marc bernheim (17 resultados)

Hardcover. Condición: Fair. No Jacket. Former library book; Missing dust jacket; Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Condición: Good. Estado de la sobrecubierta: Good. First Thus. Foreword by Dr. Barnes Riznik. DJ is price-clipped. Shelfwear (to book & dj).

Hardcover. Condición: As New. Estado de la sobrecubierta: As New. Photos Ilustrador. 4to. Lt. green cl. w. black letters. Prof. photos w. descriptive text. A Face to Face Book.

Soft cover. Condición: Good. No Jacket. Marc and Evelyne Bernheim Ilustrador. Ex-Library Book with stamps, pockets and stickers. Cover shows some wear on the bottom. Pages are extremely nice.

Hardcover. Condición: Fine. No Jacket. 1st Edition. Ex-Library With The Usual Library Markings Such As Pocket, Bar Codes, Stamps, Stickers On Spine, Etc. There Are No Other Markings Or Tears Inside The Book. Binding Is Tight With Very Little Wear On Cover.

Hardcover. Condición: Very Good. Estado de la sobrecubierta: Very Good. Very good condition book, unmarked, in very good condition dustjacket, not price-clipped. [1803].

Hardcover. Condición: Very Good. Estado de la sobrecubierta: Very Good. 1st Edition. First Edition. Ex Libris with all the usual attributes. Dust jacket taped to cover, clipped, with a few rips; Very Good condition. Tape marks on end pages. A few marks on pages, but still Very Good condition.

HC. Condición: good, ex-library. 96 Photographic essay of modern Africa.

Illustrated Boards. Condición: Good. Photo's Ilustrador. First Edition. A bright clean copy with only slight thinning at edge of front end-paper where it was stuck to half-title page & imprint of paperclip on rear end-paper, illust. throughout with col. photo's. many full-page, unpaginated. Size: 4to - over 9¾" - 12" tall. Illustrator: Photo's. Quantity Available: 1. Category: Indigenous Cultures; West Africa; Anthropology. ISBN: 0152242333. ISBN/EAN: 9780152242336. Inventory No: SAF00016.

Condición: Good. Good condition. Good dust jacket. (New England, History) A copy that has been read but remains intact. May contain markings such as bookplates, stamps, limited notes and highlighting, or a few light stains.

Firste eition ed. hardback very good condition in a near very good dust jacket.

Hardcover. Condición: Very Good. First Edition. Cloth. 96 pp. Photos. Index. No dust jacket. Light soiling to cloth, minor wear to boards. Contents clean and tight.

Hardcover. Condición: Fair. Acceptable condition with some wear on covers and spine.

Condición: Normal. Timun Mas. Tapa dura. 30 cm. Cubierta deslucida. Ilustrado. Libro en almacén 1. Normal.

Condición: Good. Original photographs. 3 kodak photographs of Yvonne and Philippe Halsman at Marc Bernheim's, measuring 9 x13 cm (3½x5¼").?Annoted vers on one fof the three.Text below by Mary Panzer,Curator of PhotographsNational Portrait Gallery, Smithsonian Institution.Philippe Halsman (1906-1979) was born in Riga, Latvia. He studied engineering in Dresden before moving to Paris, where he set up his photographic studio in 1932. Halsman's bold, spontaneous style won him many admirers. His portraits of actors and authors appeared on book jackets and in magazines; he worked with fashion (especially hat designs), and filled commissions for private clients. By 1936, Halsman was known as one of the best portrait photographers in France.From the 1940s through the 1970s, Philippe Halsman's sparkling portraits of celebrities, intellectuals, and politicians appeared on the covers and pages of the big picture magazines, including Look, Esquire, the Saturday Evening Post, Paris Match, and especially Life. His work also appeared in advertisements and publicity for clients like Elizabeth Arden cosmetics, NBC, Simon & Schuster, and Ford. Photographers, amateur as well as professional, admired Halsman's stunning images. In 1958, a poll conducted by Popular Photography named Halsman one of the "World's Ten Greatest Photographers" along with Irving Penn, Richard Avedon, Ansel Adams, Henri Cartier-Bresson, Alfred Eisenstaedt, Ernst Haas, Yousuf Karsh, Gjon Mili, and Eugene Smith. Altogether, Halsman's images form a vivid picture of prosperous American society in the middle years of the twentieth century. "Philippe Halsman: A Retrospective" is the first historical survey of his work.Halsman's career came to a dramatic halt in the summer of 1940, when Hitler's troops invaded Paris. Albert EinsteinHis wife, daughter, sister, and brother-in-law, who all held French passports, immigrated to America, but as a Latvian citizen, Philippe Halsman could not obtain a visa. For several long months he waited in Marseilles along with many others who were forced to escape fascist Europe. Finally, through the intervention of Albert Einstein (who had met Halsman's sister in the 1920s), Halsman obtained permission to enter the United States, and he arrived in New York in November 1940 with little more than his camera.Halsman's big break came when he met Connie Ford, a striking young model who agreed to pose in exchange for prints for her portfolio.Constance Ford When publicists at Elizabeth Arden saw Halsman's photograph of Ford against an American flag, they used the image to launch a national campaign for "Victory Red" lipstick. A year later, in the fall of 1942, Life asked Halsman to shoot a story on new hat design. To Halsman's delight, his portrait of the model smiling through a feathery brim landed on the cover. One hundred more covers followed before the magazine ceased weekly publication in 1972.When Halsman began working for Life, the magazine was only six years old, and photojournalism was still a new field. Before the existence of Life and its competitors, Americans learned about the world from newspapers, radio, and newsreels. But the new picture magazines published pages filled with bright, dramatic photographs, bringing Americans vivid information that no other media could match. Frank SinatraIn the spirit of a variety show, or a world's fair, magazines combined stories about international politics, everyday life, news events, celebrities, exotic scenery, and humor to prove that "so much of the world, so judiciously selected, had never been seen before in one place." Today, to understand the significance of those great magazines, we need only look at the many forms of mass media that have come to replace them. Now, we find photographs on television and billboards; in special publications devoted to news, people, fashion, or sports; in newspapers; in museums and galleries; and on the Internet. And, ironically, the more places there are to see photographs, the harder it is to attract viewers. But in 1942, when Philippe Halsman's portrait simply appeared on the cover of Life and immediately reached a large, united audience.Surrealism:.In Paris, Halsman studied the work of other artists and photographers, especially the surrealists, from whom he learned to make images that surprised his viewers. By including homely, and ultimately disturbing, details, he gave his subjects memorable tension. Through subtle lighting, sharp focus, and close cropping, he turned formal fashion shots into serious investigations of character. When Halsman posed NBC comedians against bare white paper, eliminating all defining context, their isolation made them look both frail and funny.Salvidor Dali Most important of all, from the surrealists' exploration of the erotic unconscious, Halsman learned how to combine glamour, sex, and wholesome energy in one portrait. This unusual ability made him Life's favorite photographer for sensual stars like Marilyn Monroe and Brigitte Bardot. Halsman's sympathy for surrealism also led to his long, productive friendship with Salvador Dali. Halsman met Dali on assignment in 1941, and over the next three decades they became partners on many projects, including a series of playful tableaux that had all the disturbing irrationality of dreams or a painting by Dali. Their most notable production was "Dali Atomicus", in which the artist, his canvas, furniture, cats, and water all appear suspended in air.Psychological Portraiture:.Over the course of his career, Halsman enjoyed comparing his work to that of a good psychologist who regards his subjects with special insight. With his courtly manners and European accent, Halsman also fit the popular stereotype at a time when Americans regarded psychology with fascinated skepticism. In fact, Halsman was proud of his ability to reveal the character of his sitters. As he explained, "It can't be done by pushing the person into position or arranging his head at a certain angle. It must.

Condición: gut. Kommentar zum Bundesgesetz über Schuldbetreibung und Konkurs unter Einbezug der Nebenerlasse / SchKG I/II/III und Ergänzungsband: Kommentar zum . / Art. 1-87 /88-220 /221-352, Nebenerlasse Acocella, Domenico; Angst, Paul; Bauer, Thomas; Bernheim, Marc; Berti, Stephen V; Bessenich, Balthasar; Bodmer, Bernhard; Brunner, Alexander; Bürgi, Urs; Casati, Reto; Cavadini-Birchler, Caroline; Cometta, Flavio; Dubacher, Jean C; Emmel, Frank; Engler, Urs; Feuz, Andreas; Foëx, Bénédict; Frey, Markus; Gasser, Dominik; Giroud, Roger; Guggisberg, Jürg; Handschin, Lukas; Hardmeier, Hans Ulrich; Häusermann, Markus; Hierholzer, Dieter; Huber, Ueli; Hunkeler, Daniel; Jenny, David; Jent-Sørensen, Ingrid; Känzig, Philipp; Kofmel Ehrenzeller, Sabine; Lebrecht, André E; Lévy, Laurent; Lustenberger, Urs; Merkt, Olivier; Nordmann, Francis; Nordmann, Philippe; Ottomann, Rudolf; Peter, Hansjörg; Peter, James T; Reiser, Hans; Roth, Markus; Russenberger, Marc; Rutz, Magdalena; Schmid, Ernst F; Schnyder, Anton K In deutscher Sprache. pages.

Condición: gut. Bundesgesetz über Schuldbetreibung und Konkurs I (Art. 1-158 SchKG) + II (Art. 159-352 SchKG) (Basler Kommentar) In deutscher Sprache. pages.