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Seller's Description:
This is an ex-library book and may have the usual library/used-book markings inside. This book has hardback covers. In fair condition, suitable as a study 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, 550grams, ISBN: 0517526115.
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Seller's Description:
Like New. First Edition Thus. Published by Easton Press, 1983. Folio. Bound in grey leather stamped in gold with gilt stained page ends. Gilt decoration to boards and spine. Two raised spine bands, patterned endpapers and sewn-in satin bookmark. Book is like new; clean and crisp with no writing or names. Sharp corners and spine straight. Binding tight and pages crisp. No bookplates or ownership markings. 96 pages. 100% positive feedback. 30 day money back guarantee. NEXT DAY SHIPPING! Excellent customer service. Please email with any questions or if you would like a photo. All books packed carefully and ship with free delivery confirmation/tracking. All books come with free bookmarks. Ships from Southampton, New York. We Buy Books! Individual titles, libraries, collections. Message us if you have books to sell!
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Seller's Description:
Very good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority!
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Seller's Description:
Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority!
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Seller's Description:
Good. Shelf and handling wear to cover and binding, with general signs of previous use. Wear commensurate with age and use. Clean unmarked copy. Light scuffing and smudging across boards and spine strip. Secure packaging for safe delivery.
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Seller's Description:
Near Fine. No Jacket, as Issued. 4to-over 9¾"-12" tall. Hard cover, glossy illustrated boards., very small amount of exterior rubbing. no other flaws or wear, clean, no markings, strong binding.; original french text. revised edition.; 96pp., 69 illustrations, mostly color plates. still under appreciated.
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Seller's Description:
Dubourg, Jacques (plates) Good. No dust jacket. Some discoloration on several pages. 96 p. Includes: illustrations, bibliography. Biographical Data. Retrospective Exhibitions. This is one of a series publshed under the direction of Madeleine Ledivelec-Gloeckner. From Wikipedia: "Nicolas de Stael (January 5, 1914, Saint Petersburg March 16, 1955, Antibes) (French nationality, of Russian origin) was a painter known for his use of a thick impasto and his highly abstract landscape painting. He also worked with collage, illustration and textiles. De Stael's family was forced to emigrate to Poland in 1919 because of the Russian Revolution. He studied art at the Brussels Académie Royale des Beaux-Arts (1932). In 1936 he had his first exhibition of Byzantine style icons and watercolors at the Galerie Dietrich et Cie, Brussels. De Stael met Françoise Chapouton in the spring of 1946, and they married in May. In October 1946 thanks to his friendship with artist André Lanskoy (whom he met in 1944) de Stael made a contract with Louis Carré who agreed to buy all the paintings that he produced. In 1947 he befriended his neighbor American private art dealer Theodore Schempp. De Stael's new studio in Paris was very close to Georges Braque's and the two painters became very close friends. In 1950 he had a one-man exhibition at the Galerie Jacques Dubourg in Paris. He had considerable success in the United States, and England in the early 1950s. In March 1953, he had his first official one-man exhibition at M. Knoedler & Co. in New York City. In 1953 he had an exhibition at the Phillips Gallery in Washington DC, and they acquired two more of his canvasses. But by 1953, de Stael's depression led him to seek isolation in the south of France (eventually in Antibes). He suffered from exhaustion, insomnia and depression. On March 16, 1955 he committed suicide. De Staël's painting career spans roughly 15 years (from 1940) and produced more than a thousand paintings. During the 1940s and beginning in representation (especially landscapes, but also still lifes, and portraits), de Staël moved further and further toward abstraction. Evolving his own highly distinctive and abstract style, which bears comparison with the near-contemporary American Abstract Expressionist movement, and French Tachisme, but which he developed independently of them. Typically his paintings contained block-like slabs of colour, emerging as if struggling against one another across the surface of the image. In fact, according to De Staël himself, he turned to his "abstracting" because he "found it awkward to paint an object as a likeness because of the awkwardness I felt when faced[! ] with the infinite multitude of coexisting objects in any single object". De Staël 's work was quickly recognized within the post-war art world, and he became one of the most influential artists of the 1950s. However, he moved away from abstraction in his later paintings, seeking a more "French" lyrical style, returning to representation (seascapes, footballers, jazz musicians, seagulls) at the end of his life. His return to imagery during the early 1950s can be seen as an influential precedent for the American Bay Area Figurative Movement, as many of those abstract painters made a similar move; returning to imagery during the mid-1950s. His painting style is characterized by a thick impasto showing traces of the brush and the palette knife, and by a division of the canvas into numerous zones of color (especially blues, reds and whites). His most well-known late paintings of beaches and landscapes are dominated by the sky and effects of light."
