This piece is not stained glass. The design is reverse applied and molded to the glass. The signature is illegible to me and the frame has an identification plate attached to the right side that reads Dickinson Wright PLLC. Upon research, this DW is a huge law firm and not a product production company. If you know, please fill me in, I would be grateful for the information.
Please read our policy written in the lower part of the page. Although we try our best to describe the condition of each item with pictures, please note that items may have unnoticeable flaws. The color of the product may not be displayed correctly because the state of lighting and the display of the PC are different in the picture. We only sell authentic items. Regarding dust bags and boxes. And, The attached box and dust bag may not be the box that originally contained the item. Mostly we have set a matching it size. We DO NOT ACCEPT. Merchandise or mark the item as a. Such actions are against the international laws. The Unpaid item case will be opened after 5 days automatically unless with prior agreement. We are unable to deliver to Military APO/FPO/MPO addresses. We find rare and unique Japanese products in Tokyo and display them for overseas customers. We mainly deal in Japanese brand products such as hobbies, musical instruments, and cameras. We are officially registered as legal business in Tokyo.
The Japanese print an interpretation. Author: Wright, Frank Lloyd Title: The Japanese print an interpretation Publication: New York: Horizon Press, [1967]. Description: Revised edition, first published i n 1912. 142, [2]; 32 color plates (7 on one large folding gatefold); original cream linen stamped in red and gilt, publisher’s slipcase lightly spotted. Ownership signature of William Davis of St. Paul, a sometime collaborator of Wright. Rulon-Miller Books buys and sells rare, fine and unusual books in many fields, with an emphasis on language, early and unusual printing, voyages and travel, archives, and appraisal services. We are members of the Antiquarian Booksellers’ Association of America (ABAA). All books are guaranteed genuine as described, and are returnable for any reason during the two weeks after receipt. We leave feedback for buyers once they have posted feedback for us. We work hard to keep buyers happy and to resolve the rare problem promptly. This listing was created by Bibliopolis.
The Story of the Tower: The Tree that Escaped the Crowded Forest. By Frank Lloyd Wright. First edition, signed by the architect. New York: Horizon Press, 1956. Signed by Frank Lloyd Wright on the front free endpaper within printed red square and dated 58. Ownership signature of Wright’s student, George Knowles in pencil above Wright’s signature. Bound in publisher’s black cloth boards lettered and stamped in red and gilt; lacking the dust jacket. Very Good with light rubbing and fading to spine and edges, heaviest along top edge of upper board. Binding shaken with light toning to contents. A profusely illustrated monograph of the famous architect’s design and construction of The Price Tower in downtown Bartlesville, Oklahoma. The tower was built for Harold C. Price as a corporate headquarters for his pipeline construction company. The initial project was laid out for a cluster apartment complex in New York City in 1929, but was never realized due to the Great Depression.
This stunning print by Acme Studio is a must-have for any art lover. Inspired by the legendary architect Frank Lloyd Wright, this piece is a true masterpiece. The intricate details and beautiful colors make it a standout addition to any collection. Whether you’re a fan of art prints or simply looking for a unique piece to decorate your space, this Acme Studio Frank Lloyd Wright print is sure to impress. Its high-quality printing ensures that it will last for years to come. Add it to your collection today and enjoy its beauty for years to come.
A Non-Political Voice from Our Democratic Minority. #13 and 15 (2 Issues). Author: Wright, Frank Lloyd Title: A Taliesin Square-Paper. Square octavos (when folded). Tan printed wrappers with black and orange lettering on the covers. Two issues from the series of irregularly published broadside manifestos and short essays by American architect Frank Lloyd Wright. Each issue consists of one or more two-fold broadside sheets, with numerical pagination on the top of each “page”. The covers contain the title, subtitle, and the following quote: A free fearless enlightened minority is the conscience of a democratic nation. When this is stifled, democracy is gone from the life of the nation. Issue #13, dated March 17th, 1949, reproduces the contents of his acceptance speech upon receiving the AIA Gold Medal from the American Institute of Architects. The acceptance speech was diplomatic yet frank, and has been seen as a reconciliation of sorts between the association and Wright, who had previously shown animus towards the organization, and who had earlier in his career referred to them as among other things, “a harbor of refuge for the incompetent, ” and a form of refined gangsterism. Conversely, in 1991 the Association recognized Frank Lloyd Wright as the greatest American architect of all time. Issue #15, dated January 1951, was published to coincide with the opening of the Italian Exhibition: A preview in Philadelphia at Gimbel Brothers Gallery. The content is a reprinting of the foreword Wright wrote for the book’When Democracy Builds’. In it the architect passionately and poetically discuses and ponders the cultural life and soul of the country. Pages have become somewhat brittle, with some light age toning. Issue #13 detached into multiple parts, but all content is present. Issue #15 with a few small closed tears at the folds, but sound overall. Sheets in fair to very good- condition overall. Both issues are protected together in modern mylar. We offer a broad selection of rare, out-of-print and antiquarian books with an emphasis on photography, architecture, art, Judaica, Bibles, Weimar Germany and the Third Reich, modernism, Olympic Games, erotica and foreign-language works, especially German, Hebrew, Polish and Yiddish. This listing was created by Bibliopolis.
This beautiful archival print features the signature of the famous architect Frank Lloyd Wright, the father of Mid Century Modern. The print showcases a stunning portrait of the never built mile high skyscraper, with a matted and framed display that enhances its beauty. The artwork is perfect for lovers of modernism, art, and architecture, and it comes with a unique autograph from the artist himself. Measuring 13 inches in length, 48 inches in height, and 3 inches in width, this print is a remarkable addition to any collection. It is a post-war piece, created in 1956. The print is perfect for exhibitions and themes that showcase the artist’s signature style.
Php on line 6. Print Frank Lloyd-Wright Portrait Engraving Art 14×12. Print Method: 6 Plate Lithograph (Multiple plates, multiple ink tones, photographic lithograph). Color / B&W: Black & White. Image Height: 7.28 ins. Image Width: 9.45 ins. (New) Mount & Mat Board: 100% Cotton, Acid Free, Museum Grade Mount Board. Mount Height: 12.0 ins. Mount Width: 14.0 ins. Standard Frame: 14 by 12. The mount and mat are brand new. Born: Ottowa, Canada, 1908. An Armenian genocide survivor, Karsh migrated to Canada as a refugee. By the 1930s he established himself as a significant photographer in Ottawa, where he lived most of his adult life, though he traveled extensively for work. His iconic 1941 photograph of Winston Churchill was a breakthrough point in his 60-year career, through which he took numerous photos of known political leaders, men and women of arts and sciences. Over 20 photos by Karsh appeared on the cover of Life magazine, until he retired in 1993. In 1943 he boarded a Norwegian freighter containing a cargo of explosives which was bound from Canada to Britain and stayed in London to photograph wartime leaders and intellectuals. Many of these photographs were published in the Illustrated London News and played their own part in raising the nation’s morale. Karsh’s ability to produce the’definitive’ portrait of so many of the great men and women, not only Churchill but Kennedy, Khrushchev, Castro, Hemingway and others, was not achieved lightly. In addition to the long sittings he often required, he researched his sitters thoroughly before meeting them, and his careful studio lighting, which he first learned with the Ottawa Little Theatre in the 1930s, is legendary. Courage, too, was required, for who else would have dared to pull the cigar from Churchill’s mouth or persuaded Khrushchev to dress up in a large fur coat? Audrey Hepburn:- When I photographed her in Hollywood and commented on her quality of sophisticated vulnerability, she told me of her harrowing experiences during the Second World War. Years later, in the Kremlin, Chairman Brezhnev agreed to sit for me only if I made him as beautiful as Audrey Hepburn. National Gallery of Canada. A great many personalities from the cultural, scientific and political milieus that shaped the twentieth century have been immortalized on film by internationally renowned photographer Yousuf Karsh. These portraits where shadows play with dramatic light bear witness to a century, but above all to the photographer’s humanistic vision. The human aspect, exchanges between the photographer and his subject, and the revelation of his or her personality via photography are at the core of his practice. With an online database of more than 17,000 photographers, Vintage Photo Prints has been serving art collectors around the globe since 1982. To browse our latest daily arrivals in the gallery. More items in the “Portrait” category. 6 Plate Lithograph Process. Principle of Lithography (Wikipedia). Lithography uses simple chemical processes to create an image. For instance, the positive part of an image is a water-repelling (“hydrophobic”) substance, while the negative image would be water-retaining (“hydrophilic”). Thus, when the plate is introduced to a compatible printing ink and water mixture, the ink will adhere to the positive image and the water will clean the negative image. This allows a flat print plate to be used, enabling much longer and more detailed print runs than the older physical methods of printing e. Intaglio printing, letterpress printing… Offset lithography involves printing the image onto an intermediate surface before the final sheet. The process is’offset’ because the plate does not come in direct contact with the paper, which preserves the quality of the plate. With offset lithography, the image is reversed twice, and appears on the final sheet the same way round as on the stone or plate… EXTRA FINE COLLECTOR CONDITION PRINT with BRAND NEW, professionally dry-mounted MOUNT AND MAT with archival, museum grade, 14.0 ins wide x 12.0 ins high mount board. Vintage Print: VP5C8AF6 is a GENUINE YOUSUF KARSH, 6 PLATE LITHOGRAPH. It is NOT a copy of any kind nor a digital reprint. It is an AUTHENTIC VINTAGE PRINT made in 1983, ready for a standard 14 by 12 frame, Image size: 9.45 ins wide x 7.28 ins high. GALLERY CERTIFIED with SECURITY ID. Vintage Print: VP5C8AF6 is a genuine 6 Plate Lithograph print. It is not a modern copy of any kind nor a digital reprint. It is an authentic vintage print made in 1983. The print mount comes with a label fixed to the reverse side of the archival mount-board. The label contains the information needed to confirm the authenticity of the print. There is a QR code on the label which you can scan to go directly to your database page without having to enter the vintage id. The label has a Gallery Security ID. The Security ID on the COA matches the Security ID on the label. Vintage Print: VP5C8AF6 comes with a signed letter certifying its authenticity. The letter also contains a copy of the label from the back of the print mount (see above) and a matching Security ID.
Author: Wright, Frank Lloyd Title: An autobiography Publication: New York: Duell, Sloan and Pearce, 1957. Description: Sixth printing, oblong 4to, pp. [6], 3-560; 1 plate and 5 sectional titles printed on glossy paper; original terra cotta cloth stamped in red and silver; a good, sound copy. This copy inscribed on the title page by Frank Lloyd Wright, To Bill Davis at Taliesin / Frank Lloyd Wright / 57. Paul, Minnesota architect who studied with Wright. Rulon-Miller Books buys and sells rare, fine and unusual books in many fields, with an emphasis on language, early and unusual printing, voyages and travel, archives, and appraisal services. We are members of the Antiquarian Booksellers’ Association of America (ABAA). All books are guaranteed genuine as described, and are returnable for any reason during the two weeks after receipt. We leave feedback for buyers once they have posted feedback for us. We work hard to keep buyers happy and to resolve the rare problem promptly. This listing was created by Bibliopolis.
Php on line 6. Print Frank Lloyd Wright Engraving Portrait 12×14. Print Method: Quadtone Plate (Four different tones or color plates). Color / B&W: Black & White. Image Height: 9.45 ins. Image Width: 7.48 ins. (New) Mount & Mat Board: 100% Cotton, Acid Free, Museum Grade Mount Board. Mount Height: 14.0 ins. Mount Width: 12.0 ins. Standard Frame: 12 by 14. The mount and mat are brand new. As a pioneer of fashion photography, Steichen’s gown images for the magazine Art et Décoration in 1911 were the first modern fashion photographs to be published. From 1923 to 1938, Steichen served as chief photographer for the Condé Nast magazines Vogue and Vanity Fair, while also working for many advertising agencies, including J. During these years, Steichen was regarded as the most popular and highest-paid photographer in the world. Later in his career, Steichen became an influential impresario, promoting photography as a tool of mass media while retaining his fierce dedication to craft. He upheld these views as head of the photography department at the Museum of Modern Art, New York, from 1947 to 1962. National Gallery of Art. In 1900 Steichen made a brief stopover in New York City en route to Paris, where he was planning to study painting at the Académie Julian. White had come across the young artist’s photographs and was impressed enough to arrange for him to meet with Alfred Stieglitz (American, 1864 – 1946) at the Camera Club of New York. Stieglitz ended up purchasing three photographs from Steichen-a self portrait and two dreamy forest scenes-for the considerable price of five dollars apiece. American photographer who achieved distinction in a remarkably broad range of roles. In his youth he was perhaps the most talented and inventive photographer among those working to win public acceptance of photography as a fine art. He went on to gain fame as a commercial photographer in the 1920s and’30s, when he created stylish and convincing portraits of artists and celebrities. He was also a prominent curator, organizing the hugely influential “Family of Man” exhibition in 1955… With an online database of more than 17,000 photographers, Vintage Photo Prints has been serving art collectors around the globe since 1982. To browse our latest daily arrivals in the gallery. More items in the “Historical Portraits” category. Quadtone Process (Words And Photos). A tritone image is printed with three inks, and a quadtone is printed with four inks. The inks are usually Pantone colors that you can choose in Photoshop beginning with a dark base color such as black, a variation of black, or another dark color, along with a lighter second ink. A tritone adds a third ink, and fourth ink is added for a quadtone… Some people focus on four distinct regions of the overall tone curve (from highlights to shadows) using cyan, magenta, yellow, and black in percentages that mimic a black-and-white photo i. To omit visible color detail and produce a range of tones approximating black, grey, and white. This is called a quadtone, quadtratone, or 4-color black-and-white image. From a distance, it looks like a black-and-white photo with incredible depth of tone and image detail, but through a printer’s loupe you can see the cyan, magenta, yellow, and black halftone dots… EXTRA FINE COLLECTOR CONDITION PRINT with BRAND NEW, professionally dry-mounted MOUNT AND MAT with archival, museum grade, 12.0 ins wide x 14.0 ins high mount board. Vintage Print: VPA361E8 is a GENUINE EDWARD STEICHEN, QUADTONE PLATE. It is NOT a copy of any kind nor a digital reprint. It is an AUTHENTIC VINTAGE PRINT made in 2008, ready for a standard 12 by 14 frame, Image size: 7.48 ins wide x 9.45 ins high. GALLERY CERTIFIED with SECURITY ID. Vintage Print: VPA361E8 is a genuine Quadtone Plate print. It is not a modern copy of any kind nor a digital reprint. It is an authentic vintage print made in 2008. The print mount comes with a label fixed to the reverse side of the archival mount-board. The label contains the information needed to confirm the authenticity of the print. There is a QR code on the label which you can scan to go directly to your database page without having to enter the vintage id. The label has a Gallery Security ID. The Security ID on the COA matches the Security ID on the label. Vintage Print: VPA361E8 comes with a signed letter certifying its authenticity. The letter also contains a copy of the label from the back of the print mount (see above) and a matching Security ID.
