Harold leighton (26 Ergebnisse)

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.

Hardcover. Zustand: Good. No Jacket. Former library book; Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

paperback. Zustand: Very Good. 非常に良い。端が少し摩耗しているが、汚れのないきれいな本。製本状態は良好。ダスト ジャケットが付属している場合は、それも含まれます。リサイクル可能なアメリカ製の封筒で発送します。すべての注文に 100% 返金保証付き。.

trade paperbac. Zustand: used: good. Prompt Shipment, shipped in Boxes, Tracking PROVIDED; Good trade paperback; sticker front cover; tips/edges bumped; tanned pages; clean pages; prompt shipping with tracking.

hardcover. Zustand: Good. Most items will be dispatched the same or the next working day. A copy that has been read but remains in clean condition. All of the pages are intact and the cover is intact and the spine may show signs of wear. The book may have minor markings which are not specifically mentioned.…

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.

Hardback. Zustand: Very Good. Zustand des Schutzumschlags: Very Good. Fading on DJ on spine.

Paperback. Zustand: Good. 96 pages. Cover faded, tanning around page edges.

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.

Hardback in Dust Wrapper. Zustand: Very Good. Zustand des Schutzumschlags: Very Good. Hardback. Dust wrapper over blue boards with gilt titles to the spine; Measures 9¼" x 8¼" (0.8 kg); pp 96; Cover art by Grant Bradford; Contains: Black & white photographs; || The book is on the shelf, ready to be appropriately 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 beady eye on the Consumer Contracts Regulations. REMEMBER! Buying my copy means the book shop Jack Russells get their supper! My Book #144599 ||. Bill Ling (illustrator).…

Soft cover. Zustand: Near Fine. First Edition. Single Issue In Original Wrappers. Light Wear, Bright, Foxing On Edges Of Page Block.

Hardcover. Versand aus Deutschland / We dispatch from Germany via Air Mail. Einband bestoßen, daher Mängelexemplar gestempelt, sonst sehr guter Zustand. Imperfect copy due to slightly bumped cover, apart from this in very good condition. Stamped.

hardcover. Zustand: Good. 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.

Soft cover. Zustand: Very Good. First Edition. Single Issue In Original Wrappers. Light Wear, Bright, Foxing On Foredges, 3/4" X 1/" Chip At Center Of Top Of Front Panel. B/W Illustrations (illustrator).

Zustand: BUONO USATO. Da revisionare INGLESE Inglese, rilegatura editoriale cartonata, rigida, con leggera traccia di vecchia umidità ai bordi inferiori, sovraccoperta illustrata, sbiadita soprattutto al dorso, con tracce di polvere e di vecchia umidità ai bordi inferiori, pagine in buonissimo stato di conservazione, con numerose foto in b/n di Bill Ling. Numero pagine 95.…

Hardcover. Zustand: Very Good. Zustand des Schutzumschlags: Very Good. 1st Edition. First Edition (first printing). This copy signed by three celebrated stylists: Jo Hansford ("the best tinter on the planet" - American Vogue), Richard 'Golden Scissors' Ward, and the late Michael Rasser (co-founder of legendary London salon MichaelJohn). 4to. 187pp. Very good indeed with very slightly chafed and lifting dust wrapper. A chronicle "in words and pictures of the rise and rise of British hairdressers" - blurb. Signed by Author(s).…

Hardcover. Zustand: Brand New. 1st edition. 227 pages. 9.75x6.75x0.75 inches. In Stock.

Zustand: Very Good. Hard back binding in publisher's original colour illustrated paper covered boards with three schoolboys in different school blazers to the front, scarlet title and author lettering to the spine and the upper panel. 4to. 10½'' x 8¼''. Contains full-page colour plates and monochrome illustrations throughout. First story 'Dulcie' by Robert Leighton. Light surface soiling to the paper covers, fox spotting to the top edge, dusty page edges, without any ownership markings, binding firm and square and in Very Good condition, no dust wrapper. Member of the P.B.F.A. STORIES FOR BOYS.…

Hardcover. Zustand: Near Fine. No Jacket. 1st Edition. First printing. A near-fine copy, without a jacket. A clean, unmarked copy. Features William Styron's very first stories in print, "Autumn" and "The Long Dark Road." Selections from William Styron, Frances Gray Patton, Frances Wright, Lorenz Eitner, Ovid Williams Pierce, Harold Grier McCurdy, Archie Robertson, R.P. Harriss, Newman Ivey White, Julian Lee Rayford, Richard Austin Smith, Ralph Nash, H.P. Koenig, and others. Fiction-S.…

Vintage studio still photograph from the 1971 film, showing Julie Christie in costume. Provenance stamp on 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. 8 x 10 inches. Near Fine. Vogel, Film as a Subversive Art.…

Vintage reference photograph from the 1971 film, showing actress Julie Christie sporting a fringed shawl and riding a bicycle on the set. 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. 8 x 10 inches. Near Fine. Vogel, Film as a Subversive Art.…

Single Issue Magazine. Zustand: Good. First Edition. 56 Pages. Features: Cover photo of FDR and Molotov; One-page color ad for Commercial Travelers insurance; Nice one-page ad for Harriet Hubbard Ayer's Luxuria products; First-Hand Report on the German Soldier - photo-illustrated article by correspondent who questioned German prisoners fresh from the front; Photos of the "Big Three" meeting at Yalta between Stalin, FDR and Churchill; Poland - Country of the Missing - article and depressing photos; "People Must Speak to People' - article on freedom of communication to prevent misunderstandings; Notes of War Nurse Lt. Doris Schwartz - photo-illustrated article; Photo-illustrated article on France and how it must cleanse the faults which led to her betrayal by some of her citizens; Bold color one-page Celanese ad features red chain; Porto Rico Line ad; The House Washington Loved; Lovely color-photo one-page fashion ad for Tegra Labtex fabric; How Long Should a Movie Be?; Photo-illustrated article on Congressional freshmen Emily Taft Douglas and Helen Gahagan Douglas, "The Douglas Girls"; Coty has sponsored a classy one page announcement of the American Fashion Critics' Award for 1944; The Bull Cook - wonderful article on this camp job; Article on Black Market in Babies; San Benito Champagne ad; Nice one-page ad for Thor washing machines; West Point goes in for skiing - article with photos; Rinso ad features the Dietz twins, Merrie and Eiileen, of Flushing, Long Island; Meatless recipes; Parent and Child - Freedom from Prejudice against those of other races; Two pages of lovely fashion photos for spring; Nice one-page color-photo ad forDuo-Byrds reversible raincoats; Nice one-page ad for Shalimar; Nice color ad on back cover for Decca Records features Bing Crosby. Average wear. Unmarked. A sound vintage wartime issue. Leighton, Clare (illustrator).…

Approximately 80 mostly gum bichromate (also known as gum dichromate) prints, each 4¼x6inches (108 x 152 mm), 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 an excellent set of prints.An impressive portfolio of exhibition prints made using the innovative gum bichromate process by the renowned Pictorialist photographer J. Harold Leighton, an expert in the process, exhibited from England to continental Europe, United States, Canada, and India. 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 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 sensitised 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, 193435); Grange-over-Sands, 1953; Derby, 1940; Rugby, 1931 and 1933; and Coventry, 1846. Provenance: From the estate of J. Harold Leighton; The Bradford Photographic Society collection (deaccessioned).…

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.…

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.…

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.…