edited barrett lee (6 risultati)

Paperback. Condizione: Very Good. Milwaukee Public Museum: Publications in Primitive Art 2, 1968. 102 pages; 91 duotone illustrations; color frontispiece. The Samuel A. Barrett Collection. Foredge margin of the first twenty pages is dimpled in a small area, perhaps by damp fingers. Pictorial Wrapper (softcover). Very Good. 4to. Museum Handbook.

First edition, first printing Very close to fine and bright tall glossy wraps with crisp bright text throughout. Beautifully illustrated in color and profuse with a nicely realized text.

Softcover. Condizione: Very Good. Single issue. Printed yellow wrappers. Contains pages 137-256pp. Spine and edges age-toned, yapped edges with short tears, very good. Contributions of poetry, stories, reviews and more by Malcolm Cowley, Allen Tate, Laurence Sears, Marcia Lee Anderson, Saul K. Padover, Louis Simpson, Julian P. Boyd, Louise Townsend Nicholl, Mary Ormsbee Whitton, Reinhard H. Luthin, Horace E. Hamilton, Edgar Levy, Wolf Franck, Peter Viereck, William Barrett, Kenneth Burke, Robert Gorham Davis, Hiram Haydn, Irwin Edman, Melville J. Herskovitz, Dudley Fitts, and George Biddle.

1925. (Periodical) Very good. 129-255pp. Light spine wear at top and bottom, edges chipped. February 1925. Contributors include Herbert Asbury (Up from Methodism), James Branch Cabell (Above Paradise (A Story)), Barrett H. Clark (George Moore at Work), Edgar Lee Masters (John Peter Altgeld), Louise Pound (Walt Whitman Neologisms), Charles C. Thach (The Monroe Doctrine), Owen P. White (A Glance at the Mexicans). Edited by George Jean Nathan. Article about George Moore & Walt Whitman. (Essays).

Hardcover. Condizione: Fine. No Jacket. 1st Edition. "First edition, 1997" stated. Fine, professionally-rebound hardback by Cal-Na Bindery of Sacramento according to sticker attached to rear pastedown; with paperback covers and spine attached. Only trivial, if any signs of age/wear/previous use.

Soft cover. Condizione: Good. No Jacket. 1st Edition. English text; Paperback; 22 x 28 cm; 4.1 Kg; 640 pages with colour illustrations throughout.; Used with signs of wear on the exterior, namely edge wear and a few scratches and wear marks on the front cover, spine and back cover. Minor bumps on the top of the front cover and back cover. Minor wear marks on the first 15 pages at top, probably due to the bump on the front cover. Remaining interior in very good condition.; Catalogue from the exhibition New Songs on Ancient Tunes: 19th-20th Century Chinese Paintings and Calligraphy from the Richard Fabian Collection, organized by the Honolulu Academy of Arts and presented at the museum from August 30 to October 28, 2007.; This catalogue introduces Chinese painting and calligraphy from a revolutionary period in recent history-the nineteenth and early twentieth centuries. This period encompasses the fall of the Qing (Ch'ing) dynasty, the establishment of the Republic of China under Sun Yat-sen and Chiang Kai-shek, and the founding of the People's Republic of China under Mao Zedong (Mao Tse-tung). Chinese art of these two centuries witnessed a remarkable series of transformations, seen here through the prism of the Richard Fabian Collection, an extraordinary group of over two hundred works, many published here for the first time. Painting and calligraphy are easily the most sophisticated of all Chinese art forms. New Songs on Ancient Tunes focuses on the recent history of these two art forms from several vantage points: the significance of regional centers of artistic production, the impact of political and economic upheaval, the special relationship between painting and calligraphy extending back to antiquity, and the human stories of artists and patrons that bring these remarkable works to life. New Songs on Ancient Tunes explores a broad range of subjects, providing the contemporary viewer with a vehicle to better grasp the larger story of China's classical calligraphy and painting traditions as well as basic aspects of Chinese culture and identity. Conservative tendencies in late Qing painting, the concurrent fascination with archaeology and epigraphy that provoked a revolution in calligraphic theory and practice, the Shanghai School, the so-called Epigraphic School or Movement in northern and southern China, the Lingnan School of Canton, and the experiences of Chinese artists in Europe and Japan in the late Qing and early Republic periods are only a few of this new study's key focal points.