Altman Nathan (26 results)

Condition: New. pp. 19.

Condition: New. pp. 19.

Condition: New. pp. 19.

Condition: good. Parain, Nathalie; Parry, Madeleine; Altman, Nathan (illustrator). Befriedigend/Good: Durchschnittlich erhaltenes Buch bzw. Schutzumschlag mit Gebrauchsspuren, aber vollständigen Seiten. / Describes the average WORN book or dust jacket that has all the pages present.

paperback. Condition: Very Good. Parain, Nathalie; Parry, Madeleine; Altman, Nathan (illustrator). Nouvelles completes This book is in very good condition and will be shipped within 24 hours of ordering. The cover may have some limited signs of wear but the pages are clean, intact and the spine remains undamaged. This book has clearly been well maintained and looked after thus far. Money back guarantee if you are not satisfied. See all our books here, order more than 1 book and get discounted shipping. .

paperback. Condition: Very Good. Parain, Nathalie; Parry, Madeleine; Altman, Nathan (illustrator). Shipped within 24 hours from our UK warehouse. Clean, undamaged book with no damage to pages and minimal wear to the cover. Spine still tight, in very good condition. Remember if you are not happy, you are covered by our 100% money back guarantee.

4°. 242 S., 1 Bl. mit zahlreichen Textabbildungen und 33 meist ganzseitigen, farbigen Abbildungen auf 32 Tafeln. Oln. mit farbig illustriertem Schutzumschlag. Umschlag mit kleinem dreieckigem Einriss in der hinteren unbedruckten Umschlagfläche, sonst gutes Exemplar. Umfangreichste Monographie über den russisch-jüdischen Maler, Bildhauer, Graphiker und Bühnenbildner der sowjetischen Avantgarde. Neben Beiträgen Altmans enthält der Band Aussagen seiner Zeitgenossen wie Jakow Tugendhold, Iwan Puni, Alexander Block, Anatoli Lunatscharski, David P. Sterenberg, Romain Rolland, Waldemar George, Ilja Ehrenburg u.a. Im Anhang ein Werksverzeichnis von 1904-1970, Ausstellungsverzeichnis, Bibliographie und Personenregister. Sprache: 1.

Condition: Very Good. Parain, Nathalie; Parry, Madeleine; Altman, Nathan (illustrator). Bon état. Sans date. Very Good.

Condition: Fair. Parain, Nathalie; Parry, Madeleine; Altman, Nathan (illustrator). This is an ex-library book and may have the usual library/used-book markings inside.This book has soft covers. In fair condition, suitable as a study copy. Library sticker on front cover. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,1100grams, ISBN:9782070763733.

Condition: Very good. Parain, Nathalie; Parry, Madeleine; Altman, Nathan (illustrator).

Condition: Neuf. Parain, Nathalie; Parry, Madeleine; Altman, Nathan (illustrator).

Paperback. Condition: Brand New. Parain, Nathalie; Parry, Madeleine; Altman, Nathan (illustrator). 1366 pages. French language. 7.87x5.59x1.65 inches. In Stock.

Couverture souple. Condition: Très bon. Dust Jacket Condition: Très bon. Parain, Nathalie; Parry, Madeleine; Altman, Nathan (illustrator). Livre Tres bon etat general. Envoi soigne [en Stock]. Livre.

paperback. Condition: Gut. Parain, Nathalie; Parry, Madeleine; Altman, Nathan (illustrator). Seiten; M24-09-Y-25-G Sprache: Deutsch Gewicht in Gramm: 2.

Condition: Sehr gut. Parain, Nathalie; Parry, Madeleine; Altman, Nathan (illustrator). Zustand: Sehr gut | Seiten: 1366 | Sprache: Französisch | Produktart: Bücher | Keine Beschreibung verfügbar.

4°, Broschiert. Condition: Gut. Erste Auflage. unpag., 10 Blatt + 2 Cartons Französische Originalausgabe, Einband leicht berieben, innen sauber, komplett und gut erhalten, mit den 2 separaten, vorgestanzten Kartons, sehr seltenes und gutes Sammlerstück Wir senden umgehend mit beiliegender MwSt.Rechnung. Sprache: Französisch Gewicht in Gramm: 1001.

Hardcover with dustjacket, catalog exhibition. 127 pp. many ills. -(Dustjacket slightly teared and bumped, stamp on flyleaf, traces of use, otherwise in good condition. ).

Hardcover. Condition: g to vg. Folio. 137 (5)pp. Original decorative cloth with brown debossed illustration and lettering on cover, brown lettering on spine, protected by modern mylar. Beveled edges. Illustrated half-title. Frontispiece. Classic Russian tales by Gogol offering gloomy, bleak short stories about St. Petersburg. Gogol describes a physically tangible St. Petersburg with logical topographical indications of existing locations on one hand, and an imaginary world in the fashion of "fantastic realism" on the other. The three stories "Nevsky Prospect", "Nose", and "The Overcoat" are illustrated with 15 b/w offset reproductions (plus frontispiece) of "fantastic" drawings by the Jewish, Soviet and Russian avant-garde artist Nathan Altman, most of them full page. Altman is known for his Cubist paintings, his stage designs (Habimah Theatre and the Jewish State Theatre in Moscow), and book illustrations. Text in Russian. Binding with some wear at upper right corner and head and tail of spine, light fraying, rubbed and few small stains on front, light soiling on back cover. Light foxing of free endpaper, half-title and title page, few minor blue spots on inside front cover. Some age toning of block and blue, stamped number, 357, on back free endpaper. Binding in overall good, interior in good+ to very good condition.

Condition: Gut. Text von Arta Valstar-Verhoff. 76 S.; farbige Illustrationen; 22 cm; kart. Gutes Exemplar. - ILLUSTRATIONEN / Künstler: Natan Altman; Michael Andreenko; Francois Angiboult; Ella Bergmann-Michel; Alexander Bogomasow; Sonia Delaunay; Wassily Ermilow; Alendra Exter; Alexandra Exter; Serge Ferat; Alfred Forbat; Otto Freundlich; Florence Henri; Rudolf Jahns; Iwan Kliun; Frantisek Kupka; El Lissitzky; Gerd Meyer; Ljubow Popowa; Karl Peter Röhl / u.a. - . Der Ausbruch einer gewaltigen, den Hauptausdruck tragenden Farbe, zu deren Gunsten die Form rudimentär wurde, vollzog sich bei den deutschen und französischen Expressionisten. Farbe definierte Formen und Räume, transportierte Stimmung und Lebensgefühl - dekorativ in mediterraner Zartheit oder klarstem Leuchten bei Henri Matisse, düsterer zuckend im Rhythmus der modernen Metropole bei Ernst Ludwig Kirchner. Aus dem gegengelagerten Temperament brach das Neue im Bereich der Form hervor, als "les peintres cubistes" Pablo Picasso und Georges Braque in einem absoluten Rückzug ins Atelier Porträts und Stilleben zu bauen begannen. Sie fußten auf den Gedanken Paul Cezannes, alles in der Natur modelliere sich nach Kugel, Kegel und Zylinder und nach diesen einfachen Formen müsse man malen lernen, auch auf seinen späteren Bildern, in denen er zu einem wirklich autonomen Bildraum vorgedrungen war. Für ihre streng formale Auseinandersetzung, ihre irrealen Bildräume, in denen sie unzählige Blickwinkel auf den jeweiligen Gegenstand simultan in die Fläche drückten, verzichteten sie völlig auf kräftige Farbe. Zu sehr war sie Träger von Ausdruck und Gefühl, von kompositorischer Macht. Die Töne des Grau-Braun, des blassen Blau oder Grün blieben konsequent zurückhaltend, ließen die formalen Spannungsverhältnisse zwischen feinen Geraden und Winkeln, Rundungen und Treppungen her-vortreten. Bei aller Geometrisierung, aller festen Baulichkeit der Struktur ihrer Motive - auf den Gegenstand oder die menschliche Figur als durchscheinende Grundlage verzichteten Picasso und Braque niemals in ihren kubistischen Jahren. Von Paris aus als Dreh- und Angelpunkt der Avantgarde und der Vermittler verbreitete sich das Neue wie ein Lauffeuer, liberal schien man auf den Durchbruch frischer Ansätze gewartet zu haben, um sie erneut zu filtern durch einen persönlichen Gedanken und Zugriff. Dass es in den Jahren nach 1910 ausgerechnet Niederländer und Russen waren, die etwa zeitgleich die großen Durchbrüche über den Kubismus hinaus hin zur totalen Abstraktion leisteten, bleibt eines der frappierenden Phänomene in der Kunst des frühen 20. Jahrhunderts. Unterschiedlichste Bedingungen waren die Grundlagen - die calvinistischen Niederlande mit einer tradierten, hochartistischen bürgerlichen Kunsttradition hier, das eher sinnenfrohe Russland voller Prägung durch seine bäuerliche Kultur, seine dekorativ-primitive Volkskunst dort. Ihnen gemeinsam die Arbeiten der Pioniere auf dem Weg zur reinen geometrisch-abstrakten Kunst. (S. 6) Sprache: Deutsch Gewicht in Gramm: 550.

Condition: Good. Poster. 81 x 48cm.Yehezkiel Dobrushin, *RWGHUID\HU (God the Fire)Moscow: Yungwald, 1922.Book cover design (in Yiddish).Nathan Altman (1889-1970), born in Vinnytsia (present-day Ukraine), an avant-garde artist, painter, graphic designer, sculptor, book illustrator and stage designer. His varied work belongs to various styles - Cubism, Constructivism, Futurism, and Suprematism - and reflects the many changes in his world, both artistic and political.He began his art studies in Odessa; in 1910 he moved to Paris, where he continued his studies and associated with the artists of the "Machmadim" group which advocated Zionist Jugendstil. In 1912, Altman returned to Russia and settled in St. Petersburg. He spent the summer of 1913 sketching reliefs found on Jewish tombstones and developing a Cubist style based on Jewish folk art. At that time, he founded a Jewish Society for the Encouragement of the Arts. Altman was an enthusiastic supporter of the Bolshevik revolution, after which he was appointed a member of the IZO-Narkompros (the Department of Fine Arts of the People's Commissariat for Education). In 1919, he became one of the prominent artists of the "Kom-Fut" group (Communist Futurists). He worked for the Monumental Propaganda plan conceived by Lenin, and created agitprop art. During the early 1920s, Altman worked as a stage designer for HaBimah Theater and the Jewish State Theater Goset. .His Constructivist costume design for the play "The Dybbuk", staged by HaBimah Theater in 1922, incorporated elements taken from Jewish folk and religious art; and his stage design for the Goset production of "Uriel da Costa" was his most advanced Constructivist work at the time. In 1922, his works were exhibited at the "First Russian Art Exhibition" in Berlin and alongside works by Chagall and Sternberg in the "Exhibition of the Three" of the Kultur Lige group. In the early 1920s, Altman was a prominent artist whose works expressed the spirit of the party and the revolution - the rebellion against the old degenerate order - and in this capacity he created a series of sketches and a bust of Lenin. In 1928, Altman went on a tour with the Goset theater and remained in Paris until 1935. While there, the Party's attitude towards art went through a transformation. Already in the mid-1920s the party began furthering socialist realism and restricting the activity of avant-garde groups, claiming art should serve defined goals, be simple and understood by everyone and portray the beauty of communist reality. In 1932, with Altman still out of the country, the central committee of the communist party banned any union of independent artists. From then on, the party imposed its new and preferred style, socialist realism, and avant-garde was pushed to the new status of "bourgeois" art, enemy of the revolution. Returning to Russia in 1936, Altman settled in Leningrad, and as an undesirable artist worked mainly as a graphic designer, book illustrator and stage designer, trying to adhere to the party's new line.Literature: Russian Jewish Artists in a century of Change 1890-1990, edited by Susan Tomarkin Goodman. Munich /New York: Prestel, 1995. p. 146.

Hardcover. Condition: Near Fine. First Edition Thus. 138, (Iii) Pp. Brown Patterned Cloth, Lettered And Illustrated In Brown, Hardcover, Beveled Edges. First Printing Thus. Near Fine, Slight Usage, No Wear Or Marks Or Damage, And Scarce Thus. Export Issue With Small Stamp "Printed In Soviet Union" At Bottom Of Title Page. Very Scarce, Worldcat Locating Only Three Institutional Copies. Wikipedia Reports That Nathan Isaevich Altman (Russian: ????? ??????? ???????, Transliterated: Natan Isayevich Altman; 1889 -1970) Was A Russian And Soviet Avant-Garde Artist, Cubist Painter, Stage Designer And Book Illustrator. He Was Born In Vinnytsia, In The Podolia Governorate Of The Russian Empire (Present-Day Ukraine) To A Family Of Jewish Merchants. From 1902 To 1907, He Studied Painting And Sculpture At The Art College In Odessa (Now Independent Ukraine). In 1906, He Had His First Exhibition In Odessa. In 1910, He Went To Paris, Where He Stayed For One Year. He Studied At The Free Russian Academy In Paris, Working In The Studio Of Wladimir Baranoff-Rossine, And Had Contact With Marc Chagall, Alexander Archipenko, And David Shterenberg. In 1910, He Became A Member Of The Group Soyuz Molodyozhi (Union Of Youth). In 1912, Altman Moved To Saint Petersburg. His Famous Portrait Of Anna Akhmatova, Conceived In Cubist Style, Was Painted In 1914. From 1915 To 1917, Nathan Altman Was The Teacher At Mikhail Bernstein's Private Art School. After 1916 He Started To Work As A Stage Designer. In 1918, He Was The Member Of The Board For Artistic Matters Within The Department Of Fine Arts Of The People's Commissariat Of Enlightenment Together With Malevich, Baranoff-Rossine And Shevchenko. In The Same Year He Had An Exhibition With The Group Jewish Society For The Furthering Of The Arts In Moscow, Together With Wladimir Baranoff-Rossine, El Lissitzky And The Others. In This Same Year, He Installed A Temporary Work Of Architectural Sculpture In Palace Square To Commemorate The 1St Anniversary Of The October Revolution. The Canvas Was Subsequently Cut Up And Used For Soldiers' Foot Bindings. In 1920, He Became A Member Of The Institute For Artistic Culture (Inkhuk), Together With Kasimir Malevich, Vladimir Tatlin And The Others. In The Same Year, He Participated In The Exhibition From Impressionism To Cubism In The Museum Of Painterly Culture In Petrograd.(Now Saint Petersburg). In 1921, He Moved To Moscow. From 1921 To 1922 He Was Director Of The Museum Of Painterly Culture In Petrograd. From 1920 To 1928, He Worked On Stage Designs For The Habimah Theatre And The Jewish State Theatre In Moscow. In 1923 A Volume Of His Jewish Graphic Art, Evrejskaja Grafika Natana Al'tmana: Tekst Maksa Osborna [Max Osborn], Was Published In Berlin. In 1925, He Participated In Exposition Internationale Des Arts Decoratifs Et Industriels Modernes (Art Deco) In Paris Together With Aleksandra Ekster, Vadim Meller, Rudolf Frentz, Sonia Delaunay-Terk And David Shterenberg. His First Solo Exhibition In Leningrad Was In 1926. Altman Moved To Paris In 1928. In 1936, He Returned To Leningrad (Now Saint Petersburg). He Worked Mainly For The Theatre, As A Book Illustrator And An Author Of Essays About Art.

1958. Paris éditions Pierre Jean Oswald collection Ğ L'aube dissout les monstresğ 1958 E.O. - Broché 12 cm x 19 cm 75 pages - Poèmes de Vladimir Maiakovski ; portrait traduction notes et Ğ Maiakovski inconnu ğ par Georges Annenkov portrait de l'auteur par Nathan Altman - De la bibliothèque d'Hubert Juin bon état. Bon état.

Couverture souple. Condition: Bon. Moscou, 1922. Ed. V. Vladimirov. Un fascicule in-8. Compositions typographiques sur les 2 plats. No. 1-2. (Seul paru). Rédaction, articles et illustrations de Nathan Altman, Nikolai Aseev, Nikolai Tarabukin, Osip Brik, B. Pasternak, Vlamdimir Favorsky, et al. Très rare publication. Voir les 5 photos. (Russian avant garde).

Four pen and ink illustrations on thick white card (32.8 x 25 cm), titled on margins in pencil in Russian and signed in initials and dated in ink inside each drawing. The book of 'Krylov's Fables' for which the four illustrations were created was published by OGIZ in Moscow, 1947, and were illustrated by twenty prominent Soviet illustrators, Altman among them. The four original illustrations are of the following fables: 1. The Pig Under the Oak Tree 2. The Cat and the Nightingale 3. The Fox and the Crow 4. The Fox and the Grapes Nathan Isaevich Altman (1889-1970) was a Ukranian-Jewish artist, who worked in France and the Soviet Union and France. He was born to a family of Jewish merchants in 1889 and studied art and sculpture in Odesa between 1902 and 1907 before moving to Paris in 1910. Shortly after he returned to Russia, joined Souiz Molodezhi and painted his famous Cubist portrait of Akhmatova. After the Revolution he focused more on theatre design, producing sets for the Jewish theatre in Moscow for eight years before moving to Paris yet again in 1928. Altman returned to Russia in 1936 and settled in Leningrad. He was considered 'an undesirable' artist due to the Communist party's preference of 'Social Realism', and hence had to make a living as a graphic designer, book illustrator and stage designer.

Leather Bound. Condition: New. Language: english, handwritten, Italian. {Size: 19.68 x 24.13 cms} Presenting an Exquisite Leather-Bound Edition, expertly crafted with Original Natural Leather that gracefully adorns the spine and corners. The allure continues with Golden Leaf Printing that adds a touch of elegance, while Hand Embossing on the rounded spine lends an artistic flair. This masterpiece has been meticulously reprinted in 2013, utilizing the invaluable guidance of the original edition published many years ago in . The contents of this book are presented in classic black and white. Its durability is ensured through a meticulous sewing binding technique, enhancing its longevity. Imprinted on top-tier quality paper. A team of professionals has expertly processed each page, delicately preserving its content without alteration. Due to the vintage nature of these books, every page has been manually restored for legibility. However, in certain instances, occasional blurriness, missing segments, or faint black spots might persist. We sincerely hope for your understanding of the challenges we faced with these books. Recognizing their significance for readers seeking insight into our historical treasure, we've diligently restored and reissued them. Our intention is to offer this valuable resource once again. We eagerly await your feedback, hoping that you'll find it appealing and will generously share your thoughts and recommendations. Lang: - english, handwritten, Italian, Pages:- 19, Print on Demand. If it is a multi-volume set, then it is only a single volume. We are specialised in Customisation of books, if you wish to opt different color leather binding, you may contact us. This service is chargeable. Product Disclaimer: Kindly be informed that, owing to the inherent nature of leather as a natural material, minor discolorations or textural variations may be perceptible. Explore the FOLIO EDITION (12x19 Inches): Available Upon Request. 19.

Full Leather Bound. Condition: NEW. Language: english, handwritten, Italian. {Size: 19.68 x 24.13 cms} A Unique Premium Leather-Bound book for elite readers/collectors of old rare books. An Original Leather is being used for binding this book with Golden Leaf Printing and designing on Spine, front and Back of the book with edge gilding. WE HAVE MULTIPLE OPTIONS IN COLOR OF LEATHER RED, GREEN, BLUE, MAGENTA, TAN, PURPLE DEEP BROWN, BLACK AND WITH DIFFERENT COLOR LABELS. YOU MAY CHOOSE ANY COLOR OF YOUR CHOICE AND MAIL US. This service is chargeable. Original edition was published in and this unique edition is Reprinted in 2013 with the help of original edition. Black & white printing on high quality natural shade paper with sewing binding for longer life, professionally processed without changing its contents. As these are old books, we processed each page manually on computer and make them readable. We give our best to give you the best book but in some cases we have to adjust few pages which are blur or missing or black spots. If it is multi volume set, then it is only single volume. We hope that you understand these issues in these old treasure. This is an important book for the readers who want to know more about our old treasure. Our dedicated team is trying to bring these rare books back to the shelves. We are also giving service of printing the hard-to-find books which are not listed in our store. Hope you will like it and give your comments and suggestions. Lang: - english, handwritten, Italian, Pages 19, Print on Demand. Product Disclaimer: Please be aware that because leather is a natural material, slight discoloration or change in texture may be visible. {FOLIO EDITION (Size 12x19 Inches) IS ALSO AVAILABLE ON REQUEST}. 19.