Verlag: Worcester Art Museum, 1982
ISBN 10: 0917418697 ISBN 13: 9780917418693
Anbieter: Better World Books, Mishawaka, IN, USA
Zustand: USED_GOOD. First. Used book that is in clean, average condition without any missing pages.
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Gebraucht ab EUR 9,09
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Verlag: Worcester/New York (Worcester Art Museum/ The American Federation of Arts), 1982
Anbieter: Ars Libri, Ltd. (ABAA), Charlestown, MA, USA
Zustand: UNSPECIFIED. 285pp. 148 plates. 4to. Wraps. Published in conjunction with an exhibition organized by the Worcester Art Museum and The American Federation of Arts.
Verlag: Worcester : Worcester Art Museum., 1982
Anbieter: Wittenborn Art Books, San Francisco, CA, USA
Zustand: USED_GOOD. 4to. 285 pp. Soft Cover. Good+. Illustrated paper wraps. Shelf wear and vertical crease across front wrap. Previous owner's name handwritten on front free end paper. Color and B&W plates throughout.ISBN: 0917418697 9780917418693.Collection from San Francisco Museum of Modern Art.
Hardcover. Zustand: UNSPECIFIED. Brown cloth. 138 pp. 48 color plates. A terrific publication with 48 LARGE color plates of this artist's work. Foreword written by Sally Michel Avery. Scarce. This copy is a presentation copy signed by the artist's wife Sally, who contributed the Foreword. VG/VG, author inscription on ffep.
Verlag: Strathcona, USA, 1981
ISBN 10: 0931554195 ISBN 13: 9780931554193
Anbieter: Acadia Art & Rare Books. Est. 1931, Toronto, ON, Kanada
Hardcover. Zustand: USED_NEARFINE. Zustand des Schutzumschlags: Near Fine. Limited/Numbered. Hardcover in complete dj. 20pp. of text and 48 full page colourplates. Inscription note to ffee.
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Verlag: Strathcona, Royal Oak, MI, 1981
ISBN 13: 2900013306831
Anbieter: Strand Book Store, ABAA, New York, NY, USA
Erstausgabe
Oversized Hardcover. Zustand: USED_VERYGOOD. Zustand des Schutzumschlags: Very Good. First Edition. (1981). Oblong 4to. 1st edition. Slight bowing to boards. Slightest darkening to edges of leaves and toned textblock with marking and light rubbing to textblock bottom corner. Minor wear to edges of gently rubbed cloth covered boards with small spots of paint to bottom edges and at spine head end. Uneven discoloration to spine, board edges, and front board. Uneven fading and discoloration to spine and front panel of gently rubbed dust jacket. Crease to d.j. back flap. VG/VG.
Hardcover. Zustand: USED_FINE. Hardcover book, 13" x 12.25", dust wrapper is near fine (light wear), light sunning to top of covers, else fine, text is fine; foreward by Sally Michel Avery; 20 pp text illustrated in black-and-white followed by 28 color plates with description at back, bibliography and notes. Book.
Verlag: David Mirvish Books on Art, Toronto, 1981
Anbieter: Ethan Daniel Books, Toronto, ON, Kanada
Hardcover. Zustand: USED_NEARFINE. Large format posthumous monograph on the work of the American painter. First Canadian limited edition, number 115 of 500. Signed by the artist's wife Sally Avery. Full page colour reproductions. Slight wear to dust jacket at corners. No further marks, inscriptions or fading to inside pages. Binding is firm.
Verlag: David Mirvish Books on Art, Toronto, 1981
Anbieter: TBCL The Book Collector's Library, Montreal, QC, Kanada
Verbandsmitglied: IOBA
Erstausgabe
Zustand: UNSPECIFIED. 1st Edition. 1st Edition. First edition, hardcover on brown cloth (12 1/4 x 13", 31 x 33 cm), limited Canadian edition of the U.S. Strathcona printing, numbered 322 of 500 copies. A lovely coffee-table sized book of forty-eight colour oil paintings comprising portraits, landscapes, and still life. Influenced by Fauvism, German Expressionism, and Matisse, Avery developed a lyrical style portraying pastoral subjects. In Wikipedia we find, "Art critic Hilton Kramer said, in his review of Grad's book with its sumptuous illustrations, He was, without question, our greatest colorist. . Among his European contemporaries, only Matisse-to whose art he owed much, of course-produced a greater achievement in this respect.[11]" A high quality Art book with the text printed on 100 lb. grey vellum while the colour reproductions are on 110 lb. Vintage Velvet. This copy is in very good condition. The Mylar-protected dust jacket is in excellent condition and neatly price-clipped. The paper is slightly wavy and there are a few small marks on the end-paper front and back. A lovingly assembled memorial to one of America's greatest painters.
Verlag: Strathcona, Royal Oak, 1981
ISBN 10: 0931554195 ISBN 13: 9780931554193
Anbieter: Anthology Booksellers, Portland, OR, USA
Erstausgabe
Cloth. Zustand: UNSPECIFIED. First edition. Large oblong 4to, 20 pp. + 48 color plates. Covers faded at edges. Jacket priceclipped, a bit handled, creased and edgeworn. Very Good in Very Good (Price-Clipped) DJ.
Verlag: [Toronto: David Mirvish Books on Art, 1981]., 1981
Anbieter: D & E LAKE LTD. (ABAC/ILAB), Toronto, ON, Kanada
Erstausgabe
Zustand: UNSPECIFIED. 4to. pp. 20. 48 colour plates. cloth (edges sunned, shaken). dw. (minor edge wear, nick to spine, shaken). First Canadian Edition, Limited to 500 copies. cf Freitag 306.
Hardcover. Zustand: USED_FINE. Zustand des Schutzumschlags: Fine. 1st Edition. GRAD, Bonnie Lee [text by] [20] pp. text followed by 48 full-page color plates. Strathcona 1981 1st Edition 12 1/2" x 13 1/2" Warmly inscribed on FFEP by the artist's daughter, Sally Michel Avery Milton Clark Avery (March 7, 1885 January 3, 1965) was an American modern painter. Born in Altmar, New York, he moved to Connecticut in 1898 and later to New York City. Biography The son of a tanner, Avery began working at a local factory at the age of 16 and supported himself for decades with a succession of blue-collar jobs. The death of his brother-in-law in 1915 left Avery, as the sole remaining adult male in his household, responsible for the support of nine female relatives. His interest in art led him to attend classes at the Connecticut League of Art Students in Hartford, and over a period of years, he painted in obscurity while receiving a conservative art education. In 1917, he began working night jobs in order to paint in the daytime. In 1924, he met Sally Michel, a young art student, and in 1926, they married. Her income as an illustrator enabled him to devote himself more fully to painting. The two had a daughter, March Avery, in 1932. For several years in the late 1920s through the late 1930s, Avery practiced painting and drawing at the Art Students League of New York. Roy Neuberger saw his work and thought he deserved recognition. Determined to get the world to know and respect Avery's work, Neuberger bought over 100 of his paintings, starting with Gaspé Landscape, and lent or donated them to museums all over the world. With Avery's work rotating through high-profile museums, he came to be a highly respected and successful painter. In the 1930s, he was befriended by Adolph Gottlieb and Mark Rothko among many other artists living in New York City in the 1930s 40s. Avery's use of glowing color and simplified forms was an influence on the younger artists. The Phillips Collection in Washington, D.C., was the first museum to purchase one of Avery's paintings in 1929; that museum also gave him his first solo museum exhibition in 1944. He was elected a Fellow of the American Academy of Arts and Sciences in 1963. Avery had a serious heart attack in 1949. During his convalescence he concentrated on printmaking. When he resumed painting, his work showed a new subtlety in the handling of paint, and a tendency toward slightly more muted tones. Milton Avery died at Montefiore Hospital in the Bronx, New York, om January 3, 1965 following a long illness, and is buried in the Artist's Cemetery in Woodstock, Ulster County, New York. After his passing his widow, Sally Avery, donated his personal papers to the Archives of American Art, a research center of the Smithsonian Institution. Style and influence Avery's work is seminal to American abstract painting while his work is clearly representational, it focuses on color relations and is not concerned with creating the illusion of depth as most conventional Western painting since the Renaissance has. Avery was often thought of as an American Matisse, especially because of his colorful and innovative landscape paintings. His poetic, bold and creative use of drawing and color set him apart from more conventional painting of his era. Early in his career, his work was considered too radical for being too abstract; when Abstract Expressionism became dominant his work was overlooked, as being too representational. French Fauvism and German Expressionism influenced the style of Avery's early work, and his paintings from the 1930s are similar to those of Ernst Ludwig Kirchner. By the 1940s, Avery's painting style had become more similar to Henri Matisse, and his later works use color with great subtlety. According to art historian Barbara Haskell, "serenity and harmony" characterized all of Avery's work, especially his late work, which, "more than ever, exuded a world of low-key emotions from which anger and anxiety were absent.".