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Unread book in perfect condition.

Elevate your denim game with these Rita Row Wide Velde Jeans. Featuring a high waist, patch pockets, contrast stitching, and a trendy hemming detail, these loose-fitting jeans are a must-have for any fashion-forward woman.

Eglo's De Velde family offers a clean, vintage design. The steel base frame surrounds a smooth mesh cylinder that frames the bulb. It brings elegance and style to any home.

Eglo's De Velde family offers a clean, vintage design. The steel base frame surrounds a smooth mesh cylinder that frames the bulb. It brings elegance and style to any home.

18 x 25, 103 pp., 101 planches en couleurs, 13 annexes, broché, très bon état.

Torn/worn dj. Good hardcover with some shelfwear; may have previous owner's name inside. Oversized.

Hardcover.Width: 25 cm. Height: 33cm. 416 pages. English & Dutch text.

In shrink wrap! Looks like an interesting title!

It is fitting that Greenwich should be the setting for the first major exhibition in this country to the work of Willem van de Velde the Elder and his son Willem van de Velde the Younger. Not only does the National Maritime Museum have the world's largest collection of Van de Velde drawings and paintings, but Greenwich was for many years the home of the two Dutch artists. Following their arrival in England in 1672 they had a house in East Lane, Greenwich and there is evidence to show that they worked in the Queen's House, the elegant building designed by Inigo Jones which is now part of the National Maritime Museum and is the location for this exhibition.

1st UK edition, with B&W & colour illustrations. Bookplate on front pastedown; a very nice clean, tidy copy with firm binding Used - Very Good. VG hardback in VG dust jacket

Nach der erfolgreichen Rekonstruktion kann Henry van de Veldes Villa Esche in Chemnitz wieder als Gesamtkunstwerk wahrgenommen werden. Diese Monografie stellt ein historisches Bauwerk zwischen Jugendstil und Expressionismus dar, das nun zu einem Ort der Begegnung zwischen Kultur, Wissenschaft und Wirtschaft werden soll. Der erste Teil widmet sich der Bau- und Nutzungsgeschichte der Villa sowie der Bedeutung des Gesamtkunstwerkes im Schaffen des Architekten und in der Baukunst seiner Zeit. Der zweite beleuchtet die Aspekte der Rekonstruktion und der Umbauten von 1998-2000 dieses rationalen Jugendstilbaus. Der dritte Teil zeigt schließlich die kunsthandwerklichen Objekte, die der Architekt und Gestalter van de Velde (1863-1957) für dieses Gebäude entworfen hat.

Blue cloth over boards with gilt lettering on front and spine; white dust jacket, color illustration and black lettering; 227 pp; 320 illustrations, 10 in colour. "One of the most important figures in the design world of the early part of this century. Henry van de Velde (1863-1957) successfully spanned the disciplines of architecture, interior design, painting, furniture, ceramics and metalware, and even typography and clothing. His work continues to fascinate through its originality, intelligence and strength of concep. Initially inspired by the Arts and Crafts movement in England, van de Velde was a passionate advocate of the spread of good design to a wider public Sembach, who knew van de Velde personally, investigates the most important aspect of his work: his architecture, which - although perhaps less well known than van de Velde's other achievements - was the motivating force behind much of his oeuvre. This comprehensive survey includes more than 300 illustrations to demonstrate how van de Velde's principles of structural honesty, logic of design and importance of line were translated into reality."--Jacket. VG/VG (ex-library with labels and stamps on spine, block, inside front and rear covers and title page verso. Pages are clean and clear. Binding is tight.)

The painter, designer, and architect Henry van de Velde (1863–1957) played a crucial role in expanding modernist aesthetics beyond Paris and beyond painting. Opposing growing nationalism around 1900, he sought to make painting the basis of an aesthetic that transcended boundaries between the arts and between nations through his work in Belgium, France, Germany, and the Netherlands. Van de Velde’s designs for homes, museums, and theaters received international recognition. The artist, often associated with the Art Nouveau and Jugendstil, developed a style of abstraction that he taught in his School of Applied Arts in Weimar, the immediate precursor of and model for the Bauhaus. As a leading member of the German Werkbund, he helped shaped the fields of modern architecture and design. This long-awaited book, the first major work on van de Velde in English, firmly positions him as one of the twentieth century’s most influential artists and an essential voice within the modern movement.  

29 x 25 cm 224 pp with colour illustrations throughout. Hbk. fine in dustwrapper, inscribed by the author.

Unread book in perfect condition.

Published in conjunction with an exhibition on Belgian artist Rinus van de Velde at CAC Málaga from February through March 2013, this catalogue focuses on the self-referential nature of his work. The titles accompanying many of his images, in which the artist himself is the protagonist, are small narratives about the fictions they depict, or real-life reflections on the creative process, his beliefs and sentiments. In opposition to the real self, his self-portraits are an exercise in introspection that focuses on a recurring theme artistic creation but also the anti-ego. Besides numerous works and texts by the artist, the book includes a critical essay by Juan Francisco Rueda.

It is fitting that Greenwich should be the setting for the first major exhibition in this country to the work of Willem van de Velde the Elder and his son Willem van de Velde the Younger. Not only does the National Maritime Museum have the world's largest collection of Van de Velde drawings and paintings, but Greenwich was for many years the home of the two Dutch artists. Following their arrival in England in 1672 they had a house in East Lane, Greenwich and there is evidence to show that they worked in the Queen's House, the elegant building designed by Inigo Jones which is now part of the National Maritime Museum and is the location for this exhibition.

George Wittenborn (1905-1974), legendary émigré bookseller, publisher, dealer and friend to artists ranging from Léger, Arp, Ernst, Picasso and Braque to Calder, Beuys, Warhol, Johns, Ono, Richter, Baldessari and Nauman, kept a guestbook over the many decades of his passionate career in connoisseurship. On March 16, 1944, the Mexican painter and writer Miguel Covarrubias drew a hand in Wittenborn's guestbook in lieu of his signature--and with that a tradition was born. This monumental volume, designed with cut-out alphabetical letter tabs like an old fashioned encyclopedia, contains renderings of hands by roughly 300 of the twentieth century's finest and most challenging artists. Essays include Henri Focillon's 1939 "In Praise of Hands" and Jan Ceuleers' engaging narrative biography. Ceuleers writes, "Wittenborn's guestbook is a book of friends, a book of handshakes that stands for 'greeting, good-bye, friendship, solidarity, unity and agreement, and the doubling of power achieved through partnership.'"

Making picturesque Bible characters come alive is what Frances Wander Velde has done this book. You will relive the lives of these Women of the Bible, and you will come to know them as friends.

Published in conjunction with an exhibition on Belgian artist Rinus van de Velde at CAC Málaga from February through March 2013, this catalogue focuses on the self-referential nature of his work. The titles accompanying many of his images, in which the artist himself is the protagonist, are small narratives about the fictions they depict, or real-life reflections on the creative process, his beliefs and sentiments. In opposition to the real self, his self-portraits are an exercise in introspection that focuses on a recurring theme artistic creation but also the anti-ego. Besides numerous works and texts by the artist, the book includes a critical essay by Juan Francisco Rueda.