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Published by Limelight Editions, 1985
ISBN 10: 0879100303ISBN 13: 9780879100308
Seller: ThriftBooks-Atlanta, AUSTELL, GA, U.S.A.
Book
Paperback. Condition: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less 1.45.
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Published by The Studio Publications nd (1942/3), London, 1942
Seller: Primrose Hill Books BA, London, United Kingdom
First Edition
Cloth. Condition: Good. Dust Jacket Condition: Poor DJ. First edition. Salmon cloth bumped at head and tail of spine, soiled along head edge of front cover. Text clear, bright, and unmarked. DJ in very poor condition: seperated into two halves with spine completely missing, torn and creased with loss elsewhere, very discoloured.
Published by The Studio Publications, London, 1942
Seller: Any Amount of Books, London, United Kingdom
First Edition
4to. pp 94. Black and white illustrated dust jacket with red lettering. Publisher's red boards lettered in red. Illustrated throughout in black and white. Good condition with previous owner's name inscribed at first page. In acceptable dust jacket, chipped and torn with numerous neat repairs with archival tape.
Published by Christmas card dated Photographic Journal article August 1948, 1970
Manuscript / Paper Collectible
ONE: Christmas card. 12mo bifolium, with coloured illustration of Christmas candle on cover. Pearson writes: 'FOR [corrected from 'from'] | Edward. A. Carrick | from his old inspirer | George Pearson | 1970'. The association between the two men was warm. In the acknowledgments to his 'Designing for Moving Pictures' (1941) Craig writes that chief among those in the film industry who helped him was 'George Pearson, who gave me my first job as Art Director to his film company in 1927 and who has encouraged me ever since.' In the acknowledgments to the revised edition, 'Designing for Films' (1947), Pearson's name is the only one given in block capitals, as Craig writes: 'To GEORGE PEARSON, as friend and teacher, a special debt of gratitude is owed, for his encouragement at all times has made the future of the films seem worth striving for.' Craig's entry in the Oxford DNB describes his 'first break into the film world. In 1927 Edward Carrick, as he was to be known professionally for the rest of his film career, began working for the enlightened film-maker George Pearson at the Welsh-Pearson-Elder company, at Stoll Studios, Cricklewood.' See also Pearson's entry in the Oxford DNB. TWO: 'Photographic Journal' article. 4pp., 4to. Extracted from magazine. 'This paper, illustrated by films, was read by Mr. Pearson at the Western Conference on 29 February 1948.' In fair condition, with slight discoloration to one corner. Accompanied by a slip of paper with typed cutting from the end of a letter::'PS . . . And here is the shade of the palm into which I have had to withdraw from the dazzling light of the highway. GP'. From the Edward Carrick papers.
Published by J. M. Dent, London, 1931
Seller: Jeffrey H. Marks, Rare Books, ABAA, Rochester, NY, U.S.A.
First Edition
With a Handlist by E. Carrick. 26 [1] pp. Illustrated with tipped-in bookplates. Large 8vo, publisher's cloth-backed printed boards. Reissue of the 1925 first edition. Bookplate (adhesive a little stained) on pastedown; very minor use to cloth. An attractive copy.
Published by London Studio Pub. Ltd. 1942, 1942
Seller: Ira Joel Haber - Cinemage Books, Brooklyn, NY, U.S.A.
Boards with Dustjacket. Later Edition. Art designer and author Edward Carrick who was the son of Gordon Craig on all aspects of film and set design for the movies. Illustrated with 63 photos, sketches and drawings of sets by a wide range of designers including the author. The nice illustrated bds. have light wear, some shelve wear to the edges and a small scrape across the word "For", the insides are fine. Small owner signature on front endsheet. Book.
Published by The Studio Publications, London & New York, 1941
Seller: Aladdin Books, Fullerton, CA, U.S.A.
First Edition
Hardcover. Condition: Very Good. Dust Jacket Condition: Good. 1st Edition. Paper has normal age-darkening and there is some edge wear to pictorial boards, but otherwise a really nice, vg or better copy. In a good price-clipped dust jacket with a few edge chips and tears and a few small abrasions. Scarce in any jacket.
Published by Chatto & Windus, 1924, 1924
Seller: Rothwell & Dunworth (ABA, ILAB), Dulverton, United Kingdom
First Edition Signed
Limited numbered 1st edn (70 of 280) signed in pencil by author on Jan C. de Vos bookplate. Tall 8vo (10½ x 7¼ ins). Original gilt lettered red buckram cloth (boards faded at edges - otherwise VG). Pp. [ix] + 26, illus with 51 tipped-in coloured and b&w bookplates (armorial bookplate of Geoffrey Drew Wood on front paste-down; no other inscriptions).
Published by Chatto & Windus, London, 1924
Seller: Ken Sanders Rare Books, ABAA, Salt Lake City, UT, U.S.A.
Signed
Hardcover. Condition: Good+. Limited Edition. SIGNED. Unpaginated. Quarto [26.5cm]. Bound in red cloth, with title stamped in gilt on spine and front board. Boards are bowed and spine ends are lightly bumped. Rear board and textblock are a bit moisture damaged. A scarce first edition limited to 280 copies, of which this is number 263. Complete, with 50 tipped-in facsimilies of bookplates designed by Edward Gordon Craig. There is an additional tipped-in original woodcut, signed by Craig. Craig relied on designing bookplates to keep himself afloat while establishing a presence in British theatre, the profession for which he is primarily known. This charming title is a love letter to the bookplate, and each example provided is unique and catered to the interests of its owner. There are bookplates designed for many notable names of the stage, including Craig's mother Ellen Terry, and Isadora Duncan, the mother of two of his children.
Published by London : Morton Burt & Sons, Ltd. Printers, 58, Porchester Road, Bayswater, W.2, 1929
Seller: MW Books Ltd., Galway, Ireland
First Edition
First Edition. Near fine copy in the original stiff-card wrappers; edges very slightly dust-dulled and toned. Remains particularly and surprisingly well-preserved; tight, bright, clean and especially sharp-cornered. Physical description; 8 p. : ill., cuts ; 28 cm. Notes; Chairman of the Fund: Sir Johnston Forbes-Robertson. Imprint from rear cover. Includes a statement of the objects of the Fund and its management. Programme editor: Edward Carrick. Woodcut portrait of Ellen Terry, 1899, by Gordon Craig. Subjects; Terry, Ellen (1847-1928) - Celebrations. Palace Theatre. 1 Kg.
Published by London : Morton Burt & Sons, Ltd. Printers, 58, Porchester Road, Bayswater, W.2, 1929
Seller: MW Books, New York, NY, U.S.A.
First Edition
First Edition. Near fine copy in the original stiff-card wrappers; edges very slightly dust-dulled and toned. Remains particularly and surprisingly well-preserved; tight, bright, clean and especially sharp-cornered. Physical description; 8 p. : ill., cuts ; 28 cm. Notes; Chairman of the Fund: Sir Johnston Forbes-Robertson. Imprint from rear cover. Includes a statement of the objects of the Fund and its management. Programme editor: Edward Carrick. Woodcut portrait of Ellen Terry, 1899, by Gordon Craig. Subjects; Terry, Ellen (1847-1928) - Celebrations. Palace Theatre. 1 Kg.
Published by Both on his letterhead 11 Apple Tree Yard. 23 August and 24 November, 1949
Manuscript / Paper Collectible
Both items in good condition, lightly-aged. ONE: 2pp., 4to. Having returned from 'a rather long painting expedition to France' he finds that 'circumstances have arisen in regard to the administration of the Society' [ the Society of British Film Art Directors and Designers, of which Craig was a leading light], and in the light of these circumstances Irving feels compelled to resign. 'It is [.] unlikely that I shall design any more films. Life is short and there is so much to be done that even if anybody wished me to, I should hesitate to commit myself to the months not only of work but of preoccupation which a film production involves. Quite apart from this I feel that the principles of film design which, however wrongly, I have always advocated, are being abandoned, naturally, in the face of economic pressure and the general registration of film making. I am old fashioned enough to believe that the situation into which films have fallen is very largely due to the insistance [sic] of those who have misguidedly and not very successfully tried to make it into an industry rather than a medium of expression for groups of artists of enterprise and imagination.' Two more paragraphs follow before the letter ends. TWO: 1p., 4to. Following the last letter Irving has been offered honorary membership of the Society, and writes: 'I do not feel that I deserve such consideration, for you and several others have striven hard to maintain the prestige of Art Directors in the gruelling factory conditions of commercial studios through good and bad times. However, as you well know, to an artist, the only commendation or criticism which really touches him is that of his fellow craftsmen [.]'. He offers his assistance to the Society, before ending: 'I heard from Flower that your meeting in London was a success, and that you are going to get out drawings and plans for the proposed Elizabethan theatre. I am very glad to hear this, and I know you will find the Stratford people charming to deal with.'.