2008, ISBN: 9780802092113

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Various Publishers, 1959-61. Very Good. Eight issues of vintage adult magazines, primitively but solidly bound together at the spines, blank paper spine, wrapper, endpapers; uniformly t… mais…

Various Publishers, 1959-61. Very Good. Eight issues of vintage adult magazines, primitively but solidly bound together at the spines, blank paper spine, wrapper, endpapers; uniformly trimmed. Made by amateur binder or hobbyist, perhaps collected for certain authors/models/artists. Assorted mix, top newsstand titles w/ lots of photos, foldouts, & ads. B/W/Color. Very Good Plus overall. Included:Ace [The Magazine for Men of Distinction]: V2 N5, February 1959, Dawn Richards, ghost fiction, Boccaccio, Charles V. Nemo, Madeline Morgan, Joan Grant, Mlle. Yvette parrot dance, Carol Carson; V3 N4, December 1959, Doris Gohlke, risque albums, Julia Brulette, paternity tests, Saroyan as beatnik, Ted Mark, horse bets, Irv Doktor, Gloria DeWinter, Karen Dodge, Fontainebleu in Miami (Bunny Yeager vignette), Dawn Danielle, Jacqueline Petit, Mary Rogers, Dallas burlesque, Shirley Skates; V4 N1, June 1960, Leila Jazy, beatniks, E. von Stroheim, Petronious, Leonard Bishop, Hagglund, Linkert, Majo Pauly, Marie Odile France, Gwen Hooven, Jamie O'Neill, Allyson Sanborn secretary, Janice Lee, Ursula Lorenz; V4 N6, April 1961, Yvette Morrow, Connie Sellers, Neal Brooks, Bob Newhart, Hawaiian Malia Olandag, Helen Wood chess, Tinker Bell, Barbara Stanley, Marli Renfro, Alice Denham, Barbara Janett.ROGUE: V4 N6, August 1959, Edwin Stephens & Bunny Yeager cover, Nat Hentoff, Jack Kerouac, Robert Bloch, Harlan Ellison, Sam Wu, Harold W. McCauley, Reamer Keller, Wyma, Bonestell, Porches, bohemians, Terri Steele, Pat O'Connell; V6 N2, February 1961, Richard A. Thompson & Ray Komorski cover, Alfred Bester, Lenny Bruce, Evan Hunter, William F. Nolan, Irwin Spector, Harlan Ellison & Joe L. Hensley, Jerold Clay Jr., Keith Bernard, Ed Alexander, Ron Vogel, Mel Kasper, Bunny Yeager, Dak, Virgin Islands, Ian Fleming, Marjorie Friend, Chicago blues; V6 N5, May 1961, Norma Jean Jani, Bester, Ben Hecht, Nelson Algren, Dak, Jack Crow, Soho, British jazz, Brendan Behan, Susan Harrison, Scotland.Swank: V8 N3, July 1961, Galaxy cover, Nat Hentoff, John Williams, Tuli Kupferberg, Jonas Mekas, John Flesh, William Burroughs, de Carlo art, Ann Atmar, Billie Holliday, beatniks, Dore Orlando, Annie Andrew.Full collation details available upon request., Various Publishers, 1959-61, 3, Paris: Les Editions de l'Amateur, 1996. Hardcover. VG/VG (bump to back, lower corner; spine ends crinkled. two very slight splits to textblock; glue & binding remain intact, textblock firm. dustjacket has light wear, scuffing). Goldenrod stamped cloth, gilt letters on spine & front cover, color illus. dust jacket, 399 pp., many BW & color illus.; weighs 6.5 lbs. Text is in French. A magnificent volume dedicated to French paintings of flowersm, representing a variety of species, settings and talents. With a list of 500 artists and works related this particular genre., Les Editions de l'Amateur, 1996, 3, Dijon: L'Échelle de Jacob, 1998. Tirage limité à 300 exemplaires.Format : 180 mm x 260 mm.Un volume broché de 216 pages sur papier Bouffant Odéon 90 grs,couverture sur carte 300 grs. préface de Claude Bouret, Conservateur en chef au Cabinet des Estampes de la Bibliothèque nationaleLa revue de La Gazette des Beaux-Arts, un des plus anciens périodiques françaisexistant, publia en hors-texte dès sa création en 1859 et jusquen 1933, denombreuses estampes originales et dinterprétation. Un descriptif simple et précis deses estampes simposait, à lexception des reproductions, afin dillustrer un état de lagravure en France de 1859 à 1933, dans le cadre dune revue scientifique largementdiffusée.Comme le dit dans sa préface M. Claude Bouret, Conservateur en chef auCabinet des Estampes de la Bibliothèque Nationale, le travail accompli par PierreSanchez et Xavier Seydoux vient combler une lacune. Les répertoires de gravurespubliés dans des revues sont extrêment rares.Ont ainsi été décrites quelque 1150 estampes, réalisées par 338 graveurs etlithographes français et étrangers dont certains comptent parmi les maîtres delestampe et des beaux-arts : Bracquemond, Chahine, Corot, Laboureur, Le Sidaner,Manet, Millet, de Nittis, Pissarro, Renoir, Rodin, Sisley, Steinlen, Vallotton, Whistler,Zorn ...Une notice indépendante a été établie pour chaque estampe. Louvrage estutilement complété et sa consultation facilitée par six index qui veulent offrir lespossibilités les plus larges et les plus précises pour identifier, chercher ou dater uneestampe et les diverses informations quelle véhicule dans sa lettre ou que les auteursont adjointes : graveurs et lithographes, artistes dont une ½uvre est interprétée par une estampe, collections publiques et privées citées, auteurs des articles cités, imprimeurs, titres des estampes.Cet outil veut offrir à lamateur destampes, mais aussi de peintures, de dessins,dobjets dart, et également au simple curieux, un moyen dappréhender le goûtartistique dans la deuxième moitié du XIXème siècle et au début du XXème siècle.Nota : Les avertissements qui décrivent précisément les différentes donnéesdes notices sont également présentés en anglai, Dijon: L'Échelle de Jacob, 1998, 0, Paris: LArtiste, circa 1834.. Lithograph on wove paper, with margins. 11 x 8 inches (sheet). Signed in the stone. Very Good. Specks of foxing throughout. Print affixed at right sheet edge to another support sheet.Ref: (Catalogue Raisonne): Les Graveurs du XIX Siecle, Guide de LAmateur dEstampes Modernes par Henri Beraldi (Paris: Librairie L. Conquet, 1888).Jean Francois Gigoux (1806-1894), painter, printmaker, and illustrator, was born on January 8, 1806, in Besancon, France and he first studied at lAcademie de Besancon. In 1828 Gigoux went to Paris and enrolled in the Ecole des Beaux-Arts where he studied under Theodore Gericault and Camille Corot.Gigoux was foremost a portrait and history painter and he holds a distinguished place among the painters of the Romantic School. He also worked in woodcut and etching but he was quite facile with the lithographic crayon and is noted for his romantic and passionate portraits in the medium.In 1842 Gigoux became a chevalier in the Legion of Honor and was named an officer of the Legion in 1880. He was the last love of countess Eveline Hansak, the widow of French novelist Honore de Balzac. Gigoux dies December 31, 1894 at the age of eighty-eight., Paris: LArtiste, circa 1834., 0, Paris: LArtiste, circa 1841.. Lithograph on wove paper, with margins. 11 x 8 inches (sheet). Signed in the stone. Very Good. Sheet lightly toned. Print affixed at right sheet edge to another support sheet.Ref: (Catalogue Raisonne): Les Graveurs du XIX Siecle, Guide de LAmateur dEstampes Modernes par Henri Beraldi (Paris: Librairie L. Conquet, 1888).Jean Francois Gigoux (1806-1894), painter, printmaker, and illustrator, was born on January 8, 1806, in Besancon, France and he first studied at lAcademie de Besancon. In 1828 Gigoux went to Paris and enrolled in the Ecole des Beaux-Arts where he studied under Theodore Gericault and Camille Corot.Gigoux was foremost a portrait and history painter and he holds a distinguished place among the painters of the Romantic School. He also worked in woodcut and etching but he was quite facile with the lithographic crayon and is noted for his romantic and passionate portraits in the medium.In 1842 Gigoux became a chevalier in the Legion of Honor and was named an officer of the Legion in 1880. He was the last love of countess Eveline Hansak, the widow of French novelist Honore de Balzac. Gigoux dies December 31, 1894 at the age of eighty-eight., Paris: LArtiste, circa 1841., 0, E-009: Stuart Kidd Company Publishers. Good+. 1921. First Edition; First Printing. Hardcover. Hardcover. 8vo. Stewart and Kidd Company, Cincinatti, OH. 1921. 272 pgs. Includes Bound East for Cardiff, by Eugene O'Neill. First Edition/First Printing. Bound in green cloth boards with gilt lettering present to the spine and the front board. Boards have light wear present to the extremities of the boards. Blindstamp of Frances Marion (renowned female screenwriter) and Richard Schwarzman present to the FFEP. Text is clean and free of marks. Binding tight and solid. Contains: Suppressed Desires (Cook & Glaspell) ; Aria Da Capo, A Fantasy (Edna St Vincent Millay) ; Cocaine (Pendleton King) ; Night, A Play (James Oppenheim) ; Enemies, A Play (Neith Boyce and Hutchins Hapgood) ; The Angel Intrudes, A Comedy (Floyd Dell) ; Bound East for Cardiff, A Play (Eugene O'Neill) ; The Widow's Veil (Alice Rostetter) ; The STring of the Samisen (Rita Wellman) ; Not Smart (wilbur Steele). The Provincetown Players was an influential collective of artists, writers, intellectuals, and amateur theater enthusiasts. Under the leadership of the husband and wife team of George Cram Cook and Susan Glaspell, the Players produced two seasons in Provincetown, Massachusetts (1915 and 1916) and six seasons in New York City between 1916 and 1923. The company's founding has been called "the most important innovative moment in American theatre. Frances Marion (born Marion Benson Owens, November 18, 1888 – May 12, 1973) was an American screenwriter, journalist, author, and film director, often cited as one of the most renowned female screenwriters of the 20th century alongside June Mathis and Anita Loos. She was the first writer to win two Academy Awards. Marion began her film career working for filmmaker Lois Weber. She wrote numerous silent film scenarios for actress Mary Pickford, before transitioning to writing sound films. E-009; 8vo 8" - 9" tall; 272 pages ., Stuart Kidd Company Publishers, 1921, 2.5, 1940. New York, S. French, 1940. 24 cm. XVII, 553 pages. Illustrations, including frontispiece, plates, portraits and diagrams, in black and white. Original hardcover. Very good condition with only very minor signs of external wear. From the reference library of Hans Christian Andersen - Translator Erik Haugaard. With his Exlibris to the pastedown. Includes for example the following chapters: 'Letter and Spirit'; 'Theatre in Style'; 'Theatrical Theatre'; 'Theatre is a Tribunal' etc. Mordecai (Max) Gorelik (August 25, 1899 – March 7, 1990) was an American theatrical designer, producer and director. Born August 25, 1899, in Shchedrin near Minsk, Russia, Mordecai (Max) Gorelik immigrated with his family to the United States in 1905 to escape the pogroms that killed most of his family. After graduating from the Pratt Institute of Fine Arts in Brooklyn in 1920, he worked for a time with Robert Edmond Jones, the pioneer American set designer who became his mentor. Gorelik rendered in a wide variety of media and styles working with the most famous designers of the 1920s and 1930s – Robert Edmond Jones, Lee Strasberg, Elia Kazan, Arthur Miller, Norman Bel Geddes, Lee Simonson, Jo Mielziner, Oliver Messel, Aleksandr Golovin, Henri Matisse, Andre Derain, and Cleon Throckmorton. He worked for the most prestigious companies --the Provincetown Players, the Theatre Guild on Broadway, the Group Theatre New York, and the Actors Laboratory Theater in Hollywood. In keeping with his love of experimental theatre, he was involved with the most avant-garde companies of the day --the New Playwrights Theatre, the Theatre Collective, the Theatre of Action, and the Theatre Union. His first encounter with Bertolt Brecht in 1935 deeply influenced both his theories and designs. He became an advocate for the Epic Theater style developed by Brecht and director Erwin Piscator, and he pioneered the deliberate employment of metaphor in design. A decade later, he served as a designer and director for the Biarritz American University in France where he began teaching a seminar known as "The Scenic Imagination." It won national recognition as an original, inspiring, and incisive approach to the purely creative side of stage production in script, direction, acting, and design. This study was in unique contrast to the vocational method known as stagecraft, taught everywhere else. Four years later he also acted as an Expert Consultant in Theater for the American Military Government in Germany. His command of French and German languages enabled him to network with amateur and professional theatres around the globe. Gorelik's career spanned three quarters of the twentieth century. As a leading American expert on the modern stage form, his reputation was based in part on his record as a stage and film designer and in part on the years of research he carried out, abroad, under the John Simon Guggenheim Memorial Foundation Fellowship (1936-37). In 1949-50 Gorelik was catapulted to great heights working with the National Theatre Conference and the Rockefeller Foundation Grant (1949-51) to produce Europe Onstage. He aspired to provide a precise knowledge of post-war problems with theatres across Western Europe because innovation, breaking down barriers, and challenging the status quo were threatening prospects in war-torn societies. As artists and craftsmen didn't regroup and failed to rebuild, universities became havens of avant guarde commentary in response to the general cultural crisis. A Fulbright Grant (1967) he received enabled him to examine Australian theatre in a similar way. He travelled to Japan, India, and Israel as well. Across cultures, Gorelik found the theatre was not merely an institution for self-expression; it was a tool for shaping history, especially where there was upheaval. Through the Arts, audiences were allowed to explore issues, become more liberal, and make social and political changes. That's why he often said in his articles and lectures that the future of theatre in America lay in its universities --where the central concern of this remarkable form of communication was its responsibility to its audience. Gorelik's first book, New Theatres for Old (1940), became a classic textbook used in scores of American universities. His articles were published by numerous sources including Encyclopædia Britannica, Collier's Encyclopedia, Encyclopedia Americana, Drama Survey, and Theatre Arts Magazine. As a noted critic and scholar, his essays appeared in The New York Times, The New York Herald Tribune, The Arts, Educational Theatre Journal, Speech Association Quarterly, Tulane Drama Review, Contact Magazine, Davidlo (Prague), Tester-forbundets Medlemsblad (Stockholm), Teatr Y Dramaturgia (Moscow), Buhnentechenische Rundschau (Berlin), Theatre Newsletter (London), and Hollywood Quarterly. On Broadway Max designed forty sets. His career began with John Howard Lawson's vaudevillian critique of Americana, Processional, and ended in 1960 with A Distant Bell. He was also the translator and adapter of The Firebugs (1963), by Swiss playwright Max Frisch. His more notable scene designs include such plays as Men in White, Golden Boy, Casey Jones, All My Sons, Desire Under the Elms, The Flowering Peach, A Hatful of Rain, The Plough and the Stars, Volpone, Tortilla Flat , King Hunger, Processional, and Mother. His film designs include L'Ennemi Publique No.1 and None But the Lonely Heart. Gorelik was previously an instructor-designer for the School of Theatre, New York City (1921-22), and was on the faculty of the American Academy of Dramatic Arts (1926-32), the Drama Workshop of the New School for Social Research (1940-41), Biarritz (Fr.) American University (1943-46), University of Toledo (1956), University of Miami (1956), New York University (1956), Bard College (1959), and Brigham Young University (1961), San Jose State College (1965), California State University (Los Angeles 1964, 1966), University of Massachusetts (Boston), Pratt Institute, Long Island University (Brooklyn), and University of Hawaii. From 1960 to 1972 he taught classes and staged plays at Southern Illinois University (Carbondale) as a Research Professor in Theater. As an Emeritus Professor on theater research, his work was anthologized in Best Short Plays of the World Theater' (1976). Upon his retirement he continued to teach, design, direct, and focused primarily on his playwriting. He received an Honorary Doctorate of Humane Letters from Southern Illinois University (1972). Other awards include the Theta Alpha Phi Award (1971); Adjudicator, American College Theatre Festival, Region VIII (1980); U.S. Institute for Theatre Technology Award (1981), Fellowship, Award, American Theatre Association (1982). He sponsored the ACTF Mordecai Gorelik Award in Scenic Design (1981) and the Southern Illinois University Mordecai Gorelik Scholarship in Scenic Design (1983). According to Anne Fletcher in Rediscovering Mordecai Gorelik: Scene Design and the American Theatre, “When the field was in its infancy, he influenced stage design, helped define the designer's role in the production process, and challenged the American stage in theory and practice.” Gorelik married Frances Strauss in 1936. They had two children: a son Eugene Gorelik and a daughter Linda Gorelik. Frances Gorelik died on June 5, 1966. Loraine Kabler became his second wife in 1972. He died of cancer on March 7, 1990, in Sarasota, Florida. (Wikipedia), 1940, 0, University of Toronto Press - Studies In Book And Print Culture, University of Toronto Press - Studies In Book And Print Culture. 2008, xvii,312pp. Illustrated. Cloth. Dust jacket with little damage/signs of use, 1 corner slightly bumped (see pictures), else in very good condition. "The late-nineteenth century in Europe was a period of profound political, social, and technological change. One result of these changes was the rise in France of an upper-bourgeois bohemian class. Many of its members stimulated interest in unique forms of artistic expression such as illustrated books. On account of their influence, an atmosphere of intense bibliophilic activity came to define French culture at the turn of the century. The New Bibliopolis explores the role of amateurs in promoting the book arts in France during this period. Drawing on extensive original research, Willa Z. Silverman looks at the ways in which book collectors supported print culture. She shows how, through the admiration demonstrated by collectors for this medium, print came to be a crucial part of popular conceptions of aesthetics. As collectors, publishers, authors, designers, and directors of bibliophile societies, reviews, and small presses, these book lovers became passionate and prolific interlocutors of the printed word in a uniquely artistic epoch. Silverman analyzes subjects as diverse as the relationship between book collecting and aesthetic and cultural currents such as Symbolism; the gendered nature of book collecting; the increased collaboration between authors and illustrators; and the marketing of fine books at international exhibits. The New Bibliopolis is an important contribution to the study of book history, French sociocultural history, and fine and decorative arts." ISBN: 9780802092113, University of Toronto Press - Studies In Book And Print Culture, University of Toronto Press - Studies In Book And Print Culture, 0<