wyld william (37 resultados)

PAP. Condición: New. New Book. Shipped from UK. Established seller since 2000.

Paperback. Condición: New. William Wyld's The Butterfly Bush exposes the mercurial, merciless absurdities of living in a body, of grief, art and hope, the way a garden, up close, reveals an endless orchestra of life: its dirt; its baroque and brutal euphoria. 'This is a crushing debut pamphlet on the surrealism of death and the queerness of loss, in the lineage of Emily Berry and Franz Kafka. "You were so sweet / and kind, Mum, but your corpse is a fucking nightmare," Wyld's speaker sighs, or deadpans, or screams. Just when they appear to be stuck forever in a weird nightmare, they find some comfort, some interest to get them through. The Butterfly Bush is a testament to Wyld's endless curiosity: reader, return that gaze and your attention might just pupate into a butterfly.' Helen Bowell'Wyld has a unique voice; simultaneously alarming and seductive. You might think you know where a poem is going, only to be met by a sudden switch that is catnip for the synapses. Wyld weaves a sensuous spell rooted in the materiality of life. Their surreal humour creates space for fresh ideas about the interplay of experience and survival, injury and bereavement.' Lisa Kelly'An expansive, maximalist project with an alluring, permeating strangeness. The turns are constantly surprising, the language delicate and luscious but the images bodily and caustic. The recurring image of dirt across these poems becomes a semantic burial plot, a way through elegy that focuses on the soil beneath our feet.' Susannah Dickey.

Paperback. Condición: new. Paperback. William Wyld's The Butterfly Bush exposes the mercurial, merciless absurdities of living in a body, of grief, art and hope, the way a garden, up close, reveals an endless orchestra of life: its dirt; its baroque and brutal euphoria. 'This is a crushing debut pamphlet on the surrealism of death and the queerness of loss, in the lineage of Emily Berry and Franz Kafka. "You were so sweet / and kind, Mum, but your corpse is a fucking nightmare," Wyld's speaker sighs, or deadpans, or screams. Just when they appear to be stuck forever in a weird nightmare, they find some comfort, some interest to get them through. The Butterfly Bush is a testament to Wyld's endless curiosity: reader, return that gaze and your attention might just pupate into a butterfly.' Helen Bowell'Wyld has a unique voice; simultaneously alarming and seductive. You might think you know where a poem is going, only to be met by a sudden switch that is catnip for the synapses. Wyld weaves a sensuous spell rooted in the materiality of life. Their surreal humour creates space for fresh ideas about the interplay of experience and survival, injury and bereavement.' Lisa Kelly'An expansive, maximalist project with an alluring, permeating strangeness. The turns are constantly surprising, the language delicate and luscious but the images bodily and caustic. The recurring image of dirt across these poems becomes a semantic burial plot, a way through elegy that focuses on the soil beneath our feet.' Susannah Dickey William Wyld's The Butterfly Bush exposes the mercurial, merciless absurdities of living in a body, of grief, art and hope, the way a garden, up close, reveals an endless orchestra of life: its dirt; its baroque and brutal euphoria. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condición: New. William Wyld's The Butterfly Bush exposes the mercurial, merciless absurdities of living in a body, of grief, art and hope, the way a garden, up close, reveals an endless orchestra of life: its dirt; its baroque and brutal euphoria. 'This is a crushing debut pamphlet on the surrealism of death and the queerness of loss, in the lineage of Emily Berry and Franz Kafka. "You were so sweet / and kind, Mum, but your corpse is a fucking nightmare," Wyld's speaker sighs, or deadpans, or screams. Just when they appear to be stuck forever in a weird nightmare, they find some comfort, some interest to get them through. The Butterfly Bush is a testament to Wyld's endless curiosity: reader, return that gaze and your attention might just pupate into a butterfly.' Helen Bowell'Wyld has a unique voice; simultaneously alarming and seductive. You might think you know where a poem is going, only to be met by a sudden switch that is catnip for the synapses. Wyld weaves a sensuous spell rooted in the materiality of life. Their surreal humour creates space for fresh ideas about the interplay of experience and survival, injury and bereavement.' Lisa Kelly'An expansive, maximalist project with an alluring, permeating strangeness. The turns are constantly surprising, the language delicate and luscious but the images bodily and caustic. The recurring image of dirt across these poems becomes a semantic burial plot, a way through elegy that focuses on the soil beneath our feet.' Susannah Dickey.

Condición: New.

PAP. Condición: New. New Book. Shipped from UK. Established seller since 2000.

Condición: New.

Condición: new.

Condición: New.

Condición: New.

Condición: New. 2026. paperback. . . . . .

Condición: New. 2026. paperback. . . . . . Books ship from the US and Ireland.

Paperback. Condición: Brand New. 36 pages. 5.06x0.09x7.81 inches. In Stock.

Condición: NEW.

Paperback. Condición: New. William Wyld's The Butterfly Bush exposes the mercurial, merciless absurdities of living in a body, of grief, art and hope, the way a garden, up close, reveals an endless orchestra of life: its dirt; its baroque and brutal euphoria. 'This is a crushing debut pamphlet on the surrealism of death and the queerness of loss, in the lineage of Emily Berry and Franz Kafka. "You were so sweet / and kind, Mum, but your corpse is a fucking nightmare," Wyld's speaker sighs, or deadpans, or screams. Just when they appear to be stuck forever in a weird nightmare, they find some comfort, some interest to get them through. The Butterfly Bush is a testament to Wyld's endless curiosity: reader, return that gaze and your attention might just pupate into a butterfly.' Helen Bowell'Wyld has a unique voice; simultaneously alarming and seductive. You might think you know where a poem is going, only to be met by a sudden switch that is catnip for the synapses. Wyld weaves a sensuous spell rooted in the materiality of life. Their surreal humour creates space for fresh ideas about the interplay of experience and survival, injury and bereavement.' Lisa Kelly'An expansive, maximalist project with an alluring, permeating strangeness. The turns are constantly surprising, the language delicate and luscious but the images bodily and caustic. The recurring image of dirt across these poems becomes a semantic burial plot, a way through elegy that focuses on the soil beneath our feet.' Susannah Dickey.

Hardcover. Condición: Very Good. No Jacket. This is a VG hardcover first edition copy in red cloth binding, no DJ. With previous owner's name in lots of places.

Paperback. Condición: Brand New. 36 pages. 5.06x0.09x7.81 inches. In Stock. This item is printed on demand.

Paperback. Condición: New. William Wyld's The Butterfly Bush exposes the mercurial, merciless absurdities of living in a body, of grief, art and hope, the way a garden, up close, reveals an endless orchestra of life: its dirt; its baroque and brutal euphoria. 'This is a crushing debut pamphlet on the surrealism of death and the queerness of loss, in the lineage of Emily Berry and Franz Kafka. "You were so sweet / and kind, Mum, but your corpse is a fucking nightmare," Wyld's speaker sighs, or deadpans, or screams. Just when they appear to be stuck forever in a weird nightmare, they find some comfort, some interest to get them through. The Butterfly Bush is a testament to Wyld's endless curiosity: reader, return that gaze and your attention might just pupate into a butterfly.' Helen Bowell'Wyld has a unique voice; simultaneously alarming and seductive. You might think you know where a poem is going, only to be met by a sudden switch that is catnip for the synapses. Wyld weaves a sensuous spell rooted in the materiality of life. Their surreal humour creates space for fresh ideas about the interplay of experience and survival, injury and bereavement.' Lisa Kelly'An expansive, maximalist project with an alluring, permeating strangeness. The turns are constantly surprising, the language delicate and luscious but the images bodily and caustic. The recurring image of dirt across these poems becomes a semantic burial plot, a way through elegy that focuses on the soil beneath our feet.' Susannah Dickey.

Leatherbound. Condición: NEW. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. Leatherbound edition. Condition: New. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. Pages: 60. A perfect gift for your loved ones. Reprinted from 1959 edition. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. IF YOU WISH TO ORDER PARTICULAR VOLUME OR ALL THE VOLUMES YOU CAN CONTACT US. Resized as per current standards. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Language: English Pages: 60.

Leatherbound. Condición: NEW. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. Leatherbound edition. Condition: New. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. Pages: 100. A perfect gift for your loved ones. Reprinted from 1961 edition. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. IF YOU WISH TO ORDER PARTICULAR VOLUME OR ALL THE VOLUMES YOU CAN CONTACT US. Resized as per current standards. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Language: English Pages: 100.

Condición: Very Good. Paperback. Large folding, linen-backed map, 40 x 25 inches, scale 1 inch to 1 mile. One small mark, otherwise clean, very good indeed. Original cloth-backed case slightly worn and faded with label over original printed label. 1876 reproduction from the 1816 original.

Couverture rigide. Rare exemplaire de ce recueil "de très belles gravures, très précieuses pour la connaissance du vieil Alger" (Tailliart) | CHARLES MOTTE | Paris 1835 | 34 x 52.8 cm | Relié | Édition originale de cet important et précoce recueil de 50 superbes lithographies d'Alger sur chine montées sur papier fort exécutées par les deux peintres Emile-Aubert Lessore (1805-1876), pupille d'Ingres, et William Wyld (1806-1889), ami de Vernet, d'abord paru en cinq livraisons : bâtiments, paysages, types, scènes, etc. Cf Bibliothèque algérienne de Gérard Sangnier, n°207. Pas dans Blackmer. Playfair, 517. Tailliart, 896. Gay, 919. Brunet III, 1018. Reliure en demi chevrette verte, dos lisse orné de triples filets dorés ainsi que de fleurons estampés à froid, frises dorées en tête et en queue du dos, la frise de tête est partiellement effacée, plats de papier marbré comportant des traces de décolorations marginales, reliure de l'époque. Dos restauré, rousseurs éparses. * Les lithographies sont d'une finesse et d'une profondeur remarquable, rendant bien l'atmosphère algéroise. "De très belles gravures, très précieuses pour la connaissance du vieil Alger" (Tailliart). | [ENGLISH DESCRIPTION FOLLOWS] First edition of this important and early collection of 50 superb lithographs of Algiers printed on china paper mounted on heavy wove, executed by the two painters Emile-Aubert Lessore (18051876), a pupil of Ingres, and William Wyld (18061889), a friend of Vernet. The work was originally issued in five parts: buildings, landscapes, figures, scenes, etc. See: Bibliothèque algérienne de Gérard Sangnier, no. 207. Not in Blackmer. Playfair, 517. Tailliart, 896. Gay, 919. Brunet III, 1018. Contemporary binding in half green shagreen, flat spine with triple gilt fillets and blind-stamped fleurons, gilt decorative bands at head and foot of spine, the upper band partially faded; marbled paper-covered boards with some marginal discoloration. Contemporary binding. Spine restored, occasional scattered foxing. * The lithographs display exceptional finesse and depth, vividly capturing the atmosphere of Algiers. "De très belles gravures, très précieuses pour la connaissance du vieil Alger" (Tailliart). in-folio ; titre, 20 pp. de légende des planches, et 50 planches lithographiées sur Chine montées sur papier fort.

Original hand-coloured engraved map of present day Greater London (88 x 84 cm) dissected into 45 sections and backed onto linen, attractively edged with green silk and folding between blue card covers into original cloth slipcase (worn) with engraved title-label. Extends from Edmonton in the north to Croydon in the South, Plumstead Marshes in the east and Barnes in the west. Slipcase cracked and with partial loss, map itself with just some light toning but generally in very good condition. A well-preserved example of an interesting map encompassing most of what is now considered to be Greater London. (Howgego, 250, 4a).

Rue Blanche 45, Paris, 20 July 1870. Uncommon. William Wyld (1806-1889), English painter, under Vernet's patronage, received many commissions for orientalist paintings. In 1851 his admirer Queen Victoria commissioned paintings of Liverpool and Manchester to celebrate her visit there, which remain in the Royal Collection along with examples of his orientalist works. His View of Manchester has become an iconic image of the 19th-century Cottonopolis.

Leatherbound. Condición: NEW. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. Leatherbound edition. Condition: New. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. Pages: 360. A perfect gift for your loved ones. Reprinted from 1850 edition. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. IF YOU WISH TO ORDER PARTICULAR VOLUME OR ALL THE VOLUMES YOU CAN CONTACT US. Resized as per current standards. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Language: English Pages: 360.

Condición: Good. Handcolored lithograph. 17 x 19.5 cm. sheet size. Signed with initiials"WW" and dated 1828. Mounted at the corners. See Beraldi, XII,m pp. 302-303 for similar images.

No Binding. Condición: Very Good. Dated below the title Feby 1st 1824. Light dust-marking and toning. Minor spotting. No holes and no tears. Advert for Wyld's maps to reverse. Outline colouring to Countries and Counties. Northern part of (mainland) Scotland as an insert on a reduced scale. Sharp, clear printing. Marbled slipcase with title label to front, generally worn and scuffed. Both map and slipcase reference Wyld as being the successor to Faden. Some coastal features marked, as well as packet ship routes. This map was originally published by Faden and then republished by Wyld when he took the business over. Sheet dimensions: 63.5cm by 75.0cm approx. (non492o3).

Condición: Very Good. William WYLDPalais de la Bourse et Tribunal de Commerce à Paris.Lithographie originale.Paris, Rittner et Goupil, 1838.Dimension du sujet: 25,5 x 38 cmDimension du feuillet: 36,3 x 53,5 cmBel encrage et bon état.William Wyld (1806?1889) ? Lithographie du Palais de la Bourse, Paris, 1838Témoignage visuel peu fréquent de Paris avant les transformations haussmanniennes. William Wyld, peintre et lithographe anglais s'est installé à Paris dès 1834. Initialement attiré par des scènes orientalistes, il se tourne rapidement vers l?architecture classique, privilégiant le détail et la précision.Cette lithographie montre le Palais de la Bourse et la vie urbaine alentour, offrant un précieux document historique et artistique du Paris des années 1830. L?attention de Wyld pour l?architecture et le mouvement de la ville rend cette planche particulièrement vivante et représentative de son style.

Litografia 29 x 43 cm. Bella acquarellatura, probabilmente d'epoca. Proveniente da: "Album Venitien: compose de douze vues lithographiees par W. Wyld & E. Lessore. Venise: J. Kier, 1837". Wyld William (1806-1886). Lessore Emile (1805-1876) 19mo secolo.

(87 x 82 cm). Original folding map of London with some original outline colour. The map, printed on paper, dissected and mounted on to linen, shows extents from Edmonton in the north to Beckenham in the south and from Barnes in the west to Plumstead in the east. Blue marbled paper to folded end sections. Label of 'G. Cruchley, Map Seller & Publisher, 38, Ludgate Street, St. Pauls, London' to lower margin and advertisement for 'Works Published and Sold by G. Cruchley' to folded end-section. Some toning and wear. Folds and corners reinforced on verso. James Wyld (1812-1887) was "the most important mapmaker producing maps of London in the year of the Great Exhibition". Wyld was a highly successful publisher, MP for Bodmin, and an active figure in public life. He promoted the development of the British Library and campaigned for the Public Libraries and Museums Bill. Like his father, he was made Geographer to Queen Victoria and Prince Albert in 1836. He built his business on his ability to produce maps quickly in reaction to new discoveries and information: Punch remarked drily that if a country were discovered in the centre of the earth then Wyld would have a new map out "as soon as it is discovered, if not before".