Thomas birkett (34 résultats)

Hardcover. Etat : Nr. Very Good. No Jacket. 2nd Edition. Some ink annotations in the text.

Paperback. Etat : New. Brand new book, sourced directly from publisher. Dispatch time is 7-8 days from our warehouse. Book will be sent in robust, secure packaging to ensure it reaches you securely.

Etat : New. pp. 222.

Etat : New. pp. 222.

Paperback / softback. Etat : New. New copy - Usually dispatched within 4 working days.

Etat : New.

Soft cover. Etat : Near Fine. 1st Edition. 1st edition softback, MDCCCLXXXVII. Pale wrappers near fine. Pages very clean & tight. No inscriptions. 11 pages.

Etat : New. 2019. 1st Edition. paperback. . . . . .

Etat : New. 2019. 1st Edition. paperback. . . . . . Books ship from the US and Ireland.

Paperback. Etat : Brand New. 214 pages. 9.00x6.25x0.75 inches. In Stock.

Etat : New. Tom Birkett is a Lecturer in Old English at University College Cork, Ireland.Reading the Runes in Old English and Old Norse Poetry is the first book-length study to compare responses to runic heritage in the liter.

Taschenbuch. Etat : Neu. Reading the Runes in Old English and Old Norse Poetry | Thomas Birkett | Taschenbuch | Einband - flex.(Paperback) | Englisch | 2019 | Taylor & Francis Ltd (Sales) | EAN 9780367880873 | Verantwortliche Person für die EU: Taylor and Francis, Taylor & Francis Verlag Gmbh, Kaufingerstr 24, 80331 München, gpsr[at]taylorandfrancis[dot]com | Anbieter: preigu. …

Hardcover. Etat : New. Brand new book, sourced directly from publisher. Dispatch time is 7-8 days from our warehouse. Book will be sent in robust, secure packaging to ensure it reaches you securely.

hardcover. Etat : Very Good. 1st Edition. Used - Very Good.

Etat : New.

Etat : New. 1st edition NO-PA16APR2015-KAP.

Etat : New. Num Pages: 222 pages, 10 black & white illustrations, 10 black & white halftones. BIC Classification: 2ABA; 2ACSX; 3F; 3H; DSBB; DSC. Category: (G) General (US: Trade); (U) Tertiary Education (US: College). Dimension: 234 x 156. . . 2017. 1st Edition. hardcover. . . . .

Etat : New.

Etat : New.

Hardback. Etat : New. New copy - Usually dispatched within 4 working days.

Etat : New. Num Pages: 222 pages, 10 black & white illustrations, 10 black & white halftones. BIC Classification: 2ABA; 2ACSX; 3F; 3H; DSBB; DSC. Category: (G) General (US: Trade); (U) Tertiary Education (US: College). Dimension: 234 x 156. . . 2017. 1st Edition. hardcover. . . . . Books ship from the US and Ireland.…

Hardcover. Etat : Brand New. 214 pages. 9.25x6.25x0.75 inches. In Stock.

Paper wrappers. Etat : Fine. FIRST EDITION. Tall side-sewn booklet (25.3 x 16cm), pp. [2 blank], 27, [3, incl. 'Marks used on Ruskin Pottery, 1898-1935)'] + 2 plates, incl. 1 colour. Cream paper wrappers, front wrapper lettered in orange, cord-sewn. Gentle edgewear. Faint, fine spotting to verso of rear wrapper, else, clean, bright and tight. Birmingham Post clipping (10.02.1978) 'The family fired with enthusiasm,' about the Ruskin Pottery, laid in. Fine. A gorgeous first edition copy of L. B. Powell's illustrated memoir (and memorial) of Ruskin Pottery's master potter, Howson Taylor, printed under the direction of master printer Leonard Jay at the City of Birmingham School of Printing, Central School of Arts and Crafts, with student and staff collaboration, including "Compositors' work by boys in the pre-apprentice classes"; from the library of Jay's friends, the Birmingham-based artists Ernest and Catherine Hill, with their supplied cream paper dust jacket (nicked). The Ruskin Pottery was founded in 1898 by William Howson Taylor's father, Edward R. Taylor, who was headmaster of Birmingham School of Art. Howson Taylor (1876-1935), and the pottery, were renowned for their "remarkable glazes". The pottery closed in July 1935, when Taylor retired (and died in the September); the formulae for the glazes and all the pottery documentation were destroyed to prevent reproductions. Master printer-craftsman and pioneer of printing education, Leonard Jay (1888-1963) came from a family "steeped in printing". An Artisan Art Scholarship allowed Jay to attend the London County Council Central School of Arts and Crafts, Holborn from 1909, where "he enrolled on the newly established typography evening classes run by the printer-scholar John Henry Mason" and in 1912 was appointed Mason's first assistant instructor. Diverging from his mentor's focus on traditional hand-processes, Jay "understood if technical education was to succeed it had to work with existing trade practices," and introduced students to commercial printing, demonstrating "that quality bookwork could be produced using modern machinery" (ODNB). In 1925 Jay was appointed the first head of the Birmingham School of Printing, "the largest centre of printing outside London," where he would remain until his retirement in 1953. "Through an innovative publishing programme, Jay provided all students with the opportunity to produce at least one piece of work of great distinction of which they could be justly proud" and under his direction around 150 (the number varies) finely printed books and pamphlets, including this one, were produced by the Department's students and staff. A friend of Jay's, Ernest F. Hill, RBSA (1873-1960) was a British painter, arts educator and Vice President of the Royal Birmingham Society of Artists (RSBA). An early Newlyn group member, he worked primarily in watercolour, favouring British landscape and coastal scenes; he exhibited at the Royal Academy until 1946, Royal Institute of Oil Painters, but his paintings were most often hung in Birmingham (CAI, 2021). Hill was Headmaster of the prestigious Bournville School of Art and Crafts, and was well-connected in regional cultural networks, as well as with the Cadbury family. Less in known of Catherine Hill, who was a watercolour artist, print maker and book binder. Their library reflected these interests, featuring numerous arts and crafts, typographical and fine press books, often in excellent condition, thanks to the addition of hand-marbled, clear or paper wrappers (as here).…

5 vols bound as one. Light wear to extremities else very good condition. Embossed brown leather binding. Bookplate. All page edges are gauffered and gilt. A very handsome book. Birkett Foster & E. Corbould (illustrator). (illustrateur).

No Binding. Etat : Good. 1st Edition. First Edition. Original Printed patent disbound with printed front blue wrapper present but not the back wrapper (both often lacking in early patents) About 27cm by 18 cm some wear and tear due to the disbinding.

PAP. Etat : New. New Book. Shipped from UK. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

PAP. Etat : New. New Book. Delivered from our UK warehouse in 4 to 14 business days. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

Etat : New. PRINT ON DEMAND pp. 222.

Taschenbuch. Etat : Neu. This item is printed on demand - it takes 3-4 days longer - Neuware -Reading the Runes in Old English and Old Norse Poetry is the first book-length study to compare responses to runic heritage in the literature of Anglo-Saxon England and medieval Iceland. The Anglo-Saxon runic script had already become the preserve of antiquarians at the time the majority of Old English poetry was written down, and the Icelanders recording the mythology associated with the script were at some remove from the centres of runic practice in medieval Scandinavia. Both literary cultures thus inherited knowledge of the runic system and the traditions associated with it, but viewed this literate past from the vantage point of a developed manuscript culture. There has, as yet, been no comprehensive study of poetic responses to this scriptural heritage, which include episodes in such canonical texts as Beowulf, the Old English riddles and the poems of the Poetic Edda. By analysing the inflection of the script through shared literary traditions, this study enhances our understanding of the burgeoning of literary self-awareness in early medieval vernacular poetry and the construction of cultural memory, and furthers our understanding of the relationship between Anglo-Saxon and Norse textual cultures. The introduction sets out in detail the rationale for examining runes in poetry as a literary motif and surveys the relevant critical debates. The body of the volume is comprised of five linked case studies of runes in poetry, viewing these representations through the paradigm of scriptural reconstruction and the validation of contemporary literary, historical and religious sensibilities. 224 pp. Englisch.…

Taschenbuch. Etat : Neu. nach der Bestellung gedruckt Neuware - Printed after ordering - Reading the Runes in Old English and Old Norse Poetry is the first book-length study to compare responses to runic heritage in the literature of Anglo-Saxon England and medieval Iceland. The Anglo-Saxon runic script had already become the preserve of antiquarians at the time the majority of Old English poetry was written down, and the Icelanders recording the mythology associated with the script were at some remove from the centres of runic practice in medieval Scandinavia. Both literary cultures thus inherited knowledge of the runic system and the traditions associated with it, but viewed this literate past from the vantage point of a developed manuscript culture. There has, as yet, been no comprehensive study of poetic responses to this scriptural heritage, which include episodes in such canonical texts as Beowulf, the Old English riddles and the poems of the Poetic Edda. By analysing the inflection of the script through shared literary traditions, this study enhances our understanding of the burgeoning of literary self-awareness in early medieval vernacular poetry and the construction of cultural memory, and furthers our understanding of the relationship between Anglo-Saxon and Norse textual cultures. The introduction sets out in detail the rationale for examining runes in poetry as a literary motif and surveys the relevant critical debates. The body of the volume is comprised of five linked case studies of runes in poetry, viewing these representations through the paradigm of scriptural reconstruction and the validation of contemporary literary, historical and religious sensibilities.…