568 books for « a e w mason »Edit

‎Bram van Velde. Les lithographies Tome 3 1979-1981‎

‎Genève Cabinet des Estampes Musée d'Art et d'Histoire 1984 In-4 Broché, couverture illustrée Edition originale ‎

‎Troisième volume du catalogue raisonné des lithographies de Bram van Velde etabli par Mason et Putman. Préface de Mason et de Putman. 75 estampes décrites et reproduites, dont 5 en couleurs. Biographie, bibliographie et liste des expositions de l'artiste in fine. Addenda et corrigenda au catalogue des lithographies 1974-1978.>Bel exemplaire. TRES BON ETAT 0‎

‎Candy. - [FIRST ISSUE OF ONE OF THE ""25 SEXIEST NOVELS EVER WRITTEN""]‎

‎Paris, The Olympia Press, (1958). Original printed green wrappers. Green border on title-page. Spine a bit worn, with minor loss of upper layer of paper to hinges and capitals. Light wear to extremities. Lower corner of front wrapper slightly bent. Internally nice and clean.‎

‎The scarce first edition, first issue (Traveler's Companion Series, number 64, printed October 1958, with the Francs 1.200 to back wrapper, not overstamped. - N.B. the 1.200 has been crossed out by hand, with a pen, but it is NOT stamped over) of Southern and Hoffenberg's greatly scandalous novel, which was confiscated by the Brigade Mondaine (i.e. ""La Brigade de répression du proxénétisme"" (BRP)) and officially banned in France. ""Candy"" not only caused an inevitable furor for its vulgar take on contemporary culture, but brought about landmark changes in how the First Amendment applied to erotic literature. The work, which constitutes the unison of three greatly provocative and time-changing minds (Southern, Hoffenberg, and Girodias), quickly gained classic status and is now one of the most famous ""Beat""-novels. It was famously made into an all-star film (starring Marlon Brando, Richard Burton, James Coburn, Charles Aznavour, John Huston, Ringo Starr, Walter Matthau, John Astin, and Ewa Aulin) by Christian Marquand in 1968, and in 2006 Playboy Magazine listed it among the ""25 Sexiest Novels Ever Written"", describing the story as a ""young heroine's picaresque travels, a kind of sexual pinball machine that lights up academia, gardeners, the medical profession, mystics and bohemians.""The work was published pseudonymously by Maurice Girodias, owner of the scandalous ""Olympia Press"", in October of 1958. Almost immediately noticed by the BRP, who seized copies of it in the Paris bookshops, ""Candy"" was officially banned in France in May of 1959 (under a statute called the ""1939 Decree"", an amendment to the law of 1881, which gave the French government more power to ban offensive publications in foreign languages).In December of 1958, Maurice Girodias changed the title of ""Candy"" and reissued it as ""Lollipop"" in order to fool sensors and sell the remaining copies of the work. This supposedly work quite well and many copies of the book survived thus, leaving the first edition with the original title quite a scarcity, both in the first (not-overstamped) issue and the second issue. Later on, ""Candy"" was published in North America, by Putnam, under the authors' own names, those being Terry Southern and Mason Hoffenberg. In an interview, Terry Southern explains the origin of the pseudonym as thus: ""Yeah. And the name of the author was Maxwell Kenton. A name I first used with David Burnett, of all people. He was the son of Martha Foley and Whit Burnett of The Best American Short Stories fame. We were collaborating on some short detective stuff, and even sold a couple to Argosy Magazine, and we used the pseudonym 'Maxwell Kenton'. So when Mason at one point had an attack of conscience and said, ""Man, I've decided I don't want my mother to know about this book,"" we took the name Maxwell Kenton so his mother would be spared anguish at her Mah-Jong parties."" (Smoke Signals).Terry Southern, though mostly famous for his bestseller ""Candy"", which greatly influenced popular culture of the 1960'ies, was known for a lot of things, including writing much of the film dialogue of the landmark films ""Dr. Strangelove"" and ""Easy Rider"". In his ""The Candy Men. The Rollicking Life and Times of the Notorious Novel ""Candy"""", Nile Southern tells the story of the book, the men behind it, and the furor that it caused: ""When I was in grade school in 1967, one of my six-year-old classmates, Daisy Friedman (now a writer), turned to me and said, ""Your father is a dirty old man!"" I asked how she knew that, and she said, ""He wrote a book called ""Candy"" - and it's a dirty, dirty book!"" Again, I asked how she knew all this, and she said, ""Because my parents told me - they have it on their bookshelf."" Not knowing what a ""dirty old man"" was, I came away with the impression that whatever my father was, he was a great Upsetter. I would later learn that young, literate New Yorkers had no issue about having a copy of ""Candy"" in their libraries, but this was certainly not the case across the country - censorship and prudishness were in fact still alive and well, not only in the United States but abroad.I first got the idea for ""The Candy Men"" after reading a letter in Terry's files from a British barrister advising how (even in 1968) the only way ""Candy"" could appear in England would be to undergo a ""pornectomy"" - eliminating about eighty instances of what was considered ""indecency,"" which the barrister had handily indexed in a kind of blueprint for the operation. The assessment featured page after page of cryptic references to offending words and passages to be excised or modified: Page 60 line 7 ""COME"" amend to ""come to you"" without capitals"" Line 15 ""jack-off"" amend to ""liberate"""" Page 93 line 2 ""exactly like an erection."" Delete.(...)There were three men responsible for bringing the erotic fantasy Candy to fruition - and they could not have been more different. The first, Maurice Girodias, was Europe's most infamous publisher and indefatigable survivalist. Girodias put out otherwise unpublishable works of (mostly) erotic literature in English when the English-speaking world needed them most: Lolita, Naked Lunch, Henry Miller's The Tropics, the Marquis de Sade. As Girodias wrote of himself, ""The connecting link is clear enough: anything that shocks because it comes before its time, anything that is liable to be banned by the censors because they cannot accept its honesty."" Girodias was also a seasoned gambler. ""A day out of court is a day wasted,"" he used to quip.Mason Hoffenberg, the second of the three, was one of the smartest, hippest, most undisciplined poets on the scene - whether it be Joe's Dinette, the Riviera bar in the Village, or the Old Navy on the Left Bank of Paris. A ""permanently kicking junkie"" as William Burroughs once described him, Mason the writer never really got started - though Terry, his best friend, described him as a ""Nobel Prize-type genius.""And Terry Southern, a writer with a destiny and a killer ear for dialogue. Terry's mandate was to take things as far out as they could go - with absolute credibility. A prose stylist gone Hollywood - his Texan, Irish, and Native American roots made him Trickster and Taurus bull - oblivious to the rules of the Game.""‎

‎La Maison de Terreur. ‎

‎ Bibliothèque-Charpentier / Eugène Fasquelle 1917. In-12 broché de 322 pages au format 12 x 18,5 cm. Couverture avec titre imprimé. Dos bien carré un peu insolé. Bords des plats un peu brunis. Traduit de l'anglais par Louis Labat. Exemplaire en superbe état de fraicheur. Recueil de 8 nouvelles fantastico-policières et premier livre de Alfred Edward Woodley Mason publié en france. Rarissime édition originale avec mention fictive d'édition. Il n'existe qu'un seul tirage de ce livre. ‎

‎ Site Internet : Http://librairie-victor-sevilla.fr.Vente exclusivement par correspondance. Le libraire ne reçoit, exceptionnellement que sur rendez-vous. Il est préférable de téléphoner avant tout déplacement.Forfait de port pour un livre 7 €, sauf si épaisseur supérieure à 3 cm ou valeur supérieure ou égale à 100 €, dans ce cas expédition obligatoire au tarif Colissimo en vigueur. A partir de 2 livres envoi en colissimo obligatoire. Port à la charge de l'acheteur pour le reste du monde.Les Chèques ne sont plus acceptés.Pour destinations extra-planétaire s'adresser à la NASA.Membre du Syndicat Lusitanien Amateurs Morues‎

‎Les lithographies 1923-1973. Les lithographies II 1974-1978.‎

‎2 vol. Paris, Yves Rivière, Genève, Cabinet des estampes, 1973-1979. In-4°. 149 p., 1 p.; 115 p., 1 p. Avec de nombreuses illustrations en noir et en couleurs. Broché.‎

‎Avec un texte de R.M. Mason "Trois approches de Bram van Velde", "Avertissement" par Mason et Jacques Putman et le catalogue des 126 lithographies et un Texte de Rainer Michael Mason "D'abord un supplément de pienture", "L'interprétation superflue" de Jean Starobinski, le catalogue des lithographies no. 127-330 et "Addenda et corrigenda au catalogue des litthographies 1923-1973." - Le premier volume avec un titre additionel: Kunstmuseum Winterthur. Bram van Velde. Das graphische Werk aus den Beständen des Cabinet des Estampes, Genf. 10. März bis 15. April 1974. - 1984 paraissait un troisième volume.‎

‎Georg Baselitz. Peintre - Graveur. IV. Catalogue raisonné des estampes 1989-1992.‎

‎<p></p><p><span>« Le partisan de la peinture »</span></p><p><span>Georg Baselitz a été qualifié de « The Painting Partisan » par Cornelius Tittel dans une critique (3 novembre 2021) dans Die Welt de la grande rétrospective du Centre Pompidou.</span><br><span>Pour Heiner Müller (1991), dans une conversation avec Alexander Kluge, le partisan était « quelque chose comme un chien sur l’autoroute dans une structure moderne, c’est-à-dire définie de manière technocratique ».</span><br><span>Et dans cette marginalité, Tittel voit devenir au fil des décennies un monolithe l’artiste Georg Baselitz, que « l’Académie des Beaux-Arts a désormais accepté dans ses rangs comme le seul Allemand. L’épée qui lui a été présentée lors de la cérémonie cérémonielle symboliserait son immortalité. Cela n'aurait plus été nécessaire.«</span><br><span>En collaboration avec les éditeurs Rainer Michael Mason et Detlev Gretenkort, nous annonçons maintenant la publication du volume IV (1989–1992) de l'ouvrage imprimé ; Les numéros de travail sont inclus. 718-1010. Comme nous l'avons déjà indiqué lors de la parution du Volume III, il ne fait aucun doute que l'œuvre imprimée de Georg Baselitz se situe indépendamment à côté de son œuvre picturale et sculpturale. L'artiste a non seulement façonné le médium dans la diversité de ses différentes approches et solutions techniques pendant des décennies, mais l'a également placé à l'avant-garde de l'art moderne d'après-guerre grâce à sa virtuosité sans précédent.</span></p><!----> Köln, 2024 SNOECK 376 p., 340 ill. couleur, relié sous jaquette. 34 X 24, 5‎

‎Neuf‎

‎Van Wyck Mason. La Garnison rouge : Ethe Sulu sea murderse traduit de l'anglais par Hélène Jeandidier‎

‎Générique Broché D'occasion état correct 01/01/1948 150 pages ‎

‎Partition de la chanson : Winter world of love ‎

‎ Donna Music 1969‎

‎ Bon état Format Coquille ‎

‎Partition de la chanson : Toi mon amour perdu Why did I fall for love ‎

‎ Francis Day 1970‎

‎ Bon état Format Coquille ‎

‎Partition de la chanson : I dig rock and roll music ‎

‎ Société Intercontinentale de Musique 1967‎

‎ Bon état Format Coquille Piano ‎

‎Partition de la chanson : Dernière valse (La) The last waltz ‎

‎ Francis Day 1967‎

‎ Bon état Format Coquille ‎

‎Partition de la chanson : C'est lui seul que je veux When he wants a woman ‎

‎ Francis Day 1967‎

‎ Bon état Format Coquille ‎

‎Partition de la chanson : Bluer than blue ‎

‎ Patricia Music 1969‎

‎ Bon état Format Coquille ‎

‎Partition de la chanson : Boogie du corbeau et du renard (Le) ‎

‎ Intersong 1980‎

‎ Bon état Format Coquille ‎

‎Partition de la chanson : Amour est passé (L') when love has passed you by ‎

‎ Francis Day 1968‎

‎ Bon état Format Coquille Piano ‎

‎Modern Organization Theory - A Symposium of the Foundation for Research on Human Behavior‎

‎John Wiley and Sons , Series of Books from the Research Program of the Institute of Industrial Relations, University of California Malicorne sur Sarthe, 72, Pays de la Loire, France 1961 Book condition, Etat : Bon hardcover, under dust-jacket grand In-8 1 vol. - 334 pages‎

‎ second printing Contents, Chapitres : Preface, Contributors, Contents, x, Text, 324 pages - Mason Haire : Introduction recurrent themes and general issues in organization theory - E. Wight Bakke : Concept of social organization - R.M. Cyert and J.G. March : A behavioral theory of organizational objectives - Anatol Rapaport : A logical task as a research tool in organizational theory - Chris Argyris : Understanding human behavior in organizations - William Foote Whyte : An interaction approach to the theory of organization - Rensis Likert : A motivation approach to a modified theory of organization and management - Robert Dubin : Stability of human organizations - Darwin Cartwright : The potential contribution of graph theory to organizational theory - Mason Haire : Biological models and empirical histories of the growth of organizations - Jacob Marschak : Efficient and viable organizational forms - Index very small parts of the jacket are torn, with very small missings, otherwise fine copy‎

‎MacConnal-Mason Gallery London.MacConnal-Mason, sale catalogue of 19th century paintings.‎

‎2. London, MacConnal-Mason, s.d. (1987), stapled in-4°, 29,5 x 21 cm, 64 pp with coloured ills., orig. illustrated covers with gilt lettering. Illustrated sale catalogue of this London picture gallery.‎

‎MacConnal-Mason Gallery London.MacConnal-Mason, sale catalogue of 19th century paintings.‎

‎2. London, MacConnal-Mason, s.d. (1988), stapled in-4°, 29,5 x 21 cm, 64 pp with coloured ills., orig. illustrated covers with gilt lettering. Illustrated sale catalogue of this London picture gallery.‎

‎MacConnal-Mason Gallery London. MacConnal-Mason, sale catalogue of 19th century paintings.‎

‎2. London, MacConnal-Mason, s.d. (1988), stapled in-4°, 25,5 x 21 cm, 56 pp with coloured ills., orig. illustrated covers with gilt lettering. Illustrated sale catalogue of this London picture gallery.‎

‎The English Scene. MacConnal-Mason Gallery London. MacConnal-Mason, sale catalogue of 19th century paintings.‎

‎2. London, MacConnal-Mason, s.d. (ca.1975), stapled oblong in-4°, 21 x 29,5 cm, 42 pp with coloured ills., orig. green covers with gilt lettering. Illustrated sale catalogue of this London picture gallery.‎

‎Celebrate Ninety years in Paintings. MacConnal-Mason Gallery London. MacConnal-Mason, sale catalogue of 19th century paintings.‎

‎2. London, MacConnal-Mason, s.d. (1983), stapled oblong in-4°, 21 x 29,5 cm, ca.42 pp with coloured ills., orig. green illustrated covers with gilt lettering. Illustrated sale catalogue of this London picture gallery.‎

‎MacConnal-Mason Gallery London. MacConnal-Mason, sale catalogue of 20th century paintings.‎

‎2. London, MacConnal-Mason, s.d. (ca.1985), stapled oblong in-4°, 21 x 29,5 cm, ca.42 pp with coloured ills., orig.illustrated covers with gilt lettering. Illustrated sale catalogue of this London picture gallery.‎

‎Autumn Exhibition. MacConnal-Mason Gallery London. MacConnal-Mason, sale catalogue of 19th century paintings.‎

‎2. London, MacConnal-Mason, s.d. (ca.1985), stapled oblong in-4°, 21 x 29,5 cm, ca.20 pp with coloured ills., orig.illustrated covers with gilt lettering. Illustrated sale catalogue of this London picture gallery.‎

‎Nineteenth Century Masters. MacConnal-Mason Gallery London. MacConnal-Mason, sale catalogue of 19th century paintings.‎

‎2. London, MacConnal-Mason, s.d. (ca.1983), stapled oblong in-4°, 21 x 29,5 cm, ca.50 pp with coloured ills., orig.illustrated covers with gilt lettering. Illustrated sale catalogue of this London picture gallery. (Paintings by Carabain, Koekkoek, Verboeckhoven etc.).‎

‎Spring '85. MacConnal-Mason Gallery London. MacConnal-Mason, sale catalogue of 19th century paintings.‎

‎2. London, MacConnal-Mason, s.d. (ca.1983), stapled oblong in-4°, 21 x 29,5 cm, ca.50 pp with coloured ills., orig.illustrated covers with gilt lettering. Illustrated sale catalogue of this London picture gallery.‎

‎Les punitions des chinois représentées en vingt-deux gravures : avec des explications en anglais et en français - The Punishments of China, illustrated by twenty-two engravings: with explanations in English and French. ‎

‎London [Londres] William Miller 1801 In-f° (360 x 265 mm), [27] ff. - 22 pl., maroquin rouge à long grain, dos à 5 faux-nerfs orné, décor d'un triple filet, de deux frises à froid et d'un encadrement « à la grecque » sur les plats, roulette sur les coupes au niveau des coins, roulette intérieure, tranches dorées (reliure de l'époque)‎

‎Édition originale reliée en maroquin de l'époque de ce macabre recueil de planches illustrant les supplices chinois L'ouvrage, imprimé sur beau papier vélin fort, bilingue anglais-français, décrit 22 supplices (bastonnade, torsion des oreilles, torture des doigts, brûlure des yeux, amputation, décapitation...) illustré chacun d'une planche rehaussée à l'aquarelle et gravée en pointillé par John Dadley, d'après des originaux réalisés par l'artiste (ou studio) cantonais Pu-Qua. L'auteur, William Henry Mason, major des Royal Madras Fusiliers, aurait acquis ces peintures vers 1790 lors d'une escale à Canton. La Chine était alors hostile aux étrangers, et plus particulièrement aux britanniques, qui ne pouvaient circuler librement dans le pays. Mason parvint cependant, par l'intermédiaire de marchands cantonais, à obtenir les peintures et informations qui serviront de base à deux livres de planches : The Costumes of China (William Miller 1800) et le présent ouvrage. Bien que certains des supplices évoqués dans l'ouvrage soient explicitement décrits comme abolis (« supplice de couper le jarret à un malfaiteur ») ou archaïques, et que d'autres paraissent relever plus de la rumeur que de la réalité (« manière de brûler les yeux avec la chaux »), Les punitions des chinois contribua à soulever, dans les pays occidentaux, des inquiétudes quant à la sévérité perçue du système judiciaire chinois, et nourrit la sympathie du public pour la mission « civilisatrice » de l'Empire. Mors, coiffes et coins frottés, traces sombres sur le plat inférieur, léger transfert des gravures sur la page en regard, rares rousseurs. ‎