thedevelopment of West Coast photography, Jane Gottlieb's work sounds a varied yet subtle coda to the concerns of the Los Angeles art scene that prevailed from the late 1960s to the mid1970s. The formal distinction between this summation and the main esthetic structure of the period involves a repeat from the phenomenological modes of inquiry popular since the late 1940s back to those psychoanalytic modes that informed surrealism in the mid-1920s. Gottlieb intuits this. She is not a programmatic artist like Robert Irwin or James Turreli who bothknowingly grounded their work in the post-war phenomenological writings of Sartre, Merleau-Ponty, and Ingarden. Nor does her iconography and composing strategy emerge from a familiarity with the reappraisal of Freudian psychoanalysis by Lacan, Deleuze, and the rest of the Tel Quel crowd-as the icons and compositions of Salle Fischl, and other artists of Gottlieb’s generation who studied in southern California clearly do., The Museum, 1988-01-01, 3<

1988, ISBN: 9780940872103

edizione con copertina rigida

Viking Press, 1970. Hardcover. Good. Book in good condition, but is missing dust jacket, and has prior owner's name inside front cover., Viking Press, 1970, 2.5, Alexandria, VA, U.S… Altro …

Viking Press, 1970. Hardcover. Good. Book in good condition, but is missing dust jacket, and has prior owner's name inside front cover., Viking Press, 1970, 2.5, Alexandria, VA, U.S.A.: Time Life Books, 1970. A near fine black paste on picture cover hardcover in a very good plus price clipped dust jacket. Copyright 1970, 2nd edition.., Time Life Books, 1970, 0, Griffon Neuchatel, 1970. This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. In good all round condition. Dust Jacket in good condition. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,1350grams, ISBN:, Griffon Neuchatel, 1970, 0, Clarendon Press, 1970. This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. In poor condition, suitable as a reading copy. No dust jacket. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,450grams, ISBN:, Clarendon Press, 1970, 0, The Museum, 1988-01-01. Paperback. Very Good. Laguna Art Museum. Catalog for Exhibition held January 5 - March 4, 1988. Paper covers, 53 pp. Includes 22 full color photograph reproductions. Preface by William G. Otton. Introduction by Michael McManus. In very good condition with light bumping to edges of covers and Light overall scuffing. Binding tight. Pages clean and unmarked. NOT Ex-Library. [Excerpt from Intro] Emerging in the late 1980s as a significant addition to thedevelopment of West Coast photography, Jane Gottlieb's work sounds a varied yet subtle coda to the concerns of the Los Angeles art scene that prevailed from the late 1960s to the mid1970s. The formal distinction between this summation and the main esthetic structure of the period involves a repeat from the phenomenological modes of inquiry popular since the late 1940s back to those psychoanalytic modes that informed surrealism in the mid-1920s. Gottlieb intuits this. She is not a programmatic artist like Robert Irwin or James Turreli who bothknowingly grounded their work in the post-war phenomenological writings of Sartre, Merleau-Ponty, and Ingarden. Nor does her iconography and composing strategy emerge from a familiarity with the reappraisal of Freudian psychoanalysis by Lacan, Deleuze, and the rest of the Tel Quel crowd-as the icons and compositions of Salle Fischl, and other artists of Gottlieb’s generation who studied in southern California clearly do., The Museum, 1988-01-01, 3<

1988, ISBN: 9780940872103

edizione con copertina rigida

Dover Publications, 1981-08-01. Paperback. Good. Dickstein, Robert: photographer; Nelson, Carol, artist. Originally titled: Kai Cookbook in 1970. Cover clean and in good condition. Bind… Altro …

Dover Publications, 1981-08-01. Paperback. Good. Dickstein, Robert: photographer; Nelson, Carol, artist. Originally titled: Kai Cookbook in 1970. Cover clean and in good condition. Binding tight. No writing, highlighting, or marks in text. B&W photos/drawings. In better than "good" condition considering its age., Dover Publications, 1981-08-01, 2.5, Alexandria, VA, U.S.A.: Time Life Books, 1970. A near fine black paste on picture cover hardcover in a very good plus price clipped dust jacket. Copyright 1970, 2nd edition.., Time Life Books, 1970, 0, The Museum, 1988-01-01. Paperback. Very Good. Laguna Art Museum. Catalog for Exhibition held January 5 - March 4, 1988. Paper covers, 53 pp. Includes 22 full color photograph reproductions. Preface by William G. Otton. Introduction by Michael McManus. In very good condition with light bumping to edges of covers and Light overall scuffing. Binding tight. Pages clean and unmarked. NOT Ex-Library. [Excerpt from Intro] Emerging in the late 1980s as a significant addition to thedevelopment of West Coast photography, Jane Gottlieb's work sounds a varied yet subtle coda to the concerns of the Los Angeles art scene that prevailed from the late 1960s to the mid1970s. The formal distinction between this summation and the main esthetic structure of the period involves a repeat from the phenomenological modes of inquiry popular since the late 1940s back to those psychoanalytic modes that informed surrealism in the mid-1920s. Gottlieb intuits this. She is not a programmatic artist like Robert Irwin or James Turreli who bothknowingly grounded their work in the post-war phenomenological writings of Sartre, Merleau-Ponty, and Ingarden. Nor does her iconography and composing strategy emerge from a familiarity with the reappraisal of Freudian psychoanalysis by Lacan, Deleuze, and the rest of the Tel Quel crowd-as the icons and compositions of Salle Fischl, and other artists of Gottlieb’s generation who studied in southern California clearly do., The Museum, 1988-01-01, 3<

1988, ISBN: 9780940872103

The Museum, 1988-01-01. Paperback. Very Good. Laguna Art Museum. Catalog for Exhibition held January 5 - March 4, 1988. Paper covers, 53 pp. Includes 22 full color photograph reproducti… Altro …

The Museum, 1988-01-01. Paperback. Very Good. Laguna Art Museum. Catalog for Exhibition held January 5 - March 4, 1988. Paper covers, 53 pp. Includes 22 full color photograph reproductions. Preface by William G. Otton. Introduction by Michael McManus. In very good condition with light bumping to edges of covers and Light overall scuffing. Binding tight. Pages clean and unmarked. NOT Ex-Library. [Excerpt from Intro] Emerging in the late 1980s as a significant addition to thedevelopment of West Coast photography, Jane Gottlieb's work sounds a varied yet subtle coda to the concerns of the Los Angeles art scene that prevailed from the late 1960s to the mid1970s. The formal distinction between this summation and the main esthetic structure of the period involves a repeat from the phenomenological modes of inquiry popular since the late 1940s back to those psychoanalytic modes that informed surrealism in the mid-1920s. Gottlieb intuits this. She is not a programmatic artist like Robert Irwin or James Turreli who bothknowingly grounded their work in the post-war phenomenological writings of Sartre, Merleau-Ponty, and Ingarden. Nor does her iconography and composing strategy emerge from a familiarity with the reappraisal of Freudian psychoanalysis by Lacan, Deleuze, and the rest of the Tel Quel crowd-as the icons and compositions of Salle Fischl, and other artists of Gottlieb’s generation who studied in southern California clearly do., The Museum, 1988-01-01, 3<