Marriott, J.A.R.MareMagnum
2 213 résultats
142 pages. Index. "Endeavours to present a complicated subject (Economics) in the simplest possible terms. Chapters include: The Daily Miracle; The Shop; The Farm; Some Definitions; Capital; Labour; Modern Business; Money; Banks and Banking; Overseas Trade; The Machinery of Trade. Prior owner's name atop front free endpaper. School stamp inside front board. Moderate wear. Binding intact. A nice copy. Book
xv, 889 pp. Index. A comprehensive and systematic treatise on economics, social philosophy, and the social sciences. A survey of the science of human action, its epistemology, its theories derived by reasoning logically from a priori axioms, and their application to specific economic phenomena. A rewritten version of Nationalokonomie, Theorie des Handelns und Wirtschaftens, published in 1940. Usual library markings. Ink markings to page 265. Above-average wear to grey boards. Binding intact. A worthy first printing example of this, the author's masterwork. Greaves & McGee B-16. Hutchinson 351. Fundaburk 1806. Book
40 pages. 66 black and white photos and illustrations. Printed on glossy stock. Features: French President Lebrun visits British troops at the front; With the British troops at the front; Photo of the Antelope which sunk two U-boats in a day; In the home front news; Illustrated article by Sir Kingsley Wood entitled "The Road to Victory"; Training soldiers to control railways; Further German secrets revealed by the R.A.F. - excellent overhead photos of the seaport of Brunsbuttel and the seaplane base on the island of Sylt; Finland stands firm against the red invaders - 8 photos; Full-page photo portrait of Sir Thomas Blamey; Centerfold illustration of the last moments of a Heinkel bomber followed by a British fighter; French army activity at the front; Pictorial news from the German front; Illustrated article by Sir Henry McMahan entitled The Y.M.C.A. and the War; Photos of Anzacs of 1940 arriving in the Middle East; Full-page photo of Mr. Anthony Eden addressing New Zealand troops aboard the leading transport ship at Suez; Training Officers and men at a naval torpedo school; Commentary on the war this week; Flight Lieutenant Robert Voase Jeff is decorated by General Vuillemin of the French Air Force; Protecting army convoys in France from the air; Summary of the chief daily events in the war this week. Moderate wear. Unmarked. A sound copy. Book
32 pages. Printed on glossy stock. Profusely illustrated with black and white photos and illustrations. Features: Rulers of the waves - various naval photos; Rudolph Hess flies to Scotland - photos of Hess, his smashed plane, and David Maclean, the ploughman who witnessed Hess's arrival and took him into his mother's house; Photo-illustrated text of article by Anthony Eden entitled "Progress of the War"; Photo of the Nazi advance on Larissa; Full-page photo of a quayside scene as British and Imperial troops return from Greece; Aerial photo of the Kirkuk oil fields from which oil is pipelined to Haifa; Map of the Middle East entitled "Threat to the Oil-Fields of Iraq shows the position of Iraq and its oil-fields in relation to Turkey, Syria and the Mediterranean; Wars of the night air - Photo of Wellington bombers and a crew as they wait for nightfall on May 10th when a heavy raid was made on Hamburg; Photo of a bomber crew being debriefed upon their return; Photo of a Douglas DB7 in flight; H.M. the King chats with crack night-fighting pilots before they take off to engage the enemy on May 8th; Photos of the Home Guard which is now one-year-old; Illustrated centerfold by Montague B. Black shows R.A.F. havoc in Hamburg; Photos of destruction to Big Ben, the House of Commons, Westminster Hall, Westminster Abbey, the Westminster Deanery, Westminster Upper School, a 700-year-old church in Bromley, Kent, and Liverpool; Photo of smiling German prisoners being marched at a London station; Photo-illustrated article by Dr. P.S. Gerbrandy of the Netherlands entitled "Faith of the Netherlands"; German sketch of a mysterious massive gun which is used to shell Dover; Photos of medical patients being removed from London's blitz; A commentary on the war this week; Photos of Britain on guard; Full-page photo of a Newfoundland artillery crew hauling its large 6" gun; Summary of the chief events in the war this week. Moderate wear. Unmarked. Binding tight. A quality copy. Book
No marks or inscriptions to contents. Light creasing to covers. A clean tight copy with slightly dusty unmarked front cover, minor marrks to rear and minor nicks to oversize parts of covers. unpaginated ca 65pp. The school mazgazine for 1962 of Hyde Country Grammar School in Hyde, then in Cheshire, now in Tamesdie. Filled with events of the year, short stories, sports events, school clubs. Interesting entry for Nov 3 was 'explosives found in gym, set with 2 days fuse'. Many contemporary adverts of the shops in the town - now long gone. Extremely scarce.
Book shows very little wear with creaseless spine and back cover, two small creases at front. Tiny bit of edge and corner wear. Binding is solid and square, exterior shows no other blemishes, text/interior is clean and free of marking of any kind. 139 pages, over 50 poems.
Acquaforte e puntasecca stampata su carta coeva, in eccellente stato di conservazione. Incisione originale eseguita all'acquaforte su matrice di rame; in lastra, sotto la parte figurata, indicazione dell'artista in qualità di inventore ed esecutore, nome dello stampatore e titolo. L'opera, pregevole e coinvolgente per l'intenso effetto chiaroscurale, è tratta da una delle principali riviste d'arte italiane dell'epoca. L'immagine, riproducente un dipinto dello stesso Bianchi oggi conservato presso la Galleria d'arte moderna di Milano, rappresenta una scena ispirata agli ideali del Risorgimento: nella penombra di una chiesa, tre giovani donne pregano dinanzi all'altare per i fratelli che sono al campo di battaglia. Dipinto fortunato e celebratissimo anche per l'indovinata scelta del soggetto, ispirato alla terza guerra d'indipendenza combattuta per la liberazione di Venezia (1866), con chiari sottintesi risorgimentali e patriottici evocati fin dall'allusione al tricolore nelle vesti delle tre giovinette, fu tra le opere di Mosè Bianchi che maggiormente piacquero ai suoi primi critici. L'opera risente del giovanile soggiorno a Venezia, evidente nella cromia accesa e luminosa. La fama dei "Fratelli al campo" contribuì a moltiplicare le versioni, sotto forma di repliche, pseudo-bozzetti, varianti, in tecniche diverse, dall'olio all'acquarello, all'acquaforte. Influenzato dallo stile di Faruffini e Mariano Fortuny, Mosè Bianchi inizia con quadri storici di soggetto romantico, per volgersi poi al genere e al paesaggio. La sua pittura parve assai rinnovatrice, per l’attenzione data agli effetti atmosferici e per la tecnica spigliata, in realtà più vicina a quella del Fortuny che a quella degli impressionisti. Egli realizzò circa settanta opere incise all’interno delle quali riportò ciò che rappresentava nei dipinti ma l’attenzione non è più rivolta tanto al soggetto quanto ai giochi chiaroscurali. Etching and drypoint printed on contemporary paper, in excellent condition. Original etching executed on copper matrix; on the plate, under the image, indication of the artist as inventor and executor, name of the printer and title. The work, valuable and involving for the intense chiaroscuro effect, is taken from one of the main Italian art magazines of the time. The image, reproducing a painting by Bianchi himself, now preserved at the Gallery of Modern Art in Milan, represents a scene inspired by the ideals of the Risorgimento: in the half-light of a church, three young women pray before the altar for their brothers who are at the battlefield. This is a fortunate and celebrated painting, also because of the fortunate choice of the subject, inspired by the third war of independence fought for the liberation of Venice (1866), with clear Risorgimento and patriotic subtexts evoked by the allusion to the tricolor flag in the garments of the three young girls. It was one of the works by Mosè Bianchi that his critics liked the most. The work is influenced by his youthful stay in Venice, evident in the bright and vivid colors. The fame of the "Fratelli al campo" contributed to the multiplication of versions, in the form of replicas, pseudo-sketches, variants, in different techniques, from oil to watercolor, to etching. Influenced by the style of Faruffini and Mariano Fortuny, Moses Bianchi began with historical paintings of romantic subjects, then turned to the genre and landscape. His painting seemed very innovative, for the attention given to the atmospheric effects and for the easy technique, actually closer to that of Fortuny than to that of the impressionists. He made about seventy engraved works in which he reported what he represented in the paintings but the attention is no longer directed so much to the subject as to the chiaroscuro games. Bibliografia Giubbini G., "L'acquaforte originale in Piemonte e in Liguria. 1860-1875", Genova 1976, p. 103 fig. 41; "Mosè Bianchi e il suo tempo", cat. della mostra, Milano 1987, p. 202 fig. 3.
Acquaforte e punta secca, 1939. Misure della lastra, 260x 185 mm misure del foglio 283x203 mm. Esemplare unico, come da iscrizione a matita “p. e. u” (prova esemplare unico) in basso. Variante dell’opera I guerrieri dello stesso anno (Marino, 866, Ficacci, 85), con numerose modifiche e su una lastra di dimensioni diverse. Firma e data incise sulla lastra in basso a sinistra, firma e titolo a matita in basso “I guerrieri P. e. u Luigi Bartolini”. 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). Bibliografia C. Barsanti, Catalogo ragionato dell’opera grafica di Luigi Bartolini, Galleria Marino Roma (1972), n. 866; Ficacci, Luigi Bartolini alla Calcografia, n. 85. Etching and drypoint, 1939. Plate size, 260x 185 mm sheet size 283x203 mm. A unique example, as per pencil inscription "p. e. u" at bottom. Variant of the work I guerrieri of the same year (Marino, 866, Ficacci, 85), with numerous changes and engraved on a plate of different size. Signature and date engraved on the plate at lower left, and signature and title in pencil at bottom "I guerrieri P. e. u Luigi Bartolini". 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 suspicion, he was given a one - man show of 50 etchings at the second Rome Quadri...
Xilografia, 1505 circa, monogrammata nella tavoletta in basso a destra. Stato unico, nella terza variante, di cinque, descritte da Meder (n. 233 c/e) Magnifica prova, nitida e ben contrastata, nella terza variante descritta da Meder, caratterizzata da una piccola rottura del legno che comporta una mancanza di circa 5 mm nella parte superiore della linea d’inquadramento. In ottimo stato di conservazione. San Nicola, a sinistra, è identificato dal pane che tiene in mano, che gli fu portato durante una carestia sull'isola dove viveva, dalla barca sullo sfondo. Sant'Erasmo, a destra, sta portando le sue viscere, avvolte intorno a un rocchetto, e inoltre, è identificato dalla ruota con una candela accesa. Al centro c'è Sant'Ulrico, il patrono di Augusta, con in mano il suo simbolo, un pesce. Poiché è al posto d'onore, è stato ipotizzato che questo foglio sia stato commissionato o inteso per essere venduto ad Augusta. Il nome Ulrich non era comune a Norimberga. Questa stampa è spesso considerata come la controparte di un’altra xilografia, raffiguranti i SS. Lorenzo, Sisto e Stefano, sebbene le figure siano più allungate. Alcuni critici hanno anche riconosciuto un concetto spaziale che sembra corrispondere ad alcuni fogli de La Piccola Passione. Di conseguenza, datano questo foglio dopo il ritorno di Dürer dal suo secondo viaggio in Italia, cioè verso il 1508. Ma – osserva Strauss - questa xilografia corrisponde in troppi dettagli ad altre due: il soggetto, lo sfondo, gli uccelli, e inoltre il tipo di carta su cui è stampata, che non la distingue affatto dalle altre cosiddette "modest woodcuts", tutte riferibili agli anni 1503-1505. La forma della tavoletta che porta il monogramma è unica, ma rudimentale. Queste differenze possono essere più propriamente attribuite alla presenza di un'altra mano nella bottega di Dürer che ha modificato il disegno di Dürer in fase di intaglio. Bibliografia Bartsch, 118; Meder, 233 (c/e); Tietze, 398; Panofsky 338; Strauss n. 88. Woodcut, 1505 circa, signed with monogram on tablet lower right. Only state. Impression of Meder variant c/e, with a 5 mm gap in the upper border. Good impression, black, full-bordered, with a 5mm gap in the upper border according the variant c/e described by Meder. Very good condition “St. Nicholaus, on the left, is identified by the bread he is holding, which was brought to him during a famine on the island where he lived by the boat in the background. St. Erasmus, on the right, is carrying his entrails, wound around a reel, and in addition, is identified by the wheel with a burning candle. In the center is St. Ulrich, the patron saint of Augsburg, holding his symbol, a fish. Because he is in the place of honor, it has been surmised that this sheet was commissioned or intended to be sold in Augsburg. The name Ulrich was not common in Nuremberg. This print is often regarded as the counterpart to the preceding one (no. 87), although the figures are longer elongated. Some commentators have also detected a spatial concept that seemingly corresponds to some of the sheets of "The Small Passion' (nos. 106-142). Accordingly, they date this sheet after Dürer's return from his second Italian journey, i.e. c.1508.2 We find that assumption highly speculative. This woodcut corresponds in too many details with at least the two preceding ones: the subject, the background, the birds, and moreover the type of paper that it is printed on, which in no way sets it apart from the other "modest" woodcuts. The shape of the tablet bearing the monogram is unique, yet primitive. These differences can more properly be ascribed to the presence of another hand in Dürer's workshop who modified Dürer's design in preparation for the cutter.” (cf. Strauss, n. 88, p. 296). Literature Bartsch, 118; Meder, 233 (c/e); Tietze, 398; Panofsky 338; Strauss n. 88.
457 pages. With public education in such disarray, more than ever it is up to parents to get involved, to take a more active role in finding and safeguarding a good education for their children. Advises and explains on a broad range of educational issues, controversies, reforms and options parents are likely to confront. Gift greetings upon title page else unmarked. Negligible wear. Excellent copy. Book
Features: Perennial Favorite - Martha P. Neese writes about the Pine; Ikenobo School; The Artist Potter in Australia - Charles Swain of Sydney; Ichiyo School; Misho-ryu; Queen of Flowers - The Rose; Enshi School; Sogetsu School; Ryuseiha; Bonsai in America; Make your own Bamboo Containers; Wild Flowers of France; Old Roses of Luxembourg. Full-page Coke ad with Japanese model. Bit of writing atop front cover. Average wear. A sound copy. Book
Features: Happy (Painted) Rocks - for the person who has everything; The Land of Flowers - The Hawaiian Isles; Ohara School; Ryuseiha; The Magic of Camellias; Ichiyo School; Authentic Japanese Landscapes; Sogetsu School; History through Flowers; Ikenobo School; Fun with Flowers; Fall Exhibition; Kofu School. Full-page Japanese Coke ad (text in English) . A now unthinkable ad shows a girl about to bite into a hamburger with a dash of 'super seasoning Ajinomoto, The Original MSG'. Writing in top corner of front cover. Average wear. A sound copy. Book
Features: Soami School; Ikenobo School; Ichiyo School; Ohara School; Sogetsu School; Ryusei-ha School; Chiko School; Japanese Silk History - unraveling the Japanese Silk Skein - nice colour photos with article; Creating Mini-Park - making use of boulevards; Legend of Dogwood; Saga School; Peter Smith's One-Man Display; Koryu Sho-o-kai Exhibition. Bit of writing on front cover. Average wear. A sound copy. Book
Features: Chiko School; Saga School; Soami School; Sogetsu School; Ohara School; Ikenobo School; Splendor of Eucalypts; Australian Wild Flowers - The Magic of the Australian Bush; Transfer of Ise Shrine - Nation's revered sancuary observes the most solemn ceremony; Ryusei-ha School; Ichiyo School; Kenka - Iemoto Sofu Teshigahara and Miss Kasumi Teshigahara's dramatically powerful conception of the Temple rites 'Kenka' or 'Flowers for Buddha' at the Toji Temple in Kyoto were magnificent beyond description. Unmarked. Average wear. A sound copy. Book
Features: Ikenobo School - Senei Ikenobo; Ryusei-ha School - Kasen Yoshimura; Ichiyo School - Meikof Kasuya; Saga School; Sogetsu School - Sofu Teshigahara; Ohara School - Houn Ohara; Shuho School - Shuho Sato; Soami School - Soshoen Yokochi; Introduction to Japanese Pottery; Autumn Exhibitions. Moderate wear. Bit of writing on front cover. A sound copy. Book
Features: Sogetsu School; Ikenobo School; Ryusei-ha School; Sieran School; Chiko School; Stone with New Concepts of Art; The Art of Chabana; Memories of Mannosuke Sugawara; Ichiyo School; Soami School; Saga School; Ohara School; Antiques and Ikebana. Unmarked. Average wear. A sound copy. Book
Features: Soami School; Ichiyo School; Ikenobo School; Ohara School; Chiko School; The Art of Fragrance; Creation to be Thrown Away - Package Design in Japan - great photos with article; Exhibition by Japan Ikebana Association; Ryusei-ha School; Saga School; Sogetsu School; Seiran School. Date written on front cover else unmarked. Average wear. A sound copy. Book
Features: Ohara school; Sogetsu school; Ryusei-ha School; Soami School; Chiko School; History of Glass in Japan - a detailed history of glassware in Japan up to Showa era - works of contemporary artists are shown; Soul of Ikebana; The Japanese Iris; Doll-making in the Realm of Art; From Spring Exhibitions; Shuho School; Ikenobo School; Ichiyo School; Saga School. Date written at base of front cover else unmarked. Average wear. A sound copy. Book
Features: Ichiyo School; Ikenobo School; Koryu Shohtoh-kai School; Sogetsu School; Kasumi's Exhibition at Westminster Abbey; Tankin-Transfiguration of Metals; Sakai Hoitsu; Seifu Enshu School; Saga School; Soami School; Ohara School; Chiko School; Ryusei-ha School; Ryusei-ha's Exhibition Presents 'Composition of Leaves'. Writing at bottom of front cover. Average wear. A sound copy. Book
Features: Ryusei-ha School; Soami School; Ohara School; Koryu Shohtoh-kai School; Riei's Flowers - Herbaceous peony, Persimmon, Maple; Sakura; Morimono of the Chiko School; Ikenobo School; Saga School; Sogetsu School; Ichiyo School; Seifu Enshu School; Japanese Castles. Average wear. A sound copy. Book
Features: Seifu Enshi School - Teishosai Yoneichiba; Koryu Shohtoh-Kai - Rei Ikeda; Morimono of the Chiko School - Kobai Naruse; The Ohara School - Houn Ohara; Ikenobo - Senei Ikenobo; Container of your own; Sculptures of Masayuki Nagare; Crypto-Christians in Japan - long interesting article with many photos; Ryusei-Ha - Kasen Yoshimura; Soami School - Soshoen Yokochi; Ichiyo School - Meikof Kasuya; Saga; Sogetsu School - Sofu Teshigahara; Introducing - New Sogetsu Kaikan; Some writing on front cover. Average wear. A quality copy. Book
Features: Ikenobo School; Sogetsu School; Soami School; Ichiyo School; Ryusei-ha School; Sumie and Poetry; Ikebana for Christmas; Chiko School; Shoho School; Seifu Enshu School; Koryu Shohtoh-kai School; Ohara School; Impressions of South Africa. Average wear. A sound copy. Book
Features: Sogetsu School; Koryu Katabami School; Soami School; Ryusei-ha School; Australia & New Zealand - 12th Regional Conference, October 24th-28th, 1978; Suiho-kai - Ikebana with a Difference; Washi - The Absolute in Handmade Paper; Ohara School; Ikenobo School; Koryu Shohtoh-kai School; Ichiyo School; Japanese Cooking at a Glance - beautiful color photos; Morimono of the Chiko School. Average wear. A sound copy. Book
Features: Ikenobo School; Ichiyo School; Ohara School; Koryu Shohtoh-kai School; Tea - Japan's Best Face; Spring Exhibitions - Ryusei School - "Explosions through Cherry Blossom"; Koryu Shohtoh-kai School - "For the Green Season"; Sogetsu School; Chiko School; Soami Schoo; Ryusei school; Shunso School - Innovative Creativity; Modern Approach to Bingata; 8th North American Regional Conference, April 23-26, 1979 - Soami School. Average wear. A sound copy. Book
