Author: Samuel ButlerPublisher:
ISBN:
Category :
Languages : en
Pages : 266
Book Description
Erewhon ... The wood-engravings by Blair Hughes-Stanton
Author: Samuel ButlerThe Wood-engravings of Blair Hughes-Stanton
Author: Penelope Hughes-StantonPublisher: Pinner, Middlesex, England : Private Libraries Association
ISBN:
Category : Art
Languages : en
Pages : 204
Book Description
Hughes-Stanton is probably the most remarkable engraver in the country: in the world perhaps. His stimulus usually comes from literary subject-matter, but once the associations start working in his mind, they are almost immediately visualised in terms of box-wood and engraved textures. --p. ix.
Erewhon by Samuel Butler; the Wood-engravings by Blair Hughes-Stanton ...
Author: Gregynog PressPublisher:
ISBN:
Category : Dummies (Bookselling)
Languages : en
Pages : 4
Book Description
The Print-collector's Quarterly
Author: Catalogue
Author: Sotheby & Co. (London, England)Publisher:
ISBN:
Category : Books
Languages : en
Pages : 688
Book Description
The Book-collector's Quarterly
Author: The National Union Catalog, Pre-1956 Imprints
Author: Library of CongressPublisher:
ISBN:
Category : Catalogs, Union
Languages : en
Pages : 712
Book Description
The New Bookbinder
Author: The Library Chronicle of the University of Texas at Austin
Author: British Wood-engraved Book Illustration, 1904-1940
Author: Joanna SelbornePublisher: Oxford University Press, USA
ISBN:
Category : Antiques & Collectibles
Languages : en
Pages : 472
Book Description
Twentieth-century British wood-engraved book illustration up to the beginning of the Second World War was among the most versatile and inventive of the graphic arts. In a climate of typographical renaissance, various wood-engravers made a significant impact on the appearance of the printedpage, transforming good books into works of art and influencing modern standards of book production. This book reveals the methods by which these pioneering artists broke with nineteenth-century illustrative practices. The author surveys the subject in relation to the cultural and historicalbackground, and within the context of mainstream developments in the visual arts, placing emphasis on the working relationship of illustrators with both private presses and commercial publishers. Detailed study of unpublished material, including art school records, publishers' and print societies'archives, and artists' correspondence, throws new light on the work and practices of the more innovative wood engravers.