2019, ISBN: 9780691038360

edizione con copertina rigida

[Towcester: F. C. Williams, Printer,] 1921. Folio (380 x 250 mm), 232, [4]pp., catalogue no. 1380 of an unspecified limited number, 59 plates, 5 coloured maps and plans (2 folding), some… Altro …

[Towcester: F. C. Williams, Printer,] 1921. Folio (380 x 250 mm), 232, [4]pp., catalogue no. 1380 of an unspecified limited number, 59 plates, 5 coloured maps and plans (2 folding), some light spotting to endpapers, orig. cloth-backed boards, armorial coat of arms on upper cover, small nick to upper joint, lightly rubbed otherwise a very good sound copy. The monumental auction catalogue of The ducal estate of Stowe, near Buckingham, containing some major works of art. The first day was devoted to the historic mansion and estate, the following days the contents of the mansion, including "heirloom pictures, tapestries and historic furniture, by the World's Greatest Masters, Superb Statuary and Metal Work, important collection of Rare China, Porcelain, an immense assortment of other Objets d'Art, the Contents of the Magnificent Library, fine collection of Historic Letters and Manuscripts, the Valuable Gold Plate, Carvings and Panellings by Grinling Gibbons, Famous Classic Temples and Other Buildings and Bridges luxuriously built to designs by famous architects." This catalogue presents historical contextualisation in its preface and sections on the arrangement of sale, order of sale and index, index and summary of the whole of the Stowe estate, conditions of sale, a lot listing for each day, as well as an area map and a well-preserved fold-out estate map in color. The plates offer views of the estate, its buildings, spaces, and the items within them. The auction was held over nineteen days and consists of some 3955 lots., [Towcester: F. C. Williams, Printer,] 1921, 0, 1937. Manhasset, American Art Association, 1937. 20,5 x 29 cm. 555 pages - Illustrated throughout. Original Hardcover. Excellent, firm condition with minor signs of external wear. The full auction catalogue from this May 1937 sale of 2115 lots from the estate of Genevieve Garvan Brady (1879-1938), at one time married to Nicholas Frederic Brady (1878-1930) and then to Irish Diplomat William J. Babington Macaulay. This fascinationg auction catalogue is a plethora of images and historical record for the estate sale of one of the most magnificent catholic residences in 20th century America. The estate sale records not only the interior of the house and its Art, Furniture and Tapestry but is also an important photographical and descriptive record of several of the rooms and furnishings in "Inisfada", which are now all lost due to the demolishing of the House in 2013. The collection, which "Inisfada" housed, is legendary and included among the items for sale also a famous painting by Frederic Remington ("Indian Warfare" also known as "Custer's Last Stand"), Antique Furniture, Tapestries, Rugs, including four famous gothic tapestries and a superb sixteenth century Ispahan carpet. Genevieve Garvan Brady and William J. Babington Macaulay: Noteable regarding the "Inisfada" - Sale, is also the irish connection due to the marriage of Genevieve Garvan Brady to Irish Ambassador William J. Babington Macaulay. Macaulay's obituary, published in the New York Times on January 10th, 1964, reads: "William J. Babington Macaulay, a retired Irish diplomat who became a United States citizen in 1944, died Tuesday in Florence, Italy. He was 71 years old. Mr. Macaulay had been Irish Free State Minister to the Holy See. He had been abroad since last winter and was living in Florence. His last address in this country, where he had his legal home, was the New Weston Hotel here. Mr. Macaulay was born in County Limerick, Ireland, attended the Sorbonne in Paris and served in the British Royal Naval Reserve in World War I. He was in the British civil service before the Irish Free State was founded in 1922 — it has been a republic since 1949. Mr. Macaulay entered the new nation's service shortly thereafter. He was First Secretary of the Irish Legation in Washington from 1925 to 1929. From 1929 to 1930, he was legation counselor. At times he was chargé d‘affaires during his counselorship. In 1930, Mr. Macaulay became Irish Consul General here, his country's first such post in this country. He was instrumental, early in his consulate, in having non-Irish goods that were advertised here as Irish-made properly labeled. He left the post in 1934. From 1934 to 1941, when he retired, Mr. Macaulay was minister to the Holy See. In 1937, he married Mrs. Genevieve Garvan Brady in the Roman Catholic Church of St. Ignatius Loyola here. She was a Papal Duchess and the widow of Nicholas F. Brady, who had been board chairman of the New York Edison Company, a predecessor of the Consolidated Edison Company of New York, Inc. Mr. Brady had also been a director of about 50 other corporations and a leading Catholic layman. Mrs. Macaulay was internationally known for her philanthropies and welfare activities. She died in 1938 in Rome. She left to her husband $1,000,000 outright and the fur- nishings of their Roman villa. In 1941, it was disclosed in the estate tax appraisal filed here that the net value of her estate was $6,299,000. Mr. Macaulay formerly lived in Essex, Conn. He traveled widely and had been an active yachtsman and member of the New York Yacht Club. In 1944, he presented a paschal candlestick and matching sanctuary lamps to Fordham University in memory of his wife. In 1958, Mr. Macaulay sent a check for $60,000 to President Eamon de Valera of Ireland to establish a foundation to assist young Irish painters, writers, sculptors, dramatists and musicians to study and create. (NYT - Obituary), 1937, 0, Liverpool: Printed for Private Circulation, [By David Marples, Printer Lord Street], 1872. First edition. 11" x 8 1/4". Illustrated paper over thick card, a. E. G. First edition. Pp. [3], [title, blank], 4-31, [statement of printer], followed by 72 unnumbered pages with 20 original black and white photographs measuring between 3 3/4" x 2 ½" and 8" x 5 1/2" with accompanying description of each on opposite page. Good: ex-library with the usual markings; corners bumped, generally scattered foxing save for endpapers where it is more pronounced; dampstaining pp. 23-31 not affecting text; tape repair on gutters of four plates; pages wavy. George A. Audsley was a man of many talents, skilled in architecture, illustration, and writing. He is most notable for designing the Wanamaker Organ in Philadelphia. This copy was inscribed to Sir M. Digby Wyatt, British architect, art historian, and Surveyor of the East India company. He was part of the famous Wyatt family of architects whose work spanned 18th and 19th century England. The images on the plates were from the collection of James L. Bowes, Esq. Audsley presented this essay to the Architectural Association in London, expounding upon his observations on Japanese art while humbly downplaying his knowledge in the field. He claims he is not an expert, but he is cognizant of the distinct characteristics of Japanese art, including an eye toward the natural world of flowers and trees, mountains and clouds, waves and waterfalls, and a wide variety of animals. He notes the skillful sense of color, and even the penchant for the humorous and the grotesque. Further observations are explained more fully in sections titled Enamels, Lacquer Work, Porcelain, Metal Work, Textile Work, and Carved Works. One in the trade as of May 2019, and two copies of the later 1874 edition. This item is offered by Langdon Manor Books, LLC, antiquarian booksellers. Please do not hesitate to contact us for additional information and/or photos and we will respond promptly. We package our items carefully, ship daily, and have a no hassle returns policy--your satisfaction is guaranteed. We are members of the Antiquarian Booksellers' Association of America (ABAA) , the International League of Antiquarian Booksllers (ILAB) and the Independent Online Booksellers Association (IOBA) and adhere to their rules of ethics., Printed for Private Circulation, [By David Marples, Printer Lord Street], 1872, 0, Octavo, 35 letters, 484 manuscript pages, dated 26 October 1884 to 10 January 1885, letters mounted on stubs within a leather bound album, boards lacking, spine badly chipped, lettering on spine reads "Letters"; text block split, some leaves loose, edges of some letters chipped, several with slight tears, otherwise good, written in ink, in legible hand. Five of the letters are illustrated with cleverly rendered drawings to accompany Noyes' intelligent, lengthy, and astute observations of his travels. The small ink illustrations are of figures, caricatures, architecture, etc., for a total of twenty-eight illustrations. The letters are all signed by Noyes and addressed mainly to his parents, or his mother separately, with one letter to his brother, one to his grandfather, and several to a woman by the name of "Jenny," likely his sister Jane. The letters tend to be written from the various hotels in which Noyes was staying while traveling in Europe, including: Liverpool, Chester, London, Oxford, all in England; a couple of letters written while aboard the S.S. Venetia, which he took from England to Gibraltar; and from hotels in Seville, Cordoba, Granada, Madrid, and Barcelona in Spain, where he spent a lot of time. There are also a number of letters from Marseilles and Nice in Southern France; and Genoa and Florence in Northern Italy. Alexander Dana Noyes (1862-1945) Alexander Dana Noyes was a distinguished American financial columnist born in Montclair, New Jersey on 14 December 1862, the second of four sons and the third of six children born to merchant Charles Horace Noyes and his wife Jane Radcliffe Dana, both of 17th Century New England families. Alexander studied at Amherst College, where he received his A.B. in 1883, he was editor of the college weekly, and he completed his education with several months of European travel. Noyes got his start in journalism with The Commercial Advertiser, where he reluctantly became the paper's Wall Street correspondent in 1884 when the banking house Grant and Moore failed and he happened to be the only reporter in the office not on assignment. Noyes recalls these formative experiences in "The Market Place: Reminiscences of a Financial Editor," a memoir that tends to pay more attention to historically significant financial crises than to autobiographic milestones. When Noyes began work as a financial editor of the New York Tribune in 1891, most financial columns in the popular press were "tout" pieces (writings advertising risk-free investments as insider tips) and agency handouts, meant more to promote certain investments than to illuminate the inner-workings of the market. According to historian Robert Sobel, Noyes was one of the first American journalists "to combine economic analysis and a knowledge of the market in such a way as to interest the general reader." Through his work as a reporter and financial editor for the Tribune and New York Evening Post, Noyes covered the Great Panic of 1891, the 1907 Banker's Panic, and the closure of the stock market in 1914, establishing himself as "an American counterpart to Walter Bagehot [editor of London's The Economist], which is to say that he was read by serious students of the market and had a trans-Atlantic audience." During his career, Noyes also authored several monographs, including "Forty Years of American Finance" (1907) and "The War Period in American Finance" (1926), which would become standard financial histories in university circles. He started writing the monthly "Financial World" feature for Scribner's Magazine in August 1915. Noyes initially used this space in the magazine to discuss the financial problems arising from the outbreak of World War I, but the feature (later known as "The Financial Situation") would continue to run well past the war. In his article "The Speculative Markets," Noyes warns against the belief on Wall Street that America had entered a New Era that "differs so greatly from any in the past that old-fashioned precaution is out of date." In the numerous articles he wrote for Scribner's, Noyes uses a strategy of analogy to describe World War I, using The Seven Years' War, America's Civil War, and the Napoleonic Wars to draw out questions about America's apparent wartime prosperity and the fate of Europe's economy following the war. Several of Noyes' contributions to Scribner's Magazine during the war years were compiled into a book, "Financial Chapters of War." In 1920 Noyes became the financial editor of the New York Times, where he continued to prove himself an adept reader of the market. During his tenure at the Times, Noyes predicted the bull market that would emerge in 1921 and was "one of only a few voices that chose not to sing in the all-bulls choir" the led up to Black Tuesday in 1929. The skepticism of the Times in the months leading up to the Depression strongly contrasts with the outlook of the Wall Street Journal and several other financial publications that failed to realize the danger signs in the market. Noyes remained at the Times until his death in 1945. Sample Quotations: "London, Monday Nov 3 /84Dear Folks,Having finished my breakfast, and making myself as comfortable in my room as the morning fog will permit, I am ready to take an hour or two and scribble off a few pages in time for the Republic, which goes back from Liverpool tomorrow. This time is the best for writing. It would be useless to start out before ten or eleven o'clock to see the city; for London is a lazy place, and doesn't get itself started until pretty well along in the morning. Harry Warren and the other Americans settled here complain more than anything else of the slow living, and the slow manner in which business moves something especially unpleasant to an American businessman Without the guide, I have seen considerable already, though I make a point of never going over more than one great point of interest in a day. Last Thursday I went to the Health Exhibition, which was then open for the last day. As a whole it was rather a bore, consisting mostly of preserved fruit, groceries, mammoth squashes, patent grates and fire places, etc., but there were some more picturesque departments. The most interesting was a representation of a street in old London, where houses were built up and shops arranged in studious imitation of the city before the Great Fire. As a historical work, it was extremely valuable, and was made still more so by the shops, which were occupied by business firms whose men with the costume and implements of the seventeenth century plied their several trades to the great admiration of the nineteenth century public. What was interesting in another way was a double modern house, full-size, one half of which was fitted up as a sanitary house and the other as an "insanitary" house. The object was to exhibit and contrast good and bad arrangements for sewerage, drainage, heat, light, comfort, and ventilation. The insanitary house, through which the visitor first passed, had arsenic wall paper, deficient traps, insufficient ventilation, and all the other modern improvements. The other was an exactly duplicate house, but had all the proper appliances and the contrast was both instructive and interesting. [On] Friday I went to see the Tower of London and on the whole, was rather disappointed. It is really a splendid specimen of mediaeval architecture, but these stupid Englishmen have spoilt the whole effect by building modern brick walls with chimney pots, between the turrets and using them as barracks for the soldiers. The flag of England floating from the White Tower was very grand, but not half so impressive as two or three dozen articles of underclothing waving from a clothes-line attached to the same tower I like my lodging place more every day, and have reason to be satisfied at being placed so pleasantly. The street is quiet, except for an occasional hurdy gurdy or news boy. The latter animal is most distressing here. He hasn't the cheerful shout of a New York boy with his "Nyawk Herrltime Stribyunean World" or even the Boston boy, whose "Morn papes" is a trifle more melancholy. These boys are angry, indignant, in tone. They shout as if they were forced to sell papers for punishment. One came by our place last night with the false news of Gordon's capture. It is impossible to describe the vindictive malice with which he yelled, in a curious rhyming chant: "Pa Par! Tairble slaugh-Tar! Genl Gordon a pris-NAR! Special Edition of the Obser-VAR!" Everything is high in London, especially food. The restaurants are very expensive; indeed, one can't get a first-class table-d'hote dinner under five shillings ($1.25). The things that are generally cheap are hack hire and well, I don't know of anything else that is, except the buses. On one of them a visitor can travel five miles through the city for three pence. They are queer looking objects not at all like a Broadway stage, for they have a pair of steps at the back and seats on top. The conductor or guard, stands on a little platform behind and hangs on by a strap; his duty is to shout out the They are all good drivers, however and have a good deal of the traditional grandeur of the old stage coach driver. The buses look very odd at first, with the crowd on top and a collection of stovepipe hats sticking up like destination of the bus with a view to alluring passenger and as no human being was ever capable of understanding what he says, his usefulness will be apparent. The driver's duties aside from driving, are to hit his horses over the neck, hit all covered wagons with his whip and shout sarcastic remarks to the drivers of all other vehicles. corks in all directions. Their appearance is made still more striking by the flaring advertisements boarded up against the sidesHoping to hear often from you all, I am aff. yours Alex D. Noyes""Hotel de Madrid, SevilleSpain, November 30, 1884Dear Folks, When I was half dressed this morning, and sipping my chocolade in our bedroom, it suddenly dawned upon me that I had neglected you of late; and I determined as soon as I had taken a walk and finished my almuerzo that I would begin a long letter, to pay for the long delay.My excuse for not writing during the past three or four days is valid. I have been travelling nearly all the time. The consequence is, I have seen Spanish scenery and Spanish life about as thoroughly as one can do. All this country is true Spain. Madrid and the north is Parisian; this is Spain and retains in its buildings and customs the peculiarities of centuries ago Let me tell you, then, that Gibraltar is the hardest place to get out of that I ever knew. We came by the P and O boat. Our plan was to go to Tangier and back and then on to Cadiz. Now it rained nearly all the time we were at Gib and the Levanter, the sharp east wind of the Mediterranean, had stirred up the sea. Some of our fellow passengers from England started by the little boat Hercules for Tangier the day after we arrived in Gibraltar. The boat broke one paddle wheel and made the best of its way back to Gibraltar. From that time on, the sea was so rough that no Tangier boat started. There were several ways to get out of Gibraltar. Gregory and his wife and I could get to Cadiz either by steamer from Algeciras or by diligence from the same place. Burroughs was going by steamer from Algeciras to Malaga and so to Barcelona. We decided to leave Gibraltar on Thursday. Then we learned that the sea was too rough for the Cadiz boatFortunately, we had engaged seats on the Friday diligence as the coach was to start at five a.m. Friday we were obliged to spend the night of Thursday in Algeciras. So, at noon Thursday we prepared to go. A little steamer sails three times a day across the bay from Gibraltar to Algeciras. When we were all ready to go we suddenly learned that the bay was too rough, and there was no boat that day from Gib. This is the only conveyance. We thought of chartering a steam yacht, but Senor Carrara wanted two pounds for it, and would not guarantee that the vessel could land at Algeciras in the gale. The only other way to get from Gib to Algeciras was by land around the bay a distance of nearly fifteen miles, along the beach and over very bad roads. There was no alternative; so, we hired a crazy little two wheeled trap like a prison van. This was drawn by a two-mule tandem. Mrs. Gregory and the luggage went in this, with one man in front driving and another riding the leading mule. The three men of the party were in the saddle, Gregory and I riding horses and Burroughs astride of a mule. In such state we left the Spanish lines. The Spanish custom house officers at the Spanish lines beyond Gibraltar began to take down our baggage for examination, but a silver peseta about twenty cents, fixed themAnd here let me tell you one thing, which I do not think is generally known, but which we soon learned to our cost. Baggage is examined by the custom house officials in every city in Spain, no matter if you come direct from another Spanish city. Ours has been overhauled at the lines, San Fernando, Cadiz, and Seville. But a peseta goes a good way with these scoundrels. The roads to Algeciras were bad horrible. Half of the distance was along the beach, and as the tide was high we rode sometimes in two feet of water. The interior roads were all ruts, and there were two rivers to cross by a pontoon bridge. When it began to grow dark we were somewhat anxious, and the last and worst of the way was traversed by moonlight. At last we rode into Algeciras, and such a desolate, deserted place you never saw. A fierce gale blowing from the bay and scarcely a human being could be seen in the streets. We drove to the Hotel Vittoria Marina, facing the bay, and then we saw the inhabitants. In accordance with what we have since found to be the universal custom in Spain, a dozen ragged and dirty cut throats flung themselves on our baggage We have learned now that the only way to do is not to allow an outsider to touch your luggage, unless he is porter of the hotel. They are not satisfied with small fees, and whatever you give them, they invariably demand more. A ruffian in a blue jacket, with a face made for the gallows, hauled our luggage upstairs. Then he came into my room and demanded twenty-five pesetas or five dollars. He was drunk, and refused to take six pence. The hotel was as deserted as the town. I offered the man through a woman who spoke English, the alternative of taking six pence or being kicked down the stairs. He refused and resisted, but the proprietor coming up the ruffian was hustled off. Such a lonely place you never saw. Our steps echoed over the brick floors. The hotel people were in a different part of the house, and in our two big rooms w, 0, Northampton and Towcester Buckingham; London: Messrs. Jackson Stops [and others], 1921. Limited Edition. Cloth-Backed Boards. Near Fine+. Catalog of the auctioneer Jackson Stops announcing the sale of the historical seat of the dukes of Buckingham and Chandos, the "most magnificent of [Britain's] private estates" and the "most celebrated English landscape of the day," (Jellicoe) No. 769, Colonel Seton of Mounie's copy, with his armorial book plate to front paste-down and letters relating to the sale tipped in. Royal 8vo (374 x 249mm): 232,[2]pp, extensively illustrated with map, four colored plans (two folding), and 59 full-page plates from photographs on glossy stock inserted. Original cloth-backed buff boards printed in black, upper cover inset with armorial coat of arms, stamped with copy number, and signed by Seton. Green broadsheet sale advertisement printed in black laid in; one of two permits to view estate removed from rear (presumably by Seton). Some prices realized neatly noted (generally for furniture and decorative arts lots), light foxing to end papers and edges, but a superior copy with important provenance and related ephemera, securely bound and clean throughout. Jellicoe (Oxford Companion to Gardens), pp. 72-75, 537. This remarkable sale extended to nineteen days, commencing on July 4, 1921, with the selling of 1400 acres (including the village of Dadford) and the mansion house, designed by William Cleare. In total, it comprised 3,955 lots of "heirloom pictures, tapestries and historic furniture, by the world's greatest masters, superb statuary and metal work, important collection of rare china, porcelain, an immense assortment of other objets d'art, the contents of the magnificent library [lots 2,000 to 2,499, including letters and manuscripts, sold on days 11 and 12], the valuable gold plate, carvings and panellings by Grinling Gibbons, famous classic temples and other buildings and bridges luxuriously built to designs by famous architects." The garden at Stowe, transformed by four successive owners (Sir Richard Temple, Viscount Cobham, and Richard and George Grenville) "had enormous influence on garden design, especially after experiments there in 'natural' gardening in the 1730s. It is historically important because it remained at the growing point of taste throughout the 18th c., exhibiting every stage of the garden revolution. Its final phase of idealized landscape survives relatively intact." (Jellicoe). N. B. With few exceptions (always identified), we only stock books in exceptional condition. All orders are packaged with care and posted promptly. Satisfaction guaranteed. (Fine Editions Ltd is a member of the Independent Online Booksellers Association, and we subscribe to its codes of ethics.)., Messrs. Jackson Stops [and others], 1921, 4, 307+[1 blank]+[6 ad] pages with diagrams. Small octavo (7 3/4" x 5 1/2") bound in publisher's original black cloth with chartreuse lettering to spine and cover in original jacket. An association letter laid in from the author signed First edition with the first printing "A" on copyright page.Typed letter to Mrs Carolyn Wells Houghton signed with original envelope. Carolyn Wells (1862-1942) was an American writer and poet. Wells was married to Hadwin Houghton, the heir of the Houghton-Mifflin publishing empire founded by Bernard Houghton. She heard That Affair Next Door (1897), one of Anna Katharine Green's mystery novels, being read aloud and was immediately captivated by the unraveling of the puzzle. From that point onward she devoted herself to the mystery genre. Among the most famous of her mystery novels were the Fleming Stone Detective Stories whichaccording to Allen J. Hubin's Crime Fiction IV: A Comprehensive Bibliography, 17492000 (2003)number 61 titles.Wright wrote as a critic and journalist until 1923, when he became ill from what was given out as overwork, but was in reality a secret drug addiction, according to John Loughery's biography Alias S.S. Van Dine. His doctor confined him to bed (supposedly because of a heart ailment, but actually because of a cocaine addiction) for more than two years. In frustration and boredom, he began collecting and studying thousands of volumes of crime and detection. In 1926 this paid off with the publication of his first S. S. Van Dine novel, The Benson Murder Case. Wright took his pseudonym from the abbreviation of "steamship" and from Van Dine, which he claimed was an old family name. Wright wrote a series of short stories for Warner Brothers film studio in the early 1930's. These stories were used as the basis for a series of 12 short films, each around 20 minutes long, that were released in 1930 - 1931. Of these, "The Skull Murder Mystery" (1931) shows Wright's vigorous plot construction. It is also notable for its non-racist treatment of Chinese characters, something quite unusual in its day. As far as it is known, none of Van Dine's screen treatments have been published in book form and none of the manuscripts survive. Short films were popular then and Hollywood made hundreds of them during the studio era. Except for a handful of comedy silents, however, most of these films are forgotten and not listed in film reference books. Wright died April 11, 1939, in New York City, a year after the publication of an unpopular experimental novel that incorporated one of the biggest stars in radio comedy, The Gracie Allen Murder Case, and leaving a complete novelette-length story that was intended as a film vehicle for Sonja Henie, and was published posthumously as The Winter Murder Case.The Kennel Murder Case is a 1933 murder mystery novel, written by S. S. Van Dine, with fictional detective Philo Vance investigating a complex locked room mystery. One of the Coe brothers is found dead in his bedroom, locked from the inside, and the other brother is found the next morning dead in the downstairs closet. There is also the clue of a wounded Doberman Pinscher, a mysteriously broken piece of priceless Chinese porcelain, and a cast of suspicious family members, servants and associates. Philo Vance solves the case based on his knowledge of dog breeding, Chinese porcelain and the annals of remarkable antique crimes. A Warner Bros. film version of The Kennel Murder Case appeared in 1933. The film was directed by Michael Curtiz and starred William Powell as Philo Vance, reprising the role after appearing as Vance in three earlier films for Paramount, and Mary Astor as Hilda Lake, the victims' niece. Many film historians (including William K. Everson, who pronounced it a "masterpiece" in the August 1984 issue of Films in Review) consider it one of the greatest screen adaptations of a Golden Age mystery novel, and rank it with the 1946 film Green for Danger. It was remade by Warners in 1940 as Calling Philo Vance with James Stephenson as Vance and William Clemens directing. World War II-era espionage stood in for the skulduggery of the art world in the remake.Condition:An small old bookseller's tag at the back head inner hinge, slightly cocked. Jacket corners and spine ends chipped with some closed tears and creases else a very good copy in like jacket., Charles Scribner's Sons, 1933, 3, Leningrad: Ateney, 1924. 244, [1] pp. 12.8x17.6 cm. In owner's contemporary binding with the original front wrapper mounted on the front board. Light staining and foxing of the front board, Soviet bookshop stamp on the recto of the rear board, previous owner's ink inscription on the title-page. Otherwise in a very good condition. Scarce. First edition. 1 of 6,000 copies. Design by the famous Russian graphic artist Sergey Chekhonin (1878-1936). Translated from English by the Russian writer and journalist V. Azov (Vladimir Ashkinazi) (1873-1941). At different times, Ashkinazi attended lectures at the universities of Paris, Zurich, and Bern. In 1906, Vladimir moved to St. Petersburg and undertook the issuance of the journal Blagoy mat [i.e. Good Swearing], which was banned after the first issue for the publication of a letter from the Socialist-Revolutionary E. Sazonov. After the October Revolution, Ashkinazi worked in the publishing house Vsemirnaya literatura [i.e. World Literature] and printed under his editorship over 40 volumes of works by foreign writers. In 1919, he was arrested as one of the leaders of the House of Writers. Seven years later, Vladimir emigrated to France where he became a member of the Parisian Masonic Lodge 'Jupiter'. A collection of O. Henry's short stories printed in Russian in the first years of the Soviet Union. The collection titled after O. Henry's short story Thimble, Thimble (1909) houses 18 works written by the author in the period from 1903 to 1912: Roads of Destiny (1903), A Sacrifice Hit (1904), The Friendly Call (1904), The Making of a New Yorker (1905), Sociology In Serge And Straw (1906), Nemesis and the Candy Man (1908), Third Ingredient (1909), The Guardian of the Accolade (1909), A Poor Rule (1909), The Discounters of Money (1909), A Chaparral Christmas Gift (1909), The Enchanted Profile (1909), The Head-Hunter (1909), Thimble, Thimble (1909), Buried Treasure (1909), Supply and Demand (1909), A Technical Error (1910), and A Dinner at ----* (1912). Most of the short stories appeared in Russian for the first time. O. Henry's books first appeared in Russia in 1923: Koroli i kapusta [i.e. Cabbages and Kings], Rasskazy [i.e. Short Stories], Amerikanskiye rasskazy [i.e. American Short Stories], etc. In the next four years over 750,000 copies of his works were published in the Soviet Union. During the period of the New Economic Policy, only two other Americans - Jack London and Upton Sinclair exceeded the author in popularity. The anticapitalist by nature, O. Henry conquered both the Soviet print and cinematography: among numerous Soviet movies that were based on Henry's oeuvre, Lev Kuleshov's Velikiy uteshitel' [i.e. The Great Consoler] (1933) is up to date considered a masterpiece of Soviet film industry. Design by the noted Soviet graphic artist, ceramicist, and illustrator Sergey Chekhonin (1878-1936). In 1896 he moved to Petrograd, where he studied at the Drawing School of the Imperial Society for the Encouragement of the Arts until 1897 and at the Tenishev school until 1900, being for some time a pupil of Ilya Repin. Chekhonin belongs to the second generation of the World of Art, the so-called artists who entered the union in the 1910s. Widely known as a graphic artist and creator of propaganda porcelain, he illustrated numerous Soviet publications and even managed to invent a completely original way of multi-color printing on fabric. No copies found in Worldcat., Ateney, 1924, 0, Arnoldsche Verlagsanstalt. New. 2011. HARDCOVER. 3897903415 .*** FREE UPGRADE to Courier/Priority Shipping Upon Request *** - *** IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy, brand new, pristine, never opened -- HARDCOVER. Text in English and German. 224 pages; 290 color illustrations. Description: "The appearance of the Rörstrand porcelain factory from Stockholm at the 1900 world exhibition in Paris was brilliant: the world had never seen such expert handling of porcelain mass - some in the form of wafer-thin petals - and an underglaze color palette with such subtle nuances. The critics were full of praise and the economic success was soon to follow. The foundation for this lay in the cooperation between Rörstrand and the painter Alf Wallander, who from 1894/1895 had worked for the manufacturer. By 1896 Rörstrand had his first big success with the porcelain designed by Wallander at exhibitions in Stockholm, Malmö and Gothenburg. In the same year his porcelain was shown at the art salon Fritz Gurlitt in Berlin and aroused a huge interest. Its artistic rise finally began in 1897 with the Art and Industry Exposition in Stockholm and found its crowning moment in Paris, the International Exhibition of Modern Art in Turin in 1902 and the World Exhibition in St. Louis in 1904. Rörstrand could now compete on an international level alongside the two significant Danish manufacturers Royal Copenhagen and Bing & Grøndahl. Wallander combined the underglaze painting cultivated in Copenhagen with a plastic modelling. The reliefs of the famous Rörstrand vases were all carried out by hand and are unique pieces. Other artists working with Rörstrand have included Per Algot Eriksson, Nils Lundström and Karl und Waldemar Lindström, who all advocated a naturalistic Art Nouveau style (ca. 1895 to 1910). Rörstrand's porcelain factory had already been founded in 1726 as a faience factory. For over 120 years it produced fine stoneware; later Majolica, Bisque porcelain and Parian Ware were added, and also the porcelain production from around 1895, with which Rörstrand rose to world renown." -- with a bonus offer-- ., Arnoldsche Verlagsanstalt, 2011, 6, Ewing, New Jersey, U.S.A.: Princeton University Press. New. 2003. Hardcover. 0691038368 .*** FREE UPGRADE to Courier/Priority Shipping Upon Request *** - *** IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - FLAWLESS COPY, BRAND NEW, PRISTINE, NEVER OPENED -- * * * THE CONTINENTAL U. S. WITH YOUR CONFIRMED ORDER IMPORTANT: Interior text is clean, tight, and Unmarked Pages are intact and tight to the spine. -- 512 pp -- Illustrated with the breathtakingly beautiful collection of drawings housed at The Frick Museum, the jewel of New York City's museums. "The first eight volumes of The Frick Collection: An Illustrated Catalogue chronicled the museum's world-famous holdings of paintings, sculpture, furniture, gilt bronzes, enamels, porcelains, rugs, and silver. This ninth and final volume covers the many extraordinary drawings and prints assembled by Henry Clay Frick and his successors, as well as a wide range of important items acquired since 1968 and several works that were purchased earlier but that have never before been published. The thirty-one drawings are by masters such as Pisanello, Altdorfer, Rubens, Claude, Rembrandt, Greuze, Gainsborough, Goya, Ingres, Corot, and Whistler. Included in the impressive group of fifty-nine prints are four superb impressions by Dürer, three engravings by Van Dyck, eleven of Rembrandt's most celebrated etchings and drypoints, thirteen of Meryon's pivotal Etchings of Paris, and twelve Whistler prints composing the First Venice Set. The fourteen paintings acquired since 1968 include works by Gentile da Fabriano, Piero, Memling, Watteau, Guardi, Reynolds, Raeburn, and Corot. The eight sculptures are by Laurana, Verrocchio, Antico, Severo da Ravenna, Jonghelinck, Algardi, Bernini, and Coysevox. Finally, there are eight works of decorative art, including an Italian credenza and five Flemish tapestries. In addition to the editor, contributors to this volume are David P. Becker, Charissa Bremer David, Bernice F. Davidson, Susan Grace Galassi, Margaret Iacono, Wolfram Koeppe, Holger Möhlmann, Edgar Munhall, John Pope-Hennessy, Orlando Rock, Sophie Schlondorf, and Ashley Thomas. " From the publisher -- with a bonus offer--; 4to - over 9¾" - 12" tall ., Princeton University Press, 2003, 6<

2003, ISBN: 9780691038360

edizione con copertina rigida

Paris: Librairie George Baranger, 1902. First Edition. Hardcover. Near Fine. 190pp., 9 x 12” with French text. An unfamiliar, frontispiece self-portrait [Self-Portrait with Spectac… Altro …

Paris: Librairie George Baranger, 1902. First Edition. Hardcover. Near Fine. 190pp., 9 x 12” with French text. An unfamiliar, frontispiece self-portrait [Self-Portrait with Spectacles, c. 1800, engraved by M. Dezarrois] by the Spanish master Francisco Goya. Lafond’s publication includes 98 pages of text with additional Bibliography, Addendum, Errata and an extensive Catalog of Paintings, Drawings and Lithographs. Illustrated with 14 crisp, single-page etchings (gravures, heliogravures and lithographs) and more than 60 reproductions throughout text. The etching “Un mendiant” (A Beggar) attributed to Goya and is now known to be by the Spanish painter, Eugenio Lucas Velasques (1817-1870), a long-time admirer of Goya's work. Others include: Flameng, Lavalley, De Los Rios, Dezarrois, Lafond, Jacquemart, Fuchs, Bracquemond, and more after Goya. Nearly fine with gilt lettering on the leather spine and marble covered boards with corners and edges bumped. Interior pages and engravings nearly fine with the first few pages lightly pulling from binding., Librairie George Baranger, 1902, 4, Ewing, New Jersey, U.S.A.: Princeton University Press. New. 2003. Hardcover. 0691038368 .*** FREE UPGRADE to Courier/Priority Shipping Upon Request *** - *** IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - FLAWLESS COPY, BRAND NEW, PRISTINE, NEVER OPENED -- * * * THE CONTINENTAL U. S. WITH YOUR CONFIRMED ORDER IMPORTANT: Interior text is clean, tight, and Unmarked Pages are intact and tight to the spine. -- 512 pp -- Illustrated with the breathtakingly beautiful collection of drawings housed at The Frick Museum, the jewel of New York City's museums. "The first eight volumes of The Frick Collection: An Illustrated Catalogue chronicled the museum's world-famous holdings of paintings, sculpture, furniture, gilt bronzes, enamels, porcelains, rugs, and silver. This ninth and final volume covers the many extraordinary drawings and prints assembled by Henry Clay Frick and his successors, as well as a wide range of important items acquired since 1968 and several works that were purchased earlier but that have never before been published. The thirty-one drawings are by masters such as Pisanello, Altdorfer, Rubens, Claude, Rembrandt, Greuze, Gainsborough, Goya, Ingres, Corot, and Whistler. Included in the impressive group of fifty-nine prints are four superb impressions by Dürer, three engravings by Van Dyck, eleven of Rembrandt's most celebrated etchings and drypoints, thirteen of Meryon's pivotal Etchings of Paris, and twelve Whistler prints composing the First Venice Set. The fourteen paintings acquired since 1968 include works by Gentile da Fabriano, Piero, Memling, Watteau, Guardi, Reynolds, Raeburn, and Corot. The eight sculptures are by Laurana, Verrocchio, Antico, Severo da Ravenna, Jonghelinck, Algardi, Bernini, and Coysevox. Finally, there are eight works of decorative art, including an Italian credenza and five Flemish tapestries. In addition to the editor, contributors to this volume are David P. Becker, Charissa Bremer David, Bernice F. Davidson, Susan Grace Galassi, Margaret Iacono, Wolfram Koeppe, Holger Möhlmann, Edgar Munhall, John Pope-Hennessy, Orlando Rock, Sophie Schlondorf, and Ashley Thomas. " From the publisher -- with a bonus offer-- May be either: out of print (OOP) and extremely rare in this pristine condition; signed by author or contributor; or a first or special edition; 4to - over 9¾" - 12" tall ., Princeton University Press, 2003, 6<

2003, ISBN: 9780691038360

Ewing, New Jersey, U.S.A.: Princeton University Press. New. 2003. Hardcover. 0691038368 .*** FREE UPGRADE to Courier/Priority Shipping Upon Request *** - *** IN STOCK AND IMMEDIATE… Altro …

Ewing, New Jersey, U.S.A.: Princeton University Press. New. 2003. Hardcover. 0691038368 .*** FREE UPGRADE to Courier/Priority Shipping Upon Request *** - *** IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - FLAWLESS COPY, BRAND NEW, PRISTINE, NEVER OPENED -- * * * THE CONTINENTAL U. S. WITH YOUR CONFIRMED ORDER IMPORTANT: Interior text is clean, tight, and Unmarked Pages are intact and tight to the spine. -- 512 pp -- Illustrated with the breathtakingly beautiful collection of drawings housed at The Frick Museum, the jewel of New York City's museums. "The first eight volumes of The Frick Collection: An Illustrated Catalogue chronicled the museum's world-famous holdings of paintings, sculpture, furniture, gilt bronzes, enamels, porcelains, rugs, and silver. This ninth and final volume covers the many extraordinary drawings and prints assembled by Henry Clay Frick and his successors, as well as a wide range of important items acquired since 1968 and several works that were purchased earlier but that have never before been published. The thirty-one drawings are by masters such as Pisanello, Altdorfer, Rubens, Claude, Rembrandt, Greuze, Gainsborough, Goya, Ingres, Corot, and Whistler. Included in the impressive group of fifty-nine prints are four superb impressions by Dürer, three engravings by Van Dyck, eleven of Rembrandt's most celebrated etchings and drypoints, thirteen of Meryon's pivotal Etchings of Paris, and twelve Whistler prints composing the First Venice Set. The fourteen paintings acquired since 1968 include works by Gentile da Fabriano, Piero, Memling, Watteau, Guardi, Reynolds, Raeburn, and Corot. The eight sculptures are by Laurana, Verrocchio, Antico, Severo da Ravenna, Jonghelinck, Algardi, Bernini, and Coysevox. Finally, there are eight works of decorative art, including an Italian credenza and five Flemish tapestries. In addition to the editor, contributors to this volume are David P. Becker, Charissa Bremer David, Bernice F. Davidson, Susan Grace Galassi, Margaret Iacono, Wolfram Koeppe, Holger Möhlmann, Edgar Munhall, John Pope-Hennessy, Orlando Rock, Sophie Schlondorf, and Ashley Thomas. " From the publisher -- with a bonus offer--; 4to - over 9¾" - 12" tall ., Princeton University Press, 2003, 6<

ISBN: 9780691038360

The first eight volumes of The Frick Collection: An Illustrated Catalogue chronicled the museum's world-famous holdings of paintings, sculpture, furniture, gilt bronzes, enamels, porc… Altro …

The first eight volumes of The Frick Collection: An Illustrated Catalogue chronicled the museum's world-famous holdings of paintings, sculpture, furniture, gilt bronzes, enamels, porcelains, rugs, and silver. This ninth and final volume covers the many extraordinary drawings and prints assembled by Henry Clay Frick and his successors, as well as a wide range of important items acquired since 1968 and several works that were purchased earlier but that have never before been published. The thirty-one drawings are by masters such as Pisanello, Altdorfer, Rubens, Claude, Rembrandt, Greuze, Gainsborough, Goya, Ingres, Corot, and Whistler. Included in the impressive group of fifty-nine prints are four superb impressions by Dürer, three engravings by Van Dyck, eleven of Rembrandt's most celebrated etchings and drypoints, thirteen of Meryon's pivotal Etchings of Paris, and twelve Whistler prints composing the First Venice Set. The fourteen paintings acquired since 1968 include works by Gentile da Fabriano, Piero, Memling, Watteau, Guardi, Reynolds, Raeburn, and Corot. The eight sculptures are by Laurana, Verrocchio, Antico, Severo da Ravenna, Jonghelinck, Algardi, Bernini, and Coysevox. Finally, there are eight works of decorative art, including an Italian credenza and five Flemish tapestries. In addition to the editor, contributors to this volume are David P. Becker, Charissa Bremer David, Bernice F. Davidson, Susan Grace Galassi, Margaret Iacono, Wolfram Koeppe, Holger Möhlmann, Edgar Munhall, John Pope-Hennessy, Orlando Rock, Sophie Schlöndorf, and Ashley Thomas. Trade Books>Hardcover>Art,Design & Photography>Art>Surveys, Princeton University Press Core >2<

2003, ISBN: 9780691038360

Drawings, Prints, and Later Acquisitions, Buch, Hardcover, The first eight volumes of The Frick Collection: An Illustrated Catalogue chronicled the museum's world-famous holdings of paint… Altro …

Drawings, Prints, and Later Acquisitions, Buch, Hardcover, The first eight volumes of The Frick Collection: An Illustrated Catalogue chronicled the museum's world-famous holdings of paintings, sculpture, furniture, gilt bronzes, enamels, porcelains, rugs, and silver. This ninth and final volume covers the many extraordinary drawings and prints assembled by Henry Clay Frick and his successors, as well as a wide range of important items acquired since 1968 and several works that were purchased earlier but that have never before been published. The thirty-one drawings are by masters such as Pisanello, Altdorfer, Rubens, Claude, Rembrandt, Greuze, Gainsborough, Goya, Ingres, Corot, and Whistler. Included in the impressive group of fifty-nine prints are four superb impressions by Durer, three engravings by Van Dyck, eleven of Rembrandt's most celebrated etchings and drypoints, thirteen of Meryon's pivotal Etchings of Paris, and twelve Whistler prints composing the First Venice Set. The fourteen paintings acquired since 1968 include works by Gentile da Fabriano, Piero, Memling, Watteau, Guardi, Reynolds, Raeburn, and Corot. The eight sculptures are by Laurana, Verrocchio, Antico, Severo da Ravenna, Jonghelinck, Algardi, Bernini, and Coysevox. Finally, there are eight works of decorative art, including an Italian credenza and five Flemish tapestries. In addition to the editor, contributors to this volume are David P. Becker, Charissa Bremer David, Bernice F. Davidson, Susan Grace Galassi, Margaret Iacono, Wolfram Koeppe, Holger Mohlmann, Edgar Munhall, John Pope-Hennessy, Orlando Rock, Sophie Schlondorf, and Ashley Thomas. [PU: Princeton University Press], Seiten: 480, Princeton University Press, 2003<