Pfeiffer editor (167 Ergebnisse)

Zustand: Very Good. Very Good condition. A copy that may have a few cosmetic defects. May also contain light spine creasing or a few markings such as an owner's name, short gifter's inscription or light stamp.

softcover. Zustand: Nearly fine copy. 2nd prt. 8vo, 207 pp. Illus. with photos (illustrator).

Cloth. Zustand: Good. Zustand des Schutzumschlags: Fair. Blue cloth binding. The pages are lightly tanned, but clean. The front end paper is missing the top corner tip. Due to a printing error pages 578 and 579 are blank. The dust jacket has some edge tears and edge creases, is faded on the spine area and is rated fair because it is price clipped. Illustrated. 612 pages.…

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

softcover. Zustand: Nearly fine copy. 1st. 8vo, 207 pp. Illus. with photos (illustrator).

Trade Paperback. Zustand: Very Good. None. 9 fmc2%262D.

Paperback. Zustand: Very Good. Prompt Shipment, shipped in Boxes, Tracking PROVIDEDVery good clean text.

Paperback. Zustand: Very Good. Prompt Shipment, shipped in Boxes, Tracking PROVIDEDVery good clean text.

Paperback. Zustand: Very Good. Prompt Shipment, shipped in Boxes, Tracking PROVIDEDSome paperclip indents else very good. Volume III.

Paperback. Zustand: Very Good. Prompt Shipment, shipped in Boxes, Tracking PROVIDEDSome paperclip indents else very good. Volume IV.

Paperback. Zustand: Good. Prompt Shipment, shipped in Boxes, Tracking PROVIDEDUnderlining, other ink marks, some paperclip indents else good. Volume IV.

Paperback. Zustand: New. In shrink wrap. Looks like an interesting title.

Hardcover. Zustand: Very Good. First Edition. First Edition, Later Printing (1974). Not price-clipped. Published by the Moody Press, 1962. Octavo. Hardcover. Book is very good with light shelf wear, and previous owner book plate on the front pastedown. Dust jacket is very good with light shelf and edgewear, and price clipped from left flap.100% positive feedback. 30 day money back guarantee. NEXT DAY SHIPPING! Excellent customer service. Please email with any questions. All books packed carefully and ship with free delivery confirmation/tracking. All books come with free bookmarks. Ships from Sag Harbor, New York.…

Paperback. Zustand: New. New copy.

Paperback. Zustand: Very good. Pap. Some shelf-wear. Else clean copy.

paperback. Zustand: Used-Very Good. Pbk. Some shelf-wear. Else clean copy.

Zustand: Very Good. Very Good condition. 5th edition. Spiral-bound. (cookbook, cooking, recipes) A copy that may have a few cosmetic defects. May also contain light spine creasing or a few markings such as an owner's name, short gifter's inscription or light stamp.

Zustand: New. 1988. paperback. . Not a first edition copy. . . .

Zustand: New. 1988. paperback. . Not a first edition copy. . . . Books ship from the US and Ireland.

Paperback. Zustand: Brand New. 260 pages. 8.00x5.50x0.50 inches. In Stock.

Soft cover. Zustand: Good. Pickering and Inglis circa 1961 paperback 454 tanned pages, creases to spine and covers but still in good tight clean reading order. Full refund if not satisfied. 24 hour despatch. If not pictured in this listing, a scan of the actual book is available on request.

Hardcover. Zustand: Brand New. illustrated edition. 96 pages. 9.13x6.57x1.11 inches. In Stock.

Paperback. Zustand: Brand New. 288 pages. 7.00x0.47x0.63 inches. In Stock.

Paperback. Zustand: Brand New. 288 pages. 7.00x0.47x0.63 inches. In Stock.

Hardcover. Zustand: Brand New. illustrated edition. 96 pages. 9.13x6.57x1.11 inches. In Stock.

Hardcover. Zustand: Brand New. illustrated edition. 96 pages. 9.13x6.57x1.11 inches. In Stock.

Paperback. Zustand: Brand New. illustrated edition. 77 pages. 9.00x7.25x0.25 inches. In Stock.

Paperback. Zustand: Brand New. 104 pages. 10.25x6.75x0.50 inches. In Stock.

Paperback. Zustand: Brand New. 416 pages. 10.00x7.00x1.00 inches. In Stock.

Trade paperback. Zustand: Very good. The format is approximately 6.6 x 8.2 inches. 240 pages. Illustrations (many in color). Notes. Covers have flaps. Some pages slightly bent at the bottom edge. This book presents twenty-five of the most renowned and significant buildings of America's premier architect, from his early Prairie work in Oak Park, Illinois, in the 1890s to his daring creations of the 1940s and 1950s. Published in association with the Frank Lloyd Wright Foundation, this superbly illustrated volume features previously unpublished photographs for which renowned architectural photographers Michael Freeman and Paul Rocheleau gained unprecedented access to some of Wright's masterworks. The book examines in unsurpassed detail a selection of Wright's architecture that covers the phenomenal range of his work, including such internationally famous buildings as the Home and Studio in Oak Park, Taliesin West in Scottsdale, Arizona, Fallingwater in Mill Run, Pennsylvania, and the Solomon R. Guggenheim Museum in New York, as well as several lesser-known residences such as the Auldbrass Plantation in South Carolina and the Kenneth Laurent house in Rockford, Illinois. The works featured here are succinctly documented by one of Wright's former apprentices, with text that details the development and execution of each commission. Also included throughout is a selection of Wright's extensive writings, unpublished talks, and private letters. Pfeiffer wrote or edited more than 50 books in order to guarantee that the story of Wright's life would be remembered with nuance and detail. Each of those works drew from the massive collection of Wright's own drawings and papers that Pfeiffer organized and preserved at Taliesin West for decades. Pfeiffer was so drawn to Wright that by the time Pfeiffer was just 18, he'd already migrated to Taliesin West to join the Frank Lloyd Wright School of Architecture, as it was called then. Pfeiffer studied with Wright for the next seven years, working alongside the other, mostly older apprentices. Pfeiffer felt that Wright's impromptu lessons and more formal morning talks were "too valuable to perish," so he decided to record them. Pfeiffer eventually collected more than 250 hours of Frank Lloyd Wright's teachings on tape and would transcribe them all. Pfeiffer settled in Scottsdale for good, playing an integral role in the life of the Taliesin Fellowship, where design work, study, sleep, and property repairs, as well as communal meals and entertainment, were all woven together. Mr. and Mrs. Wright were both deeply appreciative of music. Pfeiffer shared this affinity for music, and played piano. Transcribing and arranging original compositions would become a big part of his enduring friendship with Olgivanna. When Frank Lloyd Wright died in 1959, many of the architect's original drawings were still in daily circulation among the apprentices at Taliesin. The students would pull the originals out of drawers in the drafting studio for reference, then stick them back haphazardly when they were done. But Olgivanna had an eye to preserving her husband's legacy and quickly discontinued such practices. She worked with the apprentices to gather her husband's myriad letters, papers, and project materials-hundreds of thousands of items from Taliesin East, in Spring Green, Wisconsin, and West-then pack them up in boxes, and moved them to a Bekins-brand storage facility in Phoenix for safekeeping. For years, the trove of material sat in that warehouse. Pfeiffer said he'd never intended to become an archivist, but in the years after Wright's death, he recognized the immense need at hand. Scholars around the world were becoming increasingly curious about the materials Wright left behind and hungry to work on various, often ambitious, publishing projects. Apprentices were anxious, as were new owners of Wright homes, to discover anything they could about specific buildings. Inquiries began to pour in. When Pfeiffer spoke with Olgivanna about the imperative that someone maintain Wright's archive, she suggested that he take it on. It happened, as so many things at Taliesin tended to in the 1960s, organically. And so began Pfeiffer's many trips back and forth to the Bekins warehouse. His first task was to organize the material chronologically, developing a numbering system indicating years and projects. He consulted outside archivists on methodology-studying everything from acid-free document sleeve options to optimal climate settings for long-term preservation-and taught himself large-format photography so he could begin to make quality reproductions of Wright's drawings. All of Wright's materials were moved into the new, climate-controlled environment under Pfeiffer's supervision. There were offices, vaults for museum-quality storage, and a frame shop where the archivists could prepare materials for exhibition. Pfeiffer's unique understanding of the archives became evident to the entire world during his middle-aged years, when he devoted most of his time to writing, editing, and managing works for exhibitions. His name is on all the go-to major compilations, including a 12-volume box set of Wright's built and unbuilt works that Pfeiffer undertook with photographer Yukio Futagawa, published in 1985, and a three-volume Complete Works monograph series published by Taschen. Toward the end of his own life, Pfeiffer was secure that the archives he'd tended to for so long would be treated with great care. Revised Edition, presumed third printing.…