Paul holberton publishing ltd (Oltre 1800 risultati)
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Condizione: Like New. Most items will be dispatched the same or the next working day. An apparently unread copy in perfect condition. Dust cover is intact with no nicks or tears. Spine has no signs of creasing. Pages are clean and not marred by notes or folds of any kind.
Lingua: Inglese
Editore: Paul Holberton Publishing Ltd, United Kingdom, 2018
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Paperback. Condizione: Very Good. Sussex, the only place outside London where Blake ever lived, inspired a wide body of extraordinary work, done for new and existing patrons and ranging from the familiar to the rarely considered. Accompanying the first exhibition devoted to the subject, William Blake in Sussex considers the coll…ective significance of the English county to the life and work of the the celebrated artist and writer. Disillusioned with London life and struggling to make a living, Blake and his wife Catherine went in 1800 to live at the coastal village of Felpham, which the artist soon described as the sweetest spot on earth." Providing his principal encounters with both English rural life and the coast, the artists three years on the banks of the ocean informed his two greatest illustrated epic poems, Milton and Jerusalem, and continued to be reflected in his work for the rest of his career: In Felpham," claimed Blake, I saw and heard Visions of Albion. In addition to the work associated with Felpham, this publication considers the collections of nearby Petworth House, which include three major paintings by Blake otherwise unrepresented in other grand houses of Britain along with related prints, books and archival material. The authors will examine the relationships formed by Blake in Sussex, particularly with the poet William Hayley, the sculptor John Flaxman, the 3rd Earl of Egremont (one of the great collectors of contemporary art in the early 19th century) and his estranged wife Elizabeth Ilive, who commissioned two of the three paintings now in Petworth. Blakes work for Hayley, often dismissed as illustrative and decorative, will be reappraised, and other projects he worked on in Sussex including remarkable biblical watercolors produced for his great London patron, Thomas Butts will be celebrated. Blakes infamous arrest and trial for sedition chief among the events profoundly affecting him in Sussex will be discussed. It is not widely known that Blake was tried first in Petworth, where he was vouched for by the 3rd Earl. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.
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Condizione: Very Good. Most items will be dispatched the same or the next working day. A copy that has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.
Lingua: Inglese
Editore: Paul Holberton Publishing Ltd, United Kingdom, London, 2002
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Paperback. 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.
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Condizione: Like New. Most items will be dispatched the same or the next working day. An apparently unread copy in perfect condition. Dust cover is intact with no nicks or tears. Spine has no signs of creasing. Pages are clean and not marred by notes or folds of any kind.
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Condizione: Very Good. Most items will be dispatched the same or the next working day. A copy that has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.
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Paperback. Condizione: New. Tibetan Manuscripts spaning the thirteenth to the nineteenth centuries and includes a set of 42 painted tsakalis, or ritual cards. Accompanying an exhibition held at Sam Fogg Ltd., London, in 2001.
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Condizione: New. 2003. paperback. . . . . . Books ship from the US and Ireland.
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Condizione: New. 2003. paperback. . . . . .
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Condizione: Very Good. Most items will be dispatched the same or the next working day. A copy that has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.
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Condizione: New. 2013. paperback. . . . . . Books ship from the US and Ireland.
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Condizione: Very Good. 2003. Paperback. Clean copy with minor shelf wear. . . . . Books ship from the US and Ireland.
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Condizione: New. 2013. paperback. . . . . .
Lingua: Inglese
Editore: Paul Holberton Publishing Ltd, United Kingdom, London, 2010
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Paperback. 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.
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Paperback. Condizione: New. Jonathan Richardson (1667-1745) was one of 18th-century England's most significant cultural figures. A leading portrait painter and influential art theorist, he also amassed one of the period's greatest collections of drawings. But there was another, highly unusual dimension to his pursuits. In 1728,…at the age of 61 and shortly before his retirement from professional life, Richardson began to create a remarkable series of self-portrait drawings. Not intended for public display, these works were unguarded explorations of his own character. In one of the most astonishing projects of self-examination ever undertaken by an artist, for over a decade Richardson repeatedly drew his own face. His self-portrait drawings are usually dated precisely, and they document, from month to month, his changing state of mind as much as his appearance. Many were drawn in chalks on large sheets of blue paper, from his reflection in the mirror. Some of these are bold and psychologically penetrating, while others, in which he regards his aging features with gentle but unflinching scrutiny, are deeply touching. A further group of self-portraits is drawn with graphite on small sheets of fine vellum, and in these Richardson often presents himself in inventive and humorous ways, such as in profile, all'antica, as though on the face of a coin or medal; or crowned with bays, like a celebrated poet. Sometimes, too, he copies his image from oil paintings made decades earlier, in order to recall his appearance as a younger man. In this extraordinary series of self-portraits, Richardson offers a candid insight into his mind and personality. Together, these drawings create nothing less than a unique and compelling visual autobiography. This publication - which accompanies the first ever exhibition devoted to Richardson's self-portrait drawings, held in the new Gilbert and Ildiko Butler Drawings Gallery at the Courtauld - tells the story of these remarkable works and puts them into the context of his other activities at this period of his life - in particular the self-searching poems he wrote during the same years and often on the same days as he made the drawings. An introductory essay is followed by focused discussions of each work in the exhibition. This part of the book explores the materials and techniques Richardson used, whether working in chalks on a large scale or creating exquisitely refined drawings on vellum. It will also reveal how Richardson modeled some of his portraits on old master prints and drawings, including works in his own collection by Rembrandt and Bernini. The publication brings together the Courtauld Gallery's fine collection of Richardson's drawings with key works in the British Museum, the National Portrait Gallery and the Fitzwilliam Museum.
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Paperback. Condizione: New. Accompanying a focused display at The Courtauld Gallery that will bring together for the first time Pieter Bruegel the Elder's only three known grisaille paintings - the Courtauld's Christ and the Woman Taken in Adultery (which is barred from travel), The Death of the Virgin from Upton House in Warwic…kshire (National Trust) and Three Soldiers from the Frick Collection in New York - this book will examine the sources, function and reception of these three exquisite masterpieces. The panels will be complemented by prints and contemporary replicas, as well by other independent grisailles in order to shed light on the development of this genre in Northern Europe. Despite his status as the seminal Netherlandish painter of the 16th century, Pieter Bruegel the Elder (c. 1525-1569) remains an elusive artist: fewer than forty paintings are ascribed to him. Of these, a dozen are cabinet-sized. These small-scale works offer key insights as they often bear a personal significance for the artist and were sometimes given as gifts to friends and patrons. Presenting these works together for the first time is not only an extraordinary and unprecedented opportunity but it will be extremely revealing, considering their unusual nature in both Bruegel's oeuvre and 16th-century art in general. Monochrome painting in shades of grey was a mainstay of Netherlandish art from the early 15th century, most often present on the wings of altarpieces and preparatory sketches for engravings. In contrast, Bruegel's panels constitute one of the earliest and rare examples of independent cabinet pictures in grisaille, created for private contemplation and enjoyment. This seemingly austere type of painting has often been imbued with religious or political significance. On a purely artistic level, it enabled the painter to showcase his skill by limiting his palette. The publication, which includes a technical investigation of the three panels, will provide the opportunity to reassess the practical aspects of the grisaille technique and the many ways in which this effect was achieved. Indeed, Bruegel's three monochromatic paintings display quite different techniques, raising the question of the painter's intent. This is the latest in the series of books accompanying critically acclaimed Courtauld Gallery displays, following on from Collecting Gauguin (2013), Antiquity Unleashed (2013), Richard Serra (2013), A Dialogue with Nature (2014), Bruegel to Freud (2014) and Jonathan Richardson (2015).
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Paperback. Condizione: new. Paperback. Tibetan Manuscripts spaning the thirteenth to the nineteenth centuries and includes a set of 42 painted tsakalis, or ritual cards. Accompanying an exhibition held at Sam Fogg Ltd., London, in 2001. Accompanying an exhibition held at Sam Fogg Ltd., London, in 2001. Shipping may be from multi…ple locations in the US or from the UK, depending on stock availability.
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Condizione: Very Good. PAGES ARE CLEAN AND THE BOOK IS IN GOOD CONDITION. Sold by the U.K Charity Kisharon Langdon. Offering Opportunities and Support for People within the Autism and Learning Disability Community.
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Da: Frank J. Raucci, Bookseller, Wallingford, CT, U.S.A.Frank J. Raucci, Bookseller
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Pictorial Softcover. Paperback. Condizione: Near Fine. Condizione sovraccoperta: No Jacket, as Issued. 1st Edition. Minor rubbing (commonly visible on dark-colored covers), elsewise a bright, clean, tight copy sans other flaws. "This collection represents a unique selection of typical and rare pieces from the finest of London si…lver-making, illustrating the development of style from 'Queen Anne' to Rococo and early Neoclassicism." PROLIFICALLY ILLUSTRATED in black-and-white and color photography with accompanying descriptive captions. 48 pages. GB22.
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Paperback. Condizione: New. Sussex, the only place outside London where Blake ever lived, inspired a wide body of extraordinary work, done for new and existing patrons and ranging from the familiar to the rarely considered. Accompanying the first exhibition devoted to the subject, William Blake in Sussex considers the collective… significance of the English county to the life and work of the the celebrated artist and writer. Disillusioned with London life and struggling to make a living, Blake and his wife Catherine went in 1800 to live at the coastal village of Felpham, which the artist soon described as "the sweetest spot on earth." Providing his principal encounters with both English rural life and the coast, the artist's three years "on the banks of the ocean" informed his two greatest illustrated epic poems, Milton and Jerusalem, and continued to be reflected in his work for the rest of his career: "In Felpham," claimed Blake, "I saw and heard Visions of Albion". In addition to the work associated with Felpham, this publication considers the collections of nearby Petworth House, which include three major paintings by Blake - otherwise unrepresented in other grand houses of Britain - along with related prints, books and archival material. The authors will examine the relationships formed by Blake in Sussex, particularly with the poet William Hayley, the sculptor John Flaxman, the 3rd Earl of Egremont (one of the great collectors of contemporary art in the early 19th century) and his estranged wife Elizabeth Ilive, who commissioned two of the three paintings now in Petworth. Blake's work for Hayley, often dismissed as illustrative and decorative, will be reappraised, and other projects he worked on in Sussex - including remarkable biblical watercolors produced for his great London patron, Thomas Butts - will be celebrated. Blake's infamous arrest and trial for sedition - chief among the events profoundly affecting him in Sussex - will be discussed. It is not widely known that Blake was tried first in Petworth, where he was vouched for by the 3rd Earl.
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Paperback. Condizione: new. Paperback. Sussex, the only place outside London where Blake ever lived, inspired a wide body of extraordinary work, done for new and existing patrons and ranging from the familiar to the rarely considered. Accompanying the first exhibition devoted to the subject, William Blake in Sussex considers the… collective significance of the English county to the life and work of the the celebrated artist and writer. Disillusioned with London life and struggling to make a living, Blake and his wife Catherine went in 1800 to live at the coastal village of Felpham, which the artist soon described as "the sweetest spot on earth." Providing his principal encounters with both English rural life and the coast, the artist's three years "on the banks of the ocean" informed his two greatest illustrated epic poems, Milton and Jerusalem, and continued to be reflected in his work for the rest of his career: "In Felpham," claimed Blake, "I saw and heard Visions of Albion". In addition to the work associated with Felpham, this publication considers the collections of nearby Petworth House, which include three major paintings by Blake - otherwise unrepresented in other grand houses of Britain - along with related prints, books and archival material. The authors will examine the relationships formed by Blake in Sussex, particularly with the poet William Hayley, the sculptor John Flaxman, the 3rd Earl of Egremont (one of the great collectors of contemporary art in the early 19th century) and his estranged wife Elizabeth Ilive, who commissioned two of the three paintings now in Petworth. Blake's work for Hayley, often dismissed as illustrative and decorative, will be reappraised, and other projects he worked on in Sussex - including remarkable biblical watercolors produced for his great London patron, Thomas Butts - will be celebrated. Blake's infamous arrest and trial for sedition - chief among the events profoundly affecting him in Sussex - will be discussed. It is not widely known that Blake was tried first in Petworth, where he was vouched for by the 3rd Earl. Accompanying the fi rst exhibition devoted to the subject, William Blake in Sussex considers the collective signifi cance of the English county to the life and work of the the celebrated artist and writer. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.
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Paperback. Condizione: new. Paperback. This catalogue presents a rich selection of Victorian drawings and watercolors from the important collection of The Courtauld Gallery, London. It features many previously unpublished works, ranging from informal preparatory drawings for paintings and sculptures to highly finished exhibition… watercolors. The selection includes life studies, landscapes, genre scenes, and portraits as well as subjects from literature. Life, Legend, Landscape presents a rich selection of Victorian drawings and watercolors from the Courtauld Gallery collection, ranging from finished watercolors intended for public exhibition to informal sketches and preparatory drawings for paintings or sculpture. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.
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PAP. Condizione: New. New Book. Shipped from UK. Established seller since 2000.
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Paperback. Condizione: New. The Hamburg banker's son Aby Warburg (1866-1929) was one of the most influential art historians and cultural theorists of the 20th century. His life's work was devoted to tracing antique formulas of representation in the depiction of human passions in Renaissance art. For this epoch-spanning relations…hip, he developed the term 'pathos formula' (Pathosformel). In a lecture given in 1905 in the Konzerthaus in Hamburg, focusing on the young Albrecht Du¨rer's Death of Orpheus, Warburg outlined his thoughts in front of the original drawing, which he had borrowed from the rich holdings of the Kunsthalle in order to better illustrate his idea. This drawing, pivotal in the young artist's development as an ambitious response to classical antiquity, was displayed during the lecture alongside a group of engravings and woodcuts which included not only some of Du¨rer's own seminal later prints, such as Melencolia I, but also engravings by Andrea Mantegna which Du¨rer copied in 1494, the same year he drew the Death of Orpheus. Warburg's 'pop-up exhibition' of eleven works has here been reconstructed and analyzed, using his fascinating lecture notes, sketches and slide lists. First developed by the Hamburger Kunsthalle in 2011, subsequently on view in Cologne in the Wallraf-Richartz Museum and now at The Courtauld Gallery, each institution has interpreted the material slightly differently, while retaining the core Warburg group. Aby Warburg aimed at unlocking the meaning of an art work by excavating its roots in its cultural context. By restaging his legendary display of 1905 with Du¨rer's Death of Orpheus at its heart, the exhibition and accompanying book present some of the most skillful and ambitious works on paper ever produced and also seek to introduce into Warburg's rich intellectual universe to a broader public, hoping thereby to offer both sheer enjoyment and food for thought.
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Paperback. Condizione: New. "The artist should not only paint what he sees before him," claimed Caspar David Friedrich, "but also what he sees in himself". He should have "a dialogue with Nature". Friedrich's words encapsulate two central elements of the Romantic conception of landscape: close observation of the natural world an…d the importance of the imagination. Exploring aspects of Romantic landscape drawing in Britain and Germany from its origins in the 1760s to its final flowering in the 1840s, this exhibition catalogue considers 26 major drawings, watercolors and oil sketches from The Courtauld Gallery, London, and the Morgan Library and Museum, New York, by artists such as J.M.W. Turner, Samuel Palmer, Caspar David Friedrich and Karl Friedrich Lessing. It draws upon the complementary strengths of both collections: the Morgan's exceptional group of German drawings and The Courtauld's wide-ranging holdings of British works. A Dialogue with Nature offers the opportunity to consider points of commonality as well as divergence between two distinctive schools. The legacy of Claude Lorrain's idealizing vision is visible in Jakob Hackert's magisterial view of ruins at Tivoli, near Rome, as well as in a more intimate but purely imaginary rural scene by Thomas Gainsborough, while cloud and tree studies by John Constable and Johann Georg von Dillis demonstrate the importance of drawing from life and the observation of natural phenomena. The important visionary strand of Romanticism is brought to the fore in a group of works centered on Friedrich's evocative Moonlit Landscape and Samuel Palmer's Oak Tree and Beech, Lullingstone Park. Both are exemplary of their creators' intensely spiritual vision of nature as well as their strikingly different techniques, Friedrich's painstakingly fine detail contrasting with the dynamic freedom of Palmer's penwork. The most expansive and painterly works include Turner's St Goarshausen and Katz Castle, the luminous simplicity of Francis Towne's watercolor view of a wooded valley in Wales, and Friedrich's subtle wash drawing of a coastal meadow on the remote Baltic island of Rügen. Three small-scale drawings reveal a more introspective and intimate facet of the Romantic approach to landscape: Theodor Rehbenitz's fantastical medievalising scene, Palmer's meditative Haunted Stream, and lastly, Turner's Cologne, made as an illustration for The Life and Works of Lord Byron (1833).
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EUR 22,32
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Paperback. Condizione: New. This fascinating book tells the story of Thomas Hardy's Wessex. Accompanying a multi-venue exhibition, it explores Hardy's life and work. Internationally-acclaimed writer Thomas Hardy (1840-1928) is best known for his evocative depictions of the West Country landscape and its people, a region that he…called 'Wessex'. What is less well-known is that this landscape also inspired him in many other aspects of his life, from campaigning for animal welfare to questioning the way society viewed women. This publication accompanies a blockbuster, multi-venue exhibition of the largest collection of Thomas Hardy memorabilia ever to be displayed at once. Hardy was born in the West Country, a few years after Queen Victoria came to the throne, and spent most of the rest of his life among its landscapes and people. When he turned writer, these landscapes and people re-emerged as his 'partly-real, partlydream country' of Wessex, in novels like Tess of the d'Urbervilles, Far from the Madding Crowd and Jude the Obscure. Hardy's Wessex now conjures up a range of mental images: from raging seas on the coast to haunting ancient monuments, Victorian towns packed with life to peaceful hillsides grazed by sheep. However, through Hardy's 87-year life span, the West Country changed dramatically. Ideas of the role of women, humans' responsibility to animals, the realities of war, love and courtship, superstition, social structure, religion and how people related to the world around them altered fundamentally. Through his stories and campaigning, Hardy was keen to show not only the rural idyll, but also the tensions and difficulties that lay beneath these views. These dramatic landscapes were the lens through which Hardy presented his worldview to his readership. From the tragedy of a woman saying farewell to her sailorlover on the end of Portland Bill, to a shepherd losing his flock and facing ultimate ruin on the chalky hills. The landscapes shape his characters, whose stories in turn convey his messages of social change to his readers. This publication will explore the impact that Wessex had on Hardy's works, and how living there shaped his views on the often divisive social issues of the period. Uniting beautiful landscape imagery with a selection of personal items from Hardy's life, this book will show you the man behind the literature.
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Paperback. Condizione: New. Accompanying a focused display at The Courtauld Gallery that will bring together for the first time Pieter Bruegel the Elder's only three known grisaille paintings - the Courtauld's Christ and the Woman Taken in Adultery (which is barred from travel), The Death of the Virgin from Upton House in Warwic…kshire (National Trust) and Three Soldiers from the Frick Collection in New York - this book will examine the sources, function and reception of these three exquisite masterpieces. The panels will be complemented by prints and contemporary replicas, as well by other independent grisailles in order to shed light on the development of this genre in Northern Europe. Despite his status as the seminal Netherlandish painter of the 16th century, Pieter Bruegel the Elder (c. 1525-1569) remains an elusive artist: fewer than forty paintings are ascribed to him. Of these, a dozen are cabinet-sized. These small-scale works offer key insights as they often bear a personal significance for the artist and were sometimes given as gifts to friends and patrons. Presenting these works together for the first time is not only an extraordinary and unprecedented opportunity but it will be extremely revealing, considering their unusual nature in both Bruegel's oeuvre and 16th-century art in general. Monochrome painting in shades of grey was a mainstay of Netherlandish art from the early 15th century, most often present on the wings of altarpieces and preparatory sketches for engravings. In contrast, Bruegel's panels constitute one of the earliest and rare examples of independent cabinet pictures in grisaille, created for private contemplation and enjoyment. This seemingly austere type of painting has often been imbued with religious or political significance. On a purely artistic level, it enabled the painter to showcase his skill by limiting his palette. The publication, which includes a technical investigation of the three panels, will provide the opportunity to reassess the practical aspects of the grisaille technique and the many ways in which this effect was achieved. Indeed, Bruegel's three monochromatic paintings display quite different techniques, raising the question of the painter's intent. This is the latest in the series of books accompanying critically acclaimed Courtauld Gallery displays, following on from Collecting Gauguin (2013), Antiquity Unleashed (2013), Richard Serra (2013), A Dialogue with Nature (2014), Bruegel to Freud (2014) and Jonathan Richardson (2015).
- Brossura
Da: Rarewaves.com USA, London, LONDO, Regno UnitoRarewaves.com USA
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EUR 22,54
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Paperback. Condizione: New. Accompanying an exhibition of spectacular drawings by great giants of Flemish Baroque art from the superlative collection of the Morgan Library and Museum in New York, Power and Grace demonstrates the crucial but very different roles played by drawings in oeuvres of Rubens, Van Dyck, and Jordaens, and… highlights the distinctive features of their graphic styles and the impact they had on each other. In 1621, Peter Paul Rubens (1577-1640) wrote a letter to William Trumbull, the English diplomat and political agent to King James I, in which he described a large painting of a lion hunt that he had just completed, "As you rightly observe, such things have more grace and power in a large picture than in a small one . because the large size of a picture gives one much more courage to express one's ideas clearly and realistically." Rubens here casually disclosed what lay at the heart of his artistic intentions - his constant quest to achieve in his compositions the equilibrium between power and grace. The same can be said of Anthony van Dyck (1599-1641) and Jacob Jordaens (1593-1678), whose lives and careers were markedly intertwined with and influenced by the senior artist. Just how differently they went about achieving this effect can best be seen in their drawings, for it is there that we see the artists thinking, evolving, and creating. The Morgan is particularly well suited to tell this story, for its holdings of Rubens, Van Dyck, and Jordaens drawings are unparalleled in the United States. The nucleus stems from Pierpont Morgan's important 1909 acquisition of the collection of European drawings from the English Pre-Raphaelite painter and collector Charles Fairfax Murray. During the decades following Pierpont Morgan's death in 1913, the collection of Flemish drawings was enriched with several notable acquisitions. The exhibited selection includes designs for paintings, tapestries, and sculpture, copies after Italian and German masters, portrait drawings, landscapes, and studies of the male nude.
