Ponka (103 résultats)

Etat : Good. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Etat : Very Good. Former library copy. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Library Binding. Etat : Fair. No Jacket. Former library book; Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend Less.

Etat : Good. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Etat : Very Good. Former library copy. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Etat : Very Good. Former library copy. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Etat : New. French painter Claude Monet (1840-1926) is one of the most popular artists of all time. His paintings of water lilies, haystacks, cathedrals, and much more are all celebrated and beloved. For the first time, this book explores a new aspect of Monet's work: his fascination,during the 1870s, with bridges. Editor(s): Ponka, Anabelle Kienle. Num Pages: 84 pages, 47 colour illustrations. BIC Classification: ACVT; AFC; AGB. Category: (G) General (US: Trade). Dimension: 261 x 311 x 16. Weight in Grams: 956. . 2019. hardcover. . . . . Books ship from the US and Ireland.…

Etat : New. French painter Claude Monet (1840-1926) is one of the most popular artists of all time. His paintings of water lilies, haystacks, cathedrals, and much more are all celebrated and beloved. For the first time, this book explores a new aspect of Monet's work: his fascination,during the 1870s, with bridges. Editor(s): Ponka, Anabelle Kienle. Num Pages: 84 pages, 47 colour illustrations. BIC Classification: ACVT; AFC; AGB. Category: (G) General (US: Trade). Dimension: 261 x 311 x 16. Weight in Grams: 956. . 2019. hardcover. . . . .…

Etat : Good. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Etat : acceptable. Book is considered to be in acceptable condition. The actual cover image may not match the stock photo. Book may have one or more of the following defects: noticeable wear on the cover dust jacket or spine; curved, dog eared or creased page s ; writing or highlighting inside or on the edges; sticker s or other adhesive on cover; CD DVD may not be included; and book may be a former library copy.…

Etat : acceptable. The book is complete and readable, with all pages and cover intact. Dust jacket, shrink wrap, or boxed set case may be missing. Pages may have light notes, highlighting, or minor water exposure, but nothing that affects readability. May be an ex-library copy and could include library markings or stickers.…

Etat : Good. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Etat : Very Good. Former library copy. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Etat : Very Good. Former library copy. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Etat : Good. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Library Binding. Etat : Very Good. No Jacket. Former library book; May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Soft cover. Etat : Near Fine. 1st Edition. 224 pp. Ships fast with tracking.

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

Etat : As New. Unread book in perfect condition.

Hardcover. Etat : new. Hardcover. Birds can be beautiful creatures--with some pretty quirky habits. Blue jays, for example, rub ants on themselves when they molt to soothe their skin. They can also mimic other animals' voices, such as a hawk's cry. This volume, presented in journal format, offers a wealth of information about the backyard life of a blue jay. Science curriculum topics such as habitats, adaptations, predators, and more are included in this engaging account. Readers will want to begin bird-watching themselves after finding out more about this brightly colored bird. Learn how to start a bird watching hobby including the habitats and life cycle of blue jays. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Etat : New.

Paperback. Etat : new. Paperback. Two wartime artists, one bustling harbour, and a city ravaged by the Halifax Explosion. Two perspectives on Halifax one year after the Explosion.A year after the city was devastated by the Halifax Explosion Harold Gilman (British, 18761919) and Arthur Lismer (Canadian, 18851969) were working in Halifax as war artists. Both commissioned by the Canadian War Memorials Fund to record the war activity on the home front, the two men struck up a friendship and worked side-by-side on occasion.Gilman seemed to wipe clean the desolation of the Explosion, ignoring the site of a human-made catastrophe in favour of a glowing landscape. In contrast, Lismer, a member of the Group of Seven, recorded the ports activity up close, producing a series of drawings and paintings of camouflaged battleships embedded in the Maritime landscape.With more than 30 reproductions and essays by Anabelle Kienle Ponka, Lily Foster, and Sarah Fillmore, Halifax Harbour 1918 traces the artists meticulous approach to their mission and their role during a critical moment in the history of Canadian landscape painting.Deux artistes en temps de guerre, un port anime et une ville ravagee par l'explosion d'Halifax. Deux perspectives dHalifax un an apres l'explosion.En juin 1918, lartiste Arthur Lismer (18851969) accepte une commande du Fonds de souvenirs de guerre canadiens (le Fonds) et se rend a Halifax pour documenter leffort de guerre sur le front canadien et representer le port de cette ville a la suite de lexplosion dorigine humaine la plus meurtriere a survenir avant lapparition des armes nucleaires.De son cote Harold Gilman (18761919), grande figure du groupe londonien Camden Town Group et seul artiste de guerre britannique envoye au Canada, est charge par le Fonds de peindre un grand tableau du port de Halifax pendant la guerre.Avec plus de 30 reproductions et essais dAnabelle Kienle Ponka, Lily Foster, et Sarah Fillmore, le port dHalifax 1918 retracent l'approche meticuleuse des artistes a leur mission, les defis de travailler au lendemain de la tragedie et leur role au cours d'une moment dans l'histoire de la peinture de paysage canadienne. Catalog for the exhibition held at the National Gallery of Canada, Ottawa, October 12, 2018-March 17, 2019; and the Art Gallery of Nova Scotia, Halifax, April 12-September 2, 2019. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Paperback. Etat : New. Two wartime artists, one bustling harbour, and a city ravaged by the Halifax Explosion. Two perspectives on Halifax one year after the Explosion.A year after the city was devastated by the Halifax Explosion Harold Gilman (British, 1876-1919) and Arthur Lismer (Canadian, 1885-1969) were working in Halifax as war artists. Both commissioned by the Canadian War Memorials Fund to record the war activity on the home front, the two men struck up a friendship and worked side-by-side on occasion.Gilman seemed to wipe clean the desolation of the Explosion, ignoring the site of a human-made catastrophe in favour of a glowing landscape. In contrast, Lismer, a member of the Group of Seven, recorded the port's activity up close, producing a series of drawings and paintings of camouflaged battleships embedded in the Maritime landscape.With more than 30 reproductions and essays by Anabelle Kienle Ponka, Lily Foster, and Sarah Fillmore, Halifax Harbour 1918 traces the artists' meticulous approach to their mission and their role during a critical moment in the history of Canadian landscape painting.Deux artistes en temps de guerre, un port animé et une ville ravagée par l'explosion d'Halifax. Deux perspectives d'Halifax un an après l'explosion.En juin 1918, l'artiste Arthur Lismer (1885-1969) accepte une commande du Fonds de souvenirs de guerre canadiens (le Fonds) et se rend à Halifax pour documenter l'effort de guerre sur le front canadien et représenter le port de cette ville à la suite de l'explosion d'origine humaine la plus meurtrière à survenir avant l'apparition des armes nucléaires.De son côté Harold Gilman (1876-1919), grande figure du groupe londonien Camden Town Group et seul artiste de guerre britannique envoyé au Canada, est chargé par le Fonds de peindre un grand tableau du port de Halifax pendant la guerre.Avec plus de 30 reproductions et essais d'Anabelle Kienle Ponka, Lily Foster, et Sarah Fillmore, le port d'Halifax 1918 retracent l'approche méticuleuse des artistes à leur mission, les défis de travailler au lendemain de la tragédie et leur rôle au cours d'une moment dans l'histoire de la peinture de paysage canadienne. …

Paperback. Etat : New. Two wartime artists, one bustling harbour, and a city ravaged by the Halifax Explosion. Two perspectives on Halifax one year after the Explosion.A year after the city was devastated by the Halifax Explosion Harold Gilman (British, 1876-1919) and Arthur Lismer (Canadian, 1885-1969) were working in Halifax as war artists. Both commissioned by the Canadian War Memorials Fund to record the war activity on the home front, the two men struck up a friendship and worked side-by-side on occasion.Gilman seemed to wipe clean the desolation of the Explosion, ignoring the site of a human-made catastrophe in favour of a glowing landscape. In contrast, Lismer, a member of the Group of Seven, recorded the port's activity up close, producing a series of drawings and paintings of camouflaged battleships embedded in the Maritime landscape.With more than 30 reproductions and essays by Anabelle Kienle Ponka, Lily Foster, and Sarah Fillmore, Halifax Harbour 1918 traces the artists' meticulous approach to their mission and their role during a critical moment in the history of Canadian landscape painting.Deux artistes en temps de guerre, un port animé et une ville ravagée par l'explosion d'Halifax. Deux perspectives d'Halifax un an après l'explosion.En juin 1918, l'artiste Arthur Lismer (1885-1969) accepte une commande du Fonds de souvenirs de guerre canadiens (le Fonds) et se rend à Halifax pour documenter l'effort de guerre sur le front canadien et représenter le port de cette ville à la suite de l'explosion d'origine humaine la plus meurtrière à survenir avant l'apparition des armes nucléaires.De son côté Harold Gilman (1876-1919), grande figure du groupe londonien Camden Town Group et seul artiste de guerre britannique envoyé au Canada, est chargé par le Fonds de peindre un grand tableau du port de Halifax pendant la guerre.Avec plus de 30 reproductions et essais d'Anabelle Kienle Ponka, Lily Foster, et Sarah Fillmore, le port d'Halifax 1918 retracent l'approche méticuleuse des artistes à leur mission, les défis de travailler au lendemain de la tragédie et leur rôle au cours d'une moment dans l'histoire de la peinture de paysage canadienne. …

hardcover. Etat : As New. Catalogue of an exhibition at the National Gallery of Canada. Decorative hardcover, no dust jacket as issued. U.S. orders are shipped from N.Y. state.

Soft cover. Etat : Near Fine. 1st Edition. Book is in excellent condition signed on front fly by all the authors.

Hardcover. Etat : Fine. 1st. Pictorial boards, 101 pages, illustrations (chiefly colour); 26 x 31 cm. Text in English and French. Published in conjunction with the exhibition at National Gallery of Canada, Ottawa, 30 October 2015 to 15 February 2016. Firm binding, clean inside copy. OVERSIZE! Additional shipping charges may be requested for international & priority orders. Richly illustrated with colour plates. *** "This beautifully illustrated catalogue explores Claude Monet's experiments with the motif of the bridge between 1872 and 1875, in the aftermath of the Franco-Prussian War. After moving to Argenteuil, a suburban town on the outskirts of Paris, the artist (1840-1926) was inspired to paint the local highway bridge located near his house on the banks of the Seine. Le Pont de Bois (1872) depicts the bridge under repair following the destruction wrought by the war, and as such is a tribute to France's return to order. A composition of startling modernity, the painting also became a starting point for further explorations of this theme. Focusing on twelve major paintings by the artist, this book examines how Monet used the motif of the bridge as a laboratory for his innovative ideas, in his desire to establish himself as a leader of the avant-garde. it also looks at the Impressionists' artistic response in the aftermath of the Franco-Prussian War and the way in which photographers and painters highlighted the remarkable range of brides in Paris." - Publisher. *** CONTENTS: Foreword; Acknowledgements; Lenders to the exhibition; Towards the modern landscape: Monet's Le pont de bois in context, by Annabelle Kienle Ponka; Reconstruction and reassurance in paintings: representing the aftermath of the Franco-Prussian War, by Richard Thomson; "Great works of human industry": imagining the bridges of Paris, 1852-75, by Simon Kelly; Chronology, by Kirsten Appleyard; Exhibition checklist. Size: Oblong. …

Softcover. Etat : Fine. Stiff unmarked book in crisp covers with flaps; about new.; 8.8 X 0.8 X 10 inches; 124 pages.

Etat : As New. Unread book in perfect condition.

Etat : New.