‎Houssin Joel‎
‎Blue‎

‎Lithographie "Mechanical terrier blue". ‎

‎ Dimensions de la lithographie: 43 x 36 cm. Dimensions de l'image: 31 x 24 cm. Signée dans la planche. Edition limitée. Cachet bleu de CMOA au dosNumérotée au crayon 3634/5000. Année d'édition: 1986. L'oeuvre originale date des années 1980. Lithographie publiée et réalisée en 1986 par le Carnegie Museum of Art, Pittsburg (CMOA) où Andy Warhol a étudié l'art avant de devenir mondialement connu. Andy Warhol a fait don des droits de reproduction au CMOA de certaines de ses oeuvres dont celle-ci. ‎

‎Les consultations du Docteur Noir. STELLO ou les diables bleus (Blue Devils).‎

‎ Paris, Charles Gosselin, Eugène Renduel, 1832. 19,3 x 12 cm, 434 pp.-1f. Relié demi maroquin rouge à coins, dos lisse orné, titre doré, tête dorée (reliure signée Thierry Sr de Petit-Simier). Coins légèrement émoussés sinon bel exemplaire, intérieur très frais. Édition originale, ornée de 3 figures de Tony Johannot gravées par Brevière et tirées en hors texte sur Chine. (Vicaire, VII-1058). ‎

‎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"‎

‎Jan Fabre The Year of the Hour Blue Drawings and Sculptures The Years of the Hour Blue. Drawings & Sculptures 1977-1992.‎

‎, silvana, 2012 Hardcover with dusjacket, Engelstalig, 260 pagina's. 35x289x259 mm. ISBN 9788836623167.‎

‎Jan Fabre is one of the few artists of our epoch who so radically bring the metaphorical to what is immediately conceivable - and let it unfold its power there. (Lorand Hegyi)This catalogue invites you to enter the poetic and sensitive universe of an exceptional creator. Artist and author, Jan Fabre lets us see a unique world marked with metaphors, fantasies, symbols and realities. Often presented as a subversive artist, Jan Fabre brings us to discover here the Hour Blue, this hour of daybreak which immerses our reality in a strange universe, in which the forms escape their outline to drown themselves and spread their presence into a deep blue. This poetic hour becomes the intervening period convenient to all kinds of metamorphosis and outbreaks, and so animals, faces, objects appear and rise to the surface scrawled in blue Bic of Jan Fabre's drawings. ‎