bentley freeman (112 Ergebnisse)

Wraps. Zustand: Very Good-. Edited by Robert Morrish. Cover art by Stacy Drum. Includes "The Wheel" & "We" by Bentley Little; "An Exerpt from "Blockade Billy" by Stephen King; "The Innocents at the Museum of Antiquities" by Douglas Clegg; "Out of Touch" by Simon Strantzas; "The Long Black Coat" by Benjamin Percy; "An Excerpt from "The Painted Darkness" by Brian James Freeman; "In Darlness" by Shaun Jeffrey; "Deathbed" by Brian Knight. Features: "Bentley Little: A Passion for Horror" by David B. Silva; "The Indispensible Bentley Little" by Mark Sieber; "Little Stories, Large Shadows: The Short Fiction of Bentley Little" by Steve Vernon; "Feature Review: His Father's Son" by Bentley Little" by Kealon Patrick Burke; "A Conversation with Brian James Freeman" by Norman Prentiss; "The New Dead: A Feature Look" by Brian James Freeman; "New Voices: Brian Knight" by Steve Vernon; "Horror in Comics" by Wayne Edwards; " A Few Words with Paul Mackman, Producer of Abiens vs Predator" by Brian James Freeman. Illustrated by Jill Bauman, Glenn Chadbourne, David Grilla, Chris Hill, Zach McCain, Alex McVey, Keith Minion, and Erin S. Wells. Foedge tear; scuffs and bumps; creasing. Book.

Trade Paperback. Zustand: Good - Very Good. No Jacket. Taylor Oughton (cover) (illustrator). First Edition. Vol 22 # 117 of Ellery Queen's Mystery Magazine, August 1953. Contains stories by Lawrence Blochman (The Girl With the Burgundy Lips), Edna Ferber (The Man Who Came Back), Earl Derr Biggers (The Apron of Genius), Jim Kjelgaard (Code of the Underworld), James Yaffe (On the Brink), Freeman Wills Crofts (Two Birds with One Spanner), Dorothy Sayers (Striding Folly), C B Gilford (Heaven Can Wait), Phyllis Bentley (The Way Round), Pietro Di Donato (The Society of the White Button), Miriam Allen deFord (The Crazy House), Howard Schoenfeld (All of God's Children Got Shoes), and others. Light wear at the edges. Small dents at the top of the front cover. Light rubbing to the front cover with a corner crease at the bottom. A 1.25" closed tear at the bottom right spine hinge. Light browning to the edges of the pages. A nice, sharp copy. A very good or better copy.

Hardcover. Zustand: Very Good. Zustand des Schutzumschlags: Good. First Edition. Octavo, 8 1/2" tall, 381 pages, gray quarter-cloth. A very good, clean hardcover with minor shelf wear; hinges and binding tight, paper slightly yellowed, slight soiling to the fore-edges. In a good, edge worn dust jacket, with small chips at the flap fold edges and back strip top and bottom, with original price present. A very nice reading copy.

Zustand: Good. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Zustand: As New. Bentley, James (illustrator). Unread book in perfect condition.

Trade Paperback. Zustand: Very Good. No Jacket. Taylor Oughton (cover) (illustrator). First Edition. Vol 22 # 117 of Ellery Queen's Mystery Magazine, August 1953. Contains stories by Lawrence Blochman (The Girl With the Burgundy Lips), Edna Ferber (The Man Who Came Back), Earl Derr Biggers (The Apron of Genius), Jim Kjelgaard (Code of the Underworld), James Yaffe (On the Brink), Freeman Wills Crofts (Two Birds with One Spanner), Dorothy Sayers (Striding Folly), C B Gilford (Heaven Can Wait), Phyllis Bentley (The Way Round), Pietro Di Donato (The Society of the White Button), Miriam Allen deFord (The Crazy House), Howard Schoenfeld (All of God's Children Got Shoes), and others. Minimal wear at the edges. Light browning to the edges of the pages. A nice, sharp copy. A very good or better copy.

Zustand: New. Bentley, James (illustrator).

Zustand: Very Good. Item in very good condition! Textbooks may not include supplemental items i.e. CDs, access codes etc.

Hardcover. Zustand: VG. No Jacket. used hardcover copy in illustrated boards, no jacket, as issued. light shelfwear, corners perhaps slightly bumped. pages and binding are clean, straight and tight. there are no marks to the text or other serious flaws.

hardcover. Zustand: Very Good. Zustand des Schutzumschlags: Very Good. Very Good in Very Good dust jacket. Gently used with NO markings in text; binding is tight. Pasadena's finest independent new and used bookstore.

Hardcover. Zustand: Bon. Ancien livre de bibliothèque. Edition 1968. Ammareal reverse jusqu'à 15% du prix net de cet article à des organisations caritatives. ENGLISH DESCRIPTION Book Condition: Used, Good. Former library book. Edition 1968. Ammareal gives back up to 15% of this item's net price to charity organizations.

Hardcover. Zustand: new. Hardcover. Anna Freeman Bentley's paintings use architectural imagery to explore the emotive potential of space. Grounded in an interest in the baroque her source material includes junk shops, restaurants, private members clubs, flea markets and designed interiors. Central to her work is an investigation into surface, tension and the atmosphere evoked by these different interior surroundings. The spaces she depicts are empty, yet visual signifiers point to evidence of people and social happenings. This, Freeman Bentley's third publication to date, is centred on the relationship between painting and cinema and is divided into sections dedicated to major paintings on canvas and panel, and a number of works on paper (all works 202122). Freeman Bentley's work here is focused on sets from 'The Colour Room' (2021), a film that tells the story of the early career of celebrated British ceramicist Clarice Cliff (18991972). AUTHORS: Anna Freeman Bentley (b.1982) is an artist living and working in East London. She studied painting at Chelsea College of Art, Kunsthochschule Berlin Weissensee and the Royal College of Art, London. She is represented by Frestonian Gallery, London. Thomas Marks is a writer and critic. Editor of Apollo magazine from 201321, he is an Associate Fellow of the Warburg Institute and a trustee of Art UK. Georgie Paget is a London-based film producer. In 2018 she co-founded, with Thembisa Cochrane, Caspian Films, an independent production company dedicated to engaging, entertaining films with unique voices and fresh perspectives for international audiences. In 2019 Caspian Films produced Us Among the Stones, followed in 2021 by The Colour Room. 50 illustrations This third publication by London-based artist Anna Freeman Bentley documents the make believe paintings (202122), exploring connections between painting and cinema. Produced to accompany exhibitions at The Armory Show 2022, New York, and Frestonian Gallery, London. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Zustand: New.

Zustand: New.

hardcover. Zustand: New. *Brand new* Ships from USA.

paperback. Zustand: New.

Zustand: As New. Unread book in perfect condition.

hardcover. Zustand: Good. No Jacket. Ex Kodak Research Labs Library Posted within 1 working day. Royal Mail Tracked 24 to UK. Tracked Airmail worldwide. Robust recyclable packaging. Picture is the actual item.

Paperback. Zustand: New.

PF. Zustand: New.

Paperback. Zustand: New.

Hardcover. Zustand: new. Hardcover. Anna Freeman Bentley (b. 1982) is an artist based in London. Her painting practice explores the built environment, architecture and interiors, inviting emotive, psychological and semiotic readings of space. This publication, Complete Reality, documents Freeman Bentley's latest series of paintings, which she created after visiting the film set for My Driver and I (2024), a coming-of-age drama set in the port city of Jeddah in Saudi Arabia. Over the course of the shoot, Freeman Bentley took over two thousand photographs, which she edited and worked from in her London studio. The paintings show lavish rooms, filled with fringed lamps, dusty chandeliers, vast mirrors and ornate furniture, juxtaposed with the incongruous signs of a film set: screens, leads, computers and plastic chairs. Exploring the relationship between 'reality' and 'fabrication', the series continues the artist's interest in spaces that have an inherent tension or transience. Alongside the paintings that comprise Complete Reality, the publication also includes a series of oil studies on paper that explore additional rooms, angles and spaces from the film set. Installation images of the artist's most recent solo exhibitions Video Village at MASSIMODECARLO Pie`ce Unique, Paris (2024), make shift at Monica de Cardenas, Zuoz (2024), and Complete Reality at Anat Ebgi, Los Angeles (202425) showcase the works staged in different configurations and gallery environments. In her introduction, Jennifer Higgie considers the interiority of Freeman Bentley's elusive scenes, and her interest in temporary and unreal spaces. The curator and writer Elisabetta Fabrizi interviews Freeman Bentley about the interplay of reality and illusion in her paintings. They reflect on themes of authenticity and narrative tension, and discuss Freeman Bentley's earlier explorations of cinema, particularly Andrei Tarkovsky's Stalker (1979). Kathryn Lloyd writes about the conceptual and historical relationships between cinema, photography and painting. She analyses how Freeman Bentley forges an interdependence between these three distinct media, creating an unmistakably painterly language that somehow distils the essence of both film and photography. In an interview with Michele Robecchi, the artist discusses her recent solo exhibition in Switzerland, make shift. Freeman Bentley reflects on her personal connections to the work, the significance of the temporary and transitory nature of the film set and her use of triptychs, mirrors and fragmentation to disrupt conventional readings of space. In her contribution, the film producer Georgie Paget offers a speculative film script based on the exhibition Video Village at MASSIMODECARLO Pie`ce Unique, Paris. 100 illustrations A publication dedicated to Anna Freeman Bentleys latest series of paintings, Complete Reality, which she created after spending time on a film set in Jeddah. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Zustand: New. Brand New.

HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

Zustand: New.

hardcover. Zustand: New. *Brand new* Ships from USA.

Hardback. Zustand: New. Anna Freeman Bentley's paintings use architectural imagery to explore the emotive potential of space. Grounded in an interest in the baroque her source material includes junk shops, restaurants, private members clubs, flea markets and designed interiors. Central to her work is an investigation into surface, tension and the atmosphere evoked by these different interior surroundings. The spaces she depicts are empty, yet visual signifiers point to evidence of people and social happenings.This, Freeman Bentley's third publication to date, is centred on the relationship between painting and cinema and is divided into sections dedicated to major paintings on canvas and panel, and a number of works on paper (all works 2021-22). Freeman Bentley's work here is focused on sets from 'The Colour Room' (2021), a film that tells the story of the early career of celebrated British ceramicist Clarice Cliff (1899-1972). The foreword to the book is written by Rollo Campbell and Matt Incledon of Frestonian Gallery. An essay by writer and critic Thomas Marks draws out the importance to her work of historic and contemporary cinema and temporary architecture. Marks notes a change in palette in these new paintings, with Freeman Bentley embracing pastels and tracing parallels between the artist herself and Cliff. An interview with Georgie Paget, co-founder of Caspian Films, production company for 'The Colour Room', meanwhile, provides insight into the artist's particular interest in the artifice of film props and of the film set as a layered space 'steeped in meaning, purpose and potential.' The two discuss the reciprocity of painting and cinema in detail, recounting Freeman Bentley's experiences on the film's sets and discussing her working processes, beginning with taking photographs on set, through to oil sketches and the later development of large-scale canvases.The publication is edited by Matt Incledon and Matt Price. It is designed by Joe Gilmore, printed and bound by Gomer, Wales, and co-published by Frestonian Gallery, London, and Anomie Publishing, London. The publication coincides with the second solo show by Anna Freeman Bentley at Frestonian Gallery, by whom the artist is represented. The exhibition, also titled 'make believe' is divided between two sites: the 2022 Armory Show, New York, and Frestonian Gallery, London. Anna Freeman Bentley studied Painting at Chelsea College of Art, Kunsthochschule Berlin Weissensee and the Royal College of Art. Awards and residencies include Palazzo Monti Residency, Brescia, Italy, 2019; The Elizabeth Greenshields Foundation Grant 2019 and 2017, and Artist in Restaurant residency at Michelin-starred restaurant Pied à Terre, London, 2012. Selected exhibitions (* denotes solo) include DENK Gallery, Los Angeles, 2019*, Ahmanson Gallery, Irvine, 2018*; Space K, Seoul, 2017; 68projects, Berlin, 2017; the East London Painting Prize 2014 and 2015; Workshop Gallery, Venice, 2012*; MAC Birmingham, 2011; Prague Biennale, 2011, and.

Soft Binding. Zustand: Fine Condition. EdDIE MOTES (illustrator). First Edition 1st Edition.

Hardback. Zustand: New. Anna Freeman Bentley's paintings use architectural imagery to explore the emotive potential of space. Grounded in an interest in the baroque her source material includes junk shops, restaurants, private members clubs, flea markets and designed interiors. Central to her work is an investigation into surface, tension and the atmosphere evoked by these different interior surroundings. The spaces she depicts are empty, yet visual signifiers point to evidence of people and social happenings.This, Freeman Bentley's third publication to date, is centred on the relationship between painting and cinema and is divided into sections dedicated to major paintings on canvas and panel, and a number of works on paper (all works 2021-22). Freeman Bentley's work here is focused on sets from 'The Colour Room' (2021), a film that tells the story of the early career of celebrated British ceramicist Clarice Cliff (1899-1972). The foreword to the book is written by Rollo Campbell and Matt Incledon of Frestonian Gallery. An essay by writer and critic Thomas Marks draws out the importance to her work of historic and contemporary cinema and temporary architecture. Marks notes a change in palette in these new paintings, with Freeman Bentley embracing pastels and tracing parallels between the artist herself and Cliff. An interview with Georgie Paget, co-founder of Caspian Films, production company for 'The Colour Room', meanwhile, provides insight into the artist's particular interest in the artifice of film props and of the film set as a layered space 'steeped in meaning, purpose and potential.' The two discuss the reciprocity of painting and cinema in detail, recounting Freeman Bentley's experiences on the film's sets and discussing her working processes, beginning with taking photographs on set, through to oil sketches and the later development of large-scale canvases.The publication is edited by Matt Incledon and Matt Price. It is designed by Joe Gilmore, printed and bound by Gomer, Wales, and co-published by Frestonian Gallery, London, and Anomie Publishing, London. The publication coincides with the second solo show by Anna Freeman Bentley at Frestonian Gallery, by whom the artist is represented. The exhibition, also titled 'make believe' is divided between two sites: the 2022 Armory Show, New York, and Frestonian Gallery, London. Anna Freeman Bentley studied Painting at Chelsea College of Art, Kunsthochschule Berlin Weissensee and the Royal College of Art. Awards and residencies include Palazzo Monti Residency, Brescia, Italy, 2019; The Elizabeth Greenshields Foundation Grant 2019 and 2017, and Artist in Restaurant residency at Michelin-starred restaurant Pied à Terre, London, 2012. Selected exhibitions (* denotes solo) include DENK Gallery, Los Angeles, 2019*, Ahmanson Gallery, Irvine, 2018*; Space K, Seoul, 2017; 68projects, Berlin, 2017; the East London Painting Prize 2014 and 2015; Workshop Gallery, Venice, 2012*; MAC Birmingham, 2011; Prague Biennale, 2011, and.