Wilkinson melanie (19 resultados)

Condición: like_new.

Condición: good. Book is in good condition and may include underlining highlighting and minimal wear. The book can also include "From the library of" labels. May not contain miscellaneous items toys, dvds, etc. . We offer 100% money back guarantee and 24 7 customer service.

paperback. Condición: Good.

Paperback. Condición: Very Good. 4. It's a well-cared-for item that has seen limited use. The item may show minor signs of wear. All the text is legible, with all pages included. It may have slight markings and/or highlighting.

Condición: As New. Like New condition. A near perfect copy that may have very minor cosmetic defects.

Condición: Very Good. Very Good condition. 4th edition. A copy that may have a few cosmetic defects. May also contain light spine creasing or a few markings such as an owner's name, short gifter's inscription or light stamp.

PAPERBACK. Condición: Good. 0864422563 Some writing in book. Book is in decent shape. Appears like new.

Condición: Very Good. Estado de la sobrecubierta: 48079138. 1780554211. 6/4/2026 6:23:31 AM.

Softcover. Condición: Sehr gut. 4. Auflage.

Condición: Very Good. 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: Good. Estado de la sobrecubierta: Good. The North American Review Vol. 231 No. 2 February 1931. Various (ilustrador).

Soft cover. Condición: Fine. As New Paperback.

Condición: Very Good. Bon état. 11x17x3cm. 2013. Broché. 416 pages. Very Good.

Condición: Very Good. Bon état -. quelques marques de lecture et/ou de stodckage sur couverture et coins mais du reste en bon état - envoi rapide et soigné dans enveloppe à bulles depuis france. 11x17x3cm. 2013. Broché. 416 pages. Very Good.

paperback. Condición: Good.

paperback. Condición: New. In shrink wrap. Looks like an interesting title.

Couverture souple. Condición: Comme neuf. Edition originale. Paris 2007. 1 Volume/1. -- Comme Neuf -- Broché cousu. Format in-8°( 24 x 16 cm )( 274 gr ). ------- 66 pages suivies de 30 planches photos et 8 pages au revers du 4e de couverture. ******************** Présentation d'installations réalisées par M. Counsell, A. Detanico et R. Lain, P. Gaillard et Claude, K.H. Henriksen, L. Tixador et A. Poincheval, M. Wilkinson, à l'occasion de l'exposition inaugurant la XXe édition des Ateliers internationaux du FRAC des Pays de la Loire ***************************.…

Softcover. Condición: Sehr gut. 123 Seiten Dieses Sammelband umfasst drei romantische Geschichten: \'In den Armen meines Feindes\', \'Drei, zwei, eins - meine!\' und \'Im Palazzo süßer Geheimnisse\'. Jede Geschichte entführt den Leser in eine Welt voller Liebe und emotionaler Konflikte. Zustand: Einband mit geringfügigen Gebrauchsspuren, insgesamt SEHR GUTER Zustand! HC1-794-4/8-00415550 Sprache: Deutsch Gewicht in Gramm: 209. …

Fascinating artistic correspondence, sketches and notes preparatory to the Presences of Nature exhibition held in Carlisle in 1982. The correspondence is all addressed to Neil Hanson, then Carlisle Museum Exhibitions' Officer and the exhibition's organiser who describes its aim 'to assemble a substantial body of new work reflecting the beauty and variety of this Cumbrian landscape and the diversity of response it engenders in some of our finest contemporary artists, writers, photographers and craftsmen.' Accompanying the manuscript material is the book that was published to mark the exhibition; some staining to the lower part of the foreedge. The collection comprises the following artists and writers: William Scammell: [4 ALS] A collection of letters by William Scammell, two on University of Newcastle headed notepaper. In his letters Scammell discusses the commission and his proposed submissions, including "The Screes" and "Monday,Monday". He also includes a biographical note and details of his published books. John Hilliard: [3 TLS] Three letters by the conceptual artist John Hilliard, discussing the commission and his reticence in being considered a 'Lakeland' artist. He proposes two submissions, 'Frozen' and 'Double Description-Coniston Water' and gives detailed framing instructions, hand-drawn in pen. Donald Wilkinson: [6 ALS; 1 handwritten biography; 1 lithographic Christmas card] A collection of letters and a signed coloured etching of a Lake District landscape by the printmaker Donald Wilkinson, made in connection with the exhibition in the Lake District in 1982. In his letters, Wilkinson discusses the commission and encloses the Christmas card as an example of his recent work. John A Davies: [5 ALS; 1 pencil sketch; 1 handwritten biography] A collection of letters by the photographer John A Davies. Davies expresses his interest in the commission "I think the show would prove very stimulating and I would be most interested to see how other contemporary artists see the Cumbrian landscape." He lists the 12 photographs to be exhibited along with an A5 page of annotated pencil sketches of each, and discusses their reproduction for the exhibition catalogue. Roger Palmer: [6 ALS; 1 postcard; 1 ANS] A collection of letters by the photographer Roger Palmer. In these succinct letters, Palmer discusses the commission and his proposed submissions. Faith Shannon: [3 ALS; 1 TLS; 1 handmade Christmas card] Letters by the bookbinder Faith Shannon MBE, in which she discusses the commission to produce leather bindings for the deluxe editions of the exhibition catalogue, and includes an estimate of costs. The signed 15x10cm Christmas card features a blind stamped "Happy Christmas" greeting. Geoffrey Key: [5 ALS] Five letters by the artist Geoffrey Key. In these exuberant letters to Hanson, Key discusses names for the mailing list and travel to Carlisle; and thanks Neil Hanson - "Many thanks for your card it goes great with my bus pass, Yours antiquatedly, Geoff". Julia Hills: [2 ALS] A brace of letters by the artist Julia Hills, discussing the commission of her dolls and the time frame of work. Melanie Sproat: [2 ALS, 1 exhibition agreement] A collection of letters by the clockmaker Melanie Sproat. In her neat letters, Sproat describes the essence of her work as exploring "the contrasting colour, structure and tactile qualities of precious and base metals", and proposes a wall clock inspired by the rugged Cumbrian landscape. Her second letter concerns damage sustained by her works while in storage. Mike Davis: [1 ALS, 2 TLS] A trio of letters by Mike Davis on Mimram Stained Glass Studio headed notepaper. Davis discusses his proposed exhibits, including a five light window for St John's Church, Digswell. The artist also thanks Neil Hanson for all the hard work put in and suggests "a quieter occupation, wrestling alligators in the Everglades or something". Glyn Hughes: [1 TLS] A letter by the poet and novelist Glyn Hughes, in which he discusses his proposed submissions, describing how he had started to paint again after a break of 20 years; and suggests some commissioned pictures of Cumberland with poems to go with them. David Wright: [3 ALS] A group of letters by David Wright, ex Gregory Fellow in Poetry at Leeds University. Wright writes about the commission and his proposed submissions, including "Procession" and "Mirehouse". He also suggests other artists for the project including William Scammell of Cockermouth. Jon Silkin: [1 ALS; 1ANS; 1 exhibition agreement ] A small collection comprising one letter, one note on a Stand magazine compliments slip, and an exhibition agreement by the poet Jon Silkin made in connection with the exhibition in 1982. In his letter to Hanson, Silkin discusses the commission and his proposed submissions, including "The Church is getting short of Breath". Roy Fisher: [2 ALS] Two letters by Roy Fisher on University of Keele headed notepaper. Fisher's thoughts on his submissions include "The Running Changes" and a piece on "a quest, among desolate military sites and barbed-wire littered beaches, for the shrimping grounds of Flookburgh, but it seemed likely to have strong negative tourist appeal, so I've desisted". Roger Garfitt: [4 ALS] A collection of letters by Roger Garfitt. In these warm and appreciative letters Garfitt discusses his proposed submissions to the exhibition, including 'The Broken Road' as "it's probably the best landscape poem I've done". Garfitt describes his first experience of the Lake District "at the age of twelve, leaning out of a coach window on a day trip, as rapt and enraptured as any Romantic on a walking tour." Paul Joyce: [7 ALS; 4TLS; 2 postcards] A collection of letters by the photographer Paul Joyce. In his letters Joyce writes about his proposed submissions, including a collaboration with the poet Jonathan Williams. Joyce shows concern for the financial aspects of the commission and includes a list of expenses for attending the opening.…