Wakefield publishing (691 résultats)

paperback. Etat : Good. Most items will be dispatched the same or the next working day. A copy that has been read but remains in clean condition. All of the pages are intact and the cover is intact and the spine may show signs of wear. The book may have minor markings which are not specifically mentioned.…

Paperback. Etat : Good+. Reprint. 4to. 72pp. Illus. Corners bent, edges foxed. Book.

Etat : new. ALL UK PARCELS SENT TRACKED! ALL OVERSEAS PARCELS SENT AIRMAIL, TRACKED! (S/hand, Paperback, 1975). 1975 1st edition thus. Small oblong paperback (203 x 135mm). Pp44. Line drawings. Sight browning, but solidly intact paperback. A new edition of "Know the Game: Angling." .

Paperback. Etat : Good. Reprint. 8vo. Wear to edges, curl to edges. Ex library copy. Sticker to top of front cover. Book.

Hardcover. Etat : Very Good+. Etat de la jaquette : Very Good+. First Edition. 167pp, illustrations, owner's name. Size: 8vo - over 7¾" - 9¾" tall.

Paperback. Etat : Good+. Revised Edition; Fourth Printing. Slight sunning to front cover, original publisher's price sticker to rear cover, marker pen initials to inside front cover and endpaper, some internal water staining and rusting to staples. ; Fourth printing of revised paperback edition, 1981. Stapled wraps. Nice tight copy, no names inside. ; Know the Game Series; B&W Illustrations and Photographs; 48 pages; A good introductory guide to the game, published in association with the sport's governing body - The Squash Rackets Association. …

Soft cover. Etat : Very Good. 4th Edition. sideways 8vo pamphlet binding pp32 bw plates/drawings VG Spotting on end pages, otherwise near Fine condition.

Paperback. Etat : new. Paperback. Sad, hopeful, resilient, this lyrical novella weaves the political and the personal, the past and the present, into a compelling meditation on love and life.Set in the last months of the 1980s, As Long As The Song Keeps Playing is a hymn to a love gone wrong, an evocation of a relationship caught in the moment of unravelling. The narrator and his wife Monika, returning from years travelling, set up house on Waiheke Island and try to make a go of it. The narrator is flooded with memories from their past as they attempt to establish themselves in their new environment.Politics overwhelms us; remember Neruda, 'one morning the bonfires / leapt out of the earth / devouring human beings.' Devorando seres, as they say in dry Castile or Barcelona with its orthopedic shops. It's a short hop from Barcelona to Algiers, Algiers to Tel Aviv. In our grandfathers' day they took twenty thousand of our young men, the best and worst, and consigned their bodies to the leaping bonfires of places like Verdun and Passchendaele. Pretty much a whole generation for our small country; pretty much a clean sweep. 'A wave of pride / and knives!' Politics overwhelms us, and it's hard to forget Neruda, or Lorca under the ground, even here, in paradise, surrounded by tall, quiet pongas roasting in the cicada sizzle, in a world where Algiers and Tel Aviv exist only by report, and Verdun and Passchendaele belong to the litany of history. There's a radio somewhere playing a slow, mournful version of 'Po Kare Kare Ana', by a revamped, reissued Howard Morrison, reminding me that it's Waitangi Day tomorrow, the day the Maori chiefs gave away their rangatiratanga, their sacred authority, believing they were being guaranteed it. For Monika read grace and beauty. I can put off the moment of having to start writing by flicking through the deck, looking for the right card for her, trying to get that side of it clear. I choose the Queen of Cups, Waite deck, high Rosicrucian style. She sits on her throne staring into her ornate chalice. Around her feet laps water as blue as the Aegean. She is robed in memory and desire, contemplative but self-involved. The Queen of the Throne of the Waters. The power of reception and reflection. She is not so much the queen of history but its dreamer; this symbol of her not so much an idea as a memory. Monika has that elegance, that self- involvement, that capacity to be immersed in her pose. I've seen it in you too when you act the adult. I can see it in this one; Monika's wearing a long, flowing dress. That must be Spain, 1974. Formentera. Another island. I'm squinting again. On that island, unlike this one, the landscape has overwhelmed its history, subdued its inhabitants to a small, insular people with dark, walnut skin. The inhabitants, history tells, are descendants of those witches and wizards dumped there by the inquisition to die for lack of water. But the 8 witches and wizards survived and with their witchery and wizardry built huge cisterns to catch enough winter rain to last through the dry season. The combination of light and ochre rock on the bare plateau of La Mola makes for an hallucinatory realism. The photograph just about gets it, with Monika looking like a flower growing out of the rock, the Queen of the Throne of the Waters. That third person in the photograph is Juliet de Bairacli Levy, the famous herbalist and animal doctor, who lived on La Mola with her two Afghan hounds. She hated the hippies because of their drugs, telling me that any substance that widened the pupils of the eye permitted the soul to escape by that route from the body. As parts of the soul escape, holes appear in the aura and the A lyrical novella exploring love, memory, and politics as a couple navigates their relationship This item is pri Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Etat : New. ALL UK PARCELS SENT TRACKED! ALL OVERSEAS PARCELS SENT AIRMAIL, TRACKED! (S/hand, Paperback, 1972). (1953) 1972 reprint. Small oblong paperback (205 x 135mm). Pp36. 4 colour plates of fish, line drawings. New cover design. Some use - good. Foreword by T.A. Waterhouse, president of the National Federation of Anglers. .…

paperback. Etat : Very Good. No Dust Jacket. First English Edition. softcover, very good condition. Cover with light crease on the spine, contents in very good clean condition. Clean Copy.

Paperback. Etat : new. Paperback. A publication of London-based artist David Batchelor's Concretos sculptures (2011-) exploring concrete in conjunction with other brightly coloured materials. Throughout his international career spanning more than thirty years, artist and writer David Batchelor has long been preoccupied with colour. 'Colour is not just a feature of [my] sculpture or painting,' he notes, 'but its central and overriding subject.' This new publication is devoted to an ongoing series of sculptures titled Concretos. First made in 2011, Concretos combine concrete with a variety of brightly coloured and often found materials. The publication features a text by Batchelor charting the origins and development of Concretos. He reveals that the first Concreto was made after encountering coloured glass shards embedded in a concrete wall in the back streets of Palermo. Over time these Concretos, their title a nod to the Latin American art movement to which Batchelor's work is much indebted, have become more complex adventures in layering, pattern and process. Elements such as acrylic plastic, spray and household gloss paint, steel, fabric and found objects all find themselves set in a concrete base. The most recent works, titled Extra-Concretos (2019) retain much of the simplicity of the early pieces while working on a much larger scale. In an essay commissioned for the publication, curator Eleanor Nairne considers Concretos in light of their material possibilities. Nairne's vivid text draws connections between the sculptures and a wide range of art historical and literary references. Some of the playful and sensual characteristics of Batchelor's artistic vocabulary are considered in relation to floral bouquets, sewing-machines, ice cream and poetry. Architectural historian Adrian Forty's essay discusses concrete's physical qualities and relationship with modernity. He notes that the imperfect nature and apparent neutrality of the material is key to its enduring place within architecture, design and in Batchelor's case, contemporary sculpture. 'In the Concretos,' asserts Forty, 'concrete plays a necessary part in allowing colour to be itself. Present, but at the same time part of the barely noticed, half-invisible infrastructure of the city, concrete's very neutrality performs an unexpectedly active part in these works.' The publication is edited by David Batchelor and Matt Price, designed by Hyperkit, printed by Park, London, and published by Anomie, London. The publication coincides with the first large-scale survey exhibition of Batchelor's work taking place at Compton Verney, Warwickshire in 2022. The publication has been supported by Goldsmiths' College, University of London, and Arts Council England. David Batchelor was born in Dundee in 1955 and lives and works in London. In 2013, a major solo exhibition of Batchelor's two-dimensional work, 'Flatlands', was displayed at Fruitmarket Gallery, Edinburgh and toured to Spike Island, Bristol. Batchelor's work was included in the landmark group exhibition 'Adventures of the Black Square: Abstract Art and Society 19152015' at Whitechapel Gallery, London. 'My Own Private Bauhaus', a solo exhibition of sculptures and paintings by Batchelor was presented by Ingleby Gallery during the Edinburgh Art Festival, 2019. Between 2017 and 2020 a large-scale work by Batchelor was displayed in the collection of Tate Modern. He is represented by Ingleby Gallery, Edinburgh, and Galeria Leme, Sao Paulo. Batchelor's portfolio also includes a number of major temporary and permanent artworks in the public realm including a chromatic clock titled 'Sixty Minute Spectrum' installed in the roof of the Hayward Gallery, London. 100 images A publication of London-based artist David Batchelors Concretos sculptures (2011) exploring concrete in conjunction with other brightly coloured materials. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Hardcover. Etat : Very Good+. Etat de la jaquette : Very Good+. xiv, 306pp, illustrations. A clean & bright copy. Size: 8vo - over 7¾" - 9¾" tall.

Hardcover. Etat : Very Good. Etat de la jaquette : Very Good. Excellent VG/VG copy.

Hard Cover. Etat : Good. Good w/ Protective Cover. This book is in good condition. There is some corner/spine bumping, edge wear to the cover. The text edges are slightly spotty. The pages are clean, but yellowed with age, and the binding is tight. The dust jacket has some minor edge wear and has yellowed with age. There is a stamp on the top right corner of the first page. Size: 8vo - over 7¾" - 9¾" tall.…

Hardcover. Etat : Very Good+. Etat de la jaquette : Very Good+. Reissue with new foreword by Linda Perks. Octavo hardback. 346 pp. 1st published in 1915. Near Fine condition in Very Good+ dust jacket.

Paperback. Etat : new. Paperback. Chib?ike ?z?ma (b. 1992, Port Harcourt, Nigeria), is a multidisciplinary artist working with painting, photography, drawing, text and video, living and working in New Haven, Connecticut. Documented here are sixteen of the artist's large paintings rendered in oil and acrylic or acrylic spray paint on canvas, made in 2022. Accompanying an exhibition of the same name at Simon Lee Gallery, London, the first solo exhibition of his work in the UK, this publication is the fourth pillar of a collaborative project by the artist, setting his own paintings in relation to video and audio works by Edward Owens and Joao Orecchia respectively. ?z?ma works with non-linear narratives, using a mix of painting languages that dodges and weaves the liminal spaces between representation and meaning. Fragments of stencilled letters jolt against textured pools of paint, and diaphanous figures are cropped by cinematic horizons. Comprising colourful, abstruse portraiture against stark black and white backgrounds, the paintings in 'To Kick a Stone' are deeply suggestive, but ultimately formalist explorations of shape and composition. 22 illustrations A publication of recent paintings by Nigerian artist Chibuike Uzoma. Featuring an introduction by Kat Sapera, Director at Simon Lee Gallery, alongside essays by Uzoma, by writer and critic Carlos Valladares, and by Bishupal Limbu, Associate Professor of English at Portland State University, with an interview with writer and curator Ekow Eshun. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Trade Paperback. Etat : Very Good. No Jacket. 98 pp, mostly of black and white photographs and prints of old Oxford which are contrasted with modern photographs (1976), covers slightly creased.

Etat : Used - Very Good. VG paperback. Reprint, 1978. Corner of front cover creased; owner's name on first page. Used - Very Good. VG paperback.

Etat : Used - Very Good. VG paperback. Reprint. Slight wear at head and foot of spine, with minor bumping to corners. Used - Very Good. VG paperback.

Paperback. Etat : new. Paperback. London and Seoul-based Korean artist Meekyoung Shin (b.1967) is internationally renowned for her sculptures that probe the mis- and re-translations that often emerge when objects of distinct cultural and historical specificity are dislocated from their original context. Made from soap, her works replicate artefacts and canonical works of art, from Asian porcelain vases to Greek and Roman sculptures, translating between continents, cultures and centuries in the process. Meekyoung Shin was born in South Korea and completed her BFA and MFA at Seoul National University. In 1995, she moved to London to obtain her MFA at the Slade School of Art, University College London, and has since held solo exhibitions internationally including at Haunch of Venison, London (2010) and the Korean Cultural Centre UK, London (2013). She has participated in numerous group shows including at the Museum of Art and Design, New York, and the 2013 Asian Art Biennial in Taiwan. Her works are found in collections all over the world, including the Museum of Fine Arts in Houston and the National Museum of Modern and Contemporary Art, Korea. Shin was nominated for the Korea Artist Prize 2013. In this new monograph on the artist, Jonathan Watkins sets the scene for Shins solo exhibition at the Korean Cultural Centre UK in London in late autumn 2013, a stones throw from Nelsons Column and the Fourth Plinth commission of Trafalgar Square. Context is essential to Shins practice, and indeed, to her identity. As she asserts: I often identify myself as someone on the border between cultures. Watkins eloquently introduces Shins major bodies of work whilst capturing the cultural complexity, exquisite craftsmanship, conceptual elegance and natural wit embodied within them.An essay by Ben Tufnell explores the cultural and historical references in Shins work over the past fifteen years. Taking Shins solo exhibition at Haunch of Venison in London in 2011 as his point of departure, he opens up questions of anthropology and museology, of what is exhibited where and when, by and for whom. His incisive analysis of Crouching Aphrodite (2002) a life-size sculpture of the artists own body in the pose of the classical Venus of Vienne from the Louvre raises issues of Eastern and Western culture, of originality and copying: Being neither fully Asian nor fully Roman it inhabits a cultural limbo space. Tufnell explains, Shins works are not simply replicas or reproductions but strange twins, uncanny avatars of their precursors. Curator and art historian Kyung Ans text offers an illuminating account of Shins Written in Soap: A Plinth Project (2012-ongoing), which takes the form of a remarkable public art project in which the artist recreates out of soap a large equestrian military statue of Prince William Augustus, the Duke of Cumberland, that once stood in Cavendish Square, London. Having initiated a project that contributes to debates on public monument building, Shin then created subsequent versions of the sculpture for display in Seoul and Taipei. As An asks, what becomes of the monument when it is transplanted to a national museum dedicated to modern and contemporary art five thousand miles away?Jade Keunhye Lims essay unpicks the various strands of Shins Translation Series, from the classical Greek sculptures through to Toilet Project (2004-ongoing) in which portrait busts made of soap are placed in the washrooms of galleries and museums for visitors to use when washing their hands and Weathering Project (2009-ongoing), in which Shin locates her soap sculptures outdoors for them to be slowly eroded by the elements. Via cultural imperialism and the tastes of the affluent classes of the West, Keunhye Lim questions the value systems of objects and the logic of their accession into mus Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Hardback. Etat : Near Fine. Etat de la jaquette : Very Good. New Edition. New edition first printing Octavo hardback 320 pages Near Fine condition in very good unclipped dust jacket. No inscriptions.

Softcover. Etat : Very Good. Etat de la jaquette : N/A. 36pp. Pictorial laminated light card covers, stapled. Landscape 16mo. Slightly sun-faded covers, creasing to front cover, bump to bottom corner. Text block edges starting to tan, page margins affected. Otherwise, internally neat, clean and tight.…

1st ed. A tidy copy in tight binding. Used - Very Good. VG hardback in VG dust jacket Used - Very Good. VG hardback in VG dust jacket.

Soft cover. Etat : Almost VG. First Edition. 71pp. Annotating apparent. Otherwise VG. Size: 8vo - over 73/4" - 93/4" tall. Book.

1st edition. A tidy copy in tight binding Used - Very Good. VG hardback in VG dust jacket Used - Very Good. VG hardback in VG dust jacket.

Facsimile Reprint. Fine cloth copy in a near-fine, very slightly edge-nicked and dust-dulled dw, now mylar-sleeved. Remains particularly and surprisingly well-preserved overall; tight, bright, clean and strong.; 8vo 8" - 9" tall; 388 pages; Physical description: xii, 388p. : ill. ; 22cm. Subjects: Great Britain - History - 1789-1820. England - 1811-1820. Facsimile reprint of: 1st ed. , London : Ward and Downey, 1890. 1 Kg. …

Top corner of front free end paper & half-title page clipped, otherwise VG. Facsimile of the 1903 edition. Used - Good. Good hardback (no dustjacket) Used - Good. Good hardback (no dustjacket).

Softcover. Etat : Near Fine. No Dust Jacket. Revised Edition. Sunned spine. Crisp clean covers, sound stapled binding, clean pages and inside covers. Contains many black and white illustrations. No dust jacket, as published. Quantity Available: 1. Shipped Weight: under 1 kg. ISBN: 0715802178. ISBN/EAN: 9780715802175. Pictures of this item not already displayed here available upon request. Inventory No: 18020114102. All our books are sent by tracked mail. …

Hardcover. Etat : new. Hardcover. Honor Titus (born 1989) is an American artist who lives and works in Los Angeles. A self-taught painter, Titus is deeply influenced by his creative past as a musician and poet. Tituss paintings, often suffused with a sense of romance, are embedded with nostalgic references to a simpler time and feature dark, luminous jewel tones. His works often depict faceless figures in minimal urban landscapes, reflecting the isolation that stems from metropolitan anonymity. Tituss simplified compositions and striking patches of colour are inspired by Les Nabis while his flat, decorative surfaces echo the graphic hyperrealism of artists inspired by American advertising, such as Alex Katz.This, the artists first trade monograph, presents new and recent works, including a body of work presented in his 20223 solo exhibition at Timothy Taylor, London, Bourgeoisie in Bloom. Here Titus expands on the themes of ritual, class and nostalgia that have characterised previous work, incorporating debutante balls in which young adults are presented to society. Favouring bright panels of colour, Titus evokes traditions of cultural formality, using precise brushwork to delineate details of old-world glamour such as the tilt of a bow tie and the line of a ballgown. A foreword by artist Henry Taylor considers his first encounters with Tituss work and their continuing friendship. Taylor describes the biographical factors that inform the subjects Titus paints, including music, referencing the first solo show of the artists work held at Henry Taylor Gallery in Chinatown, 2020. A text by Durga Chew-Bose brings the themes of nostalgia and memory into the field of discussion. Anecdotes relayed to Chew-Bose bring forward real experiences in relation with his work. The artists own words illuminate filmic, musical, photographic and romantic influences on the paintings, while dwelling, lastly, upon his studio space. Klaus Ottmanns text reflects philosophically and sociologically on Tituss oeuvre, bringing key art historical reference points into the discussion. Ottmanns contribution draws connections to key works of literature and criticism that contextualise his work. Published following the exhibition Honor Titus: Bourgeoisie in Bloom at Timothy Taylor, London, 17 November 2022 14 January 2023, the publication has been edited by Chloe Waddington, designed by Joe Gilmore, and co-published in 2023 by Timothy Taylor and Anomie Publishing, London.Honor Titus (b. 1989, Brooklyn, NY) is a self-taught American artist who lives and works in Los Angeles, California. Recent solo exhibitions include Honor Titus: Bourgeoisie in Bloom, Timothy Taylor, London, United Kingdom (20223); Spotlight: Honor Titus, The FLAG Art Foundation, New York, NY (2022); Honor Titus: For Heavens Sake, Timothy Taylor, New York, NY (2021) and Honor Titus: Goodness Gracious, Studio Henry Taylor, Los Angeles, CA (2020). His work has been part of numerous group exhibitions, including IRL (In Real Life), Timothy Taylor, London, United Kingdom (2021); Parallel Worlds, Nassima Landau, Tel Aviv, Israel (2021); and I will wear you in my heart of heart, The FLAG Art Foundation, New York, NY (2021); and (Nothing but) Flowers, Karma, New York, NY (2020), among others. His work is represented in the collections of the Dallas Museum of Art, Dallas, Texas; Nasher Museum of Art, Durham, North Carolina; Rennie Collection, Vancouver, Canada; The Bunker Artspace, Palm Beach, Florida; and the Longlati Foundation, Shanghai, China. Titus has been featured in publications including Art in America, Artnet, Frieze, GQ, Interview Magazine, The New York Times, and Town & Country. A first monograph on American artist Honor Titus, exploring themes of ritual, class and nostalgia in contemporary American experience. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Hardcover. Etat : new. Hardcover. For over thirty years, celebrated painter Callum Innes (b. 1962, Scotland) has created his lushly painted and subtly nuanced abstractions in a rectilinear format. In 2022, he added a striking new element to his repertoire: the tondo. To do so required mastering an entirely new set of technical and aesthetic challenges, confronting a form with abundant, historical resonances. This striking volume, richly illustrated with carefully selected images of Inness Tondos, and installation views of key exhibitions, explores how Innes has challenged traditional perceptions of shape and form to create dynamic and immersive visual experiences. A pivotal essay by art historian Eric de Chassey traces the artists encounters with this form and its progenitors in the history of art, firmly cementing Inness breakthrough in the pantheon of significant works rendered in this distinctive formation.Callum Innes was born in Edinburgh in 1962\. He lives and works in Edinburgh, Scotland, and Oslo, Norway. He studied drawing and painting at Grays School of Art from 198084 and completed a post-graduate degree at Edinburgh College of Art in 1985\. In 1992, Innes had major exhibitions at the ICA London, and the Scottish National Gallery of Modern Art, Edinburgh. In 1995, he was shortlisted for the Turner Prize and was awarded the NatWest Prize in 1998 and the Jerwood Prize for Painting in 2002\. His critically acclaimed museum exhibition, From Memory, travelled throughout Europe and Australia from 200608\. In 2012, Innes was commissioned by the Edinburgh Arts Festival to transform the Scottish capitals Regent Bridge with a changing sequence of coloured light, and in 2016, he was the subject of a major retrospective survey exhibition and accompanying monograph, Ill Close My Eyes, at the De Pont Museum in Tilburg, the Netherlands. In 2018, his first major solo exhibition in France, In Position, took place at Chateau la Coste in Provence, with an accompanying publication. Innes debuted his new series of Tondo paintings at Sean Kelly Gallery, New York, in 2022; this was followed by exhibitions of the Tondo series at Frith Street Gallery, London; Parra & Romero, Ibiza; Galerie Tschudi, Zurich; and Kerlin Gallery, Dublin in 2023\. He will have exhibitions at Sean Kelly, Los Angeles, and Kode Lysverket Museum, Bergen, Norway, in 2024. A publication documenting Scottish artist Callum Inness Tondos round paintings that continue a long tradition in art history and extend the acclaimed artists explorations into abstraction, colour, line, shape and form. This richly illustrated publication features an introduction by Jeffrey Grove and an essay by art historian Eric de Chassey. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…