D c moore gallery (34 résultats)

Paper. Etat : Good. Good copy 4 pp paper folder ex. cat 2 4/C illus.

Paper. Etat : Good. Good paper copy ex. cat. Jan. 7 through Feb. 4, 2006, 24 pp, 8 pp interview by Eleaner Hartney, 12 4/C ill and 1 B/W photo of the artist.

Soft cover. Etat : Very Good. No Jacket. ExCat., New York, Nov 4- Dec 18, 2010. Catalogue essay by Michael Duncan. 46 unpp., 4 pp text, 7 misc pp about the artist., illus throughout in 4/c .

Paper. Etat : Good. Good paper copy ex. cat. Oct. 4 - Nov. 2, 2012, 48 pp, 3 pp essay, 4/C illus. throughout.

Paper. Etat : Good. Good paper copy ex. cat. 24 pp, 14 4/C illus, 2 pp text, lists 23 works with sizes and titles.

Paper. Etat : Good. Good paper copy ex. cat., Jan 4 through Feb. 1, 2003, 32 pp, 1 pp text, 22 4/C illus, checklist of 32 works.

Paper. Etat : Good. Good paper copy ex. cat. April 8 - May 3, 2011, essay by Rogert Winter, intro by Claude Albritton, 48 pp, 1 pp intro, 3 pp essay "Blessing of the Sky- Paintings by Jane Wilson, 17 4/C illus., 2 B/W photos, 6 pp chron, 1 pp misc. info.

paperback. Etat : Very Good. Softcover with french flaps in very good condition. Full pictorial covers are glossy and clean. Binding is tight and square. Pages are crisp and glossy. Images are printed in full color. No date on title page. Copyright dated 2022. 31 pages. Overall a very nice copy. We ship every day from a real neighborhood bookstore. This description is written by an actual person, who is holding the book in front of them to make sure it?s properly described. Please contact us with questions or if you would like to see photographs.…

Paperback. Etat : Very Good. 1st edition. unpaginated, square octavo, staple bound, tight binding, clean and colorful throughout, light wear to the wraps.

Soft cover. Etat : Very Good. No Jacket. Oversized Paperback. An oversized paperback for an exhibition of mostly New York City themed paintings by the American artist, in excellent condition. Yvonne Jacquette (illustrateur).

paperback. Etat : Very Good. Modest shelfwear to cover, clean pages and sound binding.

(12)pp. Prof. illus. in color. Sm. sq. 4to. Wraps.

Paper. Etat : Good. Good paper copy ex. cat. 11/17 through 12/23/2011, 72 pp, 2 pp intro by Bridget Moore, illus. with 4/C plates, many B/W photos of the artist, 26 pp chronology with illus., 1 pp selected list of public collections.

Softcover. Etat : VG. Tan & color illus. wraps. 24 pp. Numerous color plates. Issued in conjunction with a 2006 exhibition of selected works by American artist Mary Frank (b. 1933). Consists of a lengthy illustrated artist interview conducted by Eleanor Heartney. Many full-color examples of her creative artistry.…

Softcover. Etat : VG. White wraps with color-illustration and black lettering. 50 pp. 42 color plates. Three-page introduction by Townsend Wolfe, poem by Langston Hughes, educational chronology, exhibition listing, many beautiful plates.

Paperback. Etat : Very Good-. First Edition; First Printing. First Edition, First Printing (No additional printings stated). Very good minus, with sunning to covers and faint waffling to bottom edge of pages. Art/C2; Oblong 8vo 8" to 9" tall.

Paperback. Etat : Very Good. First Edition. First Edition, First Printing. Published by DC Moore Gallery, 1997. Quarto. Paperback. Book is very good with shelfwear.100% positive feedback. 30 day money back guarantee. NEXT DAY SHIPPING! Excellent customer service. Please email with any questions. All books packed carefully and ship with free delivery confirmation/tracking. All books come with free bookmarks. Ships from Sag Harbor, New York.…

32pp. Prof. color illus. Lrg. 4to. Wraps.

Softcover. Etat : VG. Pictorial stapled wraps. Unpaginated. Numerous color plates. Brief intro by Mercedes Ruehl.

Softcover. Etat : VG. Color wraps. 16 pp. Color plates.

Soft cover. Etat : Near Fine. Near fine condition soft cover. Exterior shows minimal wear. Binding is tight and pages are free from writing/markings.

Paperback. Etat : Very Good. First Edition; First Printing. First Edition, First Printing (No additional printings stated). Staplebound in card wraps. Very Good with light wear to covers and no marks to text. Previous owner's stamp on inside of front cover. Art/8; 8vo 8" - 9" tall; 24 pages.

Soft cover. Etat : Very Good. Clean solid catalog. Moody still life painting. Upper right corner bumped. Trace rubbing to rear cover.

Paperback. Etat : VG. Grey wraps with color illustration on the front cover and white and taupe lettering. [58] pp. 1 bw, 21 color plates. Essay by Elizabeth Sussman.

Etat : VG. White wraps. [16] pp. 13 color plates. Comments by the artist, three-page introduction by Bridget Moore, exhibition checklist, several lovely plates.

Etat : Good. Folio. [12 pp]. Soft, stapled color illustrated wraps. Very good. Color plates and color frontis. Includes text by Robert M. Murdock. Catalogue created on occasion of exhibition "Debra Bermingham," held at DC Moore Gallery in New York, NY from September 5 through October 5, 2002.

No Binding. Etat : Near Fine. EXHIBITION INVITATION.stiff paper, folded in half.vvclst2/3.

Hardcover. Etat : As New. No Jacket. 1st Edition. Free USPS Priority Mail 1-3 day shipping in USA 48. FIRST EDITION. Book Condition: As New; Dust Jacket Condition: Was not published with a dust jacket. 72 pages, 11 1/2" x 9 3/4", brilliant color reproductions of his paintings which are so sensitive to light that they have to be rotated out of exhibition for years at a time (so you will not ever see them at the Burchfield Penney Art Center in Buffalo!). From Wikipedia: Work According to Burchfield's friend and colleague Edward Hopper, "The work of Charles Burchfield is most decidedly founded, not on art, but on life, and the life that he knows and loves best." Burchfield has been more recently described as "the mystic, cryptic painter of transcendental landscapes, trees with telekinetic halos, and haunted houses emanating ectoplasmic auras."[6] Jerry Saltz suggests his influences as van Gogh, Caspar David Friedrich, Marsden Hartley, John Marin, "calendar art, and Sunday painting." Like Hopper, he seemed to have left cubism out of the equation. PROCESS Since its heyday in the nineteenth century, watercolor had remained a popular style but Burchfield was unique among his major contemporaries for working exclusively within the medium.[7]: 12  Unlike most watercolorists, he stood at an easel. He applied his colors with a "dry brush" technique (very little water) on machine-made paper, often reworking the surface during the process or sometimes many years later.[3] Burchfield was an unflagging advocate for the virtues of watercolors, and chafed at the popular misconception of them as fragile and impermanent. He was aware that some fading and hue changes were likely to occur, but he believed that proper handling and display procedures would keep water-based artwork as vibrant as any other medium. Modern curators typically show watercolors like Burchfield's under reduced lighting and for shorter lengths of time than oil-based exhibitions.[7]: 16  ART PERIODS: His work is usually divided into three periods comprising figuration, houses and small town scenes; and abstractions depicting moods (frequently morbid and fearful). Insect and frog sounds have their own calligraphic strokes, and cicada sounds are depicted with zigzag strokes radiating outward; flowers and houses seem to have faces, not always pleasant. EARLY WORK: Burchfield's style was largely developed by the summer of 1915, after his junior year at the Cleveland School of Art, as he sketched and painted constantly in and around Salem, OH, "gathering the materials for a lifetime," according to his journals. Exposed in school to modernist European trends, he developed an almost fauvist use of broad areas of simplified color, enlivened by delightful particularizations of nature, and in 1917, began combining visual motifs projecting human moods, often disturbing, into the pictures. Assigned to the camouflage unit in the Army in 1918, he even worked his designs into painting schemes disguising tanks and artificial hills. Biographers note his exposure to modernist trends and traditional Chinese painting while in art school but overlook that the hallucinatory quality in his work may be partly traced to an episode of nervous exhaustion in 1911 while a junior in high school. Determined to record all the area's flowering plants that spring, he stayed up late at night painting whole bouquets of the blooms and had a bout of what was referred to at the time as "brain fever," which might now be termed mania. He seems to have learned to use it as a source of energy and inspiration, and his school transcript records only three days' absence that semester. Painting constantly from 1915, even while working full-time in summer and after college, he sketched on walks to and from home at lunchtime and completed paintings based on them at night. Half of his lifetime output of paintings was produced while living in Salem from 1915 to 1917. Profusely Illustrated (illustrateur).…

4to. pp. 1 p.l., 48, [2]. profusely illus. (some colour). biblio. wrs. Exhib. Cat.

Etat : Good. 4to. [28] pp. Soft Cover, with French folds. Stapled Wraps. Color plates throughout. Very Good.