Search Results: an introduction to the language of by pope arthur

Cambridge (Harvard University Press), 1931.. xiii, (1), 120, (4)pp., 53 plates. Sm. 4to. Cloth.

Cambridge: Harvard, 1929. Hardcover. Very Good. First edition. Very good hardcover. Volume 1 only. Former owner's name on front endpaper. Pages clean. Yellow spots on illustrated pages. Spine faded on blue cloth cover. Corners on cover rubbed and bent. Please Note: This book has been transferred to Between the Covers from another database and might not be described to our usual standards. Please inquire for more detailed condition information.

Paperback. Like New.

Harvard University Press, 1929. Book. Very Good. Hardcover. VG blue cloth hardcover. No jacket. 1929. VOLUME 1. Painter's terms. Previous owner's name on FFEP.Pages all clean. Diagrams and plates. Light edge wear. Binding solid. 156 pp..

Havard University Press, 1939. 2nd. Hardcover. Very Good/No Jacket. shelf wear on the boards. some usage markings. contents are clean and intact. may require extra postage. [SK]. Our orders are shipped using tracked courier delivery services.

Harvard University Press, 1939. Good/Fair. Two volume set. Jacket spines are tanned, but legibility is not affected. Jacket spines and cover edges are torn. Back jacket of vol. one is stained, but readability is not impacted. Front jacket of vol. two is smudged, but readability is not affected. Spines are tight. Spine edges are bumped. Covers are worn, especially along edges. Text blocks are tanned, but legibility is not impacted. Insides are lightly marked with read pencil.

Cambridge: Harvard University. Very Good in Good+ dust jacket. 1939. First Edition; Second Printing. Hardcover. Edge toning, light foxing, name in ink on the front endpaper, and jacket moderately toned, with dampstains, tears and chips, several cello tape repairs. ; 8vo 8" - 9" tall .

Cambridge: Cambridge University Press, 1939. Hardcover; 156 pages. Volume 1 only. Includes 5 full colour plates at back. Blue cloth hardcovers with black titles on yellowed paper on spine. Spine generally sunned. Bumped corners. Minor edgewear. Yellowing greyish endpapers, light pencilling. Deckled page edges on textured paper, yellowing, no markings. GOOD . Hardcover. Good/No Jacket.

Hardback. New.

Cambridge: Harvard University Press, 1929. 1st Edition . Very Good Plus/Very Good. 6 x 9 inches (15 x 23 cm). Dust jacket: Original jacket with light soiling and browning. Old paper reinforcements and archival tape repair to reverse, slight wear to edge of spine. Unclipped. Preserved in a removable jacket protector. Overall jacket condition is Very Good Minus. Book: Blue cloth binding with paper title label to spine. Page edges untrimmed. Very clean condition throughout. Scarce. Overall book condition is Very Good Plus. Size: 6 x 9 inches (15 x 23 cm). Hardback. Printed pages: xiii, 157 + 5 plates

Cambridge: Harvard University Press, 1929. Hardcover. G Both covers have significant fading and discoloration. Bookblocks have age toning, some damage to page edges. Previous owners name on interoir covers of volume 1.. Blue cloth boards. Spines have paste on title block. Vol 1 157 pgs. Vol 2 121 pgs. Illustrations.

Hardback. New.

Hardback. New.

Cambridge, MA: Harvard University Press, 1931. Hardcover. VG, underlining, writing on ffep, some fading of spine. Navy cloth. 157,ix,125,pls pp. 4 color, 55 bw plates. Volume I covers many aspects of tone relations and includes a bibliography and appendix. Volume II covers the visual effect, the modes of drawing, the modes of painting, and the use of abstract modes in modernistic painting. Besides the plates, the books also contain 75 line drawings. This set unique in that Volume 1 has the name Robert Motherwell , the date, and the location (Harvard University) inscribed in very neat black cursive ink on the title-page. By 1948, Motherwell had developed an entirely new and individualistic signature as well as committed himself to being a full-time artist. At the time he biought this set, he was embarking on a PhD in Philosophy after striking a deal with his father, who saw no future for his son as an artist. Apparently, art was never far from his mind, as his purchase and ownership of this set of… Read More