2016, ISBN: a55d5ecf625a20a72ed6669353ee75ea

Edição encadernada

Nourish By Karen, Melbourne, 2016. Edition Unstated. Softcover. Good Condition. A new approach to healthy, light and luscious cooking Love making in the kitchen encourages you to dev… mais…

Nourish By Karen, Melbourne, 2016. Edition Unstated. Softcover. Good Condition. A new approach to healthy, light and luscious cooking Love making in the kitchen encourages you to develop your own style and become more creative with your home cooking. It takes you from morning to night...and from basics through to catering a multi-course dinner. It is a fantastic foundation for exploring and learning more about using alternative ingredients and experimenting with your own variations. Love Making in the Kitchen is particularly suited to people with limited dietary options or those wanting to improve their health. Think of it as a starting point and inspiration for nutritious, delicious alternatives and new, creative ideas.Cooking started out as a necessity, which later developed into a curiosity, and now has become a passion. Author, Karen Chen, has been working her way to wellness with a diabetic condition for many years without medication but with medical supervision. Her chosen path is based on her belief of taking personal responsibility for one's self, and especially one's health.With Karen's early beginnings of cooking, she set out to explore and find options as at the time there were very few health food alternatives. Through many years of personal experience and research, Karen has built up a repertoire of recipes, and with a desire and joy to share with others she pursued the opportunity to develop her first cookery book, Love Making In The Kitchen. She has collaborated with brands such as Simone Perele who distributed books to their nationwide stores.She loves to create dishes using natural alternative ingredients, and nature is an ever-present inspiration. Karen's mission now is to reawaken people's senses and creativity; and to find love and connection in the kitchen using simple, nourishing food in sustainable ways.Praise for Love Making in the Kitchen Karen considers taste and the use of our senses in her recipes rather like a food artist. Creativity is one of her essential ingredients. Karen's style is also about the heart. Her passion and enthusiasm for nutrition and a healthy life is infectious. There is no better teacher than the one who has successfully been through their own healing journey. I happily recommend this book to anyone seeking health enhancement through delicious, natural, health promoting food. - Dr Catherine J Fyans Karen's beautiful, healthy recipes are bursting with flavour, are nutritionally dense, and incorporate a diverse range of health supportive ingredients. Her delicious ideas will have you cooking with passion and sharing the love of great food with friends and family again and again. - Samantha Gowing - Spa Chef & Clinical Nutritionist Karen's well constructed and easy-to-follow recipes are a delight to make and are based on her personal experience and many years of dedicated research! - Jenny Rosenfield All pictures shown are of the actual product offered for sale Card Covers. Size: 250mm - 320mm. 121 pages. Covers have some shelf-wear, as well as some bumping to corners and extremities. Quantity Available: 1. Shipped Weight: 1-2 kilos. Category: Cooking, Wine & Dining; Inventory No: 20420. ., Nourish By Karen, 2016, 2.5, New York: A Borzoi Book Published by Alfred A. Knopf, Inc., 1990. BOOK: Boards Bumped; Light Shelf Rub to Boards; Edges Moderately Soiled. DUST JACKET: Lightly Creased; Lightly Chipped; Slight Yellowing Due to Age; In Archival Quality Jacket Cover. With 32 pages of photographs. BOOK NUMBER: 3/90. ALSO KNOWN AS: Portions of this work were originally published in The New Yorker. MAP: Jean Paul Tremblay. JACKET DESIGN BY: R. D. Scudellari. CONTENTS: Introduction: Ends and Means PART I "Too Slow" PART II The Old and the New; Debts, Bibliography, Notes; Index; Photographs follow pages 62, 158 and 286. SYNOPSIS: Robert A. Caro's life of Lyndon Johnson continues--one of the richest, most intensive and most revealing examinations ever undertaken of an American President. It is the magnum opus of a writer perfectly suited to his task: the Pulitzer Prize-winning biographer-historian, chronicler also of Robert Moses in The Power Broker, whose inspired research and profound understanding of the nature of ambition and the dynamics of power have made him a peerless explicator of political lives. The Path to Power, the first book of The Years of Lyndon Johnson, was greeted on its publication with a wave of acclaim, received the National Book Critics Circle Award and became a nationwide best-seller. And now, with the narrative passion and the unique gift for making us grasp the way the world really works that distinguish all his writing, Caro brings alive Lyndon Johnson in his wilderness years. In Means of Ascent, Johnson's almost mythic personality--part genius, part behemoth, at once hotly emotional and icily calculating--is seen at its most nakedly ambitious. This multifaceted book carries the President-to-be from the aftermath of his devastating defeat in his 1941 campaign for the Senate--the despair it engendered in him, and the grueling test of his spirit that followed as political doors slammed shut--through his service in World War II (and his artful embellishment of his record) to the foundation of his fortune (and the actual facts behind the myth he created about it). The culminating drama--the explosive heart of the book--is Caro's illumination, based on extraordinarily detailed investigation, of one of the great political mysteries of the century. Having immersed himself for fourteen years in Johnson's life and world, tracking down hundreds of people who knew LBJ in Texas, in Washington and across the country, Caro is able to reveal the true story of the fiercely contested 1948 senatorial election, for forty years shrouded in rumor, which Johnson was not believed capable of winning, which he "had to" win or face certain political death, and which he did win--by 87 votes, the "87 votes that changed history." Telling that epic story in riveting and eye-opening detail, Caro returns to the American consciousness a magnificent lost hero. He focuses closely not only on Johnson, whom we see harnessing every last particle of his strategic brilliance and energy, but on Johnson's "unbeatable" opponent, the beloved former Texas Governor Coke Stevenson, who embodied in his own life the myth of the cowboy knight and was himself a legend for his unfaltering integrity. And ultimately, as the political duel between the two men quickens--carrying with it all the confrontational and moral drama of the perfect Western--Caro makes us witness to a momentous turning point in American politics: the tragic last stand of the old politics versus the new--the politics of issue versus the politics of image, mass manipulation, money and electronic dazzle. Means of Ascent is the second book in a multivolume work that will stand as the political biography of our time. Robert A. Caro is the author of The Path to Power and The Power Broker: Robert Moses and the Fall of New York. In addition to the Pulitzer Prize and the National Book Critics Circle Award, he has won the Francis Parkman Prize (awarded by the Society of American Historians to the book that "best represents the union of the historian and the artist"), the H. L. Mencken Award, the Carr P. Collins Award from the Texas Institute of Letters and an Award in Literature from the American Academy and Institute of Arts and Letters. Mr. Caro was graduated from Princeton University, later became a Nieman Fellow at Harvard University and was for seven years an investigative reporter for Newsday. He was born in New York City, where he and his wife, Ina, now live.. First Edition 1st Printing. Hard Cover. Fine/Fine. 8vo - over 7¾" - 9¾" tall., A Borzoi Book Published by Alfred A. Knopf, Inc., 1990, 5, New Haven & Washington: Yale University Press & The National Gallery of Art, 2008. Hardcover. As New/As New. Larger demy folio, [30cm/12inches], full gilt-embossed pearl-blue cloth with mylar-protected dust jacket, pp. 207, indexed. Illustrated with b-w halftones, colour plates &ct. Please feel free to ask for particulars and/or additional photographs. ...The National Gallery's blurb noted: "Once the domain and hunting ground of kings, the Forest of Fontainebleau, some thirty-five miles southeast of Paris, is where French landscape painting and photography took root. Rough and unspoiled, the forest was exalted as an example of nature in its purest state. Its distinctive terrain — verdant woods, magnificent old-growth trees, imposing rock formations, and stark plateaus — offered a wealth of motifs that attracted painters and photographers alike. The forest was such a point of national pride that a portion of it was set aside in 1861 as the first nature preserve in history. Like Italy before it, Fontainebleau became an obligatory destination for any serious landscape artist. During the 1820s and 1830s, painters such as Jean-Baptiste-Camille Corot and Théodore Rousseau helped to transform the nearby villages of Barbizon and Chailly into informal artists’ colonies and the forest into an open-air studio. Through their close observation of the native countryside, these artists sparked a movement known as the Barbizon School that introduced a new sense of naturalism into landscape painting and challenged the French Royal Academy’s preference for idealized pastoral visions of nature. In the 1860s a new generation of artists that included Claude Monet, Alfred Sisley, and Auguste Renoir discovered Fontainebleau, laying the foundations for the light-filled depictions that would bring them fame as impressionists.", Yale University Press & The National Gallery of Art, 2008, 5<

2008, ISBN: a55d5ecf625a20a72ed6669353ee75ea

Edição encadernada

-Yale University Press / Royal Academy (1992)-. Exhibition catalogue. Edited by Mary Anne Stevens. 290x250mm liii+230 pages. Illustrated in colour. Cloth. Fine in like dustjacket. Camill… mais…

-Yale University Press / Royal Academy (1992)-. Exhibition catalogue. Edited by Mary Anne Stevens. 290x250mm liii+230 pages. Illustrated in colour. Cloth. Fine in like dustjacket. Camille Pissarro is perhaps best known for the landscape paintings of his early career, yet in the final decade of his life (1893-1903) he began to depict urban scenes and his paintings from this period, of Paris, Rouen and the busy ports of Dieppe and Le Havre formed an important component of his artistic output. At this time Pissarro, like Monet, started to work on canvases in series, ofthen pointing several simultaneously and discarding one temporarily when the light, the weather or his mood altered. He started all of them at the scene and worked with extraordinary speed and deftness. In this book, the authors set Pissarro's cityscapes in their broad art-historical context, looking also at contemporary treatments of the urban scene by Vuillard, Bonnard and Toulouse-Lautrec. Using Pissarro's extensive correspondence from this period, they reveal the artist's own attitude towards his final works. The book includes a catatogue of Pissarro's urban series, each one introduced by an overview covering the history of the cityscape pictured and the production, exhibition history and early critical reception of the series. This book is the catalogue for an exhibition of Pissarro's cityscape paintings at the Dallas Museum of Art (November 15, 1992 - January 31, 1993). The exhibition will then be shown at the Philadelphia Museum of Art from March 7 to June 6, 1993 and at the Royal Academy in London from July 2 to October 10, 1993. We are specialists in Catalogues: Exhibitions, Auctions, Collections, etc., with a picture of the cover available on request. All items are as described and dispatched within 24 hours in a secure package. We are professional booksellers with over 35 years experience, you may order with confidence. The Impressionist and the City. Pissarro's Series Paintings. 0300053509, -Yale University Press / Royal Academy (1992)-, 0, London: Marlborough Gallery, , 1960. Brossura (wrappers). Molto buono (Very Good). Catalogo di mostra, Marlborough Gallery, Londra giugno - agosto 1960. Completamente illustrato in bianco e nero e a colori con 89 tavole anche a piena pagina (opere di Berthe Morisot, Jean Louis Forain, Alfred Sisley, Pierre-Auguste Renoir, Camille Pissarro, Claude Monet, Henri Rousseau le Douanier, Edgar Degas, Ernst Barlach, Pierre Bonnard, André Derain, Raoul Dufy, Juan Gris, Edvard Munch, Fernand Léger, Pablo Picasso, Georges Braque, Gino Severini, et al.). Catalogo delle 89 opere esposte. 4to. pp. 98. Molto buono (Very Good). ., Marlborough Gallery, 1960, 2.5, -Yale University Press / Royal Academy (1992)-. Exhibition catalogue. Edited by Mary Anne Stevens. 290x250mm liii+230 pages. Illustrated in colour. Cloth. Fine in like dustjacket, and plain slipcase. Camille Pissarro is perhaps best known for the landscape paintings of his early career, yet in the final decade of his life (1893-1903) he began to depict urban scenes and his paintings from this period, of Paris, Rouen and the busy ports of Dieppe and Le Havre formed an important component of his artistic output. At this time Pissarro, like Monet, started to work on canvases in series, ofthen pointing several simultaneously and discarding one temporarily when the light, the weather or his mood altered. He started all of them at the scene and worked with extraordinary speed and deftness. In this book, the authors set Pissarro's cityscapes in their broad art-historical context, looking also at contemporary treatments of the urban scene by Vuillard, Bonnard and Toulouse-Lautrec. Using Pissarro's extensive correspondence from this period, they reveal the artist's own attitude towards his final works. The book includes a catatogue of Pissarro's urban series, each one introduced by an overview covering the history of the cityscape pictured and the production, exhibition history and early critical reception of the series. This book is the catalogue for an exhibition of Pissarro's cityscape paintings at the Dallas Museum of Art (November 15, 1992 - January 31, 1993). The exhibition will then be shown at the Philadelphia Museum of Art from March 7 to June 6, 1993 and at the Royal Academy in London from July 2 to October 10, 1993. The Impressionist and the City. Pissarro's Series Paintings. 0300053509, -Yale University Press / Royal Academy (1992)-, 0, CreateSpace Independent Publishing Platform. paperback. New. 8x0x11. Brand New Book in Publishers original Sealing, CreateSpace Independent Publishing Platform, 6, New., 6, New York, NY: Crown Publishers, Inc., 1958. 104 pp. Original brown paper covered boards w/ tan cloth spine. Edges a bit darkened. Bottom corners and spine ends bumped. Front hinge starting at half-title page. Light dampstain to bottom corner of foredge of text block. DJ lightly soiled w/ light edge wear. Approx. 1/4" closed tear from bottom edge of front panel. Price clipped. Illust. w/ 65 reproduced color paintings tipped-in.. Hard Cover. Very Good-/Very Good-. 4to - over 9¾" - 12" tall., Crown Publishers, Inc., 1958, 3, New Haven & Washington: Yale University Press & The National Gallery of Art, 2008. Hardcover. As New/As New. Larger demy folio, [30cm/12inches], full gilt-embossed pearl-blue cloth with mylar-protected dust jacket, pp. 207, indexed. Illustrated with b-w halftones, colour plates &ct. Please feel free to ask for particulars and/or additional photographs. ...The National Gallery's blurb noted: "Once the domain and hunting ground of kings, the Forest of Fontainebleau, some thirty-five miles southeast of Paris, is where French landscape painting and photography took root. Rough and unspoiled, the forest was exalted as an example of nature in its purest state. Its distinctive terrain — verdant woods, magnificent old-growth trees, imposing rock formations, and stark plateaus — offered a wealth of motifs that attracted painters and photographers alike. The forest was such a point of national pride that a portion of it was set aside in 1861 as the first nature preserve in history. Like Italy before it, Fontainebleau became an obligatory destination for any serious landscape artist. During the 1820s and 1830s, painters such as Jean-Baptiste-Camille Corot and Théodore Rousseau helped to transform the nearby villages of Barbizon and Chailly into informal artists’ colonies and the forest into an open-air studio. Through their close observation of the native countryside, these artists sparked a movement known as the Barbizon School that introduced a new sense of naturalism into landscape painting and challenged the French Royal Academy’s preference for idealized pastoral visions of nature. In the 1860s a new generation of artists that included Claude Monet, Alfred Sisley, and Auguste Renoir discovered Fontainebleau, laying the foundations for the light-filled depictions that would bring them fame as impressionists.", Yale University Press & The National Gallery of Art, 2008, 5<

2008, ISBN: a55d5ecf625a20a72ed6669353ee75ea

Edição encadernada

Boston: The Page Company, 1917. x, 373pp, colored frontis: Mount Mayon, folding colored maps of the Hawaiian and Philippine Islands, each with a closed tear, colored and b/w plates, bibli… mais…

Boston: The Page Company, 1917. x, 373pp, colored frontis: Mount Mayon, folding colored maps of the Hawaiian and Philippine Islands, each with a closed tear, colored and b/w plates, bibliography, index, endpapers: front, Pearl Harbour, Honolulu; rear, native village, Luzon. Upper edge gilt, fore-edge uncut. The front hinge is cracked by the half title verso. Personal Christmas greeting dated 1918 on the lower part of the half title, with a book shop sticker by the lower corner of the same page. Decorative green cloth boards, gilt. An attractive copy. In the Spell Series. The book is in two parts: The Hawaiian Islands: pp 3-120; and The Philippines: pp 123-362. Continuation of the title: Being an Account of the Historical and Political Conditions of Our Pacific Possessions, together with Descriptions of the Natural Charm and Beauty of the Countries and the Strange and Interesting Customes of their Peoples.. Second Impression. Hard Cover. Good Plus. 8vo., The Page Company, 1917, 2.5, New York, NY: N.Y. / New York: Scribner and Welford, 1889, 1st Edition, First Printing , 1889. ------------hardcover, a solid Good example in original cloth, some light rubbing mainly at tips, a bit of fraying to cloth, a solid tight square copy, an exlibrary copy (19th century / turn of the century library), some foxing, some ink writing on endpapers, some stamps, bookseller's label, foxing, 304 pages, b&w illustrations, contents include: QUININE and ITS ROMANCES --- The search for plants and attempts to naturalise them; Nature and Habits of Chinchona trees; Cultivation in India; Methods of baking and preparation in India; Preparations of Alkaloids, etc.; Amorphous quinine, etc. --- CURIOSITIES of CANARY CULTURE --- Origin of canaries; Culture and Training; English varieties; Treatment --- ALL about RICE --- PEARLS --- AMBER --- COMMON SALT --- BURTON ALE and DUBLIN STOUT --- PETROLEUM ---The ELECTRIC TELEGRAPH --- A RAILWAY WHISTLE --- Some HISTORICAL BEDSTEADS --- KNIVES and FORKS --- ARSENIC in INDUSTRY --- Some FAMOUS DIAMONDS --- ARTIFICIAL DIAMONDS --- POSTAGE STAMPS --- APPENDIX: The introduction of Chinchonas into JAVA and their cultivation; Syndicates of Diamonds and Salt; Arsenic ---what a variety of topics, any image directly beside this listing is the actual book and not a generic photo ///NOT SIGNED ---GUARANTEED to be AVAILABLE///---sizes are approximate (generally within 1/8 inch)---. First Edition. Hard Cover. Good (see description)/No Jacket as issued. Illus. by No Dustjacket as Issued. 5w x 7.25h Inches., N.Y. / New York: Scribner and Welford, 1889, 1st Edition, First Printing, 1889, 2.5, New Haven & Washington: Yale University Press & The National Gallery of Art, 2008. Hardcover. As New/As New. Larger demy folio, [30cm/12inches], full gilt-embossed pearl-blue cloth with mylar-protected dust jacket, pp. 207, indexed. Illustrated with b-w halftones, colour plates &ct. Please feel free to ask for particulars and/or additional photographs. ...The National Gallery's blurb noted: "Once the domain and hunting ground of kings, the Forest of Fontainebleau, some thirty-five miles southeast of Paris, is where French landscape painting and photography took root. Rough and unspoiled, the forest was exalted as an example of nature in its purest state. Its distinctive terrain — verdant woods, magnificent old-growth trees, imposing rock formations, and stark plateaus — offered a wealth of motifs that attracted painters and photographers alike. The forest was such a point of national pride that a portion of it was set aside in 1861 as the first nature preserve in history. Like Italy before it, Fontainebleau became an obligatory destination for any serious landscape artist. During the 1820s and 1830s, painters such as Jean-Baptiste-Camille Corot and Théodore Rousseau helped to transform the nearby villages of Barbizon and Chailly into informal artists’ colonies and the forest into an open-air studio. Through their close observation of the native countryside, these artists sparked a movement known as the Barbizon School that introduced a new sense of naturalism into landscape painting and challenged the French Royal Academy’s preference for idealized pastoral visions of nature. In the 1860s a new generation of artists that included Claude Monet, Alfred Sisley, and Auguste Renoir discovered Fontainebleau, laying the foundations for the light-filled depictions that would bring them fame as impressionists.", Yale University Press & The National Gallery of Art, 2008, 5<

2009, ISBN: a55d5ecf625a20a72ed6669353ee75ea

Edição encadernada

Kessinger Publishing, LLC, 2009-03-20. Paperback. Good., Kessinger Publishing, LLC, 2009-03-20, 2.5, Kessinger Publishing, LLC, 2009-03-20. Paperback. Used:Good., Kessinger Publishing, … mais…

Kessinger Publishing, LLC, 2009-03-20. Paperback. Good., Kessinger Publishing, LLC, 2009-03-20, 2.5, Kessinger Publishing, LLC, 2009-03-20. Paperback. Used:Good., Kessinger Publishing, LLC, 2009-03-20, 0, London: Bradbury, Evans and Co, 1871. Cloth. Good/No Jacket. Blue cloth with decorations stamped in gilt and black. 352 pp, plus 8 pages of ads in the rear. With 8 illustrated plates, with the Versailles plate bound as the frontispiece. A history of several French palaces, documenting not only the history of the building but chronicling significant events and people associated with them, providing a history of France and its courts. This includes Versailles, St. Germain, the Louvre and the Tuileries, St. Cloud, the Palais Royal, the Elysee, Compiegne, Little Trianon and La Malmaison, and Fontainbleau. GOOD+ condition. Mostly minor scuffing to the coversm with general fading. Spine sunned. Minor soiling. Corners frayed, with light pulling and fraying to the head and tail of the spine. Several ownership signatures on the first endpapers. Text block solid with minor toning to the paper., Bradbury, Evans and Co, 1871, 2.5, New Haven & Washington: Yale University Press & The National Gallery of Art, 2008. Hardcover. As New/As New. Larger demy folio, [30cm/12inches], full gilt-embossed pearl-blue cloth with mylar-protected dust jacket, pp. 207, indexed. Illustrated with b-w halftones, colour plates &ct. Please feel free to ask for particulars and/or additional photographs. ...The National Gallery's blurb noted: "Once the domain and hunting ground of kings, the Forest of Fontainebleau, some thirty-five miles southeast of Paris, is where French landscape painting and photography took root. Rough and unspoiled, the forest was exalted as an example of nature in its purest state. Its distinctive terrain — verdant woods, magnificent old-growth trees, imposing rock formations, and stark plateaus — offered a wealth of motifs that attracted painters and photographers alike. The forest was such a point of national pride that a portion of it was set aside in 1861 as the first nature preserve in history. Like Italy before it, Fontainebleau became an obligatory destination for any serious landscape artist. During the 1820s and 1830s, painters such as Jean-Baptiste-Camille Corot and Théodore Rousseau helped to transform the nearby villages of Barbizon and Chailly into informal artists’ colonies and the forest into an open-air studio. Through their close observation of the native countryside, these artists sparked a movement known as the Barbizon School that introduced a new sense of naturalism into landscape painting and challenged the French Royal Academy’s preference for idealized pastoral visions of nature. In the 1860s a new generation of artists that included Claude Monet, Alfred Sisley, and Auguste Renoir discovered Fontainebleau, laying the foundations for the light-filled depictions that would bring them fame as impressionists.", Yale University Press & The National Gallery of Art, 2008, 5<

2008, ISBN: a55d5ecf625a20a72ed6669353ee75ea

New Haven & Washington: Yale University Press & The National Gallery of Art, 2008. Hardcover. As New/As New. Larger demy folio, [30cm/12inches], full gilt-embossed pearl-blue cloth wit… mais…

New Haven & Washington: Yale University Press & The National Gallery of Art, 2008. Hardcover. As New/As New. Larger demy folio, [30cm/12inches], full gilt-embossed pearl-blue cloth with mylar-protected dust jacket, pp. 207, indexed. Illustrated with b-w halftones, colour plates &ct. Please feel free to ask for particulars and/or additional photographs. ...The National Gallery's blurb noted: "Once the domain and hunting ground of kings, the Forest of Fontainebleau, some thirty-five miles southeast of Paris, is where French landscape painting and photography took root. Rough and unspoiled, the forest was exalted as an example of nature in its purest state. Its distinctive terrain — verdant woods, magnificent old-growth trees, imposing rock formations, and stark plateaus — offered a wealth of motifs that attracted painters and photographers alike. The forest was such a point of national pride that a portion of it was set aside in 1861 as the first nature preserve in history. Like Italy before it, Fontainebleau became an obligatory destination for any serious landscape artist. During the 1820s and 1830s, painters such as Jean-Baptiste-Camille Corot and Théodore Rousseau helped to transform the nearby villages of Barbizon and Chailly into informal artists’ colonies and the forest into an open-air studio. Through their close observation of the native countryside, these artists sparked a movement known as the Barbizon School that introduced a new sense of naturalism into landscape painting and challenged the French Royal Academy’s preference for idealized pastoral visions of nature. In the 1860s a new generation of artists that included Claude Monet, Alfred Sisley, and Auguste Renoir discovered Fontainebleau, laying the foundations for the light-filled depictions that would bring them fame as impressionists.", Yale University Press & The National Gallery of Art, 2008, 5<