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Publicado por -, 2009
ISBN 10: 0749685751ISBN 13: 9780749685751
Librería: AwesomeBooks, Wallingford, Reino Unido
Libro
Hardcover. Condición: Very Good. The King and the Great Fire (Hopscotch Histories): Title 9 This book is in very good condition and will be shipped within 24 hours of ordering. The cover may have some limited signs of wear but the pages are clean, intact and the spine remains undamaged. This book has clearly been well maintained and looked after thus far. Money back guarantee if you are not satisfied. See all our books here, order more than 1 book and get discounted shipping.
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Publicado por Miramichi Literacy Writers / Miramichi Literacy COUNCIL, Chatham, 1985
Librería: Augustine Funnell Books, Fredericton, NB, Canada
Original o primera edición
Stiff Card Wraps. Condición: Fine. Lynn Johnston, Dawn MacLean, Cindy Barry Ilustrador. 1st editions. A collection of booklets intended to assist adults with the difficult but thoroughly rewarding chore of learning to read. Reading levels vary from 3.9 through 4.8., with each title ranging from 15 to 23 pages in length, with the final page of each being a word list. Size: Octavos -- from 7.75" to 9.75" tall. Book.
Librería: Libreria Oreste Gozzini snc, Firenze, FI, Italia
London, Sidwick and Jackson Ltd., 1948, in-8, tela editoriale, pp. 128. Con illustrazioni n.t. e f.t.
Librería: liu xing, Nanjing JiangSu, JS, China
paperback. Condición: Good. Ship out in 2 business day, And Fast shipping, Free Tracking number will be provided after the shipment.Paperback. Pub Date :1968-04 Pages: 382 Publisher: Nankai Weidong Red Guards Weidong editorial department private collections. product meet photos (click to enlarge).Four Satisfaction guaranteed,or money back.
Publicado por Laird & Lee, Chicago, 1913
Librería: CARDINAL BOOKS ~~ ABAC/ILAB, London -- Birr, ON, Canada
Original o primera edición
Hardcover. Condición: Very Good. 1st Edition. Original decorative printed yellow cloth hard covers, with illustration set to front. Soiling and bumping to covers. Edges and text toned; some scattered foxing to plates. Otherwise clean, tight and unmarked. Very neat -- a sound and handsome enough copy. Illustrated from photographs and drawings. 326+2[ads.]pp. Size: 8vo - over 7¾ - 9¾" tall. Book.
Librería: liu xing, Nanjing JiangSu, JS, China
paperback. Condición: Good. Individual crossed the fire phoenix Library: Great Leap Forward Qin Liji title page shown in Figure.
Librería: Librairie Chat, Beijing, China
Condición: Fine. The book is in fine condition.
Publicado por n.p., 1923
Librería: McBlain Books, ABAA, Hamden, CT, Estados Unidos de America
map, photos (4 tinted), 184p. Cloth-covered boards. Later ribbon ties. Oblong 23cm. Cover extremities worn at corners and along joints. Contents sound. Good. Japanese title & text, with captions also in English. Our title appears on the cover (along with the Japanese title).
Publicado por Lewis P. Clover, New York, 1836
Librería: William Reese Company - Americana, New Haven, CT, Estados Unidos de America
Aquatint with additional handcoloring and black border, 19½ x 26¼ inches (49½ x 66½ cm). Repaired tears to upper and lower margins, just touching the black borders. Otherwise a bright and clean copy. Matted. A striking aquatint view of New York in ruins after the devastating fire of 1835, executed by the skilled and prolific William Bennett after an original watercolor by an eyewitness of the event. The original artist, Nicolino Calyo, was an Italian painter who emigrated from Italy in 1834, specializing in close observation of people and places. He was present at the Great Fire of 1835, and sketched day and night as the city was destroyed. He painted a number of compositions in gouache based on his sketches, and Bennett created his aquatint engravings from his images. The fire supposedly began on Merchant Street and quickly spread to Pearl Street and grew wildly out of control. Frigidly cold temperatures meant frozen pipes and fire hoses which hampered containment efforts, and it wasn't until conditions improved a few days later that the damage could be surveyed and the rubble cleared. Seven hundred houses over seventeen blocks on the south east tip of Manhattan were destroyed in the conflagration, including the Old Garden Street Church pictured in this print; this print is one of if not the only contemporary representation of this church, which had been built in 1807. Former Mayor Philip Hone wrote about the disaster in his journal: "How shall I record the events of last night, or how attempt to describe the most awful calamity which has ever visited these United States? The greatest loss by fire that has ever been known.I am fatigued in body, disturbed in mind, and my fancy filled with images of horror which my pen is inadequate to describe. Nearly one half of the first ward is in ashes." William James Bennett (ca. 1787-1844) was born in England and received his training at the Royal Academy. He emigrated to the United States in 1826, and is best known for his views of American cities, including the Hudson Valley Region, Niagara Falls, West Point, and numerous port cities such as New York, Charleston, and Buffalo. With the arrival of William Bennett and several other émigré artists such as William Guy Wall and John Hill, the quality of aquatint engraving in America was elevated to a level equaling that of European printmakers. A dramatic example from this important period in early American viewmaking. DEÁK, PICTURING AMERICA 439. STOKES, ICONOGRAPHY OF MANHATTAN ISLAND, p.617-18. STAUFFER 141.
Publicado por Lewis P. Clover, New York, 1836
Librería: William Reese Company - Americana, New Haven, CT, Estados Unidos de America
Aquatint with additional handcoloring, 19¾ x 27 inches (50½ x 68¾ cm). Small repaired marginal tears, just touching black border on top and bottom. Overall a very good, bright and clean copy. A scarce and dramatic aquatint view of New York in the midst of the devastating fire of 1835, executed by the skilled and prolific William Bennett after an original watercolor by an eyewitness of the event. The original artist, Nicolino Calyo, was an Italian painter who emigrated from Italy in 1834, specializing in close observation of people and places. He was present at the Great Fire of 1835, and sketched day and night as the city was destroyed. He painted a number of compositions in gouache based on his sketches, and Bennett created his aquatint engravings from his images. The fire supposedly began on Merchant Street and quickly spread to Pearl Street and grew wildly out of control. Frigidly cold temperatures meant frozen pipes and fire hoses which hampered containment efforts, and it wasn't until conditions improved a few days later that the damage could be surveyed and the rubble cleared. Seven hundred houses over seventeen blocks on the south east tip of Manhattan were destroyed in the conflagration. Included in that destruction were the Merchants' Exchange (pictured left center) and the Fulton Insurance Company, the destruction of which provided a sobering reminder of the fragility of the city's seemingly unstoppable economic progress. Former Mayor Philip Hone wrote about the disaster in his journal: "How shall I record the events of last night, or how attempt to describe the most awful calamity which has ever visited these United States? The greatest loss by fire that has ever been known.I am fatigued in body, disturbed in mind, and my fancy filled with images of horror which my pen is inadequate to describe. Nearly one half of the first ward is in ashes." William James Bennett (ca. 1787-1844) was born in England and received his training at the Royal Academy. He emigrated to the United States in 1826, and is best known for his views of American cities, including the Hudson Valley Region, Niagara Falls, and numerous port cities such as New York, Charleston, and Buffalo. With the arrival of William Bennett and several other émigré artists such as William Guy Wall and John Hill, the quality of aquatint engraving in America was elevated to a level equaling that of European printmakers. A striking example from this important period in early American viewmaking. DEÁK, PICTURING AMERICA 438. STOKES, ICONOGRAPHY OF MANHATTAN ISLAND, p.617. STAUFFER 140.