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Zustand: Good. Good condition. A copy that has been read but remains intact. May contain markings such as bookplates, stamps, limited notes and highlighting, or a few light stains.
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Gebraucht ab EUR 5,51
Verlag: Arthur Barker, 1977
ISBN 10: 0213166593ISBN 13: 9780213166595
Anbieter: WorldofBooks, Goring-By-Sea, WS, Vereinigtes Königreich
Buch
Paperback. Zustand: 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.
Mehr Angebote von anderen Verkäufern bei ZVAB
Gebraucht ab EUR 0,94
Verlag: Arthur Barker, 1977
ISBN 10: 0213166542ISBN 13: 9780213166540
Anbieter: WorldofBooks, Goring-By-Sea, WS, Vereinigtes Königreich
Buch
Hardback. Zustand: 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.
Verlag: Arthur Barker Ltd., 1980
ISBN 10: 0213167468ISBN 13: 9780213167462
Anbieter: WeBuyBooks, Rossendale, LANCS, Vereinigtes Königreich
Buch
Zustand: VeryGood. Most items will be dispatched the same or the next working day. Foxing to the pages.
Verlag: London: Arthur Baker, 1984
Anbieter: BookLovers of Bath, Peasedown St. John, BATH, Vereinigtes Königreich
Hardback in Dust Wrapper. Bill Ling (illustrator). Hardback in dust wrapper (blue boards with gilt titling to the spine) Physically 9¼" x 8¼" (0.8 kg); 96pp; Illustrated by Bill Ling; Cover art by Grant Bradford; Contains: Black & white photographs; ISBN: 0-213-16654-2 || The book is on my shelves and will be carefully packed and posted from the pastoral paradise of Peasedown St. John, Bath, by a real bookseller in a real book shop - with my personal guarantee and my beady eye on the Consumer Contracts Regulations. REMEMBER! Buying my copy means the bookshop Jack Russells get their supper! My Book #144599|| Condition: Very Good in Very Good Dust Wrapper.
Verlag: Arthur Barker, 1980
ISBN 10: 0213167522ISBN 13: 9780213167523
Anbieter: AwesomeBooks, Wallingford, Vereinigtes Königreich
Buch
Paperback. Zustand: Very Good. The Complete Book of Hair Care This book is in very good condition and will be shipped within 24 hours of ordering. The cover may have some limited signs of wear but the pages are clean, intact and the spine remains undamaged. This book has clearly been well maintained and looked after thus far. Money back guarantee if you are not satisfied. See all our books here, order more than 1 book and get discounted shipping. .
Verlag: 1920s 1940s., 1920
Anbieter: Bernard Quaritch Ltd ABA ILAB, London, Vereinigtes Königreich
Approximately 80 mostly gum bichromate (also known as gum dichromate) prints, each 4¼ x 6 inches (10.8 x 15.2 cm.), most inscribed by Leighton below in pencil, many also titled on verso, mounted on thick card, some with tissue guards, 33 with exhibition labels or information on verso; presented in original cloth-covered folding portfolio with Leighton's bookplate on inside cover; very seldom, minor spots, some creases or tears to guards, portfolio a little worn, but overall a very excellent set of prints.An impressive international exhibition portfolio - by renowned Pictorialist and an expert in this process.Leighton, a fellow of the Royal Photographic Society and prominent Pictorialist from Bradford, was a great promoter of the gum bichromate process. He said that 'among the many photographic printing processes there is none more fascinating than thegum-bichromate. It lends itself especially to pictorial work, and has the great advantage of being cheap. There are no doubt many ways of working the process, and I should imagine every worker has his own particular way of working according to the results he wishes to obtain' (The American Annual of Photography, Vol. 38, 1924, p. 40). The ability to manipulate the process to achieve one's own artistic ends was part of the appeal of this very 'hands-on' method of photographic printing. At its simplest the photographer coated a piece of paper with a mixture of a salt (usually ammonium or potassium bichromate), gum arabic and a coloured pigment. This sensitized paper was placed in contact with the negative and exposed to ultraviolet light (sunlight or artificial). The gum arabic in the solution became insoluble in relation to the amount of light exposure so image areas under the least dense sections of the negative (the shadows of the final image) received more light and became the most insoluble. Highlights and midtones received less exposure, remaining more water soluble. After exposure, the print was washed in a warm water bath and the unhardened parts of the mixture were removed. At this point the photographer could manipulate the print, altering or removing areas with brushstrokes or running water. Finally the print was dried. Photographers often repeated the printing process multiple times, layering pigments to increase the image's richness and tonal gradation. Each print in this collection has been mounted and titled, some annotated or inscribed, ready for exhibition or display, showing these were the best examples of Leighton's art. His bookplate in the portfolio also suggests these were representative of his photographic achievements and preserved by him to serve as a catalogue of his output, available for exhibition.The gum bichromate process allows for deeper tones and particular textures which suited the petite but intensely atmospheric prints of landscape and architectural subjects that Leighton so favoured. His work as a Pictorialist photographer seems deeply rooted in the style that gum bichromate embodies. The appreciation by his Pictorialist peers abroad has bestowed numerous exhibition labels on the versos, helpful in tracking each image's history and Leighton's international relationships.The wide geographical remit of the salons and galleries at which these prints were exhibited is remarkable, giving an impression of a vibrant international Pictorialist community with a strong network spreading from the North of England as far as India and Canada. Several were shown in North America: the Salon of the Camera Pictorialists of Los Angeles, San Francisco Invitational Salon of International Photography, The Vancouver Photographers' Association, the Chicago International Photographic Salon, and the Smithsonian Institution. Dutch, French and Hungarian exhibitions also feature, as well as that of the Camera Pictorialists of Bombay. Leighton also exhibited prolifically within the UK, and in addition to numerous images shown in Bradford, there is exhibition information from London (Trafalgar House, 1933, Hammersmith Hampshire House Photographic Society, 1933 and 1935, and The London Salon of Photography, 1937); Manchester (M.A.P.S. Gallery, 1925 and City Art Gallery, 1934 35); Grange-over-Sands, 1953; Derby, 1940; Rugby, 1931 and 1933; and Coventry, 1846. A full list of titles with exhibition information is available on request. Provenance: from the estate of J. Harold Leighton; The Bradford Photographic Society collection (deaccess ioned).
Verlag: Springer-Verlag, New York, 1988
ISBN 10: 0387183019ISBN 13: 9780387183015
Anbieter: PsychoBabel & Skoob Books, Didcot, Oxfordshire, OXON, Vereinigtes Königreich
Buch Erstausgabe
hardcover. Zustand: Good. Zustand des Schutzumschlags: No Dust Jacket. First Edition, First Printing. numerous figures and tables, lightly rubbed tail of spine, softening to head of spine, light chipping to corners of front cover, red pen mark on page 85, otherwise text clean and tight. Ex - Library, Usual Stamps.
Verlag: EMI Films, London, 1971
Anbieter: Royal Books, Inc., ABAA, Baltimore, MD, USA
Vintage borderless double weight photograph of director Joseph Losey, actor Michael Redgrave, and a camera crew on the set of the 1971 film. With a printed mimeo snipe affixed to the verso, along with a provenance stamp. Based on L.P. Hartley's 1953 novel. A young boy acts as the go-between for a tenant farmer and a wealthy young woman engaged in an illicit affair. Screenwriter Harold Pinter's final collaboration with Losey, following "The Servant" (1963) and "Accident" (1967). Set and shot on location in Norfolk, England. 10 x 8 inches, with a wide bottom margin. Near Fine. Vogel, Film as a Subversive Art.
Verlag: EMI Films, London, 1971
Anbieter: Royal Books, Inc., ABAA, Baltimore, MD, USA
Vintage borderless double weight photograph of director Joseph Losey filming a scene on location in Norwich with actor Dominic Guard, with cast and crew members looking on. With two printed mimeo snipes affixed to the verso. Based on L.P. Hartley's 1953 novel. A young boy acts as the go-between for a tenant farmer and a wealthy young woman engaged in an illicit affair. Screenwriter Harold Pinter's final collaboration with Losey, following "The Servant" (1963) and "Accident" (1967). Set and shot on location in Norfolk, England. 10 x 7 inches. Near Fine. Vogel, Film as a Subversive Art.
Verlag: EMI Films, London, 1971
Anbieter: Royal Books, Inc., ABAA, Baltimore, MD, USA
Vintage borderless reference photograph of director Joseph Losey, actor Dominic Guard, and crew members on the set of the 1971 film. Based on L.P. Hartley's 1953 novel. A young boy acts as the go-between for a tenant farmer and a wealthy young woman engaged in an illicit affair. Screenwriter Harold Pinter's final collaboration with Losey, following "The Servant" (1963) and "Accident" (1967). Set and shot on location in Norfolk, England. 10 x 8 inches, with a wide bottom margin. About Near Fine, slightly wavy on the bottom edge. Vogel, Film as a Subversive Art.