Hilliard anthony (17 resultados)

Condición: As New. Unread book in perfect condition. Malcolm Aaron (ilustrador).

Condición: New. Malcolm Aaron (ilustrador).

Condición: New.

Condición: As New. Unread book in perfect condition.

Condición: New.

Paperback. Condición: Very Good. This book is in very good condition; no remainder marks. It does have some shelfwear; light creasing to front cover. Inside pages are clean. ; 8 X 5 X 0.38 inches; 168 pages.

Paperback. Condición: Brand New. 99 pages. 8.75x5.75x0.50 inches. In Stock. Malcolm Aaron (ilustrador).

Paperback. Condición: Brand New. 99 pages. 8.75x5.75x0.50 inches. In Stock. Malcolm Aaron (ilustrador).

Condición: As New. Unread book in perfect condition. Malcolm Aaron (ilustrador).

Condición: New.

Condición: As New. Unread book in perfect condition.

Condición: New. Malcolm Aaron (ilustrador).

PAP. Condición: New. New Book. Shipped from UK. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

PAP. Condición: New. New Book. Delivered from our UK warehouse in 4 to 14 business days. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

paperback. Condición: Very Good. Very Good. Dust Jacket may NOT BE INCLUDED.CDs may be missing. SHIPS FROM MULTIPLE LOCATIONS. book.

An excellent example of the celebrated Second Great Seal of Queen Elizabeth I, commissioned by Royal Warrant in 1584. The seal was created by the Queen's portraitist and "limner" (miniaturist), Nicholas Hilliard, who created the seal designs, and Derrick Anthony, the Chief Graver at the Royal Mint, who engraved the designs to produce the seal matrix in silver. The seal's primary purpose was to guarantee the authenticity of the document to which it was attached and to symbolize the Queen's approval to matters contained within the document. In addition to its import in Elizabethan government, the Second Great Seal also stands as a testament to Elizabeth's skill in cultivating her public image. Through her choice of design for the Second Great Seal, Elizabeth was able to engage in an important form of communication not only with her subjects, but also with the princes and dignitaries representing England's enemies and allies, both reassuring and warning them that although she was a childless unmarried woman, she was the daughter of a king, able to wield immense power for the defense and betterment of her people, and that she had unquestioned divine right to rule. Throughout the years Elizabeth reigned, she carefully crafted her image in order to make herself an icon to her people, with each portrait released serving to enhance Elizabeth's status in the eyes of her subjects. Nicholas Hilliard, Elizabeth's trusted portraitist, created several drawings from which Elizabeth selected two to use as the portraits on both sides of the Second Great Seal. The selection of the portraits for use in such a public format as that of the Great Seal was of great importance since the drawings to be engraved would become the basis for many subsequent versions of Elizabeth's portrait released to satisfy the public's demand for new images of the Queen. By the 1580s Elizabeth's First Great Seal, which had been in use since her accession to the throne in 1558, was becoming unserviceable from a great deal of use. In a 1584 royal warrant to Nicholas Hilliard and Derrick Anthony Elizabeth stated that "Forasmuch as our Great Seale of England by much use and wearing waxing unserviceable, we have resolved that a new Great Seale shalbe made" and declares: "Our will pleasure and commandement is that upon the receipt hereof you shall embosse by your selves, and by other skilfull workmen by your choice if need require it, in Leade wax or other stuf fit and necessary for that purpose, paternes for a new greate Seale according to the last paterne made upon parchment by you our servant Hilliard, delivered unto us, and by us allowed, and by the same paternes you chall worke, engrave, sinke finishe and bringe to perfection ready to be used with all convenient speede suche a new Greate Seale in silver." More than the monarchs that came before her, Elizabeth understood the importance of image, and its power to reinvent herself in the public eye. The Second Great Seal is an important example of Elizabeth's mastery over the use of symbolism in crafting her public image. At the time the Second Great Seal was created, Elizabeth was middle-aged, childless, under threat from Catholic assassination attempts, and was fighting Spanish aggression that would soon lead to war. It was necessary to create an image of herself in the public eye in order to command the support of all her subjects during this difficult period. As Elizabeth rarely sat for portraits, she periodically had an idealized portrait created to serve as the basis for artists to copy in order to fulfill the public's need for more likenesses to feed what historian Roy Strong has called the "cult of Elizabeth." The Second Great Seal presented Elizabeth with an opportunity to have an updated portrait created by Nicholas Hilliard. Hilliard created several portraits for each side of the Second Great Seal for the Queen to choose from, with each portrait replete with symbolism, allowing Elizabeth to craft an image of beauty, strength and power to maintain her iconic status among her subjects. The portrait Elizabeth chose for the obverse of the Second Great Seal shows her enthroned, crowned, and resplendent in court dress and ruff. She is holding the orb and scepter with hands reaching down from the heavens to hold her cape, and her coats of arms on either side of her seated figure are encircled by the motto "Honi So[it] Qui Mal Y Pense" ("shame on him who thinks evil of it" the motto of the Order of the Garter). Along the outer edge, a banner encircling the Queen contains the phrase, "ELIZABETHA DEI GRACIA ANGLIE FRANCIE ET HIBERNIE REGINA FIDEI DEFENSOR" (Elizabeth, by the Grace of God, Queen of England, France, and Ireland). The portrait Elizabeth chose for the reverse of this Second Great Seal shows her again crowned and resplendent in court dress and ruff, but this time riding a horse sidesaddle, emphasizing her strength and implicit command of the military. She rides through a field of roses and lilies, which in the language of flowers symbolize her earthly beauty and love (of her people), as well as her purity and chastity, while at the same time alluding to Elizabeth's resemblance to the Queen of Heaven (the Virgin Mary). Elizabeth is surrounded by the badges of her dominions, each surmounted by a crown the Tudor rose of England on the left, and the fleur-de-lys of France on right. The harp of Ireland, which should also appear to the right, in this cast has been obscured by contemporary manipulation of the wax. Elizabeth is again holding the orb and scepter, while clouds part above her head and the sun's rays shine around her, symbolic of her divine right to rule England and her other dominions. "ELIZABETHA DEI GRACIA ANGLIE FRANCIE ET HIBERNIE REGINA FIDEI DEFENSOR," once again encircles the portrait along the outer edge of the seal. Nicholas Hilliard (1547?-1619) son of an Exeter goldsmith, was apprenticed in 1562 at the age of fifteen to Robert Brandon, an important. …

Paperback. Condición: new. Paperback. Right off 95 is a gritty, character-driven drama set in the 1990s along the I-95 corridor, exploring the cultural clash, loyalty tests, and dangerous ambitions that erupt when New York hustlers bring big-city street games to small-towns. Through the intertwined lives of cousins, friends, and rivals, the story blends themes of family ties, betrayal, and survival in an environment where even the smallest decisions can trigger life-changing consequences. Inspired by true events, this fast-paced, emotionally charged tale captures the raw energy, humor, and pain of growing up between two worlds, urban hustle and rural grind. This item is printed on demand. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.…