preface herbert read (13 Ergebnisse)

Hardcover. Zustand: Fine. Zustand des Schutzumschlags: Near Fine. 1st Edition. 318 Pp. Black Cloth, Spine Gilt. First Printing Stated. Fine In Near Fine Dust Jacket Priced $6.50 And With Slight Wear And Browning. Essays, First Published In Saturday Review 1966-1968.

Hardcover. Zustand: Fair. No Jacket. Former library book; Missing dust jacket; Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend Less.

First Edition / Fourth Print (first published in 1937). Hardback copy in tan cloth boards with black lettering to spine, black chinese lettering to front boards. Unclipped dustjacket (8s. 6d. net) in new removable protective clear sleeve. 67pp. Frontispiece, full page illustrations. Not library copy, no inscriptions, tears to dustjacket, light marks to endpapers. (77/6).

Boards. Zustand: Good. 34 x 48 cm; 18 pages (including 5 fine-quality black and white photo illustrations) and 32 full-page color plates. Dust jacket illustrated in color. Dust jacket discolored, scuffed and taped. Inconspicuous library withdrawal stamp in upper right corner of front free endpaper, otherwise blank. Edges lightly tanned. Yet better than good. First edition; library withdrawal stamp of the Solomon Guggenheim Museum.

Large format paperback in publisher's original illustrated card wrap covers (soft back). 8vo. 8½'' x 6''. Contains 396 pp with 500 illustrations, 118 in colour. In Very Good condition, no dust wrapper as issued. Member of the P.B.F.A. PAPERBACKS.

Hardback. Zustand: Very Good Plus. Zustand des Schutzumschlags: Very Good Plus. New Edition, Revised. 1966. Second edition, "revised and partially rewritten". xxiv, 297pp. 134 illustrations in B&W and colour. Publisher's tan cloth with gilt titles to spine. Light to moderate foxing to edges. The book is otherwise in excellent condition with no inscriptions. The unclipped dust jacket has the Oxford clear plastic protective cover (adhering to the rear of the jacket) and is in excellent condition. PLEASE NOTE: Heavyish book so extra may be needed for shipping to non-UK customers. "This book was first published in the United States and the United Kingdom in 1949 and became a standard work on the techniques of gravure, which encompasses all forms of art that involve incising a groove on some resistant material. After being out of print for some years, though still much in demand, it has now been revised and partially rewritten, with the author contradicting some of his original conclusions. S. W. Hayter founded, and still runs, the famous Atelier 17 in Paris. Here, since 1927, artists from all parts of the world, including such great names as Picasso, Miró, Dalí, Matta, Max Ernst, Chagall, and Masson, have worked together, using, and in some cases inventing, the techniques described and illustrated in the book. In addition to thus reviving the workshop conception of the artist, Hayter is also the exponent of a philosophy. He believes that the artist must pursue reality rather than objects, combining immediate experience with the experience of the imagination, and that his success depends on how he exploits the instruments and materials available. The author illustrates this philosophy from contemporary practice and also outlines the history of engraving from the fifteenth century onward. This is a companion volume to the same author's About Prints, published in 1962".

Soft cover. Zustand: VG (-). Companion to several exhibitions of Priest Sengai's artworks in 1966. From the collection of Sanje (Frank) Elliott, Buddhist mentor, artist, and friend to many. Condition notes: 50 plates; PB. Pages: clean, a bit toned, tight; corners thumbed. Cover: white/brown glossy wraps, b/w artwork plus gilt titles front, plain spine; moderate edge/shelfwear, corners thumbed, creases front, tear to head, several scuffs back. Covers are a bit tatty.

Paperback. Zustand: Fine. First Edition. Wraps. 8vo. pp 24. Original publisher's brown textured wraps, lettered black on the front cover. Limited edition of 125 copies, this being no. 48. Preface by Graham Greene. Greene contributes the preface, in which he explains how he came to invite Read to write reviews of crime fiction for Night and Day, of which Greene was literary editor. Read wrote five reviews, all of which are reprinted here. Fine.

Paperback. Zustand: Good. First Edition. Wraps. Small 4to. pp 84. Original publisher's illustrated covers, lettered grey, yellow and blue. Copiously illustrated in colour and black and white throughout. Internal soul package label has come loose with neat stamp on the rear cover reads, 'H. A. Rothholz and associates'. Some creasing and rubbing at spine and slight surface wear to covers, overall sound, clean, slightly used, near very good.

HARDCOVER. Zustand: Near FINE. Zustand des Schutzumschlags: VERY GOOD+. 1st Edition. 1st printing. 8vo in cream cloth covered boards, black lettering to spine and front cover, 67pp on thick paper, illustrations in text . [CONDITION: A well preserved near FINE very clean and tight unmarked copy (hint of tanning to spine and covers, top edge of page block slightly dusty) in a mildly foxed and mildly edge-worn but otherwise VERY GOOD complete Dust Jacket (priced 7s. 6d) which has been partly repaired or strengthened on the verso with archival paper (looks fine in its removable transparent protector). An uncommonly nice copy ] . To see more of our Art Monographs etc type DbbARTIST in the Keywords search box . __NOTE. Depending on destination, this item may require an extra payment for shipping insurance. If so, orders made by card will be completed only after you have approved the extra cost. . We always ship in STRONG PROTECTIVE CARD PARCELS.

8vo. (155 x 240 mm). pp. 32. Leaf with advertisements recto and verso, leaf with title recto and committee and contributors verso, leaf with advertisement recto and preface by André Breton translated by David Gascoyne verso and on following leaf, leaf with advertisements recto and verso, leaf with explanatory note and catalogue of exhibitors and their works in alphabetical order, final leaf with printers' credit verso. Original publisher's pink stapled wrappers with printed collage by Max Ernst to front cover, later protective crystal wrappers. Gaston Ferdiére's presentation copy of the scarce catalogue for the ambitious and highly influential International Surrealist Exhibition held in London in 1936 signed by a number of the participants. Presented by Mesens in red ink: 'Exemplaire de Gaston Ferdière' and, beneath, the signatures of André Breton (in green), Hans Arp (in pencil), Roland Penrose (in blue ink), Claude Cahun (in blue grey), Sheila Legge, Rupert Lee and David Gascoyne (all in sepia), Paul Eluard (in black ink) and Man Ray (in pencil); the following leaf with advertisements (and adjacent to the details of the committee, list of contributors etc.) features an inscription in black ink by Conroy Maddox: 'Refused to participate / Conroy Maddox'. Gaston Ferdière was a controversial figure, a Surrealist-affiliated poet who published verse in the mid-1930s, a doctor who administered to the Spanish Republicans in the Spanish Civil War and a psychiatrist, lauded and criticised for the electroshock therapy he administered to Antonin Artaud in the 1940s before Artaud's suicide in March, 1948. Ferdière was a friend of Breton, Crevel, Desnos and Péret, later Hans Bellmer and Unica Zûrn (who he also treated) and was anathemised by Isou (another patient) and the Lettrists along with psychiatrists and psychiatry in totality. At the titme of the London Surrealist Exhibition, Ferdière had published a small handful of verse collections: 'L'Herbier' (1926), 'La Chanson Fruste' (1927), 'Ma Sébile' (1931) and 'Paix sur la Terre - Poèmes pour les Théâtres Prolétariens d'Action Contre la Guerre' (1936). 'No one personifies the thorny entanglement between modernism and the science of the soul better than Dr. Gaston Ferdière, the psychiatrist who administered no less than 58 electroshock treatments to the Surrealist playwright Antonin Artaud during the Second World War. Determined to reconcile poetry and medicine, Ferdière had studied under 'Professor Claude' - target of Breton?s anti-psychiatric rants - at Sainte-Anne while at the same time passing as a 'star of Surrealism in the bistros' of Paris in the mid-1930s . By the time Artaud showed up on his doorstep at Rodez psychiatric hospital, Ferdiére had long since abandoned his poetic aspirations. Yet his old interests were rekindled in long conversations with the Surrealist playwright, whose talents he sought to revive by a combination of 'art therapy' - writing, drawing, translating Lewis Carroll?s 'Through the Looking Glass' - and shock treatments - six courses ranging from 4 to 13 sessions each between June 20th, 1943 and January 24th, 1945. Electroshock was still in its experimental phase - the machine had hardly rolled in the door at Rodez - and the convulsions were so severe that Artaud fractured a vertebra in his neck during one of the treatments.' (Kevin Repp). The International Surrealist Exhibition was held at the New Burlington Galleries from 11 June - 4 July 1936, organised by committees from England, France, Belgium and Scandinavia. The scale and range of works from artists was highly impressive (see a list of exhibiting artists below), and London was acting alongside Paris and New York in focusing on the new movement. In the same year Alfred Barr opened a show at the Museum of Modern Art, New York entitled 'Fantastic Art, Dada and Surrealism' and Paris' 'Cahiers d'Art' journal, then at the height of its influence, had devoted a whole issue to the Surrealist object. The exhibition, comprising of some 390 works (painting, sculpture, drawing and objects), was opened by André Breton to some two thousand people, thereafter averaging a footfall of one thousand people per day. Lectures were delivered throughout the exhibition and included Salvador Dali's presentation from within a deep-sea diving suit, which, needless to say, put a strain on his respiratory system and resulted in his being rescued by the young poet David Gascoyne with a spanner. It is also significant that one of the most legendary moments of the exhibition was the performance by Sheila Legge, who stood in the middle of Trafalgar Square in a white wedding dress (inspired by a Dali painting), her head obscured by a floral arrangement, prefiguring Feminist and Fluxus performances of some 20 years later. Exhibiting artists included Eileen Agar,Jean Arp,Eugène Atget,Hans Bellmer,Jacques-André Boiffard,Bill Brandt,Victor Brauner,Fanny Brennan,Emmy Bridgwater,Luis Buñuel,Claude Cahun,Leonora Carrington,Ithell Colquhoun,Gala Dalí,Salvador Dalí,Jean Dallaire,Paul Delvaux,Óscar Domínguez,Christian Dotremont,Marcel Duchamp,Marcel Duhamel,Curt Echtermeyer,Max Ernst,Leonor Fini,Gordon Onslow Ford,Esteban Francés,Alberto Giacometti,Julio González,Jane Graverol,Jacques Hérold,Valentine Hugo,Frida Kahlo,Wifredo Lam,Jacqueline Lamba,Dora Maar,Conroy Maddox,René Magritte,Georges Malkine,Marcel Mariën,André Masson,Roberto Matta,Mikulá? Medek,Oscar Mellor,John Melville,E. L. T. Mesens,Lee Miller,Desmond Morris,Joan Miró,Méret Oppenheim,Wolfgang Paalen,Benjamín Palencia,Roland Penrose,Man Ray,Toni del Renzio,Kay Sage,Kurt Seligmann,André Souris,Martin Stejskal,Jind?ich ?tyrský,Maurice Tabard,Yves Tanguy,Dorothea TanningKarel Teige,Kristians Tonny,Toyen,Albert Valentin,Remedios Varo,James F. Walker,Unica Zürn,Philipp Humm. Printed on very good laid paper by the 'Women's Printing Society', the contents are on the whole very good with some few scattered spots, while the cover, as can be expected,

Country Life Ltd., London / Charles Scribner's Sons, New York - 1937 - In-8, cartonnage toilé écru, sans sa jaquette - 67 pages - Illustrations en N&B hors texte - Ouvrage en anglais Bon état - Sans sa jaquette - Menus frottements sur le cartonnage - Infimes rousseurs sur les tranches - Intérieur propre.

Zustand des Schutzumschlags: dj. Revised Edition. Octavo (22.5cm); orange cloth-covered boards with titling stamped in black on spine; dustjacket; xii,[2],3-177,[3]pp; illus. Inscribed by author on front endpaper: "For my Friend, Sol. Affectionately, Edward / Jan 5, '70 N.Y.C.". Designed by Stefan Salter. Light rubbing to board edges with pencilled notes to front pastedown, else Near Fine. Dustwrapper, unclipped (priced $4.75), lightly tanned, with trace soil, 0.5" tear to lower front spine fold, tiny chip to front upper corner, and tiny tears to extremities; Very Good. First published as Sing O Barren and Do These Bones Live, this new edition includes illustrations by Kearns throughout and a preface by Sir Herbert Read. [85862]. Signed.