William Wyld (35 results)

PAP. Condition: New. New Book. Shipped from UK. Established seller since 2000.

Paperback. Condition: New. William Wyld's The Butterfly Bush exposes the mercurial, merciless absurdities of living in a body, of grief, art and hope, the way a garden, up close, reveals an endless orchestra of life: its dirt; its baroque and brutal euphoria. 'This is a crushing debut pamphlet on the surrealism of death and the queerness of loss, in the lineage of Emily Berry and Franz Kafka. "You were so sweet / and kind, Mum, but your corpse is a fucking nightmare," Wyld's speaker sighs, or deadpans, or screams. Just when they appear to be stuck forever in a weird nightmare, they find some comfort, some interest to get them through. The Butterfly Bush is a testament to Wyld's endless curiosity: reader, return that gaze and your attention might just pupate into a butterfly.' Helen Bowell'Wyld has a unique voice; simultaneously alarming and seductive. You might think you know where a poem is going, only to be met by a sudden switch that is catnip for the synapses. Wyld weaves a sensuous spell rooted in the materiality of life. Their surreal humour creates space for fresh ideas about the interplay of experience and survival, injury and bereavement.' Lisa Kelly'An expansive, maximalist project with an alluring, permeating strangeness. The turns are constantly surprising, the language delicate and luscious but the images bodily and caustic. The recurring image of dirt across these poems becomes a semantic burial plot, a way through elegy that focuses on the soil beneath our feet.' Susannah Dickey.…

Paperback. Condition: new. Paperback. William Wyld's The Butterfly Bush exposes the mercurial, merciless absurdities of living in a body, of grief, art and hope, the way a garden, up close, reveals an endless orchestra of life: its dirt; its baroque and brutal euphoria. 'This is a crushing debut pamphlet on the surrealism of death and the queerness of loss, in the lineage of Emily Berry and Franz Kafka. "You were so sweet / and kind, Mum, but your corpse is a fucking nightmare," Wyld's speaker sighs, or deadpans, or screams. Just when they appear to be stuck forever in a weird nightmare, they find some comfort, some interest to get them through. The Butterfly Bush is a testament to Wyld's endless curiosity: reader, return that gaze and your attention might just pupate into a butterfly.' Helen Bowell'Wyld has a unique voice; simultaneously alarming and seductive. You might think you know where a poem is going, only to be met by a sudden switch that is catnip for the synapses. Wyld weaves a sensuous spell rooted in the materiality of life. Their surreal humour creates space for fresh ideas about the interplay of experience and survival, injury and bereavement.' Lisa Kelly'An expansive, maximalist project with an alluring, permeating strangeness. The turns are constantly surprising, the language delicate and luscious but the images bodily and caustic. The recurring image of dirt across these poems becomes a semantic burial plot, a way through elegy that focuses on the soil beneath our feet.' Susannah Dickey William Wyld's The Butterfly Bush exposes the mercurial, merciless absurdities of living in a body, of grief, art and hope, the way a garden, up close, reveals an endless orchestra of life: its dirt; its baroque and brutal euphoria. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Paperback. Condition: New. William Wyld's The Butterfly Bush exposes the mercurial, merciless absurdities of living in a body, of grief, art and hope, the way a garden, up close, reveals an endless orchestra of life: its dirt; its baroque and brutal euphoria. 'This is a crushing debut pamphlet on the surrealism of death and the queerness of loss, in the lineage of Emily Berry and Franz Kafka. "You were so sweet / and kind, Mum, but your corpse is a fucking nightmare," Wyld's speaker sighs, or deadpans, or screams. Just when they appear to be stuck forever in a weird nightmare, they find some comfort, some interest to get them through. The Butterfly Bush is a testament to Wyld's endless curiosity: reader, return that gaze and your attention might just pupate into a butterfly.' Helen Bowell'Wyld has a unique voice; simultaneously alarming and seductive. You might think you know where a poem is going, only to be met by a sudden switch that is catnip for the synapses. Wyld weaves a sensuous spell rooted in the materiality of life. Their surreal humour creates space for fresh ideas about the interplay of experience and survival, injury and bereavement.' Lisa Kelly'An expansive, maximalist project with an alluring, permeating strangeness. The turns are constantly surprising, the language delicate and luscious but the images bodily and caustic. The recurring image of dirt across these poems becomes a semantic burial plot, a way through elegy that focuses on the soil beneath our feet.' Susannah Dickey.…

Condition: New.

PAP. Condition: New. New Book. Shipped from UK. Established seller since 2000.

Condition: new.

Condition: New. 2026. paperback. . . . . .

Paperback. Condition: Brand New. 36 pages. 5.06x0.09x7.81 inches. In Stock.

Condition: New. 2026. paperback. . . . . . Books ship from the US and Ireland.

Condition: NEW.

Paperback. Condition: New. William Wyld's The Butterfly Bush exposes the mercurial, merciless absurdities of living in a body, of grief, art and hope, the way a garden, up close, reveals an endless orchestra of life: its dirt; its baroque and brutal euphoria. 'This is a crushing debut pamphlet on the surrealism of death and the queerness of loss, in the lineage of Emily Berry and Franz Kafka. "You were so sweet / and kind, Mum, but your corpse is a fucking nightmare," Wyld's speaker sighs, or deadpans, or screams. Just when they appear to be stuck forever in a weird nightmare, they find some comfort, some interest to get them through. The Butterfly Bush is a testament to Wyld's endless curiosity: reader, return that gaze and your attention might just pupate into a butterfly.' Helen Bowell'Wyld has a unique voice; simultaneously alarming and seductive. You might think you know where a poem is going, only to be met by a sudden switch that is catnip for the synapses. Wyld weaves a sensuous spell rooted in the materiality of life. Their surreal humour creates space for fresh ideas about the interplay of experience and survival, injury and bereavement.' Lisa Kelly'An expansive, maximalist project with an alluring, permeating strangeness. The turns are constantly surprising, the language delicate and luscious but the images bodily and caustic. The recurring image of dirt across these poems becomes a semantic burial plot, a way through elegy that focuses on the soil beneath our feet.' Susannah Dickey.…

Hardcover. Condition: Very Good. No Jacket. This is a VG hardcover first edition copy in red cloth binding, no DJ. With previous owner's name in lots of places.

Paperback. Condition: Brand New. 36 pages. 5.06x0.09x7.81 inches. In Stock. This item is printed on demand.

Paperback. Condition: New. William Wyld's The Butterfly Bush exposes the mercurial, merciless absurdities of living in a body, of grief, art and hope, the way a garden, up close, reveals an endless orchestra of life: its dirt; its baroque and brutal euphoria. 'This is a crushing debut pamphlet on the surrealism of death and the queerness of loss, in the lineage of Emily Berry and Franz Kafka. "You were so sweet / and kind, Mum, but your corpse is a fucking nightmare," Wyld's speaker sighs, or deadpans, or screams. Just when they appear to be stuck forever in a weird nightmare, they find some comfort, some interest to get them through. The Butterfly Bush is a testament to Wyld's endless curiosity: reader, return that gaze and your attention might just pupate into a butterfly.' Helen Bowell'Wyld has a unique voice; simultaneously alarming and seductive. You might think you know where a poem is going, only to be met by a sudden switch that is catnip for the synapses. Wyld weaves a sensuous spell rooted in the materiality of life. Their surreal humour creates space for fresh ideas about the interplay of experience and survival, injury and bereavement.' Lisa Kelly'An expansive, maximalist project with an alluring, permeating strangeness. The turns are constantly surprising, the language delicate and luscious but the images bodily and caustic. The recurring image of dirt across these poems becomes a semantic burial plot, a way through elegy that focuses on the soil beneath our feet.' Susannah Dickey.…

Leatherbound. Condition: NEW. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. Leatherbound edition. Condition: New. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. Pages: 60. A perfect gift for your loved ones. Reprinted from 1959 edition. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. IF YOU WISH TO ORDER PARTICULAR VOLUME OR ALL THE VOLUMES YOU CAN CONTACT US. Resized as per current standards. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Language: English Pages: 60.…

Leatherbound. Condition: NEW. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. Leatherbound edition. Condition: New. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. Pages: 100. A perfect gift for your loved ones. Reprinted from 1961 edition. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. IF YOU WISH TO ORDER PARTICULAR VOLUME OR ALL THE VOLUMES YOU CAN CONTACT US. Resized as per current standards. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Language: English Pages: 100.…

Condition: Very Good. Paperback. Large folding, linen-backed map, 40 x 25 inches, scale 1 inch to 1 mile. One small mark, otherwise clean, very good indeed. Original cloth-backed case slightly worn and faded with label over original printed label. 1876 reproduction from the 1816 original.

Couverture rigide. Rare exemplaire de ce recueil "de très belles gravures, très précieuses pour la connaissance du vieil Alger" (Tailliart) | CHARLES MOTTE | Paris 1835 | 34 x 52.8 cm | Relié | Édition originale de cet important album consacré à Alger et à plusieurs villes de la Régence, publié à Paris chez Charles Motte en 1835. L'ouvrage réunit 50 lithographies sur Chine monté, d'après les dessins d'Émile-Aubert Lessore et William Wyld, imprimées par Charles Motte. Il parut d'abord en cinq livraisons thématiques consacrées aux bâtiments, paysages, types et scènes, avant d'être réuni en volume. Cf. Gérard Sangnier, Bibliothèque algérienne, n° 207 ; Playfair, 517 ; Tailliart, 896 ; Gay, 919 ; Brunet III, 1018. Pas dans Blackmer. Reliure de l'époque en demi-chevrette verte. Dos lisse orné de triples filets dorés et de fleurons estampés à froid, frises dorées en tête et en queue, celle de tête partiellement effacée. Plats de papier marbré présentant quelques décolorations marginales. Dos restauré. Rousseurs éparses. Lessore et Wyld séjournent en Algérie en 1833, trois ans seulement après la prise d'Alger par les troupes françaises. Ils dessinent alors une ville encore largement intacte dans ses structures anciennes, avant les transformations urbaines profondes qui accompagneront l'installation coloniale. Les cinquante planches fixent rues, intérieurs, monuments, métiers, costumes et scènes de la vie quotidienne ; à Alger s'ajoutent également des vues de Bône, Oran, Tlemcen et Mascara. Lessore, formé notamment auprès d'Ingres, et Wyld, lié à Horace Vernet, donnent à cet ensemble une grande variété de regard, centré sur l'observation des lieux, avec un goût du pittoresque. Wyld dédie le recueil à Vernet, qu'il retrouve en Algérie et qui jouera ensuite un rôle important dans sa carrière. Cette dédicace n'est pas anodine : celui-ci devient dans les années 1830 l'un des principaux peintres des campagnes françaises en Algérie, contribuant à fixer une iconographie militaire et coloniale que les vues de Lessore et Wyld abordent ici sur un registre plus pittoresque et topographique. Tailliart saluera plus tard ces planches comme « de très belles gravures, très précieuses pour la connaissance du vieil Alger ». Publié en 1835 à partir de dessins pris deux ans plus tôt, cet ensemble compte parmi les premiers grands recueils lithographiques à fixer Alger après 1830. | [ENGLISH DESCRIPTION FOLLOWS] First edition of this important album devoted to Algiers and several towns of the Regency, published in Paris by Charles Motte in 1835. The work comprises 50 lithographs on mounted China paper after drawings by Émile-Aubert Lessore and William Wyld, printed by Charles Motte. It was first issued in five thematic parts devoted to buildings, landscapes, types and scenes, before being gathered into a single volume. Cf. Gérard Sangnier, Bibliothèque algérienne, no. 207; Playfair, 517; Tailliart, 896; Gay, 919; Brunet III, 1018. Not in Blackmer. Contemporary half green goatskin. Smooth spine decorated with triple gilt rules and blind-stamped ornaments, with gilt friezes at head and foot, the upper one partly rubbed away. Marbled paper boards with some marginal fading. Spine restored. Scattered foxing. Lessore and Wyld travelled in Algeria in 1833, only three years after the French capture of Algiers. They drew a city whose older structures were still largely intact, before the profound urban transformations that would accompany colonial rule. The fifty plates record streets, interiors, monuments, trades, costumes and scenes of everyday life; alongside Algiers are also views of Bône, Oran, Tlemcen and Mascara. Lessore, who had trained in part under Ingres, and Wyld, who was associated with Horace Vernet, bring to the series a varied approach centred on close observation of place, combined with a taste for the picturesque. Wyld dedicated the album to Vernet, whom he met again in Algeria and who would later play an important role in his career. The dedication is in-folio ; titre, 20 pp. de légende des planches, et 50 planches lithographiées sur Chine montées sur papier fort.…

Original hand-coloured engraved map of present day Greater London (88 x 84 cm) dissected into 45 sections and backed onto linen, attractively edged with green silk and folding between blue card covers into original cloth slipcase (worn) with engraved title-label. Extends from Edmonton in the north to Croydon in the South, Plumstead Marshes in the east and Barnes in the west. Slipcase cracked and with partial loss, map itself with just some light toning but generally in very good condition. A well-preserved example of an interesting map encompassing most of what is now considered to be Greater London. (Howgego, 250, 4a).…

Groß-Folio (57,5x38cm). Mit getöntem illustr. lithogr. Titel und 20 getönten lithogr. Tafeln jeweils mit Deckblatt. Dunkelgrüner Halblederband der Zeit mit geprägtem Rückentitel und -vergoldung. Erste Ausgabe. - Titelblatt fleckig. Die Tafeln stellenweise im Rand und rückseitig fleckig. - Gutes Exemplar.…

Rue Blanche 45, Paris, 20 July 1870. Uncommon. William Wyld (1806-1889), English painter, under Vernet's patronage, received many commissions for orientalist paintings. In 1851 his admirer Queen Victoria commissioned paintings of Liverpool and Manchester to celebrate her visit there, which remain in the Royal Collection along with examples of his orientalist works. His View of Manchester has become an iconic image of the 19th-century Cottonopolis.…

Leatherbound. Condition: NEW. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. Leatherbound edition. Condition: New. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. Pages: 360. A perfect gift for your loved ones. Reprinted from 1850 edition. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. IF YOU WISH TO ORDER PARTICULAR VOLUME OR ALL THE VOLUMES YOU CAN CONTACT US. Resized as per current standards. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Language: English Pages: 360.…

Taschenbuch. Condition: Neu. nach der Bestellung gedruckt Neuware - Printed after ordering - William Wyld's The Butterfly Bush exposes the mercurial, merciless absurdities of living in a body, of grief, art and hope, the way a garden, up close, reveals an endless orchestra of life: its dirt; its baroque and brutal euphoria. 'This is a crushing debut pamphlet on the surrealism of death and the queerness of loss, in the lineage of Emily Berry and Franz Kafka. 'You were so sweet / and kind, Mum, but your corpse is a fucking nightmare,' Wyld's speaker sighs, or deadpans, or screams. Just when they appear to be stuck forever in a weird nightmare, they find some comfort, some interest to get them through. The Butterfly Bush is a testament to Wyld's endless curiosity: reader, return that gaze and your attention might just pupate into a butterfly.' Helen Bowell'Wyld has a unique voice; simultaneously alarming and seductive. You might think you know where a poem is going, only to be met by a sudden switch that is catnip for the synapses. Wyld weaves a sensuous spell rooted in the materiality of life. Their surreal humour creates space for fresh ideas about the interplay of experience and survival, injury and bereavement.' Lisa Kelly'An expansive, maximalist project with an alluring, permeating strangeness. The turns are constantly surprising, the language delicate and luscious but the images bodily and caustic. The recurring image of dirt across these poems becomes a semantic burial plot, a way through elegy that focuses on the soil beneath on our feet.' Susannah Dickey.…

Condition: Good. Handcolored lithograph. 17 x 19.5 cm. sheet size. Signed with initiials"WW" and dated 1828. Mounted at the corners. See Beraldi, XII,m pp. 302-303 for similar images.

No Binding. Condition: Very Good. Dated below the title Feby 1st 1824. Light dust-marking and toning. Minor spotting. No holes and no tears. Advert for Wyld's maps to reverse. Outline colouring to Countries and Counties. Northern part of (mainland) Scotland as an insert on a reduced scale. Sharp, clear printing. Marbled slipcase with title label to front, generally worn and scuffed. Both map and slipcase reference Wyld as being the successor to Faden. Some coastal features marked, as well as packet ship routes. This map was originally published by Faden and then republished by Wyld when he took the business over. Sheet dimensions: 63.5cm by 75.0cm approx. (non492o3). …

Condition: Very Good. William WYLD Palais de la Bourse et Tribunal de Commerce à Paris. Lithographie originale. Paris, Rittner et Goupil, 1838. Dimension du sujet: 25,5 x 38 cm Dimension du feuillet: 36,3 x 53,5 cm Bel encrage et bon état. William Wyld (1806?1889) ? Lithographie du Palais de la Bourse, Paris, 1838 Témoignage visuel peu fréquent de Paris avant les transformations haussmanniennes. William Wyld, peintre et lithographe anglais s'est installé à Paris dès 1834. Initialement attiré par des scènes orientalistes, il se tourne rapidement vers l?architecture classique, privilégiant le détail et la précision. Cette lithographie montre le Palais de la Bourse et la vie urbaine alentour, offrant un précieux document historique et artistique du Paris des années 1830. L?attention de Wyld pour l?architecture et le mouvement de la ville rend cette planche particulièrement vivante et représentative de son style.…

Litografia 29 x 43 cm. Bella acquarellatura, probabilmente d'epoca. Proveniente da: "Album Venitien: compose de douze vues lithographiees par W. Wyld & E. Lessore. Venise: J. Kier, 1837". Wyld William (1806-1886). Lessore Emile (1805-1876) 19mo secolo.

(87 x 82 cm). Original folding map of London with some original outline colour. The map, printed on paper, dissected and mounted on to linen, shows extents from Edmonton in the north to Beckenham in the south and from Barnes in the west to Plumstead in the east. Blue marbled paper to folded end sections. Label of 'G. Cruchley, Map Seller & Publisher, 38, Ludgate Street, St. Pauls, London' to lower margin and advertisement for 'Works Published and Sold by G. Cruchley' to folded end-section. Some toning and wear. Folds and corners reinforced on verso. James Wyld (1812-1887) was "the most important mapmaker producing maps of London in the year of the Great Exhibition". Wyld was a highly successful publisher, MP for Bodmin, and an active figure in public life. He promoted the development of the British Library and campaigned for the Public Libraries and Museums Bill. Like his father, he was made Geographer to Queen Victoria and Prince Albert in 1836. He built his business on his ability to produce maps quickly in reaction to new discoveries and information: Punch remarked drily that if a country were discovered in the centre of the earth then Wyld would have a new map out "as soon as it is discovered, if not before".…

in-folio, page de titre, 20 pp., 50 planches, demi-basane havane clair à coins, dos à nerfs (reliure du XXe siècle). Édition originale rare de ce magnifique recueil de 50 lithographies.Fruit de la collaboration d'Aubert-Emile Lessore, dessinateur, aquafortiste et peintre et de William Wyld, riche négociant anglais amateur d?art, grand voyageur et peintre lui-même, ami de Vernet. Il est l?un des premiers peintres à se rendre en Algérie.Lessore publie ainsi Voyage pittoresque dans la régence d?Alger, ouvrage comportant cinquante lithographies de paysages et de scènes de genre. Les scènes sont saisisantes de vérité : scènes de rue, café maure, mosquée, marchands de rue et artisans, jeu de dames. Les paysages et les vues de monuments y sont évidemment égalemant présents. Exemplaire du grand collectionneur Gérard Sangnier avec son ex-libris.Bibliothèque Algérienne de Gérard Sangnier, 207. Playfair, 517. Tailliart, 896. - - VENTE PAR CORRESPONDANCE UNIQUEMENT - LIEN DE PAIEMENT, NOUS CONSULTER.…