genevieve ward (31 Ergebnisse)

Paperback. Zustand: Very Good. Wonderland: An Anthology This book is in very good condition and will be shipped within 24 hours of ordering. The cover may have some limited signs of wear but the pages are clean, intact and the spine remains undamaged. This book has clearly been well maintained and looked after thus far. Money back guarantee if you are not satisfied. See all our books here, order more than 1 book and get discounted shipping. .

Mass Market Paperback. Zustand: Fair. No Jacket. Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend Less.

Zustand: Very Good. Shipped within 24 hours from our UK warehouse. Clean, undamaged book with no damage to pages and minimal wear to the cover. Spine still tight, in very good condition. Remember if you are not happy, you are covered by our 100% money back guarantee.

Soft cover. Zustand: Good. Campbell, Eleanor; Ward, Keith (illustrator). Green cloth cover with brown titles and decoration. Edge wear to the cover, some children's doodles to the text, mild page soiling. S13.

Paperback. Zustand: Brand New. Leana, (MippiArt); Jansen, Mike; Langdon, Jerry; Stanton, John D.; Sowder, John; Hood, Joshua; Knight, Thomas (illustrator). 186 pages. 9.00x6.00x0.42 inches. In Stock.

Zustand: New. In.

Paperback. Zustand: Brand New. Wellman, Tim; Cooney, Stephen (illustrator). 324 pages. 9.00x6.00x0.73 inches. In Stock.

Paperback. Zustand: Good. New and unread, however has several large creases on the cover, and warping. Pages completely readable. Shipped from the UK within 2 business days of order being placed.

Zustand: New. In.

Hardcover. Zustand: Very Good. Frontispiece Portrait (illustrator). 1st Edition. (Xvii), 261 Pp. Brown Cloth, Gilt. First Edition. Light Wear, Gilt Fairly Bright, A Little Bubbling Of Cloth, A Few Pinpoint Frays At Edges, Rear Hinge Cracked (Due To Bancroft's Personal Envelope With Thick Enclosures Tipped To Rear Endpaper), Pages Clean But A Little Aged. Ownership Signature Of Textile Manufacturer Samuel Bancroft, Jr., Of Rockford Mills, Delaware, Dated 11/22/81, And With His Large And Elaborate Heraldic Bookplate On Front Pastedown. Also With A Seven Page Holograph Letter From Alfred Darbyshire To His Cousin Bancroft, Dated September 11, 1881, Apparently In Response To Inquiries From Bancroft, Providing A Summary Of Everything Darbyshire Knew Of Mrs. Ward, Her Family And Background, And Her Current Activities. Also Included Is Bancroft's Copy Of An August 26, 1879 Cable From Ward To Derbyshire Accepting The Invitation To Speak At A Calvert Benefit; Also A Note From L. Wingfield To Darbyshire, "Good Lord! Genevieve's Biography,- All Of It? It Would Take From Here To New York" Etc., And Offering To Send Darbyshire A Copy Of This Book; Both Typed Out With An Attestation That The Originals Had Been Returned To Darbyshire. In 1880, Bancroft Was Introduced To Pre-Raphaelite English Artwork By His Cousin, Architect Alfred Darbyshire. He Fell In Love With The Art, And Once Bancroft Stepped Back From Directly Managing The Family Firm In 1889, He Began To Purchase Numerous Pieces Of Artwork. In 1880, He Was Introduced To Pre-Raphaelite English Artwork By His Cousin, Architect Alfred Darbyshire. He Fell In Love With The Art, And Once Bancroft Stepped Back From Directly Managing The Family Firm In 1889, He Began To Purchase Numerous Pieces Of Artwork. His Collection Began In 1890 With A Work By Dante Gabriel Rossetti, Whose Art And Poetry Featured Prominently In Bancroft's Further Collections Over The Next 25 Years. He Maintained Correspondence With Other Artists In The Movement, And Offered Financial Support To The Families Of Some Of Them. Bancroft Continued Adding To The Collection For The Remainder Of His Life, And Built It Into The Largest Such Collection Of Pre-Raphaelite Works Outside England. Alfred Darbyshire (20 June 1839 - 5 July 1908) Was An English Architect. He Was A Nephew Of George Bradshaw, The Compiler Of Railway Guides. Darbyshire Admired The Gothic Revival Style Of Alfred Waterhouse But Also Designed In The Neoclassical Style. Darbyshire Was A Man Of Many Talents Which Centered On The Theatre. As Well As Building Them, He Acted In Them And Became Famous For His Extravagant Stage Productions. In 1869 Charles Calvert, Actor-Manager Of The Prince's Theatre, Manchester, Employed Alfred To Redecorate The Theatre. They Became Good Friends And Alfred Assisted Calvert With The Staging Of Some Of His Great 'Revivals' Of Shakespeare's Plays. (Page 139/140, Where Ward's Productions With Calvert, Is Turned Down At A Corner By Bancroft.) In 1872 He Built A Spectacular Set For The Triumphal Entry Of The King Into London In Henry V. The Production Was Carried Through The United States And Into Australia. In New York More Than 100,000 People Visited Booth's Theatre To See The Play. As A Landscape Painter He Sketched And Painted In Italy, France, Belgium And Germany. Alfred Was An Art Critic For The Manchester Guardian, And From 1874 To 1905 He Was An Art Critic For The Courier. He Wrote A Number Of Books On Architecture, Heraldry And Art And Innumerable Pamphlets And Brochures.

No Binding. Zustand: Very Good. A fine antique copy of a photographic portrait, printed by a lithographic progress in Circa 1880, from the Theatre Magazine. 'Woodbury type', and above a printed signature. Mounted and ready to frame. An excellent opportunity to purchase a fascinating theatrical portrait. Genevieve Ward striking a dramatic pose in this photograph, clenched fist to her heart.

No Binding. Zustand: Very Good. A fine antique copy of a photographic portrait, printed by a lithographic progress in Circa 1884, from the Theatre Magazine. With a printed signature. Mounted and ready to frame. An excellent opportunity to purchase a fascinating theatrical portrait.

Zustand: New.

No Binding. Zustand: Very Good. An original antique print, mounted (matted) and ready to frame. Portrait of Miss Genevieve Ward together with some biographical details of her stage appearances.

Zustand: New.

Zustand: New. KlappentextrnrnThis 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.

Gebunden. Zustand: New.

Taschenbuch. Zustand: Neu. Neuware - This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.This work is in the 'public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

See her entry in the Oxford DNB. The recipient ('Broadley Pasha') was a renowned autograph collector and shady social figure, as well as the de facto editor of Edmund Yates's 'World'. 3pp, 16mo. Bifolium. In good condition, lightly aged, with slight sunning to first page, and traces of mount on blank final page. Folded once. Signed 'Geneviève Ward' (note the accent). The letter relates to the 1889 revival at the London Opera Comique of the role which made her famous, Stephanie, Marquise de Mohrivar, in Merivale and Grove's 1879 play 'Forget Me Not'. Begins: 'Dear Mr Broadley / Have you received your stall for Forgetmenot at the Comique today 3 o'clock? if not may I hope that you will come & I will leave the ticket in an envelope for you at the Box Office.' She points out that he told her that he had not seen the piece, '& I should be so pleased if you will come & see [me] as Stephanie'.

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.

Buch. Zustand: Neu. Neuware - This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.This work is in the 'public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

No Binding. Zustand: Very Good. Photo By Samuel.A.Walker, London - Woodburytype (illustrator). A fine antique copy of a photographic portrait, printed by a lithographic progress, from the Theatre magazine, photo above a printed signature. Mounted and ready to frame. An excellent opportunity to purchase a fascinating theatrical portrait.

No Binding. Zustand: Very Good. Photo By Samuel.A.Walker, London - Woodburytype (illustrator). A fine antique copy of a photographic portrait, printed by a lithographic progress, from the Theatre magazine, photo above a printed signature. Mounted and ready to frame. An excellent opportunity to purchase a fascinating theatrical portrait.

Zustand: Sehr gut. Zustand: Sehr gut | Seiten: 336 | Sprache: Englisch | Produktart: Bücher | Keine Beschreibung verfügbar.

8vo. 1 page on bifolium. To Lady Aimée Jean de Hoghton (1853-1919), wife of Sir James de Hoghton, regretting her being unable to accept an invitation: "I am so very sorry I cannot see you Sunday. My day is more than filled. Thank you so much for your kind note [.]". - With traces of old mounting on the verso and embossed letterhead "Genevieve Ward, Forget-me-not. Olympic Theatre". Some light brownstaining. Includes a small collector's note.

E.Briefkarte (1 S. kl. 8° quer, Mittelknickspur) in Tinte mit 3-zeiligem E.ZITAT, Datum, Unterschrift signiert BEILAGE : Repro-Fotoporträtpostkarte.

8vo. 1 p. Printed address. Mounted to cardboard. Ward is declining an invitation.

First edition, first impression, signed by the author above the half-title "to my dear friends the three Vedrennes souvenir affectueux Genevieve Ward". This book is inscribed to John Eugene Vedrenne (1867-1930), a theatre producer best known for premiering several of Bernard Shaw's plays, including John Bull's Other Island, and potentially two other family members. The front pastedown is with a later ownership inscription dated "17.5.1928" of Audrey Cameron, an actress within her own right who appeared in several films in the 1930s. Genevieve Ward (1837-1922) was a Russian soprano who transitioned into stage acting due to concerns for her voice. She toured Australia as an actress and, on her 84th birthday, was appointed Honorary Dame Commander of the Order of the British Empire. Ward co-wrote this work with journalist Richard Whiteing. They met after Whiteing wrote a lengthy review on Ward's debut performance. The pair became close friends, with Ward writing, "[our friendship] shall certainly never end but with my life" (p. 59). Octavo. Colour frontispiece, 16 photographic plates, occasional line drawings in the text. Original blue cloth, spine and cover lettered in gilt, front cover embossed with decorative border and emblem to centre. Spine toned, extremities bumped and rubbed, hinges loosening, plates bright, a few leaves creased at top corner. A very good copy.

he format is a single sheet, approximately 10 inches by 8 inches, folded in half to make four panels. There is writing on one side/two panels only. It is written on Theatre Royal Melbourne stationery, and dated Melbourne Aug 21 1884. It reads Dear Mr. Meade, Mr. Taylor tells me the medallion you sent to the Royal was for me. I was under the impression you wished it to remain at the Theatre--many thanks for it & the vase you kindly sent to me by Mr. Taylor. I hope you are doing finely in Adelaide--My compliments to Mr. Sheridace. Yours Truly Genevieve Ward. The signature has be compared with verified signatures found on the internet. Lucy Geneviève Teresa Ward, Countess de Guerbel (27 March 1837 18 August 1922), was a United Kingdom-based American-born soprano and actress. She was appointed Honorary Dame Commander of the Order of the British Empire on her 84th birthday in 1921. Ward was born in New York City. She devoted herself by turns to the study of painting, sculpture, and music. By degrees, music absorbed her entirely, and her proficiency on the piano attracted attention. On 10 November 1856, at age 19, she married a Russian count, Constantine de Guerbel. Henriette Sontag encouraged Ward to study singing. When the Ward family returned to Europe, Sontag gave Geneviève a letter of introduction to the composer Rossini. In 1862, after Ward's last role in La Traviata, she retired due to vocal difficulties. Ward later became a stage actress, noted for dramatic roles. She toured Australia as an actress. She published a volume of reminiscences in 1918. The Theatre Royal was one of the premier theatres for nearly 80 years in the city of Melbourne, Victoria, Australia, from 1855 to 1932. It was located at what is now 236 Bourke Street, once the heart of the city's theatre and entertainment district. In 1855, Melbourne's second Theatre Royal was built, on the north side of Bourke Street between Swanston and Russell Streets, by John Melton Black. It was capable of holding 3300 people and was comparable in size to London's Drury Lane and Covent Garden theatres. The opening production on 16 July 1855 was Richard Sheridan's The School for Scandal. Barry Sullivan was sole lessee and manager from March 1863 to 16 February 1866, when he played his last night and relinquished management. Coppin bought his partners out, and was sole manager in April 1872 when the theatre burned down. Coppin immediately rebuilt it bigger and better (the new theatre could seat 4,000 people over four tiers), and opened in November the same year, under joint management by Coppin, Stewart, Harwood and Hennings. It was remodelled in 1904, seating fewer people more comfortably on three tiers, but the growing popularity of the moving pictures in the 1920s affected theatre attendance, as did the effects of the Great Depression in the early 1930s. In late 1933, the theatre organization J C Wiliamson announced plans to rebuild Her Majesty's, and that the Royal site was considered too congested and valuable, and had been sold to Manton's, who planned a new department store for the site. A final performance took place on 17 November 1933, and then demolishers moved in the next day. Original manuscript, signed by the author.

0. Sprache: Deutschu.