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Gut/Very good: Buch bzw. Schutzumschlag mit wenigen Gebrauchsspuren an Einband, Schutzumschlag oder Seiten. / Describes a book or dust jacket that does show some signs of wear on either the binding, dust jacket or pages.

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In the autumn of 2006, The Museum of Modern Art will present Brice Marden: A Retrospective, the artist's first major American retrospective. The exhibition, which will travel to San Francisco and Berlin, will constitute an unprecedented gathering of Marden's work, with more than 50 paintings and an equal number of drawings, balanced across the artist's career. The accompanying catalogue is the first book to take readers through the full course of Marden's work as it has developed over more than 40 years from the early 1960s to the present, showing his gradual, deliberate evolution, along with his constant exploration of light, color and surface at every turn. Marden's first 20 years of work, characterized by the luminous monochrome panels for which he won his first acclaim, will for the first time appear alongside the celebrated production of the past 20 years, which followed a shift in the mid-1980s to calligraphic gestures in shimmering grounds, and another shift in the past decade to heightened color. Two of Marden's newest paintings appear here for the first time. Gary Garrels interprets Marden's work and places it in historical context. Carol C. Mancusi-Ungaro, of the Center for the Technical Study of Modern Art at Harvard, examines issues of materials, processes and conservation. Richard Shiff, Brenda Richardson and Michael Duffy explore Marden's early use of a grid and his engagement with time and space in the studio, as well as his observation of the elemental qualities of nature, his representational links to nature, and the distinctive emotional effects of the abstract monochrome works for which he was initially recognized. Marden himself addresses his working methods in an interview, and a comprehensive chronology, exhibition history and bibliography close the book out.

The paintings and drawings that compose Brice Marden's Letter series, the artist's first extended group of works since his 2006 retrospective at The Museum of Modern Art, New York, demonstrate the persistence of labor and method that has characterized the artist's practice for over four decades now. The Letter paintings have in common a strict formatting device: borders or bands of color along the left and right vertical edges of the canvas.

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158 illustrations, including 133 plates in color. Bound in publisher's original white cloth. Dust jacket.

2nd Edition, First Printing. Published by Morningside Bookshop, 2012. Octavo. Gray cloth boards stamped in blue with cartographic endpapers. Book is like new; clean with no writing or names. Sharp corners and spine straight. Binding tight and pages crisp. Dust jacket is like new. A fine copy of this history of the Battle of Brice's Cross Roads. 382 pages. ISBN: 0890290571. 100% positive feedback. 30 day money back guarantee. NEXT DAY SHIPPING! Excellent customer service. Please email with any questions or if you would like a photo. All books packed carefully and ship with free delivery confirmation/tracking. All books come with free bookmarks. Ships from Southampton, New York.

Essay by Jean-Pierre Criqui. 120 pages. 112 color plates. Wraps with cloth slipcase and magnetic closure. 11 1/8 x 12 1/2 inches; 28 x 31.5 cm. Published to accompany Marden’s first exhibition in New York in five years and his most significant since the Cold Mountain exhibition at the Dia Center for the Arts in 1991. Containing over 70 full-color plates of paintings, drawings, and etchings completed between 1997 and 2002.

Large 4to. in grey cloth, black lettering to spine, printed paper label to front cover, unpaginated, approx. 64pp on stiff art paper, colour plates, etc CONDITION: An extremely well preserved AS NEW unread copy with the original plain tissue jacket (lightly edge-torn) ] ._ __To see more of our Art Monographs etc type DbbARTIST in the Keywords search box._We Ship in PROTECTIVE CARD PARCELS

This volume provides a rare glimpse into the most intimate works of the internationally acclaimed artist Brice Marden. Twenty years ago, Marden produced a series of small and virtually unknown paintings on the Greek island of Hydra, which the artist first visited in 1971. Inspired by the island's ancient marble quarries, Marden created these private paintings in oil on marble fragments as tokens for friends and family. Between 1981 and 1987, the artist made a total of 32 paintings on marble, gathered together here for the first time in a single volume. The period coincided with changes in his publicly exhibited paintings. In 1987, the date of his last painting on marble, Marden presented the first public exhibition of his calligraphic paintings, as opposed to his earlier monochrome work. An essay by Lisa Liebmann here helps to contextualize that shift: according to the artist, the diagonal in the marble fragments helped serve as a stepping stone from rectilinear to more organic form.

Catalogue from Whitechapel Art Gallery exhibit 1981

Text: German, English (translation) Original Language: German

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Marlborough sen va-t-en guerre Op. 28 Guitar Arrangement. Musik Fur Gitarre Karl Scheit Flagolett-Studie Op.29/9 UE 16702. 10 Pages

248 pp + 40 page German insert. Mit der originalen Banderole. Weißer Einband mit Lager-, Staubspuren. Das Buch selber ist tadellos und ungelesen. Sprache: Englisch Gewicht in Gramm: 0 4°, paperback, Schutzumschlag (Banderole).

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Initially dismissed as "a dead failure" and "a bad book," and declined by Melville's British publisher, Pierre, or The Ambiguities has since struck critics as modern in its psychological probings and literary technique--fit, as Carl Van Vechten said in 1922, to be ranked with The Golden Bowl, Women in Love, and Ulysses. None of Melville's other "secondary" works has so regularly been acknowledged by its most thorough critics as a work of genuine grandeur, however flawed.This scholarly edition aims to present a text as close to the author's intention as the surviving evidence permits. Based on collations of the two issues and the two impressions of the single edition publishing in Melville's lifetime, it incorporates necessary emendations made by the series editors. This text of Pierre is an Approved Text of the Center for Editions of American Authors (Modern Language Association of America).