ashmolean museum oxford (433 Ergebnisse)

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

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

Paperback. Zustand: Very Good. The collection of paintings, drawings, watercolours and etchings by Samuel Palmer in the Ashmolean Museum is the most important in the world. It is especially rich in the early works of the Shoreham period, from c. 1824 to 1834, notably the haunting self portrait and the unique group of six sepia drawings of 1825, which represent the 'visionary landscape' at its most intense. This handbook reproduces in colour all but a few of the works by Palmer in the Ashmolean. The book is designed to provide a stimulating introduction for the general reader and a useful and reliable guide for the expert. Colin Harrison is an Assistant Keeper in the Department of Western Art in the Ashmolean Museum. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Paperback. Zustand: Fair. The Palace of Minos - legendary Cretan home of the Minotaur - captured the imagination of people worldwide from the moment its excavator, Sir Arthur Evans (1851-1941) first reported his discoveries in the press. This book illustrated from archive material in the Ashmolean, shows how the excavations proceeded and how the reconstruction of parts of the Palace was achieved. A readable copy of the book which may include some defects such as highlighting and notes. Cover and pages may be creased and show discolouration.

Paperback. Zustand: Good. The book has been read but remains in clean condition. All pages are intact and the cover is intact. Some minor wear to the spine.

Paperback. Zustand: Very Good. Illustrated from the Ashmolean's collection of contemporary sculpture, this book provides a context in terms of the Ashmolean's world-famous collections of antique and renaissance sculpture and the development of twentieth-century sculpture as a whole. It makes accessible for the first time many pieces by, among others, Epstein, Frink, Maillol, Moore, Underwood and Zadkrine. It includes mainly small bronzes, but some larger works are featured. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Paperback. Zustand: Very Good. Oxford is exceptionally rich in Pre-Raphaelite associations. At various times nearly all the Pre-Raphaelite artists lived and worked in the city. The Ashmolean has one of the finest collections of paintings, drawings and sculpture from this movement. Reprinted 2004. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

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.

Paperback. Zustand: Very Good. 'The Hunt in the Forest' is the foundation of the Ashmolean's distinguished collection of old master paintings, and a magical and enigmatic picture. The artist, Paolo Uccello, had a lifelong interest in geometry and perspective, and together with his skill in depicting animals and landscape this helped to form this jewel-like swansong from the last decade of his career. This book, written by Dr Catherine Whistler, examines Uccello's life and work, the process of making 'The Hunt in the Forest', the subject of the painting, its original setting, and its use of perspective and rhythm. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Paperback. Zustand: Very Good. Edward Lear, born in 1812, was a British artist, illustrator, author, and poet, renowned today primarily for his literary nonsense, in poetry and prose, and especially his limericks, a form that he popularised. Lear produced the illustrated poetry collection Book of Nonsense (1846) for the Earl of Derby's grandchildren. His other works include Nonsense Songs, Stories, Botany and Alphabets (1871), containing "The Owl and the Pussy-Cat", and "Laughable Lyrics" (1877). Three illustrated nonsense alphabets were published in Lear's lifetime, and a further three in the fifth, posthumous edition of Nonsense Botany and Nonsense Alphabets of 1889. A number survive in manuscripts. Lear seems to have begun making nonsense alphabets in the mid-1850s, usually for children of his friends and acquaintances. The present alphabet was created for Ruth Decie. Lear had met her parents, Captain Richard Decie and his wife Bella, in Corfu in the preceding winter, and later stayed with Bella's parents, William and Arabella Prescott, at their home, Clarence House, Roehampton. It was during a visit to Roehampton that Lear noted in his diary for 22 June 1862 that he had 'made an alphabet for the Decie baby', who was only a few days old at the time. It is one of the most charming of all Lear's alphabets, typically drawn on sheets of blue writing paper backed with linen. The alphabet was bequeathed to the Ashmolean by a descendant of Ruth Decie, James Farquharson, who died in December 2011. This beautiful facsimile features a short introduction about Edward Lear, written by the Ashmolean curator, Colin Harrison. Following this is a replica of each page of the original publication featuring the letters of the alphabet with the short poem underneath each drawing. This will be accompanied by each poem again, this time written in a more accessible font so that children may read this too. The Ashmolean have utilised this recent acquisition to recreate a stunning classic. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Paperback. Zustand: Very Good. This is a guide to the Hope Collection, which contains more than 80,000 portraits ranging from the 16th to the 20th centuries. It is one of the most important resources of its kind in the country, containing much material that is not available in either the British Museum or the National Portrait Gallery. It was originally presented to the University of Oxford in 1865 and has been added to ever since. Approximately half the collection consists of British portraits - royalty, nobility and distinguished members of the clergy, literary or military figures, scientists, lawyers and artists. Examples include Sir Francis Drake, Oliver Cromwell, John Wesley and Charles Dickens. There is an equal number of portraits of international figures, ranging from Queen Christine of Sweden (reigned 1632-54) to Simon Bolivar, Garibaldi and Jenny Lind in the 19th century. Few of the portraits have ever been reproduced. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Paperback. Zustand: Very Good. The Ashmolean Museum in Oxford possesses one of the best collections, outside Russia, of panoramic prints of St Petersburg, made between 1716 and 1835, recording the growth of the city from its foundation in 1703 on the banks of the Neva to its emergence in the early 19th century as one of the most beautiful cityscapes in Europe. The collection includes the wonderful series of 16 hand-coloured views made by the Swedish artist, Benamin Paterssen. This text gives an account of the history of Russia through a period of exceptional turbulance during which successive rulers gave visible expression to their political ambitions by adding spectacular buildings to the skyline of St Petersburg and by commissioning prints of exceptional beauty to commemorate their enterprises. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Paperback. Zustand: Very Good. Reprinted from an engraved copperplate version of the original edition of 1740, advertised on the title pages as 'For the use of his scholars', and really intended, in the editor's view, as a handbook for the professional cook or trainee chef engaged in large-scale catering rather than for domestic use. Jane Jakeman sets the book in its historical context, pointing out that unlike Hannah Glasse's cookery book (1747), which was intended for the general household ('Every servant who can read wilt be capable of making a tolerable good cook'), Kidder offers 'the preparation of more elaborate and dramatic creations, food that can be dished up with a flourish, with large-scale planning for many diners' - 'cuisine suitable for the corporate dinners of aldermen and lawyers.' It is understandable, perhaps, that all Kidder's addresses are within the City, adjacent to the Halls of the various Guilds of the Corporation of London and to the Inns of Court - prime consumers of what the editor identifies as 'Collegiate Cuisine'. And, as she points out, the cuisine suitable for the corporate dinners of aldermen and lawyers was also eminently adaptable to the colleges of the University'. The book is in fourteen sections, ranging from 'all sorts of Paste' to 'Broths and Pottages' and 'Florendines and Puddings', all of which are reproduced in facsimile. The editor has added a bibliography, an index to the recipe titles and a glossary containing 'some comments to help those who want to try contemporary versions of his recipes' with the added words of caution - modern cooks should feel free to make some adaptations to his instructions, for some of his recipes have strong flavours for our bland modem palates, and the combinations of ingredients are sometimes surprising'. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Paperback. Zustand: Very Good. Pio Abads artistic practice is concerned with the personal and political entanglements of objects. His wide-ranging body of work, encompassing drawing, painting, textiles, installation and text, mines alternative or repressed historical events and offers counternarratives that draw out threads of complicity between incidents, ideologies and people. Deeply informed by unfolding events in the Philippines, where the artist was born and raised, his work emanates from a family narrative woven into the nations story. Abads parents were at the forefront of the anti-dictatorship struggle in the Philippines during the 1970s and 80s and it is the need to remember this history that has shaped the foundations of his work. This beautifully designed book accompanies the Ashmolean Museum's second exhibition of its new Ashmolean NOW series, featuring the work of Pio Abad. Abads artistic practice is concerned with the personal and political entanglements of objects. His wide-ranging body of work, which includes drawing, painting, installation, textiles and text, mines alternative or repressed historical events, offering counternarratives. Abad's new works link narratives found in the Museum's collections and Oxford with his personal life in the UK and Philippines, where the artist was born and raised. The book features a new text by Abad and contributions by art historical experts including Dan Hicks. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Paperback. Zustand: Very Good. The year 2000 marks the centenary of the start of excavations at the site of Knossos on Crete, the centre of a Bronze Age civilisation which its excavator, Arthur Evans, called 'Minoan' after King Minos of Greek legend. The palace which he uncovered there was originally decorated with frescoed wall paintings, some of them showing figured scenes, which mostly survived only in a fragmentary and incomplete state. One of the most striking fresco images, and one which particularly engaged Evans's imagination, is the controversial figure of the Priest-King, whom Evans regarded as a portrayal of one of the priestly rulers of Knossos. This booklet gives an account of the history of its discovery, its re-creation and the important part it played in Evans's vision of Knossos. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

softcover. Zustand: Fine copy. Profusely illustrated (illustrator). 1st. Small 4to, 160 pp., With essays by Georges Flandrin, Genevieve Lacambre and Jon Whitely. Edited by Juliet Simpson with editorial assistance from Tim Farrant.

Paperback. Zustand: Very Good. 'Worcester Porcelain' illustrates in colour a selection of items from the Henry Rissik Marshall Collection of 'First Period' Worcester Porcelain (1751-83), given to the Ashmolean Museum in 1957. The pieces chosen show all the major changes in shape and decoration during the period and include examples that are both rare and important. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Paperback. Zustand: Very Good. The collections of twentieth-century paintings in the Ashmolean Museum, Oxford, have developed largely through the generosity of individuals. Notable among these in the early decades of the century were Frank Hindley Smith and Mrs W F R Weldon, while since the Second World War the Museum's collections have been enriched through gifts and requests from Thomas Balston, R A P Bevan, Molly Freeman, Christopher Hewett and others. This book gives the reader a taste of the wide range of the collection, with its representative group of Camden Town and Euston Road School pictures, and important early works by Bonnard, Picasso and Matisse. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Paperback. Zustand: Very Good. Michelangelo and Raphael, in spite of their strongly contrasting characters, have many points of contact as draughtsmen. Looking to Leonardo, who had pioneered new techniques, they transformed the practice and status of drawing, using it to achieve the same expressive and affecting ends as painting or sculpture. Both artists raised technical mastery to new heights. In this selection from the Ashmolean Museum's famous collection, Catherine Whistler examines the technique and purpose of these drawings, and what they tell us about the artists' interests, development and working methods. Each picture is accompanied by a detailed commentary, and the whole volume provides an illuminating introduction to Renaissance drawing through the works of two of its greatest masters. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Paperback. Zustand: Very Good. In 1875 John Ruskin gave a large collection of drawings to the University of Oxford. These works, now in the Ashmolean Museum, form the basis for this fascinating study. Selecting the finest drawings in the colection, Nicholas Penny traces Ruskin's career as an artist and reveals the elaborate, but unfulfilled, educational programme that lay behind his gift. The Ashmolean's collection of Ruskin's drawings is unrivalled, and this selection includes architectural drawings, landscapes, and studies of trees, flowers and birds. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Paperback. Zustand: Very Good. This is the first comprehensive look at the Ashmolean Museum's significant Japanese painting collection, featuring works that range in date from the seventeenth to the twentieth centuries, many of which are illustrated in colour. A full sixty of the finest paintings are discussed in detail individually, divided into sections based on the major schools of painting active in Japan from the Edo period (1615 to 1868) to the modern era. Throughout the discussion, the book highlights the work of artists outside the traditional cultural centres of Edo and Kyoto by including artworks by Nagasaki and Osaka-based artists whose paintings will be less familiar to a western audience. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Paperback. Zustand: Very Good. The Ashmolean Museum, founded in 1683, has strong claims to be the oldest surviving institutional museum open to the public, yet, it is also the private museum of the University of Oxford. Over the centuries a continuing pattern of generous benefaction has accumulated astonishing collections in the university, and those in the fields of art and archaeology are concentrated in the Ashmolean. They range in time, from finds seven or eight thousand years old to 20th-century masterpieces. This illustrated volume provides examples of: Early-Chinese bronzes, Ancient Egyptian artefacts, sculptures and coins from classical Greece and Rome, Anglo-Saxon glass, Chinese porcelain, Indian sculpture and manuscript illustration, Islamic ceramics and Japanese screen paintings. Over half the volume is devoted to reproductions from the museum's magnificent holdings of European art - silver, maiolica, porcelain, bronzes and marbles - together with paintings, watercolours and drawings. Works by Giotto, Giorgione, Uccello and Raphael, by Rembrandt and Rubens, by the French Impressionists and by English artists from Gainsborough to Stanley Spencer. The late Sir David Piper, Director of the Ashmolean Museum from 1973-85, compiled the original edition prior to his retirements in 1985. This new edition illustrates additional artefacts, paintings and drawings acquired by the museum during the last decade, selected and described by the present Director, Professor Christopher White. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Paperback. Zustand: Very Good. The Ashmolean's collection of drawings and watercolours by Camille Pissarro is the largest in the world and is indeed the largest single collection of drawings by any impressionist artist. This book illustrates the full range of his work together with the work of his son Lucien and granddaughter Orovida. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Paperback. Zustand: Very Good. As some American artists began to eliminate people and remove extraneous details from their compositions, they often employed neat, orderly brushwork or close-up, unemotional photography. Artists as diverse as Patrick Henry Bruce, John Covert, Georgia O'Keeffe, Paul Strand and Arthur Dove navigated European and American avant-garde circles, picking and choosing new ideas and methods. Inspiration ranged from cubism and machine parts to new technologies, and they found ways to bring order to the modern world through extreme simplification. For them, abstraction involved absence and presence - the evacuation of human beings but also the desire to depict something that would not otherwise be visible or to render visible unseen natural processes like the passage of time, sound waves, or weather patterns. Their artworks provide a new context for the precisionist works in the subsequent sections and point to modern ideas about what art could be. How does a crisp painting technique relate to an aesthetic of absence? The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Paperback. Zustand: Very Good. This work is a review of England from the accession of James I to the death of Queen Anne. It is illustrated by contemporary material exhibited in the Ashmolean Museum. The era encompassed civil war, revolution, the first steps towards industrialisation and the establishment of colonies. 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. Ships from the UK. Former library book; may include library markings. Used book that is in clean, average condition without any missing pages.

Zustand: Fine. 2nd impression. Paperback, F. 80pp, 35 colour illustrations, a fine copy. A brief guide to the Marshall collection of 1st period Worcester porcelain held at the Ashmolean Museum in Oxford. 250 grams.

Paperback. Zustand: Very Good. The most important and influential drawing master in eighteenth century Oxford was a German violinist, John Malchair, who for over thirty years supplemented his meagre earnings as leader of the band at the Music Room by giving drawing lessons of a kind unique for their period. Each of Malchair's drawings was seen only by a few individuals: his pupils and those who accompanied him on particular sketching expeditions, and the friends who were shown the sketchbook or portfolio afterwards. This catalogue which contains approximately 100 examples of Malchair's work is dedicated to the memory of Ian Fleming-Williams, who died on 6 March 1998, at the age of eighty-four and whose first art historical research was into the work of John Malchair and other eighteenth century drawing masters. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Paperback. Zustand: Very Good. Published to mark the re-opening of the Ashmolean Museum in November 2009, this book celebrates the remarkable transformation of the oldest public museum in England. The new building has doubled the display space available and enabled us to display our archaeological, oriental and numismatic collections to their best advantage. The introduction sets out the history of the Museum from its beginnings as the collection of the Tradescant family to the present day, placing the new building in the context of more than 300 years of history, and discussing the architecture of the Museum. The rationale behind the new display strategy is also explained; stressing the contacts and exchanges of influence between cultures represented in the collections. 100 of our most interesting objects are pictured in full colour with extensive captions explaining their importance. The book 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. The Ashmolean Museum, founded in 1683, has strong claims to be the oldest surviving institutional museum open to the public, yet, it is also the private museum of the University of Oxford. Over the centuries a continuing pattern of generous benefaction has accumulated astonishing collections in the university, and those in the fields of art and archaeology are concentrated in the Ashmolean. They range in time, from finds seven or eight thousand years old to 20th-century masterpieces. This illustrated volume provides examples of: Early-Chinese bronzes, Ancient Egyptian artefacts, sculptures and coins from classical Greece and Rome, Anglo-Saxon glass, Chinese porcelain, Indian sculpture and manuscript illustration, Islamic ceramics and Japanese screen paintings. Over half the volume is devoted to reproductions from the museum's magnificent holdings of European art - silver, maiolica, porcelain, bronzes and marbles - together with paintings, watercolours and drawings. Works by Giotto, Giorgione, Uccello and Raphael, by Rembrandt and Rubens, by the French Impressionists and by English artists from Gainsborough to Stanley Spencer. The late Sir David Piper, Director of the Ashmolean Museum from 1973-85, compiled the original edition prior to his retirements in 1985. This new edition illustrates additional artefacts, paintings and drawings acquired by the museum during the last decade, selected and described by the present Director, Professor Christopher White. The book has been read but remains in clean condition. All pages are intact and the cover is intact. Some minor wear to the spine.