Bilbey diane (41 risultati)

paperback. Condizione: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority. Hall, Evan (illustratore).

paperback. Condizione: As New. Unmarked book in great shape. Never read. Ships daily. Hall, Evan (illustratore).

paperback. Condizione: New. Softcover. Hall, Evan (illustratore).

Condizione: New. Hall, Evan (illustratore).

Condizione: New. NEW! paperbackNew2009. Hall, Evan (illustratore).

Condizione: As New. Unread book in perfect condition. Hall, Evan (illustratore).

Hardcover. Condizione: Good.

hardcover. Condizione: Very Good. Includes dust jacket. Very mild shelfwear to unclipped jacket. I note every flaw I find, so buy with confidence.

hardcover. Condizione: Very Good. Condizione sovraccoperta: Very Good. First Edition. Unread. No markings in book. Binding is fine. DJ with light shelf wear. 522pp.

Condizione: New. 2019. Paperback. . . . . .

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

Condizione: New. pp. 256.

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

Hardcover. Black cloth, green/gray & illus. dust jacket in mylar cover; 522 pp., many BW illus. "The unrivalled collection of post-medieval British sculpture at the Victoria and Albert Museum is here catalogued and illustrated for the first time. . Over 770 pieces by almost 200 sculptors are included, more than a third of which have never been published before. The catalogue, wide-ranging and scholarly, will serve both as an invaluable work of reference, and in effect a history of sculpture in Britain over 500 years." (dj). G+ (Ex-art library with spine label, identity marks on book block edges, and some marks on outermost pages; dj has changed color, esp. along spine; page edges are tanning lightly.).…

Paperback. Condizione: New. This publication is a highly visual celebration of the massively popular, but now largely forgotten, Britain Can Make It exhibition. Organized by the Council of Industrial Design, it was held in empty ground-floor galleries of the Victoria and Albert Museum, from September to December 1946. A groundbreaking, morale boosting exhibition, it showcased British design and manufacturing. Despite its short run, it boasted an incredible 1.5 million visitors, and remains one of the most visited exhibitions ever held at the VandA. Long before the end of the Second World War hostilities, the government's Post War Export Trade Committee recognized the importance of promoting the country's manufacturing capabilities. Plans for an exhibition of 'National Importance' were set in place in October 1942, for an event that would illuminate the gloom of austerity, educate the public in the value of good design, and most importantly, boost much needed foreign trade. Britain's need to promote, manufacture and export its goods was urgent. The job of organizing the exhibition was given to the Council of Industrial Design on behalf of the government's Board of Trade. From its early planning stages, there was a desire to create an exhibition that was full of color, light and airy, and far removed from the browns and greens of the inter-war years. The exhibition was also intended to work as a public morale boosting exercise and it did, attracting visitors from around the country. Mile-long queues constantly formed outside the VandA. Interviewed in 1984, James Gardner, the designer of the exhibition, commented on the motivation for it: 'We'd got to get British manufacturers to produce well-designed goods quickly and to cheer the British public up. They were so depressed. Give them something to look forward to. You know, this was the dream of the future, if you like.' BCMI was not a trade show. Manufacturers had to put forward their products and only those deemed the best examples were chosen by specialist committees. An accompanying catalog detailing the manufacturers of products (and significantly, wherever possible the names of the designers of each product), could be bought by visitors from one of the bookstalls dotted around the exhibition. The catalog explained when goods would be available for the home and trade markets: 'Now,' 'Soon' or 'Later.' Most often they were 'Later' for the home market which led to negative comments in the press, such as: 'Britain Can't Have It,' 'Britons can't buy it,' and 'Britain Can't Get It.' Products representing key consumer groups, including clothing, leisure, and domestic products were displayed. These were diverse, from pottery and glass, to radios, women's and men's wear, furniture, fabrics, toys, jewelry, boilers, taps, and sporting equipment. The Furnished Rooms section showcased room sets that sought to show how a range of people from different professional groups might live. By taking its structure loosely from the exhibi.…

Condizione: New. 2019. Paperback. . . . . . Books ship from the US and Ireland.

Hardcover. First Edition, First Printing. Quarto, xv, 524 pages. In Very Good condition with Very Good dust jacket. Spine teal with white lettering. Dust jacket protected with a mylar covering, price uncut: "£60.00." Mild rubbing and general shelf wear. Mild sun-fading to dust jacket. Textblock sunken. Shelved in British Art. 1409976. Shelved Dupont Bookstore.…

Condizione: new.

Paperback. Condizione: new. Paperback. This publication is a highly visual celebration of the massively popular, but now largely forgotten, Britain Can Make It exhibition. Organized by the Council of Industrial Design, it was held in empty ground-floor galleries of the Victoria & Albert Museum, from September to December 1946. A groundbreaking, morale boosting exhibition, it showcased British design and manufacturing. Despite its short run, it boasted an incredible 1.5 million visitors, and remains one of the most visited exhibitions ever held at the V&A. Long before the end of the Second World War hostilities, the government's Post War Export Trade Committee recognized the importance of promoting the country's manufacturing capabilities. Plans for an exhibition of 'National Importance' were set in place in October 1942, for an event that would illuminate the gloom of austerity, educate the public in the value of good design, and most importantly, boost much needed foreign trade. Britain's need to promote, manufacture and export its goods was urgent. The job of organizing the exhibition was given to the Council of Industrial Design on behalf of the government's Board of Trade. From its early planning stages, there was a desire to create an exhibition that was full of color, light and airy, and far removed from the browns and greens of the inter-war years. The exhibition was also intended to work as a public morale boosting exercise and it did, attracting visitors from around the country. Mile-long queues constantly formed outside the V&A. Interviewed in 1984, James Gardner, the designer of the exhibition, commented on the motivation for it: 'We'd got to get British manufacturers to produce well-designed goods quickly and to cheer the British public up. They were so depressed. Give them something to look forward to. You know, this was the dream of the future, if you like.' BCMI was not a trade show. Manufacturers had to put forward their products and only those deemed the best examples were chosen by specialist committees. An accompanying catalog detailing the manufacturers of products (and significantly, wherever possible the names of the designers of each product), could be bought by visitors from one of the bookstalls dotted around the exhibition. The catalog explained when goods would be available for the home and trade markets: 'Now,' 'Soon' or 'Later.' Most often they were 'Later' for the home market which led to negative comments in the press, such as: 'Britain Can't Have It,' 'Britons can't buy it,' and 'Britain Can't Get It.' Products representing key consumer groups, including clothing, leisure, and domestic products were displayed. These were diverse, from pottery and glass, to radios, women's and men's wear, furniture, fabrics, toys, jewelry, boilers, taps, and sporting equipment. The Furnished Rooms section showcased room sets that sought to show how a range of people from different professional groups might live. By taking its structure loosely from the exhibition itself and from the accompanying Design '46 catalog, Britain Can Make It will take the reader through an eclectic range of subject areas and consumer products. The book begins with a discussion of the political climate and economic motivations that led to this exhibition of 'National Importance' taking place, and an overview of the contemporary social context. Additional essays will cover specific aspects of the exhibition itself, including the surrealist design of the exhibition, the art and artists involved, the naming, and the 'Design Quiz.' Most chapters will be in the form of short illustrated essays. Rediscovers the massively popular, but now largely forgotten, Britain Can Make It exhibition held at the V&A in 1946. A ground-breaking, morale boosting exhibition, it showcased British design and manufacturing. Despite its short run, it boasted an incredible 1.5 million visit Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Condizione: New. Hall, Evan (illustratore).

Paperback. Condizione: Brand New. 1st edition. 256 pages. 10.00x8.50x1.00 inches. In Stock.

Condizione: New. In English.

Hardcover. Condizione: New. No Jacket. 1st Edition. First edition stated 2002. Published by Victoria & Albert Museum / Harry N. Abrams. Hardcover in full cloth without DJ. Condition as new, square tight and crisp book, no edgewear, corners not bumped, no names, no underlinings, no highlights, no bent pages, not a reminder. Thick folio, 540 pages, illustrated throughout. Heavy book may require additional postage for international orders.…

Condizione: New. pp. 256.

Paperback / softback. Condizione: New. New copy - Usually dispatched within 4 working days.

Hardcover. Condizione: Very Good. Condizione sovraccoperta: Edges Worn and Chipped. 526pp. Many illustrations. In un-read condition, but the jacket is worn.

1st edition, hardback, large 4to, 2.75Kg., xvi,526pp, numerous illustrations, clean and tight, no inscriptions, Very Good / Very Good dustwrapper. ISBN: 1851773959.

Hardback. Condizione: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Hardcover. Condizione: Very Good. 504 pages. The unrivalled collection of post-medieval British sculpture at the Victoria and Albert Museum is here catalogued and illustrated for the first time. The col lection encompasses marble portrait busts and figures, sculpture in wood, terrac otta, bronze, lead and plaster, as well as a number of outstanding sculptors' mo dels.Its greatest strengths lie in works from the seventeenth, eighteenth an d nineteenth centuries, and virtually every major sculptor active in Britain dur ing this period is represented - among them Nicholas Stone, John Michael Rysbrac k, Louis Francois Roubiliac, Joseph Wilton, John Flaxman and Alfred Stevens. Over 770 pieces by almost 200 sculptors are included, more than a third of which have never been published before. The catalogue, wide-ranging and scholarly, wi ll serve both as a work of reference, and in effect a history of sculpture in Br itain over 500 years. …

Kartoniert / Broschiert. Condizione: New. Hall, Evan (illustratore).