beau brocade ( film )
baroness orczy wrote the novel beau brocade in 1907, and followed it up with the play of the same name in 1908. it was adapted as a silent film in 1916. the ballad of beau brocade, was an 1892 poem by english poet henry austin dobson .
but elizabeth banks redeemed herself today as she slipped into a gold and black brocade minidress to film the late show with david letterman .
beau brocade: in the chain of my life, there were so many links, all of which tended towards bringing me to the fulfillment of my destiny .
beau brocade by baroness orczy this edwardian romp is set in the mid - 18th century and features a masked highwayman (the beau himself) who seems to redistribute his ill - gotten gains to the deserving poor. he is a gentleman fugitive, of course, and a kind of byronic wanderer .
her work in woody allen' s latest opus as a high - strung former society woman has been garnering praise for cate, also winning awards from the boston film critics, the chicago film critics and the los angeles film critics association .
for best narrative feature. outside the festival, the film was heralded as
beau brocade: in the chain of my life, there were so many links, all of which tended towards bringing me to the fulfillment of my destiny. ebook: baroness orczy: urltoken kindle store
future learning and skills – giving everyone the opportunity to build a lifelong relationship with film .
it was the second and last feature film made by willis who had also appeared with kirkwood in the 1938 comedy film save a little sunshine. it was made at welwyn studios .
kendall jenner boats in sheer dress... after snuggling up to her nba beau ben simmons at khloe kardashian' s party
she slipped into several stunning and extravagant brocade gowns to play queen elizabeth in her oscar - nominated performance in 1998 .
fisher’s fantasy sci - fier “the obsidian mirror” was published last year and she recently finished writing a sequel, “the box of red brocade. ”
“at last i can tell all the fans demanding a film of ‘incarceron’ that an exciting new project is under way, ” fisher said. “i’m delighted to be working with ileen maisel and amber entertainment. i know that they have the enthusiasm and expertise to produce the perfect film! ”
during the evening, cate also larked about on the red carpet with her blue jasmine costar sally hawkins, who also opted for brocade in the form of a long sleeve pink and cream gown .
cate blanchett once again opted for a classic look as she attended the 79th annual new york film critics circle awards at the edison ballroom in the big apple on monday evening .
she also reprises her iconic role as galadriel the elf queen in the film the hobbit: the desolation of smaug, which will be looking at a bit of awards attention as well .
cate will next be seen in the monuments men, opposite george clooney, matt damon, bill murray and jean dujardin. the film is set for release on february 7, 2014 .
chris hemsworth kicks off filming for the star - studded men in black spin - off as he cuts a sharp figure in london... 21 years after the first film hit screens
however, unlike byron or napoleon, beau brummell' s extraordinary fame arose entirely from his acting out an idea of himself. handsome, clever and rich (though of undistinguished origins), he dedicated his life to the embodiment of a precise and austere visual aesthetic; a style rather than a fashion, because once created, he stuck with it .
no. and it wasn' t supposed to be, not exactly—griffiths' film was not a documentary. but it did advertise itself as being based on a true story, that of chong kim, a korean - american trafficked into sex slavery in the mid - 1990s .
his vision was so persuasive that, almost singlehandedly, he took rich men out of the brocade and taffeta that had expressed wealth for centuries and put them into the broadcloth and linen they have worn ever since. he was the apostle of the principle that a peculiarly masculine elegance is best expressed by neutrally coloured clothes cut with the precision for which savile row became famous .
when the film came out, the real kim made the media circuit telling her story: handcuffed to a doorknob for months by a man she thought was her boyfriend; held in a vegas warehouse full of other teens; forced to work as a prostitute around the country; rising to madam; and escaping on her own two years later .
elizabeth plays a mother - to - be in forthcoming romantic - comedy movie what to expect when you' re expecting', which stars jennifer lopez, cameron diaz and chris rock, and she enjoyed wearing prosthetic breasts to portray a pregnant woman in the film, despite thinking part of her fake boobs looked like' large salami slices' .
you may call me naïve ,
wrote reviewer stephen holden ,
but it is deeply upsetting that eden is set in the united states and that the organization' s boss, bob gault (beau bridges), is a law - and - order - preaching united states marshal. we imagine this kind of crime flourishing in the shadows of eastern europe and the former soviet union. but in the united states, with a backslapping good old boy running the operation? could it be ?
and secondly, how did she know they were ceo' s, lawyers, cops, etc? did they hand her business cards on their way out, after they banged her? did the bishop at the local diocese show up to do the deed in his brocade? good lord. we have reached the end of progressivism. we have run out of real bad guys, at least locally, and so now we have to turn to attention - starved fuglies to start making them up to give meaning and purpose to our lives .
to just point out the most obvious issue, the movie details a copious number of murders, several of them committed by the main character herself. this is standard issue for a hollywood film, but in real life, this amounts to mass murder, including the killing of multiple law - enforcement personnel. that' s a major story—if this happened in anything like the way kim said, where' s the massive investigation? why is this being covered in an entertainment review, rather than on the front page ?
the familiarity here is the familiarity of exploitation tropes, which are clustered about so densely and insistently that it' s hard to believe anyone missed them. (...) the film isn' t badly made, as these things go—jamie chung as the lead hyun jae in particular is more talented than the script deserves. but that anyone took this clearly fanciful, clearly derivative fiction for fact is, in retrospect, somewhat shocking. even at the time, some folks saw through it; sex worker mistress matisse tried to convince david schmader at the stranger that the whole thing was bunkum .
hodder and stoughton, 1953. book. very good. hardcover. 12mo - over 6¾ - 7¾
tall. hardback with dust jacket. 36th impression. original blue boards. faded patch on the spine, from a hole in the dust jacket. the binding is firm. no previous owner' s names, inscriptions or other marks. some foxing to the outer closed textblock page edges. the yellow dust jacket has a small scribble to the top corner of the front cover, some rubs and nicks and a small rectangle cut out of the middle of the spine (i think where the price was printed). both dj flaps price clipped. 256pp. the dust jacket is supplied by us in a loose protective clear archival film sleeve. this does not adhere to the book or jacket in any way and protects the jacket against wear. .
1748: cashiered cardsharper turns highwayman and proves that a lord posing as an apprentice was framed by his cousin .
this copy of deathlands dark emblem offered for sale by zardoz books for $ 6. 72
2015 - 02 - 27. good. ships with tracking number! international worldwide shipping available. may not contain access codes or supplements. may be ex - library. shipping & handling by region. buy with confidence, excellent customer service !
hodder & stoughton. used - very good. very good condition. very good dust jacket .
hodder & stoughton. used - good. good condition. good dust jacket. gifter' s inscription on inside .
hodder & stoughton, 1934. reprint. a fine copy in a near fine d. w. ,, spine ends worn with light chipping. 4 / - edition .
london: hodder & stoughton, 1927. book. very good. original cloth. previous owners signature. 1st. complete bright dustwrap, edge foxed, but still a bright copy. collectable all of our books are in the shop, and are' real' books. we try to post the same day as the order. descriptions are conservative. postage rates may be lower than abe estimate, please use ask bookseller a question to confirm availability and postage cost, use [ ask bookseller a question ] option below to confirm availability and get accurate postage quote for this item (the amount quoted is for an' average' hard - cover book of up to 1kg in weight) .
firenze: casa editrice adriano salani, 1942. hardcover. grandi romanzi salani. 328pp. cloth. text block slightly toned. a very good + copy in very good dustjacket with a tape mend on the inside and light edge wear. in the italian language. ; 16mo .
london: hodder & stoughton, 1953 tight and square, light foxing in edges. dust jacket is intact and bright. size: 12mo - over 6¾
- 7¾
tall
london: hodder & stoughton. no date [ 1913 ]. . reprint. octavo, original colour pictorial wrappers. 128 pp. , printed in two columns. issued as hodder & stoughton' s famous sixpenny novels # 339. text paper browned, small tears. a very good clean copy .
london: hodder & stoughton, 1939 red blind - stamped boards titled in black on spine. tight and square, faint foxing in the edges and prelims. dust jacket is unclipped and bright, tiny edge tears, price - puched at the spine, damp stain at foot of rear panel causing adherence. size: 12mo - over 6¾
- 7¾
tall
london: hodder & stoughton, 1935. 256 pp, original yellow dustjacket slightly chipped on corners and spine, previous owner' s inscription on fep. reprint. hard cover. very good / very good. crown 8vo .
london, england: london, uk: hodder & stoughton (h & s), 1934 (previously 1927), 1st new edition, first printing, 1934. - - - - - - - - - - hardcover, a near fine copy with a wee bit of very light wear, light brown cloth, in a lightly chipped and torn but very attractive good to very good dustjacket, nice vintage copy, ink name and date on front end paper, any image directly beside this listing is the actual book and not a generic photo. first printing. hard cover. near fine (see description) / very good (see description). illus. by uncredited cover art .
london: pan books 134 1950 first pan paperback printing, 1950 vg. light edgewear, some diagonal creasing to front covers, former owner' s name in ink to half - title page, mild age - toning to pages, otherwise a solid copy, clean throughout. cover art by sheila sanford .
gb: hodder & stoughton c1919. name etc front endpaper. . reprint. hardback. vg / vg - dw. fcp .
hodder & stoughton, 1953. hardcover. acceptable. 1953. 256 pages. no dust jacket. blue cloth boards. pages and binding are presentable with no major defects. minor issues present such as mild cracking, inscriptions, inserts, light foxing, tanning and thumb marking. overall a good condition item. boards have mild shelf wear with light rubbing and corner bumping. some light marking and sunning .
london: hodder & stoughton. red cloth, light rubbing, some fading to cover, . popular edition. hard back. good / no dj. 120x190mm .
greening & co. ltd, 1909. hardcover. good. 1909. popular edition. 312 pages. no dust jacket. red cloth boards. pages and binding are presentable with no major defects. minor issues present such as mild cracking, inscriptions, inserts, light foxing, tanning and thumb marking. overall a good condition item. boards have mild shelf wear with light rubbing and corner bumping. some light marking and sunning .
hodder & stoughton, 1939. hardcover. very good / good. 1939. 28th edition. 256 pages. yellow jacket over cloth boards. book is in better condition than most examples of this age. neat, clean, well bound pages with very minimal foxing, tanning and thumbing. small inscriptions and neat labels may be present. boards have mild shelf wear with light rubbing and corner bumping. some light marking and sunning. unclipped jacket has light edge wear with minor tears and chipping. mild rubbing and marking .
greening 1908. colonial edition octavo hardcover; all our specials have minimal description to keep listing them viable. they are at least reading copies, complete and in reasonable condition, but usually secondhand; frequently they are superior examples. ordering more than one book will reduce your overall postage cost
hodder & stoughton, 1935. hardcover. good / acceptable. 1935. 26th reprint. 256 pages. yellow pictorial jacket covering red cloth boards. pages remain bright with light foxing to text block edge and colouring to the text block top. binding is firm with light corner bumping to the boards and tanning to spine. unclipped jacket has light edge wear all round and soiling to the covers. spine has light scuffing to the ends .
london: pan, 1950. g, lacking half - title page, edgewear, creases, browning. historical romance. cover by sheila sanford. pan # 134. expanded condition report / photo on request. . first pan edition. mass market paperback .
hodder & stoughton, london, 1953. hardcover. 12mo, reprint. book condition: good plus. boards and interior very clean. dust jacket condition: good. moderate edgewear. .
london; greening; 1908. good +. 1908. hardcover. h / b; g8 +; vo; 312pp; attractive decorated blue cloth board covers / gold gilt lettering; cloth started splitting at board edge; ; 8vo 8
- 9
tall .
hodder and stoughton. hardcover. used; acceptable. no dust jacket. printed circa 1940. undated. fast dispatch. expedited uk delivery available. excellent customer service. bookbarn international inventory # 2489808
hodder and stoughton first published in 1907 but here in a 1920' s issue with ragged and edgeworn jacket. splits to the cloth at the ends of the spine. internally reasonably solid and clean bar one owner' s name. tanned pages. . cloth. fair / fair. 12mo - over 6¾
- 7¾
tall .
london. greening & co. 1910. hardback. 1910. reprint. popular ed. worn & rubbed red cloth with black illus. fr. cover & spine (with titles). spine cloth split down lower half of fwd. edge. cracked hinges. inscribed ffep. wt: 0. 4 kg. good - .
london: greening & co, 1909. illustrated red cloth, page edges tanned, the cloth is faded with a repaired split to spine, name on ffep 1st imp of the popular edition. . popular edition. hard back. good / no dj. 120x190mm .
hodder. hardcover. b0012bucke binding: hardback - - - publisher: hodder and stoughton - - - date: none stated - - - edition: - - - pages: 256 - - - condition: fair - - - dj condition: none - - - description: all of the pages are tightly bound, no stamps or inscriptions, the only flaws are some scuffs to the boards, some fading to the spine, some small rips to the cover material at the spine edges, some tanning to the pages and a few of the pages have corner creases to them, a reading copy only. all of our books are shipped within 1 working day of purchase. you get a free bookmark with every order. buy with confidence - we upload a selection of high quality photographs with each listing, however if not already present photographs of any of our titles can be provided by request via e - mail. b0012bucke. fair .
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london: kegan, paul, trench, trübner, 1892. octavo, early 20th - century three - quarter dark blue morocco, raised bands, elaborately gilt - decorated spine, top edge gilt, uncut (original cloth cover and spine bound in at rear) .
first trade edition of this lively collection of 19th - century verse including the titular poem about a notorious dandy highwayman, with 50 illustrations by hugh thomson (31 printed on japanese vellum), handsomely bound .
copperplate process by which the plate is “bitten” by exposure to acid. by changing the areas of the plate that are exposed and the length of time the plate is submerged in the acid bath, the engraver can obtain fine and varying shades of gray that closely resemble watercolor washes. although the name contains the word “tint”, this is a black - and - white printing process; aquatint plates can often be hand colored, however .
used to describe a binding bearing the coat of arms of the original owner, or with bookplates incorporating the owner’s arms .
copy that belonged to someone connected with the author or the contents of a book .
hard front and rear covers of a bound book which are covered in cloth, leather or paper. “original boards” refers to cardboard - like front and back boards, from about 1700 to 1840, used as temporary protection for books before their purchasers would have them bound. of particular value to collectors as evidence of a very early form of the book .
sheet printed on one side, typically for public display, usually larger than folio size (a folio being a broadside - size sheet printed on both sides and folded once, to make four pages) .
binding material made from cowhide—versatile, durable, usually tan or brown in color, of smooth texture with no or little apparent grain. readily marbled (“tree calf”), mottled, diced, colored, polished, tooled in gilt or blind, even scented (known as “russia”). reverse calf, with a distinctive suede - like texture, is occasionally used .
process by which the contents of a book are inspected for completeness, checking against internal evidence, the table of contents and / or plate list, and reference works. also a shorthand bibliographical description of a book’s composition by its leaves and signatures, rather than its pages. a - c, for example, would indicate a quarto volume composed of three signatures or gatherings of eight pages each for a total of 24 pages .
printed note at the end of a text containing information about the printing of the book .
( 12mo) smaller than an octavo, typically less than six inches tall; smaller formats, such as 24mo and 32mo, are uncommon .
print - run from a single setting of type without substantial change. depending on demand, any number of printings can be made from a setting of type for example, a first printing might consist of 1000 copies, followed by a second printing of 2500 copies; in which case the book would have a first edition, first printing of 1000 copies, and a first edition, second printing of 2500 copies .
extra leaves—plain, colored or decorated—with which a bookbinder covers the insides of the book’s boards, therefore not part of the actual text block. the part of the leaf pasted to the inside of the front board is the front “pastedown, ” while the other part of the leaf that forms the first page of the book is the “front free endpaper”; the same applies to the rear pastedown and rear free endpaper .
illustration produced by carving lines into a metal plate. this is an intaglio process, in which ink is poured over the plate, then wiped from the surface, leaving ink only in the recesses made by the engraver’s tools. the image is then transferred by pressing thick dampened paper against the metal plate with great force—requiring engravings to be printed on a separate stock and separate press from any text .
list of mistakes and corrections noted after printing, often compiled on a separate sheet or slip and inserted into the text block .
book composed of sheets that are folded once and printed on both sides, making two leaves and four pages. typically above 14 inches tall. oblong folios are produced the same way but bound at the short edge, producing a book typically more than 14 inches deep .
edge of the book furthest from the spine. occasionally the text of a book will be put into a specialized book press and painted, often with a scene from the book or a landscape, so that the painting is invisible when the book is closed but visible when somebody bends the text and fans the pages—known as a fore - edge painting .
light brown spots that naturally appear on some papers due to oxidation as they age .
single sheet of paper that has been printed and folded to form the pages required by the book’s format. a single gathering of a quarto book, then, would be a sheet folded twice, containing four leaves, eight pages of text. . gatherings are identified by a letter, symbol or number in the lower margin of the first page (the “signature”) to make it easy for the printer to stack them in proper order for sewing .
leaf preceding the title page that bears the book’s title, originally used to identify the unbound text block. the book’s binder would often remove and discard the half title at the time of binding. remaining half - titles are therefore of interest to collectors .
satement of place, publisher and date of publication on a book’s title page .
from the cradle of printing, i. e. , any book printed before 1501 .
a group of books issued by the publisher as a discrete unit. at times, issue refers to timing, such as the “first issue” being offered to the public at an earlier date than the “second issue. ” at other times, it refers to specially planned different batches, such as the “trade issue” (widely available) in opposition to a “signed limited issue” (limited to a small amount of copies differing somehow from the trade issue and not widely available) .
illustration produced by transferring an image drawn on a carefully prepared stone to paper. the process allowed illustrations to more closely resemble the original drawings, paintings or sketches, as it gave the lithographer a freedom of line impossible to achieve in earlier intaglio and relief processes. it does not require the same sort of pressure as an engraving to transfer the image, but still has to be printed on separate stock from the text
printer’s error in pagination, typically skipping, transposing or repeating page numbers. not uncommon in older, larger books, it is not considered a defect, so long as all integral leaves are present .
recently accomplished, when used to describe a book’s binding that is not the original casing. some books bound recently are bound using techniques, tools and styles of the period of the book’s original issue; when done well this is called a period - style binding, a term that implies “modern” as well .
binding material made from goatskin—versatile, durable, with a distinctive pebbled texture and visible grain. readily stretched (“straight - grain”), crushed (flattened smooth), tooled in gilt or blind, inlaid with leathers of different colors. so - called because much of the raw material originally came from the tanneries of north africa (other types of goatskin bindings denoting regions of origin include levant, turkey, niger) .
binding executed with materials, tools and techniques to approximate the look of a contemporary binding from the period of the book’s publication. the term implies that the binding is modern, or recent, unless otherwise specified .
variation in text, illustration, design or format that allows a bibliographer to distinguish between different editions and different printings of the same edition, or between different states or issues of the same printing .
book given as a gift by its author, illustrator or publisher. sometimes refers to a volume given by a notable donor .
to supply a worn binding with a new spine, usually made of the same material as the rest of the binding and decorated to match. when feasible the binder may preserve the original spine and affix it to the new material, described as “rebacked with the original spine laid down. ”
to reattach a text block to its binding when it has become loose from its covers .
the front side of a leaf. the back side is known as the “verso. ”
printing or printings of a book made available for purchase by the general public on publication day (as opposed to a limited edition, often available only by subscription) .
when the edges of the text block (most apparent at the fore and lower edges) have not been trimmed to a uniform size, and are therefore characterized by a ragged or deckle edge. a book may be uncut but opened—i. e. , with a paper - knife—but all unopened books (see below) are by nature uncut as well .
when the folds of the sheets of paper making up the text block have not been trimmed away or opened with a paper - knife. while this makes it impossible to read all of the pages, it also indicates a probability that the text block has not been altered since leaving the printer .
binding material made from specially treated calfskin—durable, with a distinctive ivory color and smooth appearance. can be tooled in gilt or blind. so - called japan vellum (or japon) is a type of thick paper that has been polished smooth and given a glossy finish to resemble vellum .
the back or reverse side of a leaf or page. (see “recto. ” )
illustration or textual decoration made by cutting away from the surface of a block of wood until the reverse of the image is left in relief; this is then inked and pressed to the paper to leave the image. the woodblock, or multiple blocks, can be fit into the page along with the type, allowing text and illustrations to be printed in the same print run and share the same page (not possible with engravings, which require thicker, damp paper and much more force; nor with lithographs, which require a different printing process altogether). woodcuts preceded moveable type and are the earliest known printing technology .
engraving made with the graver or burin on the cross - section of a piece of boxwood; the harder wood and finer tools allow for more delicate, finely detailed images, while the block can still be set in the page alongside text and printed on the same stock as the text. while much older, wood engravings enjoyed an important renaissance in the late eighteenth century through thomas bewick and continued in popularity thorugh the nineteenth century .
tiny pinhole - sized trails left by bookworms as they eat through a text block. much more common in older books printed on handmade papers with a high rag content than in books printed on manufactured papers made from wood pulp with a higher acidic content .
paper coverings—plain, marbled or printed—attached by stitches, staples or glue to a text block to identify it and afford it some protection (though much more fragile than a binding in plain, cloth or leather - covered boards). more typical of slim and / or inexpensive volumes such as pamphlets. “self wrappers” are leaves, blank or printed, that are integral to the text block, conjugate with other leaves and from the same stock. “original wrappers, ” those attached at the time of issue, are scarce and extremely desirable to most collectors .
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hodder and stoughton. hardcover. condition: fair. fast dispatch. expedited uk delivery available. excellent customer service. no dust jacket. printed circa 1940. undated .
greening & co ltd. trade paperback. condition: fair. trade paperback legendary independent bookstore online since 1994. reliable customer service and no - hassle return policy. used. book: used, fair. bookseller inventory # 17111000018978500 .
hodder & stoughton, 1942. condition: fair. reprint. ships from the uk. former library book. shows definite wear, and perhaps considerable marking on inside .
greening and co, 1909. hardcover. condition: used; good. dispatched, from the uk, within 48 hours of ordering. this book is in good condition but will show signs of previous ownership. please expect some creasing to the spine and / or minor damage to the cover. aged book. please note this book is over 20 years old. it will therefore have tanned pages, age spots and plenty of shelf wear. however, for its age it is still very useable, and a great read .
hodder and stoughton. hardcover. condition: acceptable. this book is from our pre isbn stock and is therefore over 50 years old. it has a general appearance commensurate with its age including age effects to page edges, binding and boards. the dust jacket is missing. this book is from our pre isbn stock and is therefore over 50 years old. it will have a general appearance commensurate with its age including age effects to page edges, binding and boards. dust jacket is absent unless otherwise stated major signs of wear and tear. very well read. reading copy only. may not be for the collector or suitable as a present unless hard to find elsewhere secure daily posting from uk. 30 day guarantee .
london; greening; 1908, 1908. hardcover. condition: acceptable. photograph available on request .
hodder. hardcover. condition: fair. no jacket. b0012bucke binding: hardback - - - publisher: hodder and stoughton - - - date: none stated - - - edition: - - - pages: 256 - - - condition: fair - - - dj condition: none - - - description: all of the pages are tightly bound, no stamps or inscriptions, the only flaws are some scuffs to the boards, some fading to the spine, some small rips to the cover material at the spine edges, some tanning to the pages and a few of the pages have corner creases to them, a reading copy only. all of our books are shipped within 1 working day of purchase. you get a free bookmark with every order. buy with confidence - we upload a selection of high quality photographs with each listing, however if not already present photographs of any of our titles can be provided by request via e - mail. b0012bucke .
hodder and stoughton, 1942. hardcover. condition: used; good. fast dispatch. expedited uk delivery available. excellent customer service. no dust jacket. previous owners inscription .
hodder & stoughton, london, 1935. hardcover. condition: very good. uniform edition. hodder uniform hardcover reprint, 1935, in blind embossed red cloth, attractive tight clean wear - free bright copy, name on fly and half - title, spine lightly sunfaded with clear black titling. book .
hodder & stoughton, 1953. hardcover. condition: acceptable. a good condition volume with a good binding and clear, bright text. clean copy. the spine has bleached. acceptable: a readable copy. all pages and the cover are intact (dust cover may be missing). pages can include considerable notes - - in pen or highlighter - - but notes cannot obscure the text. most items will be dispatched the same or the next working day .
hodder & stoughton, 1935. condition: good. 1935. 26th reprint. 256 pages. yellow pictorial jacket covering red cloth boards. pages remain bright with light foxing to text block edge and colouring to the text block top. binding is firm with light corner bumping to the boards and tanning to spine. unclipped jacket has light edge wear all round and soiling to the covers. spine has light scuffing to the ends .
createspace independent publishing platform, 2013. pap. condition: new. new book. shipped from us within 10 to 14 business days. this book is printed on demand. established seller since 2000 .
greening & co. ltd, 1909. condition: good. 1909. popular edition. 312 pages. no dust jacket. red cloth boards. pages and binding are presentable with no major defects. minor issues present such as mild cracking, inscriptions, inserts, light foxing, tanning and thumb marking. overall a good condition item. boards have mild shelf wear with light rubbing and corner bumping. some light marking and sunning .
hodder & stoughton, 1953. condition: fair. 1953. 256 pages. no dust jacket. blue cloth boards. pages and binding are presentable with no major defects. minor issues present such as mild cracking, inscriptions, inserts, light foxing, tanning and thumb marking. overall a good condition item. boards have mild shelf wear with light rubbing and corner bumping. some light marking and sunning .
hodder & stoughton, 1939. condition: very good. 1939. 28th edition. 256 pages. yellow jacket over cloth boards. book is in better condition than most examples of this age. neat, clean, well bound pages with very minimal foxing, tanning and thumbing. small inscriptions and neat labels may be present. boards have mild shelf wear with light rubbing and corner bumping. some light marking and sunning. unclipped jacket has light edge wear with minor tears and chipping. mild rubbing and marking .
hodder and stoughton. cloth. condition: fair. dust jacket condition: fair. first published in 1907 but here in a 1920' s issue with ragged and edgeworn jacket. splits to the cloth at the ends of the spine. internally reasonably solid and clean bar one owner' s name. tanned pages. size: 12mo - over 6¾
- 7¾
tall .
hodder & stoughton, london, 1942. reprint. front free endpaper torn; page fore - edges foxed; binding tight; dust jacket a little worn and chipped. scarlet pimpernel series. used - good. good hardback in good dustjacket .
echo library, 2018. pap. condition: new. new book. shipped from us within 10 to 14 business days. this book is printed on demand. established seller since 2000 .
hodder & stoughton ltd, uk, 1000. hardcover. condition: good. 0 .
hodder & stoughton, 1951. hardcover. condition: vg / vg. vg hardcover book & vg dw (dust jacket), in stock shipped from our uk warehouse .
hodder & stoughton, 1940. hardcover. condition: vg. vg hardcover, red boards in stock shipped from our uk warehouse .
hodder and stoughton, 1934. hardcover. condition: near fine. a near fine copy, with no markings or inscriptions. no dust jacket .
wildside press, 2011. pap. condition: new. new book. shipped from us within 10 to 14 business days. this book is printed on demand. established seller since 2000 .
greening & co, london, 1909. hard back. condition: good. dust jacket condition: no dj. popular edition. illustrated red cloth, page edges tanned, the cloth is faded with a repaired split to spine, name on ffep 1st imp of the popular edition .
hodder & stoughton, london, 1942. hardcover. condition: fair. dust jacket condition: poor .
2013. pap. condition: new. new book. delivered from our uk warehouse in 3 to 5 business days. this book is printed on demand. established seller since 2000 .
hodder & stoughton, gb. hardback. condition: vg. dust jacket condition: vg - dw. reprint. c1919. name etc front endpaper. size: fcp .
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this immensely entertaining book, as stylish as its subject, tells the story of the man who became king of regency london society by sheer force of personality and has since fascinated people as diverse as baudelaire, barthes and virginia woolf. george brummell is a curiously modern figure; the first english celebrity famous for being famous, though kelly never loses track of the extent to which he was also a man in and of a particular moment. byron declared:' there are three great men of our age: myself, napoleon and brummell. but of we three, the greatest of all is brummell.'
it was a new, understated, less - is - more stylishness, in which extravagance was no longer to be expressed by perfume or jewellery (he banned both) but by perfection of line and exquisite cleanliness, the latter a sufficiently difficult and expensive enough business in 18th - century london to sort out the rich from the poor by itself .
one of the many pleasures of kelly' s text is a splendid chapter on brummell' s clothes, written with an informed passion for the tailor' s art. he brings into focus what a sexy style brummell' s was. he was tall, with an excellent figure, and the pale trousers he popularised, often made of stockinette or even chamois leather, were close - fitting, worn without underpants and framed by a dark cutaway coat to display the wearer' s thighs and groin with the candour of a ballet dancer' s tights .
the coat was artfully structured and padded to give at least the illusion of wide shoulders and a narrow waist. it all looked wonderful on brummell, less so on the averagely shapeless man, let alone the obese prince regent. later generations hung on to brummell' s basic idea, but evolved a less taxing version: the three - piece suit .
sang - froid and stoicism were attributes necessary for surviving the brutality of the 18th century, but brummell transformed these contemporary virtues into something more like modern' cool'. it was the essence of his style: he was witty rather than warm; sociable and attractive, without ever committing himself to relationships. kelly comments shrewdly that he liked the company of courtesans, being seen in dégagé pursuit of noted beauties and engineering situations that put girls at a disadvantage .
the only things he was serious about - his clothes and deportment - were so self - evidently absurd that his whole life looked like an elaborate practical joke. his humour was throwaway, and he won or lost fortunes at the gambling table with equal imperturbability, a posture that made him, for many years, impregnable .
brummell' s charm is apparent even after 200 years. everyone wanted to know him and, after reading this book, you want to have known him too. he was humorous and reliably witty; he had a very light touch. above all, he had the complete self - confidence that forced others to take him at his own valuation. though he was a rigorous snob, he was, paradoxically, the first commoner to rule english society .
his downfall came when he allowed himself to believe his own propaganda. cut by the prince regent, his temper flashed and he returned insult for insult.' alvanley,' he demanded,' who' s your fat friend?' but the prince regent' s power was real, the dandy' s fictive. george never forgot or forgave .
brummell' s 23 years of glory as petronius to prinny' s nero ended in a moment of hubris. twenty - four years of eclipse followed, culminating in his death of the man of pleasure' s typical disease, syphilis. to live rich and die poor is hardly unusual for a celebrity, but there is a peculiar ugliness about a man of balletically exact deportment and almost unprecedented personal cleanliness ending his days drooling and doubly incontinent .
kelly argues that syphilis was taking its toll years earlier. towards the end of his reign, there were signs that brummell was losing touch with reality. the depression and headaches he was beginning to suffer may also have been caused by syphilis. but, while this is a tragic story, it is a tragedy of fashion, of a butterfly broken upon the wheel. brummell ruined himself (and others) but probably, if he could have foreseen the end, he would have gone on regardless .
in classical style, he lived for fame and achieved it; he also had the saving grace of not taking himself too seriously. his biographer manages the remarkable feat of taking him just seriously enough, without ever descending into solemnity.
beau brocade is a 1916 british silent adventure film directed by thomas bentley and starring mercy hatton , charles rock and austin leigh . in eighteenth century britain a disgraced gentlemen becomes a highwaymen . it is adapted from the novel beau brocade by baroness emmuska orczy . 
beau brocade is a 1916 british silent adventure film directed by thomas bentley and starring mercy hatton, charles rock and austin leigh. in eighteenth century britain a disgraced gentlemen becomes a highwaymen. it is adapted from the novel beau brocade by baroness emmuska orczy.
beau brocade is a 1916 british silent adventure film directed by thomas bentley and starring mercy hatton, charles rock and austin leigh. in eighteenth century britain a disgraced gentlemen becomes a highwaymen. it is adapted from the novel beau brocade by baroness emmuska orczy.