Patrick Heron, Signed (14 results)

Soft cover. Condition: Very Good. Dust Jacket Condition: Very Good. Signed by author with qa dedication. No major issues. Meets or exceeds all criteria for a book in this condition. Ships: NEXT DAY (m-f) when ordered before 12 PM PST with tracking and guarantee. / . Signed by Author(s).

Soft cover. Condition: Very Good. 1st Edition. NICE as pictured First Edition, signed inscribed dated on first page by Heron a very good condition softcover gently read clean pages 215 pages. Inscribed by Author(s).

Soft cover. Condition: Very Good. Signed by the author on the half-title page. Slight rubbing to edges, corners and age-yellowing to side page edges otherwise in very good condition. Next day dispatch by Royal Mail in sturdy, recyclable packaging. 1000's of satisfied customers! Please contact us with any enquiries. Signed by Author(s).

Soft cover. Condition: Very Good. 1st Edition. 216 pages with notes and appendix. Illustrated. SIGNED by author. Signed by Author(s).

First edition, first printing. One of 500 covers. Signed by the author. A collection of poems by Tom Heron, illustrated by his father, Patrick Heron. Near fine but typically faded to the spine and boards.Issued without dustjacket.

Paperback. Condition: Near fine in wraps. First Edition. 24 x 30cm 192pp near fine paperback exhibition catalogue featuring essays by David Sylvester, A.S. Byatt and Martin Gayford, interviewing Patrick Heron. With colour plus black and white reproductions. Signed by Patrick Heron on the title page.

Soft cover. Condition: Very Good. Signed by Patrick Heron. Previously owned by Robert Lenkiewicz. 43/100 copies. 80pp with colour illustrations. Housed in cardboard colour slipcase. Signed by Author(s).

First edition, first printing. Signed by Patrick Heron to the half title page and inscribed to the Midlands artist George Holt. Fine in fine dustjacket.

Soft cover. Condition: Very Good. 1st Edition. A very good copy in wraps, the covers are a little rubbed. loosely inserted is a 1972 letter from the artist to an unknown recipient and a catalogue to the 1967 Dawson Gallery exhibition of Gouaches. Signed by Author(s).

First edition. Signed and inscribed by Patrick Heron. 29 x 22.5cm. Publisher's original illustrated card wrappers. Illustrated with 24 colour plates and numerous black and white illustrations within the text. 56pp. A very good copy, the binding square and firm with a few minor scuffs to the front cover and a little shelf wear to the extremities. The contents remain in very good order and clean throughout. Signed and inscribed by Patrick Heron in black ink to the title page "To / Rebecca H****[?] / from / Patrick Heron / September 25. 85".

Paperback. Condition: Very Good. First edition. Oblong 8vo. Original card covers. Essay by Vivien Knight, James Walker, Alan Gouk, b/w illusts, 29 colour illusts, documentation. Signed by Heron on the title-page, from the collection of John Stephens. Covers alittle rubbed.

SOFTCOVER. Condition: As New. 1st Edition. Square 4to in black printed red card covers, 60pp text with colour illustrations in text plus 15 full page colour plates of paintings, printed one side only, at the rear. Inscribed and signed by Patrick Heron (as Pat) on the half title leaf, with an ink note errata on the rear inner cover, also by Heron (no other marks or inscriptions) . [CONDITION: An extremely well preserved AS NEW copy ] . __To see more of our Art Monographs etc type DbbARTIST in the Keywords search box . . NOTE: Depending on destination this item may require an extra payment for insurance. If so, orders made by card will be completed only after you have approved any such extra cost. . We always ship in STRONG PROTECTIVE CARD PARCELS.

Soft cover. Condition: Very Good. 1st Edition. Signed and dated in pencil (lower right), the design appears to be a print with pencil, crayon and watercolour additions. On verso is a working drawing for the same design. The design shows an open window with a table in the foreground. The painting is on cheap war time paper and is quite fragile. To be sold with the corresponding table linen sample.32cm x 46cm (12.5in x 18in)Corresponding table linen, 31cm x 46cm (12.25in x 18.12in)Provenance: From the Estate of an important St. Ives s artist, Denis MitchellPORTHIA PRINTSIn an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints. They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as just a way of making a bit of extra money for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists Textiles 1940-1976, Antique Collectors Club Ltd., 2014, p.92).At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team.The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows:"Heals Picture Gallery and Craftsman s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints:Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives.Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art."In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier s of Madison Avenue proposed an exhibition. Heal s declared themselves satisfied with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, I have found it impossible to get any one to work, they are all damn lazy. Mitchell, though, was convinced that together they could have built up a nice little business. The production issues led Heal s to withdraw their support in 1960.Apart from an exhibition at. Signed by Author(s).

100 : 150 mm. Signed art postcard of one of Heron's work Oil on Canvas". Signed by Heron on the lower white border.