‎GLAISTER Lesley ‎
‎Blue ‎

‎Blue Note ‎

‎ 2014 Paris, 2014, 360x265mm, 336p., pleine toile de l'éditeur avec vignette en couverture, coffret originale imprimé.Texte français et anglais, très nombreuses illustrations photographiques illustrant l'histoire de la marque Blue Note qui produisit à partir de 1939 les plus prestigieux disques de jazz.Tirage de 1939 exemplaires numérotés, tous signé par Wayne Shorter.État neuf, petit défaut au coffret. (104166) ‎

‎Green to Green / Blue to Blue / Yellow to Red‎

‎ 1994 Ensemble des trois livres d'artiste publiés par One Stroke avec le concours de Tokushu Paper Manufacturing en 1994.Tokyo, One stroke, 1994, 247x190mm, 20 feuillets de différents papiers de couleur découpés, cartonnage muet de l'éditeur ajouré. Textes en japonais avec pour chacun une feuille de traduction en anglais.Collation identique pour les trois volumes.Tous trois datés NOV 10 1995 et signés par Komagata.Edition originale, état neuf. Les trois volumes.(104035) ‎

‎The Blue Mask‎

‎ Dossier promotionnel de RCA publié en 1982 pour la sortie de l'album The Blue Mask contenant :-Une affiche 560x560mm, imprimée en offset couleur avec le portrait photographique de Lou Reed par Mick Rock-9 feuilles agrafées à l'en-tête de RCA Victor avec le texte de Ellen WillisDeux photographies de Lou Reed par David Gahr en tirage argentique 260x205mm.L'ensemble contenu dans une chemise à rabats292x224 avec le portrait photographique de Lou Reed reproduit en couverture; portrait par Mick Rock qui servit également pour la pochette du disque.New York, RCA 1982. Quelques défauts à la chemise, léger pli transversal peu marqué sur l'ensemble des documents. (103512) ‎

‎Geometric Figures & Color. Sol LeWitt. Circle, Square, Triangle, Rectangle, Trapezoid and Parallelogram in Red, Yellow and Blue on Red, Yellow and Blue‎

‎LeWitt, Sol: Geometric Figures & Color. Sol LeWitt. Circle, Square, Triangle, Rectangle, Trapezoid and Parallelogram in Red, Yellow and Blue on Red, Yellow and Blue. New York: Harry N. Abrams, 1979. Signed by the artist on the title page. 48 pages of illustrations. Paperback. 21 x 21cms. Lewitt conceptually explores: 'Circle, Square, Triangle, Rectangle, Trapezoid and Parallelogram in Red, Yellow and Blue on Red, Yellow and Blue.' The book is divided into three sections, each of which differ by background color. Barbara M. Reise wrote that 'LeWitt's colours, like his lines and squares, are like 'facts': they are inert, pre-established, accepted and un-emotional man-made constructs which can 'come to life' within a present context but do not necessarily do so. Red, yellow, blue, and black (and the white of wall or paper) are standard 'absolute primaries basic to all pigment colour - that is according to the colour system accepted by an art academic from early 19th-century theorists like Chevreul. Unlike the Newtonian rainbow-spectrum based on light-waves, this theoretical structure is more conceptually mathematical and tautological than referential to some exterior and inhuman Nature. LeWitt's use of these colours is as flatly complete, physical, and self-reflective as the theory itself. Unlike Seurat, whose use of the same colour theories was subordinated and interrelated to other interests in proportion theories and (seen) scene subject-matter, LeWitt uses colour as both the subject and the object of his art' (in: 'Sol Lewitt Critical Texts,' ed. Adachiara Zevi, Rome, 1994, p. 188).‎

‎Lewitt conceptually explores: 'Circle, Square, Triangle, Rectangle, Trapezoid and Parallelogram in Red, Yellow and Blue on Red, Yellow and Blue.' The book is divided into three sections, each of which differ by background color. Barbara M. Reise wrote that 'LeWitt's colours, like his lines and squares, are like 'facts': they are inert, pre-established, accepted and un-emotional man-made constructs which can 'come to life' within a present context but do not necessarily do so. Red, yellow, blue, and black (and the white of wall or paper) are standard 'absolute primaries basic to all pigment colour that is according to the colour system accepted by an art academic from early 19th-century theorists like Chevreul. Unlike the Newtonian rainbow-spectrum based on light-waves, this theoretical structure is more conceptually mathematical and tautological than referential to some exterior and inhuman Nature.. LeWitt's use of these colours is as flatly complete, physical, and self-reflective as the theory itself. Unlike Seurat, whose use of the same colour theories was subordinated and interrelated to other interests in proportion theories and (seen) scene subject-matter, LeWitt uses colour as both the subject and the object of his art' (in: 'Sol Lewitt Critical Texts,' ed. Adachiara Zevi, Rome, 1994, p. 188). Text in English‎

‎"The Baker Street Journal, An Irregular Quarterly of Sherlockiana - Vol. 71 n°4 Winter 2021 - In memoriam Michael Francis Whelan - A first look at ""The Blue Carbuncle"" - Leslie S. Klinger : ""The Blue Carbuncle"" : the first public case of Sherlock Holmes,"‎

‎BSI. 2021. In-8. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 74 pages - quelques photos et illustrations en noir et blanc dans et hors texte. Coupure au cutter sur le 1er plat. Revue en anglais.. . . . Classification Dewey : 420-Langue anglaise. Anglo-saxon‎

‎"Contents : In memoriam Michael Francis Whelan - A first look at ""The Blue Carbuncle"" - Leslie S. Klinger : ""The Blue Carbuncle"" : the first public case of Sherlock Holmes, and the one that created his career - David L. Leal : Justice, mercy and ""The Blue Carbuncle"" - Aaron J. Walayat : My Sherlockian Family Tree - Alan Rettig : Sherlock Holmes and the Fatal Cut - Terence Faherty : That's a wrap : The adventure of the Golden Age Glossy - Jerry Kegley : Baker street views - Mattias Boström : The Commonplace Book -.. Classification Dewey : 420-Langue anglaise. Anglo-saxon"‎