‎McIntyre's‎
‎west‎

‎Franz West (Tim Van Laere Gallery) Tim Van Laere, Interview Franz West by Andreas Reiter Raabe‎

‎Antwerpen -, Tim Van Laere Books , 2017 Bound, Hardcover, 96 pages, Illustrated. NL/ENG. ISBN 9789082714531.‎

‎The catalog to the third solo exhibition by the internationally acclaimed Austrian artist Franz West ( 1947, Vienna 2012, Vienna) at Tim Van Laere Gallery. West is without doubt one of the most important sculptors and environment artists of contemporary art. His oeuvre is characterized not only by the forms he invents, but also for the communicative quality with which he directly addresses the viewer, urging him/ her to participate. The exhibition brings together various aspects from the broad oeuvre of Franz West. Both collages, sculptures from papier-m ch , plaster and polyester, furniture, an outdoor sculpture in aluminium and installations from different periods of his career are shown. In the mid-1970s, West made his so-called Pa st cke (Adaptives), movable sculptures made of plaster and metal that were intended to be moved, touched, and handled ? transforming viewers into participants. For West, the essence of the artwork is not the aesthetic quality, but how the work is used. These objects stimulate the ingenuity of the public and disrupt conditioned behavior in the exhibition space. From the 80s, he incorporated more fragile materials, such as papier-m ch and glass bottles in his sculptures, which he combined in the Labst cke (Refresher Pieces). As a consistent continuation of the Pa st cke, West has been working since 1987 to construct furniture for sitting and reclining, using prefabricated elements and discarded industrial products which he covered by stretching fabrics or carpets over them. His work makes us think about our living space and the social and personal activities that are happening there. The artist aims to create a certain interaction between artwork and viewer, between object and subject. An interaction that must ensure that art becomes an open and interactive process. Later in his career, Franz West also focuses on sculptures in the public space. In fall 2018, a major retrospective will open at the Centre Pompidou, Paris, and will travel to the Tate Modern, London the following year.‎

‎Declaratio Ordinum Hollandiae West-Frisiaeque, ex ipsis fundamentis Regiminis Belgici desumpta, qua jus & potestas singularum Provinciarum cum externis Princibus contrahendi, & de quibuscunq: negotiis constituendi proponitur, nisi quid foedere unionis An. 1579 Ultrajecti composito, aut speciatim Foederatorum Procerum conventui delatum fuerit. Qua legitima & justa esse ostenditur concessio instrumenti seclusionis Principis Auriaci, sicut a Nobil. & Potentibus Ordin. Hollandiae West-Frisiaeque anno 1654, IV Maii decretum fuit; (...) Versum Exemplar ex Belgico, quod impressum est Hagae-comitis a Typographo Nob. & Potent. Ord. Hollandiae West-Frisiaeque, cum privilegio. ‎

‎Leiden, Amsterdam, (Lugduni Batavorum, Amstelrodami), Apud Joannem Maire, et (...) apud Ludovicum Elzevirium, 1654. ‎

‎4to. 196 (recte 192) p. 18th century boards. 19 cm (Ref: Willems 1172; Berghman 302; Not in Rahir; Breugelmans, p. 688, 1654:3) (Details: Printer's device on the title: a shoveling farmer, above his head the motto 'fac & spera') (Condition: Cover scuffed, especially on the joints. 2 small library stamps on the title) (Note: In May 1654 the Dutch Prime Minister (Raadspensionaris) of the Republic of the United Provinces of the Netherlands Johan de Witt, 1625-1672, brought about peace with England after the First Anglo-Dutch War, a naval conflict over trade which had begun in 1652. The peace treaty, called the Treaty of Westminster, had a secret annex, the Act of Seclusion, in which the Republic promised to appoint never again as stadholder offspring of the prince of Orange, stadholder William II, who had died in 1650, the offspring being the not yet four year old infant William III, born after the death of his father. His mother was Maria Henriëtte Stuart, the oldest daughter of the English King Charles I. This annex had been attached on the instigation of the dictator (Lord Protector) Oliver Cromwell, who felt that since William III was a grandson of the executed Charles I, it was not in the interests of his own republican regime to see William or a Stuart ever gain political power. The republican Johan de Witt kept the annex secret from fear that some of the provinces where the House of Orange had much influence, wouldnot sign the peace treaty. Soon the annex got leaked out, and De Witt was blamed for excluding the House of Orange from power. With a speech, called the 'deductie, ofte declaratie van de Staten van Hollandt ende West-Vrieslandt', De Witt succeeded in convincing the other provinces. The speech brought about much political turmoil. The speech 'Deductie, ofte declaratie van de Staten van Hollandt ende West-Vrieslandt : behelsende een waerachtich ende grondich bericht van de fondamenten der regieringe vande vrye Vereenichde Nederlanden (...) ingestelt ende dienende tot justificatie van 't verleenen van seeckere Acte van Seclusie, raeckende 't employ vanden Heere Prince van Oraigne (...) op den vierden Mey 1654 ghepasseert' was published in The Hague the same year, 1654. Later that year the speech was translated into Latin and published by Maire and Elsevier. William III got his revenge in the Disaster Year (Rampjaar) 1672 when the Dutch republic was attacked from all sides simultaneously by England, France, and the prince-bishops of Münster and Cologne, who quickly defeated the Dutch States Army and conquered part of the Republic. Orangists then took power by force and deposed de Witt, who recovering from an earlier Orangist attempt on his life in June, was lynched by an organized Orangist mob. William greatly rewarded the assassins of his greatest political opponent. In 1688 William III invaded England, deposed King James, and became together with his wife Mary, the daughter of his maternal uncle James, Duke of York, joint sovereigns of England, Ireland, and Scotland) (Provenance: Small stamp of the Dutch 'Koninklijke Bibliotheek' (Royal Library), and a smaller withdrawal stamp on the title) (Collation: A-E4, F2, G-2A4, 2B2)(Photographs on request) ‎

‎West-oestlicher Divan. - [ONE OF GOETHE’S LAST GREAT LYRICAL WORKS, UNITING EASTERN AND WESTERN POETRY]‎

‎Stuttgart, Cottaischen Buchhandlung, 1819. 8vo. Exquisitely bound in and early 20th century full morocco binding. Spine with gilt lettering and floral motifs and boards with gilt floral motifs within a gilt-ruled panel. End-papers with Moorish lattice forms. Upper edge gilt, fore- and lower edge uncut. Binding signed “AK”. Internally very fine and clean, overall a most attractive copy. 556 pp. + frontispiece. Pp 399-400 are counted twice whereas pages 495-496 are skipped so that the final page count remains correct. P. 9 'Talismane' instead of later 'Talisman', indicating the first issue. Housed in a slipcase. Withbound in the back are pp. 7-10, the corrected pages from the second issue. ‎

‎A very fine copy of the first edition, first issue, of Goethe’s celebrated cycle of lyrical poems, inspired by the works of the great Persian poet Hafez. Intended as a poetic dialogue between East and West, “Divan” also reflects Goethe’s deep affection for the Austrian dancer Marianne von Willemer (1784–1860) who contributed several poems to the collection. Furthermore it represents one of the most important engagements with Eastern poetry in German Romantic literature and contains some of the finest verses of Goethe’s later years. “The West-Eastern Divan is in many ways a revolutionary book. Goethe himself was no revolutionary – far from it – and yet his book had the effect of capsizing conventional nineteenth-century conceptions of poetry. It represented nothing less than a decisive reconfiguration of poetry.” (…) By 1814, five years before the publication of the Divan, Goethe had come upon the poems of Hafiz in the translation of Joseph von Hammer (later von Hammer-Purgstall), a prolific Orientalist who had rendered the complete Divan of the Persian poet into German. The word divan (diwan in Arabic) is itself of Persian origin originally it meant a kind of register, a record. (The word has passed into European languages to designate border and customs controls, e.g., douane in French or dogana in Italian.) An early Arab philologist could state that ‘poetry is the diwan of the Arabs’. By that he meant that the poems of the pre-Islamic Arabs, with their very specific mentions of places and of tribes, of battles and skirmishes, of blood-feuds and clan rivalries, served as a record of events that would otherwise have been lost. (…) But the word divan also came to designate the collected works of a poet. And it is in conscious imitation of his beloved ?afi? that Goethe chose to use the word Divan for his own collection. Even so, there is a crucial distinction to be noted. Goethe calls his own collection the West-östlicher Divan, the West-Eastern Divan. His Divan is not to be simply an imitation of an Eastern model but a work that holds both East and West in firm but affectionate equipoise.” (From the introduction of Ormsby’s English translation to West-Eastern Divan).Hagen 416‎

‎E.Cunningham West West West. In Russian /E.Kanningkhem. Zapad.Zapad.Zapad.‎

‎E.Cunningham West West West. In Russian /E.Kanningkhem. Zapad.Zapad.Zapad. Works by 19th and 20th century American artists from the Anschutz Collection. USA. 1989. You are welcome to reach out to us for a detailed description of the copies currently available. SKUalb1e131603425c67a5.‎

‎The Wild West on Five Bits a Day‎

‎Thames & Hudson Ltd 2026 160 pages 13 462x2 286x19 812cm. 2026. Broché. 160 pages.‎

‎Bon état‎