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Condition
Binding
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Published by Johns Hopkins University Press, 1973
ISBN 10: 0801815525ISBN 13: 9780801815522
Seller: WorldofBooks, Goring-By-Sea, WS, United Kingdom
Book
Paperback. Condition: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.
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Published by Johns Hopkins University Press, Baltimore, MD, 1977
ISBN 10: 0801815525ISBN 13: 9780801815522
Book First Edition
Paperback. Condition: Good. 1st Edition (Unstated); Second Printing. Ex-Library copy with usual identifiers. Creasing to covers. Foxing to the exterior edge of pages. Good overall condition otherwise. No other noteworthy defects. No markings on text pages.; Thalheimer Lectures; 6 X 0.35 X 9 inches; 136 pages.
Published by The Johns Hopkins University Press, 1972
ISBN 10: 0801813549ISBN 13: 9780801813542
Seller: Zubal-Books, Since 1961, Cleveland, OH, U.S.A.
Book
Condition: Fine. First edition, first printing, 142 pp., Hardcover, fine in a lightly worn dust jacket. - If you are reading this, this item is actually (physically) in our stock and ready for shipment once ordered. We are not bookjackers. Buyer is responsible for any additional duties, taxes, or fees required by recipient's country.
Published by Prentice Hall, 1998
ISBN 10: 0134401999ISBN 13: 9780134401997
Seller: Ergodebooks, Houston, TX, U.S.A.
Book
Softcover. Condition: Good. 16. The newly designed 16th edition invites a new generation to the immense pleasures of the author's lucid and accessible writing about art history. This is the paper text edition of the classic work (cited in BCL3 ), first published in 1950 and updated and reprinted extensively since then. ( Books in Print shows that the 16th is also published in a paper trade edition distributed by Chronicle Books; Phaidon Press Ltd. holds the copyright.) Contains numerous color plates. Annotation c. by Book News, Inc., Portland, Or.
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Published by generic
Seller: ThriftBooksVintage, Tukwila, WA, U.S.A.
Paperback. Condition: Very Good. No Jacket. Minor shelf and handling wear, overall a clean solid copy with minimal signs of use. Secure packaging for safe delivery. 1.01.
Published by Scottish Arts Council, Edinburgh, 1978
Seller: Peter Moore Bookseller, (Est. 1970) (PBFA, BCSA), Cambridge, United Kingdom
Association Member: PBFA
Book
Soft cover. Condition: Good. Dust Jacket Condition: New. 40pp. 22cm. 18 full page black and white plates. Soft covers. A good clean copy. (To accompany an exhibition. Includes a full list of his archive of 390 photographs from the V & A).
Published by George Weidenfeld & Nicholson, London, 1985
ISBN 10: 0297784072ISBN 13: 9780297784074
Seller: Attic Books, Cheltenham, GLOS, United Kingdom
Book First Edition
Publisher's Cloth. Condition: Fine. Dust Jacket Condition: Very Good. First Edition. - 224 mm. Cloth hardcover, gilt titling to spine. Illustrated. B&W photographic plates. Pp. x, 174. Minor edgewear and rubbing to DJ.
Published by Routledge, 2011
ISBN 10: 0415610214ISBN 13: 9780415610216
Seller: Revaluation Books, Exeter, United Kingdom
Book
Paperback. Condition: Brand New. 744 pages. 9.17x6.38x2.24 inches. In Stock.
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Published by Royal Society, 1975
Seller: Cambridge Rare Books, Cambridge, GLOUC, United Kingdom
Paperback. Condition: VERY GOOD. 1975. Royal Society. Softback. Book- VG. 11.5x8. 31pp. 11 b/w plates, some b/w illus. Verbal descriptions, photographs and maps are reviewed for the kind of selective information they impart, establishing the need for a critical analysis of the assumption that we can not only map the invariant features of the physical world but also represent the optical world, the changing appearance of objects as it is conveyed to the camera and to the eye by reflected light.
Published by Pentagram Design London, 1997
Seller: Suibhne's Rare and Collectible Books, Newbury, OH, U.S.A.
First Edition
Soft cover. Condition: As New. 1st Edition. Pentagram Design London 1997, 1997. 22pp, colour illustration on frontispiece by Ron Kitaj. 21x15, black card wraps, black dw.grey endpapers. as new; Published by this well known practice, originally directed by Theo Crosby, the aim of the Papers was to "publish examples of curious, entertaining, stimulating, provocative and occasionally controversial points of view that have come to the attention of.Pentagram." The text of Gombrich's 1992 lecture to the Arts and Architecture group. clean and unmarked.
Published by Verlag Galerie Welz, Salzburg, 1990
ISBN 10: 3853491480ISBN 13: 9783853491485
Seller: Literary Cat Books, Machynlleth, Powys, WALES, United Kingdom
Association Member: IOBA
Book First Edition
Original Wrappers. Condition: Fine. Dust Jacket Condition: No Dust Jacket. First Edition; First Edition. A fine , well illustrated 111 Page Catalogue with Introductory texts by Sir Enst H. Gombrich and Hans Tietze + Personal Recollections of Gerhart Frankl by Julian Sofaer. 150 works are illustrated including 86 in Colour. A fine copy of this elusive and important item. Light shelfwear. ; Paperback; Quarto Oblong.
Published by NY: Pantheon, 1960
Seller: Salmon of Knowledge Books -- Thomas I. Finnigan, Purveyor, Hyde Park, NY, U.S.A.
Book First Edition
Hardcover. Condition: Very Good. No Jacket. 1st Edition. Very Good condition. Spine and hinges strong. Mild foxing to early endpapers. Mild scuffing to back upper left corner of cover. Pagination and illustrations clean and bright. More photos upon request.**This item will definitely require extra shipping charges.**.
Published by Scottish Arts Council, Edinburgh, 1978
ISBN 10: 0902989502ISBN 13: 9780902989504
Seller: David Bunnett Books, London, United Kingdom
Book First Edition
SOFTCOVER. 1st Edition. 4to in photo illustrated stiff card covers, 40pp, plates etc. CONDITION: Covers tanned else FINE, an otherwise well preserved and very clean and tight copy (small ink name on title-page, no other marks or inscriptions) ] ._ . . . . . . . . . . . . To see more of our Photo books type DbbPHOTO in the Keywords search box ._We Ship in PROTECTIVE CARD PARCELS.
Published by [New York]: [Arts Magazine], 1965
Seller: James Fergusson Books & Manuscripts, London, United Kingdom
Book Signed
Soft cover. Condition: Very Good. 4to. Wrappers. Spine worn, covers faded and faintly creased. Inscribed by the author [to Denys Lasdun], "with very many thanks, & regards EH Gombrich". Inscribed by Author(s).
Published by Ashmolean Museum, Oxford, UK, 1992
ISBN 10: 1854440357ISBN 13: 9781854440358
Seller: SAVERY BOOKS, Brighton, East Sussex, United Kingdom
Manuscript / Paper Collectible
Soft cover. Condition: Very Good Plus. SOFTCOVER 1992. 80 pages. 20.5x20.5cm. Spine is not creased. Clean & tight. No inscriptions. Flat pages. Dispatched ROYAL MAIL FIRST CLASS with TRACKING next working day or sooner securely boxed in cardboard. ref DCdLF.
Published by Phaidon Press, 2008
ISBN 10: 0714898708ISBN 13: 9780714898704
Seller: Agapea Libros, Malaga, Spain
Book
Condition: New. Idioma/Language: Español. Presenta la historia del arte en forma de discurso narrativo, 'una cadena viva que a n hoy comunica la Úpoca contemporßnea con la Úpoca de las pirßmides'. *** Nota: Los envíos a España peninsular, Baleares y Canarias se realizan a través de mensajería urgente. No aceptamos pedidos con destino a Ceuta y Melilla.
Published by Edinburgh: Scottish Arts Council, 1978, 1978
Seller: °ART...on paper - 20th Century Art Books, Lugano, Switzerland
Association Member: ILAB
Book First Edition
Soft cover. Condition: Good. 1st Edition. Sm.8° - 40pp - 18 B/w photo-reproductions. Exhibition Catalog: Henri Cartier-Bresson (1908-2004) French humanist photographer considered a master of candid photography, and an early user of 35 mm film. With an essay by Sir E. Gombrich. Original boards. Front cover slightly stained otherwise in Good condition.
Seller: liu xing, Nanjing JiangSu, JS, China
paperback. Condition: Good. Ship out in 2 business day, And Fast shipping, Free Tracking number will be provided after the shipment.Story of Art (16) coated paper is printed in full color. 16Four Satisfaction guaranteed,or money back.
Published by Phaidon Press, London, 1960
First Edition
Hardcover. Condition: Fine-. Dust Jacket Condition: Near Fine+. First Edition. First Printing of this path-breaking work in the psychology of perception that influenced thinkers as diverse as Carlo Ginzburg, Nelson Goodman, and Umberto Eco. Thick royal 8vo (254 x 187mm): xxxi,[1],466pp, with 319 illustrations, some folding and in color. Publisher's original scarlet linen, spine lettered in gold within black title black, beige dust jacket printed in red and black and priced 70s. Printed on heavy coated stock. About Fine, tightly bound, clean and bright throughout; Near Fine or better jacket with faint spotting to upper cover panel, closed tear along bottom spine panel fold with degree or two of lightening to red lettering. No. 35 in the Bollingen series. Arntzen R1. Originally given as the A. W. Mellon lectures in the fine arts, at the National Gallery of Art, in Washington, D. C., in 1956. "Considered a classic by all who seek for a meeting ground between science and the humanities, Art and Illusion examines the history and psychology of pictorial representation in light of present-day theories of visual perception information and learning. Searching for a rational explanation of the changing styles of art, Gombrich reexamines many ideas on the imitation of nature and the function of tradition. In testing his arguments he ranges over the history of art, noticing particularly the accomplishments of the ancient Greeks and the visual discoveries of such masters as Leonardo da Vinci and Rembrandt, as well as the impressionists and the cubists. Gombrich's triumph in Art and Illusion arises from the fact that his main concern is less with the artists than with ourselves, the beholders." (from the dust jacket) N. B. With few exceptions (always identified), we only stock books in exceptional condition, with dust jackets carefully preserved in archival, removable mylar sleeves. All orders are packaged with care and posted promptly. Satisfaction guaranteed. (Fine Editions Ltd is a member of the Independent Online Booksellers Association, and we subscribe to its codes of ethics.).
Published by The Athlone Press, London, 1970
ISBN 10: 0485141191ISBN 13: 9780485141191
Book First Edition
Paperback. Condition: Good. First Edition. "From the age of thirty to the age of thirty-six I was concerned with the body of documents I propose to bring to your attention today. Working at the Listening Post of the B.B.C. I must have heard, recorded, translated, or read a considerable proportion of all German broadcasts for the German people from December 1939 to December 1945. As a historian I witnessed the war not only through the British news media and the realities of life 'somewhere in the country', as the formula was, but also through the distorting mirror in which Goebbels wanted the German people to perceive it." - pages 1-2. When Gombrich [1909-2001] "heard an upcoming announcement prefaced by Bruckner's seventh symphony, written for Richard Wagner's death, he guessed correctly that Adolf Hitler was dead and promptly broke the news to Churchill. He was elected a Fellow of the British Academy in 1960, made CBE in 1966, knighted in 1972, and appointed a member of the Order of Merit in 1988. Gombrich was close to a number of Austrian émigrés who fled to the West prior to the Anschluss, among them Karl Popper, Friedrich Hayek and Max Perutz. He was instrumental in bringing to publication Popper's magnum opus The Open Society and Its Enemies." - Wikipedia. 28 page stapled booklet in pink wraps. Unmarked with moderate wear. Binding intact. A sound vintage copy of this important lecture. The Secret Wars, Vol I, 211.; 8vo.
Published by London February 1961, 1961
Book
Art historian Professor Ernst Gombrich's essay on Churchill as a painter, published in The Atlantic Monthly in March 1965, shortly after Churchill's death. Lightly corrected by the author on almost all pages and with typesetters' marks throughout. Together with a galley proof with several authorial corrections, including an inserted sentence on a slip: "Maybe he [Churchill] wanted us to reverse the equation: If painting is like generalship then generalship is like painting, and a certain great war leader might claim to be a great artist after all. But what matter?". "A dazzlingly insightful art historian, E. H. Gombrich monitored German radio broadcasts during the Second World War for the BBC World Service. In 1945, when a Nazi broadcast was prefaced by Anton Bruckner's Symphony No. 7, written to commemorate the death of Richard Wagner, Gombrich deduced that Hitler had died and broke the news to Churchill. Sympathetic but never in thrall, unlike other former Churchill associates, Gombrich identifies the great man as an amateur or dilettante from a generation of realistic painters. They all expressed the 'joy of painting boldly in strong colours What mattered increasingly was spontaneity, boldness and a certain freshness of vision that was summed up in the catchword of the innocent eye.' Boldness Churchill certainly had, making up for a lack of expertise that might be expected from a full-time professional artist. As he put it, for those who 'go on a joyride in a paintbox audacity is the only ticket'. And for this genre of art, this attribute went a long way, making his canvases more palatable than they otherwise might have been. Gombrich further admires Churchill's mental preparation and self-analysis as an artist. The psychological challenges of perception and reproduction of nature in art were bravely embraced by Churchill. As he was to some extent self-medicating with the hobby of painting, part of his therapy was understanding the effects of the leisure-time activity upon his body and mind. To this end, Churchill described his start in painting as a scene of violation committed upon an 'absolutely cowering canvas. Any one could see that it could not hit back The sickly inhibitions rolled away. I seized the largest brush and fell upon my victim with Berserk fury'. Gombrich cautioned anyone who sought to read too deeply into Churchill's art for evidence of his inner feelings: 'It may be argued that these correspondences between a personality and its expression are both trivial and deceptive. Hitler, the screaming demagogue, painted tame water-colours. No doubt these too reflected one side of his character. He would not have painted them otherwise. But nobody could learn much worth knowing about either of the protagonists of World War II from a contemplation of their works.' Even if Churchill's paintings themselves are not a direct expression of himself to the extent that a professional artist's necessarily would be, he went about creating them in a quintessentially Churchillian way. Gombrich adds: 'He took up the new hobby with that zest that was all his own and grasped the whole situation with a clarity and an insight that mark the great statesman and historian.' For this reason, art looks likely to continue as an indispensable part of his legend, with the brandy, cigars, soul-inspiring speeches, oratorical skills, and the rest." (Churchill v Hitler Who was the better artist? An article published in The New European 15 January 2019) Typical browning to galley paper (and to first page of typescript.) but all in very good condition. Typescript 14 pages, galley proof 4 pages (folded).