S BIRDLIFE. Edited by Noel Cusa. - 6 Angebote vergleichen
Bester Preis: € 5,02 (vom 14.03.2017)1
S BIRDLIFE. Edited by Noel Cusa. (1985)
~EN HC NW FEISBN: 9780907745044 bzw. 0907745040, vermutlich in Englisch, Clive Holloway Books. London. 1985. gebundenes Buch, neu, Erstausgabe.
Von Händler/Antiquariat, Coch-y-Bonddu Books Ltd [68825], MACHYNLLETH, United Kingdom.
(Hardcover, 1985). 1985 1st edition. Large 4to (268 x 316mm). Pp150. Colour plates by Tunnicliffe throughout, dark blue end-papers. Blue boards, spine titled in silver-gilt. Foreword by Peter Scott. Slight marks and fraying to boards, browning to edges. Good-plus in torn and chipped dust-wrapper. "[Tunnicliffe's] ability to portray [bird's] natural behaviour has always found favour with ornithologists. He had an eye for the intrinsic beauty of postures and groupings of birds at rest, but he also moved boldly in new areas where most artists feared to tread: painting birds in flight, in conflict, proud display or wind-blown awkwardness with equal confidence and success. The genius that sets a Tunnicliffe painting apart from a mere study of birds stems from his view that a work of art should have its 'own particular claim to be beautiful, not because it slavishly imitated the form and colour of a bird but because it had used the bird and controlled it to make a new beauty'. To this end he devoted as much attention to the bird's setting (and to the real or imagined weather conditions) as he did to the creature itself. Naturalists who contemplate these paintings will no doubt agree with the artist's modest assertion that he 'felt he knew his birds'. Others, who appreciate great art when they see it (but rarely look for it in natural history painting), will be equally rewarded." . Books.
(Hardcover, 1985). 1985 1st edition. Large 4to (268 x 316mm). Pp150. Colour plates by Tunnicliffe throughout, dark blue end-papers. Blue boards, spine titled in silver-gilt. Foreword by Peter Scott. Slight marks and fraying to boards, browning to edges. Good-plus in torn and chipped dust-wrapper. "[Tunnicliffe's] ability to portray [bird's] natural behaviour has always found favour with ornithologists. He had an eye for the intrinsic beauty of postures and groupings of birds at rest, but he also moved boldly in new areas where most artists feared to tread: painting birds in flight, in conflict, proud display or wind-blown awkwardness with equal confidence and success. The genius that sets a Tunnicliffe painting apart from a mere study of birds stems from his view that a work of art should have its 'own particular claim to be beautiful, not because it slavishly imitated the form and colour of a bird but because it had used the bird and controlled it to make a new beauty'. To this end he devoted as much attention to the bird's setting (and to the real or imagined weather conditions) as he did to the creature itself. Naturalists who contemplate these paintings will no doubt agree with the artist's modest assertion that he 'felt he knew his birds'. Others, who appreciate great art when they see it (but rarely look for it in natural history painting), will be equally rewarded." . Books.
2
S BIRDLIFE. Edited by Noel Cusa. (1985)
~EN HC NW FEISBN: 9780907745044 bzw. 0907745040, vermutlich in Englisch, Clive Holloway Books. London. 1985. gebundenes Buch, neu, Erstausgabe.
Von Händler/Antiquariat, Coch-y-Bonddu Books Ltd [68825], MACHYNLLETH, United Kingdom.
(Hardcover, 1985). 1985 1st edition. Folio (268 x 316mm). Pp150. Colour plates by Tunnicliffe throughout. Blue boards, spine titled in silver. Foreword by Peter Scott. Dents to boards. Good-plus in slightly faded dust-wrapper. "[Tunnicliffe's] ability to portray [bird's] natural behaviour has always found favour with ornithologists. He had an eye for the intrinsic beauty of postures and groupings of birds at rest, but he also moved boldly in new areas where most artists feared to tread: painting birds in flight, in conflict, proud display or wind-blown awkwardness with equal confidence and success. The genius that sets a Tunnicliffe painting apart from a mere study of birds stems from his view that a work of art should have its 'own particular claim to be beautiful, not because it slavishly imitated the form and colour of a bird but because it had used the bird and controlled it to make a new beauty'. To this end he devoted as much attention to the bird's setting (and to the real or imagined weather conditions) as he did to the creature itself. Naturalists who contemplate these paintings will no doubt agree with the artist's modest assertion that he 'felt he knew his birds'. Others, who appreciate great art when they see it (but rarely look for it in natural history painting), will be equally rewarded." . Books.
(Hardcover, 1985). 1985 1st edition. Folio (268 x 316mm). Pp150. Colour plates by Tunnicliffe throughout. Blue boards, spine titled in silver. Foreword by Peter Scott. Dents to boards. Good-plus in slightly faded dust-wrapper. "[Tunnicliffe's] ability to portray [bird's] natural behaviour has always found favour with ornithologists. He had an eye for the intrinsic beauty of postures and groupings of birds at rest, but he also moved boldly in new areas where most artists feared to tread: painting birds in flight, in conflict, proud display or wind-blown awkwardness with equal confidence and success. The genius that sets a Tunnicliffe painting apart from a mere study of birds stems from his view that a work of art should have its 'own particular claim to be beautiful, not because it slavishly imitated the form and colour of a bird but because it had used the bird and controlled it to make a new beauty'. To this end he devoted as much attention to the bird's setting (and to the real or imagined weather conditions) as he did to the creature itself. Naturalists who contemplate these paintings will no doubt agree with the artist's modest assertion that he 'felt he knew his birds'. Others, who appreciate great art when they see it (but rarely look for it in natural history painting), will be equally rewarded." . Books.
3
S BIRDLIFE. Edited by Noel Cusa. (1985)
~EN HC NW FEISBN: 9780907745044 bzw. 0907745040, vermutlich in Englisch, Clive Holloway Books. London. 1985. gebundenes Buch, neu, Erstausgabe.
Von Händler/Antiquariat, Coch-y-Bonddu Books Ltd [68825], MACHYNLLETH, United Kingdom.
(Hardcover, 1985). 1985 1st edition. Folio (268 x 316mm). Pp150. Colour plates by Tunnicliffe throughout. Blue boards, spine titled in silver. Foreword by Peter Scott. Slight use else very good in slightly used dust-wrapper. "[Tunnicliffe's] ability to portray [bird's] natural behaviour has always found favour with ornithologists. He had an eye for the intrinsic beauty of postures and groupings of birds at rest, but he also moved boldly in new areas where most artists feared to tread: painting birds in flight, in conflict, proud display or wind-blown awkwardness with equal confidence and success. The genius that sets a Tunnicliffe painting apart from a mere study of birds stems from his view that a work of art should have its 'own particular claim to be beautiful, not because it slavishly imitated the form and colour of a bird but because it had used the bird and controlled it to make a new beauty'. To this end he devoted as much attention to the bird's setting (and to the real or imagined weather conditions) as he did to the creature itself. Naturalists who contemplate these paintings will no doubt agree with the artist's modest assertion that he 'felt he knew his birds'. Others, who appreciate great art when they see it (but rarely look for it in natural history painting), will be equally rewarded." . Books.
(Hardcover, 1985). 1985 1st edition. Folio (268 x 316mm). Pp150. Colour plates by Tunnicliffe throughout. Blue boards, spine titled in silver. Foreword by Peter Scott. Slight use else very good in slightly used dust-wrapper. "[Tunnicliffe's] ability to portray [bird's] natural behaviour has always found favour with ornithologists. He had an eye for the intrinsic beauty of postures and groupings of birds at rest, but he also moved boldly in new areas where most artists feared to tread: painting birds in flight, in conflict, proud display or wind-blown awkwardness with equal confidence and success. The genius that sets a Tunnicliffe painting apart from a mere study of birds stems from his view that a work of art should have its 'own particular claim to be beautiful, not because it slavishly imitated the form and colour of a bird but because it had used the bird and controlled it to make a new beauty'. To this end he devoted as much attention to the bird's setting (and to the real or imagined weather conditions) as he did to the creature itself. Naturalists who contemplate these paintings will no doubt agree with the artist's modest assertion that he 'felt he knew his birds'. Others, who appreciate great art when they see it (but rarely look for it in natural history painting), will be equally rewarded." . Books.
4
S BIRDLIFE. Edited by Noel Cusa. (1985)
~EN HC NW FEISBN: 9780907745044 bzw. 0907745040, vermutlich in Englisch, Clive Holloway Books. London. 1985. gebundenes Buch, neu, Erstausgabe.
Von Händler/Antiquariat, Coch-y-Bonddu Books Ltd [68825], MACHYNLLETH, United Kingdom.
(Hardcover, 1985). 1985 1st edition. Folio (268 x 316mm). Pp150. Colour plates by Tunnicliffe throughout. Blue boards, spine titled in silver. Foreword by Peter Scott. Small corner bump else very good in used dust-wrapper. "[Tunnicliffe's] ability to portray [bird's] natural behaviour has always found favour with ornithologists. He had an eye for the intrinsic beauty of postures and groupings of birds at rest, but he also moved boldly in new areas where most artists feared to tread: painting birds in flight, in conflict, proud display or wind-blown awkwardness with equal confidence and success. The genius that sets a Tunnicliffe painting apart from a mere study of birds stems from his view that a work of art should have its 'own particular claim to be beautiful, not because it slavishly imitated the form and colour of a bird but because it had used the bird and controlled it to make a new beauty'. To this end he devoted as much attention to the bird's setting (and to the real or imagined weather conditions) as he did to the creature itself. Naturalists who contemplate these paintings will no doubt agree with the artist's modest assertion that he 'felt he knew his birds'. Others, who appreciate great art when they see it (but rarely look for it in natural history painting), will be equally rewarded." . Books.
(Hardcover, 1985). 1985 1st edition. Folio (268 x 316mm). Pp150. Colour plates by Tunnicliffe throughout. Blue boards, spine titled in silver. Foreword by Peter Scott. Small corner bump else very good in used dust-wrapper. "[Tunnicliffe's] ability to portray [bird's] natural behaviour has always found favour with ornithologists. He had an eye for the intrinsic beauty of postures and groupings of birds at rest, but he also moved boldly in new areas where most artists feared to tread: painting birds in flight, in conflict, proud display or wind-blown awkwardness with equal confidence and success. The genius that sets a Tunnicliffe painting apart from a mere study of birds stems from his view that a work of art should have its 'own particular claim to be beautiful, not because it slavishly imitated the form and colour of a bird but because it had used the bird and controlled it to make a new beauty'. To this end he devoted as much attention to the bird's setting (and to the real or imagined weather conditions) as he did to the creature itself. Naturalists who contemplate these paintings will no doubt agree with the artist's modest assertion that he 'felt he knew his birds'. Others, who appreciate great art when they see it (but rarely look for it in natural history painting), will be equally rewarded." . Books.
5
Tunnicliffe's Birdlife
EN HC USISBN: 0907745040 bzw. 9780907745044, in Englisch, Harpercollins, gebundenes Buch, gebraucht.
Lieferung aus: Vereinigte Staaten von Amerika, In Stock.
birdwatching,nature and ecology,science,science and math,science and scientists,science and technology, A very good hardcover copy with silver spine lettering. Light edge wear; owner's name on frontpage. Tight binding. Clean, unmarked pages. Very good jacket in removable mylar; price-clipped; light spine fading; tear along spine head on back. NOT ex-library. 150pg. Shipped Weight: Under 1 kilogram. Category: Art; ISBN: 0907745040. ISBN/EAN: 9780907745044. Inventory No: 017194.
birdwatching,nature and ecology,science,science and math,science and scientists,science and technology, A very good hardcover copy with silver spine lettering. Light edge wear; owner's name on frontpage. Tight binding. Clean, unmarked pages. Very good jacket in removable mylar; price-clipped; light spine fading; tear along spine head on back. NOT ex-library. 150pg. Shipped Weight: Under 1 kilogram. Category: Art; ISBN: 0907745040. ISBN/EAN: 9780907745044. Inventory No: 017194.
Lade…