Plumb John, Signed (22 results)

Hardcover. Condition: As New. Dust Jacket Included. 1st Edition. 320 pages, an As New hardback in an as new dust-jacket [0954386108]. Book is completely new (unused). Half signed 'Henry' on the ffep & dated 21/3/14. Signed by Author(s).

Hardcover. First Edition. Hardback, 1st Edition, Very Good/no DJ, decorated brown boards, inscribed by author on free front endpaper, introduction by Bing Crosby, light tanning to pages 0.0 0.0 0.0. Signed by Author.

Hardcover. Condition: Very Good. Dust Jacket Condition: Very Good. No Edition Stated. Inscribed to Jack Roney by author inside front cover; book has some small discoloration spots to covers in gutters, pages toning; DJ has toning, mild shelfwear, little bit of light rubbing, couple small faint soil spots, very tiny chip to 3 of the folds; b/w photos ; 210 pages; Signed by Author.

Soft cover. Condition: Very Good. 1st Edition. 16mo. Folding card with mounted colour photograph, signed by Plumb and his wife Joan. . Signed by Author(s).

Soft cover. Condition: Very Good. 1st Edition. 16mo. Folding card with mounted colour photograph, signed by Plumb. Signed by Author(s).

Soft cover. Condition: Very Good. 1st Edition. 16mo. Folding card with mounted colour photograph, signed by Plumb and his wife Joan. . Signed by Author(s).

Soft cover. Condition: Good. Author signed (signature only) on the title page. Trade paperback. Light wear to cover edges/corners. The table of contents page has a tiny tear on the top edge. Content pages are clean and unmarked. 269 pages. Signed by Author.

Soft cover. Condition: Very Good. 1st Edition. 16mo. Three panel folding card. Biography, 5 colour illusts. With the private view invitation card and a further invitation sheet directly from the artist and signed in ink by Plumb. Signed by Author(s).

Folding sheet. Condition: Very Good. First edition. 16mo. Folding card with mounted colour photograph, signed by Plumb.

Hardback. Condition: Very Good. Dust Jacket Condition: Very Good. Peppiatt, John (illustrator). 1st Edition. Bound in cream coloured cloth with gilt lettering to spine and with a black printed on yellow paper dust wrapper, this slim hardback volume of three poems by Charles Plumb, a preface by Roy Campbell and illustrated with black & white line drawings by John Peppiatt, is in VG condition. The author has inscribed the front endpaper with a long inscription in blue biro. Very slight rubbing on head and tail of dust wrapper. Otherwise overall VG. Inscribed by Author(s).

Condition: VG. England and Spain 1971. Poetry. Octavo, 52pp., errata, original printed stiff wraps. Inscribed, signed and dated to Arlene Dahlberg. A short pen note and two pen quotation marks on title page, one or two ink corrections in text, from Dahlberg? VG, spine lightly rubbed, front free blank is tearing a bit at inner margin from staples. Scarce.

Canvas. Condition: Fine. First edition. Original acryllic and collage painting form the 'Bijou' series 1996-2001. 175x122, canvas on card with wooden stretcher.

Single sheet. Condition: Fine. First edition. Original pastel drawing on paper. Signed lower right. Sheet size 760x460mm, image size 755x380mm 'One of the constant factors in my process of working is the emotive dialogue I have with the scale materials in painting. Owing to the problems of age and fading eyesight i have had to create limitations in my working process so that the dialogue can continue. for about ten years now I have been building surfaces by spraying colour grounds of varying hue on the stretched white primed canvas. onc ehte syrface I want has been achieved I respond by sqeezing large tubes of acrlic colour directly on to the canvas and this results in an iconograpic element loosely relating to handwriting. This final application of marks is achieved with speed in a kind of dance by the painter reacting to the whole large surface. These paintings are not descriptive of any direct experience but are analogues for a varity of stimuli and actions which have been part of my life as a painter. the result is not only what you see, it is what you get as well.

Canvas. Condition: Fine. First edition. Original acryllic painting on canvas from 2002 500x400. 'One of the constant factors in my process of working is the emotive dialogue I have with the scale materials in painting. Owing to the problems of age and fading eyesight i have had to create limitations in my working process so that the dialogue can continue. for about ten years now I have been building surfaces by spraying colour grounds of varying hue on the stretched white primed canvas. onc ehte syrface I want has been achieved I respond by sqeezing large tubes of acrlic colour directly on to the canvas and this results in an iconograpic element loosely relating to handwriting. This final application of marks is achieved with speed in a kind of dance by the painter reacting to the whole large surface. These paintings are not descriptive of any direct experience but are analogues for a varity of stimuli and actions which have been part of my life as a painter. the result is not only what you see, it is what you get as well.

Single sheet. Condition: Fine. First edition. Original acryllic painting on paper. 390x545mm. 'One of the constant factors in my process of working is the emotive dialogue I have with the scale materials in painting. Owing to the problems of age and fading eyesight i have had to create limitations in my working process so that the dialogue can continue. for about ten years now I have been building surfaces by spraying colour grounds of varying hue on the stretched white primed canvas. onc ehte syrface I want has been achieved I respond by sqeezing large tubes of acrlic colour directly on to the canvas and this results in an iconograpic element loosely relating to handwriting. This final application of marks is achieved with speed in a kind of dance by the painter reacting to the whole large surface. These paintings are not descriptive of any direct experience but are analogues for a varity of stimuli and actions which have been part of my life as a painter. the result is not only what you see, it is what you get as well.

Single sheet. Condition: Fine. First edition. Original acryllic painting on paper. 435x525mm. 'One of the constant factors in my process of working is the emotive dialogue I have with the scale materials in painting. Owing to the problems of age and fading eyesight i have had to create limitations in my working process so that the dialogue can continue. for about ten years now I have been building surfaces by spraying colour grounds of varying hue on the stretched white primed canvas. onc ehte syrface I want has been achieved I respond by sqeezing large tubes of acrlic colour directly on to the canvas and this results in an iconograpic element loosely relating to handwriting. This final application of marks is achieved with speed in a kind of dance by the painter reacting to the whole large surface. These paintings are not descriptive of any direct experience but are analogues for a varity of stimuli and actions which have been part of my life as a painter. the result is not only what you see, it is what you get as well.

Single sheet. Condition: Fine. First edition. Original acryllic painting on paper. 465x380mm. 'One of the constant factors in my process of working is the emotive dialogue I have with the scale materials in painting. Owing to the problems of age and fading eyesight i have had to create limitations in my working process so that the dialogue can continue. for about ten years now I have been building surfaces by spraying colour grounds of varying hue on the stretched white primed canvas. onc ehte syrface I want has been achieved I respond by sqeezing large tubes of acrlic colour directly on to the canvas and this results in an iconograpic element loosely relating to handwriting. This final application of marks is achieved with speed in a kind of dance by the painter reacting to the whole large surface. These paintings are not descriptive of any direct experience but are analogues for a varity of stimuli and actions which have been part of my life as a painter. the result is not only what you see, it is what you get as well.

Single sheet. Condition: Fine. First edition. Original acryllic painting on card. 397x500mm. 'One of the constant factors in my process of working is the emotive dialogue I have with the scale materials in painting. Owing to the problems of age and fading eyesight i have had to create limitations in my working process so that the dialogue can continue. for about ten years now I have been building surfaces by spraying colour grounds of varying hue on the stretched white primed canvas. onc ehte syrface I want has been achieved I respond by sqeezing large tubes of acrlic colour directly on to the canvas and this results in an iconograpic element loosely relating to handwriting. This final application of marks is achieved with speed in a kind of dance by the painter reacting to the whole large surface. These paintings are not descriptive of any direct experience but are analogues for a varity of stimuli and actions which have been part of my life as a painter. the result is not only what you see, it is what you get as well.

Single sheet. Condition: Fine. First edition. Original acryllic painting on paper. 490x410mm. 'One of the constant factors in my process of working is the emotive dialogue I have with the scale materials in painting. Owing to the problems of age and fading eyesight i have had to create limitations in my working process so that the dialogue can continue. for about ten years now I have been building surfaces by spraying colour grounds of varying hue on the stretched white primed canvas. onc ehte syrface I want has been achieved I respond by sqeezing large tubes of acrlic colour directly on to the canvas and this results in an iconograpic element loosely relating to handwriting. This final application of marks is achieved with speed in a kind of dance by the painter reacting to the whole large surface. These paintings are not descriptive of any direct experience but are analogues for a varity of stimuli and actions which have been part of my life as a painter. the result is not only what you see, it is what you get as well.

single sheet. Condition: Fine. First edition. Original acryllic painting on sand textured paper. 680x500. Pin-holes to corners. 'One of the constant factors in my process of working is the emotive dialogue I have with the scale materials in painting. Owing to the problems of age and fading eyesight i have had to create limitations in my working process so that the dialogue can continue. for about ten years now I have been building surfaces by spraying colour grounds of varying hue on the stretched white primed canvas. onc ehte syrface I want has been achieved I respond by sqeezing large tubes of acrlic colour directly on to the canvas and this results in an iconograpic element loosely relating to handwriting. This final application of marks is achieved with speed in a kind of dance by the painter reacting to the whole large surface. These paintings are not descriptive of any direct experience but are analogues for a varity of stimuli and actions which have been part of my life as a painter. the result is not only what you see, it is what you get as well.

Single sheet. Condition: Fine. First edition. Original acryllic and pastel on paper. 830x640mm.Signed and with his stamp to reverse. Pin-holes to corners. Note: this can only be posted unframed. 'The vitality and freedom of Plumb's new paintings come from the kind of confidence that is most often acquired only with experience and age. Yet they are also engendered by excitement and enthusiam fuelled by the awareness that new discoveries are being made. Plumb experiments with unconventional methods and materials. he now uses brushes rarely if at all, preferring the direct effects produced by applying the paint with large spatulas and knives and even with the kind of piping tool with inetrchangeable nozzles used by pastry cooks. He sometimes includes a small amount of luminescent pigment, too, to create dominant accents. And he subtly varies the consistency of the paint from one area to another so as to emphasise some parts of the of the surface or the edges of the canvas. At their best the results are richly expressive and senuous'. Frank Whitford 'John Plumb' The Bath Contemporary Art Fair, 21-23 May 1993.

Single sheet. Condition: Fine. First edition. Original acryllic and pastel on paper. 640x830mm.Signed and with his stamp to reverse. Pin-holes to corners. Note: this can only be posted unframed. 'The vitality and freedom of Plumb's new paintings come from the kind of confidence that is most often acquired only with experience and age. Yet they are also engendered by excitement and enthusiam fuelled by the awareness that new discoveries are being made. Plumb experiments with unconventional methods and materials. he now uses brushes rarely if at all, preferring the direct effects produced by applying the paint with large spatulas and knives and even with the kind of piping tool with inetrchangeable nozzles used by pastry cooks. He sometimes includes a small amount of luminescent pigment, too, to create dominant accents. And he subtly varies the consistency of the paint from one area to another so as to emphasise some parts of the of the surface or the edges of the canvas. At their best the results are richly expressive and senuous'. Frank Whitford 'John Plumb' The Bath Contemporary Art Fair, 21-23 May 1993.