Painter p r (27 resultados)

Condición: Very Good. 5 Sub. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Condición: Very Good. 5 Sub. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Soft cover. Condición: Very Good. A4 FORMAT SOFT COVER BOOKLET. GLOSSY FULL COLOUR ILLUSTRATIONS. LIGHT SHELFWEAR. MORA. S (ilustrador).

Hard back binding in publisher's original brown cloth covered boards, blocked and lettered gilt front Landscape. 7½'' x 10''. Contains 32 pp with 24 colour plates throughout. Reference condition copy with water-colour painting to the verso of one plate, other artist drawings and scribbles to the verso of other plates, rubbing to the covers. Member of the P.B.F.A. ART [Technique & Materials].…

Condición: Fine. First edition in publisher's original colour illustrated card wrap covers [soft back]. 8vo. 7¼'' x 8½''. Contains 24 pp with monochrome illustrations and colour works of art throughout. In Fine condition, no dust wrapper as issued. Member of the P.B.F.A. ART [British].

Rústica BC. Condición: New. Estado de la sobrecubierta: Nuevo. 02. Libros.

III. Compensatory shape changes induced in Membranes (S. A. The J. of Cell Biolog. Vol. 70) 1976. S. 193 - 203. m. zahlr. Abb. geklammert -2) -Sonderabdruck-.

Rustica (tapa blanda). Condición: New. Estado de la sobrecubierta: Nuevo. 1. Grandes cambios han sucedido en la Ciencia de la Microbiología desde la publicación de la edición anterior, tanto en lo que respecta a la expansión casi explosiva de detalles reales y metodología mejorada, como a cambios fundamentales en la percepción de las relaciones entre las bacterias. De ahí que casi toda la obra se haya escrito de nuevo.Los cambios más significativos, en esta segunda edición, que corresponde a la quinta edición original, son probablemente los capítulos que trata de los grupos microbianos principales; 12 capítulos substituyen a los 8 de la cuarta edición. Entre los nuevos capítulos está el que trata exclusivamente de las arqueobacterias. Para reflejar los avances fundamentales hechos en Patogenicidad microbiana, también se ha ampliado esta sección, que comprende ahora 4 capítulos en lugar de 2. LIBRO.…

Photograph, mounted, from "Cabinet Portrait Gallery", c.1880.

No Binding. Condición: Very good. Estado de la sobrecubierta: No Jacket issued. Woodbury Process photograph, mounted, from "Men of Mark".

Condición: Fine. Hard back binding in publisher's original olive green cloth covers, gilt lettering to the upper panel, all page edges gilt, bevelled edges. Folio 13'' x 10'' 32 pp. Monochrome illustrations throughout. Prize plate to the front paste down, very minor rubs to the corners and spine tips, free from foxing, the contents being in Fine condition. Member of the P.B.F.A. ART [British].…

The present item is the producer Hugh Burnett's own copy, from his papers, of the transcript of John Freeman's interview with John, broadcast in the groundbreaking BBC series 'Face to Face' on 15 May 1960. This single-spaced typed transcript was produced for inclusion in Burnett's book 'Face to Face / Edited and introduced by Hugh Burnett' (London: Jonathan Cape, 1964), and is marked up with printing instructions in pencil and red ink, with a few proof corrections in green ink. 3pp, foolscap 8vo, on three leaves stapled together. In fair condition, lightly aged, with a few pin holes at top right of the leaves. An energetic, zesty interview. 'I'm a Welshman', John declares, 'a bad Welshman'. A passage regarding John's childhood conveys the general tone: 'I can remember one thing in an early school in Tenby. I'd practically idolized one of the masters, as schoolboys are apt to do, I think, and he betrayed me and held me up before the whole school, denounced me as a liar, d'you see, and the fact was I was completely innocent. I made a mistake, I know, a formal matter, but instead of protesting I succumbed before the class. I never forgave that man and I'm very glad to be able to report that soon after he blew his brains out, you see - in a railway train. I think I must have put something on him.' Further on he describes his affinity with gypsies: 'I was told to avoid them, by my nurses. I was always fascinated by them as a child, seeing them in the markets at Haverfordwest, strange foreign people. And then when I got to Liverpool I fell in with a great friend we made, John Samson, who was a student of Romany, and we went about a lot together. There I learnt the fine dialect spoken by one tribe in the north.' There are two interesting deletions. First, John's identification of the hospital at which his first wife died in France as being in the 'Boulevard Arago' has been scored through in black ink. Second, the passage 'Oh you got it from there? I thought I'd disguised it sufficiently.' has been typed through with crosses before the passage 'Certainly I'm interested in women. In beauty, I should think. If it's beauty, it's love. In my case! You've got to get excited before you can do anything, and beauty is a great excitant.'.…

Condición: Very Good. Uniform matching hard back binding in publisher's original British racing green cloth covers, gilt title and author lettering to the front covers, pale lemon end papers. Landscape. 7½'' x 10''. Volume I First Series 54 pp with 12 sepia plates and monochrome illustrations and header designs between the plates, iv; Volume II Second Series: 55 pp with monochrome illustrations (some full-page) and header designs between the plates. Code date to rear catalogue of each volume August 1886. Light rubbing to the corners and in Very Good clean condition. Member of the P.B.F.A. ART [Technique & Materials].…

Hard Cover. Condición: Very Good Minus. Third English Edition, Part I (1805) and Fourth English Edition Part II, (1804); two vols. in one. Hard cover, 4to, unsigned full calf fine binding gilt rolled with a Greek key pattern to boards and spine, the seven faux compartments framing an onlaid red morocco title label. Top edge stained brown; all edges trimmed. With two engraved sectional title pages, errata, two sets of instructions to binders, Notes and Contents to each section, 22 original (unpaginated) engravings, complete, details below.**CONDITION: Very Good Minus. Scuffing to both boards, wear to tips, but nice old patina. Both joints tender w. some losses, boards holding on. Minor losses at head and foot of spine, through to headband stitching. Text block firm and square, marbled endpapers bright, showing offset at turn in margins. Front hinge just starting, about 1 inch from head and foot; rear hinge is intact. Pencil notation of former owner to flies, w.ghost of old bookplate verso ffep. The 2 frontispiece plates with marginal foxing, w. offset to title pages. Text mostly bright and clean. Margins of some plates moderately foxed (less so in Part II) with browning offset to facing text: see more on condition of plates below.** Despite any drawbacks, this remains a nice copy of an important and popular work by Lichfield and Derby English AUTHOR, poet and physician ERASMUS DARWIN(1731-April, 18, 1802) which synthesized the foment of 18th cent. Enlightenment ideas of science with revolutionary and Romantic themes in art, particularly showcasing the work of Swedish botanist and father of taxonomy Carl Linnaeus. Industrial discussion of hemp, cotton, and clay are interwoven with racy-sounding verse on methods of plant reproduction. He first voices the idea of evolution in both the plant and animal world in the 1793 first edit. of Part I, in one of his many digressions, found in a note for Curcumin, (Part I, Canto I, line 65); a remark for which many account the life's work on the Theory of Evolution by his grandson, Charles Darwin. (A poetic fascination with Gnomes in Part I may have had something to with the convivial nature of his various scientific and literary gatherings; he was apparently prone to gout and both the London Johnson bookstore soirees and meetings of the scientific Birmingham Lunar Society were quite liquacious in nature.) **COLLATION: Section I. "THE ECONOMY OF VEGETATION" (Complete.) : [3] [i]-xx pp., Cantos I-IV, 1-214pp. Contents, Errata, 215-218. Extensive "Notes" numbered I-XXXIX on Meteors, Primary Colours, Coloured Clouds, Comets, Sun's Rays, Central Fires, Elementary Heat, Memnon's Lyre, Luminous Insects, Phosphorus, Steam Engine, Frost, Electricity, Buds and Bulbs, Solar Volcanos, Calcareous Earth, Morasses, Iron, Steel: Modern Production of Iron, Septaria of Iron-Stone, Flint, Clay, Enamels, Portland Vase, a shout-out to his relative by marriage, Josiah Wedgwood and his achievement in remaking a famous 1st century Roman cameo glass amphora into modern Jasperware, taking four years and the collaboration of William Blake. (Hay p 203-205), Coal, Granite, Evaporation, Springs, Shell-Fish, Sturgeon, Oil on Water, Ship-Worm, Maelstrom (Fuseli's "word picture" inspiring "Tornado" , Glaciers, Winds, Vegetable Perspiration, Vegetable Circulation, Veg. Respiration, Veg. Impregnation, and Veg. Glandulation, 1-109pp. "Visit of Hope to Sydney Cove Near Botany Bay," ( ode referencing Joseph Banks) [p.110]. "Contents of the Additional Notes," 111-124pp. "Direction to the Binders," and Publisher's advertising [125-126pp.] **COLLATION Sect. II "THE LOVES OF THE PLANTS," [5], unpag. Frontis. [1] (Title sect.II) - viii incl. "Proem" and Preface. Canto I, 1-46pp. Interlude I, 47-54 (--a 4part dialogue between "Bookseller" (based on Joseph Johnson) and "Mr. Botanist" (based on E. Darwin.) Canto II 55-88 pp. Interlude II, 89-92pp. Canto III pp.93-128 pp. Interlude III ,129-139 pp .Canto IV, 141-181pp. [1], (plate) [1], end matters 182-[201], [2]. **PART I ENGRAVINGS "The Economy of Plants," (11 total: Complete.) Frontis: "FLORA ATTIRED BY THE ELEMENTS" Fuseli/ Smith, Jun. 1,1791. Pub. J. Johnson, St. Paul's Church-Yard, London. Marginal fox only, moderate. "CAPT. PHILLIPS'S TRIP TO BOTANY BAY" and "AM I NOT A MAN AND A BROTHER," H. Webber/T. Holloway. Marginal fox. "FERTILIZATION OF EGYPT," H. Fuseli,/ W.Blake. Ibid. (Dec. 1, 1792.) Maginal fox only, moderate. "TORNADO," H. Fuseli/ W. Blake. Ibid. Aug. 1,1795 -- First appearance in print. Marginal fox, moderate. "ORCHID CYPRIPEDIUM," fold-out plate, attrib. to William Blake. Ibid. Dec. 1, 1791. Fine. "ERYTHRINA CORALLODENDRON," Ibid. Dec. 1, 1791. "THE PORTLAND VASE," in 4 views, attrib. William Blake, Ibid. (Dec.1, 1791). Fine. "SECTIONS OF THE EARTH" T. Condor engr. (Dec.1, 1792). Fine.** Part II ENGRAVINGS "The Loves of the Plants," (11 total: Complete) Frontis:"FLORA AT PLAY w. CUPID," Emma Crewe/S. Atkin. "CUPID", T. Holloway. 2 facing plates: "ORDERS OF THE THIRTEEN CLASSES,"-- from Pierre Bulliard's" Dictionary Botanique," 1802.(Fine) "MEADIA, (AMERICAN COWSLIP)" F.P. Nodder. Fine. "GLORIOSA SUPERBA," ibid. Fine. "DIONAE MUSCIPULA, Ibid. Fine. "AMARYLLIS FORMOSISSIMA," Ibid. Fine. "NALLISNERIA SPIRALIS," ibid. Moderate fox to plate. "HEDYSARUM GYRANS (Wild fig), ibid. Light fox to plate. "APOCYNUM ANDROSIEMIFLORIUM," ibid. **While a monumental achievement to the intellectual ferment of one man, Erasmus Darwin owes much to his many collaborators and muses, perhaps especially the commercial and creative insight of bookseller and publisher Joseph Johnson, who purchased the copyright from E. Darwin in 1791, and engaged the young Wm. Blake to illustrate/ engrave Part I. (Hay p. 203). Refs: D. Hay, Dinner with Joseph Johnson (Princeton, 2002). E. Krause, Charles Darwin, W.S. Dallas, "Erasmus Darwin. With a Preliminary Notice by Charles Darwin," (London: John Murray, 1879.) Third and Fourth English Edition; Part I (1805) Part II (1804). 2 Volumes in One. Henry Fuseli, R.A.; William Blake, R.A.; Frederick P. Nodder, Botanic Painter to Her Majesty [Queen Charlotte]; Emma Crewe; T.C. Webber; T. Holladay; Anker Smith; S.Atkin (ilustrador). Book.…

Biographische Original-Broschur (15 SS. 4° mit zahlreichen, farbigen Abbildungen), eigenhändig signiert unter seinem Porträt KÜNSTLER Kritisches Lexikon der Gegewartskunst 1988.

KUNSTPOSTKARTE (Hoved og arm : Port)mit bildseitiger, eigenhändiger Unterschrift signiert (color art-postcard signed on front, fine) (zum gleichen Preis vorhanden : bildseitig signierte Kunstpostkarten Backsteen / Brick signiert mit Jahr (19)96.

DRAWINGS, PRINTS AND PAINTINGS 1941-55 Anthony d Offay London 1980, illustriertes Pb. kl. 8° mit vielen Farbreprofuktionen seiner Bilder, gut erhalten - von Richard Hamilton eigenhändig signiert.

PRINTS 1984-91 Graphic Works continued (Kunstkatalog) edition hansjörg mayer, Stuttgart London 1992, illustriertes Pb. ca. 4° mit vielen s/w- und Farbreproduktionen seiner Bilder, gut erhalten - von Richard Hamilton eigenhändig signiert.

KUNSTPOSTKARTE Portrait of Hugh Gaitskell as a famous monster of finnland (1964) mit Unterschrift SELTEN ! (3 weitere Motive vorhanden zum jeweils gleichen Preis : - I m dreaming of a white christmas - The Citizen (81) - Together let us explore the stars).

Original copper engraving (60 x 44 cm, overall sheet 68.5 x 55 cm). Tissue guard to verso. From "A Collection of Prints. Illustrating the Dramatic Works of Shakespeare." published by Boydell, London, 1803. In 1789, the publisher John Boydell opened the Shakespeare Gallery, an exhibition space in London's Pall Mall showcasing paintings that exclusively represented scenes from Shakespeare's plays. The Gallery was a bid to revive 'history painting' (the practice of depicting scenes from the Bible, mythology or the classics) in contemporary British art, a genre thought to be of great public benefit because of its morally instructive messages. What better unifying theme for such a project than the works of Shakespeare, which had become so popular and so integral to British identity by the mid-18th century? The Gallery opened in May 1789 with 34 canvases by 18 British artists. By the next year there were 55 paintings and in 1796 the total was 84, along with dozens of 'Small Pictures'. Once the exhibition was mounted, reproductive engravings of the paintings produced by an in-house team of 46 printmakers were available to purchase, either as a large portfolio of 90 prints or as a luxurious illustrated edition of the plays. (The British Library).…

Original copper engraving (c. 60 x 44 cm, overall sheet c. 68.5 x 55 cm). Tissue guard to verso. From "A Collection of Prints. Illustrating the Dramatic Works of Shakespeare." published by Boydell, London, 1803. In 1789, the publisher John Boydell opened the Shakespeare Gallery, an exhibition space in London's Pall Mall showcasing paintings that exclusively represented scenes from Shakespeare's plays. The Gallery was a bid to revive 'history painting' (the practice of depicting scenes from the Bible, mythology or the classics) in contemporary British art, a genre thought to be of great public benefit because of its morally instructive messages. What better unifying theme for such a project than the works of Shakespeare, which had become so popular and so integral to British identity by the mid-18th century? The Gallery opened in May 1789 with 34 canvases by 18 British artists. By the next year there were 55 paintings and in 1796 the total was 84, along with dozens of 'Small Pictures'. Once the exhibition was mounted, reproductive engravings of the paintings produced by an in-house team of 46 printmakers were available to purchase, either as a large portfolio of 90 prints or as a luxurious illustrated edition of the plays. (The British Library).…

Original copper engraving (60 x 44 cm, overall sheet 69 x 55 cm). Tissue guard to verso. From "A Collection of Prints. Illustrating the Dramatic Works of Shakespeare." published by Boydell, London, 1803. In 1789, the publisher John Boydell opened the Shakespeare Gallery, an exhibition space in London's Pall Mall showcasing paintings that exclusively represented scenes from Shakespeare's plays. The Gallery was a bid to revive 'history painting' (the practice of depicting scenes from the Bible, mythology or the classics) in contemporary British art, a genre thought to be of great public benefit because of its morally instructive messages. What better unifying theme for such a project than the works of Shakespeare, which had become so popular and so integral to British identity by the mid-18th century? The Gallery opened in May 1789 with 34 canvases by 18 British artists. By the next year there were 55 paintings and in 1796 the total was 84, along with dozens of 'Small Pictures'. Once the exhibition was mounted, reproductive engravings of the paintings produced by an in-house team of 46 printmakers were available to purchase, either as a large portfolio of 90 prints or as a luxurious illustrated edition of the plays. (The British Library).…

VIRTUELLE RÄUME (Widmungsexemplar / Kunstkatalog ) Edition Hansjörg Mayer, zur gleichnamigen Ausstellung in der Kunsthalle Bielefeld 2008, 72 SS. Pb., durchweg farbig illustriert, neuwertig. - von Richard Hamilton mit Datum eigenhändig signiert 21.05.(20)08.

Stadtpostkarte Lügde mit kleiner E.ZEICHNUNG, Jahr 1998, Unterschrift signiert.

Porträtpostkarte, eigenhändig signiert.

RICHARD HAMILTON Exteriors Interiors Objects People( Widmungsexemplar / Kunstkatalog) Hrsg. Carl Haenlein, Kestner-Gesellschaft Hannover Ausstellung 07.12.1990-03.02.1991 (Katalog 5/1990), 153 SS. 4° mit zahlreichen, ganzseitigen farbigen Abbildungen -vom Künstler eigenhändig signiert mit persönlicher Widmung.…

Farbige ORIGINAL-LITHOGRAFIE (Offset, ca. A 2-Format, 66 x 49,5 cm ) am Eröffnungstag eigenhändig gewidmet und signiert mit Jahr 1978 "Herr Schiemzler s Kunsthalle Bielefeld" MOTIV : die Kunsthalle Bielefeld (Abbildung zeigt Auschnitt).