master art (33 résultats)

Softcover. Etat : Good. The New Mermaids series. Edited by Charles Whitworth. 2nd edition. 84 pages. USED sticker. Modern spelling and annotations.

Etat : Very Good. Robert Venosa; Cover Art Astral Circus; Gary Tonge - The Master Universe; Saskia Praamsma Raevouri - The Family Tree Of Races; And Stuart R. Kell; III - The Finite Realm Of The Mortal Mind. And Several Other Unique Artists Contained Within The Book. (illustrateur). Very Good Condition. Signed by the author. Has some wear. Five star seller - Buy with confidence!

Softcover. Etat : Very Good. Challenge your body with an exciting, increasingly popular martial art. Kickboxing training is hard work and an excellent way to build your body. It is demanding--you must strive for maximum alertness, conditioning, strength, and quickness--but it is also intensely rewarding. Every training session and every fight leads to greater insights into the sport and into yourself as a person and as an athlete. This generously illustrated guide introduces you to all the basics you need to learn in order to step into the ring for your first amateur fight--and win it! Begin by preparing your body through exercises designed to increase your strength and stamina. Develop your triceps, biceps, shoulder muscles, and latissimus muscles for punching; your forearms and wrists for stability; your quadriceps, hamstrings, and calves for kicking; and your abdominal and lower back muscles for necessary support. Learn to control your breathing while running. Next, get to work on boxing skills--jabs, uppercuts, bobbing, and weaving--and kicking skills, including the front kick, football kick, roundhouse kick, and ax kick. Guidance is also offered in ring skills, fighting strategies, choosing equipment, and finding coaches, trainers, promoters, training facilities, and training partners. Before you know it, you'll be in peak physical condition, ready to kickbox your way to victory! 128 pages, 141 b/w illus., 8 x 10.

Soft Cover. Etat : Very Good+. Top corner of the half-title page has a small red heart stamp; tight, text clean. 63 p., fully illustrated. [br 30] Size: Oversize.

Soft cover. Etat : Very Good. Soft Cover -- Very Good -- 1972 Calendar -- Clean and tight with lightest wear -- Seven Full Colour Reproductions from Original Paintings by Dorothy Francis.

Booklet - Unbound Pages. Etat : Very Good. 12 pages, with UK list of books. An authentic standalone article, extracted from a larger volume. Not a reprint or reproduction, but an original work in its own right. Supplied without title page or cover. Size: 14 x 21 cms. Category: Book & Magazine Collector; Cosmo Books : 29 years on ABE, 47 years taking care of customers. A bookseller you can rely on.

Spiral Bound. Etat : VG+. No Jacket. Photos, Art, Document Reproductions (illustrateur). 1st. A note at the rear of this unusual booklet explains its purpose as ".to enhance the status of the industry in the eyes of the public and to attract apprentices to the industry." Today, it largely recalls the past of that industry, when traditional methods still largely existed in those pre-electronic times. About 100 pages, "Ear;ly Printing." consists four seperate booklets, each with different colour covers, the first carrying the main title, the second Modern Typography, next The Newspaper and finally Making A Book. An informative guide to the industry in the age of hot-metal, rotary presses, linotypes, hand set type and even earlier historic printing processes. First edition of 1959, unpaginated,about 100 pages, each cover has an applied art panel depicting different elements of printing, b/w photos/art throughout, document reprductions, machinery illustrations, engravings etc. VG in colour card covers with wire spiral binding, internally excellent, no inscriptions. This light book posted at cost.

Hardcover. Etat : Very Good in Fair dust jacket. Etat de la jaquette : dj. Red Boards, Gilt Lettering, Sharp Corners, Dj Chipped, Torn Along Front Top Of Spine, Indexed; 8vo - over 7¾ - 9¾" tall DG2.

Hardcover. Etat : As New. Etat de la jaquette : As New. 1st Edition. Brand New, SIGNED FLAT BY THE AUTHOR MASTER FLORAL DESIGNER AT THE METROPOLITAN MUSEUM OF ART CHRIS GIFTOS, NOT PERSONALIZED, pages clean and crisp, covers clean, no highlighting or underlining. 100% Satisfaction guaranteed or your money back. Thank you for your interest. Free tracking number for each order. We ship the same day or the next business day. OR12. Signed by Author(s).

Etat : Good. Signed Copy . Acceptable dust jacket. Inscribed by author on front endpage.

Etat : New.

Etat : OTTIMO USATO. ITALIANO Brossura editoriale realizzata in occasione della mostra organizzata presso il Museo Hendrik Christian Andersen, Roma - 13 dicembre 2022 / 10 gennaio 2023; copertina in cartoncino flessibile illustrata in entrambi i lati, ottimo lo stato conservativo con solo impercettibile velatura di polvere, le pagine sono ampiamente illustrate con fotografie e riproduzioni di opere d'arte, sia nel testo che su tavole. Anno di edizione non indicato. N. pag. 141.

Etat : Fine. KOS01700634.

Etat : Fine. The book is in fine condition.

Etat : Fine. The book is in fine condition.

Etat : Fine. The book is in fine condition.

Etat : Fine. The book is in fine condition.

Etat : Gut. Zustand: Gut | Seiten: 310 | Sprache: Englisch | Produktart: Bücher | Keine Beschreibung verfügbar.

Hard Back. Etat : Near Fine. Etat de la jaquette : Fine. Williams , Kyffin (illustrateur). 1st Ediiton. Near FINE H/b in FINE D/j. 1st ed.1st print 2004. The First Monograph to be published on the artist whose life long career was centured on the Landscape & People of North Wales. Includes an Essay by Ian Jeffrey - one of Britain's leading Art Historians.Illus.to most pages in colour & black and white reproductions of the artist's work. An invaluable resource for both scholars & art collectors.128pp.275x200mm.[ The copy offered by us has the added attribute of being Signed by Kyffin Williams, name only to the front free end paper, no other inscsp [ book, black cloth silver titles, Fine throughout, minor shelf wear/rub to base, minor indentation top/front corner] Dust Jacket no notable defect, no spine fade. Now in clear easily Removable proprietary protective cover . Please see our images of the actual book offered for sale. Signed by Artist.

Hard Back. Etat : Very Good. 3. Illustrated with Color Photography (illustrateur). Collectible hardback book, very nice condition. Previous onwer name on ffep, minor. Clean bright, hardly opened condition. Very slight edge wear/shelf wear, normal for a book of it's age. In nice dust jacket, with some wear at the edges. Previous owenr name on top of ffep, minimal. Features interesting photos and/or illustrations to enhance the text. Excellent source for study. Poignent research material for students and academics. Delves into this subject with fresh ideas and thoughts, a good read. I am an artist, I've read this book twice. It is the best book on creating the look of old master works. Easy page turner, full of brilliant ideas and references. With recipes and tips from vaccum dust to stripping old furniture for it's wood panels, to recipes for tempera, ink, oil paints, size, glue, varnish, as well as ways in which to pass off newly created works as aged relics. If you're an established artist or just a beginner, this is a "must have" book for all those interested in drawing and painting [oil and tempera]. Many of Hebborn's works have gone unquestioned as orginals. This is the follow up to his autobiography "Drawn to Trouble: Teh Forging of an Artist". This books is scarce, because the information it gives is top secret, the book comes with a disclaimer: All the art techniques and practices described in this book are for imformation only and should not be undertaken without full regard to their legal consequence. The legal views expressed in this book are those of an art forger and not a lawyer and readers should proceed with utmost caution. -- Simply brilliant work. -- About the author: Eric Hebborn was born in the London suburb of South Kensington to a Cockney family in 1934, although his mother was a gypsy. According to his autobiography, his mother beat him constantly as a child. At the age of eight, he states that he set fire to his school and was sent to Longmoor reformatory in Harold Wood, although his sister Rosemary disputes this.[citation needed] Teachers encouraged his painting talent and he became connected to the Maldon Art Club, where he first exhibited at the age of 15. Hebborn attended Chelmsford Art School and Walthamstow Art School before attending the Royal Academy. He flourished at the Academy, winning the Hacker Portrait prize and the Silver Award, and the Rome Scholarship in Engraving, a two year scholarship to the British School at Rome in 1959.[1] There he became part of the international art scene and formed acquaintances with many artists and art historians, including the British spy, Sir Anthony Blunt in 1960, who told Hebborn that a couple of his drawings looked like Poussins. This sowed the seeds of his forgery career. Hebborn returned to London where he was hired by art restorer George Aczel. During his employ he was instructed not only to restore paintings, but to alter them and improve them. George Aczel graduated him from restoring existing paintings to "restoring" paintings on entirely blank canvases so that they could be sold for more money. A falling out over Eric's knowledge of painting and restoration destroyed the relationship between Aczel and Hebborn. Eric and his lover Graham David Smith also frequented a junk and antique shop near Leicester Square, where Eric befriended one of the owners, Marie Gray. In organizing the prints catalogued in the shop Eric began to understand more about paper, and its history and uses in art. It was on some of these blank, but old, pieces of paper that Eric made his first forgeries. His first true forgeries were pencil drawings after Augustus John and were based on a drawing of a child by Andrea Schiavone. Graham Smith states [2] that several of these were sold to their landlord Mr Davis, several to Bond Street galleries and two or three through Christie's sale rooms. Eventually Hebborn decided to settle in Italy with Graham, and they founded a private gallery there. Life as a forger When contemporary critics did not. Book.

16pp., 8vo. Stitched. In grey printed wraps. In fair condition, on lightly-aged paper, with creasing to wraps and front cover crossed through in red ink. Shelfmarks, stamp and label of the Board of Education Reference Library, London. Scarce: no copies on COPAC or OCLC WorldCat.

No Binding. Etat : Good. 8vo. ( 219mm. ) Pp. xix, 207, plus a frontispiece and many text illustrations. Contents generally clean and bright. Original green ribbed cloth backed boards, the upper cover decorated in blind and lettered in gilt, lower cover very lightly soiled.

Hardcover. Dust Jacket Included. 1st Edition. A superb copy, handsomely bound in heavy dark blue finely woven cloth and stamped brightly in gold along the spine. Internally fine and tight; virtually unread. With numerous photographic plates of famous paintings and forgeries printed on glossy paper. In a near-fine dust jacket with the original price of £20.00 at the bottom of the inside front flap. The white jacket is clean and crisp and printed in purple, red, and black with a photo of Hebborn producing one of his forgeries on the rear panel. While the spine lettering is mostly bright the orange of "Eric Hebborn" is slightly faded. A splendid first edition of this elusive work on art forgery. Many of Hebborn's works have gone unquestioned as orginals. This is the follow up to his autobiography "Drawn to Trouble: The Forging of an Artist". This volume is scarce because of the forger's secrets, and it comes with a disclaimer on the copyright page: "All the art techniques and practices described in this book are for information only and should not be undertaken without full regard to their legal consequence." A collectible copy of the first UK edition. Eric Hebborn was born in South Kensington, London in 1934.[1] His mother was born in Brighton and his father in Oxford. According to his autobiography, his mother beat him constantly as a child. At the age of eight, he states that he set fire to his school and was sent to Longmoor reformatory in Harold Wood, although his sister Rosemary disputes this. Teachers encouraged his painting talent and he became connected to the Maldon Art Club, where he first exhibited at the age of 15.Hebborn attended Chelmsford Art School and Walthamstow Art School before attending the Royal Academy. He flourished at the academy, winning the Hacker Portrait prize and the Silver Award, and the British Prix de Rome in Engraving, a two-year scholarship to the British School at Rome in 1959.[2] There he became part of the international art scene, establishing acquaintances with many artists and art historians, including Soviet spy Sir Anthony Blunt in 1960, who told Hebborn that a couple of his drawings looked like Poussins. This sowed the seeds of his forgery career.Hebborn returned to London, where he was hired by art restorer George Aczel. During his employ he was instructed not only to restore paintings, but to alter and improve them. Aczel graduated him from restoring existing paintings to "restoring" paintings on entirely blank canvases so that they could be sold for more money. A falling out over Hebborn's knowledge of painting and restoration destroyed the relationship between him and Aczel.Hebborn and his lover Graham David Smith[3] also frequented a junk and antique shop near Leicester Square, where Hebborn befriended one of the owners, Marie Gray. In organizing the prints catalogued in the shop, Hebborn began to learn more about paper, and its history and uses in art. It was on some of these blank old pieces of paper that Hebborn made his first forgeries.His first true forgeries were pencil drawings after Augustus John, based on a drawing of a child by Andrea Schiavone. Smith states that several of these were sold to their landlord Mr Davis, several to Bond Street galleries and two or three through Christie's sale rooms.[3]Eventually Hebborn decided to settle in Italy with Smith. They founded a private gallery there.When contemporary critics did not seem to appreciate his own paintings, Hebborn began to copy the style of old masters such as: Corot, Castiglione, Mantegna, Van Dyck, Poussin, Ghisi, Tiepolo, Rubens, Jan Breughel and Piranesi. Art historians such as Sir John Pope Hennessy declared his paintings to be both authentic and stylistically brilliant and his paintings were sold for tens of thousands of pounds through art auction houses, including Christie's and Sotheby's.[4] According to Hebborn himself, he had sold thousands of fake paintings, drawings and sculptures. Most of the drawings Hebborn created were his own work, made to res.

First edition hard back binding in publisher's original Farrows cream parchment type covers, gilt title and author lettering to the spine, gilt insignia to the front cover. Quarto 10'' x 7¼''. Designed by Liam Miller being limited to 1000 copies. Contains xxi, [1], 158, [2] printed pages, illustrated frontispiece, printed with ornaments, large red initials, errata slip in the back. Fine condition book in very near Fine condition dust wrapper, not price clipped, 2 guineas. SIGNED by the author to the front free end paper 'For Dr. A. J. Leventhal - With the author's compliments and sincere thanks in regard to his interest in Rudy, Rudolf Melander Holzapfel, Dublin April 1963.' Abraham Jacob Leventhal (1896-1979), often called Con by his friends, grew up in Dublin and attended a Protestant school, despite his Jewish heritage. Just after the first World War he took a break from his university studies to work for the first Zionist Commission in Palestine and to help found the Palestine Weekly. When, upon returning to Dublin, the Dublin Magazine turned down his review of James Joyce's Ulysses he founded his own literary journal, the Klaxon, in order to publish it. When his friend Samuel Beckett left a post at Trinity College, Leventhal assumed the position. Dust wrapper supplied in archive acetate film protection, it does not adhere to the book or to the dust wrapper. Member of the P.B.F.A. SHAKESPEARE, William.

Etat : Fine. Title: Great Mirror of Nanto Shichidaiji Temple 1921 Kora edition Author: Junsha Shin Kokuyama Art School Editor: Perfect Publication time: 1921 Revised edition: Hardcover Publisher: Nanto Shichidai.

First of the Edition. With a description in Italian penned to the inside wrapper and a collation and description on two pages in German for each of the plates, additional ephemeral items depicting other Callot engravings slipped into the volume. With 38 copper plates, 32 of beggars and 6 of knights in fine dress. Small Folio 215 x 167 mm. a large copy, the collection bound into old cloth covered flexible boards, hand written title to the tipped on plate at the cover. 38 pp. A very fine survival, all the plates in very pleasing condition. FIRST OF THE EDITION. The notes in Italian written at the front of the volume describe the work slightly differently, calling the engravings original figures of hunchbacks and cripples while the notes and collation done in German refer to the work as Die Bettler, the Beggars, as it has been known through history. The 38 figures in this book were copied from the originals, as can be seen below in figure 34, in which it is written "In Bas. no p. il Remondini". Jacques Callot]; c. 1592 1635) was a baroque printmaker and draftsman from the Duchy of Lorraine[. He is an important person in the development of the old master print, having made more than 1,400 etchings that chronicled the life of his period, featuring soldiers, clowns, drunkards, Gypsies, beggars, as well as court life. He also etched many religious and military images, and many prints featured extensive landscapes in their background. Callot was born and died in Nancy, the capital of Lorraine, now in France. He came from an important family (his father was master of ceremonies at the court of the Duke), and he often describes himself as having noble status in the inscriptions to his prints. At the age of fifteen he was apprenticed to a goldsmith, but soon afterward travelled to Rome where he learned engraving from an expatriate Frenchman, Philippe Thomassin. He probably then studied etching with Antonio Tempesta in Florence, where he lived from 1612 to 1621. More than 2,000 preparatory drawings and studies for prints survive, but no paintings by him are known, and he probably never trained as a painter. During his period in Florence he became an independent master, and worked often for the Medici court. After the death of Cosimo II de' Medici during 1621, he returned to Nancy where he lived for the rest of his life, visiting Paris and the Netherlands later during the decade. He was commissioned by the courts of Lorraine, France and Spain, and by publishers, mostly in Paris. Although he remained in Nancy, his prints were distributed widely through Europe; Rembrandt was a keen collector of them. His technique was exceptional, and was helped by important technical advances he made. He developed the échoppe, a type of etching-needle with a slanting oval section at the end, which enabled etchers to create a swelling line, as engravers were able to do. He also seems to have been responsible for an improved recipe for the etching ground that coated the plate and was removed to form the image, using lute-makers varnish rather than a wax-based formula. This enabled lines to be etched more deeply, prolonging the life of the plate in printing, and also greatly reducing the risk of "foul-biting", such that acid gets through the ground to the plate where it is not intended to, producing spots or blotches on the image. Previously the risk of foul-biting had always been present, preventing an engraver from investing too much time on a single plate that risked being ruined by foul-biting. Now etchers could do the very detailed work that was previously the monopoly of engravers, and Callot made good use of the new possibilities. He also made more extensive and sophisticated use of multiple "stoppings-out" than previous etchers had done. This is the technique of letting the acid dissolve lightly over the whole plate, then stopping-out those parts of the work which the artist wishes to keep shallow by covering them with ground before bathing the plate in acid again. He achieved unprecedented subtlety in effects of distance and light and shade by careful control of this process. Most of his prints were relatively small as much as about six inches or 15 cm on their longest dimension. One of his devotees, the Parisian Abraham Bosse spread Callot's innovations all over Europe with the first published manual of etching, which was translated into Italian, Dutch, German and English.

Hardcover. Etat : Fine. No Jacket. 1st Edition. Beatae Mariae Virginis Officium. Venice, Giovanni Battista Pasquali, 1740. 16mo. [20]f including engraved frontispiece, title with large vignette , 75 pages of text with halfpage vignette & fullpage engraving + 427 + [5] engraved pages of text including 14 fullpage and 19 textual engravings by Marco Pitteri after designs by G.B.Piazetta. The exquisite type face was engraved by Angela Baroni. Contemporary mottled sheep richly decorated in gilt with floral design covers surrounded by ornamental borders; backstrip with floral motif in 5 panels within raised bands; lightly rubbed at ends; edges gilt. ( 132 x 94mm.) £ 2, 225 First edition of this charming little book of hours of the Virgin with text and illustrations engraved entirely throughout to a degree of harmony rarely achieved, considered a tiny masterpiece of 18th century Venetian book art. The elegant typography by Angela Baroni is matched by superb designs by Giambattista Piazetta (1682-1754) , one of the leading Venetian 18th century painters, and exquisitely engraved by his pupil, Giovanni Marco Pitteri (1703-67), famed for the density of his incised portraits. Morazzoni, pp115-117; see also: Carol E.Selby, 'A small masterpiece from the 18th century publishing world' (Detroit Institute of Arts,vol. 43, nos 3/4 (1964): "Pallucchini considered it best for the concentration of composition, force of inspiration and intensity and effectiveness of his chiaroscuro" (> Rodolfo Pallucchini (1908-89) , scholar of the Venetian renaissance, in Storico dell Arte Italiano).

Kruishoutem (Belgium), 1988, in-4°, 79 pp, with coloured ills. (Furniture design by Emile Veranneman, beautifully illustrated).

LeatherBound. Etat : New. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. LeatherBound edition. Condition: New. Reprinted from 1873 edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. Pages: 89 NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 89.

LeatherBound. Etat : New. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. LeatherBound edition. Condition: New. Reprinted from 1881 edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. Pages: 99 NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 99.