John sheepshanks (28 Ergebnisse)
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Verlag: London: Kegan Paul Trench, 1889
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In den WarenkorbZustand: Good. *Price HAS BEEN REDUCED by 10% until Monday, Aug. 24 (SALE item)* xii, 146 pp., original cloth (hardcover), ex library, else text clean & binding tight. - If you are reading this, this item is actually (physically) in our stock and ready for shipment once ordered. We are not bookjackers. Buyer is responsible for a…ny additional duties, taxes, or fees required by recipient's country.
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Sprache: Englisch
Verlag: HODDER AND STOUGHTON, LONDON
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In den WarenkorbHardcover. Zustand: Good. No Jacket. THE COVER HAS MINOR MARKS AND WEAR TO THE EDGES AND CORNERS. THE SPINE HAS SOME SUN STAINING WITH MINOR WEAR TO THE TOP AND BOTTOM EDGES. THE BINDING IS TIGHT. THE FFEP HAS A FADED NEATLY WRITTEN DEDICATION DATED '1938'. SOME PAGES HAVE FOXING BUT PAGES GENERALLY APPEAR READABLE AND CREASE FR…EE. ALL IN ALL A NICE EXAMPLE OF THIS BOOK.
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Zustand: New. KlappentextrnrnThis is a reproduction of the original artefact. Generally these books are created from careful scans of the original. This allows us to preserve the book accurately and present it in the way the author intended. Since the origina.
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Taschenbuch. Zustand: Neu. Neuware - This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute thi…s work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
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Taschenbuch. Zustand: Neu. Neuware - This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.This work is in the 'public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute t…his work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
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Taschenbuch. Zustand: Neu. Neuware.
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Buch. Zustand: Neu. Neuware - This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.This work is in the 'public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this wor…k, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
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Buch. Zustand: Neu. Neuware - This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.This work is in the 'public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this wor…k, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
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Zustand: Sehr gut. Zustand: Sehr gut | Sprache: Englisch | Produktart: Bücher | Keine Beschreibung verfügbar.
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Weitere BilderSprache: Englisch
Verlag: George Barclay, London, 1845
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In den WarenkorbSoft cover. Zustand: Good. Self-wraps 14x21cm. Printed and published by George Barclay. Correspondence 91pp (numbered (i)-xiv, (15)-91); Supplement 28pp, complete including the original title pages. Very good, tanned with some foxing, disbound from a larger volume with extraction residue along the spine. This work was prepared b…y the astronomer Reverend Richard Sheepshanks (1794-1855), then a Fellow of Trinity College Cambridge, Member of the Board of Visitors of the Royal Observatory, and Foreign Secretary of the Royal Astronomical Society. John Taylor, a Liverpool cotton merchant and astronomer, had criticised Liverpool Observatory's location. The Observatory had opened at Waterloo Dock in 1844 to provide accurate time for ship chronometers. Sheepshanks opens with a dedication to its Committee. He expresses his support by affirming "the utility of an accessible observatory to a mighty seaport" which he considers "your complete success", and provides a short account of it. He presents, with annotations, his public dispute with Taylor, which played out in a series of letters to the Editors of the Liverpool Times and Liverpool Mercury over a few weeks in 1845. The exchanges are heated, embellishing scientific argument with literary, historical and classical references, and frequent personal insult. In the Appendix to the main document, Sheepshanks critiques Taylor's correspondence on Halley's Comet, Encke's Comet, and on astronomy and photography at Rome. In the Supplement, he reopens and widens the dispute, informing the Editor of the Liverpool Mercury: "I am compelled, sorely against my inclination, once more to enter the lists against Mr Taylor, or rather, against 'that three-headed canus', of which he, the editor of the Liverpool Mercury, and their humble ally, Sir James South, are the component barkers. Each shall be replied to in due order". Sheepshanks, who had been appointed RAS Secretary in 1829, had fallen out with South, the Society's co-founder and President, in 1832 over the latter's refusal to pay for a telescope mount commissioned from Edward Troughton, as he considered it defective. Troughton sued, and with Sheepshanks' backing South had been forced to pay. South then destroyed the mount and sold off the "botchings" to local tradespeople. He kept the lens which he later presented to the Dunsink Observatory in Dublin. In 1866 Liverpool Observatory relocated to Bidston Hill due to the expansion of Waterloo Dock. Rare in commerce. (Reference: Michael Hoskin, "Astronomers at War: South v. Sheepshanks", JHA, xx, 1989).
Weitere BilderVerlag: London:: Published For the Associated Engravers, By John Pye, 42 Cirencester Place, Fitzroy Square; And May Be Had Of All Book And Printsellers., M.DCCC.XL.
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In den WarenkorbZustand: Good. Large folio. 3/4 red morocco and red roan boards, repaired. 59 x 45 cm.[62] p., [29] pl.; 606 mm. Some foxing. Tissue guards.OCLC Number: 1105189Each plate gives the name of the source-artist and is signed by its engraver. The engravers were H. Le Keux, George T. Doo, W. Bromley, J.H. Watt, E. Goodall, John Pye, W…illiam Miller, W. Humphrys, John Burnet, J. Stewart, W. Greatbatch, John H. Robinson, R. Golding, W. Finden and J. Le Keux. Each plate carries the publisher's imprint of John Pye, and the name of the printer, McQueen. The work is dedicated to King William IV by John Burnet, George Cooke, George T. Doo, William Finden, Edward Goodall, John Le Keux, Henry Le Keux, John Pye and John H. Robinson.The title page and plate [10] carry the date of 1840, but all other plates carry an earlier date - 1830 March 1 (nos. 5, 17, 24, 26, 28); 1832 March (1, 9, 11); 1837 March (1) (2, 14, 19, 20, 22, 29); 1834 Sep. 1 (6, 15, 16); 1836 July (1) (12, 13, 21, 25); 1837 July (3, 8, 18, 27); 1839 Aug. (4, 23); 1839 Nov. (7). The idea of publishing a series of engravings after paintings in the National Gallery (which had opened to the public in 1824) originated with John Pye, and was subsidised by John Sheepshanks. Seven instalments appeared by 1840. Pye was a leading advocate of the Royal Academy's opening full Membership to engravers. He had petitioned the Prince Regent for this in 1812; in 1826 he and other leading engravers vowed never to apply for Associateship; in 1836 and 1859 he published pamphlets attacking the Academy. Each plate is accompanied by one leaf of printed explanatory text (in English on the recto, in French on the verso); and each is captioned. They show: [1]'A view of Venice' by Canaletto; [2]'Christ appearing to St. Peter' by Ann. Carracci; [3] 'Silenus' by Ann. Carracci; [4] 'Susanna and the elders' by Lud. Carracci; [5] 'An Italian sea-port' by Claude; [6] 'The marriage-festival of Isaac and Rebecca' by Claude; [7] 'The embarkation of St. Ursula' by Claude; [8] 'A pastoral landscape' by Claude; [9] 'The Annunciation' (in text, ' . appearance of the angel to Hagar') by Claude; [10] 'The Holy Family' by Correggio; [11] 'Evening' by A. Cuyp; [12] 'The market cart' by Gainsborough; [13] 'The watering place' by Gainsborough; [14] 'Spanish peasant boy' by Murillo; [15] 'A landscape with figures representing Abraham preparing for the sacrifice' by Gaspar Poussin; [16] 'A Bacchanalian scene' by N. Poussin; [17] 'The adoration of the shepherds' by Rembrandt; [18] 'The Crucifixion' (in text 'Christ taken down from the Cross') by Rembrandt; [19] 'Portrait of a Jew' by Rembrandt; [20] 'The banished lord' by Reynolds; [21] 'Lord Heathfield' by Reynolds; [22] 'The rape of the Sabines' by Rubens; [23] 'Peace and War' by Rubens; [24] 'Gevartius' by A. Van Dyck; [25] 'The Emperor Theodosius refused admission into the church' by Van Dyck; [26] 'Portrait of Rubens' by Van Dyck; [27] 'The consecration of St Nicolas' by Veronese; [28] 'The village festival' by D. Wilkie; [29] 'Maecenas' villa at Tivoli' by R. Wilson.Ref: A. Dyson, Picture to print: the nineteenth-century engraving trade (1984); C. Fox, 'The engraver's battle for professional recognition in early nineteenth-century London', in London journal, 2 (1976), p.3-31.
