when two de keith smith (10 resultados)

Hardcover. Condición: Very Good. Estado de la sobrecubierta: Very Good. Beige illustrated Dust Jacket with black titling. Mylar protected. Red buckram boards with spine titling. Unmarked. Numerous b & w illustrations. Unpaginated, approx. 25 pp. Oblong. Sharp corners. Square and bright. Near fine.

Soft cover. Condición: Good. Good; tanning to 90% of front cover; small stains to both front and back panels; small tears to top and bottom of stitched binding; some wear to fore corners; flares to fore edge of wraps; small stains to a few pages; booksellers pencil mark on the inside of back cover; else Good. Pages clean and bright except as noted. Second Printing. Book.

Soft cover. Condición: Very Good. 1st Edition. No marks. Light shelfwear. Second printing. Softcover.

Second printing. Oblong softcover. Artist book with numerous black and white collages by Keith Smith. A very good copy in stapled wrappers with some wear to the spine ends and some creasing to the corners. A solid copy of this uncommon book.

Estado de la sobrecubierta: dj. First Edition. First edition and first printing. Oblong hardcover. Artist book with numerous black and white collages by Keith Smith. A clean and tight very near fine copy in cloth boards and in a near fine dust jacket with some slight toning to and along the spine. A very nice copy of this fairly uncommon book.

oblong folio. [ff. 25]. illus. throughout in black & white. cloth. dw. (dw. slightly soiled & discoloured with a few edge imperfections, the book in fine condition). First Edition, Regular Issue of 300 copies. A special edition of 50 copies includes a tipped-in photo etching.

Hardcover. Condición: VG. Estado de la sobrecubierta: VG-. Rarer edition: includes signed & numbered photoetching tipped-in. Inscribed/Signed by the Author/Artist (on title page). DJ: some rubbing & edgewear; some smudges/scratches/small stains. Book: some rubbing, edgewear, & yellowing; overall clean & tight. Inscribed and Signed by the Author/Artist (on title page).

unknown_binding. Condición: Good. one missing print cut out. noticeable wear and creasing pages yellowed; ex library.

Signed & numbered photoetching tipped-in on recto of first blank leaf, black & white illus. throughout. [25] leaves. Oblong 4to (205 x 315 mm.), orig. three-color silk-screened dust-jacket, stiff boards, saddle-stitched & case-bound. Rochester, NY: Visual Studies Workshop Press, 1977. First edition, one of 50 special copies with a large, tipped-in photoetching, signed and numbered by the artist, captioned in pencil: "I was born at twenty but died at twelve, 6/50 Keith, October 1977." This striking photoetching, depicting Smith and various representations of his younger self, was executed for the present work. Smith's photoetchings are extremely rare on the market. The artist has also signed and dated the title-page: "6/50, Keith Smith, 2 November." This book is an excellent demonstration of Keith A. Smith's ability to manipulate photographic processes to create intricate and vivid imagery. One of Smith's frequent motifs, a "tumbling block" quilt pattern, appears here several times. In the 60s and 70s, the artist experimented with adding images to quilts by photo silk-screen, etching printed onto cloth, and even gum bichromate. The present work was also printed in a regular version of 300 copies without the photoetching the same year. In his auto-bibliography, 200 Books, Smith (b. 1938) writes: "In Book 68 the technique was darkroom manipulation. I have always loved test strips. Since the first one I made under the guidance of Ken Josephson in his photography class, test strips have been as exciting as the finished print. They seem to be magic "Rubylith pin-registered stencils were made. This approach to multiple printing on a sheet is familiar to printmakers, if not photographers. By controlling the exposure to local areas of one negative, I could print the picture on one sheet of photo paper with several different exposures. Some would be under- or over-exposed. One would be the 'normal' exposure. The varying exposures would bring out shapes of the quilt which are in the exposure but not in the photograph. The resulting print elevates the characteristics of the test strip from disposable guide to an exhibited print "Book 68 contains a running text. Since I was exhibiting framed photographs with handwriting on the bottom of prints, I used this solution for text with pictures in this book. It is not as successful. Anecdotal scribbling adds contrast to a formal silver print. In a published book, text and picture on a paper page are both ink. There is less a play of opposing elements. The photo reproduction looks complete whereas the hand-printed text seems a poor substitute for typography. "When I Was Two utilizes pictures and text about events I remember from when I was two years old until an adult. It was my first public written expression of personal events. Most of the previous books were visual statements on similar experiences. As I stated when writing about Book 22, it is easier for me to reveal things through pictures than to speak or write them" In excellent and fresh condition. The photoetching is also in fine condition. The present special version of When I Was Two is now very scarce. ? Smith, 200 Books (2000), pp. 113-17.

Black & white illus. throughout, offset-printed. [25] leaves. Oblong 4to (205 x 315 mm.), orig. three-color silk-screened dust-jacket (minor wear to the extremities), stiff boards, saddle-stitched & case-bound. Rochester, NY: Visual Studies Workshop Press, 1977. First edition. This is an excellent demonstration of Keith A. Smith's virtuosity with the manipulation of photographic processes to create intricate and vivid imagery. One of Smith's frequent motifs, a "tumbling block" quilt pattern, appears several times in this work. In the 60s and 70s, the artist experimented with adding images to quilts by photo silk-screen, etching printed directly onto cloth, and even gum bichromate. The present book was printed at the Visual Studies Workshop Press; this is the regular edition of 300 copies. A special edition of 50 copies from the same year comes with a tipped-in photoetching as the frontispiece. In 200 Books, Smith (b. 1938) writes: "In Book 68 the technique was darkroom manipulation. I have always loved test strips. Since the first one I made under the guidance of Ken Josephson in his photography class, test strips have been as exciting as the finished print. They seem to be magic "Rubylith pin-registered stencils were made. This approach to multiple printing on a sheet is familiar to printmakers, if not photographers. By controlling the exposure to local areas of one negative, I could print the picture on one sheet of photo paper with several different exposures. Some would be under- or over-exposed. One would be the 'normal' exposure. The varying exposures would bring out shapes of the quilt which are in the exposure but not in the photograph. The resulting print elevates the characteristics of the test strip from disposable guide to an exhibited print "Book 68 contains a running text. Since I was exhibiting framed photographs with handwriting on the bottom of prints, I used this solution for text with pictures in this book. It is not as successful. Anecdotal scribbling adds contrast to a formal silver print. In a published book, text and picture on a paper page are both ink. There is less a play of opposing elements. The photo reproduction looks complete whereas the hand-printed text seems a poor substitute for typography. "When I Was Two utilizes pictures and text about events I remember from when I was two years old until an adult. It was my first public written expression of personal events. Most of the previous books were visual statements on similar experiences. As I stated when writing about Book 22, it is easier for me to reveal things through pictures than to speak or write them" In near fine condition, signed by the artist on the title-page; the slightest bit of wear to the dust-jacket. A second edition of this book, with semi-stiff paper wrappers, was published in 1980, in an edition of 300 copies. ? Smith, 200 Books (2000), pp. 113-17.