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1 ALLODI, Mary Printmaking in Canada. 2nd pr.
Royal Ontario Museum, 1980, ISBN:0888542607 
ALLODI, Mary. Printmaking in Canada: The Earliest Views and Portraits / Lesdébuts de l'estampe imprimée au Canada: vues et portraits. Tor. : Royal On tario Museum, (1980). Second Printing. Pp (8),ixxxviii,(1),2-244. Illustrated. 4to, pink card covers with spine sunned to grey. Spine sunned, light spotting to initial and final leaves, else very good. 20.00

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2 ARBER, Peggy [et al] Vancouver Island Invitational 1980 / Printmakers : December 11, 1980 - January 11, 1981
Art Gallery of Greater Victoria, Victoria, 1980, ISBN:088885045x 
ARBER, Peggy [et al]. Vancouver Island Invitational 1980 / Printmakers : December 11, 1980 - January 11, 1981. (Victoria) : Art Gallelry of Greater Victoria, 1980. Pp (12). Illustrated. Oblong 8vo, white stapled card covers, lettered in black. Contents : Introduction (by Greg Bellerby); Peggy Arber,Gwen Curry, Flemming Jorgensen, Joyce Malloch, Yves Vial [biography, exhib itions, exhibitions list, and artist's statement for each artist]. Very good. 15.00

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3 BAXTER, George Colour Prints by George Baxter 1804-1867. The William Crowley Jephcott Collection presented in 1959 to the National Gallery of Canada by his daughter Mrs John Edwardes-Evans in Memory of her Father.
National Gallery of Canada, Ottawa, 1959, 
(BAXTER, George). Colour Prints by George Baxter 1804-1867. The William Crowley Jephcott Collection presented in 1959 to the National Gallery of Canada by his daughter Mrs John Edwardes-Evans in Memory of her Father. [Ottawa : National Gallery of Canada, 1959]. Pp (32), + 6 leaves plates. 8vo, illustrated gold and white card covers. Rubbed, else very good. 20.00

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4 BEAUDRY, Eve-Lyne. PIEN, Ed). CATALANI, Stefano. CHAN, Zoe. Ed Pien : L'antre des delices / Haven of Delight. First Edition.
Musee d'art de Joliette, Joliette, Quebec, 2010, ISBN:9782921801430 
(PIEN, Ed). BEAUDRY, Eve-Lyne. Ed Pien : L'antre des délices / Haven of Delight. (Joliette, Quebec : Musée d'art de Joliette, 2010). First Printing. Pp. (2),[3]-124,(4). Illustrated in colour. Large 8vo, art-illustrated blackcard covers with white lettering to front cover and spine, French flaps. E d Pien, b. 1958, Taipei, Taiwan, an artist and printmaker, who currently works as a professor in the architecture faculty at the University of Toronto. "Presented at the MAJ from February 10 to April 27, 2008, 'Haven of Delight', curated by Eve-Lyne Beaudry, Curator of Contemporary Art, reveals the use that Ed Pien makes of drawing in all its forms. Whether executed in inkor with an X-Acto knife, it continues to be the basis of his whole oeuvre, which is at once sensual, expressive and troubling. 'Haven of Delight' als o presents, for the first time in Canada, the installation Haven, created by Pien in 2007 for the Bellevue Arts Museum in the United States. This impressive work consists of five interlocked structures of cut paper forming a labyrinth bounded by jagged hedges, through which visitors are invited to walk. Inside the labyrinth, sound and video elements intermingle with the cut-paper construction." - from the foreword. Contents: Foreword by Gaëtane Verna; 1. "L'antre des délices / Haven of delight" by Eve-Lyne Beaudry; 2. "Au-delà du grotesque / Beyond the grotesque" by Stefano Catalani; 3. "Les dessins d'Ed Pien: narrativités, multiples, univers hybrides et possibilitésillimitées / Multiple narratives, hybrid worlds and infinite potentiality in the drawings of Ed Pien" by Zoë Chan. With biobibliography at rear. Verygood. 25.00

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5 BIGGS, John R. Woodcuts. 1st UK in dj
Blandford Press, London, 1984, 
BIGGS, John R. Woodcuts. Wood-Engravings, Linocuts and Prints by Related Methods of Relief Print Making. L.: Blandford Press, 1958. Pp 175, including frontis. Profusely illustrated. 8vo, red cloth. "How to make woodcuts - wood engravings - linoleum blocks - stencils - and print and appreciate them by John R. Biggs" -from the dust jacket. Beautifully illustrated: "With 237 illustrations many reproduced from original blocks." -also from the dust jacket. Light evidence of dampstaining to front cover, bumping to extremities, ow vg in rubbed, and close torn, (½" tear from top edge of front panel) and lightly dampstained dj. 30.00

Price: 30.00 CDN
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6 BLACKWOOD, David David Blackwood : Prints 1962-1984
Art Gallery, Memorial University of Newfoundland, St. John's, 1985, 
(BLACKWOOD, David). David Blackwood : Prints 1962-1984. Patricia Grattan, Curator. (St. John's) : Art Gallery, Memorial University of Newfoundland, assisted bt Art Gallery of Algoma, 1985.. Pp (40) unpaginated. With 21 Illustrations (including cover). Double Column. Oblong 8vo, illustrated brown card covers. Rubbed, else very good. 35.00

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7 BLACKWOOD, David GOUGH, William (text) BLACKWOOD, David Art of David Blackwood. First Edition in dustjacket.
McGraw-Hill Ryerson Limited, Toronto, 1988, ISBN:0075496801 
BLACKWOOD, David. The Art of David Blackwood. Text by William Gough. Toronto: McGraw-Hill Ryerson Limited, (1988). Pp. [160], unpaginated, including [112] plates. Illustrated, occasionally in colour. Double column. Large square 8vo, black cloth, silver titles to front and spine. A retrospective of the Newfoundland artist's major works: "Home in Wesleyville", "Bragg's Island", "Mummers", "Down on the Labrador" and "The Icefields". "'The Art of David Blackwood' is an experience as direct as a Nor'Easter, powerful as spring. It gathers together, for the first time in print, a retrospective of themajor works of this gifted artist. Through the detail of the particular li ves and places of his native Newfoundland, David Blackwood moves to the universal, to the pivot that creates great art. John de Visser has said, 'The values being portrayed are spiritual. The qualities he shows are of character: strength, warmth, honesty, determination, faith.' In an age of fast-food art, of a world faced with dwindling energy resources and lit by the flicker of TV screens, David Blackwood's images speak of the transcendence of life, of a world where people's actions count, and the smallest of places can grow memories for the rest of the world. VIbrant, vital, and the work of a master artist, 'The Art of David Blackwood' is also the work of a master storyteller, a narrative that has all the power and delight of his native 'New Found Land'." - from the dustjacket. Very good in dust jacket. 100.00

Price: 100.00 CDN
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8 BLACKWOOD, David). GOUGH, William. PROULX, Annie (appreciation). BLACKWOOD, David David Blackwood : Master Printmaker. First Edition in dustjacket.
Douglas & McIntyre, Vancouver, 2001, ISBN:1550548727 
(BLACKWOOD, David). GOUGH, William. David Blackwood : Master Printmaker. With an appreciation by Annie Proulx. Vancouver: Douglas & McIntyre, (2001). First Printing. Pp. (6),[vii]-xiii,(1),1-178. Beautifully illustrated in colour with 141 examples of Blackwood's etchings. Oblong 4to, grey cloth, silver titles to spine. "David Blackwood was born in 1941 in Wesleyville, Newfoundland, into a family with a long seafaring tradition. His great-grandfather, Ned Bishop, was a captain; his grandfather, Captain Albert Blackwood, was in command o fthe S.S. Imogene, and his father, Edward, was a skipper in the fisheries. David Blackwood began drawing and painting as a boy, but it was not until the 1960s, as a student at the Ontario College of Art, thathe began to demonstrate his skill with the etching process. Today, he is r ecognized internationally as a master printmaker, and his work appears in collections all over the world. This book brings togehter 141 of the artist's most evocative etchings in a splendidly produced celebration of his work.Newfoundland in the early 1940s had few roads, little electricity and more in common with the years behind than the years ahead. People were united b y their love for the sea and their total dependence upon it, and community ties ran deep. Blackwood's art is rooted in the oral narrative tradition and strong social values of his birthplace. Whether depicting the harsh griefof a death on the ice, the exhilaration caused by a ship's safe return, a woman's quiet vigil at a window, the heartbreaking relocation of an island home, or the magic of mummering during the twelve days of Christmas, his etchings are filled with story, drama, and the deepest of connections to a place and a people." - from the dustjacket. Contents: Proulx's "Newfoundland as Atlantis"; The Place We Stand To Fly a Kite; One Small Island; A Veil ofShadows; Labrador; Caught In Ice; A Wonderful Great Mummer. A very nice co py in crisp dustjacket. 125.00

Price: 125.00 CDN
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9 BRENDER A BRANDIS, G. At Water's Edge. in dj
Porcupine's Quill, Erin, Ontario, 1984, 
BRENDER à BRANDIS, G. At Water's Edge. (Erin, Ontario) : Porcupine's Quill,(1986). Pp 93. Illustrated with woodcuts. Oblong 8vo, blue cloth. Vg in dj . 30.00

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English Prints for the Collector.  UK in dj. , CALLOWAY, Stephen
10 CALLOWAY, Stephen English Prints for the Collector. UK in dj.
Lutterworth Press, 1980, 
CALLOWAY, Stephen. English Prints for the Collector. Guildford and L: Lutterworth Press, (1980). Pp 232. 4to, black cloth. Vg in slightly rubbed dj. 50.00

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11 CAMERON, D.Y. SALAMAN, Malcolm C. Modern Masters of Etching series No. 7 Modern Masters of Etching : Sir D.Y. Cameron, R.A Modern Masters of Etchingseries No. 7
The Studio, London , 1925, 
(CAMERON, D.Y.). Modern Masters of Etching : Sir D.Y. Cameron, R.A. Introduction by Malcolm C. Salaman. London : The Studio, 1925. Pp (2),1-10,+ 12 tipped-in plates with printed tissue guards. Double Column. Oblong 8vo, blue paper covered boards, paper labels to front board and spine. Number Seven in the Modern Masters of Etching series. Margins soiled, rubbed, bubbling tofront pastedown, else good. 30.00

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12 Canadian Antiques Collector COLLARD, Elizabeth JOYNER, Geoffrey ECKHARDT, Ferdinand Canadian Antiques Collector. Vol. 5 / No. 8, September 1970
Canadian Antiques and Fine Arts, Toronto , 1970, 
(Canadian Antiques Collector). Canadian Antiques Collector. Vol. 5 / No. 8,September 1970. Toronto : Canadian Antiques and Fine Arts, 1970. Pp [1]-31 ,(1) including covers. Illustrated. Double column. 4to, illustrated blue stapled wrappers. Contents : The St. Lawrence Glass Co. (by Elizabeth Collard); Currier & Ives: American Lithographers (by Geoffrey Joyner); Hector Guimard: Designer: Architect (by Mario Amaya); 150 Years of Art (by Ferdinand Eckhardt); Christie's of London (by Mark Kemmis); A Clutch of Curiosities (by Ruth A. Jackson); The American Museum in Britain (by Nickola Smith). Rubbed, penned name and mailing label, else very good. 15.00

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13 Canadian Antiques Collector HEINRICH, T.A. SQUIRES, W.A. MURRAY, Joan Canadian Antiques Collector. Vol. 4 / No. 8, August 1969.
Canadian Antiques and Fine Arts, Toronto , 1969, 
(Canadian Antiques Collector). Canadian Antiques Collector. Vol. 4 / No. 8,August 1969. Toronto : Canadian Antiques and Fine Arts, 1969. Pp [1]-31,(1 ) including covers. Illustrated. Double column. 4to, illustrated red stapled wrappers. Contents : France's Furniture Craftsmen (by Michael Wilson); Japanese Theatre Prints [Part 3] (by T.A. Heinrich); The Nor'Wester Museum (by Hugh MacMillan); Decorating With Antiques (by Margaret Turnbull); Early Canadian Printmakers (by Joan Murray); Pressed Glass Exhibition at New Brunswick Museum (by W.A. Squires, pp 26-28). Rubbed, penned name and mailing label, else very good. 15.00

Price: 15.00 CDN
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14 CHAILLOUX, Roger) REDEKER, Hans. van der LINDEN, Hans. KOUWENAAR, Gerrit. Roger Chailloux
Uitgeverij Van Spijk, 1980, 
(CHAILLOUX, Roger). Roger Chailloux. Teksten Hans Redeker, Hans van der Linden, Roger Cailloux; Gedichten Gerrit Kouwenaar. Venlo: Uitgeverij Van Spijk, (1980). Pp 124, incl. plates. Square large 8vo, ill. card covers. A few light smudges to covers, else vg. 50.00

Price: 50.00 CDN
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15 COCHRAN, Bente Roed. Printmaking in Alberta, 1945-1985. First Edition in dustjacket.
University of Alberta Press, Edmonton, 1989, ISBN:0888641397 
COCHRAN, Bente Roed. Printmaking in Alberta, 1945-1985. (Edmonton): The University of Alberta Press, (1989). First Printing. Pp. (4),[v]-ix,(1),1-173,(1). Illustrated, occasionally in colour. Double column. Large oblong 8vo, blue cloth with silver lettering to spine. Contents: I. Canadian Printmaking and its Influence on Alberta Printmakers: The Kingston Conference -- 'Canadian Art' -- National Print Societies -- Exposure: National and International Exhibition Opportunities -- Exposure: Commercial Galleries. II. Printmaking in Alberta: Early Print Activities -- The Alberta Society of Artists and 'Highlights' -- The Late Thirties and Forties -- The Fifties: The Print Societies and the Hart House Show -- The Sixties -- Development and Growth of Educational Institutions -- Graphic Workshops in Alberta -- Recent PrintActivities, 1970-1985. III. Alberta Print Artists [with biographical sketc hes and examples of the works of the following]: Elizabeth L.F. Allen, Kay M. Angliss, Maxwell bennett Bates, Derek Michael Besant, Carole Bondaroff, James D. Brodie, John Kenneth Esler, Susan Ford, Velma A. Foster, Francine Gravel, Alexandra Haeseker, Gerald Hushlak, Liz Ingram, Marvin H. Jones, Walter Jule, Harry Mitsuo Kiyooka, William J.H. Laing, Tomas Lax, Barbara Harvey Leighton, Helen Mackie, Thelma Manarey, Margaret May, Marion Nicoll, Gary G. Olson, Lyndal Osborne, Clifford Robinson, Kenneth C. Samuelson, HarrySavage, Noboru Sawai, Bonnie Sheckter, Margaret Dorothy Shelton, James Agr ell Smith, John Snow, Sylvain Voyer, Kenneth A. Webb, George Weber, Andie C. Wicherts, and John Will. Very good in dustjacket. 25.00

Price: 25.00 CDN
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16 COLLINSON, Howard Creel Documenting Design : Works on Paper in the European Collection of the RoyalOntario Museum. in dustjacket
Royal Ontario Museum / University of Toronto Press, Toronto, 1993, ISBN:0802005578 
COLLINSON, Howard Creel. Documenting Design : Works on Paper in the European Collection of the Royal Ontario Museum. Toronto, Buffalo, London : Royal Ontario Museum / University of Toronto Press, (1993). Pp (6),vii-viii,(1),2-120. Illustrated. 4to, blue cloth, gilt lettering to spine. "To understandthe history of decorative arts and design it is necessary to study the way s in which designs are created and transmitted. Documenting Design seeks toshow how prints and drawings can demonstrate numerous aspects of the role of works on paper in the history of design. From early in the history of printmaking, prints were used to communicate designs both for specific objects and for ornamental patterns that could be applied to different kinds of objects, including architectural elements. A special category is the pattern- or model-book, intended to promote a particular style or approach to the design of furniture or decoration. Printed ornament sheets may also be self-contained works of art, unsuited to direct application to objects. Here, printed ornament becomes simply a genre of fine art, like landscape and portraiture, for example. This was especially so during the Rococo era. Countless buildings, rooms, objects, and decorative schemes - some of them famous in their day - no longer exist. Important design "events" such as festivities and ceremonies have often comprised great quantities of ephemeral architecture, decoration, and decorated objects. Such products of design can often only be studied in the prints and drawings that record their existence. Unlike prints, drawings can document and therefore present a unique insight into the process by which a designer develops and finalizes an idea. Drawings can also demonstrate the collaborative nature of the decorative arts: designers and makers were (and are) rarely identical. Many drawings have survived because they were contract drawings, meant to be shown to a potential customer or patron, and kept as a record of a transaction. Designs for metalwork were frequently drawn at full scale, both for maximum clarity and in order to create a vivid impression of the amounts of precious metal required. Since the 15th century, prints have been designed to be used as objects themselves, either in conjunction with other objects or as devices of communication. The variety of such works is vast; Documenting Design includes a theatre program, a menu design, and posters, among other types. Products ofgraphic design are often collected as documents of stylistic movements. Ex amples as various as Japonisme (late 19th century) and Psychedelic (1960s) are included. From Heinrich Aldegrever's jewel-like engraving Two Spoons and a Hunting Whistle of 1539 to Neo-Op Psychedelic Revival handbills of 1988, Documenting Design illuminates the importance of prints and drawings as documents of design history." (from the dj). Very good in dustjacket. 30.00

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17 Colophon MILNE, David B. Colophon : A Book Collectors' Quarterly. 47 volumes.
The Colophon, New York, 1930, 
The Colophon : A Book Collectors' Quarterly. In 47 Volumes. New York : The Colophon, 1930-1950. Various paginations. Sm 4to and reg. 8vo, illustrated boards. Includes 20 volumes of The Colophon (1930-1935), 12 volumes of The Colophon New Series (1935-1938), 4 volumes of the New Graphic Series (1939-1940), 8 volumes of The New Colophon (1948-1950), one volume of The New Colophon (1950), one volume of The Annual of Bookmaking (1938), and one volumeIndex to the Original Series 1930-1935 (1935). Includes an original signed print by David B. Milne (Hilltop : A Drypoint in Two Colors) in The Coloph on Volume 5. Browning to spines, slight rubbing to boards and wear to spineends, a couple of bookplates, else a very good set. 2,000.00

Price: 2000.00 CDN
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18 COY, Helen. FITZGERALD, Lionel Lemoine). FitzGerald as Printmaker : A catalogue raisonné of the first complete exhibition of the printed works. First Paperback Edition.
University of Manitoba Press, Winnipeg, 1982, ISBN:0887556078 
(FITZGERALD, Lionel Lemoine). COY, Helen. FitzGerald as Printmaker : A catalogue raisonné of the first complete exhibition of the printed works. (Winnipeg): The University of Manitoba Press, (1982). First Printing. Pp. (16),[3]-116,(6). Illustrated. 4to, illustrated brown card covers with black titles to front and spine. "'FitzGerald as Printmaker' includes every known print made by the artist, most of them reproduced in actual size. The accompanying commentary describes the prints, the circumstances under which they were made, the artist's comments about them, the uses he made of them, and the methods and techniques he used to achieve the effects he wanted. Written in a clear and lively style, and based on meticulous research, 'FitzGerald as Printmaker' is the definitive volume for the appreciation of FitzGerald's prints, and for much of his other work as well." - from the rear cover. Contents: Part I: L. LeMoine FitzGerald: Autobiography; Hugh Whitney Morrison's "On LeMoine FitzGerald"; FitzGerald's Printmaking Techniques; Arnodl Saper's "Fitzgerald's Methods". Part II: The Catalogue Raisonné: FitzGerald as Printmaker; Notes on the Use of the Cataloguie; The Chirstmas Greetings; The Utility Prints; The Monoprints; The Restrikes. With appendices. Spine sunned, gift inscription to half-title, else very good. 25.00

Price: 25.00 CDN
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19 DOBSON, Margaret Block-Cutting and Print-Making by Hand
Sir Isaac Pitman & Sons, Ltd., London, 1930, 
DOBSON, Margaret. Block-Cutting and Print-Making by Hand : From Wood, Linoleum and Other Media. L.: Sir Isaac Pitman & Sons, Ltd., 1930. Pp 183 + 4 pp.ads. Illustrated with seven colour plates and many monotone plates. 8vo, illustrated tan cloth. Cloth lightly smudged, smudging to a few leaves, light foxing to endpapers, child's pen markings all over one page and on two plates, else vg. 50.00

Price: 50.00 CDN
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20 DÜRER, Albrecht). LÜDECKE, Heinz LÜDECKE, Heinz. DÜRER, Albrecht Albrecht Dürers Wanderjahre. no dj.
Verlag der Kunst, 1959, 
(DÜRER, A.). LÜDECKE, Heinz. Albrecht Dürers Wanderjahre. Ein Beitrag zur Geschichte des Realismus in der deutschen Graphik. Dresden: Verlag der Kunst, (1959). Pp 126, incl. plates. Large 8vo, ill. boards. Rubbed and slightlysoiled, splits to head and tail of spine, foxing to edges, else vg. 45.00

Price: 45.00 CDN
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