murray allison compiler (3 Ergebnisse)

hardcover. Zustand: Good. Vol. 1 concerns "the first twelve months of war" (WWI); 209 p. clean and unmarked (not ex-lib., no former owner's signature); paper somewhat age-toned, especially end paper gutters; binding firm; beige boards with black lettering unfaded though smudged; with some shelfwear in absence of d.j.: slightly bumped edges and a slight rubbing at crown and foot of spine; frontis. is photo portrait of Louis Raemaeker; within are masterful cartoons, accompanied by excerpts from pertinent documents, reports, memoranda, newspaper and magazine articles chosen by the editor and compiler, J. Murray Allison.

hardcover. Zustand: Good.

Hardcover. Zustand: Fair. No dust jacket. xv, 2-208, [1] p. Includes illustrations. Volume One ONLY. Cover has some wear and soiling. Some damp stains at bottom corner--pages separate and essentially no impact to images. Name of previously owner present. Louis Raemaekers, who, as Europe recoiled from the first shock of the German barbarity, threw down his brush for his pencil and by the intensity of his spirit arouse the compassion and fired the anger of the world with his cartoons of the Belgian violation. He, more than any other individual, has made intensely clear to the people the single issue upon which the war was joined. Louis Raemaekers (April 6, 1869 - July 26, 1956) was a Dutch painter and editorial cartoonist for the Amsterdam newspaper De Telegraaf during World War I, noted for his anti-German stance. The most important aspect of Raemaekers' career is undoubtedly his role in Allied war propaganda. Soon after his arrival in London he was contacted by Britain's War Propaganda Bureau to ensure the mass distribution of his work both in England and elsewhere in support of Allied propaganda. Forty of his most captive cartoons were published in Raemaekers Cartoons, which was immediately translated in eighteen languages and distributed worldwide in neutral countries. This was the beginning of a new phase in his life, one which brought him world renown. Among the Allies and in neutral countries, it was specifically Raemaekers' neutral status that gave him credibility. After the first exhibition in London, many others followed suit, first in the United Kingdom and France, soon afterwards in many countries over the world. Albums, pamphlets, posters, postcards and cigarette cards bearing reproductions of his work soon became also available. His drawings were even recreated as tableaux vivants.