riley dominic (8 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.

Zustand: Good. Most items will be dispatched the same or the next working day. A copy that has been read but remains in clean condition. All of the pages are intact and the cover is intact and the spine may show signs of wear. The book may have minor markings which are not specifically mentioned.

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. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less 0.56.

Card covers. Zustand: Near fine. 39 p. 14 cm. B&w illustrations. Staplebound booklet with blue card covers.

One of 200 copies, this number 197. 22 full-page illustrations and two ornaments each printed in black and one other colour, being varying shades of blue or brown, by Clive Hicks-Jenkins, one signed by the artist in pencil. Oblong 4to., 23x28cm, 23 unnumbered leaves. Later fine binding by Dominic Riley in full orange goatskin, covers with brown, blue and green goatskin inlay forming abstract shapes, overlaid with gilt tooled uneven lines and a pattern of gilt dots, full orange goatskin doublures with gilt tooled mirror writing, turquoise reverse calf endpapers, lower pastedown with binders stamp signature in blind, top edge gilt with original blue cloth drop back box with gilt lines and green onlay, within original grey cloth slipcase. Monmouthshire, Old Stile Press. Fine.  Seen with the eye of faith, Dominic Riley's elegant semi-abstract cover design, formed of gilt lines, dots and leather onlay, perhaps reveals the image of a seated figure, but the precise contours remain enigmatic. The mystery only deepens on opening the book, revealing gilt tooled almost-words. The solution lies on the reverse calf endpapers, where the tooling of the doublures has been designed intentionally to offset and reveal that it is in-fact mirror writing, the text taken from Richard Barnfield's Sonnet 11:  'He open'd it: and taking off the couerHe straight perceau'd himselfe to be my Louer.' Barnfield is one of the great forgotten poets, a significant influence on Shakespeare and one of only a handful of Englishmen to publish same-sex love poetry until the 20th century. In Sonnet 11, a lamenting poem of unrequited love, Barnfield's narrator uses a mirror to reveal to his unexpecting male companion that it is in-fact he who is the object of affection. Dominic Riley's binding cunningly reflects Barnfield's device of the mirror, while also movingly reminding the viewer of the necessity for marginalised groups throughout history to speak through coded language. Indeed, while little is known of Barnfield's later life, his sudden disappearance from the historical record suggests that he may have suffered for daring to speak too openly of his love.  In the words of Dominic Riley, 'Barnfield was a ?gentleman at court?, an admirer and possible rival of Shakespeare. He was the only other male poet of his age other than Shakespeare to write love poems directed at a male muse, in this case the mysterious figure ?Ganymede? My inspiration for the design, both the two figures on the cover and the letterforms on the inside, comes from Sonnet XI, (pictured) especially the punch delivered by the last two lines, which when I read them, knocked the breath out of me' .

One of 220 copies. 6 perspex engravings by Betty Pennell printed in black, 3 of which are full-page. 4to., 32x24cm, 16pp. Later fine binding by Dominic Riley in full black goatskin, covers with meandering pattern of gilt dots forming a curved path surrounded by irregular sections of black goatskin inlay in triangle and lozenge shapes, each on a background of either blue, green, white and yellow and each tooled in gilt with floral designs, spine lettered in blind, pastedowns with similar design in blind each with one triangle shape in white onlay, binders signature stamp in blind to tail of rear pastedown, reversed calf endpapers, with original black cloth drop back box, upper cover with white goatskin onlay lozenge, spine titled in gilt on green goatskin label. Huddersfield, Fleece Press. Fine. For his binding, Dominic Riley took as inspiration the wandering paths one takes through a garden, the course outlined in a curving line of gilt dots. The flowerbeds of this imagined garden appear as sections of gilt tooled inlay taken from his binding on the Kelmscott Chaucer, now housed in the Victoria and Albert Museum in London. The whole presents a garden which seems delicately balanced between order and chaos, the meandering path reminiscent of lazy summer days spent enjoying 'the purest of human pleasures. the greatest refreshment to the spirits of man.' In Dominic Riley's words, 'the cover design depicts a walk through a special, private garden. The gold dotted lines represent two friends walking through the formal flower beds. The gold tooled inlays are inspired by William Morris?s ornamental borders used in his fabulous Kelmscott Chaucer.'.

Whittington, UK: Nomad Letterpress and The Society of Wood Engravers, 2020. Folio, 325 x 250 mm, 100 pp., printed on Zerkall mould-made paper using Monotype Perpetua (Series 239) cast by Neil Winter at the Whittington Press in an addition of 340 copies. Numerous illustrations in black and white throughout. § § One of 30 copies numbered I-XXX with an extra suite of plates, this is copy XX, in a magnificent design binding by Dominic Riley. Published in 2020 to mark the Centenary of the Society of Wood Engravers. A year on press, this book links past with present, and provides a fitting tribute to the skills of the engravers and the part played by the Society in the history of wood engraving. For 2020 Vision, Nigel Hamway asked nineteen engravers to choose a major artistic influence, write an introduction, and create a new engraving which sits side-by-side in the book with an engraving or illustration by their 'inspirer'. This places the engravings of twentieth century greats John Farleigh, John Nash, Monica Poole, Geoffrey Wales, Gertrude Hermes et al. alongside today's artists and presents the viewer with a snapshot of the changing nature of the engravers' craft. Featured artists: - Leonard Baskin (19222000), George Minne (1969) - Thomas Bewick (17531828), The Fieldfare & detail from The Ring Ouzel. Reproduced from pages 116 & 122 of A History of British Birds (Newcastle, 1826 [6th edition]). - Neil Bousfield, The Waves (2019). - Simon Brett, Combined title-page and frontispiece for Amelia (1995). - Harry Brockway, Printing Severn Bore (2019). - Chris Daunt, TBC (2019). - Anne Desmet, Brooklyn Bridge: New Day (2015). - Andy English, Charmouth Beach (2019). - John Farleigh (19001965), Park Gate (1956). - Derrick Harris (19191960), Frontispiece to Tom Jones (1959). - Gertrude Hermes (19011983), Stonehenge (1959). - Gertrude Hermes (19011983), Yoke (1954). - Paul L Kershaw, Hackfall View II (2019). - John Lawrence, Scene from The Shepherd's Calendar (1978). - John Lawrence, Three engravings for Phillip Pullman's His Dark Materials trilogy; The Subtle Knife (1997), Northern lights (1995), The Amber Spyglass (2000). - Peter Lawrence, New Quay (2019). - Simon Lawrence, Insert printed at his Fleece Press, 2019. - Miriam Macgregor, Thorne in August for Midwinter (2013). - Henry Moore (18981986), Figures, Sculptures (1931). - Robert Motherwell (19151991), In Black With Yellow Ochre (1963). Lithograph in two colours. - Paul Nash (1889-1946), Title-page for Places (1922), printed from reproduced artwork. - Sarah van Niekirk (19342018), Jacobs in Shropshire (TBC). - Sarah van Niekirk (19342018), Severn Bore (TBC). - Hilary Paynter, Inspired by Henry Moore (2019). - Howard Phipps, Eggardon Hill (2019). - Monica Poole (19212003), After the Storm (1988). - Monica Poole (19212003), Underwater (TBC). - Eric Ravilious (19031942), Downs in Winter (1935). Reproduction of watercolour and pencil painting. - Abigail Rorer, Robert Frost (2019). - Sue Scullard, Into the Woods (2019). - Yvonne Skargon (19312010), Boxford Garden (TBC). - Ian Stephens, Dipper on the river Conway (2004) & Swale Dipper (2019). - Reynolds Stone CBE (19091979), Bookplate for Edgar Wind, and Apostate Part VI (1926). - George Tute, Dandelion Field (1962). - Geri Waddington, The Little Barn (2019). - Edward Wadsworth (18891949), Turret ship in Dry Dock (1918). - Richard Wagener, Umbraculo Series #21 (2018). - Geoffrey Wales (19121990), The Waves (1969).