Geismar tom chermayeff (21 resultados)

Hardcover. Condición: Fair. No Jacket. Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Condición: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Condición: good. Signs of wear and consistent use.

Hardcover. Condición: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority.

Hardback. Condición: Fine.

Hardback. Condición: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Condición: New.

Hardcover without dustjacket as issued, 352 pages, very good condition except light rubbing to covers; previous owner's inscription on first page; no other internal marks. Foreign shipping may be extra.

hardcover. Condición: New. Brand new book, sourced directly from publisher. Dispatch time is 24-48 hours from our warehouse. Book will be sent in robust, secure packaging to ensure it reaches you securely.

Condición: As New. Unread book in perfect condition.

Condición: New.

Condición: As New. Unread book in perfect condition.

Hardcover. Condición: Very Good. First Edition. Minimal wear to cover. Pages clean and binding tight. shelf wear. bumped edges. Hardcover.

Hardcover. Condición: Very Good. Very Good. Dust Jacket may NOT BE INCLUDED.CDs may be missing. SHIPS FROM MULTIPLE LOCATIONS. book.

Soft cover. Condición: Very Good. 4to, 22pp.with many color illus, cut out leaf cover with small tear & slightly browned, a nice paper sample book.info booklet laid in.(VVbrm1/3.

Hardcover. Condición: Good. Good condition. COVER (hardcover without jacket)- moderate wear; minor stains, generally clean. PAGES- occasional slight stains, generally clean; no writing; no tears. Not ex-library. Small format (6" x 6"). Book.

99 pp.; 16.5 x 25.1 cm.; screw bound; black-and-white & color; edition size unknown; unsigned and unnumbered; offset-printed Deluxe designed book featuring the intersection of Bauhaus design with Knoll products. Design of book attempts to mimic "modern," industrial books with high design elements of fancy papers, various printing methods, and binding using two very large screws and bolts. Text by Peter Blake. Artists and designers include Paul Aferiat, Marc Alessandri, Sergio Asti, Enrico Baleri, Jhane Barnes, Ayse Birsel, Cini Boeri, Vincent Cafiero, Ivan Chermayeff, Niels Diffrient, Dale Fahnstrom, Emanuela Frattini, Gianfranco Frattini, Tom Geismar, Paul Haigh, Bruce Hannah, Robert & Trix Haussmann, Dragomir Ivicevic, Lawrence Laske, Ross Lovegrove, Roberto Lucci, Paolo Orlandini, Carl Magnusson, Michael McCoy, Richard Meier, Stephen Peart, Don Pettit, Charles Pollock, Robert Reuter, Carlos Riart, Joseph Ricchio, John Rizzi, Brooks Rorke, Richard Schultz, Denise Scott Brown, Hazel Siegel, Peter Stamberg, Stanley Tigerman, Timothy Van Campen, Robert Venturi, Vignelli Designs, Marco Zanini, and Otto Zapf. Parallel texts in English, French, Italian, German, and Spanish. Fine. Covers and contents clean and unmarked. Due to large size and weight additional shipping charges will be required for international orders.…

12 pp.; 28 x 21.6 cm; loose leaves; black-and-white; edition size unknwon; unsigned and unnumbered; photocopy / xeroxed Exhibition brochure / checklist published in conjunction with show held May 1 - July 23, 1993. Curated by Jean-Noël Herlin, with research by Karen Bubb and Sarah Wagner. Selected artists include Jean-Noël Herlin, Karen Bubb, Sarah Wagner, Wolfgang Paalen, Tom E. Lewis, Joseph Cornell, Laurence Vail, A. Raymond Katz, Irving Kriesberg, Yves Tanguy, Piet Mondrian, Fernand Léger, Claude Bentley, David Smith, Matta, Jean Follett, Pablo Picasso, Marcel Duchamp, Robert Brownjohn, Ivan Chermayeff, Thomas Geismar, George Brecht, Jim Dine, Claes Oldenburg, Jim Davis, Elaine de Kooning, William T. Wiley, Frank Stella, Man Ray, Red Grooms, Michael Todd, Ay-o, George Ortman, Nam June Paik, Harry Soviak, Arni Hendin, Thomas Downing, Gerald Oster, Reginald Neal, Dakota Daley, Nicholas Quennell, Bela Julesz, Michael Noll, Dan Flavin, Louise Nevelson, Peter Saul, Lila Katzen, Elaine Sturtevant, Kim MacConnel, Liliana Porter, Mel Bochner, Lawrence Weiner, Eleanor Antin, Jean Dubuffet, Yoko Ono, Larry Bell, Marilyn Levine, Larry Rivers, Susan Weil, Arman, Dorothea Rockburne, Robert Rauschenberg, Robert Kushner, Lynda Benglis, Marcia Hafif, Joan Miró, Karole Armitage, Beverly Naidus, Meret Oppenheim, Ronnie Cutrone, Keith Haring, Michael Graves, Judith Shea, Gordon Matta Clark, James Lee Byars, Louise Lawler, and Izhar Patkin, and many others. Materials presented drawn largely from the Jean-Noël Herli Archive. "Exhibition invitations? I've seen a few. Any working art critic inevitably acquires an extensive knowledge of this genre of printed ephemera. Heralding gallery and museum shows, invitations flood the mailbox, crowd the desk and all too often accumulate so intractably on the kitchen counter as to seem part of the decor. You can't live with them, and until the show is over, you can't throw them out. Still, life without such art-world byproducts would be a lot more difficult. Not only do they convey the important facts -- the who, when and where -- of shows that need to be seen. They're also advertisements bent on seducing us into attendance by being clever, eye-catching or provocative -- although sometimes they nip interest in the bud. (There's probably no art lover with mailing-list credentials who hasn't held up some gallery announcement and said, "Forget it!") Invitations are style statements in a minor key, ancillary artworks of a collective sort. Designed by artists, by graphic designers, by art dealers and museum curators -- usually a combination of the above -- they are the advance guard for the real thing. Their merit is judged in the very act of reading one's mail." -- Roberta Smith, "Art Invitations As Small Scraps Of History," New York Times, May 16, 1993. Very Good. Light edge wear. Contents clean and unmarked.…

Softcover. New York. Three advertising brochures in portfolio, one leporello. Pages 13. Size: 31.5 x 24 cm Single slight signs of use and age, otherwise in very nice condition Softcovers in cardboard slipcase. Chermayeff & Geismar (ilustrador).

hardcover. Condición: Good. Our good condition books are generally good for reading but not for gifting or collecting. They could have imperfections such as creasing, fanning, inscriptions, margin notes, yellowing, staining on edge or cover or pages, bumps, scuffs, etc etc (sometimes multiple of these). It's a wide category that encompasses anything that isn't almost-new down to anything that is slightly better than poor. We would NOT recommend gifting Good books - these should be considered reading copies. Our books are dispatched from a Yorkshire former cotton mill. We list via barcode/ISBN so please note that the images are stock images and may not be the exact copy you receive, furthermore the details about edition and year might not be accurate as many publishers reuse the same ISBN for multiple editions and as we simply scan a barcode or enter an ISBN we do not check the validity of the edition data when listing. If you're looking for an exact edition please don't order (at least not without checking with us first, although we don't always have time to check). We aim to dispatch prompty, the service used will depend on order value and book size. We can ship to most countries, see our shipping policies. Payment is via Abe only.…

No Binding. Condición: Very Good. Very uncommon publication from 1968 which contains a bounty of American trademarked logos from the heyday of the post-war graphic design and advertising boon. In Black cardboard slipcase foil-stamped in white, with a 56 page booklet, 16 sheets that fold out to 4 panels, and 45 single panel sheets. An amazing document in a visually compelling format. This copy generally very nice, with some heavier wear to the slipcase, but the inner contents are in excellent, superb, crisp condition, appears scarcely looked through at all. The case itself, thought still intact, is a bit wobbly, and is missing about 1" of one of the sides, and what remains on both sides is slightly curled and peeled up form the joining cardboard underneath, leaving it a bit precarious as is (could likely be fixed up easily with PVA glue and happy to do that for anyone interested). Some further fraying at the sides and some light rubbing to covers besdes. As mentioned, all interior contents are nearly as new, remarkably so given the age. Booklet has some minor toning around edges of the back cover, and one or two of the sheets has the slightest bit of corner wear, but generally superb. Lester Beall [essay] Chicago: Society of Typographic Arts (STA), June 1968. First [only] edition. Black cardboard slipcase foil-stamped in white. [16] 4-panel sheets, 25 loose sheets, and a 56-page booklet enclosed in the slipcase. Contents lightly handled. The Publishers slipcase is split along the lower front edge and worn along each edge, with tape repair to case bottom and bumps to corners. Nearly fine contents in a fair to good example of the Publishers slipcase. Rare. Black slipcase contains 16 [8.5" x 8.5"] 4-panel sheets, 25 [8.5" x 8.5"] loose sheets and a 56-page [8.5" x 8.5"] perfect-bound booklet. From the introduction: "193 American trademarks, symbols and logotypes were chosen by a jury of leaders in the field of design to be represented in Trademarks/USA, the first national retrospective exhibition of its kind, which opened April 22, 1964 at the National Design Center in Marina City, Chicago, under the auspices of the Society of Typographic Arts." An amazing document that chronicles the rise of the American trademark after World War II, and by extension the graphic design profession as well. Essays include the introduction for "Trademarks/USA" including the President's Message and 5 b/w photos of jury members, an essay called The Trademark: A Graphic Summation of Individuality by Lester Beall including 5 b/w photos of the exhibition. Some of the actual trademark designers include, Abbott Laboratories, George Nelson, The Ansul Company, Raymond Loewy, CBS, William Golden, Connecticut General Life Insurance Company, Lester Beall, CCA, Ralph Eckerstrom, IBM, Paul Rand, International Minerals and Chemical Corp., Morton Goldsholl Design Assoc, International Paper Co., Lester Beall, Lawry's Foods, Inc., Saul Bass, Martin-Senour Co., Morton Goldsholl Design Assoc, Herman Miller, George Nelson; Playboy Magazine, Arthur Paul; Westinghouse, Paul Rand; Weyerhaeuser Co., Lippincott & Margulies, Inc, Ladislav Sutnar, Saul Bass, George Tscherny, Lippincott & Margulies, Morton Goldsholl Design Assoc., Raymond Loewy, Tom Geismar/Chermayeff & Geismar Assoc., John Massey, Paul Rand, S. Neil Fujita, Dickens, Inc., Walter Dorwin Teague Assoc., George Nelson & Co., Lester Beall, Inc., Milton Glaser/Pushpin Studios, Charles Coiner, John Ciampi, Albert Kner/Container Corp. of America, Aero Press, Frank Gianninoto Assoc., Eckstein-Stone Assoc., Lippincott & Margulies, Dickens, Inc., and William Wondriska among many many others.…