Nicholson william 1872 1949 (16 Ergebnisse)

Zustand: New. In English.

Zustand: New. In English.

Zustand: New. pp. 52.

First Edition. Near fine cloth copy in a good if somewhat edge-nicked and dust-dulled dust-wrapper, now mylar-sleeved. Remains particularly well-preserved overall; tight, bright, clean and strong. Physical description: 34 pages ; 21cm. Notes: Illustrated by William Nicholson. Subjects: English poetry -- Welsh authors. 1 Kg.…

1st edition. An exceptional copy; fine in an equally fine dust-wrapper. Particularly well-preserved; tight, bright, clean and especially sharp-cornered. Literally as new and still in the publisher's protective shrink-wrap. Physical description; 173 pp., illustrations (some color), 28 cm. Notess; Published on the occasion of an exhibition at the Royal Academy of Arts, Oct. 30, 2004-Jan. 23, 2005. Includes bibliographical references (page 168) and index. Essays by Colin Campbell, Merlin James, Patricia Reed and Sanford Schwartz. Contentss; The speck in the distance, or rethinking William Nicholson / Sanford Schwartz -- Words about painting / Merlin James -- Some aspects of William Nicholson's portraiture / Patricia Reed -- Nicholson's graphic work / Colin Campbell. Subjects; Nicholson, William 1872-1949 ; Exhibitions. Criticism and interpretation. Royal Academy of Arts, London. Graphic arts. Illustration of books. Painting, British 20th century. 1 Kg. …

Zustand: Good. Color woodcut on wove paper. 15 x 19.5 cm (sheet). Embossed with The Studio dry stamp in the margin. Printed initials and date in the image. Very Good, light specks of foxing.

circa 17 x 18 cm (nur Bild). 1 Blatt "unten links Vignette "Magazine of Art" Hier wohl Farblitho nach dem Farbholzschnitt. Zu sehen ist ein Reiter auf dem Rennpferd Persimmon (1893?1908), das ab 1895 zahleiche Rennen gewann, dabei auch das Epsom Derby. - Papierbedingt einheitlich etwas gebräunt, sonst sauber. …

Hardcover. Zustand: Fine. Zustand des Schutzumschlags: Fine. 672 p., [52] leaves of plates : ill., maps, ports. ; 24 cm. ; OCLC: 42472485 ; LC: D568.4; Dewey: 940.41 ; "Privately printed, 1926; first published for general circulation, 1935."/ Preface by A.W. Lawrence./ Portraits by Eric Kennington, Augustus John, William Roberts, John Singer Sargent, William Nicholson, Henry Lamb, William Rothenstein, R.M. Young, Colin Gill, Frank Dobson, and Gilbert Spencer, and illustration by Sydney Carline. ; Contents: Preface / by A.W. Lawrence -- Introduction: the foundations of Arab revolt -- Book I: My first visit to Arabia -- Book II: Feisal's first extension northward -- Book III: Concentration against the Medina Railway -- Book IV: The expedition against Akaba -- Book V: Exploiting the new base -- Book VI: The failure of the bridges -- Book VII: A winter campaign -- Book VIII: Orthodoxy arrives -- Book IX: Manoeuvring for a final stroke -- Book X: The liberation of Damascus -- Epilogue. ; Includes indexes.; "T.E. Lawrence "Lawrence of Arabia" recounts his role in the origin of the modern Arab world. At first a shy Oxford scholar and archaeologist with a facility for languages, he joined and went on to lead the Arab revolt against the Ottoman Turks while the rest of the world was enmeshed in World War I. With its richly detailed evocation of the land and the people Lawrence passionately believed in, its incisive portraits of key players, from Faisal ibn Hussein, the future Hashemite king of Syria and Iraq, to General Sir Edmund Allenby and other members of the British imperial forces, The Seven Pillars of Wisdom is an indispensible primary historical source. It helps us to understand today's Middle East, while giving us thrilling accounts of military exploits (including the liberation of Aqaba and Damascus), clandestine activities, and human foibles." ; tan colored cloth in beautifully illustrated dustjacket ; bookplate ; thick, heavy volume ; FINE/FINE. Book. …

Zustand: Good. 4to. 29 x 34.5cm. Original wraps with tears without loss; later red cloth spine. Colin Campbell no. 53.D. Color lithograph cover and 13 full page lithographic plates. tirage à 600 exemplaires In-folio. AC Complet des 13 lithographies d'après les bois originaux, reliure d'éditeur fatiguée, Textes et planches uniformément jaunis.…

Hardcover. Dust Jacket Included. 1st Edition. Folio (14 x 11 inches). 12 coloured lithographs after woodblocks, lithographed initials. Original red paper backed grey pictorial paper wrappers, illustrating the Bus Driver, tissue dust jacket (one or two chips). Provenance: from the library of Jacques Levy, his sale, Sotheby's, 20th April 2012, lot 256 First French edition, limited issue, one of 40 copies on Japon, of a total edition of 640. First published in English using original hand-coloured woodblocks, loose in a portfolio. Nicholson's distinctive style: "boldness of outline, simplicity of treatment, and striking silhouettes, and their flat, pure colours" (Bowness), was elegantly suited to the medium of woodcut, and grew from an original scheme of posters he designed with his brother James Pryde as J. & W. Beggarstaff. Nicholson was encouraged in his work by J. A. McNeill Whistler who recommended him to the publisher William Heinemann. "The publications that followed established Nicholson's solo reputation. An Alphabet and An Almanac of Twelve Sports, with verses by Rudyard Kipling, both appeared in 1897 (title-pages postdated 1898), London Types, with verses by W. E. Henley, in 1898, and The Square Book of Animals in 1899. Nicholson also made a series of portrait woodcuts, the first of which was the irreverent, affectionate jubilee portrait of Queen Victoria (originally published in Henley's New Review in June 1897), which brought him great success. These were collected in the two series of Twelve Portraits (1899 and 1902), the first of which was awarded a gold medal at the 1900 Paris Exhibition. The Heinemann windmill colophon still used today was designed by Nicholson at this time. Nicholson's singular achievement rests on three diverse strands of work: the pioneering and influential posters and woodcuts made when he was still in his twenties, the portraits of distinguished contemporaries, and the poetic landscapes and still-lifes. His best work has a subtlety, virtuosity, and individual voice that places it with the finest of its period" (Sophie Bowness for DNB). Catalogued by Kate Hunter.…

Soft cover. 1st Edition. Large 4to., (12 2/8 x 9 5/8 inches). Half-title with limitation on verso, vignette title-page, 12 colored lithographs after woodcuts, some text illustrations. Modern half morocco, gilt, and marbled boards, original publisher's pictorial wrappers bound in. Provenance: from the library of Jacques Levy, his sale, Sotheby's, 20th April 2012, lot 256 First French edition, limited issue, number 42 of 50 copies on Japon, of a total edition of 1070. First published in English using original hand-coloured woodblocks. Nicholson's distinctive style: "boldness of outline, simplicity of treatment, and striking silhouettes, and their flat, pure colours" (Bowness), was elegantly suited to the medium of woodcut, and grew from an original scheme of posters he designed with his brother James Pryde as J. & W. Beggarstaff. Nicholson was encouraged in his work by J. A. McNeill Whistler who recommended him to the publisher William Heinemann. "The publications that followed established Nicholson's solo reputation. An Alphabet and An Almanac of Twelve Sports, with verses by Rudyard Kipling, both appeared in 1897 (title-pages postdated 1898), London Types, with verses by W. E. Henley, in 1898, and The Square Book of Animals in 1899. Nicholson also made a series of portrait woodcuts, the first of which was the irreverent, affectionate jubilee portrait of Queen Victoria (originally published in Henley's New Review in June 1897), which brought him great success. These were collected in the two series of Twelve Portraits (1899 and 1902), the first of which was awarded a gold medal at the 1900 Paris Exhibition. The Heinemann windmill colophon still used today was designed by Nicholson at this time. Nicholson's singular achievement rests on three diverse strands of work: the pioneering and influential posters and woodcuts made when he was still in his twenties, the portraits of distinguished contemporaries, and the poetic landscapes and still-lifes. His best work has a subtlety, virtuosity, and individual voice that places it with the finest of its period" (Sophie Bowness for DNB).…

Zustand: Good. Color woodcut on wove paper. 13 x 20 cm (sheet). Printed initials and date in the image. Very Good, light specks of foxing.

Zustand: Gut. Format (Bildbereich): 15,5 x 15,5 cm. Blattgröße: 29 x 20 cm. *Originalholzschnitt aus der Kunstzeitschrift "The Studio", Jahrgang 1898. - Ränder leicht gebräunt, sonst gut erhalten. Sprache: Deutsch Gewicht in Gramm: 300.

Am linken Unterrand typographisch bezeichnet. - Min. gebräunt. Rechte obere Ecke m. Knickspur. - Söhn, HDO 52803-4. ge Gewicht in Gramm: 1000 Darstellung 24,5 x 19,5 cm, Blattgröße 37 x 27,2 cm.

Original lithograph in colour of James Pryde after the woodcut by William Nicholson, as published in The Studio, 1899. NICHOLSON, Wiiliam. Portrait of James Pryde. Original lithograph in colour of James Pryde after the woodcut by William Nicholson, as published in The Studio, 1899. 280 x 195 mm. PS125. …

An original lithograph after the woodcut from the standard edition of "London Types", published by William Heinemann in 1898 Bluecoat Boy. 255 x 230mm. PS90.