Francis cunningham (123 résultats)

Etat : Collectible; Very Good. Hardcover First Printing, in glossy dust jacket. No marks or writing in book. Jacket price has been clipped, otherwise almost like new. Photographs (illustrateur).

Etat : New.

Etat : New.

Etat : As New. Unread book in perfect condition.

Hardcover. Etat : Good. Hello. Welcome to our small, family-owned bookstore. Entered by the publisher. 1908. Second volume of two. Written by F. S. Watson and J. H. Cunningham, Jr. Hardcover (green cloth, embossed as if quarter-bound. Gilt lettering [still bright] on the spine). Good (Very Good for its age) condition. Ex-Library with usual markings. Wear evident along the edges. on the sides, crown and foot of the spine (some spots worn through). A previous owner's signature ( a Dr.) on the page facing the title page. "With 115 engravings and 24 colored plates (with tissue)." The pages and the colored plates are very bright and clear. 474 pages. Very good binding. Packaged using bubble wrap and a sturdy cardboard box. Tracking number provided for no extra cost. Thanks for checking out this book from our small town brick-and-mortar and supporting a small business.…

New edition. Good copy in the original gilt-blocked cloth. Spine bands and panel edges somewhat rubbed and dust-toned as with age. Remains quite well-preserved overall: tight, bright, clean and strong. Physical description; cxv, 463 p. ; 20 cm. Subject; Jonson, Ben (1573-1637). 1 Kg.

Etat : New.

New edition. Good copy in the original gilt-blocked cloth. Spine bands and panel edges somewhat rubbed and dust-toned as with age. Remains quite well-preserved overall: tight, bright, clean and strong. Physical description; cxv, 463 p. ; 20 cm. Subject; Jonson, Ben (1573-1637). 1 Kg.

Etat : New. In English.

Hardcover. Etat : Near Fine. Near Fine. Color illustrations throughout. First edition. Slightly bumped lower corners, else fine in an about fine dust jacket.; 259 pages.

First Edition. Very good copy in the original gilt-blocked cloth. Spine bands and panel edges somewhat dulled and rubbed as with age. Scattered foxing. Remains quite well-preserved overall. Date is suggested. Physical description: xxiv, 530 p. ; 20 cm. Subjects: Jonson, Ben 1573?-1637; Theatre; Modern theatre; Renaissance theatre; Elizabethan theatre. 1 Kg. …

Etat : New.

Etat : Brand New. New. US edition. Expediting shipping for all USA and Europe orders excluding PO Box. Excellent Customer Service.

Etat : As New. Unread book in perfect condition.

Etat : NEW.

Etat : Fine. Etat de la jaquette : Very Good +. First Edition. Milan: 5 Continents, 2020. First Edition. Quarto; publisher's cloth in pictorial dust jacket; 259pp.; full color illus. throughout. Light shelf wear, faint surface scratches to rear jacket panel, else a Near Fine example.

Hardcover. Etat : Very Good. Title page vignette portrait of Massinger, 7.5 x 5", half leather; pebbled cloth, 644pp with index, covers rubbed, extremities worn, bookplate of former owner inside front cover, ink name of another former owner on title page, pp toned, but still a decorative leather binding with a rather plain but handsome leather spine.…

First Edition. Very good copy in the original gilt-blocked cloth. Spine bands and panel edges somewhat dulled and rubbed as with age. Scattered foxing. Remains quite well-preserved overall. Date is suggested. Physical description: xxiv, 530 p. ; 20 cm. Subjects: Jonson, Ben 1573?-1637; Theatre; Modern theatre; Renaissance theatre; Elizabethan theatre. 1 Kg. …

Hardcover. Etat : new. Hardcover. While the art world was turning its eyes towards abstract art and action painting, Cunningham's interest in figurative art and the human form never waned. This is the underlying reason for his lukewarm reception, keeping him out of the limelight, although this is not to say his art was second rate. In a sense, this marginal status was a blessing in disguise, enabling Cunningham to broaden and develop his thinking on his personal artistic sensibility and thus on the central role played by 'colour-spot' painting, the technique borrowed from his master Edwin Dickinson, and on the importance of teaching, of which he had personal experience at the New Brooklyn School of Life, Painting, Drawing, and Sculpture and at the New York Academy of Art. These last two aspects, which were of fundamental importance in his life, are brought to the forefront in the very title of the book: Learning How To See. The book chronicles Cunningham's development from his earliest, small, and mostly abstract canvases characterised by large colour fields suggesting landscapes, to his later figurative work, in which the study of anatomy takes over, only to give way, as if coming full circle, to paintings containing large empty spaces and a drastically reduced number of elements. Most of Cunningham's paintings are large and depict nude subjects, sometimes portrayed alone and sometimes in triptychs. A feature of his works from this 'second period' is what might be called their 'vertical' nature, which contrasts strongly with his very last, mostly still life paintings, which stand out for their horizontal orientation. The human figure has virtually disappeared and Cunningham seems almost to have returned to the preoccupations of his youth. The artist's many facets are explored in essays by art historians and art critics, including Christopher Knight, Edward Lifson, John Walsh, and Valentina De Pasca, as well through the reminiscences of his favourite model, Regina Hawkins-Balducci. AUTHOR: Francis Cunningham studied at The Art Students League with Edwin Dickinson and Robert Beverly Hale. He has had solo exhibitions in New York, Chicago, Washington D.C., Copenhagen and Stockholm. He taught at the Brooklyn Museum Art School, The Art Students League, and in 1980, with the sculptor Barney Hodes, co-founded the New Brooklyn School of Life Drawing, Painting & Sculpture, Inc., which in 1983 merged with the New York Drawing Association to form The New York Academy of Art. He is a member of the National Academy of Design and a winner of the Benjamin West Clinedinst Medal. 100 colour images A new take on perception and preconceptions about the unclothed body and how, through art, the naked becomes the nude. The book chronicles Cunningham's development from his earliest, small, and mostly abstract canvases characterised by large colour fields suggesting landscapes, to his later figurative work. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Etat : New.

Softcover. Etat : VG, slight soiling to covers. White wraps. [4] pp. 1 color, 3 bw plates. Includes a biography and exhibition checklist of 28 paintings and 6 drawings. Cunningham depicts the American scene from the tradition of realism.

Hardcover. Etat : Brand New. 01 edition. 176 pages. 11.00x9.50x1.25 inches. In Stock.

London; Chatto & Windus, [c. 1888]. 19,5x13,5 cm. Cxv, 463, (1) pp. + list of books from the publisher for October 1889, 32 pp. & (3, 3 blanks), 587, (1) pp. + list of publications, 32 pp. & xxiv, 530 pp. + 32 pp. List of books. Three volumes in publisher's green cloth. Spine ends and corners are slightly bumped. Vol. III with weak inner hinges. The first around 80 pages in volume II have a slight nick at the lower corner. Contents in all volumes are fine and partly uncut, with just a few scattered small specks.…

Taschenbuch. Etat : Neu. Neuware - This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.…

Etat : New.

Gebunden. Etat : New.

Hardcover. Etat : new. Hardcover. While the art world was turning its eyes towards abstract art and action painting, Cunningham's interest in figurative art and the human form never waned. This is the underlying reason for his lukewarm reception, keeping him out of the limelight, although this is not to say his art was second rate. In a sense, this marginal status was a blessing in disguise, enabling Cunningham to broaden and develop his thinking on his personal artistic sensibility and thus on the central role played by 'colour-spot' painting, the technique borrowed from his master Edwin Dickinson, and on the importance of teaching, of which he had personal experience at the New Brooklyn School of Life, Painting, Drawing, and Sculpture and at the New York Academy of Art. These last two aspects, which were of fundamental importance in his life, are brought to the forefront in the very title of the book: Learning How To See. The book chronicles Cunningham's development from his earliest, small, and mostly abstract canvases characterised by large colour fields suggesting landscapes, to his later figurative work, in which the study of anatomy takes over, only to give way, as if coming full circle, to paintings containing large empty spaces and a drastically reduced number of elements. Most of Cunningham's paintings are large and depict nude subjects, sometimes portrayed alone and sometimes in triptychs. A feature of his works from this 'second period' is what might be called their 'vertical' nature, which contrasts strongly with his very last, mostly still life paintings, which stand out for their horizontal orientation. The human figure has virtually disappeared and Cunningham seems almost to have returned to the preoccupations of his youth. The artist's many facets are explored in essays by art historians and art critics, including Christopher Knight, Edward Lifson, John Walsh, and Valentina De Pasca, as well through the reminiscences of his favourite model, Regina Hawkins-Balducci. AUTHOR: Francis Cunningham studied at The Art Students League with Edwin Dickinson and Robert Beverly Hale. He has had solo exhibitions in New York, Chicago, Washington D.C., Copenhagen and Stockholm. He taught at the Brooklyn Museum Art School, The Art Students League, and in 1980, with the sculptor Barney Hodes, co-founded the New Brooklyn School of Life Drawing, Painting & Sculpture, Inc., which in 1983 merged with the New York Drawing Association to form The New York Academy of Art. He is a member of the National Academy of Design and a winner of the Benjamin West Clinedinst Medal. 100 colour images A new take on perception and preconceptions about the unclothed body and how, through art, the naked becomes the nude. The book chronicles Cunningham's development from his earliest, small, and mostly abstract canvases characterised by large colour fields suggesting landscapes, to his later figurative work. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.…

Buch. Etat : Neu. Neuware - This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.…

Hardcover. Etat : Good. 4th Edition. Pen Drawing. An Illustrated Treatise. By Charles D. Maginnis. Boston: Bates & Guild Company, 1903. Fourth Edition, 121 p, 7.5 x 4.75", 12mo. Owned & Signed by Harry Francis Cunningham (1888-1959). In good condition. Boards normally scuffed at edges and worn/bumped at corners. Head and tail of spine bumped; painted lettering on spine & front board moderately dulled, difficult to read. Ownership bookplate on front paste-down: "Maurice Robert des Marais". Permanent ink ownership stamp above bookplate on front paste-down: "Property of H. F. Cunningham, Architect". Three small illustrations pasted-in on front end-page, around ownership signature: "H. F. Cunningham, Dec. 25, 07". Normal toning in margins. Binding intact. Please see photos. Harry Francis Cunningham (1888-1959) was born in Washington, D. C. on April 15, 1888, to Theodora and Joseph H. Cunningham. For many years Joseph was a cartoonist for the Washington Herald. After high school Harry studied design in Worcester (Massachusetts), New York City, Washington, D.C., and Paris, apparently without completing a degree. Harry was commissioned as a captain in the U.S. Army in 1917 and mobilized to France with a machine gun unit in 1918. He did not return permanently to the U.S. until 1922, having extended his stay in France volunteering in reconstructing devastated villages. In 1922, Cunningham established an architectural office in Washington and joined the American Institute of Architects (AIA). In 1924 he opened a second office in St. Petersburg, Florida and registered as a professional architect in that state as well, while remaining active in the D.C. AIA chapter. Cunningham's most prominent professional contribution was his involvement with the Bertram G. Goodhue-designed Nebraska State Capitol in Lincoln, Nebraska. Cunningham was hired as lead draftsman at the New York office around 1926 and separated from BGGA before he was chosen in 1930 by the University of Nebraska (NU) as the founding director and first professor of NU's new architecture department in the College of Engineering. He resumed active duty in the U.S. Army as an intelligence officer and strategic planner and saw service overseas in WWII. In 1949 he retired from the Army as a colonel and returned to Lincoln where he remained until his death on April 25, 1959. He was a member of American Legion Post 3, the Roundtable, and the AIA, which elected him a Fellow in 1955 Fourth Edition (Stated). SIGNED AND OWNED BY HENRY FRANCIS CUNNINGHAM! FORN-SHELF-0673-BB-2602-HK3327.…

Gewebe m. Sch. Etat : Gut. 166 S. : zahlr. Ill., Noten ; 31 cm verlagsfrisch 9783893221967 krankheitsbedingt erfolgt der Versand nur 1x pro Woche. Sprache: Deutsch Gewicht in Gramm: 550.