Joan key (31 résultats)

paperback. Etat : Good. Our good condition books are generally good for reading but not for gifting or collecting. They could have imperfections such as creasing, fanning, inscriptions, margin notes, yellowing, staining on edge or cover or pages, bumps, scuffs, etc etc (sometimes multiple of these). It's a wide category that encompasses anything that isn't almost-new down to anything that is slightly better than poor. We would NOT recommend gifting Good books - these should be considered reading copies. Our books are dispatched from a Yorkshire former cotton mill. We list via barcode/ISBN so please note that the images are stock images and may not be the exact copy you receive, furthermore the details about edition and year might not be accurate as many publishers reuse the same ISBN for multiple editions and as we simply scan a barcode or enter an ISBN we do not check the validity of the edition data when listing. If you're looking for an exact edition please don't order (at least not without checking with us first, although we don't always have time to check). We aim to dispatch prompty, the service used will depend on order value and book size. We can ship to most countries, see our shipping policies. Payment is via Abe only. …

Reprint (originally published 1974). x, 244 pages. Paperback: H 27.75cm x L 21.5cm. Paper covers lightly rubbed; light bumping at spine heel. Interior pages are clean. Binding retains some crispness. Fitzgerald scholar Bruccoli et al review F. Scott and Zelda Fitzgerald's personal life via their letters, scrapbooks, and family photographs provided by their only child, daughter Scottie Fitzgerald Smith. Features b/w photographs and illustrations throughout. Please note that this large book has an approximate shipping weight of 2.5 pounds (1.13 kg) and may require additional postage for any postal class other than domestic Media Mail. {Shelf-R#2-Paperback75} ISBN 1570035296.…

Paperback. Etat : Good. NOT a signed copy. Light wear, name printed inside. Two copies available.

Paperback. Etat : Good. NOT a signed copy. Front cover has BB printed on it, lower corners lightly finger smudged. Inteiror is clean and tight. Two copies available.

Paperback. Etat : new. Paperback. Clyde Hopkins (19462018) was a British painter whose work occupies a distinctive position within the development of post-war abstraction. His practice moved between gestural intensity and measured structural organisation, reflecting a sustained engagement with the material, perceptual and conceptual conditions of painting. Born in East Sussex and raised in Barrow-in-Furness, Hopkins studied at the University of Reading in the late 1960s, an experience that informed his long-standing commitment to painting as both a rigorous discipline and a broadly accessible form of enquiry. He later served as Professor of Painting at Chelsea College of Arts, where he contributed significantly to the intellectual and pedagogical culture of the institution. Beyond teaching, he played an active role in London's artist-led networks through his involvement in the establishment of Greenwich Studios and, subsequently, APT Studios. In the politically charged context of the 1980s, Hopkins developed an early visual language characterised by assertive mark-making, looping linear structures and scaffold-like frameworks. Paintings such as Kent to Yorkshire (via the DT) (1984) exemplify this period, combining references associated with protest imagery, graffiti and gestural drawing. Hopkins referred to these works as 'liquid fields', surfaces in which writing, drawing and painting were brought into dynamic correspondence. During the 1990s his compositions evolved towards more considered spatial and chromatic relationships. This development was informed in part by his participation in the Triangle Workshop in New York and by the reflective dimension of his academic life in London. Works including Cap D'Ennis (1990) and Night Crossing (1996) demonstrate an increasing synthesis of structural clarity and nuanced colour, while later paintings suggest cartographic or map-like configurations shaped by a more introspective sensibility. This publication focuses on Hopkins' paintings on paper produced between the early 1980s and the mid-1990s. These works reveal an agile and exploratory approach, allowing for a heightened immediacy distinct from that of his large-scale paintings. They indicate how Hopkins understood drawing and painting as interrelated processes, using improvisation to test formal relationships and to extend the possibilities of abstract language. 'Paintings on Paper' includes a foreword by Greg Rook and a conversation between David Ryan and David Sweet that reflects on Hopkins' development and the range of influences informing his practice. Essays by Matt Lippiatt and Joan Key consider aspects of his technique and the ways in which his work engages with perception and lived experience. Edited by Chloe Green and Greg Rook, and designed by Joe Gilmore, the book is co-published by Anomie Publishing, London, and Blackbird Rook. 70 illustrations A publication devoted to Clyde Hopkins paintings on paper from the early 1980s to the mid 1990s, tracing the evolution of his inventive approach to abstraction. It features a foreword by Greg Rook, a conversation with David Ryan and David Sweet, and essays by Matt Lippiatt and Joan Key. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

153 pp.; 23.5 x 15.6 cm; glue bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed Compendium of texts on art, technology, and technique published as part of Pluto Press' "The Art, Criticism, and Theory Series." Edited by John Gange. Texts by Howard Caygill, Esther Leslie, Suhail Malik, John Phillips, Sean Cubitt, David Charloner, Joan Key, Paul Winstanley, A.L. Rees, Alexia Defert, Sophia Phoca, Mark Durden, Janis Jefferies, Barbara Layne, and Sarah Jacobs. Includes contributor biographies. Fine. Covers and contents clean and unmarked.…

Paperback. Etat : New. Clyde Hopkins (1946-2018) was a British painter whose work occupies a distinctive position within the development of post-war abstraction. His practice moved between gestural intensity and measured structural organisation, reflecting a sustained engagement with the material, perceptual and conceptual conditions of painting. Born in East Sussex and raised in Barrow-in-Furness, Hopkins studied at the University of Reading in the late 1960s, an experience that informed his long-standing commitment to painting as both a rigorous discipline and a broadly accessible form of enquiry. He later served as Professor of Painting at Chelsea College of Arts, where he contributed significantly to the intellectual and pedagogical culture of the institution. Beyond teaching, he played an active role in London's artist-led networks through his involvement in the establishment of Greenwich Studios and, subsequently, APT Studios.In the politically charged context of the 1980s, Hopkins developed an early visual language characterised by assertive mark-making, looping linear structures and scaffold-like frameworks. Paintings such as Kent to Yorkshire (via the DT) (1984) exemplify this period, combining references associated with protest imagery, graffiti and gestural drawing. Hopkins referred to these works as 'liquid fields', surfaces in which writing, drawing and painting were brought into dynamic correspondence.During the 1990s his compositions evolved towards more considered spatial and chromatic relationships. This development was informed in part by his participation in the Triangle Workshop in New York and by the reflective dimension of his academic life in London. Works including Cap D'Ennis (1990) and Night Crossing (1996) demonstrate an increasing synthesis of structural clarity and nuanced colour, while later paintings suggest cartographic or map-like configurations shaped by a more introspective sensibility.This publication focuses on Hopkins' paintings on paper produced between the early 1980s and the mid-1990s. These works reveal an agile and exploratory approach, allowing for a heightened immediacy distinct from that of his large-scale paintings. They indicate how Hopkins understood drawing and painting as interrelated processes, using improvisation to test formal relationships and to extend the possibilities of abstract language.'Paintings on Paper' includes a foreword by Greg Rook and a conversation between David Ryan and David Sweet that reflects on Hopkins' development and the range of influences informing his practice. Essays by Matt Lippiatt and Joan Key consider aspects of his technique and the ways in which his work engages with perception and lived experience. Edited by Chloe Green and Greg Rook, and designed by Joe Gilmore, the book is co-published by Anomie Publishing, London, and Blackbird Rook. …

paperback. Etat : New. *Brand new* Ships from USA.

First edition, first printing (with latter indicated by publisher's number line upon copyright page). x, 246 pages. Hardcover: H 36.25cm x L 28.25cm. Dust jacket well rubbed and lightly soiled; usual color fading/sunning to spine and front panel margins; light toning at tops of flaps; bumping and nicks/scuffs at edges; front flap's top corner is price-clipped. Black cloth; gilt and copper stamped lettering to spine and front board remains bright. Foxing to front and rear endpaper maps; light foxing to pages 80-81 caused by laid-in newspaper article "Scottie Smith Comes Home" (The Birmingham News, Sunday, April 28, 1974); a few scattered occurrences of light foxing and soiling to interior leaves which, overall, remain clean. Binding slightly stressed at laid-in newspaper article but otherwise remains firm. With Introduction, b/w photographs and illustrations throughout, and unpaged four leaf (i.e. eight page) section of color plates reproducing Zelda's artwork (watercolor paintings, oils, and paper doll illustrations). A very good copy in a very good- dust jacket. Fitzgerald scholar Bruccoli et al review F. Scott and Zelda Fitzgerald's personal life via their letters, scrapbooks, and family photographs provided by their only child, daughter Scottie Fitzgerald Smith. Please note that this large book has an approximate shipping weight of 5.5 pounds (2.49 kg) and will require additional postage for any postal class other than domestic Media Mail. {SlatedBookcase-Shelf#7} ISBN 0684139235.…

Paperback. Etat : New. Clyde Hopkins (1946-2018) was a British painter whose work occupies a distinctive position within the development of post-war abstraction. His practice moved between gestural intensity and measured structural organisation, reflecting a sustained engagement with the material, perceptual and conceptual conditions of painting. Born in East Sussex and raised in Barrow-in-Furness, Hopkins studied at the University of Reading in the late 1960s, an experience that informed his long-standing commitment to painting as both a rigorous discipline and a broadly accessible form of enquiry. He later served as Professor of Painting at Chelsea College of Arts, where he contributed significantly to the intellectual and pedagogical culture of the institution. Beyond teaching, he played an active role in London's artist-led networks through his involvement in the establishment of Greenwich Studios and, subsequently, APT Studios.In the politically charged context of the 1980s, Hopkins developed an early visual language characterised by assertive mark-making, looping linear structures and scaffold-like frameworks. Paintings such as Kent to Yorkshire (via the DT) (1984) exemplify this period, combining references associated with protest imagery, graffiti and gestural drawing. Hopkins referred to these works as 'liquid fields', surfaces in which writing, drawing and painting were brought into dynamic correspondence.During the 1990s his compositions evolved towards more considered spatial and chromatic relationships. This development was informed in part by his participation in the Triangle Workshop in New York and by the reflective dimension of his academic life in London. Works including Cap D'Ennis (1990) and Night Crossing (1996) demonstrate an increasing synthesis of structural clarity and nuanced colour, while later paintings suggest cartographic or map-like configurations shaped by a more introspective sensibility.This publication focuses on Hopkins' paintings on paper produced between the early 1980s and the mid-1990s. These works reveal an agile and exploratory approach, allowing for a heightened immediacy distinct from that of his large-scale paintings. They indicate how Hopkins understood drawing and painting as interrelated processes, using improvisation to test formal relationships and to extend the possibilities of abstract language.'Paintings on Paper' includes a foreword by Greg Rook and a conversation between David Ryan and David Sweet that reflects on Hopkins' development and the range of influences informing his practice. Essays by Matt Lippiatt and Joan Key consider aspects of his technique and the ways in which his work engages with perception and lived experience. Edited by Chloe Green and Greg Rook, and designed by Joe Gilmore, the book is co-published by Anomie Publishing, London, and Blackbird Rook. …

First edition, first printing (with latter indicated by publisher's number line upon copyright page). x, 246 pages. Hardcover: H 36.25cm x L 28.5cm. Dust jacket rubbed and lightly soiled; usual color fading/sunning to spine and front panel; some toning to flaps; bumping and several tears at edges; front flap's top corner is price-clipped. Black cloth with bumping at corners; spine's gilt stamped lettering remains bright as does front board's gilt and copper stamped lettering. Front endpapers illustrated with United States map titled "The Fitzgeralds' America" and rear endpapers illustrated with European map titled "The Fitzgeralds' Europe." Some surface peeling affecting illustration at top of front pastedown from removal of gift tag; front free endpaper has past owner's red ink signature and date at center top with personal blind-stamp at lower right; interior pages are otherwise clean. Binding is firm. With Introduction, b/w photographs and illustrations throughout, and unpaged four leaf (i.e. eight page) section of color plates reproducing Zelda's artwork (watercolor paintings, oils, and paper doll illustrations). A very good+ copy in a very good- dust jacket. Fitzgerald scholar Bruccoli et al review F. Scott and Zelda Fitzgerald's personal life via their letters, scrapbooks, and family photographs provided by their only child, daughter Scottie Fitzgerald Smith. Please note that this large book has an approximate shipping weight of 5.5 pounds (2.49 kg) and will require additional postage for any postal class other than domestic Media Mail. {SlatedBookcase-Shelf#6} ISBN 0684139235. …

Soft cover. Etat : Very Good +. This 192 page work is a collection of memories of pioneers of the Strathmore -Nightingale area of Alberta. Read more about : kingcups, Henry Petter, Massey Harris, Horseshoe Canyon, Thump-a-lump, Cheadle, Shrove Tuesday, Gleichen, rain barrel, bell-whether, Goss china, Watkins salesman, and Calgary Stampede 1912. The author emigrated with her family from England in 1910. A few b/w drawings and photographs assist text. Cond : Paper wrapper is white with red lettering. Front cover illustration shows the Canadian home with the British ensign flying outside. Minimal wear, minimal soiling. Tight in binding. P/O gift note - verso front cover. Excellent reading copy. Quote (p. 63) : " Childhood was short for the children of the prairie pioneers. Boys of ten and twelve worked in the fields, driving four and six horse teams on the ploughs and binders, sowing the crops, raking in the haying season, amnd stooking, come harvest time. Of necessity, we had to take ._._._. ." Size: 8vo. B/W Drawings and Photographs (illustrateur).…

24x17. 121-109 pags. Fotos color. Cartoné ilustrado con lomo entelado editorial.

Paperback. Etat : Good. First Edition. 192 pages. Black and white illustrations and line drawings. "Radfords, Canada was to be a replica of Radfords in Yeovil, England. It was. almost. Relive the fun, adventures and disasters, of pioneer life as the Petter family emigrate from a comfortable home in England to the bare prairie in Canada. Joan Key relates the adventures as seen through the eyes of a young child - a delightful view of life in pioneer days." - from back cover. Moderate wear. Unmarked. Binding sound. Solid copy.…

Softcover, 62 pages, very good condition, light rubbing to covers; no internal marks.

Encuadernación de tapa dura. Etat : Casi nuevo. 1999. Catálogo de la exposición celebrada en el Museo de Bellas Artes (Valencia) en Marzo de 1999. Tiene el lomo encuadernado en tela. 230 pp. Buenas reproducciones en color. Idiomas: Español, valencià e inglés. LIB 5A.

Etat : New. 2026. paperback. . . . . . Books ship from the US and Ireland.

Etat : Very Good. No Dj. 8vo pp. 192, SIGNED by the author. Signed by Author. book.

Paperback. Etat : Brand New. 128 pages. 8.27x1.18x9.84 inches. In Stock.

Etat : New. 2026. paperback. . . . . .

Paperback. Etat : new. Paperback. Clyde Hopkins (19462018) was a British painter whose work occupies a distinctive position within the development of post-war abstraction. His practice moved between gestural intensity and measured structural organisation, reflecting a sustained engagement with the material, perceptual and conceptual conditions of painting. Born in East Sussex and raised in Barrow-in-Furness, Hopkins studied at the University of Reading in the late 1960s, an experience that informed his long-standing commitment to painting as both a rigorous discipline and a broadly accessible form of enquiry. He later served as Professor of Painting at Chelsea College of Arts, where he contributed significantly to the intellectual and pedagogical culture of the institution. Beyond teaching, he played an active role in London's artist-led networks through his involvement in the establishment of Greenwich Studios and, subsequently, APT Studios. In the politically charged context of the 1980s, Hopkins developed an early visual language characterised by assertive mark-making, looping linear structures and scaffold-like frameworks. Paintings such as Kent to Yorkshire (via the DT) (1984) exemplify this period, combining references associated with protest imagery, graffiti and gestural drawing. Hopkins referred to these works as 'liquid fields', surfaces in which writing, drawing and painting were brought into dynamic correspondence. During the 1990s his compositions evolved towards more considered spatial and chromatic relationships. This development was informed in part by his participation in the Triangle Workshop in New York and by the reflective dimension of his academic life in London. Works including Cap D'Ennis (1990) and Night Crossing (1996) demonstrate an increasing synthesis of structural clarity and nuanced colour, while later paintings suggest cartographic or map-like configurations shaped by a more introspective sensibility. This publication focuses on Hopkins' paintings on paper produced between the early 1980s and the mid-1990s. These works reveal an agile and exploratory approach, allowing for a heightened immediacy distinct from that of his large-scale paintings. They indicate how Hopkins understood drawing and painting as interrelated processes, using improvisation to test formal relationships and to extend the possibilities of abstract language. 'Paintings on Paper' includes a foreword by Greg Rook and a conversation between David Ryan and David Sweet that reflects on Hopkins' development and the range of influences informing his practice. Essays by Matt Lippiatt and Joan Key consider aspects of his technique and the ways in which his work engages with perception and lived experience. Edited by Chloe Green and Greg Rook, and designed by Joe Gilmore, the book is co-published by Anomie Publishing, London, and Blackbird Rook. 70 illustrations A publication devoted to Clyde Hopkins paintings on paper from the early 1980s to the mid 1990s, tracing the evolution of his inventive approach to abstraction. It features a foreword by Greg Rook, a conversation with David Ryan and David Sweet, and essays by Matt Lippiatt and Joan Key. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.…

Paperback. Etat : new. Paperback. Clyde Hopkins (19462018) was a British painter whose work occupies a distinctive position within the development of post-war abstraction. His practice moved between gestural intensity and measured structural organisation, reflecting a sustained engagement with the material, perceptual and conceptual conditions of painting. Born in East Sussex and raised in Barrow-in-Furness, Hopkins studied at the University of Reading in the late 1960s, an experience that informed his long-standing commitment to painting as both a rigorous discipline and a broadly accessible form of enquiry. He later served as Professor of Painting at Chelsea College of Arts, where he contributed significantly to the intellectual and pedagogical culture of the institution. Beyond teaching, he played an active role in London's artist-led networks through his involvement in the establishment of Greenwich Studios and, subsequently, APT Studios. In the politically charged context of the 1980s, Hopkins developed an early visual language characterised by assertive mark-making, looping linear structures and scaffold-like frameworks. Paintings such as Kent to Yorkshire (via the DT) (1984) exemplify this period, combining references associated with protest imagery, graffiti and gestural drawing. Hopkins referred to these works as 'liquid fields', surfaces in which writing, drawing and painting were brought into dynamic correspondence. During the 1990s his compositions evolved towards more considered spatial and chromatic relationships. This development was informed in part by his participation in the Triangle Workshop in New York and by the reflective dimension of his academic life in London. Works including Cap D'Ennis (1990) and Night Crossing (1996) demonstrate an increasing synthesis of structural clarity and nuanced colour, while later paintings suggest cartographic or map-like configurations shaped by a more introspective sensibility. This publication focuses on Hopkins' paintings on paper produced between the early 1980s and the mid-1990s. These works reveal an agile and exploratory approach, allowing for a heightened immediacy distinct from that of his large-scale paintings. They indicate how Hopkins understood drawing and painting as interrelated processes, using improvisation to test formal relationships and to extend the possibilities of abstract language. 'Paintings on Paper' includes a foreword by Greg Rook and a conversation between David Ryan and David Sweet that reflects on Hopkins' development and the range of influences informing his practice. Essays by Matt Lippiatt and Joan Key consider aspects of his technique and the ways in which his work engages with perception and lived experience. Edited by Chloe Green and Greg Rook, and designed by Joe Gilmore, the book is co-published by Anomie Publishing, London, and Blackbird Rook. 70 illustrations A publication devoted to Clyde Hopkins paintings on paper from the early 1980s to the mid 1990s, tracing the evolution of his inventive approach to abstraction. It features a foreword by Greg Rook, a conversation with David Ryan and David Sweet, and essays by Matt Lippiatt and Joan Key. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.…

Paperback. Etat : New. Clyde Hopkins (1946-2018) was a British painter whose work occupies a distinctive position within the development of post-war abstraction. His practice moved between gestural intensity and measured structural organisation, reflecting a sustained engagement with the material, perceptual and conceptual conditions of painting. Born in East Sussex and raised in Barrow-in-Furness, Hopkins studied at the University of Reading in the late 1960s, an experience that informed his long-standing commitment to painting as both a rigorous discipline and a broadly accessible form of enquiry. He later served as Professor of Painting at Chelsea College of Arts, where he contributed significantly to the intellectual and pedagogical culture of the institution. Beyond teaching, he played an active role in London's artist-led networks through his involvement in the establishment of Greenwich Studios and, subsequently, APT Studios.In the politically charged context of the 1980s, Hopkins developed an early visual language characterised by assertive mark-making, looping linear structures and scaffold-like frameworks. Paintings such as Kent to Yorkshire (via the DT) (1984) exemplify this period, combining references associated with protest imagery, graffiti and gestural drawing. Hopkins referred to these works as 'liquid fields', surfaces in which writing, drawing and painting were brought into dynamic correspondence.During the 1990s his compositions evolved towards more considered spatial and chromatic relationships. This development was informed in part by his participation in the Triangle Workshop in New York and by the reflective dimension of his academic life in London. Works including Cap D'Ennis (1990) and Night Crossing (1996) demonstrate an increasing synthesis of structural clarity and nuanced colour, while later paintings suggest cartographic or map-like configurations shaped by a more introspective sensibility.This publication focuses on Hopkins' paintings on paper produced between the early 1980s and the mid-1990s. These works reveal an agile and exploratory approach, allowing for a heightened immediacy distinct from that of his large-scale paintings. They indicate how Hopkins understood drawing and painting as interrelated processes, using improvisation to test formal relationships and to extend the possibilities of abstract language.'Paintings on Paper' includes a foreword by Greg Rook and a conversation between David Ryan and David Sweet that reflects on Hopkins' development and the range of influences informing his practice. Essays by Matt Lippiatt and Joan Key consider aspects of his technique and the ways in which his work engages with perception and lived experience. Edited by Chloe Green and Greg Rook, and designed by Joe Gilmore, the book is co-published by Anomie Publishing, London, and Blackbird Rook. …

Tapa dura. Etat : Como nuevo.

Paperback. Etat : New. Clyde Hopkins (1946-2018) was a British painter whose work occupies a distinctive position within the development of post-war abstraction. His practice moved between gestural intensity and measured structural organisation, reflecting a sustained engagement with the material, perceptual and conceptual conditions of painting. Born in East Sussex and raised in Barrow-in-Furness, Hopkins studied at the University of Reading in the late 1960s, an experience that informed his long-standing commitment to painting as both a rigorous discipline and a broadly accessible form of enquiry. He later served as Professor of Painting at Chelsea College of Arts, where he contributed significantly to the intellectual and pedagogical culture of the institution. Beyond teaching, he played an active role in London's artist-led networks through his involvement in the establishment of Greenwich Studios and, subsequently, APT Studios.In the politically charged context of the 1980s, Hopkins developed an early visual language characterised by assertive mark-making, looping linear structures and scaffold-like frameworks. Paintings such as Kent to Yorkshire (via the DT) (1984) exemplify this period, combining references associated with protest imagery, graffiti and gestural drawing. Hopkins referred to these works as 'liquid fields', surfaces in which writing, drawing and painting were brought into dynamic correspondence.During the 1990s his compositions evolved towards more considered spatial and chromatic relationships. This development was informed in part by his participation in the Triangle Workshop in New York and by the reflective dimension of his academic life in London. Works including Cap D'Ennis (1990) and Night Crossing (1996) demonstrate an increasing synthesis of structural clarity and nuanced colour, while later paintings suggest cartographic or map-like configurations shaped by a more introspective sensibility.This publication focuses on Hopkins' paintings on paper produced between the early 1980s and the mid-1990s. These works reveal an agile and exploratory approach, allowing for a heightened immediacy distinct from that of his large-scale paintings. They indicate how Hopkins understood drawing and painting as interrelated processes, using improvisation to test formal relationships and to extend the possibilities of abstract language.'Paintings on Paper' includes a foreword by Greg Rook and a conversation between David Ryan and David Sweet that reflects on Hopkins' development and the range of influences informing his practice. Essays by Matt Lippiatt and Joan Key consider aspects of his technique and the ways in which his work engages with perception and lived experience. Edited by Chloe Green and Greg Rook, and designed by Joe Gilmore, the book is co-published by Anomie Publishing, London, and Blackbird Rook. …

Paperback. Etat : Very Good. 4to. Wraps. pp 46. Copiously illustrated in colour throughout, 4 folding. Very good indeed.

SOFTCOVER. Etat : AS NEW. Etat de la jaquette : Almost AS NEW. 1st Edition. Extra Large 4to. in stiff card covers, with blind embossed textured paper dust jacket, unpaginated, approx. 63pp on thick glossy art paper, colour plates inlcuding foldouts and two gate-folds, etc . [CONDITION: An extremely well preserved AS NEW unmarked copy in a very faintly spine sunned but otherwise almost AS NEW complete Dust Jacket. An excellent copy ] . To see more of our Art Monographs etc type DbbARTIST in the Keywords search box . . We always ship in STRONG PROTECTIVE CARD PARCELS.…

Soft cover. Etat : Good. 1st Edition. Softcover with dust jacket (light wear at the edges), 38 unnumbered pages (some folded) : color illustrations ; 27 cm. Good/very good, age-toning, shelf-wear.

Paperback. Etat : Fine. Signed. Fine unused condition, minor tanning to cover margins, interior impeccable. This copy is SIGNED by the author. This book is in stock now, in our UK premises. Photos of our books are available on request (dustjacket and cover illustrations vary, and unless the image accompanying the listing is marked 'Bookseller Image', it is an Abebooks Stock Image, NOT our own). BUYERS OUTSIDE UK please also note the following: 1. shipping rates apply to packets of 750g and under, and should the packed weight of an item exceed this we reserve the right to ship via 'Economy', or request extra postage prior to fulfilling the order, or cancel 2. many countries apply import or other taxes - these are the buyers responsibility; we may ask for extra payment to cover any taxes which we have to pay 'up front' on the buyer's behalf.…

Halbleinen. Etat : Sehr gut. Auflage aus dem Buch nicht ersichtlich. 230 Seiten Das Buch befindet sich in einem altersentsprechend sehr guten Zustand. Schnittkanten auf Grund Alter und Sonnenlicht leicht verfärbt, Seiten gering lichtrandig. Buch durchweg sauber und ordentlich. Rik270438 Sprache: Deutsch Gewicht in Gramm: 1050. …