Jenkins, Melissa ShieldsBiblio.com
4 864 résultats
21393452-nnew. unknown
21393452like new. unknown
ria9780415622486_inpHardcover. New. New Book; Fast Shipping from UK; Not signed; Not First Edition; In this excellent introduction Christopher Shields introduces and assesses the whole of Aristotle’s philosophy showing how his powerful conception of human nature shaped much of his thinking on the nature of the soul and the mind e hardcover
0199280517New. Brand new and still unused unknown
20011-0807826073Univ of North Carolina Pr 2001. Hardcover. New. 296 pages. 12.00x9.25x1.25 inches. Univ of North Carolina Pr hardcover
2015x-1137408391Palgrave Macmillan 2015. Hardcover. New. 224 pages. 9.00x6.00x0.75 inches. Palgrave Macmillan hardcover
25681403-nnew. unknown
Bloomsbury-9781563677267Fairchild Books. Paperback. New. Fairchild Books paperback
Bloomsbury-9781563677267Fairchild Books. Paperback. New. Fairchild Books paperback
2016x-0748691863Edinburgh Univ Pr 2016. Hardcover. New. 1st edition. 224 pages. 9.25x6.25x0.75 inches. Edinburgh Univ Pr hardcover
6262712Lippincott Williams & Wilkins pp. 608 2nd Edition . Hardback. New. Lippincott Williams & Wilkins hardcover
0199301239New. Brand new and still unused unknown
1930380079New York: The Crafton Collection 1930. Hardcover. Very Good. Second edition. Quarto. Red cloth gilt. Tipped in plates. Prospectus laid in. Rubbing and wear at the extremities about very good. Nicely Inscribed by the Canadian artist Eby and additionally Signed by Dorothy Noyes Arms. The Crafton Collection hardcover
19388271938. Etching on antique Emberlin 1846 cream laid paper with a parial watermark of Britannia or Seated Victory set in a cartouche surmounted by the Crown of England 3 1/4 x 5 1/2 inches 83 x 140 mm full margins. Signed dated and inscribed "Ed. 150 II" in pencil lower margin. Non-archival tape tabs at the top corners recto well outside of the image area otherwise in excellent condition. Fletcher states an unknown number of first state proof impressions and 13 second state proof impressions; he also states a regular edition of 231 second state impressions. Arms's hand inscription regarding the numbering on this print remains slightly mysterious although Fletcher does descibe other instances in which recorded edition numbers appeared to be incomplete or incorrect so not an anomoly in this instance. The very special paper hand chosen for this impression would indicate that this is a proof impression perhaps a presentation proof of the second state aside from an unrealized run of 150. <br /> <br /> Fletcher 315. Paper: Arms was typical of the artists of this period - he was obsessed with paper a mania for collecting paper that could/would improve an edition. The quantity he left after his death distributed by his wife to fellow artists witnesses his love for finely made paper -paper interesting because of texture color distinctive weave.<br /> <br /> The earliest paper known to have been used by Arms came from a Baptismal Register Kirchen Ordnung The Reformed Church Middletown Dauphin County Pennsylvania 1708 bought in a bookshop in Philadelphia.<br /> <br /> His early prints 1915-1919 evidence paper taken from old books with gilded edges. Some prints appear on stationary from the Cisalpine Napoleonic Italy still bearing the estampe of the office or department; others carry penned ink page numbers taken from old ledgers of the Eighteenth Century-all beautiful shades of grey blue and green handmade ribbed and otherwise. Some of his color aquatints were printed on full sheets of heavy chine or Japanese vellum giving a sense of luxury in the richness of the stock and the width of the margins. There was a myriad of modern papers gleaned in England France Italy and the United States. -William Dolan Fletcher A Man For All Times p. 15. unknown
195020531950. Etching on antique cream laid paper with a deckle edge and an unidentified round watermark with an arm holding a torch 3 1/2 x 5 5/8 inches 89 x 144 mm; sheet 5 3/4 x 8 3/8 inches 146 x 212 mm full margins. Signed titled and inscribed "II" in pencil in the lower margin. One of 6 six proof impressions of the 2nd state of 2 aside from the regular edition of 300. Printed by Charles S. White. In good condition with minor mat tone and some inscriptions in pencil in the lower margin on ther verso. Ex-collection Atlantic Gallery Washington DC with the label on the mat-back. <br /> <br /> Fletcher 422. Born in 1887 in Washington DC John Taylor Arms studied at Princeton University and ultimately earned a degree in architecture at the Massachusetts Institute of Technology in 1912. With the outbreak of W.W.I Arms served as an officer in the United States Navy and it was during this time that he turned his focus to printmaking having published his first etching in 1919. His first subjects were the Brooklyn Bridge near the Navy Yard and it was during his wartime travel that Arms created a series of extraordinarily detailed etchings based on gothic cathedrals and churches he visited in France and Italy the plate for Guardians of the Spire was created in 1921. He used what was available to him namely sewing needles and a magnifying glass to create the incredibly rich and fine detail that his etchings are known for. Upon his return to New York after the war Arms enjoyed a successful career as a graphic artist created a series of etchings of American cities and published Handbook of Print Making and Print Makers Macmillan 1934. He served as President of the Society of American Graphic Artists and in 1933 was made a full member of the National Academy of Design. Arms died in Fairfield Connecticut in 1953. unknown
19398151939. Etching on fine laid antique Head & Co. paper with a partial watermark. 1/2 x 13/16 13 x 21 mm full margins. Signed dated and inscribed "II" in pencil lower margin. A trial proof impression from the second state of two printed by the artist aside from the regular edition of 519. In superb condition with excellent inking and inky plate edges. <br /> <br /> Fletcher 330. Fletcher states a discrepency in the number of impressions in the regular edition of this plate. Arms in two different places lists the edition size as 471; yet his notes indicate an additional 48 impressions.<br /> <br /> French Church Series No. 42<br /> Christmas Card Series No. 20<br /> Miniature Series No. 23<br /> Brooch Series No. 4<br /> <br /> Paper: Arms was typical of the artists of this period - he was obsessed with paper a mania for collecting paper that could/would improve an edition. The quantity he left after his death distributed by his wife to fellow artists witnesses his love for finely made paper -paper interesting because of texture color distinctive weave.<br /> <br /> The earliest paper known to have been used by Arms came from a Baptismal Register Kirchen Ordnung The Reformed Church Middletown Dauphin County Pennsylvania 1708 bought in a bookshop in Philadelphia.<br /> <br /> His early prints 1915-1919 evidence paper taken from old books with gilded edges. Some prints appear on stationary from the Cisalpine Napoleonic Italy still bearing the estampe of the office or department; others carry penned ink page numbers taken from old ledgers of the Eighteenth Century-all beautiful shades of grey blue and green handmade ribbed and otherwise. Some of his color aquatints were printed on full sheets of heavy chine or Japanese vellum giving a sense of luxury in the richness of the stock and the width of the margins. There was a myriad of modern papers gleaned in England France Italy and the United States. -William Dolan Fletcher A Man For All Times p. 15. unknown
19408211940. Etching on white laid paper with an "England" watermark 3 x 1 3/4 inches 76 x 45 mm full margins. Signed dated and inscribed "II" in pencil lower margin. One of 13 trial proof impressions of the second state of 2 aside from the regular edition of 551 signed and dated impressions. Fletcher states an unknown number of first state impression. Printed by Charles S. White. In superb condition. <br /> <br /> <br /> Fletcher 343. French Church Series No. 43<br /> Minature Series No. 26<br /> <br /> Paper: Arms was typical of the artists of this period - he was obsessed with paper a mania for collecting paper that could/would improve an edition. The quantity he left after his death distributed by his wife to fellow artists witnesses his love for finely made paper -paper interesting because of texture color distinctive weave.<br /> <br /> The earliest paper known to have been used by Arms came from a Baptismal Register Kirchen Ordnung The Reformed Church Middletown Dauphin County Pennsylvania 1708 bought in a bookshop in Philadelphia.<br /> <br /> His early prints 1915-1919 evidence paper taken from old books with gilded edges. Some prints appear on stationary from the Cisalpine Napoleonic Italy still bearing the estampe of the office or department; others carry penned ink page numbers taken from old ledgers of the Eighteenth Century-all beautiful shades of grey blue and green handmade ribbed and otherwise. Some of his color aquatints were printed on full sheets of heavy chine or Japanese vellum giving a sense of luxury in the richness of the stock and the width of the margins. There was a myriad of modern papers gleaned in England France Italy and the United States. -William Dolan Fletcher A Man For All Times p. 15. unknown
19478251947. Etching on antique cream laid paper with a partial indiscernible watermark 2 7/8 x 2 1/2 inxhes 74 x 64 mm full margins. Signed dated and inscribed "III" in pencil lower margin. A trial proof impression from the first state of 2 aside from the regular edition of 204 printed by Charles S. White assisted by the artist. In excellent condition with minor uniform age tone. <br /> <br /> Fletcher 409. Miniature Series No. 39<br /> French Church Series No. 48<br /> <br /> Paper: Arms was typical of the artists of this period - he was obsessed with paper a mania for collecting paper that could/would improve an edition. The quantity he left after his death distributed by his wife to fellow artists witnesses his love for finely made paper -paper interesting because of texture color distinctive weave.<br /> <br /> The earliest paper known to have been used by Arms came from a Baptismal Register Kirchen Ordnung The Reformed Church Middletown Dauphin County Pennsylvania 1708 bought in a bookshop in Philadelphia.<br /> <br /> His early prints 1915-1919 evidence paper taken from old books with gilded edges. Some prints appear on stationary from the Cisalpine Napoleonic Italy still bearing the estampe of the office or department; others carry penned ink page numbers taken from old ledgers of the Eighteenth Century-all beautiful shades of grey blue and green handmade ribbed and otherwise. Some of his color aquatints were printed on full sheets of heavy chine or Japanese vellum giving a sense of luxury in the richness of the stock and the width of the margins. There was a myriad of modern papers gleaned in England France Italy and the United States. -William Dolan Fletcher A Man For All Times p. 15. unknown
193812631938. Etching with aquatint on cream wove paper 1 3/4 x 5 inches 178x 127 mm full margins. Signed dated and inscribed "Ed. 150" in pencil lower margin. Second state of 3 before the addition of drypoint and the ornament on the reredos. Although this impression is inscribed with an edition number of 150 in the artist's hand Fletcher states an edition of 204 impressions of the second state before the added ornamentation on the reredos. Printed by David Strang. With an unidentified accession number written in pencil on the verso 73.27993. <br /> <br /> No. 21 from the Minature Series; No. 3 from the Brooch Series.<br /> <br /> Fletcher 316A. unknown
19289721928. Etching on antique laid paper 6 9/16 x 3 15/16 inches 167 x 100 mm signed and dated in pencil lower margin. Potentially a trial proof impression aside from the unsigned edition of 1459. Non-archival tape residue along the top and bottom sheet edges recto well outside of image area. Scattered handling creases and general scattered soiling in the margins minor and unobtrusive. <br /> <br /> Fletcher 217. This work was commissioned by The Architectural Forum for their 1928 Christmas card. unknown
19259111925. Etching on antique cream laid paper 1 7/8 x 3 1/8 inches 49 x 79 mm full margins. Signed dated and titled in pencil lower margin. From the edition of 150 impressions printed by Arms and Frederick Reynolds in 1925. An additional 25 impressions were printed 1938 by David Strang at Henry Carling's studio in London. In excellent condition with some minor handling creases.<br /> <br /> Fletcher 160. Miniature Series No. 11<br /> <br /> Paper: Arms was typical of the artists of this period - he was obsessed with paper a mania for collecting paper that could/would improve an edition. The quantity he left after his death distributed by his wife to fellow artists witnesses his love for finely made paper -paper interesting because of texture color distinctive weave.<br /> <br /> The earliest paper known to have been used by Arms came from a Baptismal Register Kirchen Ordnung The Reformed Church Middletown Dauphin County Pennsylvania 1708 bought in a bookshop in Philadelphia.<br /> <br /> His early prints 1915-1919 evidence paper taken from old books with gilded edges. Some prints appear on stationary from the Cisalpine Napoleonic Italy still bearing the estampe of the office or department; others carry penned ink page numbers taken from old ledgers of the Eighteenth Century-all beautiful shades of grey blue and green handmade ribbed and otherwise. Some of his color aquatints were printed on full sheets of heavy chine or Japanese vellum giving a sense of luxury in the richness of the stock and the width of the margins. There was a myriad of modern papers gleaned in England France Italy and the United States. -William Dolan Fletcher A Man For All Times p. 15. unknown
193922841939. Etching on cream wove paper 2 3/8 x 3/14 inches 61 x 83 full margins. Signed dated and inscribed "IV" in the artist's hand. In superb condition with the numerals "365" written in pencil in the lower right corner well outside of the image area. Fletcher states only two trial proofs this is perhaps an unrecorded proof aside from the additional edition of 101 printed by David Strang. <br /> <br /> Fletcher 324. This plate was the section cut from Stanwick becoming a separate plate after the additional work had been done on it edges beveled. William Dolan Fletcher p 206. unknown
193912691939. Etching on cream wove paper 2 3/8 x 3 1/4 inches 61 x 83 mm full margins. Signed dated and inscribed "IV" in the artist's hand. In very good condition. Fletcher states only two trial proofs this is perhaps an unrecorded proof aside from the additional edition of 101 printed by David Strang. <br /> <br /> Fletcher 324. This plate was the section cut from Stanwick becoming a separate plate after the additional work had been done on it edges beveled. William Dolan Fletcher p 206. unknown
19428231942. Etching on fine light cream laid paper 2 1/4 x 2 15/16 inches 58 x 75 mm full margins. Signed and inscribed "II" in pencil lower margin. A trial proof impression of the second state of 2. Aside from the signed and numbered edition of 365 impressions plus an edition of 250 unsigned unnumbered impressions which were discovered after Arms's death. <br /> <br /> Fletcher 369. English Series No. 9<br /> Miniature Series No. 30<br /> <br /> Paper: Arms was typical of the artists of this period - he was obsessed with paper a mania for collecting paper that could/would improve an edition. The quantity he left after his death distributed by his wife to fellow artists witnesses his love for finely made paper -paper interesting because of texture color distinctive weave. <br /> <br /> The earliest paper known to have been used by Arms came from a Baptismal Register Kirchen Ordnung The Reformed Church Middletown Dauphin County Pennsylvania 1708 bought in a bookshop in Philadelphia. <br /> <br /> His early prints 1915-1919 evidence paper taken from old books with gilded edges. Some prints appear on stationary from the Cisalpine Napoleonic Italy still bearing the estampe of the office or department; others carry penned ink page numbers taken from old ledgers of the Eighteenth Century-all beautiful shades of grey blue and green handmade ribbed and otherwise. Some of his color aquatints were printed on full sheets of heavy chine or Japanese vellum giving a sense of luxury in the richness of the stock and the width of the margins. There was a myriad of modern papers gleaned in England France Italy and the United States. -William Dolan Fletcher A Man For All Times p. 15. unknown
19436311943. Etching on cream laid paper 3 1/2 × 1 3/4 inches 89 × 44 mm full margins. Signed in pencil and inscribed "Trial State III." No visible defects with an unevenly trimmed sheet. A beautifully inked impression with all of the fine details printing clearly. Born in 1887 in Washington DC John Taylor Arms studied at Princeton University and ultimately earned a degree in architecture at the Massachusetts Institute of Technology in 1912. With the outbreak of W.W.I Arms served as an officer in the United States Navy and it was during this time that he turned his focus to printmaking having published his first etching in 1919. His first subjects were the Brooklyn Bridge near the Navy Yard and it was during his wartime travel that Arms created a series of extraordinarily detailed etchings based on gothic cathedrals and churches he visited in France and Italy the plate for Guardians of the Spire was created in 1921. He used what was available to him namely sewing needles and a magnifying glass to create the incredibly rich and fine detail that his etchings are known for. Upon his return to New York after the war Arms enjoyed a successful career as a graphic artist created a series of etchings of American cities and published Handbook of Print Making and Print Makers Macmillan 1934. He served as President of the Society of American Graphic Artists and in 1933 was made a full member of the National Academy of Design. Arms died in Fairfield Connecticut in 1953. unknown
