Dossier Letters (19 results)

Soft Cover. Condition: Poor. Front cover and title page are missing. The first page is "Table of Contents". Property label on first page. The interior is clean and tight. 159 pages.

Condition: New. In.

Condition: New. In.

xii + 112pp, fine in original red boards. Study of sugar plantation correspondence.

Condition: New. Print on Demand.

Condition: New. Print on Demand.

Leatherbound. Condition: NEW. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. Leatherbound edition. Condition: New. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. Pages: 136. A perfect gift for your loved ones. Reprinted from 1900 edition. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. IF YOU WISH TO ORDER PARTICULAR VOLUME OR ALL THE VOLUMES YOU CAN CONTACT US. Resized as per current standards. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Language: English Pages: 136.

Paperback / softback. Condition: New. This item is printed on demand. New copy - Usually dispatched within 5-9 working days.

Condition: New. PRINT ON DEMAND.

Condition: Good. Five Softcover Books, 4to. [and smaller formats], and Five Stapled Sections of typed essays.

Condition: Good. Three typed letters (4pp.) signed by Van Deren Coke, each addressed to Dody Weston Thompson. Letters: 27.7x21.6 cm (11x8½"). Includes original mailing envelopes, some photocopied newspaper articles and 3 small format color photographs. 5 franked envelopes with other docs.Each letter is signed by Van Deren Coke. Correspondence from curator and Director of Photography at SF MoMA Van Deren Coke to Dody Weston Thompson on various issues related to museum collections and a charity auction. . The letter from 1997 has a copy of the New York times review of his show at the Howard Greenberg Gallery with 3 color photos, presumably for the show. Dody Weston Thompson:Born: 1923, New Orleans, LA, Died: 2012, Los Angeles, CA, .Photographer and photo historian Dody Weston Thompson studied at Tulane University in New Orleans (1940) and Black Mountain College in North Carolina (1941-1943). In 1947, Thompson met Edward Weston, who offered her training in photography in exchange for work as his assistant. Later that same year, Thompson opened her own portrait studio. In 1949, she met Ansel Adams who, like Weston, taught Thompson photography while she worked as his assistant. By 1950, Thompson's photographic work was exhibited and collected by numerous institutions, including the Santa Barbara Museum of Art and the Institute of Design in Chicago. In 1952, Thompson earned the Alfred M. Bender Award from the San Francisco Museum of Art.In addition to her career in photography, Thompson was a prolific author and lecturer on the history and practice of the medium. Notably, in 1952 she co-founded the photography journal Aperture, to which she frequently contributed as a writer. Throughout her lifetime, she actively worked to preserve the legacy of Edward Weston and the West Coast photographic movement of the 1950s. From 1952 until 1957, Thompson was married to Edward's son, Brett Weston.

Condition: New. Print on Demand.

Condition: New. Print on Demand.

Condition: New. PRINT ON DEMAND.

Condition: Good. Folio, Folder with Script, Partnership Proposal, Correspondence, PR Letters, and other related material. [Ca. 75 pp.]. Very Good.

2 vols. Small folio. (274 x 228 mm + 276 x 238 mm). Typed original letters, manuscrit material in pencil and ink, an original maquette and other printed material (see below) tipped-in to bound leaves, mounted or bound in throughout - see below for further details. Vol. 1: full vari-coloured lizardskin by C. and J.-P. Miguet with their signature in blind, excised rectangular section to front board with onlaid section of morocco with title 'JEAN DUBUFFET' in blind, matching turn-ins, steel grey brushed suede doublures and endpapers, top edge argent, grey wool-lined black calf-backed marbled paper-covered board chemise with argent title 'Correspondence Autour d'une Exposition . &c.' to spine, matching slipcase; vol. 2: full vari-coloured lizardskin by C. and J.-P. Miguet with their signature in blind, excised rectangular section to front board with onlaid section of morocco with title 'JEAN DUBUFFET' in blind, matching turn-ins, steel grey brushed suede doublures and endpapers, top edge argent, grey wool-lined black calf-backed marbled paper-covered board chemise with argent title 'Correspondence Autour d'une Exposition . &c.' to spine, matching slipcase. An extraordinary ensemble of original material, including an extensive series of letters and other manuscripts from Jean Dubuffet, his maquette for the catalogue, the catalogue itself and other material concerning Dubuffet's 1957 exhibition ?Tableaux d?Assemblages? at Galerie Rive Droite. Dubuffet began a series of extraordinary collage works - he termed them ?Assemblages d?Empreintes? - making use of traditinal materials, his own fabricated elements as well as the wings of butterflies after travelling to Savoie with Pierre Bettencourt in 1953. Assemblage, Dubuffet?s own neologism, became central to his practice and over the next few years he created an extraordinary body of work, the ?Tableaux d?Assemblages?, culminating in his eponymous exhibition in 1957. The ?Tableaux d?Assemblages? that grew out of the earlier ?Assemblages d?Empreintes?, featured a dense array of shapes, marks, textures, colours and forms, excised and rearranged, reassembled on the canvas, or creating new shapes and forms on other canvases. The exhibition that resulted, delineated in the material presented here, was held at Jean Larcade?s Galerie Rive Droite; Dubuffet exhibited 30 ?Tableaux d?Assemblages? and 15 ?Assemblages d?Empreintes? ?I envisaged making all sorts of experiments with various textures, patches, marks, etc. on the canvases, then cutting out the parts I liked and assembling them at will. The main attraction of this technique was that it allowed me to mmake my first marks with great freedom and spontaneity, without worrying about spoiling other parts of the picture.? (Jean Dubuffet). The material presented here all relates to Dubuffet?s 1957 exhibition held at Jean Larcade?s Galerie Rive Droite from April 30th to May 23rd. The first volume, is composed largely of the correspondence of Dubuffet to Larcade. It consists of 18 original letters sent from Dubuffet to Larcade, the majority typewritten, either from rue Vaugirard in Paris or from Vence in the Alpes Martitimes, commencing in November 1956. The letters outline Dubuffet?s initial ideas for the exhibition and settle on the dates and over the following months, both before and after the exhibition, discuss the selection of works for the exhibition, its logistics, sales and other related matters. Dubuffet is ultimately happy with the exhibition but deplores the dearth of publicity and makes clear that he believes it repsonsible for the few sales. One of the most significant letters - it is dated in December 1957 - demonstrates Dubuffet?s loyalty to his gallerists Pierre Matisse, Farchetti and Cordier after what must have been a request from Larcade to commit to his gallery exclusively. The same letter also makes explicit Dubuffet?s motivation in selling his paintings: ?Mon problème n'est plus du tout maintenant de vendre mes tableaux, mais de parvenir à en conserver quelques-uns pour moi-même sans trop mécontenter personne.? The volume concludes with a photograph of Dubuffet and Georges Limbour, likely a later printing, showing the pair in 1942 or 1943 and a copy of the final printed catalogue for the exhibition. An additional tranche of letters, lists of paintings, framing requests and other documents, from Dubuffet and from others, are also included, inserted loose. The second volume includes additional material, the majority of it manuscript, including the original maquette by Dubuffet for the exhibition catalogue as well as another example of the final printed catalogue itself. Notes with details of works for framing, instructions to the printers Louis Barnier (Imprimerie Union printed the text of the catalogue) and Daniel Jacomet (the printer of the three illustrations), calculations regarding the printing costs, receipts for payments from Larcade and so on. One of the most compelling documments - and a further indication of the seriousness of Dubuffet in matters of his work and its dissemination - is a four-page list of 93 names (some husband and wife), several with addresses, headed ?Liste de personnes à aviser de l?exposition? The list begins with Mr and MMrs Pierre Matisse and includes many of those most closely associated with Dubuffet personally and artistically, his patrons and collectors, both French and international: Alfonso Ossorio, Henri Michaux, Mr and Mrs Sidney Janis, Georges Limbour, Jean Paulhan, Edith Boissonnas, Lee Miller and Roland Penrose, Charles Ratton, Henri-Pierre Roché, Michel Tapié, Aimé Maeght, Jean L?Anselme, Slavko Kopac, André Martel, Pierre Bettencourt and many others. Dubuffet?s original maquette demonstrates again, if any demonstration were needed, his control of and mastery over all facets of his career. The layout of the maquette, or at least its final version with many excisions and rearrangements fo the detail, matches that of the final printed catalogue al.

Hardback. Condition: New. This item is printed on demand. New copy - Usually dispatched within 5-9 working days.

Condition: like_new.

Leather Bound. Condition: New. Language: English. Language: English. 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 2024, utilizing the invaluable guidance of the original edition published many years ago in 1900. 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, Pages: - 136, 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. 136 136.