Publicado por Konrad Fischer Galerie, 2014
Librería: Studio Bruno Tonini / Tonini Editore, Gussago, BS, Italia
Original o primera edición
EUR 20,00
Cantidad disponible: 1 disponibles
Añadir al carritosenza rilegatura. Condición: ottimo. prima edizione. D'HOLLANDER Ilse (Saint Niklaas, Belgio 1968) Berlin, Konrad Fischer Galerie, 2014, 14,8x10,5 cm., color illustrated announcement card, published in occasion of the exhibition (Berlin, Konrad Fischer, September 17 - November 8, 2014).
Idioma: Inglés
Publicado por Gent: Uitgevers/Hannibal Publishing/Ric Urmel/Estate of Ilse D'Hollander, 2013
ISBN 10: 9491376616 ISBN 13: 9789491376610
Librería: Mast Books, New York, NY, Estados Unidos de America
Original o primera edición
EUR 310,58
Cantidad disponible: 1 disponibles
Añadir al carritoHardcover. Condición: Near Fine. 1st Edition. Gent: Uitgevers/Hannibal Publishing/Ric Urmel/Estate of Ilse D'Hollander, 2013. Hardcover, 255pp., 11 x 8.74 inches. Near Fine. Small bumps to corners, faint creases to rear board. Published in conjunction with a show at M - Museum Louvain curated by Eva Wittocx. ISBN: 9789491376610.
Idioma: Inglés
Publicado por Hannibal Publishers, Belgium, 2014
ISBN 10: 9491376977 ISBN 13: 9789491376979
Librería: Marcus Campbell Art Books, London, Reino Unido
Original o primera edición
EUR 296,31
Cantidad disponible: 1 disponibles
Añadir al carritoHardback. Condición: Near fine. First Edition. 22 x 28cm 255pp near fine hardback with texts in German and English, together with single page colour reproductions. In her short life, Ilse D Hollander (1968 1997) created an intelligent, sensual and highly resonant body of work. Born in Sint-Niklaas, Belgium, in 1968, graduating from the Hoger Instituut voor Beeldende Kunsten, St Lucas, Gent, in 1991, D Hollander was steadfastly committed to painting as an intellectual and emotional endeavour. Her often small-scale canvases and works on paper are charged with references to the everyday. Yet, enlivened by an expressive, though always economical, touch, her work resonates just as strongly as a sustained, self-reflexive enquiry into the act of painting: what it might take to bring an image into being on a bounded, flat plane.