george frederic watts (34 risultati)

Hardcover. Condizione: Acceptable. No Jacket. Wear to spine and edges of cover. Volume 3 only. c 1912 (no date).

Trade Paperback. Condizione: Very Good. Gloria Adelson (Cover Design); George Frederic Watts (Cover Illustration) (illustratore). 1st Collier Bks Ed 1991, 1st Printing. 384 pp. Solidly bound copy with moderate external wear, crisp pages and clean text. Top right corner of front cover is creased.

Soft Cover. Condizione: Very Good. George Frederic Watts (Cover Illustration) (illustratore). 1st Collier Bks Ed 1991/ 1st Printing. 384 pp. Flawless book tightly bound with clean text and crisp pages save for some bumping on spine edges.

Hard Cover. Condizione: Very Good. Condizione sovraccoperta: Good. A few small chips from jacket edges, jacket price clipped. Binding tight and square, pages clean, bright, and unmarked. 1946 Hard Cover. xii, 121 pp. A collection of wisdom from various literary greats such as Charles Dickens, Francis Bacon, and Ralph Waldo Emerson, with woodcut illustrations by Rockwell Kent.

Hardcover. Condizione: Very Good. hardback in very good condition. volume 3 only. ex-library.

First Edition. Very good paperback copy; wrappers slightly dust-toned and edge-nicked. Bright and clean internally. Remains particularly well-preserved overall.; 8vo 8" - 9" tall; 8 pages; Physical description: 8p, xvi p of colour plates; 35cm. Subjects: Watts, George Frederic (1817-1904) -- Painting -- Periodicals. Series: The world's most complete gallery of painting 37. 3 Kg.

Paperback. Condizione: Used; Very Good. **SHIPPED FROM UK** We believe you will be completely satisfied with our quick and reliable service. All orders are dispatched as swiftly as possible! Buy with confidence! Greener Books.

Paperback. Condizione: Used; Good. **SHIPPED FROM UK** We believe you will be completely satisfied with our quick and reliable service. All orders are dispatched as swiftly as possible! Buy with confidence! Greener Books.

Hardcover. Very Good with no dust jacket; Exlibrary with markings. Spine edges worn. Volume II only. ; Ex-Lib; B&W Illustrations; 352 pages.

Hardcover. Very Good- with no dust jacket; Exlibrary with markings. Top edge of spine is torn. Volume III only. ; Ex-Lib; B&W Illustrations; 329 pages.

Hardcover. Condizione: Very Good. No Jacket. George Frederic Watts (illustratore). 1st Edition. Green Hardcover ( 1898,c.1898 ) in very good condition, bright decorative gold gilt scrolls bordering titles and royal crest on front board, gold gilt title and illustration to spine, light stain spot to lower spine, gold gilt to top page edge with outside edge and bottom cut uneven, signature of R.L. Cameron dated Christmas 1898 on FEP having a family connection to illustration credit in the book, no markings, inner hinges well preserved, 312 pages with 2 pages of advertising, 22 photo-gravure illustrations with tissue guards, satin ribbon page mark laid in.

First Edition. Very good paperback copy; wrappers slightly dust-toned and edge-nicked. Bright and clean internally. Remains particularly well-preserved overall.; 8vo 8" - 9" tall; 8 pages; Physical description: 8p, xvi p of colour plates; 35cm. Subjects: Watts, George Frederic (1817-1904) -- Painting -- Periodicals. Series: The world's most complete gallery of painting 37. 1 Kg.

hardback. Condizione: Good. His Writings. Illustrated. London (Hodder & Stoughton) nd. Backstrip torn. Internally a fine copy. A good copy, overall.

Hardcover. Condizione: Good. No Jacket. Early Edition. Xiii + 329 Pages, Plus Plates, Plus [2] Of Publishers Ads. A Soundly Bound Book, Previous Owners Bookplate On Endpaper Otherwise Unmarked, Some Wear To Covers But No Damage And Overall "Good". Not Ex Library. A Heavy Book, Overseas Shipping Will Exceed The Abebooks.Com Default Rate - Please Email The Bookseller For An Overseas Shipping Quote.

Condizione: Good. Boards have some wear, some marks. Content has light age tone. Some spotting to page ends.

Condizione: Sehr gut. First Edition. 16cm x 24cm. XIX, 258 pages with 8 colour and 24 black and white illustrations. Original Hardcover with original dustjacket. Very good condition with only minor signs of wear. Signed and inscribed by the author.

Broschiert. Condizione: Gut. 29,5 x 23 cm 304 S. : zahlr. Ill. ; Broschiert. Zustand: Sehr Gut (Innen); Einband Außen hat nur min. Gebrauchsspuren; * Die Photos sind original von uns erstellt worden, u.a. erkennbar an einem kleinen weißen Stück Papier im oberen Schnitt. Ab und an verwenden Suchmaschinen Verlagsphotos, bei den Portalen selbst, werden aber nur unsere Originalphotos gezeigt.

Copertina morbida. Condizione: Buono. 71 p. : ill. ; 15 x 10 cm. Nineteenth century art books. Piccola monografia su George Frederic Watts, a volte noto con il nome di George Frederick Watts, pittore e scultore inglese dell'epoca Vittoriana, spesso associato al movimento artistico del Simbolismo. Watts divenne famoso nel suo tempo per le sue opere allegoriche, come "Hope" e "Love and Life". Questi dipinti avrebbero dovuto far parte di un ciclo epico simbolico chiamato "House of Life", nel quale sarebbero state rappresentate le aspirazioni e le emozioni della vita umana in un linguaggio pittorico simbolico. Brossura editoriale, coperta illustrata (b/n) in cartoncino flessibile. All'interno numerose tavole illustrate in b/n su carta patinata lucida.

Hardcover. Condizione: Very Good. No Jacket. 1st Edition. Frontispiece, 210 pp, 1 leaf; 40 illus. Original decorated cloth, top edge gilt, large 8vo. Very Good. 'G. F. Watts was one of the major artistic figures of the nineteenth century. In this work published in 1905, only a year after Watts' death, Emilie Barrington (18411933) reflects on the close friendship she and her husband had with the renowned artist. Her aim in writing her volume of reminiscences was to accurately record her knowledge of Watts' life. She describes her first impressions, when she first met him in Dante Gabriel Rossetti's studio. Chapters also cover Watts' aims as an artist, his relationships and his genius. This fascinating book is highly illustrated throughout, including Watts' sketches, symbolical paintings and portraits. The reader will gain an intriguing insight into the life and work of this complex character, widely considered to be the greatest painter of the Victorian age' (Cambridge University Press Web site).

farbige Reproduktion auf charmoisfarbenen Büttenkarton mit dekorativ abgesetztem Plattenrand, bildliche Darstellung ca. 14 x 10,5 cm, Kartongröße ca. 27,5 x 23,5 cm, (jeweils Höhe x Breite), fast neuwertig erhalten und selten - Das berühmte Bild von Watts gilt als eines der bahnbrechenden Werke des "Symbolismus". Hope hält ihr Ohr an die letzte Saite ihrer fast zerstörten Harfe. Das 1885 gemalte Bild war schon kurz nach seiner Entstehung so begehrt, dass Watts eine Kopie seines eigenen Werkes anfertigte und das erste Gemälde zerstörte. Er schenkte die Kopie, die sich heute im Victoria and Albert Museum befindet, 1897 dem britischen Volk, was ihn nicht daran hinderte, weitere Kopien seines eigenen Werkes anzufertigen. Das Bild erreichte noch größere Berühmtheit, als bekannt wurde, dass der US-amerikanische Präsident Theodore Roosevelt eine Kopie in seiner New Yorker Wohnung hängen hatte. - "This is one of the earliest of the great morality pictures by which Watts earned his fame. Describing these, he said, "All my pictures are symbolical and for all time. Their symbolism is, however, more suggestive than worked out in detail." He goes on: "I want to make people think. My intention has not been so much to paint pictures that will charm the eye as to suggest great thoughts that will appeal to the imagination and the heart, and kindle all that is best and noblest in humanity." Hope illustrates the power of these pictures to make people think. The blinded figure, seated on the sphere with her broken lyre, is bending her ear to catch what music she may produce from the last remaining string. She cannot see the star shining above her; one by one the sweet notes of music have been taken from her, but still she sits, bowed but not broken, plucking with tender fingers whatever melody she may from the last string of those that gave her the full harmonies of beauty. She has no vision either of the star above or of the world of darkness and gloom below. Her attitude of dejection almost rejects the conventional idea that there is happiness to be found when everything seems lost, but the picture suggests the larger hope of the world that there is peace and light above the turmoil and sorrow of the earth. [G.K. Chesterton, "Famous Paintings", New York: Funk & Wagnalls Company 1913]. 1100 gr.

Cloth. Condizione: Very Good Indeed. George Frederic Watts, Emery Walker (illustratore). A scarce edition of poems from the iconic poet laureate, including The Princess and In Memoriam, with an introduction from eminent scholar Herbert Warren. A scarce edition of The Poems of Tennyson, writing by the renowned British poet laureate Alfred Lord Tennyson, with an introduction by eminent scholar Herbert Warren. Published by Henry Frowde in 1912.In the publisher's original black crushed cloth, with a frontispiece drawn by painter George Frederic Watts, and engraved by Emery Walker. A loving inscription to verso of the frontispiece.Including poems such as The Princess, In Memoriam and Maud, Tennyson's poetry is known for its celebration of natural beauty and reflections of history and his time. Today he has become a symbol of the Victorian age.Herbert Warren was a very distinguished scholar of English, receiving both the Legion of Honour from France, and the Order of the Crown of Italy. In the publisher's original black crushed cloth. Externally, very smart, with minimal marks. Fading to the spine. Marble end papers are clean, with minor fading. Internally, firmly bound, with slight wear to hinge between leaves pp.736-737. Pages are bright and clean, with the faint spot to the extremities of the frontispiece. Very Good Indeed. book.

hardcover. Condizione: very good(+). George Frederic Watts (illustratore). Illustrated. 3 volumes, tall 8vos, gilt-lettered red cloth. New York: Hodder & Stoughton, no date, circa 1912. A very good(+) set. This important biography forms a record, written from within, of an artistic and personal career of remarkable interest. Written by his wife, it is of extreme importance, both as a chronicle of illustrious friendships and as a running commentary on a famous artist's paintings.

[2 pp]. 3 1/2 x 4 1/2 inches. Painter and sculptor George Frederic Watts (1817-1904) enrolled at the Royal Academy when he was 18 years old, and started exhibiting there a few years later. Associated with the Symbolic movement, his works were often allegorical, and include: "Sir Galahad" ; "Orpheus And Eurydice" ; "The Judgement of Paris" ; "The Wounded Heron" ; and "The Minotaur." He was elected as an Academician to the Royal Academy in 1867, and was among the original members of the new Order of Merit. The Watts Gallery, located in Compton, is dedicated to his works Two brief, undated letters, written on small 1 pp. bifoliums, and signed by Watts: [1] To [?] Sassoon: "I don't know how to thank you so can't attempt, but beg you to believe. " [2] To Hamo [Thornycroft]: "I am unavoidably prevented from coming before lunch but I will come about 3 if possible. And I am however very unwell today & may have to bed suddenly but I hope not & will come as I say if possible." William Hamo Thornycroft (1850-1925) was an English sculptor and part of the Thornycroft family, a notable English family of sculptors, artists and engineers, who were related by marriage to the Sassoon family, known as "Rothschilds of the East" whose best know member was Siegfried Sassoon, whose mother was a Thornycroft. Neither letter indicates a location, but they were likely written from London or the village of Compton, near Surrey. Very good, pin holes along top edge, faint soiling.

hardcover. Condizione: very good. Condizione sovraccoperta: good. George Frederic Watts (illustratore). Illustrated. 3 volumes. Tall 8vos, black-lettered red cloth, Volumes I and II have worn, chipped dust wrappers and are worn at the back inner hinge. New York: Doran, no date, circa 1912. All volumes are very good. Dust wrappers are good only. This important biography forms a record, written from within, of an artistic and personal career of remarkable interest. Written by his wife, it is of extreme importance, both as a chronicle of illustrious friendships and as a running commentary on a famous artist's paintings.

Hardcover. Condizione: Gut. Watts, George Frederic (illustratore). XXIX S., [1]Bl.,166,[1]S. Rot-brauner Leineneinbd. mit geprägtem Wappen auf der Vorderseite und Rückentitel, leicht fleckig, Titelbordüre u.Titelholzschn., Wappen im Spiegel, Provenienzvermerk, Frontispiz von Watts, Rot-Schwarz-Druck. 13,5x11cm.

Dated Nov. 26th, 1896. "My dear Sir", sending a monograph (no longer present) "published some months ago.& containing reproductions - I wish they had been better done." Watts was an English "Symbolist" painter and sculptor A half sheet, one page, one horizontal fold. A few handling creases, Very Good condition.

1 page. Small 8vo. 1 page. Small 8vo. The English painter and sculptor Watts (1817-1904) writes to a Miss Adams, enclosing "signed papers" (not present), apologizing for mislaying another letter, and closing, "the monument is a very fine thing indeed" Single sheet of Little Holland House stationery. Fine.

[3] pp.; 73 x 18.3 cm.; loose leaves; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed Poster for the Fourth Annual New York Festival of the Avant Garde held at The Central Park Conservatory Pond, New York, September 9, 1966, from 6am until midnight. Organized by Charlotte Moorman. Performances and contributions by Charlotte Moorman, Yoko Ono, Benjamin Patterson, Larry Loonin, Frederic Rzewski, Pietro Grossi, Leo Nilson, Ralph Lundsten, Don Heckman, Dick Higgins, La Monte Young, Robert Moran, Philip Corner, Toshi Ichiyanagi, Takehisa Kosugi, Hans G. Helms, Jackson Mac Low, Spencer Holst, David Hazleton, Emmett Williams, Mordecai-Mark Mac Low, Richard Huelsenbeck, David Anton, Jerome Rothenberg, Carol Berge, Diter Rot, Ludwig Gosewitz, Lamberto Pignotti, Chieko (Mieko) Shiomi, Bazon Brock, Tomas Schmit, Kurt Schwitters, Allan Kaprow, Alison Knowles, Bob Watts, Christo, Stefan Wolpe, Kenji Kobayashi, Howard Lebow, Cecil Taylor, Jimmy Lyons, Ken McIntyre, Mike Mantler, Henry Grimes, Allan Silva, Tony Williams, Jacob Glick, Shigeko Kubota, Allison Knowles, Jerry Agel, James Tenney, Joseph Beuys, Karlheinz Stockhausen, Karl Erik Welin, George Jeffers, Earle Brown, Giuseppe Chiari, Bill Dixon, Judith Dunn, Wolf Vostell, Robert Breer, Gary Harris, Elaine Summers, Hans Richter, Takahiko Iimura, USCO, George Brecht, John Cage, Charles Frazier, Jim McWilliams, Robert Burridge, Robert Ashley, Al Hansen, Bici Hendricks, Geoffrey Hendricks, Barbara Moore, Peter Moore, Gordon Mumma, Max Neuhaus, Nam June Paik, Lil Picard, Raffaele, Ely Raman and Carolee Schneemann. Good. Folded in eight, as issued, for mailing. Mailed copy with mailing marks and wear. 2.4 cm. dog-ear to bottom right corner of recto with bumping, light bumping of bottom left corner, and 1.2 cm. dog-ear to upper right corner with 7.7 cm. area of bumping. Multiple light fingerprint marks on verso.

[1] pp.; 58.2 x 27.6 cm.; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed Program for the Fourth Annual New York Festival of the Avant Garde held at The Central Park Conservatory Pond, New York, September 9, 1966, from 6am until midnight. Organized by Charlotte Moorman. Performances and contributions by Charlotte Moorman, Yoko Ono, Benjamin Patterson, Larry Loonin, Frederic Rzewski, Pietro Grossi, Leo Nilson, Ralph Lundsten, Don Heckman, Dick Higgins, La Monte Young, Robert Moran, Philip Corner, Toshi Ichiyanagi, Takehisa Kosugi, Hans G. Helms, Jackson Mac Low, Spencer Holst, David Hazleton, Emmett Williams, Mordecai-Mark Mac Low, Richard Huelsenbeck, David Anton, Jerome Rothenberg, Carol Berge, Diter Rot, Ludwig Gosewitz, Lamberto Pignotti, Chieko (Mieko) Shiomi, Bazon Brock, Tomas Schmit, Kurt Schwitters, Allan Kaprow, Alison Knowles, Bob Watts, Christo, Stefan Wolpe, Kenji Kobayashi, Howard Lebow, Cecil Taylor, Jimmy Lyons, Ken McIntyre, Mike Mantler, Henry Grimes, Allan Silva, Tony Williams, Jacob Glick, Shigeko Kubota, Allison Knowles, Jerry Agel, James Tenney, Joseph Beuys, Karlheinz Stockhausen, Karl Erik Welin, George Jeffers, Earle Brown, Giuseppe Chiari, Bill Dixon, Judith Dunn, Wolf Vostell, Robert Breer, Gary Harris, Elaine Summers, Hans Richter, Takahiko Iimura, USCO, George Brecht, John Cage, Charles Frazier, Jim McWilliams, Robert Burridge, Robert Ashley, Al Hansen, Bici Hendricks, Geoffrey Hendricks, Barbara Moore, Peter Moore, Gordon Mumma, Max Neuhaus, Nam June Paik, Lil Picard, Raffaele, Ely Raman, and Carolee Schneemann. Designed by George Maciunas. Good. Folded in sixteen with wear along fold lines and light soiling on verso along fold lines. 1.6 cm. dog-ear to bottom right corner and bumping of bottom left corner and edge. Light bumping of upper left corner of recto and 6 cm. area of light soiling to verso.

Condizione: Good. 19th Century sepia photograph artistically mounted on a board with Pfeiffer's poem, of the same title.Contemporary manuscript inscription, possibly in the hand of the poet or artist: "In memory of Ralph Waldo Emerson." Deaccessioned by the Bancroft Library, Berkeley, CA to Peter Howard of Serendipity Books.Hope is a Symbolist oil painting by the English painter George Frederic Watts, the first two versions of which were completed in 1886. he picture is one of a series of allegorical subjects which Watts intended for a decorative scheme known as the 'House of Life'. Traditionally the figure of Hope is identified by an anchor, but Watts was seeking a fresher, more original approach. He painted blind Hope seated on a globe and playing on a lyre which has all its strings broken except one. She bends her head to listen to the faint music, but her efforts appear forlorn; the overall atmosphere is one of sadness and desolation rather than hope. The picture's sense of melancholy is enhanced by the soft brushwork and the translucent mists that envelop the floating globe.