UPPERCASE

Theo Crosby

Date d'édition : 1958
Ancien(s) ou d'occasion / Soft cover / Quantité : 0
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"All 5 issues 1958-62, editions vary from 500 to 1500, 5 ½ x 7 inches. Complete rare set in near fine condition. Some info: "Whilst Crosby is renowned for his work at AD and later the architectural practice of Pentagram, he was also to edit the little-known arts magazine Uppercase, published between 1958 and 1961. ??The final fifth issue includes the first analysis in English of the work of Tomas Maldonado and the Hochschule fur Gestaltung at Ulm, the innovative architectural successor to Bauhaus. It is also important in that its pages reproduce Roger Mayne's famous photographic series of Southam Street in London. For issue nr. 3, which contain Schwitters material as well, Crosby had invited Duchamp in 1958 to contribute. "It was an opportunity to research the typographic problems in a concrete way and specify some experimental proofing – a trial run for the typotranslation itself. As George Heard Hamilton put it, the 1932 typeset Green Box by Jakob Bronowski for This Quarter, September 1932, implies rather than manifests and convey complexity. "(There) we have to glean it via a cluster of footnotes… Here Hamilton insisted the print form had to embody and enact the original its jostle of variant words, crossed out phrases, bits scribbled over, other left hanging in the air…. a synergetic system – more than the sum of its parts, a semantic excess. Print form would have to relive this effect, not curtail it. Duchamp greeted the Uppercase piece warmly: "I can't tell you how pleased I am to see the first pages in their final stage. The setting keeps in pace with the inner spirit of the original writing and I am sure the complete translation will lend itself to a perfect understanding of the French." Duchamp in fact read and revised the translations three times, with scrupulous attention to the meaning and weight of every word" according to GHH. Duchamp also changed a lot, against GHH’s will, to have exact replication, "…he wants a new order…" The redone bits began to speak about the original ones, opening up a gap between what he had in mind when the pieces were first written and his later thinking – so much so that the translation begins to function as a commentary on the original, throwing a searchlight onto it." So for Duchamp the final product was, as written on Nov 26,1960, a monster of veracity, a crystalline transubstantiation." Sahat Maharajah, October (1999)"The Duchamp Effect." Uppercase’s various illustrations, articles, typographizations, all were made in this spirit of invention and experiment. An essential journal, included the following: Paolozzi, Notes from a 1957 lecture (incl stills and a lithograph), Kurt Schwitters by Richard Matthews (with dozens of fantastic illustrations), Edward Wright Notes and drawings, Nigel Henderson photos, Alison and Peter Smithson maps, essays, foldouts, William Turnbull Sculpture, Patrick George on the drawn line, Roger Mayne’s classic London "Portraits of Southam Street" photographs, Maldonato on semantic and non –semantic orientation, including the mint as-new ultra-thin red tissue sheets bound in over Pepsi Cola ads…in 1961 (pre-Warhol). All foldouts perfect. " Complete rare set in near fine condition. N° de réf. du libraire

Détails bibliographiques

Titre : UPPERCASE
Date d'édition : 1958
Reliure : Soft cover
Etat du livre : Near Fine

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1.

Crosby, Theo (ed.)
Edité par Whitefriars Press, London (1958)
Ancien(s) ou d'occasion Couverture souple Edition originale Quantité : 1
Vendeur
Thomas A. Goldwasser Rare Books (ABAA)
(San Francisco, CA, Etats-Unis)
Evaluation vendeur
[?]

Description du livre Whitefriars Press, London, 1958. First edition. Original printed wrappers with splits; tape repairs at ends of the spine, internally very good. N° de réf. du libraire 29657

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2.

Tubull.- George.- Crosby, Theo (ed.).
Edité par London and Tonbridge Kent, Whitefriars Press (1974)
Ancien(s) ou d'occasion Softcover Quantité : 1
Vendeur
Internationalismus - Arno Kundlatsch
(Hannover, NI, Allemagne)
Evaluation vendeur
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Description du livre London and Tonbridge Kent, Whitefriars Press, 1974. Softcover. État : Gut. Kl.-8°. 80 nn S. mit zahlr. meist ganzseitigen Taf. Orig.-Klappenbroschur. In kleiner Auflage (1.000 Ex.) erschienen. Mit Beiträgen über William Turbull painter sculptor (chronologische Werkübersicht von 1949 bis 1960) und Patrick George "Painting what you can see from a single viewpoint". N° de réf. du libraire 201804174

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3.

Crosby, Theo (editor)
Edité par Whitefriars, London (1961)
Ancien(s) ou d'occasion Paperback Quantité : 1
Vendeur
Colin Martin Books
(Near Hull, EY, Royaume-Uni)
Evaluation vendeur
[?]

Description du livre Whitefriars, London, 1961. Paperback. État : Very Good. Etat de la jaquette : Very Good. Small Octavo, unpaginated, approx. 80 pages. Illustrated in b/w. Features the work of William Turnbull andPatrick george. Integral dust jacket, printed in plum colour on a pale pink background. A Very Good clean copy. Images can be supplied on request. N° de réf. du libraire 080233

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4.

UPPERCASE. Crosby, Theo (editor).
Edité par Whitefriars Press Ltd., London. (1958)
Ancien(s) ou d'occasion Couverture souple Quantité : 1
Vendeur
Sims Reed Ltd ABA ILAB
(London, Royaume-Uni)
Evaluation vendeur
[?]

Description du livre Whitefriars Press Ltd., London., 1958. 8vo Original printed wrappers, rear cover detached, otherwise good. Between 1953 and 1962, while establishing his own architectural practice, Theo Crosby acted as Technical Editor of Architectural Design magazine, which was seeking to bring a more youthful, vital and progressive approach to the subject than the previously dominant Architectural Review. Whilst at Architectural Design, Crosby attached himself to the Institute of Contemporary Arts (ICA) in London, attended meetings of the Independent Group there, and was particularly impressed by the group's discussions of the impact of mass communication and information theory on architecture and design. It was Crosby who suggested, and steered to completion, what would be the Independent Group's swansong - the watershed exhibition This Is Tomorrow at London's Whitechapel Gallery. In Architectural Design Crosby wrote that the exhibition was "evidence of attempts towards a new sort of order, a way towards that integration of the arts that must come if our culture is not merely to survive, but come truly to life". Whilst Crosby is renowned for his work at AD and later the architectural practice of Pentagram, he was also to edit the little-known arts magazine Uppercase. . "UPPERCASE is a journal of the graphic arts; it will deal with the whole field of visual communication, and if some of the connections are tenuous, then the reader must bridge the gap with his own experience and imagination . In UPPERCASE we will try to find a correlation between the arts, and attempt to relate them specifically to print. The method will generally be to take a mass of material from an artist and present a typographical equivalent; each issue will thus be an experiment in type within the same overall format." (From Crosby's preface to this, the first issue). Understandably it is the work of the Independant Group artists which feature in the pages of UPPERCASE. In the first issue, the lead content is on Eduardo Paolozzi (about 30 pages of notes, illustrations and photographs). Also includes contributions by artists David Piper, Magda Cordell and John McHale. N° de réf. du libraire 43999

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5.

Theo Crosby
Ancien(s) ou d'occasion Paperback Quantité : 1
Vendeur
PottersvilleBooks
(Silver Spring, MD, Etats-Unis)
Evaluation vendeur
[?]

Description du livre Paperback. État : Used: Good. [FIRST EDITION] London: Whitefriars Press, 1958. Softcover in block-printed, foldout wrappers. Unpaginated (approx. 80 pages) illustrated throughout with photos and original designs. The first (of five) issue of Theo Crosby's seminal avant-garde art, design and architecture journal. Folding card covers with Crosby design which is repeated in different colors throughout the short-lived run. Published in an edition of just 1000. The lead content on Eduardo Paolozzi (about 30 pages of notes, illustrations and photographs). Also includes contributions by artists David Piper, Magda Cordell and John McHale. A rare title edited and designed by Theo Crosby. In about good overall condition with wear to covers (bound somewhat off-center, front inner flap torn with crease becoming detached); no ownership marking, NOT EX-LIBRARY. (fc). N° de réf. du libraire 5M-QSED-IY70

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6.

Theo Crosby
Ancien(s) ou d'occasion Paperback Quantité : 1
Vendeur
PottersvilleBooks
(Silver Spring, MD, Etats-Unis)
Evaluation vendeur
[?]

Description du livre Paperback. État : Used: Good. [FIRST EDITION] London: Whitefriars, 1960. Softcover in block-printed French-folded wrappers. Unpaginated (approx. 80 pages) illustrated with b/w photos and original designs. The 4th (of 5) issue of this seminal art journal, published in an edition of 1,000 copies. Primarily devoted to the painting and sculpture of William Turnbull (b. 1922; British artist and close contemporary of Eduardo Paolozzi). In good overall condition with owner name on t.p., wear to spine, NOT EX-LIBRARY. (fc). N° de réf. du libraire I1-YWJX-5Q7C

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7.

Crosby, Theo (Ed.)
Edité par London and Tonbridge Kent Whitefriars Press oJ [] (1960)
Ancien(s) ou d'occasion Couverture souple Quantité : 1
Vendeur
Christian Schaffernicht
(Schwaebisch Gmuend, Allemagne)
Evaluation vendeur
[?]

Description du livre London and Tonbridge Kent Whitefriars Press oJ [], 1960. (80) nn S., davon (72) S. auf leichtem Karton. Mit zahlr., meist ganzseitigen Abb. Mit Introduction von Theo Crosby, Hauptbeitrag über William Turbull ("painter sculptor"; chronologische Werkübersicht von 1949 bis 1960, mit Texten) und Beitrag von Patrick George ("Painting what you can see from a single viewpoint"). 17,5 x 14,0 cm. Typographische OKlappenbroschur. Eines von 1000 Exemplaren. Auf dem Titel mit handschriftlicher Widmung von N.N.: "to my (. ?) photographer with love Dec[ember]/[19]60 (Signatur von ?)". Sprache: Englisch. Sehr selten. Umschlagkanten ganz minimal berieben. Sehr gutes Exemplar. N° de réf. du libraire Kunst 322

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8.

Crosby Theo
Edité par Whitefriars Press, Londres (1961)
Ancien(s) ou d'occasion Couverture souple Quantité : 1
Vendeur
A Balzac A Rodin
(Paris, France)
Evaluation vendeur
[?]

Description du livre Whitefriars Press, Londres, 1961. Couverture souple. État : Très bon. VERY GOOD Softcover/ TRES BON ETAT/ br. couv. sple. rbats coul. 14x17,7cm. 280gr. 64pp. 3 intercalaires papier transparent rouge Tomas Maldonado Hochschule fur Gestaltung Ulm 'Visual Signs Operative and Persuasive Communication', Tomas Maldonado Gui Bonsiepe 'Sign System Design for Operative Communication' + 'Portrait of Southam Street by Roger Mayne' 54pl. phot. n&b. couv. très bon état infimes frottements aux arêtes/ intérieur excellent. N° de réf. du libraire 009945

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9.

Uppercase (Theo Crosby)
Ancien(s) ou d'occasion Soft cover Quantité : 1
Vendeur
Indexbooks/Peter Gidal
(london, Royaume-Uni)
Evaluation vendeur
[?]

Description du livre Soft cover. État : Very Good. Theo Crosby. All 5 issues 1958-62, editions vary from 500 to 1500, 5 ½ x 7 inches. Complete rare set in very good++ condition. The essential issue 2 with Duchamp pages is fine indeed, one issue has a paperclip mark where the editor enclosed a (signed) note (included herein) when sending it for review, and one issue has a small teastain on the cover. The pages themselves in each issue are fine neat neither dented nor crumpled. The spines have slight rubbing. Some info: "Whilst Crosby is renowned for his work at AD and later the architectural practice of Pentagram, he was also to edit the little-known arts magazine Uppercase, published between 1958 and 1961. 

The final fifth issue includes the first analysis in English of the work of Tomas Maldonado and the Hochschule fur Gestaltung at Ulm, the innovative architectural successor to Bauhaus. It is also important in that its pages reproduce Roger Mayne's famous photographic series of Southam Street in London. For issue nr. 3, which contain Schwitters material as well, Crosby had invited Duchamp in 1958 to contribute. “It was an opportunity to research the typographic problems in a concrete way and specify some experimental proofing – a trial run for the typotranslation itself. As George Heard Hamilton put it, the 1932 typeset Green Box by Jakob Bronowski for This Quarter, September 1932, implies rather than manifests and convey complexity. “(There) we have to glean it via a cluster of footnotes Here Hamilton insisted the print form had to embody and enact the original its jostle of variant words, crossed out phrases, bits scribbled over, other left hanging in the air . a synergetic system – more than the sum of its parts, a semantic excess. Print form would have to relive this effect, not curtail it. Duchamp greeted the Uppercase piece warmly: “I can't tell you how pleased I am to see the first pages in their final stage. The setting keeps in pace with the inner spirit of the original writing and I am sure the complete translation will lend itself to a perfect understanding of the French.” Duchamp in fact read and revised the translations three times, with scrupulous attention to the meaning and weight of every word” according to GHH. Duchamp also changed a lot, against GHH’s will, to have exact replication, “ he wants a new order ” The redone bits began to speak about the original ones, opening up a gap between what he had in mind when the pieces were first written and his later thinking – so much so that the translation begins to function as a commentary on the original, throwing a searchlight onto it.” So for Duchamp the final product was, as written on Nov 26,1960, a monster of veracity, a crystalline transubstantiation.” Sahat Maharajah, October (1999)"The Duchamp Effect." Uppercase’s various illustrations, articles, typographizations, all were made in this spirit of invention and experiment. An essential journal, included the following: Paolozzi, Notes from a 1957 lecture (incl stills and a lithograph), Kurt Schwitters by Richard Matthews (with dozens of fantastic illustrations), Edward Wright Notes and drawings, Nigel Henderson photos, Alison and Peter Smithson maps, essays, foldouts, William Turnbull Sculpture, Patrick George on the drawn line, Roger Mayne’s classic London “Portraits of Southam Street” photographs, Maldonato on semantic and non –semantic orientation, including the mint as-new ultra-thin red tissue sheets bound in over Pepsi Cola ads in 1961 (pre-Warhol). All internal spines and fragile foldouts perfect. . N° de réf. du libraire ABE-1485348373732

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