Bauhaus (Over 13,000 results)

Softcover. Condition: Near Fine. First edition. Printed wrappers. 175pp. Text in German. Inscribed to a noted scholar and author: "For Professor Donald D. Egbert, Princeton, December 1963. Herbery Hubner.".

No Binding. Condition: Fine. 1st Edition. A portfolio of 5 drypoints by the sculptor Richard Engelmann, who was a teacher in Weimar at the Bauhaus. All 5 are signed in pencil, housed in a portfolio.Loose as issued.The portfolio says it was originally 6 drypoints, this one has 5. The dition was XX, (20) Extremely scarce. Signed by Illustrator(s).

Paperback. Condition: Near Fine. First edition. Wide octavo. 92 pp. An illustrated catalog published to coincide with a 1968 exhibition. Near fine in bound printed wrappers. This copy briefly INSCRIBED by Bill to fellow artist and Bauhaus teacher Herbert Bayer and dated in year of publication.

Hardcover. Condition: Very Good. Dust Jacket Condition: Good. 1st Edition. 1st UK ed. PRESENTATION COPY INSCRIBED IN PENCIL to photo dealer Margie Neikrug SIGNED by Itten in pencil. Quarto, 190pp, illustrated, publisher s gray cloth pictorially stamped in black (spine leaning, minor dusting and wear, very good). Pictorial dust jacket (closed tear at top of front panel along fold for over an inch, additional shorter tears, chips, with minor loss from edges, minor rubbing and soiling, good). Signed by Author(s).

ca 50 nnSeiten, großer s/w-Abbildungsteil. Auf dem Vorsatz und der Titelseite datierte Widmung und ganzseitige Zeichnung von Seitz. Gewidmet für W.W. (d.i. Wilhelm Wagenfeld, Bauhaus). Katalog zur Ausstellung im Kunstverein HH vom 29. Oktober bis 27. November 1966. Vorwort: Alfred Hentzen. Gutes Exemplar. Unikat. Sprache: Deutsch Gewicht in Gramm: 1000 ca 18x17cm, illustrierter OBroschur,

Condition: Near Fine. Dust Jacket Condition: Very Good. First Edition. First edition, first printing. Signed by Walter Gropius and inscribed to a former owner on the front free endpaper. Bound in publisher's grey cloth stamped in black and white. Near Fine with light worming and light toning to cloth. Paged toned and endsheets offset, toned paperclip impression to front pastedown, free endpaper and jacket flap. In a Very Good price-clipped dust jacket with rubbing and wear to the extremities, toning to the blindside. Signed by the German architect Walter Gropius, founder of the Bauhaus School, and widely considered to be a pioneering master of modernist architecture.

Hardcover. Condition: Near Fine. No Jacket. 1st Edition. Harper & Brothers, New York, 1950. Hardcover, 253 pp. 1st edition (stated). Introduction by Walter Gropius. The life and art of the artist, designer, architect and Bauhaus professor László Moholy-Nagy (1895-1948) whose life was dedicated to advancing Modernism in the arts. The author was his widow. This copy was signed by their daughter, Hattula Moholy-Nagy in October of 1999. See photos. Near fine condition with a name and address label on front paste-down. No dust jacket.

184 + 180 + 212 Seiten, Kopf-Goldschnitt. Druck auf Van Geldern. Einige mit Stockflecken im Text; ebenfalls auf dem Japanpaier der Einbanddeckel. Numero: 343. "Tirée à 550 exemplaires numérotés". Die ursprünglichen original blauen Pappeinbände sind mit eingebunden. Sehr schöne Exemplare in exquisiter, unikater Ausstattung. Kleinere Stockflecken auf dem unbeschnittenem Buchschnitt, die Deckel leicht aufgebogen. Fine copy. Bounded by a master. limited Sprache: Französisch Gewicht in Gramm: 1000 Ganz-Pergamenteinband von P.A. Demeter mit Rückenvergoldung und Titelschildchen,

Soft Cover. Condition: Good. First Edition. (14) pages; poetry collection, printed on good quality paper in blue and black; author's signature on front endpaper; German text; by Erich Pfeiffer-Belli (sometimes pseud. 'Andreas Heldt') (1901 - 1989) German journalist and writer, especially on artistic matters, educated at the Bauhaus and in the bookbinding workshop of Paul Klee. Pfeiffer-Belli wrote on Klee and several other artists as well as the poet Rilke; approx. 4 1/4" x 6 7/8" size; no date, circa 1940; bound in blue paper over-wrap; spine of paper chipped, sunned; text in very good condition. Signed by Author.

Soft cover. Condition: Very Good. 1st Edition. Sm.8° - Unpaginated - Color & B/w reproductions. Exhibition Catalogue: Biennale Venise 1968 Pavillon Suisse: Fritz Glarner (1899-1972) Swiss-American painter. Glarner was a leading proponent of so-called Concrete Art, an artists' movement whose roots lead back to the painters of De Stijl and the principles of the Bauhaus and hans Aeschbacher (1906-1980) Swiss abstract sculptor. First edition, text in French, captions in French and English. Signed and dated by Hans Aeschbacher. Original boards. In Very good condition Original boards. In Very good condition. Signed by Illustrator(s).

Soft cover. Condition: Very Good. 1st Edition. 8° - 241pp - B/w Photo-reproductions. Bauhaus Book N° 14 " from material to architecture" The way to experience of sculpture and architecture by L. Moholy-Nagy (1895.1946)Hungarian painter and photographer as well as a professor in the Bauhaus school. First edition, text in German language. Inscribed and dated IV/1934 by L. Moholy Nagy to W. Wagenfeld. Original dust-jacket. The dustjacket with small repairs otherwise In Very good condition. Inscribed by Author(s).

Hardcover. Condition: Near fine. Dust Jacket Condition: Very good plus. First edition. First edition. Hardcover. INSCRIBED to Bauhaus artist, HERBERT BAYER. (In German). Great association as Neumann wrote, "Herbert Bayer's Photographic Experiments," that was published in 1965. Sm. square quarto. 96pp. Nicely designed with 113 illustrations in mostly in black and white, a few in color. Spine lettering faded on dust jacket that has very light wear. "This important book documents that astonishingly creative decade -- the 1920's, with its entirely new and functional visual language. The innovative art trends of the twentieth century, which include Cubism, Futurism, and Dadism, have had a determining influence on the development of today's visual language.".

Hard Cover. Condition: Very Good. First Edition. 267 pages; a novel; in German text; inscribed the author to his daughter Silvia & with a quote from Rilke also in his hand by Erich Pfeiffer-Belli (sometimes pseud. 'Andreas Heldt') (1901 - 1989) German journalist and writer, especially on artistic matters, educated at the Bauhaus and in the bookbinding workshop of Paul Klee. Pfeiffer-Belli wrote on Klee and several other artists as well as the poet Rilke; approx. 4 3/4" x 8" size; bound in modern marbled paper covered boards; brick- red leather spine label with gilt titles, all edges tinted yellow; light wear to boards; text printed on fair - quality post-war paper; in very good condition. Presentation By Author.

Cantré Jozef Belgien (1890 - 1957), Bronzefigur Eva ,1920, seitlich im Werk signiert,Höhe 40 cm(15,5 inch) Sockel 13x12x6,5 cm, braune patinierte Bronze.Henry van de Velde - dieser Name hat in der Architekturgeschichte einen Klang und wird mit dem Bauhaus verbunden. Seine Entwürfe, so auch der so genannte Genter Bücherturm, sind Meilensteine der Architektur. Kunstprojekte von Jozef Cantre' und Karel Aubroeck, sind dort realisiert.Cantré war einer der wichtigsten flämischen Künstler. Gemeinsam mit seinen lettischen Freunden Gustave De Smet und Frits Van den Berghe legte er den Grundstein für den flämischen Expressionismus. Mit seinem Bruder Jan-Frans, Henri Van Straten, Joris Minne und Frans Masereel gehörte er den --Big Five-- an, die in Flandern auf einem sehr hohen Niveau gearbeitet haben. Erste Ausgabe.Sehr gutes Exemplar.- !! Nur auf Anfrage , Lieferung außerhalb der Europäschischen UNION !!.

Condition: Very good. First Edition. thus. Paper resulting from experiments carried out with college students in the Psychology department of Sarah Lawrence College, reprinted as part of the series Genetic Psychology Monographs, 1946, 33, 3-70. Waehner, an Austrian artist, studied at the Bauhaus with Paul Klee and Wassily Kandinsky before fleeing to Vienna, Zurich, and ultimately New York following the Nazis' rise to power in the 1930s. During her time as a professor at Sarah Lawrence, she studied and published on art and psychology, attempting in this paper to gather data on line quality, subject preference, representation vs. abstraction, and other quantifiable aspects of free drawings as they might be correlated to artist personality, academic ability, background, and environment. Scarce in trade and rare signed, a significant link between psychology and abstract art - including Dadaism and Surrealism. Wraps. 8vo. Brown perfect-bound wraps. Chipping and small tears to spine ends and corners; moderate edgewear overall. INSCRIBED on title page: "With many greetings for the holidays in cordial friendship to both of you / yours T.S.W." Very good.

First edition. Quarto, original cloth. Inscribed by the author opposite the title page, "To the Walter Paepcke with best regards, Marcel Breuer." The recipient, Walter Paepcke was an industrialist and philanthropist most noted for his founding of the Aspen Institute and the Aspen Skiing Company in the early 1950s, both of which helped transform the town of Aspen, Colorado into an international resort destination and popularize the sport of skiing in the United States. Near fine in a very good dust jacket with light rubbing and wear. Books signed and inscribed by Marcel Breuer are scarce. Marcel Breuer is one of the masters of Modernism, who extended the sculptural vocabulary he had developed in the carpentry shop at the Bauhaus into a personal architecture that made him one of the world's most popular architects at the peak of 20th-Century design. Among his projects at the Bauhaus was The Wassily, the first all-tubular steel chair. He designed many buildings, including Whitney Museum of American Art and numerous others.

Hardcover. Originalgraphik / Tuschebild auf Bütten im Format 49 x 62 cm, freiliegend in einem weißen Passepartout, unter Glas in Holz gerahmt ( Rahmengröße etwa 68 x 87 cm ). Der Rahmen ist leicht randbestoßen und weist mehrere kleine Astlöcher auf. Am unteren Bildrand mit Kugelschreiber gewidmet und doppelt signiert. Im Randbereich mit wenigen, kaum sichtbaren Knickspuren. Guter Zustand. Kein Versand unsererseits, nur Abholung möglich oder selbst organisierter Versand, auch möglich: Versand OHNE RAHMEN als Rolle ( mit Rollenzuschlag ). --- Juro Kubicek ( 1906 - 1970 ): deutscher Maler, Autodidakt. 1949 eröffnete er das Work and Art Studio im Amerikahaus am Nollendorfplatz, unterrichtete dort im Sinne des Weimarer Bauhauses. Ab 1954 bis zu seinem Tod war er Professor an der Hochschule für Bildende Künste. Vorliegendes Bild entstand kurz vor seinem Tod. --- Rudolf Springer ( 1909 - 2009 ): entstammte der berühmten Verlegerfamilie, war der Sohn von Julius Springer. Seines Zeichens deutscher Kunsthändler und Galerist, leitete er 1948 bis 1998 die Galerie Springer in Berlin. Fe3.

Erste Ausgabe. * Eins von 1000 num. Exemplaren. Im Impressum mit eigenhändiger Widmung von Ivo Pannaggi mit seiner Unterschrift, datiert: Oslo aprile 1963. Ivo Pannaggi (1901 1981) was an Italian painter and architect who was active in the Futurist movement and later associated with the Bauhaus. Pannaggi was born in Macerata in 1901. He studied architecture in Rome and Florence. Pannaggi lived in Berlin between 1927 and 1929. He moved to Norway in 1939 and returned to Italy in 1971. In 1927, Pannaggi traveled to Berlin, where he would live until 1929. He became friends with Kurt Schwitters and Walter Benjamin and published photomontage works in German newspapers. Between 1932 and 1933, Pannaggi attended the Bauhaus, the only Futurist other than Nicolaj Diugheroff to do so. Wegen der EPR-Regelung kann in folgende Länder KEIN Versand mehr erfolgen: Bulgarien, Frankreich, Griechenland, Luxemburg, Polen, Rumänien, Schweden, Slowakei, Spanien. No shipping to Bulgarien, Frankreich, Griechenland, Luxemburg, Polen, Rumänien, Schweden, Slowakei, Spanien. Sprache: Italienisch Gewicht in Gramm: 1001 15,4/22,5 cm. 87,1 S. zwischen 2 Pappdeckeln mit Deckelprägung. Plastikspiralbindung. Spiralbindung beschädigt, Blätter am z.T. gering gebraucht. Noch recht schön. Ausstellungskatalog. Mit sehr zahlreichen Abbildungen nach Fotografien und Werken.

In-folio ( 530 X 355 mm ), broché sous couverture anthracite imprimée. EDITION ORIGINALE et PREMIER TIRAGE des illustrations en couleurs de I. Rice PEREIRA. Edition limitée à 553 exemplaires. Bel exemplaire enrichi d'un envoi autographe signé de I. Rice PEREIRA.Née en 1902, I. Rice PEREIRA s'est immergée dans le monde bohème de Greenwich Village au milieu des années 1920 et a embrassé l'avant-garde artistique européenne Bauhaus, cubisme et constructivisme. Dans les années 1930, ses peintures commencent à être reconnues. Au début, elle a signé son uvre I. Rice Pereira, à cause, dit-elle, de la discrimination qui assaille les femmes dans le monde de l'art. Avec une exposition de son travail au Whitney Museum of American Art en 1953, elle est devenue l'une des premières femmes à avoir une rétrospective dans un grand musée de New York. [ ]. Les uvres de Pereira sont maintenant exposées au Hirschhorn Museum, au Metropolitan Museum of Art, au Museum of Modern Art et dans d'autres grands musées d'art du pays. ( Kathryn Allamong Jacob : Artistes et artisans. Dans : Nouvelles de la bibliothèque Schlesinger. Automne 2016. Beaux-Arts Peinture Avant-Garde Bauhaus.

With numerous text illustrations and 48 reproductions of paintings. (illustrator). With numerous text illustrations and 48 reproductions of paintings. First edition. Association copy, inscribed the ErnÅ (Ernst) Kállai. Text in French. In publisher's wrappers, with an illustrated vignette on cover. 122, (2) p., and 24 plates. Association copy of the Hungarian art critic's collection of essays about the pathology of artists. Inscribed to Ernst Kállai (1890-1954) the Hungarian art historian who first published his works in Lajos Kassák's magazine "MA". In 1928 he was the editor of the periodical "Bauhaus" in Dessau. Illustrated with 48 full-page and 20 in-text (five of which are paste-ons) reproductions of works by painters such as Pablo Picasso, Giorgio de Chirico, Georg Grosz, Marc Chagall, Edgar Degas, Jacques Lipchitz, Henry Matisse, Modigliani, Monet, Emil Nolde and Renoir. . Wrappers somewhat chipped. Some pages creased. Title page torn, but no effect on text. Underlines and notes in pencil by Kállai throughout. Overall in good condition. In publisher's wrappers, with an illustrated vignette on cover First edition. Association copy, inscribed the ErnÅ (Ernst) Kállai. Text in French.

Quer-8°. 21 x 23,5 cm. 105 Seiten. Original-Broschur. 1. Auflage. Zweisprachige Ausgabe in Deutsch und Englisch. Von Kurt Kranz auf Vortitel signiert, datiert Rosengarten, 5.4.1981. Mit 4 beidseitig bedruckten, eingebundenen Original-Siebdrucken, Blattgrößen je ca. 20,8 x 21,3 cm, "Original Probeseiten, unbeschnitten, aus dem demnächst erscheinenden Katalog -Ars Combinatoriae- in der -edition rot-, Stuttgart" [nicht erschienen]. Mit zahlreichen Abbildungen. Einband etwas fleckig, teils gedunkelt. Gutes bis sehr gutes Exemplar. First edition. Bilingual edition in German and English. Signed by Kurt Kranz on half title, dated Rosengarten, 5.4.1981. With 4 original screenprints, each of the 4 sheets printed on front and backside, bound to the spine, sheet size appr. 20,8 x 21,3 cm, sample prints for the edition rot "Ars Combinatoriae" [apparently not published]. Book with many illustrations. Original softcover. Cover partly spotted, partly darkened. Nearly fine copy. Sprache: deutsch und englisch.

Folio. 6 Blatt Original Lithographien, als Blockbuch gebunden. Original Halbpergament Einband. Das letzte Blatt mit Knickfalten (Index), sonst sehr gut erhalten. Signierte Vorzugsausgabe aus dem Besitz von Heinrich Stinnes, mit seinem Sammlerstempel und seinem Namenszug. Als Blockbuch gebunden. Nummer I von XX römisch nummerierten (gesamt 100) und von Alexander Olbricht und Edwin Redslob in Blei signierten Exemplaren der Vorzugsausgabe auf Japanpapier. Die sechs Original-Lithografien jeweils von Alexander Olbricht in Blei signiert. Ähnlich wie Philipp Otto Runge schafft es Olbricht die Pflanze via ihres Umrisses abstrakt darzustellen, das Charaktistische zu zeigen. Olbricht (1876-1942) Professor am Weimarer Bauhaus, bis er dort 1935 aus politischen Gründen entlassen wurde. #Zeichnungen #bauhaus Sprache: deutsch. Bitte beachten Sie, ABE/ZVAB arbeitet bei den Versandkosten nicht gewichtsbasiert. Das Inlandsporto reduzieren wir von den voreingestellten 4,90 auf 2,50, falls das Buch mit Warenpost verschickt werden kann, d.h. der Warenwert unter EUR 50,-- und das Gewicht unter 1000 Gramm ist. International orders: Please mention, the indicated shipping rates are not weight based and could be higher. Custom fees and special art handling costs will be charged separately. We will contact you. Thank you. * 200 Jahre J.J. Heckenhauer *.

Condition: Wie neu. 1. Auflage. mit Frontispiz (montiertes Porträtfoto)- Edelpappband mit Büttenpapierbezug und aufgeklebtem Rückenschild, dieses leicht fleckig, Schnitt etwas braunfleckig und stockig, mit Widmung für "Dr. Lothar Schreyer in Gedenken an die "Sturmzeit" in herzlicher Verehrung Harry Reuss-Löwenstein" auf dem Vortitel. Reuss-Löwenstein war Hamburger Kunst- und Literaturjournalist und Schriftsteller, zwei Beilagen: Danksagung des Schriftstellers zum 85.Geburtstag (Klappkarte) und Blatt aus "Der Schriftsteller, Ztschr. d. Schutzverbandes Dt. Autoren Nordwest, 13 Jg. 1960, Heft 1 mit dem Artikel "Harry Reuß-Löwenstein 80 Jahre" nach Antiquariat Hennings, Hamburg erschien das Buch in 300 nummerierten Exemplaren für die Mitglieder der Gesellschaft, weitere 100 Exemplare erhielt der Autor, das vorliegende ist ein nicht nummeriertes Autorenexemplar. Lothar Schreyer (* 19. Oktober 1886 in Blasewitz - + 18. Juni 1966 in Hamburg) war ein deutscher Jurist (Promotion 1910), Maler, Schriftsteller und Dramaturg. Er veröffentlichte auch unter dem Pseudonym Angelus Pauper. Er begründete 1917 die Sturmbühne. Von 1916 bis 1928 arbeitete Schreyer an Herwarth Waldens Zeitschrift Der Sturm mit. Von 1921 bis 1923 wirkte er als Meister und Leiter der Bühnenklasse am Bauhaus in Weimar. Über die Kunstschule Der Weg in Dresden, die er einige Jahre leitete, führte sein Weg nach Hamburg, wo er bis zu seinem Tode 1966 als freier Schriftsteller und Maler lebte. Bitte beanchten Sie unsere neue Bankverbindung bei der C24 Bank mit der IBAN: DE51500240241825285901 (BIC: DEFFDEFFXXX). Sprache: Deutsch Gewicht in Gramm: 316 Gr.-8°, gebundene Ausgabe, Hardcover/Pappeinband.

Condition: Very good plus. First edition. Signed limited first edition thus, illustrated by Favorsky, of this Pushkin comic poem with a striking modern design. Russian graphic artist, art critic, and woodcut illustrator Vladimir Favorsky (also transliterated as Favorski) blended the traditional and the modern in his art. He helmed the Russian state art and technical school Vkhutemas - often compared in style and philosophy to Bauhaus - as rector during a tumultuous period in the 1920s, during which he resisted government efforts to mandate the artistic methods and styles of the students. Favorsky's perspective shines through in his extensive oeuvre of book illustrations; he was particularly fond of the codex as a vehicle for art, noting that "the book can serve simultaneously as an example of wholeness of design and variety of content" (Molok, 242). Favorsky designed this stylish edition of one of Pushkin's more lighthearted works to incorporate smaller drawings in the margins in addition to larger illustrations, to mimic the writer's distinctive marginalia. 11.25'' x 7.5''. Original pictorial boards. Illustrated in black and white. 22, [6] pages. Small gift inscription ftom "Jay" to "Jack," dated 1933. Signed by Favorski to limitation page and numbered 166 of 500. Binding with a bit of toning to edges, light bumping to corners ad spine ends; upper rear corner with a couple shallow creases. Spine cracked to one opening. Clean.

Hardcover. Condition: Near Fine. Dust Jacket Condition: Very Good. 1st Edition. Rare and wonderful item. Ruf zum Bauen can be translated as Call to build made by the art group Arbeiterrats fur Kunst (Worker s council for art). It was a second publication of the group, made as an album for the group exhibition. It represents the utopian ideas in architecture of Central and Western Europe. According to their fantasy the common image of the utopia was basically a fantastic crystal palace. Architects and designers who took part in creation of the book were connected to the Bauhaus and November group but also were the members of the chain letter correspondence titled Glaserne Kette - Crystal Chain (1919-1920). The book was signed presumably by Bruno Taut on 7th of July 1923 in a very dynamic and esoteric way, creating a pictogram from the letters TAUT B/7.7.23. Text in German. In 8vo. 23,6x16 cm. 48 pp. 43 mono-and polychrome illustrations, 2 vignettes. Complete. Very few occasional foxes. Cardboard binding, unremovable original dust-jacket. Spine cracked on the top. Slightly worn dust-jacket: edges rubbed, one little water stain on the edge, few small ink stains, creasings on the corners, but colours are vivid. Overall very good to near fine condition. Signed by Author(s).

Condition: 0. Erstausgabe eines der schönsten Werke des deutschen Jugendstils; dazu eines der ganz wenigen vom Verfasser eigenh. signierten u. datierten Exemplaren ("Hugo v. Hofmannsthal / Wien, im October / 1900"). - Nr. 88 von 200 Exemplaren, auf Van-Gelder-Bütten gedruckt. - Der Kaiser und die Hexe wurde im Auftrage von A. W. Heymel für den Insel-Verlag bei Otto v. Holten in Berlin gedruckt im August 1900". - Der prachtvolle farbige Doppeltitel tlw. in Golddruck. - Als Buchkünstler hat er dann eine ganze Reihe von Werken ausgestattet [.]. Nie wieder übertraf er die Leistung von ,Der Kaiser und die Hexe . Der ,Lyriker des Jugendstils (Walter Tiemann) verwandelte den Doppeltitel hier unter Zuhilfenahme der sechs Farben Gold, Mattrot, Violett, Lindgrün, Braun und Hellblau in einen romantischen Zaubergarten [.]. Beim Betrachten glaubt man die jugendfrische Begeisterung zu spüren, von der eine ganze Künstlergeneration um die Jahrhundertwende getragen wurde" (Jürgen Eyssen). - Der Einband materialbedingt wie fast immer min. aufgebogen u. am Rückendeckel mit (ebenfalls materialbedingten) Verfärbungen. Exlibris a. Innendeckel, sonst schönes Exemplar (auch ohne die häufig vorkommende Lockerung zwischen erster und zweiter Lage). - Sarkowski 765; Neteler 32; Houghton Library 411; Schauer I, 47 u. II, 11 (Abbildung); Papiergesänge 14; Vom Jugendstil zum Bauhaus 34; Langer S. 126ff.; Wilpert/G. 8. ge Gewicht in Gramm: 500 Gr.-8°. Mit farb. illustr. Doppeltitel u. Buchschmuck von Heinrich Vogeler-Worpswede. Druck in Rot u. Schwarz. 58 S., 1 Bl., OPgmt. m. goldgepr. Rückentitel, Innenkantenverg. u. Kopfgoldschnitt.

Baur, Max (illustrator). 12mo., [1] pp., and 10 b&w gelatin silver photographs, 3 1/2 x 2 5/16 inches or the reverse, tipped to mounts 5 1/2 x 4 1/2 inches, and one photograph, 3 x 2 inches on a 5 x 3 3/4 inch mount. Housed in the original three-point card portfolio, with a printed label on the upper cover. There is slight silvering to the images. The ten larger photographs are signed in type beneath the image, while the smaller photograph is signed in ink by the photographer beneath the image. On its blank reverse is a handwritten salutation in German, dated 1953, which translates to: "We are on a pilgrimage all our lives. One place is more enjoyable, the other more serious. Let's try to keep as much jot as possible everywhere and pass it on until we come home. From my heart, many good wishes for the future." Near fine. Max Baur (German, 1898-1988) has received renewed attention as the subject of MAX BAUR: IN THE BAUHAUS SPIRIT. Baur's life and career choices were effected greatly by the two World Wars. He began in publishing, ultimately making an interest in the experimental medium of photography a business. He made postcard images of scenes throughout Germany that illustrate how strongly he was influenced by the graphic work being done at the Bauhaus. His first publication contained scenes in Potsdam, a city he moved his family and business to after seeing vistas of the city's Sanssouci Park in a film. IN THE BAUHAUS SPIRIT lists the publisher for this work as Karl Specht Verlag, Berlin. This edition however, was self-published by Baur's own firm in Potsdam. These photographs may predate the 1937 Karl Specht publication, but were certainly created before World War II, which left Potsdam in ruins and forced Baur to relocate to Berlin. The Specht edition has many more illustrations, but none have original photographs as found in this portfolio.

First edition. First printing of this examination of the Moscow Revolutionary Theater, established in 1922 to stage productions that promoted Soviet ideology - with signed woodcut print by Vladimir Favorsky. Russian graphic artist, art critic, and woodcut illustrator Vladimir Favorsky (also transliterated as Favorski) blended the traditional and the modern in his art. He helmed the Russian state art and technical school Vkhutemas - often compared in style and philosophy to Bauhaus - as rector during a tumultuous period in the 1920s, during which he resisted government efforts to mandate the artistic methods and styles of the students. Favorsky's perspective shines through in his extensive oeuvre of book illustrations; he was particularly fond of the codex as a vehicle for art, noting that "the book can serve simultaneously as an example of wholeness of design and variety of content" (Molok, 242). Favorsky also dabbled in stage design, making him an ideal illustrator for this title. 10'' x 7''. Original printed brown boards. Original unclipped (10 ÐУР) pictorial dust jacket. Pictorial endpapers of theater figures. Illustrated with numerous tipped-in plates in shades of brown, and black-and-white woodcuts. 222, [2] pages. Small bookplate of Jack Rau to front pastedown. Single leaf woodcut print of Maria Babanova, signed by Favorski, loosely laid in. Jacket with light chipping to spine ends, mild toning to spine and wear to joints; some edgewear. Binding with light edgewear, a bit of bumping to corners and spine ends. A couple tipped-in plates becoming loose, plate facing 215 detached but present. Clean and sound. Very good in very good dust jacket.

(Revised and enlarged edition). Gr.-8°. 207 S. mit 221 Abb. OLn. (New Bauhaus Books. Editors Walter Gropius, L. Moholy-Nagy. No. 1). Erste Ausgabe des ersten Bandes (mehr nicht erschienen) der Reihe "New Bauhaus Books". - Mit eigenhändiger Widmung von L. Moholy-Nagy "to my very nice collaborator in the old days Peter Piening New York Nov 1938 L. Moholy=Nagy". - "The New Vision was written to inform laymen and artists about the basic elements of the Bauhaus education: the merging of theory and practice in design. America is the bearer of a new civilization whose task is simultaneously to cultivate and to industrialize a continent. It is the ideal ground on which to work out an educational principle which strives for the closest connection between art, science, and technology. To reach this objective one of the problems of Bauhaus education is to keep alive in grown-ups the child's sincerity of emotion, his truth of observation, his fantasy and his creativeness. That is why the Bauhaus does not employ a rigid teaching system. Teachers and students in close collaboration are bound to find new ways of handling materials, tools and machines for their designs. This book contains an extract of the work in our preliminary course, which naturally develops from day to day while practiced" (L. Moholy-Nagy). - Peter Piening (1908-1977) war seit 1934 Art Director bei N. W. Ayer & J. Walter Thompson. Später Mitherausgeber des Life Magazine und 1942 bis 1946 Art Director von Fortune. Nach dem Krieg war er Dozent an der New York Art Student s League, der New York University und der Syracuse University. - Rücken etwas gebräunt, Deckel leicht fleckig, gutes Exemplar. - Inscribed by L. Moholy-Nagy for P. Piening. - Peter Piening studied at the Bauhaus with Laszlo Moholy-Nagy, Paul Klee and Mies van der Rohe. He received his PhD from the University of Berlin in 1931 and in the same year began working at the Ullstein publishing house. After working several years as a freelance designer in Paris he came to America in 1934. He worked as an art director for N. W. Ayer and J. Walter Thompson. He was on the editorial staff at Life magazine and in 1942 was appointed art director of Fortune magazine. He held that position until 1946. He taught at the New York Art Student s League and at New York University. In 1958 he was appointed to the faculty at Syracuse University. - Spine browned, covers a little bit soiled. Sprache: englisch.

Wraps. Condition: Very good. Rickey, George Warren. Kinetic Sculptures. Boston: Institute of Contemporary Art, 1964. First edition; octavo; pp; (16); illustrated in black & white with sixteen (16) plates; original printed paper wrappers; very good. And, Rickey, George Warren. Kinetic Sculpture, October 20 To November 7, 1964. New York: Staempfli, 1964. First edition; octavo; Tri-fold Gallery Brochure for this One Man Exhibition; illustrated in black & white; original printed paper wrappers; very good. And; Glossy photograph of a sculpture measuring 8.5" x 11" with a (Tls) typed letter, signed from Rickey to noted art critic Lane Faison, dated 16 March, 1964. The letter apologizes for not sending the photo sooner. A long holograph addenda by "Edie" (spouse?) updates Faison on the creative writing course she is taking. And; (Tls) typed letter, signed from Rickey to noted art critic Lane Faison, dated June 2, 1965 from E. Chatham N.Y. The letter describes in detail a sculpture entitled, "Two Lines - Temporal" ; the size, materials etc. also the genesis of the piece. Where it was displayed, and it's immediate destination, it is about to be sold. Rickey mentions that the piece is pictured on the rear of the Staempfli catalogue mentioned above. It is all part of a group called "Peristyle". A great letter from the artist. George Rickey; Born in South Bend, Indiana, in 1907, Rickey was raised near Glasgow, Scotland. Rickey read modern history at Balliol College, Oxford, took classes in drawing at the Ruskin School, then studied painting in Paris at André Lhote's academy and at the Académie Moderne with Fernand Léger and Amédée Ozenfant. During the 1930s he painted first in a Cézannesque style, later in a Depression-era, social realist mode. He supported himself by teaching at Groton and at a series of colleges and universities.In World War II Rickey served in the Army Air Corps, testing computing instruments used by bomber gunners. The work required both mechanical skill and understanding the effects of wind and gravity on ballistics, laying the foundation of his move from painting to kinetic sculpture. Under the G.I. Bill, Rickey studied at the Institute of Fine Arts at New York University and from 1948-1949 attended the Institute of Design in Chicago, an outpost of Bauhaus teaching. Intrigued by both the history of constructivist art and by the mobiles of Alexander Calder, he began creating kinetic sculptures. In the 1950s and early 1960s, Rickey developed systems of motion for his sculpture that responded to the slightest variation in air currents. Over the next three decades he developed sculpture with parts made of lines, planes, rotors, volumes, and churns, moving in paths that change from simple oscillation to conical gyrations, describing a variety of planes or volumes. Many works during this period have been large-scale public commissions for sites in the United States, Europe, and Japan. Rickey died at home in St. Paul, Minnesota, on 17 July 2002 at the age of 95. Samson Lane Faison, Jr. (November 16, 1907 - November 11, 2006) was an American art historian, professor, and director of the Williams College Museum of Art.