Studio Editions London 〜の在庫検索結果 / 日本の古本屋

RAILWAYS THE PIONEER YEARS

花島書店
北海道札幌市手稲区新発寒6条5丁目8番1

￥6,600

MALCOLM FLETCHER AND JOHN TAYLOR、Studio Editions L･･･

写真図入320頁26x32cm

RAILWAYS THE PIONEER YEARS

￥6,600

MALCOLM FLETCHER AND JOHN TAYLOR 、Studio Editions London 、1990

写真図入320頁26x32cm

花島書店

Grammar of Ornament A Monumental Work of Art

smokebooks(スモークブックス)
千葉県松戸市稔台1-21-1

￥2,500

1988 Studio editions London　ハードカバー　カバー欠　英語　25x34x4
本の状態　カバー欠け　すれ　角傷み
やけ
ギリシャ　トルコ　アラビアなどの建築・インテリアなど　装飾集　

Grammar of Ornament A Monumental Work of Art

￥2,500

1988 Studio editions London　ハードカバー　カバー欠　英語　25x34x4 本の状態　カバー欠け　すれ　角傷みやけギリシャ　トルコ　アラビアなどの建築・インテリアなど　装飾集　

smokebooks(スモークブックス)

ＴＨＥ　ＤＥＣＯＲＡＴＩＶＥ　ＡＲＴ　ＯＦ　ＡＲＡＢＩＡ（英）アラビアのデコラティブ・アート

ハナ書房
大阪府大阪市北区天神橋

￥4,070

TEXT　BY　JULES　BOURGOIN、STUDIO　EDITIONS，LONDON、２００５

FOREWORD
from his fellows was a Western one not then found in Islam.
Designers learnt their skills in workshops, and design had evolved
naturally, without self-consciousness.
The intricate geometrical patterns, the interlace of astonishing
complexity were created with a maximum of skill and the minimum
of equipment and theory. New patterns were essentially variants of
older ones, and a straight-edge and dividers were the only instru-
ments used to lay out the ground.
As Bourgoin emphasizes, somehow the Islamic artists reflected
the underlying geometric structure of organic things in their
patterns, but they achieved this intuitively, not through
experimental science or a formal study of geometry. Although buil
from simple elements, the number of possible designs is infinit
but only through the study of existing patterns can new patterns
made.
up
Charles Newton
August 1988
カバー、１０９図、２４×３４ｃｍ

ＴＨＥ　ＤＥＣＯＲＡＴＩＶＥ　ＡＲＴ　ＯＦ　ＡＲＡＢＩＡ（英）アラビアのデコラティブ・アート

￥4,070

TEXT　BY　JULES　BOURGOIN 、STUDIO　EDITIONS，LONDON 、２００５

FOREWORD from his fellows was a Western one not then found in Islam. Designers learnt their skills in workshops, and design had evolved naturally, without self-consciousness. The intricate geometrical patterns, the interlace of astonishing complexity were created with a maximum of skill and the minimum of equipment and theory. New patterns were essentially variants of older ones, and a straight-edge and dividers were the only instru- ments used to lay out the ground. As Bourgoin emphasizes, somehow the Islamic artists reflected the underlying geometric structure of organic things in their patterns, but they achieved this intuitively, not through experimental science or a formal study of geometry. Although buil from simple elements, the number of possible designs is infinit but only through the study of existing patterns can new patterns made. up Charles Newton August 1988 カバー、１０９図、２４×３４ｃｍ

ハナ書房

Post-Impressionism. The Rise of Modern Art. 1880-1920　(検索用、ポスト印象派　印象主義　マネ・ゴッホ、ゴーギャン、ルドン、セザンヌ、マティス、ドラン、ヴラマンク)

角口書店
北海道札幌市中央区宮の森四条

￥2,000

バーナードデンバー序文(Thomas Parsons, Iain Gale. Foreword b･･･

重刷　カバ端折れ跡僅　ハードカバー　ISBN1851708618

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