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Verlag: Catholic Institute for International Relations, 1987
ISBN 10: 0946848718ISBN 13: 9780946848713
Buch
Zustand: Good. Good condition.
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Verlag: I.B. Tauris, 2013
ISBN 10: 1780765886ISBN 13: 9781780765884
Anbieter: WorldofBooks, Goring-By-Sea, WS, Vereinigtes Königreich
Buch
Paperback. Zustand: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.
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Mehr entdecken Softcover
Verlag: Latin America Bureau, 1990
ISBN 10: 0906156238ISBN 13: 9780906156230
Anbieter: Better World Books, Mishawaka, IN, USA
Buch
Zustand: Good. Former library book; may include library markings. Used book that is in clean, average condition without any missing pages.
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Verlag: Rienner Publishers, Lynne, 1993
ISBN 10: 1555874908ISBN 13: 9781555874902
Anbieter: Better World Books, Mishawaka, IN, USA
Buch
Zustand: Good. illustrated edition. Former library book; may include library markings. Used book that is in clean, average condition without any missing pages.
Verlag: Reuters Institute for the Study of Journalism, 2008
ISBN 10: 0955888921ISBN 13: 9780955888922
Anbieter: WorldofBooks, Goring-By-Sea, WS, Vereinigtes Königreich
Buch
Paperback. Zustand: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.
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Verlag: Random House Publishing Group, 1999
ISBN 10: 0679771301ISBN 13: 9780679771302
Anbieter: Better World Books, Mishawaka, IN, USA
Buch
Zustand: Good. Used book that is in clean, average condition without any missing pages.
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Gebraucht ab EUR 6,40
Verlag: Latin America Bureau, London, 1987
ISBN 10: 0906156319ISBN 13: 9780906156315
Anbieter: PsychoBabel & Skoob Books, Didcot, Oxfordshire, OXON, Vereinigtes Königreich
Buch
Paperback. Zustand: Good. Paperback. A few superficial marks on covers. Leading corners, edges and spine ends are slightly worn. Page block head is lightly marked. First few pages are slightly warped on lower leading corners. Binding is intact, contents are clean and clear. AM. Used.
Verlag: Monthly Review Press 1987-01-01, New York, 1987
ISBN 10: 0853457328ISBN 13: 9780853457329
Anbieter: Blackwell's, London, Vereinigtes Königreich
Buch
paperback. Zustand: New. Language: ENG.
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Neu ab EUR 16,42
Verlag: Monthly Review Press, 1990
ISBN 10: 0906156416ISBN 13: 9780906156414
Anbieter: Robinson Street Books, IOBA, Binghamton, NY, USA
Verbandsmitglied: IOBA
Buch
Paperback. Zustand: As New. Prompt shipment, with tracking. we ship in CLEAN SECURE BOXES NEW BOXES.
Verlag: Washington : A.I.D., 1982
Anbieter: Antiquariat Knacke, Berlin, Deutschland
Sprache: Deutsch Mit zahlreichen Abbildungen. Unpag. 4; OriginalKarton. Ehemaliges Bibliotheksexemplar aus der Auflösung einer internen Ministeriumsbibliothek mit Rückensignatur u. Stempeln in gutem Zustand!.
Verlag: London, 31 July 1894., 1894
Anbieter: Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Österreich
Manuskript / Papierantiquität
8vo. 2½ pp. on bifolium. To a Mr Paulus: "You are a good man. I had intended writing you from Nürnberg, but really the heat became so great I could do nothing but drink beer and other liquids. Thanks to your interest on my behalf I got one of the best seats in the house at Bayreuth and was well repayed for going. I arrived in London yesterday and remain at the Arundel Hotel till Friday when I go home [.] I shall always have the very happiest memories of Munich and your and Frau Paulus' kindness [.]". - On stationery with printed address.
Verlag: Edinburgh, 4. IV. 1911., 1911
Anbieter: Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Österreich
Manuskript / Papierantiquität
Oblong 8vo (postcard). 1 page. Inscribed to the German dermatologist Alwin Scharlau. - Strongly influenced by the French Realists and associated with the artists' group "Glasgow Boys", Guthrie lived most of his life in the Scottish Borders, where he created some of his most important works, including "A Hind's Daughter" in 1883. He was commissioned to paint a group portrait of 17 politicians and statesmen of Britain and its allies in 1919, resulting in the painting "Statesmen of World War I" which he finished shortly before his death. - Small flaw to upper margin. Self-addressed by the collector on the reverse. The Mecklenburg physician Scharlau (b. 1888) assembled a collection of artists' autographs by personal application.
Verlag: Edinburgh, 2. XII. 1921., 1921
Anbieter: Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Österreich
Manuskript / Papierantiquität
Oblong 8vo (postcard). 1 page. Inscribed to the German dermatologist Alwin Scharlau. - A late impressionist painter, Paterson was a prominent member of the artists' movement "Glasgow Boys". Also a talented amateur photographer, he mainly applied himself to landscape painting and portraiture, and many of his works were inspired by the scenery of Dumfriesshire. - Some ink spots; small creases near lower right corner. Self-addressed by the collector on the reverse. The Mecklenburg physician Scharlau (b. 1888) assembled a collection of artists' autographs by personal application.
Verlag: N. p., November 1, [1899]., 1899
Anbieter: Kotte Autographs GmbH, Roßhaupten, Deutschland
Manuskript / Papierantiquität
8vo. 1 p. To W. C. Crane in New York: As there are now only a very few copies left of the original edition of my work The Life of our Lord Jesus Christ , I prefer not to make public announcement of this fact, but instead to personally notify each one whose name has kindly been selected for me. Since I so earnestly wish my pictures my life of Jesus to pass into good hands, I will [.] personally see to it that full information is sent for your inspection [.] ".
Verlag: N. p., November 8, n. y.
Anbieter: Kotte Autographs GmbH, Roßhaupten, Deutschland
Manuskript / Papierantiquität
8vo. 1 p. To Luther A. Brewer in Cedar Rapids: I have given so much time and thought to the reproduction of the pictures in color in my work, The Life of our Lord Jesus Christ , that they are almost as much my own work as the original paintings and I sincerely wish them to go into good hands and be in congenial company [.]". Edges slightly frayed.
Verlag: N. p., 7 March 1879., 1879
Anbieter: Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Österreich
Manuskript / Papierantiquität
8vo (150 x 200 mm). 1½ pp. on bifolium. With monogrammed letterhead. Written in black ink. To an unnamed recipient, remarking that he will be in Paris for the salon, and therefore will be unable to dine at Willis's rooms. - Traces of old mount on verso, with some show-through from the adhesive.
Anbieter: Kotte Autographs GmbH, Roßhaupten, Deutschland
Manuskript / Papierantiquität
P. 94 x 140 mm. S. 163 x 225 mm.
Anbieter: Kotte Autographs GmbH, Roßhaupten, Deutschland
Manuskript / Papierantiquität
P. 118 x 157 mm. S. 226 x 160 mm.
Verlag: Ostende, 2. VI. 1898., 1898
Anbieter: Kotte Autographs GmbH, Roßhaupten, Deutschland
Manuskript / Papierantiquität
2 1/2 pages. 8vo. Unpublished letter to Léon Deschamps (1864 1899), French novelist and poet, reminding him that it is important and urgent to fix the date for an exposition in autumn; several Belgian art critiques have already declared their interest, not only in the exposition but also in a special issue of the art magazine La Plume : Hé bien! cher Monsieur Deschamps où en sommes nous? êtes vous satisfait de ma lettre du 26 mai, j attends votre réponse! Acceptez vous novembre pour l exposition? Octobre est difficile. Mes parents s occupent beaucoup d affaires commerciales de mai à novembre et je dois, malheureusement, les aider. C est pourquoi je vous ai proposé novembre ou un autre mois d automne ou d hiver. J attends vos renseignements concernant la durée de l exposition etc. etc. Je dois être renseigné sur la date du numéro spécial, l envoi des eaux-fortes et dessins à reproduire. Des critiques belges ont promis des articles mais tous veulent connaître la date du numéro de la Plume . [ ]".
Verlag: Ostende, 18. III. 1906., 1906
Anbieter: Kotte Autographs GmbH, Roßhaupten, Deutschland
Manuskript / Papierantiquität
4 pages. 8vo. With autograph envelope. Unpublished letter to Eugène Demolder (1862 1919), Belgian writer, thanking him for his visit in Ostende and the time spent at the North Sea; he would like to see him and the art critique Vittorio Tica again soon. Furthermore, he sets a price for his painting of oysters which he considers his masterpiece and would like for a museum to buy (for example in Brussels): Ostende, 18 mars 1906 Mon cher ami, Que d agréable moments passés durant votre visite avec Vittorio Tica! Et combien la mer m a semblé plus belle et plus grande avec vous. Les visites sympathiques sonst rares et vraiment vous ne venez pas assez me voir à Ostende. Je compte bien vous voir en mai et revoir Vittorio Tica avec une mer moins troublée et moins agitée [ ]. il doit aussi revoir l atelier. Une première visite doit laisser une impression chaotique et rende un classement impossible et l on dot le classement indispensable aux critiques [ ] un mot encore concernant la manque d huîtres puisque vous voulez bien la recommander au musée de Bruxelles. Je tiens à vous dire, mon cher ami, ce tableau étant le «clou» et aussi un «pivot» sur lequel tournent les combinaisons des acquéreurs de la totalité de mes tableaux. Considérant ces conditions toutes spéciales je ne vendrai ce tableau pour un musée moins de dix mille francs, reste à savoir si le musée de Bruxelles donnera ce prix là. [ ]".
Verlag: , 1898 1926., 1926
Anbieter: Kotte Autographs GmbH, Roßhaupten, Deutschland
Manuskript / Papierantiquität
74 pages (48 pages Small 4to and 8vo and 26 pages 12mo). 15 autograph envelopes. An important and unpublished archive of letters from James Ensor to Vittorio Pica. Vittorio Pica was an influential Italian art critic and one of the earliest defenders of Modernism in painting. This correspondence, spanning more than 20 years, covers a large part of James Ensor key artistic development including his intense study of the effects of light (inspired by the Flemish Old Masters). His lack of affiliation with any existing artistic movements, as well as the public s and contemporary artists lack of interest in his art, are made clear in the first part of the correspondence (1898-1899). He asks Pica repeatedly to write an article about him in the Emporium, an important and influential art review. He describes articles written by Maeterlinck, Verhaeren, Demolder for La Plume (the letter to Léon Deschamps is about this article and an exhibition in Paris) and La Libre critique, and sends Pica etchings to show him recent work. In several letters Ensor asks Pica to act as his agent and contact museums in Italy, especially in Venice and Naples. After two years of correspondence, Pica has still not written his promised article on Ensor. In April 1899, Ensor speculates that there may be a plot against him: "Mes ex-imitateurs devenus logiquement mes ennemis acharnes ont certes, par leur malveillance et critiques concertes retardes longtemps mon succès ( ) Votre silence me parait anormal." He complains that the etchings Pica has are too old to be representative of his art. In December 1899, he writes that he has learned about the publication of Pica s next book, À Travers les Albums et les Cartons, in which he hopes Pica will discuss his art. He proposes to send Pica photographs or etchings of important paintings such as Le Lampiste, Entrée du Christ à Bruxelles, and Mardi Gras 1889. He gives Pica information about the Belgian artistic scene, exhibitions, artists he respects. In his letter of 12 March 1900, he writes as post-script a very interesting and important "study" of Belgian/Flemish art and artists and art critics as compared to classical French 19th-century painters: "PS: L exposition la Libre Esthétique est ouverte à Bruxelles. La critique belge défend passionnément tous les artistes considérés à tort ou à raison comme artiste flamands et par contre juge très sévèrement les artistes novateurs. C est là une erreur manifeste car depuis Brueghel et Rubens, l art flamand est bien mort. L art flamand ou plutôt belge est composé depuis 1830 de reflets et d ombres. Nos bons peintres belges descendent de l étranger, il faut bien le reconnaitre. Descendant de Courbet: Louis Dubois, H. Boulenger, Alfred Verhaeren, enfin tous les paysagistes belges sans excepter les très récents Courtens, Gilsould, etc, etc. Descendant de David, peintre révolutionnaire: Navez, de Keyser, Wappers, de Bieve, Wiertz même, admirateur de Rubens mais peintre académique et très piètre coloriste ( ) Descendant de Manet: tous les Impressionnistes belge. Emules de Signac: Theo van Rysselberghe. Héritier de Bastien Lepage, Burns Jones, Holbein, Kate Greenaway: Fernand Khnopff. Sorte de Watteau courbétisé: Alfred Steven ( ) Seul Eugène Delacroix le plus Rubénien des peintres français n a pas eu un reflet en Belgique. Indice significatif. Le flamand n est plus coloriste. L art flamand est mort, bien mort, alors pourquoi ressusciter ce grand cadavre ( )".In May 1900, Pica s study of Ensor is finally published in the journal Minerva. After publication of the critical piece in Minerva, the tone of the letters changes. From "Dear Mr. Pica," Ensor switches to "My dear Pica." The letters becomes more personal; and as he becomes more confident, Ensor reveals more of his philosophy of art. The letter of 17 November 1902 is, for this reason, quite interesting: Ensor discusses a drawing which he has sent to Pica, Guirlande fantastique, which he fears is "too odd." He depicts in this drawing "une humanité grotesque et débridée confinant à la mascarade, évoluant dans un mauvais jour et enguirlandant de monstruosité la mélancolique figure d artiste personnifiant l oiseau de la sagesse ou d exception," appropriating for himself the figure of the under-rated artist as a bird used by Baudelaire in the famous poem L Albatros. "Je représente volontiers la triste humanité s abandonnant à ses mauvais ou grotesque instincts et ma devise est Peste dessous, Peste dessus, Peste partout (Plague below, Plague above, Plague everywhere). Certes, c est là la règle et j ai toujours trouvé partout fourberie, mensonge et dissimulation et j ai toujours vu ramper devant le fort et écraser le faible. Triste humanité baignée de limon, cette situation ne peut échapper à l artiste sensible et clairvoyant et voit influencer ses sujets. ( ) Je suis fier d être considéré en artiste d exception et souhaite pouvoir planer au-dessus des coutumières turpitudes et les cingler sans merci du crayon et de la pointe. J en appelle aux vieux humouristes mais cette race de grands hommes libres serait-elle éteinte et nos artistes modernes semblent rester indifférents devant les pires turpitudes. ( ) Il m est permis de peindre et graver pendant les jours insuffisants et sans soleil de l hiver, triste saison inspiratrice de mélancolie où dans les climats du nord la maladie et les ténèbres règnent en souverains et où la mort fauche impitoyablement parmi les gaités forcées des carnavals factices." He then pays respect to his friend Pica,one of the rare critics who understood his art when he was criticized by everyone in the Belgian art world.He begins taking advice from Pica and agrees to retouch a drawing he offered to Pica. He wants to hear Pica s feelings about his paintings and remarks on how they were described by Belgian critics: "Etes-vous satisfait du coloris et clarté et de l enveloppe d air et de la personnalité de la vision?". He is bitter about the reception of his art and explain.
Verlag: London John and Josiah Boydell 1803., 1790
Anbieter: Robert Frew Ltd. ABA ILAB, London, Vereinigtes Königreich
Kunst / Grafik / Poster
Original copper engraving (44 x 60 cm, overall sheet 55 x 68 cm). Tissue guard to verso. Some foxing to outer edges of margins, small dampstain to upper margin, neither affecting plate. From "A Collection of Prints . Illustrating the Dramatic Works of Shakespeare." published by Boydell, London, 1803. In 1789, the publisher John Boydell opened the Shakespeare Gallery, an exhibition space in London's Pall Mall showcasing paintings that exclusively represented scenes from Shakespeare's plays. The Gallery was a bid to revive 'history painting' (the practice of depicting scenes from the Bible, mythology or the classics) in contemporary British art, a genre thought to be of great public benefit because of its morally instructive messages. What better unifying theme for such a project than the works of Shakespeare, which had become so popular and so integral to British identity by the mid-18th century? The Gallery opened in May 1789 with 34 canvases by 18 British artists. By the next year there were 55 paintings and in 1796 the total was 84, along with dozens of 'Small Pictures'. Once the exhibition was mounted, reproductive engravings of the paintings produced by an in-house team of 46 printmakers were available to purchase, either as a large portfolio of 90 prints or as a luxurious illustrated edition of the plays. (The British Library).
Verlag: [Postmark: Helensburgh, 18 March 1913]., 1913
Anbieter: Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Österreich
Manuskript / Papierantiquität Signiert
Oblong 8vo (postcard). 1 page. Inscribed to the German dermatologist Alwin Scharlau. - A member of the Glasgow School, Hamilton, who specialized in landscape painting, won a gold medal at the 1897 Munich International Exhibition, which led to several overseas commissions, including one from Victor Emmanuel III of Italy. His work was shown in the British Pavillon at the Venice Biennale at all eight exhibitions between 1897 and 1910. - Signed twice. Several small creases and ink spots. Self-addressed by the collector on the reverse. The Mecklenburg physician Scharlau (b. 1888) assembled a collection of artists' autographs by personal application.
Verlag: Scholastic Inc, 1991
ISBN 10: 0590135058ISBN 13: 9780590135054
Anbieter: Robinson Street Books, IOBA, Binghamton, NY, USA
Verbandsmitglied: IOBA
Buch
Paperback. Zustand: Very Good. Prompt shipment, with tracking. we ship in CLEAN SECURE BOXES NEW BOXES Very Good Copy, Ex-Library Book, Creasing to cover, inside of rear cover has library pocket affixed with card inside, pages are clean, Sm 4to,
Verlag: London John and Josiah Boydell 1803., 1798
Anbieter: Robert Frew Ltd. ABA ILAB, London, Vereinigtes Königreich
Kunst / Grafik / Poster
Original copper engraving (60 x 44 cm, overall sheet 69 x 55 cm). Some foxing to margins, two small (3cm) tears to left margin, not affecting plate. From "A Collection of Prints . Illustrating the Dramatic Works of Shakespeare." published by Boydell, London, 1803. In 1789, the publisher John Boydell opened the Shakespeare Gallery, an exhibition space in London's Pall Mall showcasing paintings that exclusively represented scenes from Shakespeare's plays. The Gallery was a bid to revive 'history painting' (the practice of depicting scenes from the Bible, mythology or the classics) in contemporary British art, a genre thought to be of great public benefit because of its morally instructive messages. What better unifying theme for such a project than the works of Shakespeare, which had become so popular and so integral to British identity by the mid-18th century? The Gallery opened in May 1789 with 34 canvases by 18 British artists. By the next year there were 55 paintings and in 1796 the total was 84, along with dozens of 'Small Pictures'. Once the exhibition was mounted, reproductive engravings of the paintings produced by an in-house team of 46 printmakers were available to purchase, either as a large portfolio of 90 prints or as a luxurious illustrated edition of the plays. (The British Library).
Verlag: London John and Josiah Boydell 1803., 1800
Anbieter: Robert Frew Ltd. ABA ILAB, London, Vereinigtes Königreich
Kunst / Grafik / Poster
Original copper engraving (60 x 44 cm, overall sheet 68 x 55 cm). From "A Collection of Prints . Illustrating the Dramatic Works of Shakespeare." published by Boydell, London, 1803. In 1789, the publisher John Boydell opened the Shakespeare Gallery, an exhibition space in London's Pall Mall showcasing paintings that exclusively represented scenes from Shakespeare's plays. The Gallery was a bid to revive 'history painting' (the practice of depicting scenes from the Bible, mythology or the classics) in contemporary British art, a genre thought to be of great public benefit because of its morally instructive messages. What better unifying theme for such a project than the works of Shakespeare, which had become so popular and so integral to British identity by the mid-18th century? The Gallery opened in May 1789 with 34 canvases by 18 British artists. By the next year there were 55 paintings and in 1796 the total was 84, along with dozens of 'Small Pictures'. Once the exhibition was mounted, reproductive engravings of the paintings produced by an in-house team of 46 printmakers were available to purchase, either as a large portfolio of 90 prints or as a luxurious illustrated edition of the plays. (The British Library).
Verlag: Waldorf Hotel, New York
Anbieter: Kotte Autographs GmbH, Roßhaupten, Deutschland
Manuskript / Papierantiquität
Small 4to. 1 p. On stationery of l American Art Association". Interesting letter written from a stay in New York to a Mr Guilder, probably the editor of an American journal, inquiring about his intentions for a manuscript by Tissot for a "Christmas number" of the journal and if he would return it: "Notre séjour s avance et touche bientôt à sa fin avant de partir je voudrais bien savoir à quoi m en tenir au sujet du manuscrit que vous avez en main, je désirerais savoir la quantité de lignes que vous avez réservé pour votre Christmas number, ensuite que comptez vous faire de l ensemble. Comptez-vous le garder ou le rendre. Si vous le gardez quelle est pour vous la valeur que vous lui attribuez. J oublie de vous demander le prix que vous comptez rétribuer le lignes que vous gardez." In a short postscript, Tissot asks for an offer should Guilder want to keep the manuscript. - On stationary of the American Art Association.
Verlag: London John and Josiah Boydell 1803., 1790
Anbieter: Robert Frew Ltd. ABA ILAB, London, Vereinigtes Königreich
Kunst / Grafik / Poster
Original copper engraving (60 x 44 cm, overall sheet 68 x 55 cm). Tissue guard to verso. Very light foxing to outer margins, not affecting plate. From "A Collection of Prints . Illustrating the Dramatic Works of Shakespeare." published by Boydell, London, 1803. In 1789, the publisher John Boydell opened the Shakespeare Gallery, an exhibition space in London's Pall Mall showcasing paintings that exclusively represented scenes from Shakespeare's plays. The Gallery was a bid to revive 'history painting' (the practice of depicting scenes from the Bible, mythology or the classics) in contemporary British art, a genre thought to be of great public benefit because of its morally instructive messages. What better unifying theme for such a project than the works of Shakespeare, which had become so popular and so integral to British identity by the mid-18th century? The Gallery opened in May 1789 with 34 canvases by 18 British artists. By the next year there were 55 paintings and in 1796 the total was 84, along with dozens of 'Small Pictures'. Once the exhibition was mounted, reproductive engravings of the paintings produced by an in-house team of 46 printmakers were available to purchase, either as a large portfolio of 90 prints or as a luxurious illustrated edition of the plays. (The British Library).
Verlag: London John and Josiah Boydell 1803., 1795
Anbieter: Robert Frew Ltd. ABA ILAB, London, Vereinigtes Königreich
Kunst / Grafik / Poster
Original copper engraving (60 x 44 cm, overall sheet 68 x 55 cm). Tissue guard to verso. Orange-brown paint [?] speckles across lower half of sheet. From "A Collection of Prints . Illustrating the Dramatic Works of Shakespeare." published by Boydell, London, 1803. In 1789, the publisher John Boydell opened the Shakespeare Gallery, an exhibition space in London's Pall Mall showcasing paintings that exclusively represented scenes from Shakespeare's plays. The Gallery was a bid to revive 'history painting' (the practice of depicting scenes from the Bible, mythology or the classics) in contemporary British art, a genre thought to be of great public benefit because of its morally instructive messages. What better unifying theme for such a project than the works of Shakespeare, which had become so popular and so integral to British identity by the mid-18th century? The Gallery opened in May 1789 with 34 canvases by 18 British artists. By the next year there were 55 paintings and in 1796 the total was 84, along with dozens of 'Small Pictures'. Once the exhibition was mounted, reproductive engravings of the paintings produced by an in-house team of 46 printmakers were available to purchase, either as a large portfolio of 90 prints or as a luxurious illustrated edition of the plays. (The British Library).
Anbieter: Kotte Autographs GmbH, Roßhaupten, Deutschland
Manuskript / Papierantiquität
Oblong-8vo. 1 p. Nice ink signature and inscription, "Mrs. MacNary, with the compliments of J. McNeill Whistler," on an off-white 6 x 4 card, adding his monogrammed 'butterfly' signature below. In fine condition, with a vague central vertical fold.