2006-2007
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Thirty-three catalog boxes from the Städtisches Museum Mönchengladbach [Mönchengladbach] : Städtisches Museum, late 1960s-1970s call numbers vary During the 1960s and 1970s, curator Johannes Cladders organized a large series of contemporary exhibitions at the Städtisches Museum Mönchengladbach. While the shows themselves were groundbreaking—Cladders’ 1967 solo show for Joseph Beuys, for example, was a career-launching event—the catalogs produced alongside them are truly remarkable. These small boxes (mostly 8 ¼ x 6 ¾ x 1 ½ inches) included such standard elements as catalog essays and exhibition checklists, but they also often included an artist's production, usually a multiple of some sort. Taken as a whole, the thirty-three catalogs the Art & Architecture Library has acquired show evidence of Cladders’ innovative and nuanced artistic outlook: the boxes’ cheapness of packaging (some are literally of plain cardboard, others a bit more elaborate) reinforces an assumed ephemerality; their editioned status acts as a wink toward the high art notion of rareness and at the same time reveals a concerted effort to push art material towards a more common arena. Artists featured include Bernd and Hilla Becher, Panamarenko, Janis Kounellis, Blinky Palermo, Joseph Beuys, and James Lee Byars. |
2002-2003
Fluxus 1
George Maciunas, editor and designer
New York: Fluxus Editions, 1964
Green Library, Special Collections XX(5411348.2)
The international Fluxus group is known for two principle contributions to the history of modern art. As a collective or collaborative artistic movement, it staged performances, games, and happenings that put into the question the conventional notion of the art object, emphasizing audience participation and interaction instead. Fluxus artists were also key players in developing and distributing multiples (artists' publications typically run in small editions) and small games. These objects challenged the criteria of what constituted "good" or "high" art while at the same time inviting audiences to take a more active role in the process of art-making. Fluxus 1 is the group's very first published anthology and includes work in various media by such artists as George Brecht, Dick Higgins, Shigeko Kubota, Jackson Mac Low, George Maciunas, Robert Watts, Emmett Williams, Ben Vautier, and La Monte Young. Editions are unnumbered and it is estimated that Fluxus founder George Maciunas assembled more than 100 copies, with an evolving list of contents, over time.
George Maciunas, editor and designer
New York: Fluxus Editions, 1964
Green Library, Special Collections XX(5411348.2)
The international Fluxus group is known for two principle contributions to the history of modern art. As a collective or collaborative artistic movement, it staged performances, games, and happenings that put into the question the conventional notion of the art object, emphasizing audience participation and interaction instead. Fluxus artists were also key players in developing and distributing multiples (artists' publications typically run in small editions) and small games. These objects challenged the criteria of what constituted "good" or "high" art while at the same time inviting audiences to take a more active role in the process of art-making. Fluxus 1 is the group's very first published anthology and includes work in various media by such artists as George Brecht, Dick Higgins, Shigeko Kubota, Jackson Mac Low, George Maciunas, Robert Watts, Emmett Williams, Ben Vautier, and La Monte Young. Editions are unnumbered and it is estimated that Fluxus founder George Maciunas assembled more than 100 copies, with an evolving list of contents, over time.
[Everson Catalogue Box]
Yoko Ono
[New York : Fluxus], 1971
Green Library, Special Collections XX(5411365.2)
This is a rare edition of one of Fluxus's most famous artists: Yoko Ono. Specially designed by George Maciunas, the box contains assemblage, inked footprints of John Lennon and Yoko Ono on paper, a glass key, miniature plastic boxes, printed scores, a painted work on paper, and a paperback copy of Yoko Ono's artists' book Grapefruit--a compendium of Ono's instruction works, dated by year and season, and a seminal work of conceptual art. As the recent traveling exhibition of Yoko Ono's work at the San Francisco Museum of Art demonstrated, Ono's longstanding reputation as a Fluxus affiliate, a performance artist, film and bookmaker, transcends her more popular reputation as the wife of John Lennon. The Everson show of the early 70s was critical in solidifying that reputation for an art world audience.
Yoko Ono
[New York : Fluxus], 1971
Green Library, Special Collections XX(5411365.2)
This is a rare edition of one of Fluxus's most famous artists: Yoko Ono. Specially designed by George Maciunas, the box contains assemblage, inked footprints of John Lennon and Yoko Ono on paper, a glass key, miniature plastic boxes, printed scores, a painted work on paper, and a paperback copy of Yoko Ono's artists' book Grapefruit--a compendium of Ono's instruction works, dated by year and season, and a seminal work of conceptual art. As the recent traveling exhibition of Yoko Ono's work at the San Francisco Museum of Art demonstrated, Ono's longstanding reputation as a Fluxus affiliate, a performance artist, film and bookmaker, transcends her more popular reputation as the wife of John Lennon. The Everson show of the early 70s was critical in solidifying that reputation for an art world audience.
Before the Waiting Dog
Gabriel Orozco
New York : s.n., 1993
Five signed color coupler photographs and a VHS videotape in a handmade solander case. Copy 6 of 10.
Green Library, Special Collections XX(5411380.1)
The Mexican artist Orozco is widely recognized as among the most important artists to emerge in the last ten years, and is internationally lauded for his mixed-media work that includes film, photography, video, sculpture, and installation. Before the Waiting Dog constitutes one of the artist's earliest ventures into the domain of video, coupled with signed photographs that well demonstrated his singularly poetic photographic sensibility. Before the Waiting Dog was made for the exhibition Real Time (1993) at the Institute of Contemporary Art (ICA) in London, organized by the NY-based gallerist and curator Gavin Brown.
Gabriel Orozco
New York : s.n., 1993
Five signed color coupler photographs and a VHS videotape in a handmade solander case. Copy 6 of 10.
Green Library, Special Collections XX(5411380.1)
The Mexican artist Orozco is widely recognized as among the most important artists to emerge in the last ten years, and is internationally lauded for his mixed-media work that includes film, photography, video, sculpture, and installation. Before the Waiting Dog constitutes one of the artist's earliest ventures into the domain of video, coupled with signed photographs that well demonstrated his singularly poetic photographic sensibility. Before the Waiting Dog was made for the exhibition Real Time (1993) at the Institute of Contemporary Art (ICA) in London, organized by the NY-based gallerist and curator Gavin Brown.
391 [Numbers 11, 13, 14, 15, 16, and 19]
Francis Picabia
Paris: Le Terrain Vague, 1920-1924
Green Library, Special Collections NX456.5 .D3 A17 F Rare Books
French writer, painter, and leading figure of the Dada movement, Francis Picabia was the mastermind behind this playful and unpredictable art and literary review. The earliest issues were published in 1917 and continued through the Dada years. A cover illustration by Picabia, incorporating the machine-like linear forms characteristic of his work at the time, can be found on the cover of one Stanford's issues. Other contributors included New York Dada provocateurs Man Ray and Marcel Duchamp, Hans Arp, and Tristan Tzara.
Francis Picabia
Paris: Le Terrain Vague, 1920-1924
Green Library, Special Collections NX456.5 .D3 A17 F Rare Books
French writer, painter, and leading figure of the Dada movement, Francis Picabia was the mastermind behind this playful and unpredictable art and literary review. The earliest issues were published in 1917 and continued through the Dada years. A cover illustration by Picabia, incorporating the machine-like linear forms characteristic of his work at the time, can be found on the cover of one Stanford's issues. Other contributors included New York Dada provocateurs Man Ray and Marcel Duchamp, Hans Arp, and Tristan Tzara.
2000-2002
Les Dix Livres d'Architecture de Vitruve: Corrigez et Traduits Nouvellement en François, avec des Notes & des Figures
Vitruvius Pollio
Paris: Chez Jean Baptiste Coignard ..., 1684
Green Library, Special Collections, XX(4743239.1)
The De Architectura Libri Decem of Vitruvius (c90-20 B.C.) is the only architectural treatise to survive from the Greco-Roman period and is perhaps Western civilization's most important single architectural text. Monastic copyists preserved it during the Middle Ages; it was rediscovered in about 1414 in the library of the monastery of St. Gall by Poggio Bracciolini, a humanist. The first printed version appeared in the 1480s, and the work gradually became enormously influential among Renaissance architects and antiquarians, with as many as 166 editions published thereafter, according to a survey done in 1978 by Luigi Vagnetti. In this edition, Claude Perrault (1613-1688), who was both an architect and a classical scholar, provided a French translation and an encyclopedic commentary. To illustrate the text, Perrault also collected many excellent engravings, after such leading artists as Antoine Le Pautre and Sebastien Le Clerc.
Vitruvius Pollio
Paris: Chez Jean Baptiste Coignard ..., 1684
Green Library, Special Collections, XX(4743239.1)
The De Architectura Libri Decem of Vitruvius (c90-20 B.C.) is the only architectural treatise to survive from the Greco-Roman period and is perhaps Western civilization's most important single architectural text. Monastic copyists preserved it during the Middle Ages; it was rediscovered in about 1414 in the library of the monastery of St. Gall by Poggio Bracciolini, a humanist. The first printed version appeared in the 1480s, and the work gradually became enormously influential among Renaissance architects and antiquarians, with as many as 166 editions published thereafter, according to a survey done in 1978 by Luigi Vagnetti. In this edition, Claude Perrault (1613-1688), who was both an architect and a classical scholar, provided a French translation and an encyclopedic commentary. To illustrate the text, Perrault also collected many excellent engravings, after such leading artists as Antoine Le Pautre and Sebastien Le Clerc.
Plans (Paris, France)
Ed. P. Lamour, H. Lagardelle, Le Corbusier, F. de Pierrefeu, P. Winter
Paris : [Plans], 1931-1932
NX2 .B8 V.1-13
A rare, lavishly illustrated avant-garde journal that analyzes developments in European architecture, politics, literature, and the arts of the 1930s. Plans evokes a strong international flavor, and the volumes refer frequently to trends in the United States, the Soviet Union, Germany in the last years before Nazism, and Italy under fascism. Le Corbusier, a provocative and monumental figure in the history of modern architecture, played a seminal role in the formation of this journal and contributed many of his drawings for its illustrations. Le Corbusier scholars in recent years have become increasingly interested in his political involvements in the 1930s. Plans is probably the principal documentation of this aspect of Le Corbusier's life.
Ed. P. Lamour, H. Lagardelle, Le Corbusier, F. de Pierrefeu, P. Winter
Paris : [Plans], 1931-1932
NX2 .B8 V.1-13
A rare, lavishly illustrated avant-garde journal that analyzes developments in European architecture, politics, literature, and the arts of the 1930s. Plans evokes a strong international flavor, and the volumes refer frequently to trends in the United States, the Soviet Union, Germany in the last years before Nazism, and Italy under fascism. Le Corbusier, a provocative and monumental figure in the history of modern architecture, played a seminal role in the formation of this journal and contributed many of his drawings for its illustrations. Le Corbusier scholars in recent years have become increasingly interested in his political involvements in the 1930s. Plans is probably the principal documentation of this aspect of Le Corbusier's life.
[In Apocalipsin] Beato de Liebana, Codice de San Pedro de Cardena [2001 facsimile edition]
Saint Beatus, Presbyter of Liébana
Barcelona : M. Moleiro, c2001
BS2825 .A2 B37 2001 F V.1-2 ARTLCKL
This set is a facsimile of an illuminated manuscript of the eighth-century commentaries on the Apocalypse by a Spanish monk, Beatus of Liébana (d. 798). The copy on which this facsimile is based was made between 1175 and 1185 at the Monastery of San Pedro de Cardeña in Spain. Its leaves--some of which have been separated from the codex over the years and have ended up in various collections, including the Metropolitan Museum of Art in New York--were reunited by the publisher for this edition.
Saint Beatus, Presbyter of Liébana
Barcelona : M. Moleiro, c2001
BS2825 .A2 B37 2001 F V.1-2 ARTLCKL
This set is a facsimile of an illuminated manuscript of the eighth-century commentaries on the Apocalypse by a Spanish monk, Beatus of Liébana (d. 798). The copy on which this facsimile is based was made between 1175 and 1185 at the Monastery of San Pedro de Cardeña in Spain. Its leaves--some of which have been separated from the codex over the years and have ended up in various collections, including the Metropolitan Museum of Art in New York--were reunited by the publisher for this edition.
1998-2000
Lettres et Enseignes, Art Nouveau
E. Mulier
Dourdan (Seine-et-Oise) : Ch. Juliot, [19--]
Green Library, Special Collections NK3625 .A73 M85 1900Z F Rare Books
A rare and lavishly illustrated volume on Art Nouveau typefaces along with designs for common business signs. These typefaces, with their characteristically ornate and asymmetrical qualities, enjoyed a revival in the 1960s, and continue to influence the work of type designers today.
E. Mulier
Dourdan (Seine-et-Oise) : Ch. Juliot, [19--]
Green Library, Special Collections NK3625 .A73 M85 1900Z F Rare Books
A rare and lavishly illustrated volume on Art Nouveau typefaces along with designs for common business signs. These typefaces, with their characteristically ornate and asymmetrical qualities, enjoyed a revival in the 1960s, and continue to influence the work of type designers today.
Museo Español de Antigüedades
bajo la dirección del doctor Don Juan de Dios de la Rada y Delgado ; con la colaboración de los primeros escritores y artistas de España
Madrid : Impr. de T. Fortanet, 1872-1880
DP44 .M87 1872 F V.1-11 ARTLCKL
These extremely rare volumes constitute a monumental survey of Spanish art in museums and private collections throughout Spain. The set includes essays by leading Spanish writers and artists of the day, along with hundreds of very fine lithographs and chromolithographs showing works of decorative and fine art and architecture from antiquity to the nineteenth century. This acquisition is interesting from historiographic and book arts perspectives, since it reveals the canonical aesthetic sensibilities of the 1870s, while also embodying Spanish ideas about the presentation of art works in the form of a deluxe catalogue.
bajo la dirección del doctor Don Juan de Dios de la Rada y Delgado ; con la colaboración de los primeros escritores y artistas de España
Madrid : Impr. de T. Fortanet, 1872-1880
DP44 .M87 1872 F V.1-11 ARTLCKL
These extremely rare volumes constitute a monumental survey of Spanish art in museums and private collections throughout Spain. The set includes essays by leading Spanish writers and artists of the day, along with hundreds of very fine lithographs and chromolithographs showing works of decorative and fine art and architecture from antiquity to the nineteenth century. This acquisition is interesting from historiographic and book arts perspectives, since it reveals the canonical aesthetic sensibilities of the 1870s, while also embodying Spanish ideas about the presentation of art works in the form of a deluxe catalogue.
Paris Ancien et Moderne; ou, Histoire de France Divisée en Douze Périodes Appliquées aux Douze Arrondissements de Paris, et Justifiée
J. de Marlés
Paris, Parent-Desbarres, 1837-38
DC707 .L25 1837 T.1-4 ARTLCKM
This set provides a major source of information on the city and architecture of Paris before it underwent an enormous modernization campaign orchestrated by urban planner Baron Georges Eugéne Haussmann. Each volume features copious notes, and the atlas includes hundreds of finely executed engraved and aquatint plates with drawings of theaters, schools, hospitals, churches, and museums. Miniature drawings of Parisians in nineteenth-century garb are integrated into the urban surroundings, adding a humanizing perspective to the architectural renderings.
J. de Marlés
Paris, Parent-Desbarres, 1837-38
DC707 .L25 1837 T.1-4 ARTLCKM
This set provides a major source of information on the city and architecture of Paris before it underwent an enormous modernization campaign orchestrated by urban planner Baron Georges Eugéne Haussmann. Each volume features copious notes, and the atlas includes hundreds of finely executed engraved and aquatint plates with drawings of theaters, schools, hospitals, churches, and museums. Miniature drawings of Parisians in nineteenth-century garb are integrated into the urban surroundings, adding a humanizing perspective to the architectural renderings.
Feuilles d’Automne
par Philippe Robert ; préface de Philippe Godet
Ried, Suisse: Edition Ph. Robert, [1909]
NK1560 .R63 1909 FF ARTLCKL
In this rare limited edition volume, Philippe Robert, a Franco-Swiss painter (1881–1930), discusses color theory in his decorative paintings. The text appears with lavishly colored borders, inspired in part by Art Nouveau ornamentation. Each plate appears with a guard sheet with descriptive letter press, and several photoengraved color plates show botanical studies of autumn leaves from a variety of trees and plants.
par Philippe Robert ; préface de Philippe Godet
Ried, Suisse: Edition Ph. Robert, [1909]
NK1560 .R63 1909 FF ARTLCKL
In this rare limited edition volume, Philippe Robert, a Franco-Swiss painter (1881–1930), discusses color theory in his decorative paintings. The text appears with lavishly colored borders, inspired in part by Art Nouveau ornamentation. Each plate appears with a guard sheet with descriptive letter press, and several photoengraved color plates show botanical studies of autumn leaves from a variety of trees and plants.
Pitture a Fresco del Campo Santo di Pisa
intagliate dal professore Cav. Carlo Lasinio
Firenze : A. Bernardini, 1828
ND2757 .P57 L37 1828 FF ARTLCKL
This finely illustrated volume contains large engravings with some aquatint showing interior and exterior views of frescoes at the Campo Santo di Pisa, a structure which served as the burial grounds for the cathedral complex at the Piazza del Duomo. The subject matter of the frescoes, the earliest of which date from approximately 1330, include scenes from the Old Testament, as well as the Adoration of the Magi and the Annunciation, the Story of Cain and Abel, and the Story of Noah. The frescoes at the Campo Santo are generally not well known due to the extensive damage the structure suffered in WWII. The excellent quality of the plates that illustrate the fresco cycles, each annotated in Italian and French and ornamented with armorial emblems, make this volume an invaluable resource.
intagliate dal professore Cav. Carlo Lasinio
Firenze : A. Bernardini, 1828
ND2757 .P57 L37 1828 FF ARTLCKL
This finely illustrated volume contains large engravings with some aquatint showing interior and exterior views of frescoes at the Campo Santo di Pisa, a structure which served as the burial grounds for the cathedral complex at the Piazza del Duomo. The subject matter of the frescoes, the earliest of which date from approximately 1330, include scenes from the Old Testament, as well as the Adoration of the Magi and the Annunciation, the Story of Cain and Abel, and the Story of Noah. The frescoes at the Campo Santo are generally not well known due to the extensive damage the structure suffered in WWII. The excellent quality of the plates that illustrate the fresco cycles, each annotated in Italian and French and ornamented with armorial emblems, make this volume an invaluable resource.
Rotorelief: Disques Optiques
Marcel Duchamp
[Paris] : Publ. by the author in his studio, 11 rue Larey, n.d.
First, unnumbered, unsigned edition of 500 copies.
Green Library, Special Collections XX(4245697.1)
Rotoreliefs are six double-sided cardboard discs printed in color with 12 different compositions and titles and numbers printed in hand at the edges. With a lifelong interest in visual perception, optical illusions, and mechanical contraptions, Duchamp first presented his Rotoreliefs at an inventors’ fair in Paris in 1935. When viewed with through a special viewer, or on a record player rotating at a speed of 40-60 rpm, the disks reveal an optical illusion of depth, or suggest three-dimensional objects such as a balloon and a fish. The Rotoreliefs appear in Hans Richter’s film Dreams That Money Can Buy and in Jean Cocteau’s film, The Blood of a Poet, and in Duchamp’s seminal 1941 work, Bôite en Valise.
Marcel Duchamp
[Paris] : Publ. by the author in his studio, 11 rue Larey, n.d.
First, unnumbered, unsigned edition of 500 copies.
Green Library, Special Collections XX(4245697.1)
Rotoreliefs are six double-sided cardboard discs printed in color with 12 different compositions and titles and numbers printed in hand at the edges. With a lifelong interest in visual perception, optical illusions, and mechanical contraptions, Duchamp first presented his Rotoreliefs at an inventors’ fair in Paris in 1935. When viewed with through a special viewer, or on a record player rotating at a speed of 40-60 rpm, the disks reveal an optical illusion of depth, or suggest three-dimensional objects such as a balloon and a fish. The Rotoreliefs appear in Hans Richter’s film Dreams That Money Can Buy and in Jean Cocteau’s film, The Blood of a Poet, and in Duchamp’s seminal 1941 work, Bôite en Valise.
Babycakes with Weights
Edward Ruscha
[Calif.?]: Ruscha, c1970
N7433.4 .R951 B11 1970 ARTLCKS
Business Cards
by Billy Al Bengston and Edward Ruscha
[Venice, Calif.] : Billy Al Bengston & Edward Ruscha, Inc., 1968
N7433.4 .B46 A4 1968 ARTLCKS
Dutch Details
Edward Ruscha
[s. l.] : Stichting Octopus, 1971
N6537 .R8 A325 1971 ARTLCKM
Records
[by] Ed Ruscha
[Hollywood, Calif., Heavy Industry Publications] 1971
N7433.4 .R87 A4 1971A ARTLCKS
Twenty Six Gasoline Stations
[photographs by] Edward Ruscha
Alhambra, Calif. : Cunningham Press, 1962, [i. e. 1967]
TR647 .R87 T84 1967 ARTLCKS
These five artists’ books by Ed Ruscha document an important segment (1960s through the early 1970s) of this widely acclaimed conceptual artist’s career. Twenty Six Gasoline Stations (1962), created in a style contrary to livres de luxe (limited-edition luxury books) produced by artists earlier in the century, paved the way for the consideration and acceptance of mass-produced artists’ books as a genre. Its straightforward series of black and white photographs documenting gas stations on Route 40 between Los Angeles and Oklahoma, is somewhat replicated in the equally characteristic depictions of vinyl records and their covers in Records (1971), babies and a variety of cakes and snack foods in Babycakes with Weights (1970), bridges in Dutch Details (1971), and business cards and photographs of people socializing in Business Cards (1968).
Edward Ruscha
[Calif.?]: Ruscha, c1970
N7433.4 .R951 B11 1970 ARTLCKS
Business Cards
by Billy Al Bengston and Edward Ruscha
[Venice, Calif.] : Billy Al Bengston & Edward Ruscha, Inc., 1968
N7433.4 .B46 A4 1968 ARTLCKS
Dutch Details
Edward Ruscha
[s. l.] : Stichting Octopus, 1971
N6537 .R8 A325 1971 ARTLCKM
Records
[by] Ed Ruscha
[Hollywood, Calif., Heavy Industry Publications] 1971
N7433.4 .R87 A4 1971A ARTLCKS
Twenty Six Gasoline Stations
[photographs by] Edward Ruscha
Alhambra, Calif. : Cunningham Press, 1962, [i. e. 1967]
TR647 .R87 T84 1967 ARTLCKS
These five artists’ books by Ed Ruscha document an important segment (1960s through the early 1970s) of this widely acclaimed conceptual artist’s career. Twenty Six Gasoline Stations (1962), created in a style contrary to livres de luxe (limited-edition luxury books) produced by artists earlier in the century, paved the way for the consideration and acceptance of mass-produced artists’ books as a genre. Its straightforward series of black and white photographs documenting gas stations on Route 40 between Los Angeles and Oklahoma, is somewhat replicated in the equally characteristic depictions of vinyl records and their covers in Records (1971), babies and a variety of cakes and snack foods in Babycakes with Weights (1970), bridges in Dutch Details (1971), and business cards and photographs of people socializing in Business Cards (1968).
1995-1998
Le Voyage au Maroc [1992 facsimile edition]
Eugene Delacroix
Paris : Editions du Sagittaire : Sagittaire Communication, [1992]
ND553.D33 A2 1992 T.1-6 ARTLCKS
Facsimiles of sketchbooks, journals, and other materials made by the French painter Delacroix (1798-1863) on an extended trip to North Africa from January to July, 1832. The picturesque and colorful world that Delacroix discovered in Morocco had a profound effect on his art and supplied him with subject material for the rest of his life. The centerpiece of this collection of facsimiles is the ensemble of the four sketchbooks from Delacroix's journey that have survived intact. Three are now in the collection of the Louvre; the fourth is owned by the Musée Chantilly in Condé. Three additional Delacroix sketchbooks from the Moroccan trip were sold at the posthumous auction of the contents of his Paris studio in 1864 but have since disappeared.
Eugene Delacroix
Paris : Editions du Sagittaire : Sagittaire Communication, [1992]
ND553.D33 A2 1992 T.1-6 ARTLCKS
Facsimiles of sketchbooks, journals, and other materials made by the French painter Delacroix (1798-1863) on an extended trip to North Africa from January to July, 1832. The picturesque and colorful world that Delacroix discovered in Morocco had a profound effect on his art and supplied him with subject material for the rest of his life. The centerpiece of this collection of facsimiles is the ensemble of the four sketchbooks from Delacroix's journey that have survived intact. Three are now in the collection of the Louvre; the fourth is owned by the Musée Chantilly in Condé. Three additional Delacroix sketchbooks from the Moroccan trip were sold at the posthumous auction of the contents of his Paris studio in 1864 but have since disappeared.
Dlia golosa [For the Voice]
Vladimir Maiakovskiĭ ; konstruktor knigi Ėl Lisitskiĭ
[Berlin : R.S.F.S.R. gos. izd., 1923] (Berlin : Tip. Lutze & Vogt)
PG3476 .M3 D57 1923 ARTLCKS
Considered to be El Lissitzky's most spectacular achievement in book construction, Dlia golosa contains a selection of Vladimir Mayakovsky's best-known poems. Lissitzky (1890-1941), Soviet Russia's premier graphic designer, proposed an architecture of the book whereby the design and structure of the book would be determined by its purpose and content. This approach can be most readily seen in the thumb-indexing of the individual poems, where each thumb tab contains a small Constructivist emblem unique to that poem, directing the reader easily to the contents. The bold use of two-color printing and graphic construction conveys an insistent rhythm and an echo of the excitement not only of Mayakovsky's poetry, but of the revolutionary period in which both he and Lissitzky lived. Lissitzky said of this book: "My pages stand in much the same relationship to the poems as an accompanying piano to a violin. Just as the poet unites concept and sound, I have tried to create an equivalent unity using the poem and typography."
Vladimir Maiakovskiĭ ; konstruktor knigi Ėl Lisitskiĭ
[Berlin : R.S.F.S.R. gos. izd., 1923] (Berlin : Tip. Lutze & Vogt)
PG3476 .M3 D57 1923 ARTLCKS
Considered to be El Lissitzky's most spectacular achievement in book construction, Dlia golosa contains a selection of Vladimir Mayakovsky's best-known poems. Lissitzky (1890-1941), Soviet Russia's premier graphic designer, proposed an architecture of the book whereby the design and structure of the book would be determined by its purpose and content. This approach can be most readily seen in the thumb-indexing of the individual poems, where each thumb tab contains a small Constructivist emblem unique to that poem, directing the reader easily to the contents. The bold use of two-color printing and graphic construction conveys an insistent rhythm and an echo of the excitement not only of Mayakovsky's poetry, but of the revolutionary period in which both he and Lissitzky lived. Lissitzky said of this book: "My pages stand in much the same relationship to the poems as an accompanying piano to a violin. Just as the poet unites concept and sound, I have tried to create an equivalent unity using the poem and typography."
Union der Sozialistischen Sowjet-Republiken: Katalog des Sowjet-Pavillons auf der Internationalen Presse-Ausstellung Köln 1928 = Soiuz Sovetskikh Sotsialisticheskikh Respublik na Mezhdunarodnoĭ vystavke pechati Kelʹn 1928
[Herausgeber, Komitee des Sowjet-Pavillons auf der Internationalen Presse-Ausstellung Köln 1928]
[Moscow? : Der Komitee, 1928] (Köln : M. Dumont Schauberg)
PN5274 .U4 1928 ARTLCKS
The catalog of the exhibitions in the Soviet pavilion at the 1928 International Press Exposition in Cologne, Germany, is a notable expression of Constructivism, an art movement developed by the Russians in the early 1920s. Constructivism sought to extend the formal language of abstract art into practical design work. It is marked by the dynamic use of geometric forms and, in exhibition design, by the integration of three-dimensional display structures with photomontage and lettering. Both the Soviet pavillion and its catalog were designed by the artist, El Lissitzky (1890-1941), a leading Constructivist. An almost startling feature of the catalog is its 91-inch, accordion-fold photomontage, whose scenes, depicting daily life, work and industry in the USSR, are keyed with superimposed numbers to passages in the catalog's text.
[Herausgeber, Komitee des Sowjet-Pavillons auf der Internationalen Presse-Ausstellung Köln 1928]
[Moscow? : Der Komitee, 1928] (Köln : M. Dumont Schauberg)
PN5274 .U4 1928 ARTLCKS
The catalog of the exhibitions in the Soviet pavilion at the 1928 International Press Exposition in Cologne, Germany, is a notable expression of Constructivism, an art movement developed by the Russians in the early 1920s. Constructivism sought to extend the formal language of abstract art into practical design work. It is marked by the dynamic use of geometric forms and, in exhibition design, by the integration of three-dimensional display structures with photomontage and lettering. Both the Soviet pavillion and its catalog were designed by the artist, El Lissitzky (1890-1941), a leading Constructivist. An almost startling feature of the catalog is its 91-inch, accordion-fold photomontage, whose scenes, depicting daily life, work and industry in the USSR, are keyed with superimposed numbers to passages in the catalog's text.
The Plans, Elevations, and Sections, Chimney-Pieces, and Cielings [sic] of Houghton in Norfolk, the Seat of the Rt. Honourable Sr. Robert Walpole, First Lord Commissioner of the Treasury, Chancellor of the Exchequer, and Knt. of the Most Noble Order of the Garter
[London] : Published by I. Ware, 1735
NA7625 .H65 P57 1735 F ARTLCKL
Houghton Hall, a country house built between 1720 and 1735 for Sir Robert Walpole (1676-1745), is the greatest extant example of Palladian domestic architecture in England. Palladianism, the architectural style based on the work of Andrea Palladio (1508-80) of Vicenza, the most influential architect of the late 16th century, underwent a resurgence in the early 18th century in England, where its simplicity and rationality appealed to Whig politicians, like Walpole, who were then in power. Walpole hired Colen Campbell, the foremost Palladian of the day to be lead architect on the project. Ware's book, with its splendid plates, drawn by him and William Kent and engraved by Pierre Fourdrinier, celebrated the completion of Houghton Hall and was the first monograph on a British country house.
[London] : Published by I. Ware, 1735
NA7625 .H65 P57 1735 F ARTLCKL
Houghton Hall, a country house built between 1720 and 1735 for Sir Robert Walpole (1676-1745), is the greatest extant example of Palladian domestic architecture in England. Palladianism, the architectural style based on the work of Andrea Palladio (1508-80) of Vicenza, the most influential architect of the late 16th century, underwent a resurgence in the early 18th century in England, where its simplicity and rationality appealed to Whig politicians, like Walpole, who were then in power. Walpole hired Colen Campbell, the foremost Palladian of the day to be lead architect on the project. Ware's book, with its splendid plates, drawn by him and William Kent and engraved by Pierre Fourdrinier, celebrated the completion of Houghton Hall and was the first monograph on a British country house.
VVV, [Poetry, Plastic Arts, Anthropology, Sociology, Psychology]
[New York, s.n.]
BH301 .S75 V.1-4 ARTLCKS
With the emigration of several noted European artists to the United States in the years preceding and including World War II, the avant-garde spirit passed from Europe to the United States. In January, 1938, the Exposition International du Surréalisme was held in Paris. By 1942, André Breton, Max Ernst, and Marcel Duchamp, and many other noted Surrealists, were living in New York City. Breton, who realized the value of a publication for holding the group together, spearheaded the formation of VVV, a journal devoted to poetry, art, anthropology, sociology, and psychology. The first issue, with a cover design by Max Ernst, included contributions by Claude Lévi-Strauss, William Carlos Williams, André Masson, and Robert Motherwell. The inclusion of Williams and Motherwell signaled that an American presence was not only welcome, but critical to the publication's success. VVV not only gave Breton a platform from which to publish his "Prolegomena to a Third Manifesto of Surrealism--or else," but also provided an outlet for younger American writers, including Harold Rosenberg, who became one of the leading critical voices for the New York School of painting, and the photographers Frederick Sommer and Clarence John Laughlin. Although limited to four numbers, VVV's linking of the European Avant-Garde with American artists had a profound impact on the post-war American art scene, especially regarding the formation of the New York School.
[New York, s.n.]
BH301 .S75 V.1-4 ARTLCKS
With the emigration of several noted European artists to the United States in the years preceding and including World War II, the avant-garde spirit passed from Europe to the United States. In January, 1938, the Exposition International du Surréalisme was held in Paris. By 1942, André Breton, Max Ernst, and Marcel Duchamp, and many other noted Surrealists, were living in New York City. Breton, who realized the value of a publication for holding the group together, spearheaded the formation of VVV, a journal devoted to poetry, art, anthropology, sociology, and psychology. The first issue, with a cover design by Max Ernst, included contributions by Claude Lévi-Strauss, William Carlos Williams, André Masson, and Robert Motherwell. The inclusion of Williams and Motherwell signaled that an American presence was not only welcome, but critical to the publication's success. VVV not only gave Breton a platform from which to publish his "Prolegomena to a Third Manifesto of Surrealism--or else," but also provided an outlet for younger American writers, including Harold Rosenberg, who became one of the leading critical voices for the New York School of painting, and the photographers Frederick Sommer and Clarence John Laughlin. Although limited to four numbers, VVV's linking of the European Avant-Garde with American artists had a profound impact on the post-war American art scene, especially regarding the formation of the New York School.
America, 1935-1946 [microform]: The Photographs of the U.S. Department of Agriculutre [sic], Farm Security Administration, and the U.S. Office of War Information, Arranged by Region and by Subject
Cambridge, England : Chadwyck-Healey, Ltd. ; Teaneck, N.J. : Somerset House, 1980
MFICHE 2268
The Farm Security Administration/Office of War Information photographic collection contains some of the most famous images in the world, its photographs depicting living and working conditions in urban, suburban and rural America from the depths of the Depression to the outbreak of World War II. Directed by Roy Stryker, the photographic section operated under the auspices of the Resettlement Administration (1935- 37), the Farm Security Administration (1937-1942), and later the Office of War Information (1942-43). This microfiche set reproduces all 87,000 prints from FSA-OWI negatives in the Library of Congress collection. Among the photographers who worked for Stryker's photographic section were Walker Evans, Dorothea Lange, Gordon Parks, Ben Shahn, Arthur Rothstein, and Marion Post Wolcott. These photographs were not only used by the government to publicize and promote a variety of New Deal programs, but were also disseminated through picture magazines such as Life and Look, as well as numerous books, including Archibald MacLeish's Land of the Free (1938), Dorothea Lange and Paul Taylor's An American Exodus (1939), and James Agee and Walker Evans's Let Us Now Praise Famous Men (1941). Collectively these images present a photographic patchwork quilt of American life from 1935-1943, raise numerous questions regarding the role of government-sponsored propaganda in a free and democratic society, and demonstrate the creative power of several of this country's greatest photographers.
Cambridge, England : Chadwyck-Healey, Ltd. ; Teaneck, N.J. : Somerset House, 1980
MFICHE 2268
The Farm Security Administration/Office of War Information photographic collection contains some of the most famous images in the world, its photographs depicting living and working conditions in urban, suburban and rural America from the depths of the Depression to the outbreak of World War II. Directed by Roy Stryker, the photographic section operated under the auspices of the Resettlement Administration (1935- 37), the Farm Security Administration (1937-1942), and later the Office of War Information (1942-43). This microfiche set reproduces all 87,000 prints from FSA-OWI negatives in the Library of Congress collection. Among the photographers who worked for Stryker's photographic section were Walker Evans, Dorothea Lange, Gordon Parks, Ben Shahn, Arthur Rothstein, and Marion Post Wolcott. These photographs were not only used by the government to publicize and promote a variety of New Deal programs, but were also disseminated through picture magazines such as Life and Look, as well as numerous books, including Archibald MacLeish's Land of the Free (1938), Dorothea Lange and Paul Taylor's An American Exodus (1939), and James Agee and Walker Evans's Let Us Now Praise Famous Men (1941). Collectively these images present a photographic patchwork quilt of American life from 1935-1943, raise numerous questions regarding the role of government-sponsored propaganda in a free and democratic society, and demonstrate the creative power of several of this country's greatest photographers.
Urformen der Kunst
photographische Pflanzenbilder von Professor Karl Blossfeldt. Hrsg. mit einer Einleitung von Karl Nierendorf
Berlin, E. Wasmuth, [1929]
NK1560 .B48 1929 ARTLCKM
Karl Blossfeldt, a self-taught photographer who was a professor of art in Berlin, felt that the forms of the natural world, specifically those of plants, revealed an inherent order that could also be seen in in the best of art. Thus an artist who thought and acted creatively would be subject to the same natural forces as a poppy or a fern and would be similarly compelled to produce the highest artistic forms. In his search for the perfect forms of nature Blossfeldt photographed plants for 33 years. His photographic work was first published in 1928 in both book and portfolio format: 120 high-quality photogravure prints, titled Urformen der Kunst. The work proved so popular it was reissued in 1929 in Berlin, London, and New York with the photogravure plates, and later in a popular edition (Volksausgabe) of 96 lesser quality plates in 1935, 1936, 1941, 1948, and 1953. Blossfeldt's photographic work strongly influenced the international development of the New Objectivity (Neue Sachlichkeit) in photography, a style which utilized certain unique qualities of the photographic process, such as Blossfeldt's sharply focused close-up views of plants. Interestingly, he did not consider his photographic activity to be artistic work.
photographische Pflanzenbilder von Professor Karl Blossfeldt. Hrsg. mit einer Einleitung von Karl Nierendorf
Berlin, E. Wasmuth, [1929]
NK1560 .B48 1929 ARTLCKM
Karl Blossfeldt, a self-taught photographer who was a professor of art in Berlin, felt that the forms of the natural world, specifically those of plants, revealed an inherent order that could also be seen in in the best of art. Thus an artist who thought and acted creatively would be subject to the same natural forces as a poppy or a fern and would be similarly compelled to produce the highest artistic forms. In his search for the perfect forms of nature Blossfeldt photographed plants for 33 years. His photographic work was first published in 1928 in both book and portfolio format: 120 high-quality photogravure prints, titled Urformen der Kunst. The work proved so popular it was reissued in 1929 in Berlin, London, and New York with the photogravure plates, and later in a popular edition (Volksausgabe) of 96 lesser quality plates in 1935, 1936, 1941, 1948, and 1953. Blossfeldt's photographic work strongly influenced the international development of the New Objectivity (Neue Sachlichkeit) in photography, a style which utilized certain unique qualities of the photographic process, such as Blossfeldt's sharply focused close-up views of plants. Interestingly, he did not consider his photographic activity to be artistic work.
Les Américains
[Textes réunis et présentés par Alain Bosquet. Photos. de Robert Frank]
Paris, R. Delpire [1958]
E169.1 .B763 ARTLCKS
Produced during a Guggenheim-Fellowship-funded cross-country trip in 1956-57, the photographs that comprise Robert Frank's Les Américains deliver an outsider's less than complimentary portrayal of 1950s America, an endless view of highways, jukeboxes, and outcasts, a photographically truncated chaos. Unable to find a publisher for his work in the U.S., the Swiss-born Frank had to rely on the French publisher Delpire to produce the book. With a cover illustration by Saul Steinberg and texts drawn from an unlikely range of French and American writers (Simone de Beauvoir, F.R. de Chateaubriand, Alexis de Tocqueville, George Washington, Richard Wright, Harry Truman, etc.), the French edition was the first to reveal Frank's detached skepticism to the public but was not widely seen in the U.S. The following year (1959) the avant-garde American publisher, Grove Press, brought out a U.S. edition without the French text, but with the same pictorial sequencing, and with an introduction by Jack Kerouac. It was resoundingly criticized, both for its seemingly un-American portrayal of the U.S. and for Frank's casual aesthetic. It has since become one of the most influential photography books of all time.
[Textes réunis et présentés par Alain Bosquet. Photos. de Robert Frank]
Paris, R. Delpire [1958]
E169.1 .B763 ARTLCKS
Produced during a Guggenheim-Fellowship-funded cross-country trip in 1956-57, the photographs that comprise Robert Frank's Les Américains deliver an outsider's less than complimentary portrayal of 1950s America, an endless view of highways, jukeboxes, and outcasts, a photographically truncated chaos. Unable to find a publisher for his work in the U.S., the Swiss-born Frank had to rely on the French publisher Delpire to produce the book. With a cover illustration by Saul Steinberg and texts drawn from an unlikely range of French and American writers (Simone de Beauvoir, F.R. de Chateaubriand, Alexis de Tocqueville, George Washington, Richard Wright, Harry Truman, etc.), the French edition was the first to reveal Frank's detached skepticism to the public but was not widely seen in the U.S. The following year (1959) the avant-garde American publisher, Grove Press, brought out a U.S. edition without the French text, but with the same pictorial sequencing, and with an introduction by Jack Kerouac. It was resoundingly criticized, both for its seemingly un-American portrayal of the U.S. and for Frank's casual aesthetic. It has since become one of the most influential photography books of all time.
Roy Stryker Papers, 1912-1972
Roy E. Stryker
Louisville : University of Louisville, University Archives & Records Center ; Teaneck, NJ, USA : Exclusive distribution by Chadwyck-Healey, 1978-1982
MFILM N.S. 14323 REEL 1-14
Roy Stryker, a Columbia University economics professor, was one of the mostinfluential figures in the history of American documentary photography. Not a photographer himself, his tenure as director of the photographic section of the Farm Security Administration (originally the Resettlement Admininistration, and later absorbed by the Office of War Information) from 1935-1943 produced one of the greatest photographic surveys of the modern era. After the disbanding of the unit in 1943, Stryker, utilizing many of the former FSA photographers, organized a large-scale documentary effort on behalf of Standard Oil of New Jersey, that operated from 1943-1950. He later led a similar effort for Jones & Laughlin Steel. Stryker's archive includes extensive correspondence regarding the FSA photographic section in its various manifestations, and with the numerous photographers with whom he worked during his career.
Roy E. Stryker
Louisville : University of Louisville, University Archives & Records Center ; Teaneck, NJ, USA : Exclusive distribution by Chadwyck-Healey, 1978-1982
MFILM N.S. 14323 REEL 1-14
Roy Stryker, a Columbia University economics professor, was one of the mostinfluential figures in the history of American documentary photography. Not a photographer himself, his tenure as director of the photographic section of the Farm Security Administration (originally the Resettlement Admininistration, and later absorbed by the Office of War Information) from 1935-1943 produced one of the greatest photographic surveys of the modern era. After the disbanding of the unit in 1943, Stryker, utilizing many of the former FSA photographers, organized a large-scale documentary effort on behalf of Standard Oil of New Jersey, that operated from 1943-1950. He later led a similar effort for Jones & Laughlin Steel. Stryker's archive includes extensive correspondence regarding the FSA photographic section in its various manifestations, and with the numerous photographers with whom he worked during his career.
1994-1995
Les très belles heures de Notre-Dame du duc de Berry [1992 facsimile edition]
Luzern : Faksimile-Verlag, c1992
ND3363.B5 B53 1992 F ARTLCKM
Facsimile of an important illuminated manuscript, commissioned by the great 14th-century French patron, Jean de Berry. The ms. was broken up sometime in the 15th century. It was through the scholarly efforts of Paul Durrieu, one of the first eminent historians of late medieval French illuminated manuscripts, that the sequence of leaves in the original was reconstructed in the 1920s.
Luzern : Faksimile-Verlag, c1992
ND3363.B5 B53 1992 F ARTLCKM
Facsimile of an important illuminated manuscript, commissioned by the great 14th-century French patron, Jean de Berry. The ms. was broken up sometime in the 15th century. It was through the scholarly efforts of Paul Durrieu, one of the first eminent historians of late medieval French illuminated manuscripts, that the sequence of leaves in the original was reconstructed in the 1920s.
L'illustration [microform]
Paris : J. Dubochet, 1843-1944
MFILM N.S. 13411
One of the great published pictorial resources on 19th-c. France, this weekly news magazine, illustrated at first with engravings and lithographs, and then, after the 1880s, by photomechanical means, was a sort of French counterpart to the Illustrated London News. It is of great interest to art historians who work with popular images, using them as reflections of contemporary social, political, and economic life. The Library's paper set, though considerable, lacked several volumes from 1870-1900. We were able to fill in the lacunae with commercial microfilm.
Paris : J. Dubochet, 1843-1944
MFILM N.S. 13411
One of the great published pictorial resources on 19th-c. France, this weekly news magazine, illustrated at first with engravings and lithographs, and then, after the 1880s, by photomechanical means, was a sort of French counterpart to the Illustrated London News. It is of great interest to art historians who work with popular images, using them as reflections of contemporary social, political, and economic life. The Library's paper set, though considerable, lacked several volumes from 1870-1900. We were able to fill in the lacunae with commercial microfilm.
Libro di pittura : edizione in facsimile del Codice Urbinate lat. 1270 nella Biblioteca Apostolica Vaticana [1995 facsimile edition]
Firenze : Giunti, c1995
ND1130 .L5 1995 F ARTLCKM
A facsimile of the 336-leaf manuscript, compiled by Leonardo's pupil Francesco Melzi, that records the master's views on art, including aesthetics, studio practice, and instructions for dealing with pictorial problems concerning the human figure, drapery, light and shade, vegetation, clouds, and the horizon.
Firenze : Giunti, c1995
ND1130 .L5 1995 F ARTLCKM
A facsimile of the 336-leaf manuscript, compiled by Leonardo's pupil Francesco Melzi, that records the master's views on art, including aesthetics, studio practice, and instructions for dealing with pictorial problems concerning the human figure, drapery, light and shade, vegetation, clouds, and the horizon.
The Codex Hammer of Leonardo da Vinci[1987 facsimile edition],br>
translated into English and annotated by Carlo Pedretti
Florence, Italy : Giunti Barbèra, c1987
ND623 .L5 A4 1987B F TEXT, 3 SHEETS, 1 P ARTLCKL
Compiled from about 1508-1510, this manuscript represents a synthesis of Leonardo's views on the natural sciences, from astronomy to paleontology.
Florence, Italy : Giunti Barbèra, c1987
ND623 .L5 A4 1987B F TEXT, 3 SHEETS, 1 P ARTLCKL
Compiled from about 1508-1510, this manuscript represents a synthesis of Leonardo's views on the natural sciences, from astronomy to paleontology.
Trattato di Architettura di Francesco di Giorgio Martini [1979 facsimile edition]
presentazione di Luigi Firpo ; introduzione, trascrizione e note di Pietro C. Marani
Firenze : Giunti Barbèra, c1979-c1994
NA2515 .G53 1979 F V.1-3 ARTLCKM
Facsimile of one of the most important Renaissance architectural treatises, which covers the entire scope of 15th- century architectural practice from the origins of building to the classical orders, church and palace design, the qualifications of architects, site planning and military inventions. Martini's work had a strong influence on Leonardo, who owned a copy of the Trattato and annotated it.
presentazione di Luigi Firpo ; introduzione, trascrizione e note di Pietro C. Marani
Firenze : Giunti Barbèra, c1979-c1994
NA2515 .G53 1979 F V.1-3 ARTLCKM
Facsimile of one of the most important Renaissance architectural treatises, which covers the entire scope of 15th- century architectural practice from the origins of building to the classical orders, church and palace design, the qualifications of architects, site planning and military inventions. Martini's work had a strong influence on Leonardo, who owned a copy of the Trattato and annotated it.
Frank Lloyd Wright: Presentation and Conceptual Drawings [electronic resource]
Venice, CA : Luna Imaging, c1994
NA2707.W74 A4 1994 ART MEDIA
Presents 4,986 of Wright's drawings in full-color, high- resolution digital images, each accompanied by comprehensive catalog documentation and searchable via a number of different access points.
Venice, CA : Luna Imaging, c1994
NA2707.W74 A4 1994 ART MEDIA
Presents 4,986 of Wright's drawings in full-color, high- resolution digital images, each accompanied by comprehensive catalog documentation and searchable via a number of different access points.
1993-1994
The Dictionary of Architecture, Issued by the Architectural Publication Society
London, T. Richards [1887-92]
NA31 .A67 F V.1/2-7/8 ARTLCKL
This is one of the two or three largest and most authoritative architectural encyclopedias of the nineteenth century. The principal credit for its publication belongs to the British architect Wyatt Papworth (1822-1894), who was the leading figure in the Architectural Publication Society from its foundation in May 1848 until the completion of the Dictionary in April 1892. The Dictionary is now particularly useful to architectural historians engaged in assessing 19th-century British attitudes toward various building types and toward architecture in general, and for information on the construction technology of the period.
London, T. Richards [1887-92]
NA31 .A67 F V.1/2-7/8 ARTLCKL
This is one of the two or three largest and most authoritative architectural encyclopedias of the nineteenth century. The principal credit for its publication belongs to the British architect Wyatt Papworth (1822-1894), who was the leading figure in the Architectural Publication Society from its foundation in May 1848 until the completion of the Dictionary in April 1892. The Dictionary is now particularly useful to architectural historians engaged in assessing 19th-century British attitudes toward various building types and toward architecture in general, and for information on the construction technology of the period.
Studio d'architettura civile ...
Domenico De Rossi
Roma : Stamp. di D. De Rossi, 1702-1721
NA1120 .R6 F V.1-3 ARTLCKL
A collection of engravings of sixteenth- and seventeenth-century altars and church interiors in Rome designed by such important architects as Bernini, Pietro da Cortona, and Carlo Fontana, this book is not only useful as a near-contemporary record of the architecture, but also as an example of early 18th-century art book publishing. Several generations of the de Rossis participated in the family publishing firm, which was one of the first to develop a mass market for art materials.
Domenico De Rossi
Roma : Stamp. di D. De Rossi, 1702-1721
NA1120 .R6 F V.1-3 ARTLCKL
A collection of engravings of sixteenth- and seventeenth-century altars and church interiors in Rome designed by such important architects as Bernini, Pietro da Cortona, and Carlo Fontana, this book is not only useful as a near-contemporary record of the architecture, but also as an example of early 18th-century art book publishing. Several generations of the de Rossis participated in the family publishing firm, which was one of the first to develop a mass market for art materials.
Hokusai manga = The sketchbooks of Hokusai
by Katsushika Hokusai; [with an introduction by Michiaki Kawakita]
Tokyo : Unsodo Publishers ; New York : Distributed outside of Japan by Weatherhill, 1993
NE1325.K2 A4 1993 ARTLCKS
From 1814 to 1878 the sketchbooks of the Japanese artist Hokusai (1760-1849) were published in the form of wood engravings. 3,190 drawings were represented on 1300 cherry wood blocks. (The Stanford University Libraries' Department of Special Collections has a few of these prints from the original edition.) This reprint edition, made with the original blocks and on special handmade paper, is an excellent facsimile of the nineteenth-century set.
by Katsushika Hokusai; [with an introduction by Michiaki Kawakita]
Tokyo : Unsodo Publishers ; New York : Distributed outside of Japan by Weatherhill, 1993
NE1325.K2 A4 1993 ARTLCKS
From 1814 to 1878 the sketchbooks of the Japanese artist Hokusai (1760-1849) were published in the form of wood engravings. 3,190 drawings were represented on 1300 cherry wood blocks. (The Stanford University Libraries' Department of Special Collections has a few of these prints from the original edition.) This reprint edition, made with the original blocks and on special handmade paper, is an excellent facsimile of the nineteenth-century set.
Regles des Cinq Ordres d'Architectvre, de M. Iacques Barozzio de Vignole. Traduction Nouuelle, & Augmentation de Ses Œuvres
Paris, P. Mariette, 1665
NA2810 .V514 1665 ARTLCKS
Vignola (1507-1573), a painter and architect in the service of the Farnese family, presented in the original Italian edition (1562) of the book he called Regola delli cinque ordini his method for calculating the correct proportions of the Orders of classical architecture, e.g. Ionic, Doric. The book and its illustrations, enormously useful to practicing architects, and especially influential in France, was translated into several French pocket editions, like this one, that could easily be carried around from site to site by working architects.
Paris, P. Mariette, 1665
NA2810 .V514 1665 ARTLCKS
Vignola (1507-1573), a painter and architect in the service of the Farnese family, presented in the original Italian edition (1562) of the book he called Regola delli cinque ordini his method for calculating the correct proportions of the Orders of classical architecture, e.g. Ionic, Doric. The book and its illustrations, enormously useful to practicing architects, and especially influential in France, was translated into several French pocket editions, like this one, that could easily be carried around from site to site by working architects.
An Abridgment of the Architecture of Vitruvius. Containing a System of the Whole Works of That Author. Illustrated with Divers Copper Plates, Curiously Engraved; with a Table of Explanation, to Which is Added in this Edition the Etymology and Derivation of the Terms Used in Architecture. First Done in French by Monsr. Perrault ... and Now Englished, with Additions
London, Printed for A. Swall and T. Child, 1692
NA2515 .V852 1692 ARTLCKS
Vitruvius (fl. 1st century BC) was a Roman architectural theoretician whose book, De architectura, has been a source of information and a strong influence on many later architects working in styles that borrow classical elements. It was known in manuscript form during the Middle Ages but did not become a major force until after it was first printed in the late 15th century. In 1674 the text was translated into French by Claude Perrault and rearranged to read more easily and logically. The Perrault version was very widespread; its English translation is the text of the present edition. As a simplified version of Vitruvius, it was very popular in England, particularly among architects without much formal training, and its influence was widespread in the early 18th century.
London, Printed for A. Swall and T. Child, 1692
NA2515 .V852 1692 ARTLCKS
Vitruvius (fl. 1st century BC) was a Roman architectural theoretician whose book, De architectura, has been a source of information and a strong influence on many later architects working in styles that borrow classical elements. It was known in manuscript form during the Middle Ages but did not become a major force until after it was first printed in the late 15th century. In 1674 the text was translated into French by Claude Perrault and rearranged to read more easily and logically. The Perrault version was very widespread; its English translation is the text of the present edition. As a simplified version of Vitruvius, it was very popular in England, particularly among architects without much formal training, and its influence was widespread in the early 18th century.