ashmolean museum united kingdom (28 Ergebnisse)

Paperback. Zustand: Very Good. From 1923 onwards, until overtaken by the onset of colour photography, the Radio Times commissioned and reproduced work by some of the finest illustrators of the twentieth century -- wood engravings, scraperboard, line drawing and watercolour. Amongst the more well-known names in the list of over 150 artists are those of Edward Ardizzone, Quentin Blake, Val Biro, David Gentleman, Charles Keeping, Paul Nash, W Heath Robinson, Gerald Scarfe, Ronald Searle and C F Tunnicliffe. This book, by Martin Baker, himself one of the select band of artists, will include a section on the History of the Radio Times and its patronage of fine illustrators; the reminiscences of an art student in the l930s and of an art teacher in the sixties, with almost 100 reproductions of some of the well-remembered illustrations. 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. Frames fulfil a variety of functions, from the protective to the decorative; they can indicate ownership or they can assert the importance of the paintings they enclose. In their shape and ornamentation, frames are linked to architectural forms or to furniture and interior design, while many styles of decoration can be related to the work of goldsmiths and of sculptors. Few pictures survive in their original frames because of changing ownership: they were re-framed so as to harmonise with different settings, whether in princely galleries or private houses. The way that a picture is framed strongly affects its visual appearance and impact. When a painting retains its original frame, we can appreciate the visual relationship between the two that the artist would have intended. Framings by subsequent owners with different frame styles can tell us much about the taste and priorities of a particular period or place. This book looks at frame history and design in the context of the Ashmolean Museum's collection of frames, and aims to provide a sense of the importance of the picture frame in the history of art as a whole. 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 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. 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: 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 remains in clean condition. All pages are intact and the cover is intact. Some minor wear to the spine.

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.

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.

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.

Soft cover. Zustand: Good. No Jacket. paperback, minor shelf wear to covers, some faint foxing o/w a good copy, b&w plates.

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.

Soft cover. Zustand: Near Fine. No Jacket. pictorial gloss card covers, second edition revised, a very well preserved tightly bound copy, clean and unmarked. Illustrated, 64pp.

paperback. Zustand: Very Good. No Jacket. pictorial gloss card covers, previous owner dated signature to the verso of the front cover else a clean and unmarked copy, illustrated, 96pp.

Paperback. Zustand: Very Good. Octavo,41 catalogue entries, illustrated. There is a small shelf mark label on the front cover, otherwise a VG copy.

paperback. Zustand: Very Good. No Jacket. large paperback, 11" x 8 3/4", pictorial card covers, light score mark to the foot of the front cover else a very good tightly bound copy with a clean and unmarked text, illustrated in full colour, 240pp. A heavy volume which may require additional postage if ordered from locations outside the United Kingdom, Please enquire for details prior to placing an order.

Paperback. Zustand: Fine. 32 pages, illustrated. Unused copy.

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.

Soft cover. Zustand: Very Good. No Jacket. paperback, pictorial card covers, a tightly bound copy with an unmarked text.

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.

Soft cover. Zustand: Very Good. No Jacket. paperback, pictorial gloss card covers, 11" x 8 3/4", a very good tightly bound copy with a clean and unmarked text, illustrated in colour, 278pp. A heavy volume which may require additional postage if ordered from locations outside the United Kingdom, Please enquire for details prior to placing an order.

Paperback. Zustand: Very Good. Piero Di Cosimo (1461/62--1522) was characterised in Giorgio Vasari's Lives of the Artists (1550) as an eccentric, who lived on a diet of hard-boiled eggs, and hated the sound of children crying, men coughing, and friars chanting. Yet Piero was a successful artist in Florence, celebrated for his imaginative and often unorthodox treatment of classical themes, and for his fascination with nature. The Forest Fire in the Ashmolean Museum is one of his most beautiful and enigmatic pictures. 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, the oldest public museum in Britain, houses the University of Oxford's unrivalled collection of art and antiquities from Europe, the Middle East and Asia. Three centuries and more of unbroken history render the Ashmolean one of the most venerable institutions of its kind in the world. When, in 1683, Elias Ashmole endowed the University of Oxford with the already famous Tradescant collection, many of the exhibits had by that time been on display for fifty years, extending the origins of the collection to the very threshold of the Stuart era. This book traces the eventful history of the Ashmolean and its collections from its origin as cabinet of curiosities, to proto-scientific institution at the turn of the eighteenth century and to stagnation at the opening of the nineteenth; the ensuing century saw the Museum's fortunes rise, fall and rise again to culminate in its refounding as the Ashmolean Museum of Art and Archaeology as the result of the tireless energy of Sir Arthur Evans (Keeper 1884-1908) and powerful patrons such as C.D.E. Fortnum. The interplay between the Ashmolean and its sister institutions in Oxford during this period are also examined. 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. Politically dangerous menus, curious rituals, formal feasts, meals al fresco, the Oxford Symposium on Food History; these are just some of the items that make up this illustrated anthology drawn from Oxford University and college sources, ranging historically from 1282 to the present day. One hundred recipes are separately indexed for easy reference. These have been supplied by college chefs, and by the continuing succession of "invisible women" - nowadays, of course, often men - who, with their spouses, occupy and entertain in, the various college lodgings. Heads of college, their bursars and fellows have also contributed recipes peculiar to their institutions. This book treats a serious subject with humour. It is an anthology which should enlighten and entertain everyone, with or without Oxford connections, and should be of interest to a wide range of readers, including social historians, gastronomes and food enthusiasts. The book should appeal to all those interested in Oxford and the University. It should also have a wide appeal to social historians, gastronomes and food enthusiasts. Ursula Aylmer is the author of "Views of Oxford". 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. No Jacket. 1st Edition. paperback, 11" x 9 3/5", faintly creased to spine, a very good tightly bound copy with a clean and unmarked text, illustrated in colour and b&w, 160pp, Because of weight a request for additional postage will be made if ordered from certain locations outside the United Kingdom, please enquire before placing an order.

HARDCOVER. Zustand: As New. 1st Edition. 1st printing. Extra large and heavy Square 4to in colour printed thick boards, 237pp on glossy art paper, colour plates, etc . [CONDITION: A well preserved AS NEW unmarked and unread copy ] . __To see more of our Art Monographs etc type DbbARTIST in the Keywords search box . . We always ship in STRONG PROTECTIVE CARD PARCELS.

Paperback. Zustand: Very Good. A comprehensive catalogue detailing the life and work of the artist William Blake, arranged chronologically and outlining the development of his influence and career from apprenticeship to his final years. Blake was a radical, challenging both perception and belief, he created words and images that had a luminous quality, strongly influenced by an intuitive inner vision, he valued imagination over reason and his work reflects this. Throughout the 1770s and 1780s Blake produced a substantial collection of drawings, engravings and engraved copper plates of monuments in Westminster Abbey while an apprentice to James Basire, the official engraver to the Society of Antiquaries. Following his apprenticeship he was accepted as a student in the Antique School of the Royal Academy, where he became an outspoken advocate for the work of Michaelangelo and Raphael. In the 1790s, his most inventive and prolific period, he developed a revolutionary method of etching his poetry and design together in relief on the same copper plate, that he called 'Illuminated Printing'.He used this to produce his most celebrated works, including the Songs of Innocence and of Experience, The Marriage of Heaven and Hell, and Europe a Prophecy. A centerpiece to this collection will be his Manuscript Notebook, in which he wrote the Songs of Experience, one of greatest treasures of the British Library. During his final years, Blake pursued an interest in the Renaissance artist-printmakers, Durer, van Leyden, Bonosone and others, and reawakened interest in the technique of pure line engraving. This led to commissions for Blake to produce illustrations for the Book of Job and Dante. Above all, it was the commission to produce the small woodcut illustrations to Virgil's Pastorals that would deeply affect and inspire the early work of the group of young artists and engravers known as the Ancients and this is a celebration of his influence upon their imagery, painting in tempera, and graphic techniques. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Hardcover. Zustand: As New. Zustand des Schutzumschlags: As New. 110pp. 23 screens are illustrated in colour and great detail.

Soft cover. Zustand: Near Fine. No Jacket. paperback, measuring 11" x 8 7/10", pictorial card covers with return flaps, a near fine tightly bound copy with a clean and unmarked text, illustrated throughout, 296pp. Published to accompany the exhibition of the same name held at the Ashmolean between July 2019 - January 2020.