Edited Edward Morris (11 results)

Hardcover. Condition: Near Fine. Dust Jacket Condition: Very Good. First Edition. London: Secker & Warburg 1982. First Edition. Hardcover. 0436162601 85 pages, illustrated with black-and-white drawings. Near Fine with very light wear in dust jacket with a 2" closed tear to the lower edge of front flap, and light wear. clph.

Hardcover. Condition: Good Minus. Dust Jacket Condition: No Dust Jacket. From the Epochs of Modern History series. Small hardback - rust colored cloth with black lettering and decorations. 222 pages plus publisher ads. Very early reprint. All four fold out maps are intact with some edge creasing to one. No date shown for publication (c.1887). Book Condition : Good-; Previous owner's name on front flyleaf; Light dampstain to top edge of most pages; a couple pages have a little age staining, otherwise pages are clean and bright, no markings or tears. Cover is lightly soiled and has suffered a bit from dampness that left some fading and light bowing to front left. Spine has light aging but gilt is bright, wear-through to corners, some tearing to spine with a little cloth missing to top of spine. Front hinge is lightly cracked inside, rear is intact, pages are secure.

Trade Paperback. Condition: Very Good. Revised Edition. 590 pp. Flawless book, except crease down spine. Moderately browned pages.

This book is in good shape.

Softcover. Condition: Very good condition. xiv, 398 pp. Softcover. LCC: 8711122.

Hardcover. Condition: Very Good. Dust Jacket Condition: Good. 1st. Cloth, xiv, 221 pages, illustrations, portraits; 22 cm. English translation of author's Fonctions de la peinture, 1965, Gonthier, Paris. Firm binding, clean inside copy. Age toning. Dust jacket, with moderate edgewear/closed tear on the front cover, protected in a mylar cover. *** CONTENTS: Publishers' note; Preface, by George L.K. Morris; Introduction, by Edward F. Fry; Chronology; The origins of painting and its representational value (1913); Contemporary achievements in painting (1914); A critical essay on the plastic quality of Abel Gance's film The Wheel (1922); Notes on contemporary plastic life (1923); Notes on the mechanical element (1923); The spectacle: light, color, moving image, object-spectacle (1924); Ballet Me canique (c. 1924); The machine aesthetic: the manufactured object, the artisan, and the artist (1924); The machine aesthetic: geometric order and truth (1925); The ballet-spectacle, the object-spectacle (1925); Popular dance halls (1925); The street: objects, spectacles (1928); Abstract art (1931); New York (1931); The wall, the architect, the painter (1933); Speaking of cinema (1933); The new realism (1935); The new realism goes on (1937); Color in the world (1938); The human body considered as an object (1945); The painter's eye (1946); Art and the people (1946); Modern architecture and color (1946); How I conceive of the figure (1949); A new space in architecture (1949); Mural painting and easel painting (1950); The problem of freedom in art (1950); Modern painting (1950); The circus (1950); Mural painting (1952); New conceptions of space (1952); Color in architecture (1954); The Spartakiades (1960); A bibliographical guide to Le ger, by Bernard Karpel. Size: 8vo. Collectible.

Hardcover. Condition: Good. Fading on bottom of book and spine.

Paperback. Condition: Good. THERE ARE NO TARIFFS OR CUSTOMS DUTIES ON BOOKS. Softback - published by National Galleries of Scotland and National Museums and Galleries on Merseyside - 2000 - edited by Edward Morris - cover has slight turning to outer corners - all pages clean and unmarked - spine, binding and pages all tight, secure and intact - illustrated throughout with colour and b/w paintings.

Hard Cover. Condition: Very Good ++. Dust Jacket Condition: Very Good. Oversized hardcover with dust jacket, 176 pages including 113 black-and-white illustrations, and "Eighty oil sketches and paintings are full discussed and illustrated in full colour---";---laid in are three tiny pieces of related ephemera;---the book has teeny tiny bumps to the front hinge top and the back cover bottom corner tip, and the spine is ever so slightly slanted, but very clean and unmarked throughout, almost as new; DJ gently bumped and rumpled along top edge and ever so slightly along bottom, but no chips or tears. See also our listings for Kurt Badt's John Constable's Clouds, and for Herbert Tompkins' 1906 classic In Constable's Country (with many reproductions from his paintings).

Unknown. First Edition. 267 pages. A dictionary of the language spoken by people indigenous to the Sierra Nevada range in Northern California. Wrappers peeling at the spine ends. From the estate of linguist Victor Golla who specialized in California native languages; with his name and date on the cover verso, dated 1960. An interesting provenance: Golla was a doctoral student of Mary Haas, whose own doctoral advisor was Sapir.

First edition in this binding. Bound in full terracotta buckram, blocked in gilt to the front panel and spine with a design by William Morris, lettered in gilt to the spine. In the maroon paper-covered card slipcase lettered in gilt to the front panel. Pale grey endpapers, top edge gilt (fore- and lower edges untrimmed), bound-in black ribbon bookmark. The binding design is by David Pearson and has been executed by the Sigloch Buchbinderei in Blaufelden, Germany. Printed by Cambridge University Press on Oxenford twin-wire laid paper made at the James Cropper Mill at Burneside in Cumbria. A fine copy, presenting as new, with just a few light surface marks to the slipcase. A beautifully produced facsimile of this landmark in the history of printing. This 2008 reprint of the 2002 limited edition Folio Society facsimile (described as an 'unlimited' edition, although now out of print) reproduces in extraordinary detail and quality the most ambitious and magnificent book to be produced by William Morris' legendary Kelmscott Press, described by W. B. Yeats as "the most beautiful of all printed books". Edward Burne-Jones called it "a pocket cathedral it is so full of design" and "the finest book ever printed; if W. M. had done nothing else it would be enough". Burne-Jones devoted all his Sundays for almost three years to the work, and Morris came to talk with him as he drew. As the artist worked he increased the number of proposed illustrations from 48 to 60 to 72 to 87 and Morris accepted each change. The process of adapting the drawings to the woodblock and engraving them, was entrusted to W. H. Hooper and R. Catterson-Smith, with Burne-Jones closely supervising every detail. Further details and images for any of the items listed are available on request. Lucius Books welcomes direct contact with our customers.