james brockman (44 Ergebnisse)

Hardcover. Zustand: Gut. 22cm 366 Seiten. Hardcover. Zustand: Gut bis Sehr Gut min. gebräunt (Innen); Einband (Außen) hat geringe bis leichte Gebrauchsspuren; Seitlicher Schnitt hat ein Fleckchen; Schutzumschlag fehlt, oder es gibt keinen; * Die Photos sind original von uns erstellt worden, u.a. erkennbar an einem kleinen weißen Stück Papier im oberen Schnitt. Ab und an verwenden Suchmaschinen Verlagsphotos, bei den Portalen selbst, werden aber nur unsere Originalphotos gezeigt.

kart. Zustand: Gut. 439 S. ; 22 cm Gebrauchtes Exemplar in gutem Zustand. KEINE Markierungen oder Eintragungen. - Wir versenden aus unserem deutschen Lager heraus in plastikfreien oder wiederverwendeten Polstertaschen. Sprache: Deutsch Gewicht in Gramm: 714.

Paperback. Zustand: As New. No Jacket. Pages are clean and are not marred by notes or folds of any kind. ~ ThriftBooks: Read More, Spend Less 0.72.

Zustand: Good. Used book that is in clean, average condition without any missing pages.

Paperback. Zustand: Very Good. No Jacket. Former library book; May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less 1.01.

Zustand: Good. Former library book; may include library markings. Used book that is in clean, average condition without any missing pages.

Zustand: Good. Former library book; may include library markings. Used book that is in clean, average condition without any missing pages.

Zustand: Poor. This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. In poor condition, suitable as a reading copy. No dust jacket. Re-bound by library. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,450grams, ISBN:0722068158.

Hardcover. Zustand: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less 1.01.

Softcover. Zustand: Very Good+. Zustand des Schutzumschlags: No Dust Jacket. An edition fo 500 copies. Brown card covers. Page dimensions: oblong 240 x 211mm. Colour photographic illustrations of bindings and sculptures.

Softcover. Zustand: Near Fine. Magazine. Photo on rear wrap of Gerard Malanga by Diane Arbus. Folio. Paper wrappers with some toning, near fine. A collection of extensions to Ezra Pound's cantos by Allen Ginsberg, Robert Creeley, Carl Rakosi, Cynthia Kuebel, Gregory Corso, Douglas Messerli, Sol LeWitt, Eugene McCarthy, John Giorno, Dave Rosenberg, James Lee Byers, John Brockman, R. Buckminster Fuller, Peter Barnett, Henry Korn, and George Quasha, and a preview of Corso's story, *The American Express*.

Unbound. Zustand: Near Fine. Sheet music measuring 9" x 12". 5pp. Illustrated wrapper. Creasing and tears else very good.

Softcover. Zustand: Very Good. First edition. Folio. Single bifolium making four pages. Edgewear including chips and tears some affecting the front cover and some with tape repairs, and rubbing to the exterior, still a very good and complete copy. For voice and piano (written in dialect). Plate imprint, "Youse Honey etc. 2." *OCLC* locates only six holdings and it appears to be equally scarce in the trade.

Hardcover. Zustand: Fine. One of 155 copies, this an artist's proof signed and noted in pencil to limitation by Alan James Robinson, issued as per the 100 deluxe copies with additional suite of engravings signed by the artist. 54 wood engravings by Alan James Robinson printed in black, frontispiece signed by the artist in pencil, subtitles, page rules and author name on title page printed in burgundy. Folio, 42x29cm, [6] vi 87pp [5]. Finely bound by James Brockman in full black goatskin, covers tooled in gilt and blind horizontal and vertical rules, straight lines of goatskin onlay in red, purple, orange and brown, the whole forming an L shaped frame within which is the form of an elephant outlined in blind rules bordered with gilt and onlay, spine lettered in gilt, spirit dyed Japanese paper endpapers, all edges gilt, original quarter black goatskin and black cloth drop back box with compartment for additional suite of prints. Easthampton, Cheloniidae Press. Fine. A masterful binding by James Brockman, on the masterpiece of the Cheloniidae Press. James Brockman explains that his 'design suggests a theatrical stage with the focus on on the discrete elephant shape, taken from the illustration in the book. The colours of the end-papers, end-bands and leather on-lays derive from the colour of the inks used by the printer on the Title Page and frames throughout the book.' . Signed by Author(s).

342 x 260 mm. (13 1/2 x 10 1/4"). 6 p.l., 16 leaves of engravings, [1] leaf (colophon).With an Introduction by George Tute. ARTFUL BLACK MOROCCO BY JAMES BROCKMAN (stamp-signed on rear turn-in), covers with thin strips of white, gray, and matte black morocco arranged in an abstract design, upper cover with a couple dozen short gilt lines resembling rainfall, smooth spine, edges untrimmed. Housed in a taupe linen box lined with felt and with gilt lettered black morocco label. With frontispiece, 16 FULL-PAGE ENGRAVINGS (some with tissue guards), one headpiece, and a small vignette on colophon, all by Leon Underwood and printed from the original blocks. In mint condition. This is a special copy of a beautiful tribute to the wood engravings of Leon Underwood, an artist, teacher, and founder of the Brook Green School, covered here by one of the leading English binders of our time. George Claude Leon Underwood (1890-1975) was an artist proficient in several disciplines, producing notable work as a sculptor, painter, etcher, and engraver in the course of his long career. In 1921 he opened the Brook Green School of Drawing, where his pupils included the renowned sculptor Henry Moore as well as wood engravers Blair Hughes-Stanton and Gertrude Hermes, who went on to produce excellent work for the Gregynog Press. Produced mostly during the 1920s and 30s, Underwood's wood engravings primarily explore spiritual and figural themes, and several engravings reveal the strong influence of Aztec and Mayan art, which Underwood encountered during his travels to Mexico in 1928. In his introduction to the present work, wood engraver George Tute summarizes the artist's enduring impact on the artform: "Underwood's contribution, like the man, was potent and influential, and it was no accident that some of the most interesting work in the medium this century can be associated with him and those who came under his sway." The binding here clearly derives inspiration from Underwood's engravings, utilizing thin lines of white, gray, and black morocco to achieve a strong, graphic look, while the lashes of gilt resemble the hatching effect that Underwood frequently utilized in his engravings. A past president of Designer Bookbinders and the Society of Bookbinders, James Brockman (b. 1946) apprenticed as a finisher at Blackwell's, studied with Ivor Robinson, and served as assistant to Sydney Cockerell at Cambridge from 1968-73. Three years later, he opened his own bindery in Oxford, which he co-operates with his son Stuart, and which continues to produce work that is highly sought after by bibliophiles. While not always the case, the first numbered copy of a private press publication (as seen here) is often reserved for someone of special importance, either generally or in connection with the book in question. No. 1 OF 12 SPECIAL COPIES bound by James Brockman, from a total edition of 200.

395 x 303 mm. (15 1/2 x 11 7/8"). 69 pp., [1] leaf (additional plate). EXQUISITE FULL VELLUM BY JAMES BROCKMAN (stamp-signed and dated 1979 in gold on rear turn-in), covers with extensive gilt maze-like design in the form of an electric circuit, the lines emanating from and connecting to painted multi-colored "resistors," FULL VELLUM DOUBLURES, the gilt lines carried over from covers to become parallel rules joining long, colorful waves resembling light passing through a prism, smooth spine with gilt lettering, all edges gilt. Original printed glossy wrappers bound in. Housed in a (slightly worn) blue cloth drop-back box. With four maps in black & white, and 46 maps printed in color, showing the geographical distribution of various minerals throughout England and Wales. With two clear overlays tucked into folder at rear; final free endpaper with book label of Lord Wardington. âA short, very light mark on upper board, otherwise in perfect condition. In a meeting of science and art, this important study of British mineral deposits is given the royal treatment with a binding of luxurious vellum and memorable gilt geometric design done by a modern master. The creamy white vellum is the perfect backdrop for the complex design here, allowing the gold and colors to pop off their canvas in a dance of technical precision and pleasing aesthetics. This visual nod to electrical circuits, light waves, and prisms on the covers and doublures seems to reference the "spectrographic" technique that was heavily used in the present study, in which light was passed through sediment samples and then analyzed for the presence of 21 different elements according to their unique signatures. Advancements in computer programming allowed scientists to process an unprecedented number of samples (nearly 50,000 taken over the course of a year) more quickly than ever before, and, crucially, on a large scale. The resulting array of maps shows the dispersion of various mineral deposits nationwide and, according to the British Geological Survey, "remains the only completed high density regional geochemical stream sediment survey of England." A past president of Designer Bookbinders and the Society of Bookbinders, Brockman (b. 1946) apprenticed as a finisher at Blackwell's, studied with Ivor Robinson, and served as assistant to Sydney Cockerell at Cambridge from 1968-73. Three years later, he opened his own bindery in Oxford, which continues to produce notable work. The present binding was commissioned by Christopher Henry Beaumont Pease, 2nd Lord Wardington (1924-2005) a distinguished bibliophile whose collection included more than 700 select volumes containing some 60,000 maps. An active member of the Roxburghe Club, he also belonged to the Grolier Club and was an honorary fellow of the Guild of Designer Bookbinders.

*: 18. Nevada City (CA), Harold Berliner printer, 1999 , small folio, 32 cm, xiv pp + (4) nn pp + 221 pp, printed in an edition of 300 copies, this is one of the 12 copies on special paper'' Barcham's Green Finale '', numbered in the colophon. Especially bound by James Brockman in vellum covered boards, with gilt leather title label on smooth spine, in a blue cloth covered slipcase. Book designer is Wolfgang Lederer. Loosely inserted is a holograph letter by Christopher Logue to a friend Peter How. The poet excuses himself for the delay in forwarding a copy of this book. He further makes some ironical remarks which betray the unease he feels about the very high ''bourgeois ''connotation of this publication. The book is dedicated ( in print ) to Sir Paul Getty. Beautiful book and a flawless copy with an interesting ex-dono letter by the author.