LeJeune, Anthony:The Gentlemen's Clubs of London
- signiertes Exemplar 2007, ISBN: 9780831738006
Taschenbuch, Gebundene Ausgabe
New York: Harry N. Abrams, Inc, 1989. Presumed First Edition, First printing. Trade paperback. Good. The format is approximately 11.25 inches by 16 inches. 79, [1] pages. 290 illustrati… Mehr…
New York: Harry N. Abrams, Inc, 1989. Presumed First Edition, First printing. Trade paperback. Good. The format is approximately 11.25 inches by 16 inches. 79, [1] pages. 290 illustrations including 175 plates in full color. Cover has some wear, soiling and corner creasing of cover and a few pages. Includes chapters full of color photography of fair products and merchandising. Chapters include Remembering the World of Tomorrow, Selling the Fair, A Designer's Fair, World of Tomorrow, A Fair of Nations, The Entertainment Zone, and Merchandise of Tomorrow. Contains a two page color map of the grounds. The 1939-40 New York World's Fair was a world's fair held at Flushing Meadows-Corona Park in Queens, New York, United States. It was the second-most expensive American world's fair of all time, exceeded only by St. Louis's Louisiana Purchase Exposition of 1904. Many countries around the world participated in it, and over 44 million people attended its exhibits in two seasons. It was the first exposition to be based on the future, with an opening slogan of "Dawn of a New Day", and it allowed all visitors to take a look at "the world of tomorrow". When World War II began four months into the 1939 World's Fair, many exhibits were affected, especially those on display in the pavilions of countries under Axis occupation. After the close of the fair in 1940, many exhibits were demolished or removed, though some buildings were retained for the 1964-1965 New York World's Fair, held at the same site. He is the co-founder and co-chair (with Lita Talarico) of the MFA Designer as Author program at the School of Visual Arts (SVA), New York, where he lectures on the history of graphic design. Prior to this, he lectured for 14 years on the history of illustration in the MFA Illustration as Visual Essay program at the School of Visual arts. He also was director for ten years of SVA's Modernism & Eclecticism: A History of American Graphic Design symposiums. With Seymour Chwast he has directed Push Pin Editions. The author, co-author, and/or editor of over 100 books on design and popular culture, Heller has worked with a score of publishers, including Chronicle Books, Allworth Press, Harry N. Abrams, Phaidon Press, Taschen Press, Abbeville Press, Thames & Hudson, Rockport, Northlight, and more. He is currently completing "Iron Fists: Branding the Totalitarian State" for Phaidon Press, an anaylsis of how the major dictatorships used graphics to propagate their ideologies. Seymour Chwast (born August 18, 1931) is an American graphic designer, illustrator, and type designer. Chwast was introduced to graphic design by Leon Friend. He graduated with a Bachelor of Fine Arts from Cooper Union in 1951. With Milton Glaser, Edward Sorel, and Reynold Ruffins, he founded Push Pin Studios in 1954. The bi-monthly publication The Push Pin Graphic was a product of their collaboration. Chwast is famous for his commercial artwork, which includes posters, food packaging, magazine covers, and publicity art. Often referred to as "the left-handed designer," Chwast's unique graphic design melded social commentary and a distinctive style of illustration. Today, he continues to work and is principal at Pushpin Group, Inc. in New York City. In 1985, he received the AIGA Medal. The Trylon and Perisphere were two monumental modernistic structures designed by architects Wallace Harrison and J. Andre Fouilhoux that were together known as the Theme Center of the 1939 New York World's Fair. The Perisphere was a tremendous sphere, 180 feet in diameter, connected to the 610-foot spire-shaped Trylon by what was at the time the world's longest escalator. The Perisphere housed a diorama by Henry Dreyfuss called Democracity which, in keeping with the fair's theme "The World of Tomorrow", depicted a utopian city-of-the-future. The interior display was viewed from above on a moving sidewalk, while a multi-image slide presentation was projected on the dome of the sphere. After exiting the Perisphere, visitors descended to ground level on the third element of the Theme Center, the Helicline, a 950-foot-long spiral ramp that partially encircled the Perisphere. The name "Perisphere" was coined using the Greek prefix peri-, meaning "all around", "about", or "enclosing". The name "Trylon" was coined from the phrase "triangular pylon". The Theme Center was designed by architects Wallace Harrison and J. Andre Fouilhoux, with the interior exhibit by Henry Dreyfuss. The structures were built in Flushing Meadows Park in Queens, New York and were intended as temporary with steel framing and plaster board facades. Both buildings were subsequently razed and scrapped after the closing of the fair, their materials to be used in World War II armaments. The Trylon and Perisphere became the central symbol of the 1939 World's Fair, its image reproduced by the millions on a wide range of promotional materials and serving as the fairground's focal point. The United States issued a postage stamp in 1939 depicting the Trylon and Perisphere. The Unisphere, the symbol of the 1964-65 New York World's Fair, is now located where the Perisphere once stood., Harry N. Abrams, Inc, 1989, 2.5, New York: W. W. Norton & Company, 2000. First Edition [Stated], First Printing [Stated]. Hardcover. Very good/Good. James Rudnick (Restoration Photography) and Peter. The format is approximately 8,375 inches by 10.75 inches. vii, [3], 230 pages. Appendix. Bibliography. Index. DJ has some dings at the front. Illustrated endpapers. Illustrations (some in color). The architect John Belle was a founding partner of Beyer Blinder Belle, an architectural firm which has spearheaded some of New York City and Washington, D.C.'s largest restoration and conservation projects. Belle received a diploma from Portsmouth School of Architecture and obtained his AA Diploma from the Architectural Association School of Architecture in 1955. Belle moved to the United States in 1959, and worked with the modernist architects Josep Lluís Sert and Victor Gruen. In 1968, Belle struck out on his own, along with founding partners John Beyer and Richard L. Blinder, to form the architectural firm Beyer Blinder Belle. The founders embraced a historically sensitive, preservation-oriented approach. Throughout the course of his endeavors, Belle worked on some of the most famous preservation projects in New York City, including the historically sensitive renovations of Ellis Island and the Grand Central Terminal. Belle authored a book about his work on Grand Central Terminal, titled Grand Central: Gateway to a Million Lives. Maxinne Leighton is a graduate of SUNY Binghamton and a certificate program from Oxford University/Yale University, Maxinne has a Masters Degree from the Gallatin School of Individualized Studies at New York University. Grand Central is an historical and contemporary book that combines social and cultural history within the architecture of public space. This is the story of Grand Central Terminal in New York City, a remarkable and beautiful building whose birth, survival, and restoration reflect the critical role architecture plays in the expansion of our cities. It begins with the historic struggle to save Grand Central in the wake of the destruction of Penn Station and in the face of economic forces in the real estate industry that were intent on its demise. There follows a chronological history of the previous two stations on the site, the construction of the present building, text and photographs providing a fascinating firsthand account of the $400 million restoration, and the grand and anecdotal stories that involve the great building. 50 color & 100 b/w illustrations. The story of Grand Central is a true American tale, featuring selfless heroes and self-serving villains, visionary designers and rapacious developersplus a triumphal ending. A professor of sociology at Fairfield University, Kurt C. Schlichting writes with deep understanding of Grand Central's engineering feats and artistic qualities. Though John Belle was the principal architect in Grand Central's recent restoration, and Maxinne Leighton is an associate partner in Belle's firm, the two have produced a careful appreciation of the terminal's architectural history rather than a self promoting puff piece. The publication of two books on the same subject within a year often leads to questions of which is better. In this case, we have eloquent companions rather than rivals: Schlichting's book largely considers the engineering and construction of Grand Central, while Belle and Leighton's considers the great terminal's cultural importance, as well as its preservation and restoration. Grand Central as we know it first existed in the mind of a self-taught engineer from Buffalo, William J. Wilgus. By the turn of the century, the once imposing and elegant Grand Central Depot that Commodore Cornelius Vanderbilt had built on the site in 1871 seemed seedy and dangerous. The New York Times condemned it as "a cruel disgrace to the metropolis." But development around the depot prohibited horizontal expansion. Wilgus, chief engineer of the New York Central Railroad, proposed a solution in 1902: Use the same land and build a new terminal vertically. The opening of Grand Central marked the high point of passenger rail travel and the high point of civic responsibility on the part of America's railroads. In 1968, Marcel Breuer designed a 55-story skyscraper resembling a massive tombstone that would be cantilevered over Grand Central. When New York's Landmarks Preservation Commission used its authority to reject these proposals, Breuer accused it of thwarting the "natural growth of the city. A group of citizens, including Jacqueline Kennedy Onassis and an older and wiser Philip Johnson, created a Committee to Save Grand Central. In 1978, the U.S. Supreme Court upheld the landmark status of Grand Central. It was a victory for preservationists across the nation. By the end of the century, the great terminal had been restored to its former grandeur., W. W. Norton & Company, 2000, 2.75, NP: NP, 2007. First edition. Hardcover. g+ to vg. Large quarto. 116, [6]pp. Original photo-illustrated dust-jacket over black cloth, with gold lettering on spine and front cover. Pictorial endpapers. Verso of front free endpaper inscribed and signed by Paul Robinson: "For AZ! You rule! Thank you so much for everything. You made my life much much easier. You are awesome!" Paul Robinson's "In Camera" presents multiple exposures, combining images of architecture, textures, and portraits on a single frame of film; culminating in a panoramic combination of lyrical and mysterious beauty. Robinson's friend and longtime collector of his work, Academy Award-winner Sydney Pollack, says "It's been exciting to watch [Paul's] photographic journey, through the black and white stark images of his earlier work, into the more and more abstract and dreamlike color cityscapes and triptychs that came later, and then on further, still evolving, to watch him find his own distinct photographic eye." Pollack also wrote the forward to this book, which is Robinson's first book. Minor shelf wear. Slight age-toning along paper margin. Dust-jacket and interior in overall good+ to very good, binding in very good condition. About the author: Hailed by The New York Press as the Helmut Newton of the photography world's new "Brat Pack," world renowned photographer Paul Robinson continues to take art photography to new heights. Without formal training, Robinson began as a self-taught fashion photographer in Paris. After carving out a name for himself within the art community, Paul then parlayed his work shooting stills of Oprah for various commercials into doing unit photography on various feature films. Through his work in the film industry, Robinson became recognized as one of the most talented celebrity portrait photographers and was featured in some of the market's top magazines including Details, Detour, Elle, Interview, Flaunt, George, Live, Out, House & Garden, and Architectural Digest. Working for some the biggest stars in Hollywood, Robinson has built an illustrious client roster that includes Renee Zellweger, Jennifer Tilly, David Arquette, Ella Fitzgerald, B.B. King, Melissa Ethridge, Noah Wyle, The Beastie Boys, and Dermot Mulroney, among others. Many of his celebrity clients are also fans, collecting various works from his exhibits. Paul Robinson's work has often been described as aggressive, sexual and unapologetic for any moral transgressions that might be inferred. His first exhibit, "Voyeur," became one of the hottest events in L.A. and New York as the guest lists became a virtual "who's who" of the creative community. Combining a varied collection of black and white photos, the exhibit featured celebrity portraits of the young hot actors of today shot in a 1940s style, a jazz series of intimate moments with legendary musicians, and original, definitive images. Robinson followed this up with "Manfleur," another huge success in which he used human subjects as props, intertwined with exotic flowers. E! Entertainment produced several segments, chronicling the eighteen months of shooting he did for the exhibit. Finding inspiration in his travels around the world, Paul Robinson exhibits regularly in London, Hong Kong, and Los Angeles. Robinson's show "LOVEEVERLAST," a black, white and colored interpretation of love, once again received national attention. Sponsored by Absolut Vodka, those in attendance included Renee Zellweger, Melissa Ethridge, Lawrence Bender, Bruce Cohen, and many other collectors of contemporary photography. Robinson's next collection of photos, "Reflections," became his most successful yet, capturing the moods of cities around the world including Paris, Rome, Florence, and Bangkok, to name a few. His latest series, "Transparent" represents the latest evolution in Robinson's work in layering multiple images and is a seamless hybrid of photography and painting. Exploring various themes, each piece is printed on transparency, blending different cities and people from disparate locales such as Paris, Hong Kong, and L.A. Every beautiful and dreamlike piece he creates also happens to be 100% painstakingly handmade. Never ceasing to make art that is ground-breaking and thought-provoking, Paul Robinson continues to stand as a beacon of innovation and creativity for art enthusiasts across the nation., NP, 2007, 3, Reutlingen, 1829. Hardcover. Good/None. Handbook In Good Days and Bad Days". New, thoroughly improved edition. With woodcut illustrations. Pale staining to fore edge of boards with deterioration where an apparent clasp was once installed. Leather on spine and covers are wrinkled, creased and chipping in places, especially around the edges and to spine. Hinges cracked though twine binding remains mostly intact and cover and all pages are attached. Foxing to outer edge of text block and around the interior edges of many pages, mostly limited to the first 100 or so pages of book. Pages are free of any writing., Reutlingen, 1829, 2.5, New York: Mayflower Books Inc., 1979. 296pp. Black Boards, gilt lettering on the spine. Paper clip impression on the front endpaper, otherwise a fine, unmarked copy. 100's of color, black and white illustrations. Unclipped pictorial jacket has chips and closed tears on the extremities. in mylar sleeve. The Gentlemen's Clubs of London rapidly established itself as a widely sought-after and quoted work around the world among those intrigued by and participating in the rarefied world of the famous clubs of London society. This book lays forth the histories of the clubs, why and how each came into being, who belongs and belonged to which, how members are chosen, and how the clubs have changed down the generations - if indeed they have. This work tells of the ambience and grace of the clubs, their privacies and eccentricities, and of the yarns, disputes and scandals to which they have given rise. Here are new and archival photographs of the clubs' interiors, ranging from the elegant to the snug, premises which are sometimes secret and quirky and sometimes grand, each unique and fitting the character and contributing to the needs and lives of its members.. First American Edition. Hardcover. Near Fine/Very Good-. Quarto., Mayflower Books Inc., 1979, 3.5<
