Etty william (11 Ergebnisse)

Paperback. Zustand: Brand New. 80 pages. 10.00x8.00x0.19 inches. In Stock. Godziszewski, Jakub; Van Drongelen, Remko; Eicholtz, William; Varga, Robert F.; Vyse, Richard; Satinover, Les; Etty, William (illustrator).

first edition 217pp+plates [b/w w.col.frontis.] VERY GOOD+ (beige cloth,sl.rubbed and soiled,prelims.and content edges mod.foxed).

Softcover. Zustand: Very Good. c.1899. A clean and well-presented print reproduction, for 'Famous Pictures of the World' c.1899. Tipped-in along one edge onto firm backing paper, neatly trimmed to prevent edge wear. Why do most sellers not describe their actual item? Buy with confidence, support a genuine Independent Bricks & Mortar Real Bookshop and help to preserve our High Streets as interesting places to shop. We are Maynard & Bradley CAMBO & PBFA (now lapsed) members here in Leicester City Centre, UK Size: 175 x 240 mm. 1. Item Type: Book. Quantity Available: 1. Shipped Weight: Under 500 grams. Category: Art & Design; Britain/UK; 19th century; Inventory No: 53750.…

Zustand: New.

Zustand: New.

No Binding. Zustand: Very Good. A fine original antique etching . . . Mounted and ready to frame . . Very good condition, . A splendid opportunity to acquire an antique original etching - decorative, attractive and scarce . A splendid plate - Landscape study after William Etty circa 1890. William Etty (illustrator).…

No Binding. Zustand: Very Good. A rather splendid antique engraved portrait of John Brook of York, engraved by the famous artist William Etty of York. mounted (matted) and ready to frame. Attractive and unusual and in very good condition . Ideal for framing and room decoration . Not coloured. William Etty (illustrator). …

Soft cover. Zustand: Very Good. 1st Edition. ETTY, William (1787-1849). Autograph letter signed about his Joan of Arc triptych. 14 Buckingham Street, Strand, Wednesday morning, 5 May 1847. 2 sheets folded of 4 sides each., written on six sides, c. 225 x 185 mm. Light creasing from folding, some handling wear and minor staining, but entirely legible and sound. A previous owner, perhaps the recipient, has anonymised the letter with black ink, which bleeds into other pages. Overall, very good. A substantial letter written at the moment of completion and exhibition of Etty's great Joan of Arc triptych at the Royal Academy in 1847, giving a detailed account of his artistic conception and intentions behind the work. Etty explains that the three paintings "have cost me many an anxious thought for a considerable space of seven years," tracing their origin to impressions formed at York Minster and, more decisively, at Westminster Abbey, "under the chivalric banners that hang there, hearing the anthems sung, and looking towards the Grand Portal." He describes his imaginative vision of Joan "riding into the Gates of Orleans," before outlining his decision to structure the subject in epic form, "to have a beginning, a middle and an end," each panel conveying a distinct moral idea. In a notable passage he characterises Joan as "the Judith of modern times," and defines the sequence as expressing "the saint, the patriot, and the martyr, that heroic self-devotion to her country and her Prince which has stamped her fame." The letter further records Etty's research journey through France, Rouen, Paris, and Orleans, undertaken to inform the series, and his determination to complete what he calls his "series of nine historical pictures," despite severe illness: "the severity of winter, my struggles for breath and severe cough made me waver, but I hoped on." Particularly significant is Etty's direct response to contemporary criticism of the exhibited work. Addressing comments that Joan appeared insufficiently animated, he defends his intention to avoid theatricality, insisting instead on a "serene expression" indicative of "a superior power," deliberately rejecting "the vulgar exhibition of those human passions which actuate more ordinary characters." This passage corresponds closely with published critical reactions in the contemporary press, and strongly suggests the letter formed the basis of, or was the letter, that he sent to and was published in The Fine Arts Journal. The closing section gives a vivid account of the martyrdom scene, including the detail of Joan clasping a crucifix at the stake and "calling on the name of Jesus," with the traditional note that "a white dove was seen flying towards heaven." The triptych described here was exhibited at the Royal Academy in 1847 (no. 123) and later dispersed; the central panel is now in the Musée des Beaux-Arts d'Orléans, the left sided panel (shown here) was recently sold at Bonhams, and the other has not surfaced. Signed by Author(s).…

Soft cover. Zustand: Very Good. 1st Edition. Beautiful book filled cover to cover with dense color collages, published in an edition of 100. Excellent condition with just a light, small corner crease to the bottom of the front cover and a small scuff to the paper at the foot of the spine, now in custom cut mylar. "GVBDL Vol. 1 contains over 100 collages created by a group of artists, writers, musicians, etc. who met during the summer of 2015. All work is the result of taking books apart to create something new: a collective rejuvenation of book parts, a periodical party with production. Each piece was worked on by at least two collaborators. A third decided if it was finished. No signatures. Ever. But date and group stamps. The artworks are communally owned. Because not everyone reads, but everyone looks." Artists: Aaron Krach, Invisible Exports, Bengala, Paul Cavazos, Geoff Chadsy, Christopher CLary, Eric Doeringer, Delia Gonzalez, Corina Kennedy, Karen Lee, Michal Mahalchick, Billy Miller, Risa Needleman, Cupid Ojala, Janine Polak, Paul Soulelis, Sharon Weitz-Cavazos, William Wood, Etty Yaniv, Justin Yockel.…

sent the Graphic Petition, which he can look over and bring this evening. The recipient was Thomas Phillips, [1770-1845] R.A.

Limited edition, no. 208 of 500 copies. Large 8vo. 123, (1) pp. Black and white illustration to the front of the volume plus 62 plates to the rear, 4 colour and 58 black and white. Spine slightly sunned, else very good.