Palpable, Signed (11 results)

Paperback. Condition: Very good. Paperback. 175pp. Page edges slightly tanned, else very good in publisher's French fold wraps. Signed by Williams on the title page.

paperback, Condition: Very Good, Godine, Boston, c.2002, 1st., 8"x10", paperbk., 175pp., many color photos., signed by author, NF $.

Trade Paperback. Condition: Like New. First Edition. First Edition, First Printing. Not price-clipped ($30.00 price intact). Published by David R. Godine, 2002. Quarto. Pictorial wraps with flaps. Signed by Johnathan Williams on title page (flat signed not inscribed). Book is like new; clean with no writing or names. Sharp corners and spine straight. Binding tight and pages crisp. Covers have very light shelf wear. 172 pages. ISBN: 9781567921496. 100% positive feedback. 30 day money back guarantee. NEXT DAY SHIPPING! Excellent customer service. Please email with any questions or if you would like a photo. All books packed carefully and ship with free delivery confirmation/tracking. All books come with free bookmarks. Ships from Southampton, New York. We Buy Books! Individual titles, libraries, collections. Message us if you have books to sell!

Dust Jacket Condition: dj. First Edition. First edition and first printing. Hardcover. 195 pages. A collection of thirty stories translatedd from the bible and an essay on the origins and life of narrative. A very good copy in cloth boards with a few spots to the fore edge of the pages and some other light wear and in near fine dust jacket with a small tear to the top of the front panel and a crease to the front flap. Signed by Price on the title page. Signed.

Softcover. Condition: Near Fine. First edition. Introduction by Guy Davenport. Quarto. Photographically illustrated self-wrappers. Slight rubbing, thus near fine. Signed by Williams. Also laid in are four photocopied pages of an interview entitled "Tales of a Jargonaut". The bottom line of a couple pages was cut off in copying and Williams has helpfully handwritten in the missing text.

Hardcover. Condition: Near Fine. 1st Edition. Signed and dated by the author to half-title page is then followed by a dedication and signature. 588g 112 pages. This book has been carefully described by an experienced, independent, bookdealer, it is not for sale on other sites and the pictures are photographs of the actual book. [Loc. J6-5]. Signed by Author(s).

Hardcover. Condition: Fine. Dust Jacket Condition: Fine. First edition. Fine in fine dust jacket. Inscribed by the author to a close friend: "George, Affectionately, Reynolds.".

Condition: Good. Original lithograph. 12.5 x 10.5 inches. Very Good. Inserted into light matting. Published 31 March, 1830.Sitters: Robert Banks Jenkinson, 2nd Earl of Liverpool (1770-1828), Prime Minister. Sir Robert Peel, 2nd Bt (1788-1850), Prime Minister. Arthur Wellesley, 1st Duke of Wellington (1769-1852), Field Marshal and Prime Minister.John Doyle (Dublin 1797 - 2 January 1868 London), known by the pen name H. B., was a political cartoonist, caricaturist, painter and lithographer.In his youth he learned to paint landscapes under Gaspare Gabrielli, and miniature portraits at the Royal Dublin Society's drawing school under John Comerfield. He won a gold medal in 1805. He was commissioned to paint equestrian portraits of the Marquess of Sligo and Lord Talbot, the Irish viceroy, and in 1822 he produced six prints entitled The Life of a Racehorse. That year he moved to London with his wife, Marianna Conan. His painting Turning out the Stag brought him recognition when it was exhibited at the Royal Academy in 1825.Doyle continued to exhibit miniatures until 1835, but by then he was experiencing greater success with his political cartoons, printed using the new reproductive medium of lithography, beginning in 1827. These were issued once a month during parliamentary sessions, and continued for twenty-two years. His caricatures were mostly faithful likenesses of their subjects, with little exaggeration, treated with sarcastic humor, often alluding to popular plays. They were signed with the letters H. B., constructed out of two Js and two Ds, Doyle's own initials. By 1840 he was prosperous enough to afford a fashionable house in Hyde Park, moving in the same circles as David Wilkie, Walter Scott, Samuel Taylor Coleridge, Charles Dickens, William Makepeace Thackeray, Thomas Macaulay, Thomas Moore and Samuel Rogers - but H. B.'s true identity remained a closely guarded secret until he revealed it in 1843 in a seventeen-page letter to Sir Robert Peel.In the 1840s, at the height of his popularity, indices of H.B.'s prints were published in The Times and by the publisher McLean, but his reputation faded. His later prints were gentle in their humor and drawn in a soft, indistinct style. Thackeray said his cartoons, although clever and witty, were too "genteel" to raise more than a gentlemanly smile - "You will never hear any laughing at 'H. B.'" When he died in 1868, his obituary in The Art Journal did not appear until three months after his death, and a posthumous sale of his sketches at Christie's in 1882 was canceled for lack of buyers. However, he is considered a founder of the school of British cartoon satirists represented by John Leech, John Tenniel, and his son Richard Doyle, which established the style made famous by Punch magazine. The British Museum has over 900 of his drawings in its collections.

Paik, Tricia Y. A palpable vision: Ellsworth Kelly in New York, 1954-1969. Ann Arbor: UMI / ProQuest, 2009, section of color plates, and 252pp., very good private black hardcover binding, Ph. D. New York University. generously INSCRIBED to a recipient who is also named in the acknowledgments and SIGNED by Triia. After six formative years in France, American artist Ellsworth Kelly returned to the United States in 1954. Settling in New York City, he established himself in a growing art scene that had gained international renown a generation earlier through the emergence of Abstract Expressionism. The following fifteen years encompassed a significant period in Kelly's career, during which time he received critical acclaim and matured into a leading artist of postwar abstraction. There in New York Kelly built upon his French experience, forging a new conception of visuality, one that addressed not how we recognize things in the world, but how they appear as pure shape and color. Kelly then transformed such observed appearances into works also possessing their own tangible presence--into "painting-objects," as he defined them. This dissertation is the first study to focus specifically on Kelly's New York years. The first chapter explores a pivotal work in Kelly's oeuvre, White Plaque: Bridge Arch and Reflection (1951-55), one that best exemplifies how the artist deployed his crucial strategy of the "already-made" to produce an art of unique forms. By analyzing its inspiration and the process by which he reached the final product, I reveal the transformative capacity of his methods and the ways in which he performed specific acts of distancing. Chapter Two investigates Kelly's integral practice of postcard collage. In small-scaled works on paper, collaged abstract shapes literally collide with representational postcard views, unveiling the artist's strategies of defamiliarization. In the third chapter, I consider Kelly's concentration on form, in particular, the curved shape that he advanced in every medium--paintings, reliefs, sculptures, drawings, collages, and prints. An analysis of key works demonstrates how Kelly chose to straddle between opposing modes of a pictorial visuality and a palpable physicality. The final chapter examines Kelly's flexible application of the multiple panel with the monochrome, an unrivaled, expansive practice that touched upon key debates during the 1960s. Throughout, this dissertation explores the contradictory and fluctuating tension in Kelly's art between visual and physical perception, disembodied and embodied experience, and pictorial and literal space.

Hard Cover. Condition: BOOK NEAR FINE. Dust Jacket Condition: JACKET NEAR FINE. 1st Edition. SIGNED BY THE AUTHOR on a special, decorative bookplate. AN EXTREMELY CLEAN, ATTRACTIVE COPY WITH A BRIGHT, BEAUTIFUL DUSTJACKET IN NEW, GLOSSY BRODART. NO PREVIOUS OWNER MARKINGS. 1st PRINTING. HANDSOME, COLLECTIBLE COPY. Signed by Author.

Dust Jacket Condition: dj. First Edition. First Printing (one of 4,000 copies), a review copy, with the publishers typed slip laid in. Octavo (21cm); grayish-green cloth, with titles stamped in gilt on spine and front cover; red topstain; dustjacket; x,195,[1]pp. Signed by the author on the title page. Spine ends gently nudged, with some trivial wear along the lower edge; Near Fine. Dustjacket is unclipped (priced $8.95), gently spine-sunned, with light wear to extremities; about Near Fine. Price's translations of thirty stories from both Testaments and the Gospel of Mark. WRIGHT & WEST A22. Signed.