Bentley Lloyd (39 results)

Condition: very good. Al, Shirley (illustrator). Gut/Very good: Buch bzw. Schutzumschlag mit wenigen Gebrauchsspuren an Einband, Schutzumschlag oder Seiten. / Describes a book or dust jacket that does show some signs of wear on either the binding, dust jacket or pages.

Condition: As New. Unread copy in mint condition.

Condition: New. Brand New.

SingleIssueMagazine. Condition: Good. Vol. 47, No. 4. "Printed in Canada". Edited by Cathleen Jordan. Cover art by Kristina Swarner. Includes "The Devil You Know" by David Edgerley Gates; "The Case of the Wolf with Two Tales" by Lloyd Biggle, Jr.; "The No-Brianer" by S. L. Franklin; "The Mysterious Mr. Kim" by Martin Limon; "Sisters" by Bentley Dadmun; "The Faultless Painter" by Michelle Knowlden; "Battleground" by John M. Floyd; "the Man Without a Coubntry" (Mystery Classic) by Edward Everett Hale. Departments: "Editor's Notes"; "The Mysterious Photograph"; "Unsolved" by Robert Kesling; "Solution to the March "Unsolved"; "Booked & Printed" by Mary Cannon; "The Story That Won". Illustrated by Dan Krovatin, Linda Weatherly, M. Bilokur, Ron Chironna, Meredith Lightbown, Hank Blaustein, Kelly Donato, and Tatjana Mai-Wyss. Label pulls to front (see scan); mild tanning, rear cover a little soiled. Book.

hardcover. Condition: Fine.

Condition: New. Brand New.

Mass Market Paperback. Condition: Brand New. reissue edition. 528 pages. 6.75x4.25x1.00 inches. In Stock.

Condition: New.

hardcover. Condition: New. *Brand new* Ships from USA.

Ex library, paperback (VG); all our specials have minimal description to keep listing them viable. They are at least reading copies, complete and in reasonable condition, but usually secondhand; frequently they are superior examples. Ordering more than one book will reduce your overall postage costs.

Condition: As New. Unread book in perfect condition.

Hardback. Condition: New. Anna Freeman Bentley (b. 1982) is an artist based in London. Her painting practice explores the built environment, architecture and interiors, inviting emotive, psychological and semiotic readings of space. This publication, Complete Reality, documents Freeman Bentley's latest series of paintings, which she created after visiting the film set for My Driver and I (2024), a coming-of-age drama set in the port city of Jeddah in Saudi Arabia.Over the course of the shoot, Freeman Bentley took over two thousand photographs, which she edited and worked from in her London studio. The paintings show lavish rooms, filled with fringed lamps, dusty chandeliers, vast mirrors and ornate furniture, juxtaposed with the incongruous signs of a film set: screens, leads, computers and plastic chairs. Exploring the relationship between 'reality' and 'fabrication', the series continues the artist's interest in spaces that have an inherent tension or transience.Alongside the paintings that comprise Complete Reality, the publication also includes a series of oil studies on paper that explore additional rooms, angles and spaces from the film set. Installation images of the artist's most recent solo exhibitions - Video Village at MASSIMODECARLO Pie`ce Unique, Paris (2024), make shift at Monica de Cardenas, Zuoz (2024), and Complete Reality at Anat Ebgi, Los Angeles (2024-25) - showcase the works staged in different configurations and gallery environments. In her introduction, Jennifer Higgie considers the interiority of Freeman Bentley's elusive scenes, and her interest in temporary and unreal spaces. The curator and writer Elisabetta Fabrizi interviews Freeman Bentley about the interplay of reality and illusion in her paintings. They reflect on themes of authenticity and narrative tension, and discuss Freeman Bentley's earlier explorations of cinema, particularly Andrei Tarkovsky's Stalker (1979). Kathryn Lloyd writes about the conceptual and historical relationships between cinema, photography and painting. She analyses how Freeman Bentley forges an interdependence between these three distinct media, creating an unmistakably painterly language that somehow distils the essence of both film and photography.In an interview with Michele Robecchi, the artist discusses her recent solo exhibition in Switzerland, make shift. Freeman Bentley reflects on her personal connections to the work, the significance of the temporary and transitory nature of the film set and her use of triptychs, mirrors and fragmentation to disrupt conventional readings of space. In her contribution, the film producer Georgie Paget offers a speculative film script based on the exhibition Video Village at MASSIMODECARLO Pie`ce Unique, Paris.Edited by Matt Price and designed by Joanna Deans, the book is published by Anomie Publishing, London.Anna Freeman Bentley (b.1982) is an artist based in London. She completed her BA at Chelsea College of Arts, London, in 2004, and also undertook an Erasmus exchange at.

Hardback. Condition: New.

Condition: New.

Condition: New.

Condition: New. In.

Condition: New.

Hardback. Condition: New. Anna Freeman Bentley (b. 1982) is an artist based in London. Her painting practice explores the built environment, architecture and interiors, inviting emotive, psychological and semiotic readings of space. This publication, Complete Reality, documents Freeman Bentley's latest series of paintings, which she created after visiting the film set for My Driver and I (2024), a coming-of-age drama set in the port city of Jeddah in Saudi Arabia.Over the course of the shoot, Freeman Bentley took over two thousand photographs, which she edited and worked from in her London studio. The paintings show lavish rooms, filled with fringed lamps, dusty chandeliers, vast mirrors and ornate furniture, juxtaposed with the incongruous signs of a film set: screens, leads, computers and plastic chairs. Exploring the relationship between 'reality' and 'fabrication', the series continues the artist's interest in spaces that have an inherent tension or transience.Alongside the paintings that comprise Complete Reality, the publication also includes a series of oil studies on paper that explore additional rooms, angles and spaces from the film set. Installation images of the artist's most recent solo exhibitions - Video Village at MASSIMODECARLO Pie`ce Unique, Paris (2024), make shift at Monica de Cardenas, Zuoz (2024), and Complete Reality at Anat Ebgi, Los Angeles (2024-25) - showcase the works staged in different configurations and gallery environments. In her introduction, Jennifer Higgie considers the interiority of Freeman Bentley's elusive scenes, and her interest in temporary and unreal spaces. The curator and writer Elisabetta Fabrizi interviews Freeman Bentley about the interplay of reality and illusion in her paintings. They reflect on themes of authenticity and narrative tension, and discuss Freeman Bentley's earlier explorations of cinema, particularly Andrei Tarkovsky's Stalker (1979). Kathryn Lloyd writes about the conceptual and historical relationships between cinema, photography and painting. She analyses how Freeman Bentley forges an interdependence between these three distinct media, creating an unmistakably painterly language that somehow distils the essence of both film and photography.In an interview with Michele Robecchi, the artist discusses her recent solo exhibition in Switzerland, make shift. Freeman Bentley reflects on her personal connections to the work, the significance of the temporary and transitory nature of the film set and her use of triptychs, mirrors and fragmentation to disrupt conventional readings of space. In her contribution, the film producer Georgie Paget offers a speculative film script based on the exhibition Video Village at MASSIMODECARLO Pie`ce Unique, Paris.Edited by Matt Price and designed by Joanna Deans, the book is published by Anomie Publishing, London.Anna Freeman Bentley (b.1982) is an artist based in London. She completed her BA at Chelsea College of Arts, London, in 2004, and also undertook an Erasmus exchange at.

Hardcover. Condition: Brand New. 130 pages. 5.00x0.44x8.00 inches. In Stock.

Condition: New.

Condition: As New. Unread book in perfect condition.

Mass Market Paperback. Condition: Good. Blandford, E.L.; Green, P.R.; Adash (Kirby, Josh); (illustrator). First Edition. Cover by Blandford. Contains 'Assassin in Hiding' by High, 'The Honest Philosopher' by Lloyd (Tubb, E.C.), 'Prophet Without Honour' by Bentley, 'They Blow Up' by Chandler, 'Salute Your Superiors!' by Kippax, Dead Weight (Part two of three) by West (also Tubb), Part 7 of The Evolution of Man' by Johns (John Newman and Kenneth Bulmer), an editorial by Tubb and reviews by Harby. One inch price label stuck to the front cover. One inch closed tear at the top of the spine and there is a three inch long tape mark at the bottom of the spine and over onto the edges of the front and rear covers. The spine has some surface and edge wear and there is a little discolouration to the rear cover. The pages are browned with small chips to some of the corners but are otherwise clean and unmarked. Postage charge will be reduced by £1.50 when the order is processed.

Condition: New. In.

Condition: New.

Hardcover. Condition: Brand New. 168 pages. 10.60x9.60x10.63 inches. In Stock.

Hardback. Condition: New. Anna Freeman Bentley (b. 1982) is an artist based in London. Her painting practice explores the built environment, architecture and interiors, inviting emotive, psychological and semiotic readings of space. This publication, Complete Reality, documents Freeman Bentley's latest series of paintings, which she created after visiting the film set for My Driver and I (2024), a coming-of-age drama set in the port city of Jeddah in Saudi Arabia.Over the course of the shoot, Freeman Bentley took over two thousand photographs, which she edited and worked from in her London studio. The paintings show lavish rooms, filled with fringed lamps, dusty chandeliers, vast mirrors and ornate furniture, juxtaposed with the incongruous signs of a film set: screens, leads, computers and plastic chairs. Exploring the relationship between 'reality' and 'fabrication', the series continues the artist's interest in spaces that have an inherent tension or transience.Alongside the paintings that comprise Complete Reality, the publication also includes a series of oil studies on paper that explore additional rooms, angles and spaces from the film set. Installation images of the artist's most recent solo exhibitions - Video Village at MASSIMODECARLO Pie`ce Unique, Paris (2024), make shift at Monica de Cardenas, Zuoz (2024), and Complete Reality at Anat Ebgi, Los Angeles (2024-25) - showcase the works staged in different configurations and gallery environments. In her introduction, Jennifer Higgie considers the interiority of Freeman Bentley's elusive scenes, and her interest in temporary and unreal spaces. The curator and writer Elisabetta Fabrizi interviews Freeman Bentley about the interplay of reality and illusion in her paintings. They reflect on themes of authenticity and narrative tension, and discuss Freeman Bentley's earlier explorations of cinema, particularly Andrei Tarkovsky's Stalker (1979). Kathryn Lloyd writes about the conceptual and historical relationships between cinema, photography and painting. She analyses how Freeman Bentley forges an interdependence between these three distinct media, creating an unmistakably painterly language that somehow distils the essence of both film and photography.In an interview with Michele Robecchi, the artist discusses her recent solo exhibition in Switzerland, make shift. Freeman Bentley reflects on her personal connections to the work, the significance of the temporary and transitory nature of the film set and her use of triptychs, mirrors and fragmentation to disrupt conventional readings of space. In her contribution, the film producer Georgie Paget offers a speculative film script based on the exhibition Video Village at MASSIMODECARLO Pie`ce Unique, Paris.Edited by Matt Price and designed by Joanna Deans, the book is published by Anomie Publishing, London.Anna Freeman Bentley (b.1982) is an artist based in London. She completed her BA at Chelsea College of Arts, London, in 2004, and also undertook an Erasmus exchange at.

Condition: New. Print on Demand pp. 112.

Hardcover. Condition: Brand New. 168 pages. 10.60x9.60x10.63 inches. In Stock.

Condition: New. Print on Demand pp. 112.

Hardback. Condition: New.