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Published by Thames and Hudson, London, 1980
Seller: Cher Bibler, Tiffin, OH, U.S.A.
Book First Edition
Hardcover. Condition: Very Good. Dust Jacket Condition: Very Good. George Mott (photos) (illustrator). 1st Edition. 1st printing. Spine just a little cocked, slight shelfwear, very good+ in sl worn dust jacket.
Published by Thames and Hudson, London, England, 1980
ISBN 10: 0500012210ISBN 13: 9780500012215
Seller: Frank J. Raucci, Bookseller, Wallingford, CT, U.S.A.
Book
Cloth Hardcover. Condition: Fine. Dust Jacket Condition: Near Fine. George Mott (illustrator). First Edition. A bright, clean, tight copy sans tears, stains, discoloration, etc. with all text and illustrations clean/unmarked. PROFUSELY ILLUSTRATED in 177 archival black and white and full color photographs with accompanying descriptive captions. 208 pages. LBSW6.
Published by Thames and Hudson, London, 1980
ISBN 10: 0500012210ISBN 13: 9780500012215
Seller: Brillig's Books, Kingston, NY, U.S.A.
Book First Edition
Hardcover. Condition: Good+. Dust Jacket Condition: Good. Mott, George (illustrator). First Edition. 208 pps. Gilt titles: sp. Frontis. Illust. w/ colour & b/w prints, drawings, paintings, facsimile docs., portraits & photos. Green cloth bds. Interior leaves are clean and tight. A beautifully illustrated history of the Celtic revival in Ireland and its political struggle for independence from England. Includes notes, bibliography & index. A clean unmarked copy.
Published by Thames and Hudson 1980, 1980
Seller: Hard to Find Books NZ (Internet) Ltd., Dunedin, OTAGO, New Zealand
Association Member: IOBA
Quarto hardcover (VG) in d/w (VG-); all our specials have minimal description to keep listing them viable. They are at least reading copies, complete and in reasonable condition, but usually secondhand; frequently they are superior examples. Ordering more than one book may reduce your overall postage costs.
Published by Thames & Hudson, London, 1980
ISBN 10: 0500012210ISBN 13: 9780500012215
Seller: Syber's Books, Melbourne, VIC, Australia
Book First Edition
Hardcover. Condition: Very Good. Dust Jacket Condition: Very Good. George Mott -- Photography (illustrator). First Edition. bound in original dark green papered boards with gilt title to the spine and publisher colophon on the front panel. Colour illustrated dust jacket. Very small rub at the bottom left-hand side of the spine and a single foxing spot on the front edge of the text block. With 152 black-and-white, and 25 colour illustrations, this book details the search for an Irish identity in the visual arts . Size: 8vo - over 7¾" - 9¾" tall. 208 pages. Please refer to accompanying picture (s). Illustrator: George Mott -- Photography. Quantity Available: 1. Shipped Weight: 1-2 kilos. Category: History; Ireland; ISBN: 0500012210. ISBN/EAN: 9780500012215. Inventory No: 0238271.
Published by Thames & Hudson, London,, 1980
Seller: lamdha books, Wentworth Falls, NSW, Australia
Quarto hardcover; green cloth boards with gilt spine titling and upper board publisher's insignia; 208pp., 177 plates, 25 in colour. Minor wear; mild offsetting to endpapers. Very good to near fine and wrapper now professionally protected by superior non-adhesive polypropylene film. Postage quoted is for a standard format octavo book. Final charges may vary depending on size and weight. "The 1840s the Young Ireland movement, led by Thomas Davis, set itself 'to create and foster public opinion in Ireland, and to make it racy of the soil'. Davis's own efforts to recreate an Irish racial culture (innocent of the later connotations of that adjective) were later-attacked by W.B. Yeats, who in turn found his 'Celtic note' fiercely repudiated by Irish-lrelanders, advocates of an exclusively Gaelic culture. These shifts of view indicate the complex and sometimes contradictory character of the great upsurge of Irish cultural activity in the later nineteenth century, and help to explain why this movement has not yet been made the subject of a single historical account. Jeanne Sheehy's book certainly does not fill so large a gap, but it provides a useful and attractive complement to existing studies of the 'literary renaissance'. Her terms of reference are limited to the visual arts and, more interestingly, the applied arts. She speaks of 'revival' rather than 'renaissance' (which has more revolutionary overtones), and of 'Celtic' rather than 'Gaelic' revival. Thus, as her title indicates, she is mainly concerned with the use of historical or pseudo-historical style in Irish art. Very often, as she clearly shows, this was not so much a real assimilation of Celtic style as the use of a few popular symbols - the harp, the wolfhound, the round tower, and the shamrock - the latter being of particularly dubious historical provenance. She illuminates, with a well-chosen example (the reredos of McCarthy's Roman Catholic church at Kilrock, co Kildare), the unconscious, instinctive popular identification of nationality and Catholicism. Although the author suggests, rather hesitantly (her historical grasp is at several points not altogether firm), that there seems to have been in nineteenth-century Ireland a growing sense of the connection between culture and an awareness of nationality, she concludes with evident disappointment that 'no distinctively Irish style' of art had emerged by the third decade of the twentieth century. The 'Irish Revival' - a phrase which unfortunately blurs the Celtic terminology used through most of her book - 'did not pass on a living tradition in art as it did in literature'; 'leading painters and sculptors were not much interested in the expression of nationality in art'. Here she misses an important point. Although she does not quote the Sinn Fein leader Arthur Griffith's declaration that 'nationality is the breath of art', she appears to accept the idea. Yet consciously 'national' art is too often contrived and second-rate, and historicist dredgings are certainly not necessary to the development of an authentic cultural tradition. The efforts to cultivate a 'Hiberno-Romanesque' architectural style are a case in point here. The lifeless recreations of the revivalists are scarcely to be compared with the sizzling masterpieces built in Dublin, and elsewhere, in the world-style of the eighteenth century. Gandon, however, was rejected as the architect of the Ascendancy. National taste is unfortunately a poor indicator of artistic quality, as public indifference to Jack Yeats showed. The nationalist political leaders were often culturally illiterate. As Jeanne Sheehy observes, in the 1920s the new Irish state 'was too busy with matters of politics and economics to be much bothered with art'. It put the seal on the failure of the Irish art movement in 1926 by using an English artist's designs for its new coinage (from which the shamrock and the round tower were conspicuously absent). The real achievement of the Celtic rev.
Published by Thames and Hudson Ltd, London, England, 1980
Seller: Reading Habit, Buttaba, Newcastle, NSW, Australia
Book First Edition
Hardcover with Dust Jacket. Condition: Good. Dust Jacket Condition: Good. Mott, George (photography) (illustrator). First Edition. Hardcover with green boards and pictorial dust jacket, First Edition, 850gms, 208 pages, blank endpapers. The search for an Irish Identity in the visual arts has been long and fervent. Book is in good condition with general age-related wear and tear. Dust Jacket is in good condition with moderate shelf wear and chipping, otherwise no other pre-loved markings.