Westall r a (38 risultati)

Hardcover. Condizione: Fair. No Jacket. Lovely 1821 edition in small-format pocket format. There is some foxing to some pages, and the cover is a little worn. The binding is still strong and otherwise it is a fine copy. Richard Westall R.A. (illustratore).

Hardcover. Condizione: Fair. No Jacket. Lovely 1821 edition in small-format pocket format. There is some foxing to some pages, and the cover is a little worn. The binding is still strong and otherwise it is a fine copy. Richard Westall R.A. (illustratore).

Single print. Original antique engraving. 20 x 13.5 cm.

Single print. Original antique engraving. Later hand colouring. 19 x 12.5 cm.

Half Morocco. Condizione: Very Good. Printed in 1825. Size 6.5" x 3.75". Parts I and II complete in one Volume, 108 and 108 pages. Green half morocco over marbled boards. Five raised bands to the spine with gilt titles on red morocco label in the second and gilt flower and scroll decorations in the remaining compartments. Marbled page edges, pastedowns and endpapers. Condition very good, corners and edges rubbed, spine sunned, light marginal foxing to titles else the contents are very clean and crisp throughout. Part I and Part II each with engraved title page with vignettes drawn by Richard Westall R.A. and engraved by C. Rolls. Also with two individual titles to the poems The Rose and The Lily and the Rose also drawn by Richard Westall and Engraved by C. Rolls. Contain. Richard Westall R.A., C. Rolls (illustratore).…

Hardcover. Condizione: Very Good. No Jacket. Lovely B/W engraved title page, additional title page, 5 , engraved title and plates drawn by Richard Westall R.A. Engraved by W. Finden. Hardback with Red leather spine with title label. Minimal wear. Contents clean and tight, no inscriptions, minimal spotting, slightly browned at edges. Size 7" x 4 1/4" 134 pages. Richard Westall R.A. (illustratore).…

Hardcover. Condizione: Good. 1st Edition. UK1ST.EDITION.1ST.PRINTING THUS IN THIS EDITION.POCKET SIZED 372 PAGES.A COUPLE OF BLACK AND WHITE PLATES.WORN BOARDS BUT INTERNALLY CLEAN AND BRIGHT.NAME OF PREVIOUS OWNER FEP.

Condizione: Good. 564 pp., hardcover, ex library, else text and binding still clean tight and bright. - If you are reading this, this item is actually (physically) in our stock and ready for shipment once ordered. We are not bookjackers. Buyer is responsible for any additional duties, taxes, or fees required by recipient's country.…

Full Leather. Condizione: Very Good. Reprint. This very good copy is bound in full red calf covered boards with raised bands to four compartments with the title to the second and gilt decoration to the rest. Part of the black title panel has been lost. There is ornate gilt borders to both upper and lower boards. There are gilt dentelles all round.There is a small label of G. H. Brown Bookseller and Bookbinder (113 Edgware Road, London W) to the foot of the front paste down. There are gilt page edges all round. There is some typical offsetting from the tissue guarded illustrations. This copy is bright, tight, white and square. This copy measures 9 cms wide by 14 cms tall. 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. The Deserted Village is a poem by Oliver Goldsmith published in 1770. It is a work of social commentary, and condemns rural depopulation and the pursuit of excessive wealth. The poem is written in heroic couplets, and describes the decline of a village and the emigration of many of its residents to America. In the poem, Goldsmith criticises rural depopulation, the moral corruption found in towns, consumerism, enclosure, landscape gardening, avarice, and the pursuit of wealth from international trade. The poem employs, in the words of one critic, "deliberately precise obscurity", and does not reveal the reason why the village has been deserted. The poem was very popular in the eighteenth and nineteenth centuries, but also provoked critical responses, including from other poets such as George Crabbe. References to the poem, and particularly its ominous "Ill fares the land" warning, have appeared in a number of other contexts. Ref LLL 1. Richard Westall R.A. (Engraved by W. Greatbatch) (illustratore).…

No Binding. Condizione: Very Good. A splendid original antique hand-coloured engraved view - mounted (matted) and ready to frame - excellent condition - colouring not contemporary but delicately and expertly done. A print done c1830 showing Micklegate Bar with figures in the foreground. Westall (illustratore).…

Hardcover. Condizione: Very Good. No Jacket. Engraved title page (dated 1819), title page (dated 1821) with a further 5 engravings, 1 for each season and a fifth for the Hymn, 215 pp. Full maroon, polished calf with extensive gold decoration, compartmented spine, 2 green title labels, marbled eps and edges . Hinges dry, some rubbing, margins of engravings foxed, areas under tissue guards less so, gift inscription on verso of first blank dated 1822 16mo - over 5¾" - 6¾" tall. Richard Westall R.A. (illustratore).…

First Edition. This hand-coloured print has bright colours but is a bit browned in parts. Framed and mounted. The photographs were taken with a flash. Please excuse the reflections on some of them. Prints by Hullmandel and Westall of this vintage routinely sell for about five times the listing price. And this one is hand-coloured. Print 34.5 cm by 25 cm. Frame is 52.5 by 39 cm. We only post out of the glass in order to protect the print, with or without the frame. Paperback. No dj.…

Taschenbuch. Condizione: Neu. Cross-Gendered Literary Voices | Appropriating, Resisting, Embracing | R. Kim (u. a.) | Taschenbuch | x | Englisch | 2012 | Palgrave Macmillan | EAN 9781349335534 | Verantwortliche Person für die EU: Springer Verlag GmbH, Tiergartenstr. 17, 69121 Heidelberg, juergen[dot]hartmann[at]springer[dot]com | Anbieter: preigu. …

Condizione: As New. Unread book in perfect condition.

Condizione: New. From an introduction to the basic terminology and underlying techniques, this book demonstrates the core enabling technologies, with a broad perspective given for various topics. It focuses on the applications and gives an insight into the process of integrating a range of speech technologies for commercial solutions to customer needs. Series: BT Telecommunications Series. Num Pages: 576 pages, biography. BIC Classification: PHDS; TJK. Category: (P) Professional & Vocational; (UP) Postgraduate, Research & Scholarly. Dimension: 234 x 156 x 31. Weight in Grams: 984. . 1997. Hardback. . . . .…

Condizione: New.

Gebunden. Condizione: New. The book will appeal to both professional engineers and students and researchers in the subject. From an introduction to the basic terminology and underlying techniques, the book moves on to demonstrate the core enabling technologies, with a broad and b.

Condizione: New. pp. 580.

Condizione: New. From an introduction to the basic terminology and underlying techniques, this book demonstrates the core enabling technologies, with a broad perspective given for various topics. It focuses on the applications and gives an insight into the process of integrating a range of speech technologies for commercial solutions to customer needs. Series: BT Telecommunications Series. Num Pages: 576 pages, biography. BIC Classification: PHDS; TJK. Category: (P) Professional & Vocational; (UP) Postgraduate, Research & Scholarly. Dimension: 234 x 156 x 31. Weight in Grams: 984. . 1997. Hardback. . . . . Books ship from the US and Ireland.…

Buch. Condizione: Neu. Neuware - The book will appeal to both professional engineers and students and researchers in the subject. From an introduction to the basic terminology and underlying techniques, the book moves on to demonstrate the core enabling technologies, with a broad and balanced perspective given for each topic. Subsequent chapters focus on the applications and give an insight into the process of integrating a range of speech technologies for commercial solutions to customer needs. The book concludes with a speculative review of options for the future.…

'FEBRUARY. WHAT AN EXQUISITE SMELL DO THEY POSSESS! WHAT A PIERCING VISION DO THEY ENJOY! WHAT AGILITY, WHAT VELOCITY DO THEY DISPLAY! 15TH DAY. DRAWN BY R. WESTALL, R.A. ENGRAVED BY JOHN PYE. PUBLISHED BY JOHN SHARPE, DUKE STREET, PICCADILLY, MAY 1, 1823.'A small, finely engraved scene of a foxhunt in progress, with hounds tracking a fox near a gnarled winter tree. The rural setting is crisp and lightly romanticized. Below is a poetic quote praising the hounds' skill.Made by John Pye after Richard Westall R.A.Medium: Engraving on wove (vellin) paper.Sheet size: 14.2 x 19.9 cm (5.59 x 7.83 inch). Image size: 6 x 6 cm. (2.36 x 2.36 inch).FEBRUARY PRINT, JOHN PYE, RICHARD WESTALL, FOX HUNTING, MONTHLY PLATE, HOUNDS, POETIC ENGRAVING, 1820S ENGLISH ILLUSTRATION | PCO-E30-43BACKGROUND INFORMATIONPublished by John Sharpe, Duke Street, Piccadilly, as part of a monthly poetic plate series (possibly Sharpe's London Magazine).Biography engraver: John Pye (1782-1874) was a distinguished English landscape engraver, known for his delicate line work and collaborations with top Romantic-era artists.Biography artist: Richard Westall (1765-1836), R.A., was a British painter and illustrator, well known for his historical and literary subjects. He was Queen Victoria's drawing master and illustrated works by Milton, Shakespeare, and others. Condition: good, given age. Light creasing, foxing and soiling. General age-related toning and/or occasional minor defects from handling. Please study scan carefully. Richard Westall R.A. (illustratore).…

See his entry in the Oxford DNB. 2pp, 12mo. In fair condition, lightly aged and worn. Folded twice for postage. Begins: 'Mr. Westall presents his compliments to Miss Macirone & begs to assure her how very much obliged to her he feels for the honor she has done him in sending him two tickets for her morning concert'. He will have 'the greatest pleasure in attending' the concert, and is 'quite sure he shall be very much delighted'.…

Condizione: Good+. ' A series of original views from drawings by William Westall, A.R.A. Engraved by, and under the direction of Edward Finden, with descriptions by Thomas Moule. ' This beautiful book is bound in a marbled card hardcover, with wear and rubbing to the surface and edges, expected of books of this age. The overall condition of this book is very good; the spine is perfectly intact, and the title is pristine and readable. The binding is excellent, and all pages and illustrations are intact. The only page flaw is the foxing evident throughout, although this adds character to a book of this age. Published in 1830. Disclaimer: Postage rates may vary depending on the weight of the books. For heavier and/or multivolume sets, the cost will be calculated based on the prices listed below. UK: £7 per kg EU: £10 per kg USA: £12 per kg If you have any questions, please get in touch.…

Hard Cover. Condizione: Very Good. First Edition. A complete set of 17 volumes, from 1832-33, first edition. Hard cover, small 8vo, ( 6 7/8 inches tall x 4 1/2 width) in three quarter-green morocco over green cloth-covered boards, the spines with five raised bands, ruled in gilt, with titles to the second and third compartments, top edges gilt, marbled endpapers, v.p. Each volume with engraved frontispiece, engraved vignette title pages and letterpress half titles. Vols. I - VI: "The Life of Lord Byron," (by T. Moore). Vol. VII: "Hours of Idleness, Etc." Vol. VIII: "Childe Harold's Pilgrimage." Vol. IX: "The Giaour" and "The Corsair." Vol. X: "The Siege of Corinth, Parisian, Etc." Vol. XI, "Manfred Etc." Vol. XII: "Marino Faliero" Etc. Vol. XIII "Sardanapalus" Etc." Vol. XIV: "Cain," "Werner" Etc." Vols XV-XVII "Don Juan," Appendices and Index. Complete as issued. **CONDITION: Very Good. Light wear seen to spines, top edge, or boards of a few volumes. Several have light wear to extremities of front joints; hinges are in order. Light soiling to rear board seen on 2 volumes. Inside, text is generally clean and bright, with light marginal foxing and toning affecting some of the earlier plates. Frontis at Vol. I a bit over-opened. Some missing tissue guards. Vol.1 and XIV show some exterior soiling to the rear boards. A small burgundy and gold foil printed booksellers label appears to gutter of volume I, reading "William Brown/Fine Art & Antiquarian Bookseller/5 Castle Street, Edinburgh." The bookstore was at this city center address into the twentieth century. Armorial bookplate of Gwen and Henry Melchett to each volume endpaper. **THE ART-- The largest contingent of engraved plates (17) are after works by J.M.W. TURNER, R.A. (1775-1851). British marine artist and former sailor CLARKSON FREDERICK STANFIELD, RA, RBA (1793-1867) has seven scenes. William Cattermole, W. Purder, J.D. Harding, William Westall and G. Cattermole provide the remaining numbers, totaling 30 scenes and two engraved facsimile MS. The scenes were engraved by London's WILLIAM (1787-1852) and EDWARD FINDEN (1791-1857). From Cadiz to Constantinople, Newstead Abbey, the Bernese Alps, Seville, along the Rhine, to Venice, Rome, and Greece, the illustrations trace the travels of the itinerant author in his years of "voluntary exile" from Britain, said, by biographer R.Holmes, to escape "gambling debts, a broken marriage and tempestuous scandals." **Published between 1832-33, this collection contains the six volumes of an amended biography by fellow Irish poet and novelist, Thomas Moore, first brought out in 1830. Included are some of Byron's correspondence with his publisher, and biographer, as well as speeches and other materials. The series was originally planned at fourteen volumes, later growing to seventeen, as explained in the advertisement to Vol. VIII. The many Notes, Letters, Prefaces and Dedications reflect Byron's contemporary popularity, some detractors as well-- amongst those who knew and worked with him, including his publisher John Murray, Sir Walter Scott, John Wilson.with some being both detractors and admirers. Samuel Taylor Coleridge, Mary Godwin and Percy B. Shelley are all noted, as is the Countess Guiccioli, and diarists Pietro Gamba and Col. Leicester Stanhope. **PROVENANCE: Bookplate of (Lord and Lady) "Henry and Gwen Melchett," with their armorial bookplate to each volume. Gwen Wilson Mond, Lady Melchette (1899-1982) married Henry Mond, 2nd Baron Melchett in 1920. She was a South African-born art student who met her future husband while studying at the Slade School of Art. Both the Melchetts were patrons of the arts, with their Mulberry House, Westminster drawing room featuring a modernist mural "The Loves of Jupiter" by the painter Glyn Philpot. Bohemian artistic friends also included Augustus John, Gilbert Cannan and others of the Bloomsbury artists and writers of the time. R. Holmes, Coleridge: Darker Reflections 1804-1834 (1998). Watson 271. (AMJ). G. Cattermole (after) J.M.W. Turner (after); Clarkson Frederick Stanfield (after); W. Westall, A.R.A.;William and Edward Finden (engravings) (illustratore). Book.…

Condizione: very good. 1st Edition. iv,47,[1]pp. Quarto (approximately 29.5cm tall) in quarter calf and marbled boards with matching endpapers and 12 hand-coloured aquatint plates engraved by T. Fielding (except No. 6 which is by Chas. Heath after R. Westall, and wood-engraved title page vignette. Plates with blank leaves as guard with some faint offsetting to adjacent leaves and minor worming in lower margins affecting the image of two plates minimally, else generally a clean copy, plate colours bright. very good Work depicts the battles of Wellington's victories over the French army from Lisbon to Waterloo. …

Original copper engraving (57 x 41 cm, overall sheet 68 x 55 cm) Light foxing to margins, 19 cm tear to upper left margin, neither affecting plate. From "A Collection of Prints. Illustrating the Dramatic Works of Shakespeare." published by Boydell, London, 1803. In 1789, the publisher John Boydell opened the Shakespeare Gallery, an exhibition space in London's Pall Mall showcasing paintings that exclusively represented scenes from Shakespeare's plays. The Gallery was a bid to revive 'history painting' (the practice of depicting scenes from the Bible, mythology or the classics) in contemporary British art, a genre thought to be of great public benefit because of its morally instructive messages. What better unifying theme for such a project than the works of Shakespeare, which had become so popular and so integral to British identity by the mid-18th century? The Gallery opened in May 1789 with 34 canvases by 18 British artists. By the next year there were 55 paintings and in 1796 the total was 84, along with dozens of 'Small Pictures'. Once the exhibition was mounted, reproductive engravings of the paintings produced by an in-house team of 46 printmakers were available to purchase, either as a large portfolio of 90 prints or as a luxurious illustrated edition of the plays. (The British Library).…

Original copper engraving (60 x 44 cm, overall sheet 68 x 55 cm). From "A Collection of Prints. Illustrating the Dramatic Works of Shakespeare." published by Boydell, London, 1803. In 1789, the publisher John Boydell opened the Shakespeare Gallery, an exhibition space in London's Pall Mall showcasing paintings that exclusively represented scenes from Shakespeare's plays. The Gallery was a bid to revive 'history painting' (the practice of depicting scenes from the Bible, mythology or the classics) in contemporary British art, a genre thought to be of great public benefit because of its morally instructive messages. What better unifying theme for such a project than the works of Shakespeare, which had become so popular and so integral to British identity by the mid-18th century? The Gallery opened in May 1789 with 34 canvases by 18 British artists. By the next year there were 55 paintings and in 1796 the total was 84, along with dozens of 'Small Pictures'. Once the exhibition was mounted, reproductive engravings of the paintings produced by an in-house team of 46 printmakers were available to purchase, either as a large portfolio of 90 prints or as a luxurious illustrated edition of the plays. (The British Library).…

Original copper engraving (60 x 44 cm, overall sheet 69 x 55 cm). Tissue guard to verso. From "A Collection of Prints. Illustrating the Dramatic Works of Shakespeare." published by Boydell, London, 1803. In 1789, the publisher John Boydell opened the Shakespeare Gallery, an exhibition space in London's Pall Mall showcasing paintings that exclusively represented scenes from Shakespeare's plays. The Gallery was a bid to revive 'history painting' (the practice of depicting scenes from the Bible, mythology or the classics) in contemporary British art, a genre thought to be of great public benefit because of its morally instructive messages. What better unifying theme for such a project than the works of Shakespeare, which had become so popular and so integral to British identity by the mid-18th century? The Gallery opened in May 1789 with 34 canvases by 18 British artists. By the next year there were 55 paintings and in 1796 the total was 84, along with dozens of 'Small Pictures'. Once the exhibition was mounted, reproductive engravings of the paintings produced by an in-house team of 46 printmakers were available to purchase, either as a large portfolio of 90 prints or as a luxurious illustrated edition of the plays. (The British Library).…

Superba acquatinta a colori eseguita alla maniera punteggiata, mm. 360x310, ampi margini bianchi. Tavola illustratica al Canto II di "The Lady of the Lake" di Walter Scott. Didascalia descrittiva al margine inferiore.

Original copper engraving (44 x 60 cm, overall sheet 53.5 x 66 cm). Scattered foxing to lower and right margins, not affecting plate. From "A Collection of Prints. Illustrating the Dramatic Works of Shakespeare." published by Boydell, London, 1803. In 1789, the publisher John Boydell opened the Shakespeare Gallery, an exhibition space in London's Pall Mall showcasing paintings that exclusively represented scenes from Shakespeare's plays. The Gallery was a bid to revive 'history painting' (the practice of depicting scenes from the Bible, mythology or the classics) in contemporary British art, a genre thought to be of great public benefit because of its morally instructive messages. What better unifying theme for such a project than the works of Shakespeare, which had become so popular and so integral to British identity by the mid-18th century? The Gallery opened in May 1789 with 34 canvases by 18 British artists. By the next year there were 55 paintings and in 1796 the total was 84, along with dozens of 'Small Pictures'. Once the exhibition was mounted, reproductive engravings of the paintings produced by an in-house team of 46 printmakers were available to purchase, either as a large portfolio of 90 prints or as a luxurious illustrated edition of the plays. (The British Library).…