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Taschenbuch. Zustand: Neu. The History of Salt | Evan Marlett Boddy | Taschenbuch | 84 S. | Englisch | 2020 | Outlook Verlag | EAN 9783752342666 | Verantwortliche Person für die EU: Europäischer Geschichtsverlag, ein Imprint von Outlook Verlagsgesellschaft mbH, Zeilweg 44, 60439 Frankfurt, salzwasser[at]lais-systeme[dot]de | Anbieter: preigu.

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Taschenbuch. Zustand: Neu. Neuware - bTitle:/b The History of Salt; with observations on its geographical distribution, geological formation, and medicinal and dietetic properties.br/br/bPublisher:/b British Library, Historical Print Editionsbr/br/The British Library is the national library of the United Kingdom. It is one of the world's largest research libraries holding over 150 million items in all known languages and formats: books, journals, newspapers, sound recordings, patents, maps, stamps, prints and much more. Its collections include around 14 million books, along with substantial additional collections of manuscripts and historical items dating back as far as 300 BC.br/br/The GEOLOGY collection includes books from the British Library digitised by Microsoft. The works in this collection contain a number of maps, charts, and tables from the 16th to the 19th centuries documenting geological features of the natural world. Also contained are textbooks and early scientific studies that catalogue and chronicle the human stance toward water and land use. Readers will further enjoy early historical maps of rivers and shorelines demonstrating the artistry of journeymen, cartographers, and illustrators. br/br/++++br/The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification:br/++++br/br/b/b British Librarybr/b/b Boddy, Evan Marlett; br/b/b 1881.br/b/b 95 p. ; 8º.br/b/b 7106.ff.1.br/.

Taschenbuch. Zustand: Neu. Neuware - This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

Taschenbuch. Zustand: Neu. The History of Salt. With Observations on its Geographical Distribution, Geological Formation, and Medicinal and Dietetic Properties | Evan Marlett Boddy | Taschenbuch | Englisch | 2024 | Outlook Verlag | EAN 9783385442153 | Verantwortliche Person für die EU: preigu GmbH & Co. KG, Lengericher Landstr. 19, 49078 Osnabrück, mail[at]preigu[dot]de | Anbieter: preigu.

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Hodgson's entry in the Australian Dictionary of Biography omits to mention the fact that the territory named Eton Vale which he squatted with his brother Christopher Pemberton Hodgson (1821-1865), was taken by force from the Barunggam people, and that, as the brother recalled in 1848, 'so many hundreds of these poor creatures' were 'sacrificed' in the struggle over the territory. From the papers of Evan Marlett Boddy (c.1847-1934), who is presumably the recipient 'Marcian', author of the named 'brochure', published in Birmingham in 1901. 1p, 12mo. In good condition, folded once. Reads: 'Sir Arthur Hodgson desires to thank "Marcian" for his kind thought of presenting to him his very interesting brochure "Relics of the late William Shakespeare"'.

These five items are part of a collection of correspondence (the rest is offered separately) relating to a supposed portrait of a young Percy Bysshe Shelley by George Romney, which was in a group of paintings donated to the Shakespeare Memorial Association by the appropriately-named anatomist Evan Marlett Boddy. (The Shelley portrait is reproduced in 'The Magazine of Art', 1901, with the caption 'Reputed portrait of Shelley as a boy, by Romney. In the Shakespeare memorial, Stratford-on-Avon.', in an article on 'Portraits of Shelley at the National Portrait Gallery', p. 494.) The Shakespeare Memorial Theatre was founded through the efforts of local brewer Charles Edward Flower (1830-1892), after whose death its management was taken over by his brother Edgar Flower (1833-1903), also Chairman of the Shakespeare Birthplace Trust. On Edgar's death these duties fell to his son Archibald Flower (1865-1950), several times mayor of Stratford-upon-Avon. Between 1899 and 1901 Boddy donated at least twelve portraits to be hung in the Shakespeare Memorial reading room (from the correspondence wood carvings also appear to have been donated). Details of the first seven portraits (including the supposed Romney one of Shelley) are contained in a letter (in the separate collection of correspondence) of 11 December 1899 from Boddy to the Shakespeare Memorial librarian the archaeologist William Salt Brassington (1859-1939). The paintings included supposed works by Henry Fuseli ('The Fuseli Macbeth') and Sir Peter Lely (Nell Gwynne), Henry Wyatt (Coleridge), one of Alexander Pope ('attributed to Hogarth'), as well as a 'Garrick portrait', one of Nell Gwynne, and a 'Spanish Lady'. In 1916 Boddy demanded their return, on discovering that the Archibald Flower had broken the condition that Boddy had arranged in 1900 with the then librarian W. S. Brassington: 'The Portraits were to be hung together and remain so.' The present five items comprise four in 12mo, totaling 8pp; and one (the first) in 4to, 1p, the first part of which is typed and the latter part in autograph. All signed 'W. S. Brassington'. All in good condition, lightly aged. In the first letter (28 August 1900) he writes: 'Dear Dr. Boddy, / Following the investigations respecting the portrait of Shelley, I find that the description on the frame of the picture is not quite correct. / "Percy Bysshe Shelley, aged 13 by G. Romney." Shelley was born in 1792, and in 1805 he was 13 years old. Romney died in 1802, and did not paint much for some years before his death. From a careful examination of the portrait it appears to me that the subject is a boy of about 8 or 9 years of age, and consequently the portrait may have been painted by Romney, in, or about, the year 1800. Next month I hope to meet Dr. Garnett [Richard Garnett (1835-1906)] at the meeting of the Library Association at Bristol and hear what he has to say on the subject; He is the greatest living authority on Shelley. I am also writing to the author of a new life of Romney and hope to find a record of the sittings in Romney's notes.' In the second letter (31 August 1900) he recaps the position, adding: 'The more I see of the picture the more I like it: it is beautiful, and to me more interesting than any of the others: it would be a treasure for any gallery.' In the third letter (4 September 1900) he comments on a photograph of the Shelley portrait (presumably for the 'Magazine of Art' article), which he considers excellent. On 5 December 1901 Brassington writes: 'Since last I had the pleasure of seeing you Miss Florence May has been hunting up the bust of Shelley which Mrs Leigh Hunt made & gave to Thomas Carlyle. It has now been found in Scotland, and the owner has kindly sent me, for the Memorial, an etching made from the bust by W. Bell-Scott. It appears that the present representatives of the Shelley family do not like the bust, though it undoubtedly is a likeness, and it has a resemblance to the Romney portrait, which renders i.

The Shakespeare Memorial Theatre was founded through the efforts of local brewer Charles Edward Flower (1830-1892), after whose death its management was taken over by his brother Edgar Flower (1833-1903), also Chairman of the Shakespeare Birthplace Trust. On Edgar's death these duties fell to his son Archibald Flower (1865-1950), several times mayor of Stratford-upon-Avon. The present correspondence concerns a gift to Shakespeare Memorial Association by the appropriately-named anatomist Evan Marlett Boddy. Between 1899 and 1901 Boddy donated at least twelve portraits to be hung in the Shakespeare Memorial reading room (from the correspondence wood carvings also appear to have been donated). Details of the first seven portraits are contained in a letter of 11 December 1899 from Boddy to the Shakespeare Memorial librarian the archaeologist W. S. Brassington (for which see below). The paintings included supposed works by Henry Fuseli ('The Fuseli Macbeth') and Sir Peter Lely (Nell Gwynne), Henry Wyatt (Coleridge), and a portrait said to be by Romney of a young Percy Bysshe Shelley (five letters by Brassington relating to which are offered separately), one of Alexander Pope ('attributed to Hogarth'), as well as a 'Garrick portrait', one of Nell Gwynne, and a 'Spanish Lady'. In 1916 Boddy demanded their return, on discovering that the Archibald Flower had broken the condition that Boddy had arranged in 1900 with the then librarian W. S. Brassington: 'The Portraits were to be hung together and remain so.' The present collection of 37 items is in good condition, lightly aged, apart from a couple of items are creased and worn, both being repaired with archival tape. The 20 of Brassington's 21 letters dating from the years 1899 to 1902 (totaling 39pp, 12mo; and 1p, 4to) convey his enthusiasm with regard to the donation. In the first letter, 9 December 1899, Brassington acknowledges receipt of a letter from Boddy 'respecting portraits of Shakespeare', noting with pleasure Boddy's 'kind proposal to present the pictures to the Shakespeare Memorial'. Three days later (12 December 1899) he arranges to 'come over and view' 'the pictures which you so generously propose to bestow upon the Shakespeare Memorial'. On 16 December arrangements are made for the removal of the pictures by 'stage carpenter' Henry Mann, with Brassington reporting that 'Mr Flower, our Chairman, who is at present away from home [.] thinks it most kind of you to make this very handsome present'. And a week later (19 December 1899) he acknowledges receipt of 'the seven portraits which you so generously bestow upon the Shakespeare Memorial', adding 'Now that the portraits are in a good light I am more than ever delighted with them, and I think you will be so when you see them in the Gallery.' On the same day (19 December 1899) Edgar Flower writes to Boddy from The Hill, Stratford-on-Avon, as 'Chairman of the Council', to report 'how greatly the gift is approved'. He continues: 'In due course you will receive an official acknowledgment but in the meantime allow me to say personally that I consider each of the portraits as of great merit and interest and that they wil be conserved as your gift in the gallery to which they are a magnificent addition'. Six months later the works have been properly hung, and on 23 June 1900 he writes that the 'beautiful pictures have been much admired to-day by our London visitors, many of whom had not seen Stratford before'. Four days later he informs Boddy that his 'beautiful pictures reached here in safety. The "lady" is before me in a good north light, and looks magnificent.' Shortly afterwards (10 July 1900) he goes into some detail with regard to the hanging: 'The "Spanish Lady" and other pictures now adorn the walls of the Memorial, and are being very greatly admired. Mr Flower is unwell and I have not been able to obtain his signature to a card of thanks, but at the monthly committee meeting great satisfaction was expressed at your gener.