Pre Raphaelite Art (8 results)

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. Includes previous owner's signature. Physical description; 40 pages ; illustrations ; 26 cm. Notes; Catalog of an exhibition of works by three members of the Pre-Raphaelite Brotherhood and their associates; held at the Whitworth Art Gallery from 18 November to 20 December, 1972. Subjects; Whitworth Art Gallery. Whitworth Art Gallery. ; Exhibitions. Pre-Raphaelite Brotherhood ; Exhibitions. Pre-Raphaelitism ; Exhibitions. Pre-Raphaelitism England. Pre-Raphaelitism Influence. Art, English 19th century. Art, English. Pre-Raphaelitism. Pre-Raphaelitism Influence. Manchester (1972). Art, Modern 19th century England. Pre-Raphaelites ; Exhibitions. Pre-Raphaelitism Influence ; Exhibitions. Art 19th century England ; Exhibitions. Pre-Raphaelites ; Exhibitions. England. Genres; Catalogue. Exhibition catalogs. Illustrated. 1 Kg.…

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. Includes previous owner's signature. Physical description; 40 pages ; illustrations ; 26 cm. Notes; Catalog of an exhibition of works by three members of the Pre-Raphaelite Brotherhood and their associates; held at the Whitworth Art Gallery from 18 November to 20 December, 1972. Subjects; Whitworth Art Gallery. Whitworth Art Gallery. ; Exhibitions. Pre-Raphaelite Brotherhood ; Exhibitions. Pre-Raphaelitism ; Exhibitions. Pre-Raphaelitism England. Pre-Raphaelitism Influence. Art, English 19th century. Art, English. Pre-Raphaelitism. Pre-Raphaelitism Influence. Manchester (1972). Art, Modern 19th century England. Pre-Raphaelites ; Exhibitions. Pre-Raphaelitism Influence ; Exhibitions. Art 19th century England ; Exhibitions. Pre-Raphaelites ; Exhibitions. England. Genres; Catalogue. Exhibition catalogs. Illustrated. 1 Kg.…

Paperback. Condition: Acceptable. reading copy only - Damaged /worn /marked copy. May be ex-libris. Oversized.

Condition: Fair. Acceptable condition. (Pre-Raphaelites, Art Collections) A readable, intact copy that may have noticeable tears and wear to the spine. All pages of text are present, but they may include extensive notes and highlighting or be heavily stained. Includes reading copy only books.

Paperback. Condition: Very Good. First edition. 8vo. Original card covers. Foreaward by john Cmmander, 4 b/w plates, 80 item catalogue. With an original photograph of Millais's 'Lorenzo and Isablla', from the studio of Elsam. Mann & Cooper of Liverpool for the Walker Art Gallery, Liverpool.

paperback. Condition: Very Good. **PAPERBACK**.

paperback. Condition: Acceptable. NOT an ex-library book. Clean copy in good condition. Some marking due to age on pages, but overall book remains in good condition considering age. Quick dispatch from UK seller.

An interesting letter, in which Webb sets out his approach to bookplate design. According to his entry in the Oxford DNB, 'By 1899 Webb was in poor health and losing money. His meagre savings were insufficient to build a cottage, so he accepted Caxtons, a four-bedroom sixteenth-century yeoman's house at Worth, near Crawley, Sussex, offered at a selflessly low rental by his friend William Scawen Blunt.' For the context of the present letter, see the letter from Webb to Sydney Cockerell, 1 September 1902, in volume 3 of John Apin's edition of Webb's letters. The present item is 1p, landscape 8vo, and consists of eighteen lines written in a tiny hand in pencil, with a number of ink additions that raise the possibility that it may be a draft. Addressed to 'Dear Mr. Holliday' and signed 'Ph: W.' In fair condition, on worn paper with a block of sunning. Folded into three equal sections by two vertical creases. He begins by stating that on 16 August Sydney Cockerel sent him [in a letter now in the British Library] an extract of one of Holliday's letters to him, beginning 'I suppose we are getting nearer to the time when Philip Webb will be at liberty to think about my book plate'. Webb's reply is: 'Now, & at this time, I can only answer with your word 'nearer' - for there is one in hand (or rather in rough idea) which has to be done before yours, on the principle of "first come, first served".' On the wider question he writes: 'I need scarcely add, that to do anything for you - which I thought passably fit to let go, would please me much; & therefore, I write the following with that not too forlorn hope. Cannot you think of something in your life, or of belongings, or fancy, or fact, which would be a hook on which to hang my [last word underlined] "fancy"? You see - or wd. guess, that I do not like to make such a design which has not some sufficient significance in it - great or small, - as the case may be - and for motive: when I have this it tethers me to some positive instead of a negative course; though I might add to or deduct from my brief according to the demands of decorative art - or my own wilfulness?' He turns to the 'third to be served' with a bookplate, John Feeney, proprietor of the Birmingham Daily Post. In that case 'the spirit is willing but the time and aptitude are but small. There is always a load on my spirit of things undone, when undoing to get into bed 365 nights in the year, so that I long to unship my pack of sin as Bunyan's "Christian" did his. What fellows these Cockerells & Walkers are for getting me into this "slough of despond"!' A postscript refers to 'Catterson Smith & the mace' (explained in John Apin's edition of Webb's letters). See Image.…