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A clean, unmarked book with a tight binding. Previous owner's name inside. 320 pages. Fourth grade science textbook from the fifties with wonderful black and white and color illustrations by Guy Brown Wiser.
This is a very good softcover copy with just light wear. Completely clean inside and out. Text in Japanese. Essay by Yoshiaki Inui in English and Japanese, 'Yuzo Saheki and the Ecole de Paris'. 69 full-page color plates of Yuzo Saheki's work. 70 full-page color plates of School of Paris painters. 139 works in the show. Checklist in Japanese, with titles and occasional bibliographic references in English. 11" high X 9" wide, unpaginated but about 250 pages.
68 pages. Includes 4 pages of color photos of the band. Includes guitar tab and lyrics for these songs: Big Boys Don't Cry; Flesh'n Blood; Kid Ego; Little Girls; Mutha (Don't Wanna Go to School Today); Play With Me; Rock a Bye Bye; Smoke Signals; Teacher's Pet; Watching, Waiting; Wind Me Up. Unmarked. Above-average wear with several holes punched in front cover. Binding intact. A worthy reference copy of this great compilation. Book
197 pages. Father Pat's own story of blindness: a journey from "handicap" to "gift". Examines questions such as: Why am I blind? Why can't I go to school? Why am I different? I can't be a priest? What can I do with my life? Is there anything in life for me? Clean and unmarked with light wear. Nice copy. Book
A clean, unmarked book with a tight binding. Small tears and edge wear to dust jacket. Full blue cloth boards. 170 pages. Black and white photos. Inscribed by author.
77 pages. Learning to trust God with every part of your life. Take the fear out of teaching junior high/middle school all year long. Unmarked. Clean. Faintest wear. Excellent glossy copy. Book
The tenth and final volume of the catalogue raisonnÈ. 216 pp. 127 color plates; 9 b&w plates. Large 4to. Publisher's cloth. NEW.
Veduta della festa di Sant’Andrea ad Amalfi, tratta da un disegno di Luois Jean Desprez. Amalfi festeggia Sant’Andrea, patrono della città, ben due volte all'anno, una il 30 novembre, l'altra il 27 giugno nell'anniversario del miracolo che salvò la città di Amalfi dall'invasione del pirata Kair-Ad-Din detto Barbarossa nel 1544. Sant'Andrea è protettore dei pescatori di tutto il mondo, di pescivendoli e di tutti coloro che hanno a che fare con la pesca. Ai festeggiamenti del 30 novembre, partecipa tutta la popolazione, ed è in questa occasione che avviene il “miracolo di Sant’Andrea”, per tanti versi molto simile al miracolo della liquefazione del sangue di San Gennaro. Probabile che il Desprez realizzi il disegno durante il suo viaggio in Italia, durante il quale descrive molto luoghi dell'Italia meridionale, poi base iconografica per il "Voyage Pittoresque" dell'abate Richard de Saint-Non.Incisione all'acquatinta ad inchiostro bistro, lievemente rifilata all'interno della linea marginale, piccole crepe di carta, per il resto in ottimo stato di conservazione. Rarissima. View of the feast of St. Andrew in Amalfi , taken from a drawing by Louis Jean Desprez. Amalfi celebrates St. Andrew, patron saint of the city, twice a year, on Nov. 30, the other June 27 anniversary of the miracle that saved the city from the invasion of Amalfi pirate Kair -Ad- Din said Barbarossa in 1544. St. Andrew is the patron of fishermen from all over the world, fishmongers and all those that have to do with fishing . The celebrations of November 30 , participates in the entire population, and it is on this occasion that happens the "miracle of St. Andrew " , in many ways very similar to the miracle of the liquefaction of the blood of San Gennaro.Likely that the realized design Desprez during his trip to Italy, during which describes a lot of places in southern Italy , then iconographic basis for the " Voyage Pittoresque " by the Richard de Saint-Non.Aquatint printed with bistro ink, slightly trimmed within the marginal line, small cracks of paper, otherwise in excellent condition. An extremely rare work. Frölich, Johan Fredrik Martins gravyrer, Stockholm, 1939, 291 II.
175 p Hardcover Very good condition
72 pages. Features: Fiber education in the 1990s; The Craft School experience; Travel as education; The master/apprentice relationship; The unseen made visible; Made in Japan; Gerhardt Knodel; Victoria Z. Rivers; Lida Gordon; Marla Brill; Jilli Blackwood; Pamela Studstill; Judy Hubbard; and more. Clean and unmarked with moderate wear. A sound copy. Magazine
Acquaforte, firmata e datata nel margine inferiore: Fran Zuccherelli Pitilianen incid. Flo. 1728. Da un disegno di Giovanni Manozzi. La stampa mostra una figura femminile in piedi che cammina verso sinistra tenendo una lampada, indicando con la mano destra. Bell’esemplare, stampato su carta vergata coeva, rifilato in prossimità della linea marginale, privo del testo contenuto nel margine inferiore. Francesco Zuccarelli studiò a Firenze nella bottega di Paolo Anesi ed in seguito si trasferì a Roma presso i pittori Giovanni Maria Morandi e Pietro Nelli. Fu inizialmente un pittore di soggetti storici ispirato dalla conoscenza della pittura di Claude Lorrain, pittore francese del Seicento vissuto a Roma che fu maestro di questo genere insieme al connazionale, ma più scenografico, Nicolas Poussin. Trasferitosi a Venezia, Zuccarelli, si rivolse alla pittura di soggetto arcadico, che coltivò in concorrenza col bellunese Giuseppe Zais. Come successe ad altri pittori veneti suoi contemporanei, quali Canaletto e Bernardo Bellotto, la sua pittura fu molto apprezzata all'estero dove fu chiamato a dipingere per ricchi mecenati come ad esempio il celebre Console Joseph Smith. Zuccarelli lavorò molto in Inghilterra dove influenzò importanti pittori locali in maniera particolare il suo stile fu ripreso dal grande Joshua Reynolds. Dopo cinque anni di permanenza a Londra, Zuccarelli ritornò a Venezia. Di nuovo a Londra nel 1765, fu uno dei fondatori della Royal Academy of Arts nel 1768. Etching, signed and dated lower margin: Fran Zuccherelli Pitilianen incid. Flo. 1728. After a drawing by Giovanni Manozzi. The print shows a standing female figure walking to the left holding a lamp, pointing with right hand. Good example, printed on contemporary laid paper, trimmed close to the marginal line, in perfect condition. Cut off the inscription in the lower margin. Francesco Zuccarelli studied in Florence in Paolo Anesi's workshop and later moved to Rome with the painters Giovanni Maria Morandi and Pietro Nelli. He was initially a painter of historical subjects inspired by his knowledge of the painting of Claude Lorrain, a 17th-century French painter who lived in Rome and who was a master of this genre together with his compatriot, but more scenic, Nicolas Poussin. After moving to Venice, Zuccarelli turned to painting Arcadian subjects, which he cultivated in competition with Giuseppe Zais from Belluno. As with other Venetian painters of his time, such as Canaletto and Bernardo Bellotto, his painting was much appreciated abroad where he was called to paint for wealthy patrons such as the famous Consul Joseph Smith. Zuccarelli worked extensively in England where he influenced important local painters, and in particular his style was taken up by the great Joshua Reynolds. After five years in London, Zuccarelli returned to Venice. Back in London in 1765, he was one of the founders of the Royal Academy of Arts in 1768. Massar - The prints of Francesco Zuccarelli (3.I) in Print Quarterly (XV) (3) (pp. 247-263).
128 pages. A systematic course of instruction, it guides you from the basic steps - skating forwars, skating backward - through to the most advanced techniques such as double flip and triple Salchow. Complemented by over 30 full colour figure illustrations. Diagrams showing correct positioning of the feet accompany each illustration. Includes photos of today's stars. Excellent reference. Usual library markings. Average wear. Solid copy. Book
This is a very good hardcover copy with almost no wear. Completely clean inside and out. Text in Polish. Illustrated throughout in black & white. 10" square, 279 pages. This book will be securely packed and shipped with tracking.
Acquaforte. Lastra mm 118x152, foglio 160x222 mm. Firma a matita a sinistra Luigi Bart. Titolo a matita in basso a sinistra non ben leggibile. Possiamo ipotizzare Invadenza. L’incisione non è catalogata in nessuno dei numerosi repertori sull’artista da noi consultati; è notorio che la catalogazione delle opere di Bartolini non è ancora completa. Bellissima prova, impressa su carta coeva, piccolo strappo perfettamente restaurato nella parte superiore, leggera abrasione al verso, per il resto in ottimo stato di conservazione. Luigi Bartolini è considerato uno dei maggiori incisori italiani del Novecento, insieme a Giorgio Morandi e Giuseppe Viviani. Oltre ad essere un prolifico incisore (al suo attivo oltre mille acqueforti), fu anche pittore e scrittore. Partecipò sia come pittore che come incisore a diverse edizioni della Biennale di Venezia dal 1928 al 1962. Presente a varie manifestazioni artistiche, sviluppò diverse maniere definite: ‘maniera bionda’, ‘lineare’ e ‘nera’. Ricordiamo soprattutto le acqueforti della serie Marche e della serie Sicilia. Iniziò la sua produzione grafica nel 1914 e il suo stile si rifà alla tradizione naturalistica dell’Ottocento. Molte sue incisioni si possono ricollegare ad alcune opere del Goya, di Telemaco Signorini e di Giovanni Fattori. Eccellente nella rappresentazione della natura morta e del paesaggio, spesso il Bartolini rappresentò dolcemente le cose e gli oggetti più umili, i soggetti di natura più dimessi. In essi ritroviamo il sentimento che diviene immagine e la forma che si sviluppa in espressione. Con Bartolini l’incisione torna ad essere un mezzo di espressione poetica libera dal simbolismo e dal vedutismo allora in voga presso le accademie. Nelle sue acqueforti prevale ora un tratteggio leggero (genere biondo), ora una ricerca del chiaroscuro alla Rembrandt (genere nero). Etching. Plate mm 118x152, sheet 160x222 mm. Signature in pencil on the left Luigi Bart. Title in pencil at lower left not well readable. We can assume Invadenza. This work is not catalogued in any of the several repertories we consulted about the artist; it is well known that the cataloguing of Bartolini's works is not yet complete. Beautiful proof, printed on contemporary paper, small tear perfectly restored in the upper part, light abrasion on the back, otherwise in excellent condition. Born in Cupramontana near Ancona, Luigi Bartolini was the twentieth century Italian etcher, who came closest to the stature of his great rival, Morandi. As a teenager, he saw the collection of etchings, including work by Callot, owned by the Corradi family in Iesi. From 1907 to 1910 Bartolini studied at the Istituto di Belle Arti in Siena, and started to etch c. 1909. He moved to Rome in 1910, where until 1912 he frequented the Accademia di Belle Arti, while also attending lectures on literature and the history of art, and courses on anatomy at the University in Rome. Bartolini studied the etchings of Goya and took lessons on drawing at the Accademia di Spagna. From there, he went to Florence in 1913, where he attended the Scuola del nudo. Bartolini continued his anatomical research, as well as studying architecture, making himself the most assiduous student of all Italian twentieth century printmakers. He also visited the Uffizi and Florentine print dealers to look at the etchings of Rembrandt and Fattori. Bartolini painted his first oils just before the outbreak of the First World War. Although he painted pictures throughout the rest of his career, and was awarded the Premio Marzotto for them in 1956, they have been far eclipsed in fame by his etchings and writings. During the First World War, Bartolini published his first collection of poetry. A very prolific and accomplished writer, in this field he is best known today as the author of the novel, 'Ladri di biciclette' (Bicycle thieves), of 1946, which was quickly turned into a celebrated film by Vittorio de Sica and Cesar Zavattini. After the First World War, Bartolini held a series of minor teaching posts in Macerata, Sassari, Avezzano, Pola, and Caltagirone, while he continued to etch, and started a long career as a polemical journalist and critic of art and architecture. From 1923 to 1929, he wrote for the Naples periodical, 'Cimento', but he also contributed to 'Il Selvaggio', 'Quadrivio', 'Italia letteraria', and 'L'Ambrosiana'. Bartolini's 1924 exhibition of etchings at the Casa d'Arte Bragaglia in Rome was a great success, and later that year he showed 70 etched landscapes of the Marches at the Casa Palazzo di Roma. The following year he visited Paris, where he paid particular attention to the paintings of Van Gogh. Bartolini's political convictions led him to being assaulted by Fascists and hospitalised in 1928. Two years later, he won a prize at the Venice Biennale, where he had exhibited a portfolio of etchings. In 1930, the Turin publisher, Buratti, began to issue a series of portfolios of etchings by contemporary Italian artists under the editorship of Cipriano Oppi, selecting Bartolini for the first album. The following year, Buratti published 'Le carte parlanti', a portfolio of 10 of Bartolini's etchings, which was published in an edition of 20. In 1932, Bartolini shared the first prize at the Prima mostra dell'incisione moderna at the Uffizi with Morandi and Boccioni. His close friend, the leading anti-Fascist art historian, Lionello Venturi, acted as his agent selling his etchings in Paris. Bartolini's correspondence with his compatriots in exile led to his imprisonment, from which he was released on Mussolini's personal intervention. He was then placed under political surveillance. From 1933 to 1938, Bartolini taught in Merano, where he painted and etched in the open air, finding subjects on the banks of the fast flowing Adige. Despite being under political su...
80 pages. Index. Discusses what science knows about the awesome power of fire. Coupled with spectacular colour photographs taken before, during and after forest fires. Documents the remarkable role of fire in the overall health of our planet. Minimal wear. Clean, bright and unmarked. Small closed tear to dust jacket which is now preserved in a glossy new archival-grade Brodart cover. Lovely copy. Book
120p. + Plus Frontis and seven steel plate engravings. Title page decorated with an engraving. Numerous text illustrations. Early penciled notations. Some age staining. Tall 12mo. 220 mm. Original pictorial printed boards, worn. Cloth spine repaired. Very good copy. SPACE BOX 7
48 pages. Artist chronologies. Catalogue of an exhibition at the Floating Curatorial Gallery, Vancouver, B.C., September 10 - October 24, 1987, featuring works of Lilias Farley, Irene Hoffar Reid, Beatrice Lennie and Vera Weatherbie. Illustrated in colour and black and white. Corner of front cover clipped, otherwise clean and unmarked with light wear. A quality copy. Book
94 pages. Authorized by the Council of Public Instruction of Ontario. "Deny the divine origin of Scripture and nevertheless you must keep the volume (Bible) as a kind of text book of morality, if indeed you did not wish the banishment from our houses of all that is lovely and sacred, and breaking up, through the lawlessness of ungovernable passion, of the quiet and beauty which are yet around our familes." - from Prefatory Notice. Contains 16 lessons. Somewhat above-average wear and soiling to embossed black cloth-covered boards. Binding intact. Prior owner's name upon front free endpaper else unmarked. Foxing to endpapers and contents. Valuable historical evidence of the prominence once placed upon Christian education and morality in the schools of Ontario. Author was a very influential Canadian in his day. A rare surviving copy. Book
48 pages. Features include: Outlook for the 2001 Salmon Season; North Coast Advisory Board Commercial Caucus Recommendations for the Northern 2001 Salmon Fishery; Summary of the International Pacific Halibut Commission Meeting; Joan Donley's Memories as a Nurse, Fisherman and Tail Sawyer on the Sunshine Coast; Back to School? - Changes to the Fishing Master Certification Regulations may affect you; DFO's Selective Policy - Fishermen to Buy-in and Pay for New Selectivity Standards; Upper Adams and Nadina River Updates. Average wear. Usual library markings. Book
A nearly complete set of flannel (cardboard backed with very thin gray foam) multicultural and possibly non-binary children's faces and body parts with various skin tones dressed in the finest styles of 1979, including some tall gray boots. See photos for parts included. Also includes dual-language instruction sheet in English and Spanish. Also includes foam-backed word cards.
Features: Autumn in the garden; Back to school; Halloween Party; Colour it Bronze; Ayletts Dahlia Festival; Bamboo as a traditional Chinese Brush Painting; how to preserve dahlias; Flowers at Harewood House; Flowers through the ages; Collecting books on flower arranging; Autumn candles; how to grow Hippeastrum; have a spring garden indoors this winter; Isla Gladstone Prints; A Flower Arranger visits Bangkok; Floral Feathers; Relaxing under glass; Growing unusual climbers indoors; and more. Clean and unmarked with light wear. Nice copy. Book
206 pages. Index. Prior owner's details whited out atop front free endpaper. Few markings to contents. Binding intact. Somewhat above-average wear to red cloth-covered boards. A sound copy of this eminently practical vintage homemaker's guide, intended for school students in British Columbia. Book
177 pages. Index. "Intended for the use of the students of Home Economics in elementary and junior high school classes." - from foreword. Above-average wear and soiling, consistent with a well-used cookbook/textbook of this vintage. Prior owner's details in pencil atop first blank page. Binding shaken but intact. A worthy vintage copy. (Driver B59.11) Book
316 pages including black and white illustrations and an extensive index. Records the first half-century of settlement in Metchosin on southern Vancouver Island. Frontis illustration by Sue Coleman. Minimal wear to book which remains clean and bright in blue boards. Prior owner's ink stamp upon half-title page and endpapers, both of which are decorated with an ornate old-time map of the area. Dust jacket, now preserved in archival-grade Brodart, shows average wear and sticker removal patch atop front panel. A quality copy of this important genealogical reference. HALE & BARMAN 399. Book
338 pages. Index. Signature of Murray Rothbard in blue ink upon title page appears to have been stamped or written in autopen. "Provides a penetrating and enlightening rationale for his approach, and applies the libertarian idea to every aspect of politics." - from back cover. "... A benchmark of how far leftward the right wing of standard brand American politics now stands." - The Washington Post. Moderate wear. Unmarked. A sound copy. Book
