restorer (23 Ergebnisse)

Paperback. Zustand: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Perfect Paperback. Zustand: New. Ric Hornor - Photo Restorer (illustrator). In shrink wrap.

Zustand: Very Good. Most items will be dispatched the same or the next working day. A copy that has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Paperback. Zustand: Good. Good condition paperback with a few marks to covers. Content is clean.

Zustand: New. In.

Zustand: Good. Good condition. 2nd edition, complete. (cars, automobiles, vehicles, restoration) A copy that has been read but remains intact. May contain markings such as bookplates, stamps, limited notes and highlighting, or a few light stains.

Zustand: New. In.

Zustand: New. In.

Soft cover. Zustand: Fine. No Jacket. 1st Edition. Fine in Softcover. 98pp 4to. Yellow spine with black and red titles.

The covers are rubbed with wear to spine edge, small sticker to bottom front, with some bumping to the edges. The binding is firm. The pages are clean , crease free and in good condition. This book has 42 pages. All in all a nice example of this book.

Paperback. Zustand: Very Good. First Edition. 4to 11" - 13" ; 112 pages.

Paperback. Zustand: Very Good. First Edition. Crease to rear cover; 4to 11" - 13" ; 112 pages.

Paperback. Zustand: Very Good. First Edition. 4to 11" - 13" ; 112 pages.

Paperback. Zustand: Very Good. First Edition. 4to 11" - 13" ; 112 pages.

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

Soft cover. Zustand: Very Good. Close to new condition with no damage or markings to pages and only light wear to cover. 1995 paperback. The photo is of the actual book you will receive. Fast dispatch, normally within 24 hours, by UK seller.

Paperback. Zustand: Good. "THERE ARE NO TARIFFS OR CUSTOMS DUTIES ON BOOKS. This copy is in good condition, no obvious flaws.".

Soft cover. Zustand: Very Good. 1st Edition. Contents in very good condition, some light marking to the covers. Quick despatch from leading UK motoring book specialist.

paperback. Zustand: Very Good. The pages are lightly tanned at the edges. The copy shows minor external wear, but is in otherwise clean condition.

First edition hard back binding in publisher's original embossed bronze gold cloth covered boards, blocked and lettered in gilt to the front board, all page edges gilt. Folio. 14'' x 11''. First edition. The very scarce first edition of this volume of poetry by Marguerite Gardiner, Countess of Blessington, accompanied by engraved plates from E. T. Parris. A charming and very scarce first edition of this work, in which twelve poems from Lady Blessington, all taking their title from the name of a gemstone, are accompanied by beautifully engraved plates from Edmund Thomas Parris. Illustrated with an engraved title page, and twelve steel-engraved plates, each retaining their original paper guard. Collated. The Countess of Blessington was well-known as a contributor of drawing-room publications of this sort, frequently ornamented with steel engraved plates. She was also an acquaintance of Lord Byron in Genoa, and published a book about her conversations with him. With very minimal spotting to page and plate perimeters, smudge mark to the front free end paper, rear end paper cracked, corners rubbed. Member of the P.B.F.A. WOODCUTS & ENGRAVINGS.

Zustand: Good. Oil painting on canvas in period gilt frame. 20 1/4 x 28 1/4 in.; framed 26 1/2 x 34 1/2 in. Signed and dated in the image and again verso. Painting depicts 7 hunters/fishermen outside a log cabin under large trees next to a lake. Shows trophies of deer and fish and 3 dogs.Russell Hartley'a label verso with address of 2237 Market, St., San Francisco and notation: Cleaned January 1960.See the Russell Hartley Papers at the San Francisco Performing Arts Library & Museum: Hartley's association with the San Francisco Ballet,began in 1942. Various projects were undertaken by Hartley as both dancer and costume designer for the ballet. Hartley's trips to Europe in the late forties and early fifties and his partnership in the Antinuous Art Gallery, later evolved into his own gallery.Hartley's activities as an antique dealer and art gallery owner can be traced through files on the Hartley Gallery. These include correspondence, paperwork for exhibitions, exhibition publicity, gallery publications, and photographs. An exhibit of Kyra Nijinsky's work, held in 1966, is particularly well-documented and features many well-known personalities of the dance world. Examples of Hartley's work as a conservator of paintings are also present in the form of before and after photographs. A pamphlet on conservation techniques provides additional information on Hartley's skills and knowledge as an art restorer.,.Through his association with various individuals in the dance world, Hartley became interested in collecting historical materials on local performers and dance and theatrical companies. On weekends, Hartley scoured antique and book stores for old dance and theatrical programs, photos, and ephemera. These materials eventually formed the nucleus of Hartley's San Francisco Dance Archives, established in 1950.Hartley's career as a painter, conservator, and antique dealer also blossomed at this time. In February 1946, Hartley and two friends, Leo Stillwell and Arthur Ammann, opened the Antinuous Art Gallery at 701 McAllister St. Five months later, Hartley assumed full ownership of the gallery, re-naming it the Hartley Studio, and ran it in conjunction with the Modern Ballet Center. As part of a publicity campaign for a film version of The Red Shoes, Hartley created a series of dance paintings and show windows in New York. A European tour conducted between 1949 and 1950 led to successful exhibitions of his paintings of European cities and landscapes at the Feragil Galleries in New York, the Labaudt Gallery in San Francisco, and the Miami Beach Art Center.During the 1950s, Hartley continued to exhibit paintings of ballet dancers, run his antique gallery, collect ephemera for his dance archives, and design costumes. His paintings were featured in an exhibition on ballet at the De Young Museum, as well as in various one-man shows at galleries in San Francisco. He also executed costume designs for Balanchine's Serenade, William Dollar's Mendelssohn's Concerto, Lew Christensen's Balletino, and the San Francisco Opera Company's productions of Aida and Rosenkavalier. .To supplement his antique business, Hartley began studying the conservation of fine paintings with Gregory Padilla and carried out restoration projects for the Maxwell Galleries, the Oakland Museum, and Gumps. He became a member of the International Institute for the Conservation of Historic and Artistic Works in 1960. One of his most well-known assignments involved restoring Millet's "Man with a Hoe" for the California Palace of the Legion of Honor.

Trade card, 45 x 80 mm.

Trade card, 40 x 80 mm.