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EDDA. - Brøgger, Suzanne:

Vølvens Spådom / Völuspa. Dansk gendigtning ved Suzanne Brøgger. Efterskrift af Vigdis Finnbogadóttir. Med omslag af Per Kirkeby.

Kirkegaards Antikvariat
kir60417
Brøndum, 1994. Lille format. Upagineret. Uopskåret, pænt og rent eksemplar.

Fine edition of "The Prophecy of the Völva, a seeress". Bilingual Icelandic / Danish text.
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Nyligt importeret fra Kirkegaards Antikvariat

Matisse, Henri. - Picasso, Pablo. - Braque, Georges. - Laurens, Henri. - Larsen, Gunnar (ed.):
Kirkegaards Antikvariat
kir57842
Oslo: Kunstnernes hus Oslo - Statens museum for kunst - Liljevalchs konsthall Stockholm Konsthallen, Göteborg, 1938. 8vo in original wraps. 32 pages, complete with tipped in b/w photographic portraits. Texts in Norwegian by Leo Swane, Ragnar Hoppe, Walter Halvorsen & Georges Duthuit. Cover soiled and a contemporary newpaper clipping glued to innercover. First edition, 1st printing of early important catalogue: "From the moment it was unveiled inside the Spanish Pavilion at the Paris International Exhibition of 1937, Guernica ignited the interest of every beholder, either through its standing as Picasso’s latest and biggest work — due to its unusual size compared with the rest of the artist’s work — or its clear political undercurrent and the immediate recognition of its symbolic value. Just months after the exhibition ended, in the spring of 1938, Guernica joined a collective touring exhibition around several Scandinavian cities which assembled the work of four pre-eminent artists from the modern art milieu of Paris: Henri Matisse, Pablo Picasso, Georges Braque and Henri Laurens. As one of Picasso’s most recent works, in 1938 Guernica was part of an exhibition which displayed works by four eminent artists who were integral to the renewal of plastic language — in painting and sculpture — at the beginning of the 20th century, and within the paradigm of modernity (and classicism) in French art. The promoter of the show was Walther Halvorsen (1887–1972), an artist who had lived in Paris since 1909 and worked as a critic and correspondent for a range of art publications. Due to his lengthy spells in the French capital, and through the ties he built with museum institutions and galleries, in both Norway, his country of origin, and Paris, Halvorsen became a key component of the dissemination of French art in Scandinavia, spanning Impressionism, the Fauvists and Cubism. Halvorsen’s ambitious exhibition programme in 1938 was welcomed by the Kunstnernes Hus, in Oslo, the Statens Museum for Kunst, Copenhagen, and Stockhom’s Liljevalchs Konsthall. The first letters to make mention of the exhibition and its touring venues are dated October 1937, with the French press also writing about it and reporting that Guernica, on display in the Spanish Pavilion, was to be part of a circulating show which would take in Scandinavian countries. The correspondence between different organisers and institutions with an interest demonstrates the urgency of the arrangements and the possibilities being discussed to take the exhibition to both Gothenburg and Helsingfors. Matisse, Picasso and Braque all had ties with Paul Rosenberg’s gallery, while Laurens had been at the gallery of his brother, Léonce Rosenberg. The bulk of the works presented by these four artists were dated between 1920 and 1937, and the aim was to employ them to set forth a consideration of temperate classicism, primarily touching on intimate themes to underscore the balance between drawing and colour, forms and volumes. The exhibition constituted soothing art with an amateur, dilettante viewer in mind, as well as collectors and artists, and was representative of a time before the war that was preceded by the ruptures of the avant-garde and the First World War. As portrayed in the exhibition catalogue and the installation photos in different museums, Guernica appeared the most displaced of the ensemble of works on display – its apparent political disruption, inserted in a chronological account of Picasso’s oeuvre, foresaw a rehearsal for the painting’s exhibition possibilities and its museumization, just one year later, in New York’s Museum of Modern Art."
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The Beatles. - Minoff, Lee, Al Brodax, Jack Mendelsohn & Erick Segal:
Kirkegaards Antikvariat
kir60419
Manchester: World Distributors, 1968. Tall quarto i original worn glossy illustrated boards. Illustrated throughout in color. Cover is bumped and worn (see photo) and soiled, inside clean. Just about acceptable copy.
Swane, Sigurd:
Kirkegaards Antikvariat
kir60420
Gyldendalske, 1912. Ubeskåret i det originale grønne, noget slidte, heftede omslag. 94 sider. Med håndskrevet dedikation fra Sigurd Swane til Ebbe Korneup. Originaludgave.
EDDA. - Brøgger, Suzanne:
Kirkegaards Antikvariat
kir60417
Brøndum, 1994. Lille format. Upagineret. Uopskåret, pænt og rent eksemplar. Fine edition of "The Prophecy of the Völva, a seeress". Bilingual Icelandic / Danish text.
Armstrong, Louis & Lucille:
Kirkegaards Antikvariat
kir60422
3 page stapled typed plan to "Lose Weight The 'Satchmo' Way by Lucille Armstrong & Louis Armstrong, signed "Satcmo / Louis Armstrong" with blue fountain pen on the first page. 8.5 x 11 inches (21.5 x 28 cm). Well stained copy. Forget about Novo Nordisk products, try Swiss Kriss. The 20th Century west with its strong focus on profit maximation and efficiency also saw the beginning an obsession with control of the body and weight loss - a phenomenon that is still raging. Amphetamine pills for everyone, despite strong side effects like anxiety, paranoia, irritability, and sleep disturbances, if you could stay up and perform and look model looking thin. Louis Armstrong had anxiety problems and eating a lot of food was one of the ways (along with smoking Marihuana) to calm himself down and he soon got a weight problem. He found the "Swiss Kriss" product, used it, got addicted to it and started advocating the use of this laxative to control weight. He would publish his ideas in a book called Lose Weight the Satchmo Way, and also appeared in advertisements for his favorite herbal laxative, Swiss Kriss. John Lennon and Mick Jagger were later regular user of the Swiss Kriss. In this manuscript, Satchmo describes a regimen of regular meals supplemented by orange juice and Swiss Kriss: "The more you shit / the thinner you'll git / no shit."
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Varnedoe, Kirk and Adam Gopnik (ed.):
Kirkegaards Antikvariat
kir60415
New York: Museum of Modern Art, 1990. Yellow and color-illustrated glossy wraps, oversized. 460 pp., countless BW and color plates, including 3 fold-outs. Wraps a bit worn but solid and inside clean. Complete with the original gallery guide for the exhibition. " “High and Low: Modern Art and Popular Culture,” which showed how modernist artists have incorporated elements of low culture into their work. Newspapers, advertising, comic books and graffiti were presented as raw material for the hermetic experiments of the avant-garde; in each instance, the “low” was transformed into a high form, its crude energy cultivated into a new aesthetic value." - "The overarching aim of this exhibition was to trace the interrelationship of modern art to mass culture, establishing a lineage of discourse that ran from Picasso’s newspaper-based Cubist collages, through Andy Warhol and other Pop artists’ spotlight on the imagery of consumer culture, to the graffiti-inspired paintings of artists such as Keith Haring and Jean-Michel Basquiat. High and Low angered conservative critics with its commingling of fine and commercial art, a distinction that some considered immutable. One critic worried that “the very reason for the museum’s existence might soon be in doubt.” In retrospect, however, Varnedoe’s approach is understood to have enlarged public understanding of modern art, and his view that the relationship between art and popular culture is essentially porous has been influential and widely accepted" .- First edition. Large and very heavy item that will require extra postage - please inquire before ordering this book!
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