architect: Manuskripte & Papierantiquitäten, Signiert (21 Ergebnisse)

No Binding. Zustand: Good. Ecclesiastical architect. Signed 'Giles Gilbert Scott' beneath typewritten 'Yours sincerely,'. Neatly stuck beneath this is 'Sir Giles Gilbert Scott, R.A.' printed in copperplate (from the letterhead?). The fragment is about one inch by two and a half inches. Docketed in pencil 1935. Signed by Author(s).

See his entry in the Oxford DNB. 1p, 12mo. In good condition, lightly aged, torn along the inner edge on removal from mount. Addressed to 'Chas. Fowler Esqr:' (a vice-president of the Artists' General Benevolent Institution) and signed 'Rob. Smirke.' Reads: 'Dear Sir / May I request you will have the goodness to add the amount of the enclosed cheque for me to the collection recently made for the Artists Genl. Benevolent Institution.'.

Zettel. Zustand: Sehr gut. Blankokarte mit Farbphoto eines Portraitgemäldes von Sir Aston Webb auf schwarzem Tonkarton montiert, das Kärtchen von Sir Aston Webb mit schwarzer Tinte signiert.- Darunter vom Sammler mit zartem Bleistift auf den 23.8.1926 datiert. /// Signiert signed signée autograph autographe autogramm /// Sir Aston Webb GCVO CB PRA (* 22. Mai 1849 in London; ? 21. August 1930 ebenda) war in der Zeit um 1900 der erfolgreichste englische Architekt öffentlicher Gebäude. Am bekanntesten sind das Londoner Victoria and Albert Museum, die Law Courts und die Universität in Birmingham sowie die ganze Londoner Prozessions-Route, von der Fassade des Buckingham Palace, The Mall entlang, bis zum Admiralty Arch. Von 1919 bis 1924 war Webb Präsident der Royal Academy of Arts. Aston Webb war der Sohn des Malers Edward Webb (1779-1839; Schüler des Landschaftsmalers David Cox). Seine erste Ausbildung absolvierte er von 1866 bis 1871 in der Firma von Banks und Barry. Danach verbrachte er ein Jahr auf Reisen in Europa und Asien und eröffnete 1874 in London sein eigenes Büro. In den frühen 1880ern trat er in das Royal Institute of British Architects ein und arbeitete mit Ingress Bell als Partner. Der erste größere Auftrag, den die beiden erhielten, resultierte 1886 aus einem Architekturwettbewerb für die Victoria Law Courts in Birmingham. Es war das erste von zahlreichen öffentlichen Gebäuden, die das Gespann im Laufe der nächsten 23 Jahre entwarf. Gegen Ende seiner Karriere wurde Webb von seinen Söhnen Maurice und Philip unterstützt. Ralph Knott, der später Londons County Hall bauen sollte, wurde von Webb ausgebildet und führte in dieser Zeit die Zeichnungen für dessen Wettbewerbsbeiträge aus. Bauwerke Admiralty Arch, London Eines von Aston Webbs frühesten Projekten war 1877 die Royal Grammar School Worcester. Dieses Altenheim entwarf er im Gegensatz zu seinen späteren Arbeiten im Arts-and-crafts-Stil. Sein erster wirklich großer Auftrag war die Restaurierung der mittelalterlichen Kirche St Bartholomew-the-Great in Smithfield. Sein Bruder Edward Alfred Webb war zu der Zeit Kirchenvorsteher, und diese Verbindung hat dem jungen Architekten sicher geholfen, den Auftrag zu erhalten.[1] Zu Webbs bekannteste Arbeiten in London gehören das Queen Victoria Memorial und The Mall sowie die Hauptfassade des Buckingham Palastes, die er 1912 neu gestaltete. Schon 1891 hatte Webb der Eingangsfassade des Victoria und Albert Museums überarbeitet. Außerdem entwarf er zwischen 1893 und 1895 die Pläne für das Royal United Services Institute sowie Whitehall und schuf - als Teil des Mall-Projektes - den Admiralty Arch (1908/09). In diese Zeit fiel auch das Britannia Royal Naval College in Dartmouth/Devon. 1886 vergrößerte er die im Perpendicular-Stil gebaute Kirche St John Baptist, Claines/Worcester, und setzte sie einfühlsam instand. Er war außerdem verantwortlich für den Neubau (1895) der in der Nähe liegenden Kirche St. George, Barbourne/Worcester. Webb entwarf viele Ausbildungsstätten im Schul- und Hochschulbereich, zum Beispiel das King's College in Cambridge (1908) sowie das Royal College of Science for Ireland, das heute als Regierungsgebäude dient. Hinzu kamen etliche Wohnanlagen wie der Blackheath Park in Blackheath im Südosten Londons. 1895/96 schuf er einen Bibliotheks-Flügel für das große Herrenhaus The Hendre in Monmouthshire. Als Teil des Stadtentwicklungsprojektes More London wurde kürzlich der 1901 entstandene Firmensitz einer Brauerei in 115 Tooley Street zum Aston Webb House mit 14 Appartements umgebaut. Auch das Hauptgebäude von Chancellor's Court der Universität von Birmingham, von Webb zusammen mit Ingress Bell entworfen, wurde nach ihm benannt. Das Gebäude trägt eine große Kuppel; zum Komplex gehört außerdem die Great Hall. Ehrungen Von 1902 bis 1904 war Aston Webb RIBA-Präsident und wurde 1903 zum vollberechtigten Mitglied der Royal Academy gewählt, deren amtierender Präsident er von 1919 bis 1924 war. 1904 wurde er als Knight Bachelor geadelt und erhielt 1905 die Royal Gold Medal; außerdem war er der erste, der 1907 mit der ?Gold Medal? des American Institute of Architects ausgezeichnet wurde. 1919 wurde Aston Webb in New York zum Ehrenmitglied (Honorary NA) gewählt[2]. 1909 wurde er zum Companion des Order of the Bath und 1911 zum Commander des Royal Victorian Order ernannt. 1914 wurde er zum Knight Commander und 1925 zum Knight Grand Cross des Royal Victorian Order erhoben. /// Standort Wimregal Ill-Umschl2021-05 Sprache: Englisch Gewicht in Gramm: 10.

See his entry in the Oxford DNB: 'In 1848 he was articled to the staunchly Quaker P. B. Alley, then in partnership with Richard Lane, the leading neo-classical architect of Manchester. In 1853 his education was completed with a ten-month tour of France, Italy, and Germany, after which he set up in practice as an architect in Manchester.' (Waterhouse's first success would come with his winning design for the Manchester assize courts in 1859.) 1p, 12mo. On the first leaf of a grey-paper bifolium. In good condition. Folded for postage. Addressed to 'Thomas Haigh Esq:' and signed 'A Waterhouse'. Begins: 'Dear Sir, / The enclosed came this morning in an envelope addressed to me, but has been evidently misdirected.' He is sending off three drawings, 'completing the set of general drawings for house at Keston'. He gives details of a date when he proposes to visit the site. 'Are you likely to be over there soon, may I ask?'.

See his entry, and that of his fellow Academician Horsley, in the Oxford DNB. 1p, 12mo. On the first leaf of a bifolium. In good condition, lightly aged. Folded twice for postage. Signed 'A Waterhouse'. Reads: 'Dear Horsley. / You are quite right. No "mystery" between us if you please. / I say "yes" to your query to the extent of 2 guineas. / I hope you will soon gain the sum you desire without any great trouble to yourself'.

See Beveridge's entry in the Oxford DNB. Humberstone was a prominent member of the Convocation of the University of London. The five items are in good condition, lightly aged. All five signed 'W H Beveridge'. ONE: 29 June 1933; The London School of Economics and Political Science, Aldwych, London. 1p, 4to. Folded twice. Thanking him for his book on 'the Bloomsbury Site'. He does not agree with his 'objection to Holden's design (so far as I can judge I think it is very remarkable and very fine)', but thinks that 'the stirring up of discussion and interest in the matter is a good thing'. He ends in the hope that Humberstone's Leverhulme Fellowship application will be successful. TWO: 29 December 1937; The Master's Lodgings, University College, Oxford. 1p, 8vo. Folded twice. He thanks him for sending 'the proof of your interesting review of Lord Haldane's Life'. He is also interested in Humberstone's opinion about 'the London University site and buildings problem', regarding which he himself has no 'practical concern'. He is sad that Holden's original scheme will not be carried out, 'though I imagine you may be glad'. His view is that 'there are many gardens in London and that on the other hand there could only be one University headquarters, and I have seen nothing to better Holden's scheme.' He is pleased not to have to 'disagree with you practically on this issue'. THREE: 17 February 1948; on Beveridge's letterhead of Voluntary Social Service Report, Universal House, Buckingham Palace Road, London. 1p, 8vo. He thanks him for the proofs of his article on 'University representation', which he should have 'kept and studied' had there been any chance of his taking part in the debate on the matter in the House of Lords. He gives the details of his forthcoming trip abroad with his wife. 'In the circumstances, though I should have been happy to take your proofs with me for reading on the way to New Zealand, I feel bound to return them as you may find some other peer who could make better practical use of them.' FOUR: 3 December 1953; Staverton House, Oxford (on cancelled Edinburgh letterhead). 1p, 4to. He is glad that Humberstone found time to read his 'Power and Influence': 'You, I know, would look at the Bloomsbury chapter in some ways, I think, one of the most interesting though it seldom gets mentioned by reviewers'. He continues: 'Acquisition of the Bloomsbury site has not, of course, accomplished all that you and I dreamed of but at least it gives the University a home of its own and though perhaps not everything now on the site is beautiful there are some beautiful things.' He also thanks Humberstone for his 'booklet on University Controversies'. Beveridge does not himself think that he will be returning 'to London controversies', but he will 'hope to study it when the agonies of moving house from Edinburgh and establishing ourselves in Oxford are over'. He finds it 'very pleasant' to remember Humberstone 'from Toynbee days', which were 'the beginning of all good things for me and I think for many others'. Postscript mentions 'points possibly needing correction'. FIVE: 5 May 1954; on letterhead of Staverton House, Oxford. 1p, 12mo. Thanking him for his 'letter and pamphlet on the "Battle of Trafalgar Square"'. He is 'desperately busy preparing to sail to New York', but he will take Humberstone's 'Address for pleasant reading on the boat'.

Einladungskarte (4 SS. 8°) des Museum für Kunsthandwerk Frankfurt am Main zur Eröffnung des Neubaues am 25. April 1985 (mit Abbildung desselben), eigenhändig signiert BEILAGE : Brief der Stadt Frankfurt betr. der Broschur (dito zum gleichen Preis : Briefkarte mit eigenhändiger Widmung to Ingrid, Ort, Datum, Unterschrift signiert 7. September 2004 in New York City).

Soft cover. Zustand: Very Good. Original typewritten letter written in response to questions about some interior decorations and curtains during the construction of a Republican Turkish school, signed 'Professor Egli'. 30x23 cm. In Turkish (Modern). 1 p. Chipped and damaged right side. Otherwise a good paper. Written to 'Zeki Bey' on December 21, 1933. An architectural environment of the Early Republic Period (1923-1950) has an effective language explicitly revealing political and cultural aspects of the Republic. Under such conditions, architects coming from German-speaking countries contributed quite significantly to the establishment of the International Architectural Style of Turkey in the '30s. Throughout the 1930s when the Building of School Political Sciences constituting the subject of the study was constructed, the International Architectural Style conveyed to Turkey by means of architects coming from Germany-speaking countries had a growing impact in the country. Ernst Egli, one of those architects, was one of the pioneers of this "modern" style with his numerous designs, and his educator and manager identity. Egli, son of Johann Jakob Egli, (1840-1918) carried out significant works in the field of educational buildings which he dealt with cautiously and fastidiously and explicitly regarded as a symbol of prestige. Primarily educational buildings together with National Education Ministry Construction Office management, Istanbul Fine Arts Academy Architecture Branch management, and teaching, design, and application of important public buildings in Ankara are among the said studies. (An important building for the representation of modernization project: Swiss architect Ernst Arnold Egli and Ankara Political Sciences School, Leyla Alpagut.). Signed by Author(s).

See Sir William Beveridge's entry in the Oxford DNB: 'An overbearing and temperamental Scotswoman, Mrs Mair had come to the school [the LSE] with Beveridge in 1919 (having been his secretary and aide during the war) and was highly unpopular with many of the school's professors. Throughout the 1930s there were complaints about the 'BeveridgeMair dictatorship' and a general sense of relief when Beveridge decided to leave the school to accept the mastership of University College, Oxford, in 1937.' 1p, 4to. In good condition, lightly aged, with one dog-eared corner. Folded twice for postage. Signed 'Janet Beveridge'. The recipient Vere Henry Collins (1872-1966), was an author and grammatical stickler. She thanks him for writing to her about her letter to The Times, and reminding her that they had met 'in my sister's flat in London. Her death two years ago was very sad for me; I miss her more than I ever thought possible.' She discusses her use of the word 'Lady' in the letter, which she says was done 'for the very special reason that I felt that the women making a fuss about the kilt would describe themselves as Ladies'. She is on his side 'about the nomenclature in general', and asks him to 'read the book I had published a month or so ago, "Beveridge and His Plan," and let me know if I have transgressed the rules in my use of language.' She cannot understand 'how it came about that William did not acknowledge your letter to him - he is puncilious in this as a rule'. The reason may be that they have spent a couple of months in America without a secretary. She concludes with reference to 'some members of our society who, being indignant at such vulgarians as myself for wearing a kilt, would equally object to my calling them women!'.

MARIO BOTTA (Großer Kunstkatalog) Curator: Stuart Wrede. The Museum of Modern Art, New York 1987, 72 SS. illustriertes Pb. gr. 4°, leichte Gebrauchsspuren - von Prof.Dr. Mario Botta in schwarzer Tinte mit Datum 15.X.87 eigenhändig signiert.

No Binding. Zustand: Very Good. Original typescript letter signed (TLS) and an autograph letter on the card with a letterhead of 'Haldun Dormen' signed (ALS) 'Haldun' sent to Turkish architect Aygen Törüner. 28x23,5 / 8x12,5 cm. In Turkish. 1 p.; 2 p. He mentions Valentin Kataiev's play and its copyright as well as 'The Killing of Sister George' play's translation. Haldun Dormen (born 5 April 1928) is a Turkish theater, movie, and TV series actor and film director. Dormen is of Turkish Cypriot descent. Signed by Author(s).

Autogrammkarte (Briefkarte mit aufgezogenem Farbportraitbild), eigenhändig signiert BEILAGE : Mit Kurzbiografie, 1,5 S. 4°.

MARIO BOTTA (Großer Kunstbildband von Philip Jodidio) Benedikt-Taschen-Verlag Köln, 1. Auflage 1999, 176 SS.gebunden (Hardcover gr. 4°), leichte Gebrauchsspuren - von Prof.Dr. Mario Botta eigenhändig signiert.

RICHARD MEIER & Partners COMPLETE WORKS 1963-2013 (Großer Text-Fotobildband) Verlag Taschen Köln, 1. Auflage 2013. ERSTAUSGABE, First edition. Royal Folio, durchgehend mit farbigen Abb., OLeinen mit farbig illustriertem OUmschlag, Hardcover (clothbound). Over 650 illustrations. 432 pages Gebunden (gr. 4°) . Mit Schutzumschlag. Texte in English, Französisch und Deutsch. Foreword by Alberto Campo Baeza, Texts by Philip Jodidio, Design by Massimo Vignelli. FINE COPY, gut erhalten - mit eigenhändiger Widmung, Empfehlung, Datum 16 February 2016, Unterschrift signiert.

RICHARD MEIER (Großer Text-Fotobildband by Claudia Conforti, Marzia Marandola) Motta Cultura Milan, 1. Auflage 2009. ERSTAUSGABE, First edition. 120 pages Gebunden. Illustriertes Cover kl. 4°. Text in English. Mit vielen Farbfotos, FINE COPY, gut erhalten - mit eigenhändiger Widmung, Empfehlung, Datum, Unterschrift signiert.

RICHARD MEIER Architect 1985/1991 (Großer Text-Fotobildband) New York, Rizzoli, 1. Auflage 1991. ERSTAUSGABE, First edition. 25,5 x 25,5 cm. Hardcover (clothbound). Over 650 illustrations. 432 pages Gebunden. Mit Schutzumschlag. Text in English. FINE COPY, gut erhalten - mit eigenhändiger Widmung für den deutschen Galerist , Kunstsammler und Promotor des Kunstbahnhofs Rolandseck JOHANNES WASMUTH (1936-97), Empfehlung, Datum 19 Dec. 1991, Unterschrift signiert (dito, wie vor, mit eigenhändiger Widmung, Empfehlung, Datum, E.ZEICHNUNG, Unterschrift signiert Euro 350,-).

An interesting letter, in which Webb sets out his approach to bookplate design. According to his entry in the Oxford DNB, 'By 1899 Webb was in poor health and losing money. His meagre savings were insufficient to build a cottage, so he accepted Caxtons, a four-bedroom sixteenth-century yeoman's house at Worth, near Crawley, Sussex, offered at a selflessly low rental by his friend William Scawen Blunt.' For the context of the present letter, see the letter from Webb to Sydney Cockerell, 1 September 1902, in volume 3 of John Apin's edition of Webb's letters. The present item is 1p, landscape 8vo, and consists of eighteen lines written in a tiny hand in pencil, with a number of ink additions that raise the possibility that it may be a draft. Addressed to 'Dear Mr. Holliday' and signed 'Ph: W.' In fair condition, on worn paper with a block of sunning. Folded into three equal sections by two vertical creases. He begins by stating that on 16 August Sydney Cockerel sent him [in a letter now in the British Library] an extract of one of Holliday's letters to him, beginning 'I suppose we are getting nearer to the time when Philip Webb will be at liberty to think about my book plate'. Webb's reply is: 'Now, & at this time, I can only answer with your word 'nearer' - for there is one in hand (or rather in rough idea) which has to be done before yours, on the principle of "first come, first served".' On the wider question he writes: 'I need scarcely add, that to do anything for you - which I thought passably fit to let go, would please me much; & therefore, I write the following with that not too forlorn hope. Cannot you think of something in your life, or of belongings, or fancy, or fact, which would be a hook on which to hang my [last word underlined] "fancy"? You see - or wd. guess, that I do not like to make such a design which has not some sufficient significance in it - great or small, - as the case may be - and for motive: when I have this it tethers me to some positive instead of a negative course; though I might add to or deduct from my brief according to the demands of decorative art - or my own wilfulness?' He turns to the 'third to be served' with a bookplate, John Feeney, proprietor of the Birmingham Daily Post. In that case 'the spirit is willing but the time and aptitude are but small. There is always a load on my spirit of things undone, when undoing to get into bed 365 nights in the year, so that I long to unship my pack of sin as Bunyan's "Christian" did his. What fellows these Cockerells & Walkers are for getting me into this "slough of despond"!' A postscript refers to 'Catterson Smith & the mace' (explained in John Apin's edition of Webb's letters). See Image.

(1821-1879, son of John Ellis of the Midland Railway), saying he has received "the note on the other leaf [present] from Lucas' son. [John] Lucas", 1807-1874, "was busy at a portrait of Sir John [Tyrrell] last year. I suppose he has been suddenly called down to. put a flush of joyous colour into the face of the Bucolic Baronet now that the Tories are in again", Alfred's father "is a fine subject for the painter & bad as modern dress is the change made since West painted Wm. Penn and. his father & mother is all in the right direction", Martin suggests making him "put his hat on and get a kind of Rembrandt effect by the shadow. this would not do for the Railway Directors nor perhaps for the family. the treatment of costume in a portrait is no small difficulty. I cherish your cordial invitation. If Edward Ellis", Alfred's eldest brother, "says a word against the Yankees let him name his weapons" (14th March 1858), with on the third side an Autograph Letter Signed 'W. Lucas Junior' to Martin saying that his father "was suddenly called away from town yesterday, he is now at Chelmsford staying at Sir J. Tyrrell's [sic], I. have no doubt you will hear from him" (13th March 1858), in all 3 sides 8vo., Brighton and 3 St. John's Wood Road, 13th - 14th March Martin was architect, with S. Beasley, of the first English Opera House in Wellington Street, Strand, opened in June 1816. He was manager and resident engineer of the London and Southampton Railway, 1836-1849. John Ellis was an early railway enthusiast, and projected the third line in England, from Swannington to Bagworth, Leicestershire, opened in July 1832. He was Chairman of the Midland Railway 1849-1858. The last Sir John Tyrrell, Bart., of Springfield, near Chelmsford, died in 1766 when the baronetcy became extinct, so Lucas senior would appear to be touching up a historical portrait.

No Binding. Zustand: Very Good. Original autograph - manuscript card signed 'Vera' including New Year celebration, with its original envelope, sent to Turkish architect Cengiz Bektas. Envelope size: oblong, 12x19 cm; card size: oblong, 9,5x15 cm. In Turkish. The card is bifolium. 1 p. It includes eight lines, a new year celebration sent to Turkish architect Cengiz Bektas, (1934-2020) and his wife Gönül Bektas. With an extra autograph note. Vera Tulyakova was born in 1932 in Moscow. He graduated from the Gerasimov Cinema Institute, Script Department. Later he worked as a redactor in the animation department of the cinema studio. After marrying Nazim Hikmet, she worked as a reporter at Agency Novosti. Signed by Author(s).

saying that he "couldn't read the cabalistic sign on the envelope!.", 1 side 4to., Eleven Berkeley Square, Kensington West Eight, headed paper, 11th September In 'Myself and the Theatre' (1930), Komissarjevsky explained that 'the idea behind all my productions was to create a Synthetic Theatre. where all forms of art could be harmoniously united in one single show', adding spoken dialogue to opera, music to plays, and enriching both with acrobatics or ballet. He had founded a school of acting in Moscow in 1910, producing a wide range of plays ancient and modern, then in 1918 became Managing Director of the Moscow Grand State Theatre of Opera and Ballet. He emigrated to England in 1919, giving a famous series of Russian Opera at Covent Garden that year, and settled in the U.S.A. in 1939. Eileen Cond was a book collector who sent out her bookplate to her favourite authors, many of whom signed and returned them to her. Among the most notable was Ian Fleming.

about his plans for redesigning the interior of Huis ten Bosch on the edge of The Hague (since 1981 the main residence of the Netherlands royal family), addressed to M. de Sénégra, Master of the Household, the wing facing the Hague is to be for the King's private apartments, ending in the 'Pavillon' for his offices, the other on the garden side for the Queen, ending in the apartment of the Prince Royal (Napoleon, 1804-1832), he has rearranged where the footmen wait so that the King can go the whole way round without meeting them, there are resulting suggestions resiting the Library, Music Room, and Chapel, Heer Twent (later Interior Minister and responsible for Holland's dykes) and Heer Zogger are designing the parade ground, it cannot be on the meadow side which is flooded and frozen in winter, he reports progress at Het Loo, the palace at Apeldoorn in Gelderland, wondering if he should paint it white while the King is away "to let the odour evaporate", he talks most interestingly of the difficulties of creating a garden entrance at Huis ten Bosch, the staircase would invade the King's study and sacrifice "the best rooms in the Palace", accompanying the letter is an apparently unrelated item with a pencil note 'Album Thibaud p. 50', listing eight Etruscan Vases found in two chests "dug up from the Canals in 1831", and describing the painted figures of athletes, centaurs etc and their colours, signed "F.B. (?)", 1 side 3" x 5¼", the letter 3 sides folio, The Hague, 12th June Holland was occupied by the French from 1795 to 1813, initially with the support of the Dutch republicans. In 1806 Napoleon made his brother Louis, who was married to Napoleon's step-daughter Hortense, King of Holland as Lodewijk I. Louis and Hortense arrived at Huis ten Bosch on 18th June 1806 and formally entered The Hague on the 23rd.