Beautés

Beautés — marelibri

[Taste; Beauty; Truth]; [Cooper John Gilbert]Biblio.com

LETTERS CONCERNING TASTE.

1755réf. 33167London: Printed for R. and J. Dodsley in Pall-Mall 1755. First Edition. A copy with fine provenance having belonged to John Rutherfurd Senator for the State of New Jersey from 1791-1798. With beautifully engraved title-page by the renown artist Samuel Wale engraved head and tail-pieces throughout. 8vo contemporary polished calf the spine with raised bands gilt ruled red morocco lettering label gilt. xiv 143 pp. A fine copy beautifully preserved tight strong clean crisp and unpressed. RARE FIRST EDITION IN FINE CONTEMPORARY CALF. Letters Concerning Taste is considered the first volume on the subject of taste. Written in an epistolary style the work sets out letters to classical figures such as Euphemius Philemon Leonora and Eugenio. Writings about art and creativity can be traced to the texts of classical antiquity but aesthetics as a separate and systematic area of philosophy is almost wholly a product of the 18th century. It was at that time that philosophers began to treat notions about creativity and our responses to it with a kind of philosophical rigour found in epistemology and metaphysics. 18th-century authors such as John Gilbert Cooper sought to define what poetry literature painting and sculpture were and to determine the links between the various forms of artistic expression. John Gilbert Cooper who lived from 1722 until 1769 was a British poet and writer. He first published poetry in 1742 and occasionally until he became a regular contributor to "The Museum" which was published by Robert Dodsley. His contributions to Dodsley's journal was under the nom de plume of "Philaretes". Cooper's claim to notability comes from his prose poetry and a public row he had with William Warburton. He also inspired a noted painting by Joseph Wright of Derby. The painting entitled Miravan Breaking Open the Tomb of his Ancestors was based on a story in these LETTERS CONCERNING TASTE. Cooper had recounted a story where a greedy nobleman despoils his ancestor's grave in search of riches to find himself cursed by his ancestor. The work was "highly praised by Johnson". Pickering Samuel Wale became one of the original members of the Society of Artists of Great Britain in 1765 and of the Royal Academy in 1768 and was the first professor of perspective to the Academy. He exhibited drawings of scenes from English history. A significant part of his artistic work was in designing vignettes and illustrations for the important booksellers of the day; a large number these were engraved by Charles Grignion the Elder. Among them were the illustrations to the ‘History of England’ 1746–7; ‘The Compleat Angler’ 1759; ‘London and its Environs described’ 1761. John Rutherfurd attended the College of New Jersey which is now Princeton University where he studied law. After graduating Rutherfurd practiced law in New York City for several years. In 1787 he moved to a farm near Green Township New Jersey in Sussex County New Jersey. He entered politics in 1788 serving in the New Jersey General Assembly until 1790. He was then elected as a Federalist to the United States Senate from New Jersey and served in the Senate from 1791 to 1798. In 1808 Rutherfurd moved with his family to a farm on the banks of the Passaic River near what is now Rutherford New Jersey which was a least partially named after him. He lived at this place for the rest of his life naming it "Edgerston". And it is the "Edgerston" plate that is in the book confirming its provenance. Printed for R. and J. Dodsley in Pall-Mall hardcover

Buddenbrooks, Inc. · États-Unis715,00 $US≈ 637,54 €

African American Beauty PageantBiblio.com

African American Fashion History Black Models and Beauty Pageants Expanding Representation in Midcentury America 1960s-1970s

1971réf. 208851971. Photo archive of African American fashion models and a regional beauty pageant winner 1960s-1970s documents Black women's participation in commercial modeling and organized pageantry during a period of changing representation in American media. The images center on professional studio photography and promotional portraiture recording how Black women were presented within fashion and beauty industries that had long limited their inclusion. The archive includes a press photograph of Fern Tresvan crowned Miss Black Colorado and advanced to national competition at Madison Square Garden alongside a sustained series of modeling images of Carol King a Los Angeles based model whose career intersected with music and entertainment industries. Seven black and white silver gelatin photographs most measuring approximately 8 x 10 inches with one elongated print measuring about 5 x 10 inches. Six studio photographs depict Carol King across multiple shoots in Los Angeles attributed to Models International and Greg Mendes studios showing variations in hairstyle dress and pose over roughly a decade. Early images show King in a poolside setting with short hair while later photographs present her in a range of late 1960s and early 1970s fashions including a belted one piece swimsuit with heels a sleeveless dress posed against a leopard patterned textile a mini dress and a long sleeve floral gown. The remaining photograph is a 1971 press image of Tresvan documenting her title as Miss Black Colorado and participation in national pageant competition. Produced during the decades surrounding the Civil Rights Movement the archive situates Black women within expanding but still contested spaces of visual culture fashion and public recognition. The combination of studio modeling and pageant imagery reflects parallel avenues through which African American women gained visibility in print media and public events supporting research into race gender and representation in mid twentieth century American culture. Minor edge wear; prints remain clean and well preserved; overall very good condition. unknown

Max Rambod Inc. · États-Unis550,00 $US≈ 490,41 €

African American Beauty PageantABAA

African American Fashion History Black Models and Beauty Pageants Expanding Representation in Midcentury America 1960s-1970s

Max Rambod Inc. · États-Unis550,00 $US≈ 490,41 €

Allen H Eaton; Beauty Behind Barbed WireBiblio.com

Japanese American Art During WWII Internment Beauty Behind Barbed Wire First Edition 1952

1952réf. 237181952. Japanese American art and craft survey published in 1952 documenting the cultural practices sustained within the War Relocation Authority camps during the Second World War. Allen H. Eaton records calligraphy painting embroidery wood carving miniature landscapes flower arrangement garden construction and tea ceremony as practices carried into confinement and adapted to barracks mess halls and the materials available within camp boundaries. Photographs identify artists teachers and makers at Amache Heart Mountain Manzanar Rohwer Poston Tule Lake and other incarceration sites preserving names and objects that official administrative accounts often treated as incidental to camp operations. Eaton Allen H. Beauty Behind Barbed Wire: The Arts of the Japanese in Our War Relocation Camps. New York: Harper & Brothers 1952. Foreword by Eleanor Roosevelt. Illustrated. 8vo. 128 pages. Eaton organizes the volume around the work produced by incarcerated Japanese Americans with photographs and extended captions describing materials makers and camp settings. Subjects include pine bark panels carved at Amache; miniature landscapes developed at Amache; a Rohwer calligrapher whose skill was "deeply respected by his neighbors"; flower arrangement classes and exhibitions at Rohwer; Estelle Ishigo's painting "Winter" depicting snowbound barracks at Heart Mountain; ornamental entrances and planted yards at Poston and Manzanar; and tea ceremony classes at Tule Lake intended to preserve "dignity and poise while meeting difficult problems." The frontispiece reproduces an embroidery made at Heart Mountain by Mrs. Makagawa combining the camp barracks barbed wire and the snow covered mountain beyond. Published a decade after Executive Order 9066 initiated the forced removal and incarceration of more than 120000 people of Japanese ancestry Eaton's book shifted attention from federal policy and camp administration to the objects and environments created by those confined. Its pages record how residents transformed scrap lumber desert plants stones discarded containers and improvised tools into carved panels gardens bonsai furnishings paintings and ceremonial spaces. Eleanor Roosevelt's foreword places these works within a critique of wartime incarceration while Eaton's captions preserve both the language of the period and detailed evidence of artistic instruction exhibition and exchange inside the camps. Jacket heavily worn stained chipped and torn with substantial losses at the spine and upper edges; with text and illustrated pages generally clean and legible. Overall good condition. A detailed postwar record of cultural continuity artistic labor and the remaking of domestic and ceremonial space under Japanese American incarceration. unknown

Max Rambod Inc. · États-Unis680,00 $US≈ 606,33 €

Allen H Eaton; Beauty Behind Barbed WireABAA

Japanese American Art During WWII Internment Beauty Behind Barbed Wire First Edition 1952

Max Rambod Inc. · États-Unis680,00 $US≈ 606,33 €