1984, ISBN: 9780715385869

London: HarperCollins. Very Good/Very Good. 2002. Hard Cover. 8vo 0007107757 Dust jacket price clipped, slight wear to edges Original cloth boards with bright gilt titling on spine. Prev… More...

London: HarperCollins. Very Good/Very Good. 2002. Hard Cover. 8vo 0007107757 Dust jacket price clipped, slight wear to edges Original cloth boards with bright gilt titling on spine. Previous owner's inscription on ffep. Colour plates, b/w illustrations xviii, 600 pages clean and tight. Dimensions: 23.4 x 14.8 x 3.8 cm. The figure of Sir Christopher Wren looms large in English national consciousness. The imposing beauty of St Paul's Cathedral stands forever for the nation's achievement – its undamaged dome towering above the rubble of the Blitz in the Second World War a symbol of the London's indomitable fighting spirit. The man behind the work was as remarkable as the monuments he has left us. Lisa Jardine takes us deep into Wren's imagination and discovers the unique, exacting nature of his mind and the emerging new world of late-seventeenth-century science and ideas. Wren was a versatile genius who could have pursued a number of brilliant careers with equal virtuosity. A mathematical prodigy, an accomplished astronomer, a skilful anatomist, and a founder of The Royal Society, he eventually made a career in what he described in later life as 'Rubbish' – architecture, and the design and construction of public buildings. But he remained committed to science. The Monument to the Great Fire was built with a subterranean laboratory; the south-west tower of St Paul's was used as a vertical telescope during construction – both were designed to function as public monuments and as oversized scientific instruments. Wren was a major figure at a turning point in English history. He mapped moons and the trajectories of comets for kings; lived and worked under six monarchs; pursued astronomy and medicine through two civil wars, the English Commonwealth, the Great Fire, the Restoration, and the eventual extinction of the Stuart dynasty. Jardine explores also Wren's personal motivations and passions. A sincere man with a remarkable capacity for friendship, his career was shaped by lasting associations forged during a turbulent boyhood, and a lifelong loyalty to the memory of his father's master and benefactor, the 'martyred' king, Charles I. ., HarperCollins, 2002, 3, Penguin Press, 2006. Hard cover. Like New/Very Good. 6x1x9. What should we have for dinner? Ten years ago, Michael Pollan confronted us with this seemingly simple question and, with The Omnivore’s Dilemma, his brilliant and eye-opening exploration of our food choices, demonstrated that how we answer it today may determine not only our health but our survival as a species. In the years since, Pollan’s revolutionary examination has changed the way Americans think about food. Bringing wide attention to the little-known but vitally important dimensions of food and agriculture in America, Pollan launched a national conversation about what we eat and the profound consequences that even the simplest everyday food choices have on both ourselves and the natural world. Ten years later, The Omnivore’s Dilemma continues to transform the way Americans think about the politics, perils, and pleasures of eating. Michael Pollan is the author of five books: Second Nature, A Place of My Own, The Botany of Desire, which received the Borders Original Voices Award for the best nonfiction work of 2001 and was recognized as a best book of the year by the American Booksellers Association and Amazon, and the national bestsellers, The Omnivore's Dilemma, and In Defense of Food. A longtime contributing writer to The New York Times Magazine, Pollan is also the Knight Professor of Journalism at UC Berkeley. His writing on food and agriculture has won numerous awards, including the Reuters/World Conservation Union Global Award in Environmental Journalism, the James Beard Award, and the Genesis Award from the American Humane Association., Penguin Press, 2006, 4, New York: The Modern Library, 1961. 2nd or later. Very Good. Second or later edition from The Modern Library. No jacket. Black cloth over boards with debossed letters on front and silver lettering on spine. The interior is clean and clear. Contains: "Alcestis," "The Medea," "The Heracleidae," "Hippolytus," "The Cyclops," "Heracles," and "Iphigenia in Tauris." Pages: (6) 439 (3)  Dimensions: 7¼ x 5 x ., The Modern Library, 1961, 3, David & Charles, Newton Abbot, first edition, 1984. Cloth, 4to, 28 cm,. 151 pp, 33 colour and 82 black-and-white ills. From the blurb: "In the second half of this century, fine bookbinding has undergone an exciting renaissance. The growing number of highly skilled designer-bookbinders are raising standards to new peaks. Their work is sought out, admired and collected for its beauty and artistic significance. This is the first book to look at this century's leading binders, their work and their varied approaches to it - often described in their own words. It includes a chapter on collecting bindings. Lavishly illustrated with a magnificent selection of photographs, in colour and monotone, it shows the very varied approaches of the different personalities, their superb craftsmanship and beautiful, stimulating, sometimes controversial, designs. The 'Names to Note' section is an invaluable reference source, in a field not so far documented. From T. J. Cobden-Sanderson or Douglas Cockerell in the early 1900s, to Edgar Mansfield in the 1950s and to Philip Smith, Lage Eric Carlsen, Donald Glaister or Santiago Brugalla today, is a long haul. Today's men and women in the front rank in Europe and the USA are reaching for new dimensions. Many of them have broken with tradition by trying to integrate the binding with the book: they strive to capture the author's message and interpret it in visual form. Meanwhile Ivor Robinson, one of the world's most highly regarded binders, insists that a binding should stand as work of visual creativity in its own right. There is a new sense of freedom in the way leather is used and in the use of less conventional materials - metal, wood, plastics, paints. Having looked at Philip Smith's magnificent creation for Hamlet or his sculptured leather hand that holds a small Robert Louis Stevenson book, Faith Shannon's delightful binding for Alice Through the Looking Glass, James Brockman's 'electronic' binding, Trevor Jones's humorous work for Finnegans Wake, Timothy Ely's 'total books', Dee Odell-Foster's use of perspex boards and metals, Angela James's embroidered designs, and countless others shown here, the reader is left hungry for more. Some of these bindings are works of art that will live; all are immensely interesting to anyone concerned with books, with craftsmanship, with art collecting of any kind. Elegant bookplate on front pastedown endpaper, Very Good in Very Good dustwrapper., David & Charles, Newton Abbot, first edition, 1984, 1984, 3<

1984, ISBN: 9780715385869

David & Charles, Newton Abbot, first edition, 1984. Cloth, 4to, 28 cm,. 151 pp, 33 colour and 82 black-and-white ills. From the blurb: "In the second half of this century, fine… More...

David & Charles, Newton Abbot, first edition, 1984. Cloth, 4to, 28 cm,. 151 pp, 33 colour and 82 black-and-white ills. From the blurb: "In the second half of this century, fine bookbinding has undergone an exciting renaissance. The growing number of highly skilled designer-bookbinders are raising standards to new peaks. Their work is sought out, admired and collected for its beauty and artistic significance. This is the first book to look at this century's leading binders, their work and their varied approaches to it - often described in their own words. It includes a chapter on collecting bindings. Lavishly illustrated with a magnificent selection of photographs, in colour and monotone, it shows the very varied approaches of the different personalities, their superb craftsmanship and beautiful, stimulating, sometimes controversial, designs. The 'Names to Note' section is an invaluable reference source, in a field not so far documented. From T. J. Cobden-Sanderson or Douglas Cockerell in the early 1900s, to Edgar Mansfield in the 1950s and to Philip Smith, Lage Eric Carlsen, Donald Glaister or Santiago Brugalla today, is a long haul. Today's men and women in the front rank in Europe and the USA are reaching for new dimensions. Many of them have broken with tradition by trying to integrate the binding with the book: they strive to capture the author's message and interpret it in visual form. Meanwhile Ivor Robinson, one of the world's most highly regarded binders, insists that a binding should stand as work of visual creativity in its own right. There is a new sense of freedom in the way leather is used and in the use of less conventional materials - metal, wood, plastics, paints. Having looked at Philip Smith's magnificent creation for Hamlet or his sculptured leather hand that holds a small Robert Louis Stevenson book, Faith Shannon's delightful binding for Alice Through the Looking Glass, James Brockman's 'electronic' binding, Trevor Jones's humorous work for Finnegans Wake, Timothy Ely's 'total books', Dee Odell-Foster's use of perspex boards and metals, Angela James's embroidered designs, and countless others shown here, the reader is left hungry for more. Some of these bindings are works of art that will live; all are immensely interesting to anyone concerned with books, with craftsmanship, with art collecting of any kind. Elegant bookplate on front pastedown endpaper, Very Good in Very Good dustwrapper., David & Charles, Newton Abbot, first edition, 1984, 1984, 3<

1984, ISBN: 9780715385869

David & Charles, Newton Abbot, first edition, 1984. Cloth, 4to, 28 cm,. 151 pp, 33 colour and 82 black-and-white ills. From the blurb: "In the second half of this century, fine… More...

David & Charles, Newton Abbot, first edition, 1984. Cloth, 4to, 28 cm,. 151 pp, 33 colour and 82 black-and-white ills. From the blurb: "In the second half of this century, fine bookbinding has undergone an exciting renaissance. The growing number of highly skilled designer-bookbinders are raising standards to new peaks. Their work is sought out, admired and collected for its beauty and artistic significance. This is the first book to look at this century's leading binders, their work and their varied approaches to it - often described in their own words. It includes a chapter on collecting bindings. Lavishly illustrated with a magnificent selection of photographs, in colour and monotone, it shows the very varied approaches of the different personalities, their superb craftsmanship and beautiful, stimulating, sometimes controversial, designs. The 'Names to Note' section is an invaluable reference source, in a field not so far documented. From T. J. Cobden-Sanderson or Douglas Cockerell in the early 1900s, to Edgar Mansfield in the 1950s and to Philip Smith, Lage Eric Carlsen, Donald Glaister or Santiago Brugalla today, is a long haul. Today's men and women in the front rank in Europe and the USA are reaching for new dimensions. Many of them have broken with tradition by trying to integrate the binding with the book: they strive to capture the author's message and interpret it in visual form. Meanwhile Ivor Robinson, one of the world's most highly regarded binders, insists that a binding should stand as work of visual creativity in its own right. There is a new sense of freedom in the way leather is used and in the use of less conventional materials - metal, wood, plastics, paints. Having looked at Philip Smith's magnificent creation for Hamlet or his sculptured leather hand that holds a small Robert Louis Stevenson book, Faith Shannon's delightful binding for Alice Through the Looking Glass, James Brockman's 'electronic' binding, Trevor Jones's humorous work for Finnegans Wake, Timothy Ely's 'total books', Dee Odell-Foster's use of perspex boards and metals, Angela James's embroidered designs, and countless others shown here, the reader is left hungry for more. Some of these bindings are works of art that will live; all are immensely interesting to anyone concerned with books, with craftsmanship, with art collecting of any kind. A little foxed, otherwise Good in a foxed and slightly marked dustwrapper., David & Charles, Newton Abbot, first edition, 1984, 1984, 2.5<