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A clean, unmarked copy with a tight binding. It introduces 99 artworks of paintings and sculptures that remain in Soto-Sect Zen Buddhist temples in Yamaguchi and Kyushu. It comprehensively defines the superb Zen culture that expanded in these areas in the Kamakura period (1192-1333). 176 pages. Text in Japanese. Captions to photos in Japanese and English.
Ex-library book with the usual stamps and markings. 8"w x 10"h. 64 pages.
Nine (9) portrait impressions of Chinese civilians, mostly scholars, two geishas, and at least one immortal, each handcrafted of silk, paper, and watercolour paints, each being a one-off unique two-dimensional figure. Figures measure approximately 6 x 20 cm. Six are mounted to paper, three per leaf, paper being creased. Two are not mounted. Very good original condition, bright, colourful, and fascinating nineteenth century peasant art from China. The present items were handcrafted circa 1890, as they come from a collection of varied arts from the estate of a Anglo-Chinese man who worked as Examiner for the Imperial Maritime Customs from circa 1895 to the 1910s. Items like these continued to be made after the turn of the century, expanding the choice of representations. They have been called paper dolls by modern collectors, however they were NOT made as children's play items, which is why they are usually in very good condition. These were ornamental artforms created by innovative Chinese artisans, to sell to foreign visitors who were fascinated by the costume, lifestyle, and ancient folklore of ancient China.
Creator: Hiroshi Hirabayashi. Kamishibai propaganda play / Japanese picture show (kamishibai) illustrating the benefits and immense moral obligation of collaborating with one other for survival. Folio. The complete work, comprising 20 offset full-colour printed illustrative cards which together form a story to educate or indoctrinate the viewer with nationalist concepts during the Second World War, each with printed story text to verso, one of the cards being the title and publishing information. Text is in Japanese. Contained in publisher's original paper portfolio covers, with title label to front. Story cards measure approximately 38 x 26 cm. Portfolio covers measure approximately 39 x 27 x 1 cm. Some age-toning and wear to portfolio, otherwise in very good and original condition, cards retaining vivid impression, a fascinating and scarce Second World War propaganda presentation. Japanese wartime propaganda was distributed through films, magazines and newspapers, radio, books, cartoons and the education system. Publications such as the present illustrative stories, promoted the ideal citizen's nationalistic point of view, indoctrinating civilians to work collectively and in support of their government's actions, even when creating some form of imposition on the citizen himself. Kamishibai are Japanese paper plays that gained popularity among children in the 1930s and were subsequently used as a medium for propaganda during World War II. Also referred to as a "Picture Card Show," they were made for influencing youth with their engaging storylines and vivid imagery. In 1940, elementary schools were renamed "Citizen's Schools." Textbooks became vivid, engaging, and contained militaristic picture-books. During the course of World War II, the Japanese government attempted to indoctrinate Japanese children through education and propaganda. Both methods nationalized youth and encouraged them to support the war effort. Science curriculum, for example education taught children about agriculture so they could better assist in food production for the nation. Youth were expected to volunteer in factories and farms to replace the conscripted labor force. Additionally, "kokutai," meaning the uniqueness of the Japanese people in having a leader with spiritual origins, was officially promulgated by the government, including a text book distributed by the Ministry of Education. The purpose of this instruction was to ensure that every child regarded himself first of all as a Japanese and was grateful for the "family polity" structure of government, with its apex in the emperor. Indeed, little effort was made during the course of the war to explain to the Japanese people what it was fought for; instead, it was presented as a chance to rally about the emperor. This is a dramatic story of collaboration and innovation, its ultimate message being that these virtues are necessary for survival of a society and the individual. Sustenance being the key to survival, the story unfolds as follows. A village in Western Japan suffering a long arid season which led to drought, was unable to support vegetation and was seeing abandonment as many farmers left the region. Evidently this was a large village, having five shoya (village headman), and the latter devised an irrigation plan to restore its agriculture and ultimately preserve the village. In order to instill the urgency of success with the undertaking, the local bugyo (governor) approved the project under the alarming condition that if the project failed, the five headmen who also owned estates in the region, would be burnt alive at the stake. He had five hanging platforms erected in preparation of failure, and also to motivate them to accomplish the task lest they meet a gruesome public fate. Villagers supported the idea and all hands worked diligently to ensure its success. Indeed, working together with a common goal was the key. The water flowed abundantly. The village was saved, and so were the lives of the five headmen. The hanging platforms were set ablaze (without victims) in celebration.
Kamishibai propaganda plays / Japanese picture show (kamishibai) illustrating the importance of taxation, specifically relating to the all-important commodity: rice. Folio. The complete work, comprising 20 offset full-colour printed illustrative cards which together form a story to educate or indoctrinate the viewer with nationalist concepts during the Second World War, each with printed story text to verso, one of the cards being the title and publishing information. Text is in Japanese. Contained in publisher's original paper portfolio covers, with title label to front. Story cards measure approximately 38 x 26 cm. Portfolio covers measure approximately 39 x 27 x 1 cm. Some age-toning and wear to portfolio, otherwise in very good and original condition, cards retaining vivid impression, a fascinating Second World War propaganda presentation. Japanese wartime propaganda was distributed through films, magazines and newspapers, radio, books, cartoons and the education system. Publications such as the present illustrative stories, promoted the ideal citizen's nationalistic point of view, indoctrinating civilians to work collectively and in support of their government's actions, even when creating some form of imposition on the citizen himself. Kamishibai are Japanese paper plays that gained popularity among children in the 1930s and were subsequently used as a medium for propaganda during World War II. Also referred to as a "Picture Card Show," they were made for influencing youth with their engaging storylines and vivid imagery. In 1940, elementary schools were renamed "Citizen's Schools." Textbooks became vivid, engaging, and contained militaristic picture-books. During the course of World War II, the Japanese government attempted to indoctrinate Japanese children through education and propaganda. Both methods nationalized youth and encouraged them to support the war effort. Science curriculum, for example education taught children about agriculture so they could better assist in food production for the nation. Youth were expected to volunteer in factories and farms to replace the conscripted labor force. Additionally, "kokutai," meaning the uniqueness of the Japanese people in having a leader with spiritual origins, was officially promulgated by the government, including a text book distributed by the Ministry of Education. The purpose of this instruction was to ensure that every child regarded himself first of all as a Japanese and was grateful for the "family polity" structure of government, with its apex in the emperor. Indeed, little effort was made during the course of the war to explain to the Japanese people what it was fought for; instead, it was presented as a chance to rally about the emperor. By using the example of the esteemed agrarian reformer and economic savant Ninomiya Kinjiro who was born into peasantry, lost his family and home in a disaster, and overcame all odds to become a notable leader and economic reformer, this story promotes the importance of government taxation, even on basic needs such as rice. Ninomiya Kinjiro (1787-1856) was an important agrarian reformer and economic thinker of the late Edo period. His legendary diligence and studiousness as a child made him a natural exemplar for Japanese schoolchildren. At one time, most every elementary school in Japan displayed a statue depicting Ninomiya as a youth with a bundle of firewood on his back and an open book in his hand.
Kamishibai propaganda play / Japanese picture show (kamishibai) illustrating Samurai warriors plying away in the fields aid in food production for the nation at war. Folio. The complete work, comprising 20 offset full-colour printed illustrative cards which together form a story to educate or indoctrinate the viewer with nationalist concepts during the Second World War, each with printed story text to verso, one of the cards being the title and publishing information. Text is in Japanese. Contained in publisher's original paper portfolio covers, with title label to front. Story cards measure approximately 38 x 26 cm. Portfolio covers measure approximately 39 x 27 x 1 cm. Some age-toning and wear to portfolio, otherwise in very good and original condition, cards retaining vivid impression, a fascinating and scarce Second World War propaganda presentation. Japanese wartime propaganda was distributed through films, magazines and newspapers, radio, books, cartoons and the education system. Publications such as the present illustrative stories, promoted the ideal citizen's nationalistic point of view, indoctrinating civilians to work collectively and in support of their government's actions, even when creating some form of imposition on the citizen himself. Kamishibai are Japanese paper plays that gained popularity among children in the 1930s and were subsequently used as a medium for propaganda during World War II. Also referred to as a "Picture Card Show," they were made for influencing youth with their engaging storylines and vivid imagery. In 1940, elementary schools were renamed "Citizen's Schools." Textbooks became vivid, engaging, and contained militaristic picture-books. During the course of World War II, the Japanese government attempted to indoctrinate Japanese children through education and propaganda. Both methods nationalized youth and encouraged them to support the war effort. Science curriculum, for example education taught children about agriculture so they could better assist in food production for the nation. Youth were expected to volunteer in factories and farms to replace the conscripted labor force. Additionally, "kokutai," meaning the uniqueness of the Japanese people in having a leader with spiritual origins, was officially promulgated by the government, including a text book distributed by the Ministry of Education. The purpose of this instruction was to ensure that every child regarded himself first of all as a Japanese and was grateful for the "family polity" structure of government, with its apex in the emperor. Indeed, little effort was made during the course of the war to explain to the Japanese people what it was fought for; instead, it was presented as a chance to rally about the emperor. This is a story of Samurai warriors working in the fields with ordinary people in order to help grow food, a clever example using the elite class that all look up to, in order to encourage citizens to contribute to Japan's efforts in World War II. It is cleverly named after the famous and revered Uesugi Yozan, who at the young age of 17 became daimyo of the economically failing Yonezawa domain, and through hard work and sacrifice, led his people and feudal land back to prosperity. Uesugi Yozan (1751-1822), the daimyo (feudal baron) who restored the fortunes of the impoverished Yonezawa domain, is famously known as one of Japan's most virtuous lords. Perhaps the most famous words left by Yozan are, "To achieve, one must act. To not act is to not achieve; this is true in all things. The inability to achieve is the result of inaction." Indeed, Yozan is a fitting an influential figure to support this propaganda and motivate citizens to contribute their efforts to winning the war.
Original oil painting of a striking and stylish Chinese junk (Vessel), on thick cardstock. Made circa 1901-1910. Measuring approximately 25,5 cm x 20,5 cm. Indication at perimeters of previous framing, otherwise in very good condition. With its two strong sails inscribed with Chinese lettering by the artist, this handsome artisan work memorializes the traditions of the ancient Chinese junk, by highlighting the revolutionary and long-standing sailing designs as well as a fascinating superstitious practice. The vessel features painted eyes and an open stern with far reaching tips which exudes speed. A dragon-like flag flies from one of the masts. A stern rudder helps steer through the rough waters of the harbour, which is surrounded by mountains, possibly representing Hong Kong's Victoria Harbour. The peaked and winged-style stern of the vessel suggests speed and agility at high seas. Five Chinese seafarers onboard are wearing traditional dress.
A special copy, bearing the South Korean Presidential Seal, quite conceivably a unique one-off presentation copy from the Korean Government, of the photogravure portfolio, showcasing a select few of the exquisite Korean art works, which were jointly selected by a Korean-American committee and displayed at the National Gallery of Art in Washington, D.C. exhibition "Masterpieces of Korean Arts" held from 15 December 1957 to 12 January 1958. Folio. Complete, with 12 full colour photogravures, each bordered with loosely placed captioned leaf, and contained in its own folding cardstock covers bearing the portfolio title to front and a detailed historical and physical description to interior. Folders open from left to right, suggesting that this work was printed in Korea. Text is in both Korean and English. Publisher's original cloth teal and gold patterned portfolio covers, with two intact bone clasps for secure closure, and gilt presidential seal to front. Photogravure leafs measure approximately 42,5 x 34 cm. Portfolio measures approximately 43 x 34,5 x 3,5 cm Mild age-toning and wear to boards with one cosmetic tear to cloth to interior of one flap, otherwise in very good and original condition, a most unusual variant of this beautiful work, and most likely a Presentation copy from the South Korean Government. The present item is quite rare in any state, but especially this one as it shows a gilt phoenix and flower (Rose of Sharon) emblem found on the presidential seal of South Korea. It is most likely a Presentation Copy from the Korean Government to America, as a memorial to their collaboration of hosting a superb exhibition of historic Korean Art. OCLC shows a few 'standard' editions in libraries. The status and authority of the President of South Korea, officially the Republic of Korea, is represented by a symbolic phoenix emblem. The virtues represented by the mythological bird are parallel to the values a king had to pursue in governing the people, and the design of phoenix was attached on the ceiling of the throne hall of Gyeongbokgung palace, which was the main palace during much of the Joseon Kingdom (1392-1910). The design of the phoenix is still used today as the emblem that represents the office of the President of Korea. The exhibition "Masterpieces of Korean Art" was held at the National Gallery of Art in Washington, D.C., from 15 December 1957 to 12 January 1958. A joint committee of Koreans and Americans selected 187 objects, with the aim of presenting a cross section of Korean art from 200 B.C. to about 1900.
Woodblock "kawaraban" broadside illustrating the arrival of Commodore Perry's four American vessels at Uraga in 8 July 1853, featuring a prominent stylized portrait of Perry himself and one of his formidable "black ships". All text is in Japanese. Thin hand-made laid paper measuring approximately 35,5 x 27cm. Small tears at folds and margins, some professional repair to verso, otherwise in very good condition, with clear imagery. A pleasing example of an uncommon variant. A contemporary broadside to alert Japanese civilians of the arrival of Commodore Perry's formidable American vessels. News was travelling fast by word of mouth along the coast and trade routes, and also began being illustrated with the "kawaraban" - broadsides with woodblock prints - for distribution. Naturally, Edo commoners were curious to learn about the imposing vessels that suddenly appeared within sight of their city.] The Japanese named the American vessels "kurofune" (black ships) for the colour of the hulls which were covered in tar and for the black smoke from the coal-fired steam engines. four "Black Ships"
Bonhams Auctioneers, London, 2014. 275 x 220mm. pp. 55. English and Japanese text. Catalogue for part one of the sale of The Misumi Collection of important works of lacquer art and paintings held by Bonhams Auctioneers in London on the 5th of November 2014. Colour illustrations. Bound in original cream cloth. Housed in pictorial dust jacket. Book and dust jacket clean
Paris, Sale title - Bibliothèque Marc Litzler, Date - 20th February 2019 ,308 pages, fully illustrated in colour. Text in French. Illustrates and describes 248 lots at auction.
No marks or inscriptions. No creasing to covers or to spine. A very clean very tight copy with bright unmarked, very lightly indented boards and no bumping to corners. 174pp. An excellent study providing a historical text and a vast range of beautifully reproduced examples of illuminated and ornamental letters from the eighth to the twentieth century.
Tibet, circa 1955-60. An original pastel portrait of a Tibetan native by world renowned artist Goray Douglas, with signature. Beautifully framed behind glass. Image measures approximately 32.5 x 25cm. Gold colour frame measures approximately 40 x 50 cm. Very Good Condition, an exceptionally well rendered pastel painting on grey paper laid to a wide margin mount. This is not a reprint. This is a RARE ORIGINAL PAINTING by Douglas Goray. From the artist's "Faces of the Hills" collection, an immense work in which he portrayed 350 individual Tibetan and Burmese subjects with exquisite likeness, the elder in this painting has distinctly Chinese features. Douglas is a noted Darjeeling artist, a master of portraiture, revered for his documentation of native peoples.
Tibet, circa 1955-60. An original pastel portrait of a Tibetan native by world renowned artist Goray Douglas, with signature. Beautifully framed behind glass. Image measures approximately 32.5 x 25cm. Gold colour frame measures approximately 40 x 50 cm. Very Good Condition, an exceptionally well rendered pastel painting on grey paper laid to a wide margin mount. This is not a reprint. This is a RARE ORIGINAL PAINTING by Douglas Goray. From the artist's "Faces of the Hills" collection, an immense work in which he portrayed 350 individual Tibetan and Burmese subjects with exquisite likeness, the man in this painting appears to be a Tibetan hunter. Douglas is a noted Darjeeling artist, a master of portraiture, revered for his documentation of native peoples.
Tibet, circa 1955-60. An original pastel portrait of a Tibetan native by world renowned artist Goray Douglas, with signature. Beautifully framed behind glass. Image measures approximately 32.5 x 25cm. Gold colour frame measures approximately 40 x 50 cm. Very Good Condition, an exceptionally well rendered pastel painting on grey paper laid to a wide margin mount. This is not a reprint. This is a RARE ORIGINAL PAINTING by Douglas Goray. From the artist's "Faces of the Hills" collection, an immense work in which he portrayed 350 individual Tibetan and Burmese subjects with exquisite likeness, the robust man in this painting displays exquisite hand-crafted jade jewellery. Douglas is a noted Darjeeling artist, a master of portraiture, revered for his documentation of native peoples.
Tibet, circa 1955-60. An original pastel portrait of a Tibetan native by world renowned artist Goray Douglas, with signature. Beautifully framed behind glass. Image measures approximately 32.5 x 25cm. Gold colour frame measures approximately 40 x 50 cm. Very Good Condition, an exceptionally well rendered pastel painting on grey paper laid to a wide margin mount. This is not a reprint. This is a RARE ORIGINAL PAINTING by Douglas Goray. From the artist's "Faces of the Hills" collection, an immense work in which he portrayed 350 individual Tibetan and Burmese subjects with exquisite likeness, the man in this painting appears to be a monk from the Gelug sect, sometimes referred to as the Yellow Hat monks. Douglas is a noted Darjeeling artist, a master of portraiture, revered for his documentation of native peoples.
Tibet, circa 1955-60. An original pastel portrait of a Tibetan native by world renowned artist Goray Douglas, with signature. Beautifully framed behind glass. Image measures approximately 32.5 x 25cm. Gold colour frame measures approximately 40 x 50 cm. Very Good Condition, an exceptionally well rendered pastel painting on grey paper laid to a wide margin mount. This is not a reprint. This is a RARE ORIGINAL PAINTING by Douglas Goray. From the artist's "Faces of the Hills" collection, an immense work in which he portrayed 350 individual Tibetan and Burmese subjects with exquisite likeness, the man in this painting appears wise, possibly intent in sharing oral tradition. Douglas is a noted Darjeeling artist, a master of portraiture, revered for his documentation of native peoples.
Tibet, circa 1955-60. An original pastel portrait of a Tibetan native by world renowned artist Goray Douglas, with signature. Beautifully framed behind glass. Image measures approximately 32.5 x 25cm. Gold colour frame measures approximately 40 x 50 cm. Very Good Condition, an exceptionally well rendered pastel painting on grey paper laid to a wide margin mount. This is not a reprint. This is a RARE ORIGINAL PAINTING by Douglas Goray. From the artist's "Faces of the Hills" collection, an immense work in which he portrayed 350 individual Tibetan and Burmese subjects with exquisite likeness, the young woman in this painting sports a uniquely Western influenced hair style, traditionally adorned with large beads. Douglas is a noted Darjeeling artist, a master of portraiture, revered for his documentation of native peoples.
Tibet, circa 1955-60. Set of six (6) original pastel portraits a of Tibetan natives, by world renowned artist Goray Douglas, with signature. Each is individually framed behind glass. Images measure approximately 32.5 x 25cm. Gold colour frames measure approximately 40 x 50 cm. Very Good Condition, exceptionally well rendered pastel paintings on grey paper laid to a wide margin mounts. These are not reprints. These are SIX RARE ORIGINAL PAINTINGS by Douglas Goray. This set includes six very distinct and striking real personalities from the artist's "Faces of the Hills" collection, an immense work in which he portrayed 350 individual Tibetan and Burmese subjects with exquisite likeness. Douglas is a noted Darjeeling artist, a master of portraiture, revered for his documentation of native peoples.
Among the Hills: A Book of Joy in the High Places. - First Edition. Dedication Copy With Beautiful Original Ink Drawing. Headley Brothers, London, [nd] 1911. 8vo., [vi], 326 pages, and 1 page of publisher's ads. Illustrated with photographic plates as well as 14 colour plates of paintings by two artists, the latter mounted to teal-grey linen leafs with tissue guard. Publisher's original teal cloth, gilt title to front and spine. [Later editions were printed on ordinary paper rather than the finer production mounted in this first edition; tissue guards were also omitted.] Slight shelf wear to spine, otherwise in very good and original condition, a pleasing volume with a splendid drawing. The front end paper features a charming ink drawing of two birds fluttering over a river, by a skilled artist. The artist is identified only as A.J., who dedicates the volume to E. Horace Walpole, 1-10-1912. The recipient is perhaps the illegitimate son of Horatio Walpole (1813-1894) 4th Earl of Oxford (second creation) and Lady Susan Hamilton Douglas (1814-1889) wife of the 5th Duke of Newcastle. Research to this effect is warranted to substantiate. Farrer's narrative recounts a six week exploration in the Gratian, Cottian and Maritime Alps looking for particularly rare and precious plants, so stated in his first chapter. Written for the cultivator and lover of plants who share his passion, as opposed to the collector of samples, his work is a beautifully written and highly detailed account of the plants' features, habitat, preferred conditions for growth, and so forth. At the end of the work he evidently felt it necessary to dispel an accusation of having devastated regions in the valleys of the Alps, a charge which contradicted the very essence of his work.
Set of 24 volumes of the Prince Valiant series. Large format books: 10 3/8"w x 14 1/4"h. Black cloth spines with pictorial paper-covered boards. Most volumes are in Fine condition, but about five volumes show edge wear and small tears to spine, especially at top and bottom. From the publisher: "Universally acclaimed as the most stunningly gorgeous adventure comic strip of all time, Prince Valiant ran for 35 years under the virtuoso pen of its creator, Hal Foster. Starring a daring and gallant young hero, the series features epic swordfights, elaborate scenes of pomp and pageantry, and breathless plotting that always leaves the reader wanting more. Fantagraphics? deluxe editions, each collecting two years? worth of Sunday strips, boast superbly restored artwork that captures every delicate line and chromatic nuance of Foster?s art." This large, heavy set will require extra shipping charges and is not available for international shipping.
11 pages, including 3 in-text charts. Original condition with blue wrappers, titles to front, and containing all the ads. This is a complete issue, seldom found in such good and original condition. A scientific report on the frequency of Gales in the Arctic - between Greenland and Novaya Zemlya - and the Antarctic, accompanied by data tables, sketch maps, appendix and bibliography. Data tables include information on: the number of days a year with storm in specific location in Greenland and Iceland; average yearly wind force at Spitsbergen (Green Fjord); mean wind speed at Laurie Island, S. Orkney; frequency of gales at expedition bases ashore in east Antarctica; frequency of gales experienced by Antarctic sledging parties, Mawson's, Scott's, Shackleton's and Byrd's.
Archive of London Artist, featuring a tribute to king of Belgium; comprises 5 published book dustjackets for notable authors, 2 bookplate designs, 11 heraldic arms of the British monarchy and the Royal Armed Forces, 30 hand-drawn and coloured Oxford coat of arms, 21 unique greeting cards, 7 photographs, and a few other items pertaining to publications and to colleges. Artworks and photographs range in size, the smallest measuring approximately 8 x 11 cm and the largest measuring 20 x 25 cm. With the exception of the greeting cards and bookplates, all other works are mounted to large cardstock leafs measuring approximately 29 x 35 cm. Two series of works are accompanied by typescript descriptions; one is accompanied by a facsimile letter from the College of Arms in London. The lot in very good condition, providing insight into the works of an all but forgotten London-based commercial artist who was active before and during the Second World War. Norman Walker James (1886-1963) was a commercial artist and designer established in London from about 1910-1911. He is listed as a Decorative Designer residing at a boarding house in Kensington, in the 1911 census. Although little-known today, he evidently rose to some acclaim in his trade, as he was selected to design a memorial tablet for Belgian King Albert I. Born in Leicester, he was the son of a congregational minister. The present archive consists of an artist's own retained copies of his work, which form a fascinating portfolio of a man who was notable and active, not long ago from the 1920s into at least the 1940s, and yet seems to be vanished into obscurity. His undertakings and contracts connected him to Belgian royalty, notable publishers, and administrators of renowned college institutions. Especially interesting are the items pertaining to his contribution to a memorial located in the Sint-Maartenskathedraal in Ypres [St Martin's Cathedral re-built in 1930] , including a photograph of the tablet designed by James and accompanied by his design description, two coats of arms printed true-to-size as they would be on the tablet, as well as two rare large press photographs of its unveiling on 21 May 1938. The tablet served to honour Albert I King of Belgium together with the British Armed Forces for the gift of the exquisite rose stained glass window mounted above the south transept door. James designed the nine-foot tall tablet, on which he hand painted the inscription, and which was unveiled by King Leopold III. It featured the coat of arms of Albert I, as well as the Arms of the British Army, the RAF and the Dragoon Guards. Some of James' dustjacket designs retained here include: Commodore Anson's Voyage Into the South Seas and Around the World, by Boyle T. Somerville, published in 1934; The Recollections of Sir Henry Dickens, published in 1934; The Daughters of George III, by Dorothy Margaret Stuart, published in 1939; War & Peace, by Leo Tolstoy, published in 1942 (Also with original book boards); The Heart of Jade, by Salvador de Madariaga, published in 1944. Other book and publishing related designs include: Four photographs showing the dedication leafs and front boards of a book issued by Great Britain's Postal Administration to commemorate the tricentennial anniversary of Norway's postal service and to celebrate the two nations' collaboration in a Universal Postal Union; A front wrapper for a 1934 issue of "Paris Salon Illustrated" magazine for artists. On two leafs are mounted 30 hand coloured drawings of heraldic shields, being the Arms of the University of Oxford, and twenty-nine of its colleges or halls, some examples of which include Pembroke College, St. John's College, Jesus College, Queens College, Magdalen College, and Campion Hall. A ticket of R. P. Gossop Limited stamped "Norman James" reveals a connection to the agency. [Reginald Percy Gossop (1876-1951) was a commercial artist specializing in graphic and landscape art, and is best remembered for designing posters for the Underground Group from 1925 to 1932. He started an agency for artists circa 1920. He studied at Birkbeck College in London, then at the Hammersmith School of Art.] Manuscript
No marks or inscriptions. No creasing to covers or to spine. A very clean very tight copy with bright unmarked boards and no bumping to corners. 64pp. Generations of artists have depicted angels as divine messengers, spiritual guides or heavenly musicians. This study shows some of these images with lengthy descriptions of each.
Korea's most prestigious Yi Dynasty paintings reproduced and thus preserved in a most elegant single presentation, this is an exceedingly scare work. The famous original paintings are held in private and museum collections throughout Korea. Each painting here is illustrated in colour, most also being the same size as the original artworks. Some of the larger ones are foldout plates. Each is tipped to its own printed carrier folder with a descriptive text printed adjacent on the same large leaf. These four portfolios weigh 30 kg and we will provide free shipping anywhere in the world.
