edited fleur (11 Ergebnisse)

Hardcover. Zustand: Fine. Zustand des Schutzumschlags: Fine. First Edition. Hardback. First Edition. The paintings of Renoir are surely the lovliest of the Impressionist school. Tender, evocative, sensual, this artist was inspired by beauty and guided by his desire to show that beauty in the finest light possible. His paintings of women, children his friends and family are the work of a man whishing not to shock, but to show the people and scenes that moved him in a new way. This book is full of such scenes, each sympathetically colour designed and set beside throughul and revealing tect. Neatly combined in this compact volume, they serve as a succint introduction to Renoir, the artist and the man. Illustrated throughout. Illustrated laminated boards. 59 pp. (We carry a wide selection of titles in The Arts, Theology, History, Politics, Social and Physical Sciences. academic and scholarly books and Modern First Editions etc.).

Boards. Zustand: Near Fine. Zustand des Schutzumschlags: Very Good. Ann Carley & Terry Burton (illustrator). First Edition. Hardback Perhaps the nicest companion for a lover of horses is a horse, but The Horse Lover's Companion is probably the next best thing to an equine friend. Lavishly illustrated with superb portrait photographs and watercolour sketches of horses, this beautiful book is also useful as a permanent personal record, as it provides space for the horse lover to note key days of their year. Set within each week is a wealth of horsey details designed to fascinate even the most knowledgeable horse lover. Ending with a fun astrological guide to equines, The Horse Lover's Companion makes a marvellous gift for horse lovers regardless of whether or not they own a horse.

Paperback. Zustand: Very Good. First Edition. 48p. ; 21cm. Book.

Hardcover. Dust Jacket Included. 24.5cm, xv,139p., colour frontis portrait, illustration, 7 maps, index, bibliography, blue cloth, a fine copy in fine jacket. (Tr).

Hardcover. Zustand: Fine. Zustand des Schutzumschlags: Fine. 1st Edition. pp.xvi+139. 24.5cm. Colour frontispiece portrait. One illustration. 7 maps. Appendices. Bibliography. Indexes. Hard cover in dust jacket. A fine clean copy.

Original Wraps. Zustand: Near Fine. Zustand des Schutzumschlags: Near Fine. Peter Blake, Michael Foreman, Vanessa Jackson et al (illustrator). First Edition. Ambit Number 100, published in 1985. Illustrated throughout in monochrome and occasional colour. Cover artwork by Peter Blake. ***Near fine in textured card monochrome-illustrated outer wrapper over thin white card covers. The edges of the outer wrapper are just slightly rubbed. No bumps or creases. No tears. Internally also near fine with no inscriptions. Pages clean. Spine tight. ***248mm x 176mm. 192 pages. ***Contents: please see scan of back cover. ***'In the sixties AMBIT became well known for testing the boundaries and social conventions and published many anti-establishment pieces, including an issue with works written under the influence of drugs. Edwin Brock was poetry editor, and J. G. Ballard became fiction editor alongside, later, Geoff Nicholson. Henry Graham and Carol Ann Duffy joined Edwin Brock as poetry editors. Michael Foreman was art editor for 50 years. Across the magazine's history, Derek Birdsall (Omnific), Alan Kitching, John Morgan Studio and Stephen Barrett were notable designers.' (Wiki) ***'AMBIT started in '59; there were various impulses behind it. I'd been interested in the writer John Middleton Murray, who was married to Katharine Mansfield. He had run a magazine from about 1910 onwards for two or three years called Rhythm that attracted writers like D.H. Lawrence, and Katharine Mansfield of course. What was striking about it - you could look at it in the V&A library - was that Murray, who really knew nothing about art, had met a Scottish artist called Ferguson who was sending over from Paris artwork by "young" artists like Picasso, Miro, etc. They looked quite startling in this 1910 magazine. And the idea, that Murray never developed, of trying to produce a magazine that had literary and visual material really working together, came to me out of that. But the other initiatives were more simple. There weren't many magazines about then because the possibility of what everybody can do now -- produce a magazine from a 'desktop' in quite small numbers and for not very much money -- didn't exist. But electronic things were just starting to happen, and the first number of Ambit we partly set ourselves on a machine called a variotyper. It enabled us to paste down visual work of which we had some good drawings from an Australian artist, Oliffe Richmond, in this first number and enabled us to begin the notion of producing an arts magazine rather than the traditional poetry or Eng. Lit. magazine. I'd say there's still no magazine in the country that combines high class artwork, produced and found by Mike Foreman over the years, alongside writers who I think are exciting.' (Martin Bax interview with 3:AM magazine) ***A mid 80s edition of the magazine in very nice, collectable condition - this being a bumper-sized double issue. Of interest to collectors of AMBIT and poetry magazines in general. ***For all our books, postage is charged at cost, allowing for packaging: any shipping rates indicated on ABE are an average only: we will reduce the P & P charge where appropriate - please contact us for postal rates for heavier books and sets etc.

Original Wraps. Zustand: Near Fine. Zustand des Schutzumschlags: Near Fine. Peter Blake, Michael Foreman, Vanessa Jackson et al (illustrator). First Edition. Ambit Number 100, published in 1985. Illustrated throughout in monochrome and occasional colour. Cover artwork by Peter Blake. ***Near fine in textured card monochrome-illustrated outer wrapper over thin white card covers. The edges of the outer wrapper are just slightly rubbed. No bumps or creases. No tears. Internally also near fine with no inscriptions. Pages clean. Spine tight. ***248mm x 176mm. 192 pages. ***Contents: please see scan of back cover. ***'In the sixties AMBIT became well known for testing the boundaries and social conventions and published many anti-establishment pieces, including an issue with works written under the influence of drugs. Edwin Brock was poetry editor, and J. G. Ballard became fiction editor alongside, later, Geoff Nicholson. Henry Graham and Carol Ann Duffy joined Edwin Brock as poetry editors. Michael Foreman was art editor for 50 years. Across the magazine's history, Derek Birdsall (Omnific), Alan Kitching, John Morgan Studio and Stephen Barrett were notable designers.' (Wiki) ***'AMBIT started in '59; there were various impulses behind it. I'd been interested in the writer John Middleton Murray, who was married to Katharine Mansfield. He had run a magazine from about 1910 onwards for two or three years called Rhythm that attracted writers like D.H. Lawrence, and Katharine Mansfield of course. What was striking about it - you could look at it in the V&A library - was that Murray, who really knew nothing about art, had met a Scottish artist called Ferguson who was sending over from Paris artwork by "young" artists like Picasso, Miro, etc. They looked quite startling in this 1910 magazine. And the idea, that Murray never developed, of trying to produce a magazine that had literary and visual material really working together, came to me out of that. But the other initiatives were more simple. There weren't many magazines about then because the possibility of what everybody can do now -- produce a magazine from a 'desktop' in quite small numbers and for not very much money -- didn't exist. But electronic things were just starting to happen, and the first number of Ambit we partly set ourselves on a machine called a variotyper. It enabled us to paste down visual work of which we had some good drawings from an Australian artist, Oliffe Richmond, in this first number and enabled us to begin the notion of producing an arts magazine rather than the traditional poetry or Eng. Lit. magazine. I'd say there's still no magazine in the country that combines high class artwork, produced and found by Mike Foreman over the years, alongside writers who I think are exciting.' (Martin Bax interview with 3:AM magazine) ***A mid 80s edition of the magazine in very nice, collectable condition - this being a bumper-sized double issue. Of interest to collectors of AMBIT and poetry magazines in general. ***For all our books, postage is charged at cost, allowing for packaging: any shipping rates indicated on ABE are an average only: we will reduce the P & P charge where appropriate - please contact us for postal rates for heavier books and sets etc.

Hardcover. Zustand: Near Fine. Zustand des Schutzumschlags: Near Fine. First edition. 223pp. Near fine in a lightly rubbed near fine dust jacket with a slightly sunned spine. Contains "Yeats Revisited" by Basil Bunting, "Pound in Venice" by Carlos Baker; additional contributions by Fleur Adcock, John Betjeman, Iain Crichton Smith, Philip Larkin, Jon Stallworthy, Charles Tomlinson, Stephen Spender, Patricia Beer, Ted Hughes, Edward Lucie Smith and more.

Paperback. Zustand: Brand New. 151 pages. 8.50x5.50x0.50 inches. In Stock.

Hardcover. Zustand: Brand New. 1st edition. 312 pages. 9.53x6.38x0.91 inches. In Stock.

Softcover. Zustand: Very Good. Periodical. Quarto. 120pp. Heavily illustrated. A bit musty. Cover with a split and a bit of loss at the spine, staples somewhat oxidized, modest interior toning, very good. Signed by John Steinbeck, editor Fleur Cowles, and contributor William Ward Beecher. The final issue of this very interesting magazine, sent by editor Fleur Cowles along with a warm Typed Letter Signed to artist William Ward Beecher to commemorate the collaboration. Fleur has Signed the magazine on the first page. Beecher allowed the use of a black and white reproduction of a Steinbeck-themed trompe l'oeil painting to illustrate the article "Tortilla B Flat: A Serenade to John Steinbeck Composed on the Typewriter," by Eddie Condon (also illustrated with a portrait of Steinbeck by Robert Capa). A note in Beecher's hand laid in says: "N.B. this copy autographed by Fleur Cowles is also signed by John and me-," and indeed Steinbeck has Signed above the painting and Beecher beneath it. Also laid in is a Typed Letter Signed from a Flair employee to Beecher, asking him to sign an agreement to reproduce the artwork. A 2001 letter from Steinbeck's son Thom, written to supply details about sitting for a portrait by Beecher, called the artist a family friend and that his father "maintained an abiding fascination for Beecher's work through the years. A half-dozen examples of the artist's best canvases still brighten our house in New York." A nice association.