the wallace collection (23 Ergebnisse)

Paperback. Zustand: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Paperback. Zustand: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Zustand: Good. Item in good condition. Textbooks may not include supplemental items i.e. CDs, access codes etc.

Zustand: Good. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

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.

Zustand: Good. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Zustand: Like New. Most items will be dispatched the same or the next working day. An apparently unread copy in perfect condition. Dust cover is intact with no nicks or tears. Spine has no signs of creasing. Pages are clean and not marred by notes or folds of any kind.

Zustand: Very Good. Most items will be dispatched the same or the next working day. A copy that has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Zustand: Good. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Zustand: Very Good. revised edition. Paperback, VG. 84pp, b/w illustrations, a near fine copy. Overview of the Wallace collection of paintings & furniture, reissued to mark the redisplaying of the collection in 1982. 150 grams.

Soft Cover. Zustand: As New. Zustand des Schutzumschlags: No Dust Jacket. First Edition Thus. First Printing. Publisher's glossy wraps. Profusely illustrated in color. The Wallace Collection was bequeathed to the nation in February 1897 by Lady Wallace. She was the widow of Sir Richard Wallace, a notable collector of works of art and also, as the illegitimate son of the 4th Marquess of Hertford, the inheritor of one of the greatest of all private collections. The volume is in perfect, pristine condition, unmarked, unread, tight, square and clean. AS NEW. Color Illustrations. 8vo 8" - 9" tall. 96 pp.

Zustand: Very Good. 1776081638. 4/13/2026 12:00:38 PM.

Zustand: very good. Gut/Very good: Buch bzw. Schutzumschlag mit wenigen Gebrauchsspuren an Einband, Schutzumschlag oder Seiten. / Describes a book or dust jacket that does show some signs of wear on either the binding, dust jacket or pages.

Zustand: Akzeptabel. Twelfth Edition. With historical Notes and short Lives of the Painters. Englischsprachige Originalbroschur, 188 Seiten mit zahlreichen Bildtafeln und einem Faltplan. Äußerlich mit Gebrauchsspuren, sonst gutes und innen sauberes Exemplar. B6-jpw40304.

paperback. Zustand: Very Good. 1984 revised edition paperback in very good condition. All inside pages are in great shape. Minor shelf wear to the cover.

Taschenbuch. Zustand: Sehr gut. 0 Alle Bücher & Medienartikel von Book Broker sind stets in gutem & sehr gutem gebrauchsfähigen Zustand. Dieser Artikel weist folgende Merkmale auf: Helle/saubere Seiten in fester Bindung. Leichte Gebrauchsspuren. Sprache: Englisch Gewicht in Gramm: 100.

Paperback. Zustand: Fine. FAST Despatch by First Class Royal Mail.

Paperback. Zustand: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Zustand: 3. Français.

He asks Streatfeild to advise him in a matter 'which speaks for itself'. He reports that 'poor Lady Elgar is greatly distressed and not without reason at the treatment of the two great oratorios'. Phillips does not 'quite see what is to be done in the way of protest', although he finds that the 'statement that they "fail with audiences &c" is certainly false in fact, [last three words underlined] and therefore almost libellous'. Phillips considers 'the rest [] a matter of opinion. Perhaps even more false and absurd is the statement, or opinion, that they appeal only to the intellect. How about the Judas Scene and the Final Chorus of the "Apostles".' (The reference is to Elgar's oratorio 'The Kingdom', 1906.) Phillips ends by apologising for bothering Streatfeild, and asks in a postscript, 'How are you?'.

The circumstances surrounding this extraordinary original composition in Latin verse are obscure. See Phillips's entry in the Oxford DNB, which notes that there was 'an air of Proust' about him, and quotes Oliver Brown's description of him as 'a stout man, immaculately dressed and heavily scented, who talked continuously while he looked at the pictures'. It may be that Phillips and the author of the poem had been educated together, or that they were members of the same club (the Athenaeum for example). Whatever their relationship, the author of the present work was clearly a capable classicist. Until the handwriting has been compared, the suggestion cannot be dismissed that he might be the Professor of the Classical Association and Corpus Christi Professor of Latin at Oxford Albert Curtis Clark, described in his own ODNB entry as a man who 'could carry his learning lightly, was the best of company, full of humour and of wit, and a perfect raconteur'. 2pp, 12mo. Bifolium. In good condition, lightly aged and creased. Central horizontal crease. Written in black ink. Poem and translation face one another, with the Latin text, beneath the heading 'IN CLAUDIUM PHILIPPSIUM. EQUITEM.', on the recto of the second leaf, and the translation, headed 'IN LIBIDINOSUM.', on the verso of the first. The Latin poem is twelve lines long in three four-line stanzas. It begins: 'Cur stercoratae verba licentiae / Libidinosus semper in auribus / Emittis, obscaenisque gaudes / Colloquiis, [.]'. The English translation reads in its entirety: 'Why, dost thou, lustful, discharge ever in our / ears, words of licence, reeking of the dungheap: / why dost thou rejoice in obscene conversations, O / Veteran Claudius? / Old age presses on: thy [last word inserted] language planted with dirty [last word inserted] refuse / dishonours thy white hair: a forehead ploughed / with hardset wrinkles is out of keeping with / lascivious words. / Do thou at least case from foul gossip: [last word an emendation of 'talk'] let thy / bawdy stories be silenced, remembering / thy industrious youth, O Old Man, worthy / of a better reputation.'.

All three letters 12mo: the first of three pages, and the last two one page apiece. Texts clear and complete. Good, on lightly-aged paper. Letter One: Sir Henry Vansittart Neale will be pleased to allow Grundy 'a look at his pictures' at Bisham Abbey. Gives directions. Discusses Grundy's letter in the Daily Express, complaining about the 'crowding out' of pictures at the Royal Academy. He considers it 'no new thing: there was a very violent outcry of the same kind some forty years ago and about that time several exhibitions were organised of pictures which had been accepted and not hung [.] My quarrel with the present Academy show is not so much that it is too much cut down as that it is very badly selected [.]'. Letter Two: He is pleased that the Bisham Abbey visit has been 'fixed up', and would like 'to have a talk with you on the Academy question'. Letter Three: Explaining why the statement 'from 1768 to 1805 the Royal Academy was the sole exhibiting society of British artists' is 'all wrong'. Concludes: 'So apparently the only period during which the Academy was the sold exhibiting society was between 1791 and 1805, when the R. W. S. began'.

Total 7 pp., 8vo, bifoliums, sl. battered but text clear and complete, if a bit of a scrawl. Letter One (Ashburn Place): He wants to meet up soon, and gives response to a performance of Gotterdammerung - "no impression". But he goes again "for his sins". Letter Two (Munich): He wonders if his "Friend" has been suffering, wondering what cure he's tried (active or "peace and rest"). He describes his reponse to such a situation. "I fidget and worry too much about things, and wear myself to death when my mind is not occupied". He's been away from Engand for three weeks, "suffering". "Morally [underlined] I am better, but physically [underlined] I fear worse." Headaches etc. " "a horrid running down of teh nerves, like the mainspring of a watch that nears stoppage!!" "I was at Brussels and Antwerp, and at the former place saw, not [undelrined] the Universal Exhibition [hence dating of letter 1910] but that very fine one of XVII Flemish Art, which is quite apart, and away, from the other." He's heard a "very good Ring [underlined]", naming the leads, and looks forward to Meistersinger, and some Mozart He outlines another musical prospect. "I am obliged to do something every night so as to avoid solitude and self communing as mich as posssible, In front of me is nothoing [underlined]. Let me hear from you soon again ; the Wallace Collection (to be forwarded) will always find me. Affect[ionall]y C.P.".