foreword by john ashbery (7 risultati)

Hardcover. 11.25 x 10.75 inches. 263 pages. Cloth; dust jacket. "Gathers drawings, including studies for major paintings, created by the author during the fifties, sixties, and seventies, and shares his comments on his art, influences, and life.". A fine copy in a near-fine jacket, upper spine with small clear tape repair, otherwise clean and bright.

First edition As new and bright in like dustjacket with crisp bright text throughout. Handsome all around. An immediate classic. Gift quality.

Hardcover. Condizione: VG+. Condizione sovraccoperta: VG+. First. Very Good + condition quarter cloth large 8vo, 479 pages in a Very Good + dj (minor rubbing to rear panel). The present copy is from the library of the late great Jill Johnston (1929-2010), critic, radical lesbian feminist champion of the avant-garde, and bears her pencilled initials at top corner of deep blue front free endpaper as well as her distinctive stamp in blue ink on the title page which reads "Write first. then live." J.J.

Hardcover. Condizione: New. Condizione sovraccoperta: New. 1st Edition. This copy is in new, unmarked condition bound in brown cloth covered boards with bright gilt titling to the spine and gilt publisher's logo to the upper board. This copy is bright, tight, white and square. The unclipped dust wrapper is in new condition. International postal rates are calculated on a book weighing 1 Kilo, in cases where the book weighs more than 1 Kilo increased postal rates will be quoted, where the book weighs less then postage will be reduced accordingly. (Herbert George) Rodrigo Moynihan RA (17 October 1910 - 6 November 1990) was an English painter, credited with being a pioneer of abstract painting in England. A winter in Rome 1927-1928 inspired him to devote himself to art, and in 1928 he started studying at the Slade School of Fine Art in London. In the 1930s he gained a reputation as a pioneer of abstract painting in England as a member of the Objective Abstraction movement. Moynihan was later attracted to social realism and became associated from 1937 with the Euston Road School. Moynihan served in the British Army from 1940 to 1943, first in the Royal Artillery and then doing camouflage work. Following an injury, he was given a full-time salaried commission by the War Artists' Advisory Committee, WAAC, having previously completed a number of short-term contracts for the Committee. He completed a number of portraits of ATS and senior, male, military figures for this contract and also for subsequent shorter WAAC contracts Moynihan was appointed an Associate Member of the Royal Academy in 1944. After the war, he was professor of painting at the Royal College of Art 1948-1957, and was elected a full member of the Royal Academy in 1954. At this period, he was in demand for official portraits, and executed commissions of amongst others Princess Elizabeth (1946) and Prime Minister Clement Attlee (1947). He changed direction from 1957, resigning from the Royal College of Art and the Royal Academy and returning to abstraction, working outside England in Europe and North America. This book offers a fascinating overview of Moynihan's oeuvre; from the free resonant 'Objective Abstractions' of the early 1930s, and the portraits of the 1940s, through the post war years - when as Professor of Painting at the Royal College of Art, he began to explore a visual dialogue between the planned and the casual, the ordered and the random in series after series of still lifes - to the abstracts and landscapes of the 1960s and the new still lifes and portraits of the 1970s and 80s. The book contains eighty five illustrations of which sixty five are in colour. Ref TT 1.

Cloth. Condizione: Fine Condition. Condizione sovraccoperta: Near Fine. 264 pp., 285 illustrations 70 in full color. Light soiling to the edge. A bit of chipping an wear to the dustjacket edge, otherwise fine. Dustjacket is protected with a mylar cover.

FIRST EDITION Square 4to. brown clothbound hardback, gilt, with dust jacket. 140pp. with colour and b/w illustrations. Previous owner's ink inscription to ffep. Dust Jacket has not been price clipped. Small previous seller's price sticker to back cover of dust jacket. Fading to spine of dust jacket. VG/VG. (Shelf 25) PLEASE NOTE: Heavy Book [1 kg+]. Postage outside the UK WILL/COULD incur a surcharge, BEFORE ORDERING PLEASE CONTACT US VIA E-MAIL FOR AN ACCURATE QUOTE. Buyer is responsible for any additional duties, taxes, or fees required by recipient's country.** Pictures available upon request.** Visit our homepage for our shop opening hours. Over 20,000 books in stock - come and browse. PayPal, credit and most debit cards welcome. Books posted worldwide. For any queries please contact us direct.

First edition, first printing. Original black cloth lettered in gilt to the spine, in dustwrapper. A very near fine copy, the binding square and firm, the contents clean throughout. Very light offsetting to endpapers. In the dustwrapper, slightly dusty and a little darkened to the spine, the tips and corners a touch rubbed with a tiny nick to the upper edge of the fold between spine and front panel. A very presentable copy. 'Some Trees', Ashbery's first full-length collection was submitted in manuscript for the 1955 Yale Younger Poets competition (an earlier chapbook, 'Turandot, and Other Poems' had been issued by the Tibor de Nagy Gallery in 1953). Established in 1918, the Yale Prize for the best debut collection by an American poet is the longest-running annual literary award in the United States, the winning collection published each year by Yale University Press. In 1955, W. H. Auden was in his ninth year as the competition's judge, having taken over the job from Archibald MacLeish in 1947. During his tenure, he had already chosen Adrienne Rich and W. S. Merwin as winners and later chose James Wright and John Hollander. The curious story of Ashbery's success in 1955 is given in the poet's own words in David Kermani's bibliography of the poet: "I had submitted my poems to the Yale University Press according to the requirement of the competition. [.] Frank O'Hara had also submitted a manuscript that year, and both of us had our manuscripts returned by the Press. They'd been screened out from the manuscripts that were sent to Auden. Later we heard that Auden hadn't liked any of the manuscripts that they'd sent to him and decided not to award the prize that year, and then someone, a mutual friend, possibly Chester Kallman, told Auden [.] that Frank and I both submitted. And he asked us through this friend to send our manuscripts, which we did, and then he chose mine, although I never had felt that he particularly liked my poetry, and his introduction to the book is rather curious, since it doesn't really talk about the poetry. He mentions me as being a kind of successor to Rimbaud, which is very flattering, but at the same time I've always had the feeling that Auden probably never read Rimbaud." It is a beautiful collection, lyrical and formally adventurous, at once suffused with a young poet's debts to older poets (Auden, Bishop, Moore, Stevens, Pasternak, Raymond Roussel), while speaking in Ashbery's own unmistakable voice. Auden's fascinating introduction as well as the volume's attractive design adds to the book's continuing appeal. Further details and images for any of the items listed are available on request. Lucius Books welcomes direct contact with our customers.