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Publicado por Newsweek, New York, 1963
Librería: Andre Strong Bookseller, Blue Hill, ME, Estados Unidos de America
Original o primera edición
Hardcover. Condición: Very Good. First edition. 9 1/2 x 11 3/4 inches. 162 pages. Condition is Very Good, light edgewear and soiling to covers and spine, text and illustrations are very clean, binding is tight. STK.
Publicado por Blackie, London
Librería: CHARLES BOSSOM, Ely, CAMBS, Reino Unido
Hard Cover. Condición: Good. Colour Frontis & b/w Line Drawings Ilustrador. Illustrated colourful boards. No date. No inscription. 96 pages. Writers: Stan Hope; A W Seymour; Grant Bell; W K Holmes; J G Fyfe; J P M; John Grex; S Beresford Lucas. Size: 5.5" By 7.25" Tall'.
Condición: Good. Estado de la sobrecubierta: No DJ. Colour Plates & b/w Drawings Ilustrador. No ffep. Yellowing to pages. Colour frontis plate. 125 pages. THE RED JUNKby G. E. Hoperoft; THAT'S YOUNG TOMLINSON by Wallace E. Arter; SKY QUEEN'S FINEST FLIGHT by B. C. Lawley; THE PERIL OF SIR AUSTIN byMartin Bishop; CONWAY CLEARS HIMSELF by S. Beresford Lucas; AN AID TO THE DEAF by Lt.-Col. A. Lloyd Owen; BRANDO OF THE FOURTH by John Denham Strange; HOLIDAYS START WITH A THRILL byK. Nelson Abbott; THE SPEED KINGSby G. Gibbard Jackson; THE SCARLET TRAIL by Eric Wood; LONE ASH MIRESby Martin Bishop; WICKS OF 'ARRY'S 'OUSE byR. A. Moss; A JOB FOR THE HOLIDAYS by William Carver Haynes; NOT CRICKETby A. E. Seymour; THE UNKNOWN CHALLENGERS by Martin Bishop. COLVILLE CAVES by M. M. Stevenson; TRUANTS IN LUCK by M. R. Sherlock; QUEER CARGO by W. H. Morris; ONE GOOD TURN by F. S. Blomfield; THE ART OF ARTHUR AMES by M. M. Stevenson; BY RIGHT OF CONQUEST by A. W. Seymour; THE CLASSROOM FEAST by P. Martin.; Binding a bit loose in places but generally sound. Size: Illustrated Boards.
Librería: R.G. Watkins Books and Prints, Ilminster, SOMER, Reino Unido
concerning his contribution to the Artist Corps.
Año de publicación: 1885
Librería: Sulis Fine Art, Corsham, Reino Unido
Arte / Grabado / Póster Ejemplar firmado
Condición: used. After John Seymour Lucas, RA RI, engraved by Eli Marsden Wilson, signed by both artists in pencil below the image. Published by The Art Journal, London Virtue & Co. Presented in a card mount. Signed. Size: Medium (15-30cm) Framed: No Style: Realism.
Publicado por B.T. Batsford, London, 1900
Librería: Shadyside Books, Pittsburgh, PA, Estados Unidos de America
Original o primera edición
Hardcover. Condición: Fair. First edition. 1900, First edition. Hardcover, green cloth. Complete with 100 b&w plates. Book measures 7.5 x 9.5 inches. Bookplate on the front pastedown of John Seymour Lucas, RA, the British painter and costume designer. Additionally, there is a handwritten note in blue pencil on the half-title that reads "Presented by H.R.H. Princess Louise, Duchess of Argyll / J. Seymour Lucas, Xmass 1901." Princess Louise was the sixth child of Queen Victoria. We are not sure if the note is in the Princess' hand, or Lucas', or perhaps someone else entirely. Overall this is only a reading copy or candidate for rebinding. The plates and pages are clean and unmarked, but all are LOOSE from the binding. Front board present, but also loose. Spine cloth also present but detached. A nice book with interesting provenance, but certainly in need of rebinding.
Publicado por Vanity Fair Dec 14, 1899
Librería: Robert Frew Ltd. ABA ILAB, London, Reino Unido
Arte / Grabado / Póster
Drawn by ? Original chromolithograph. Page size approx. 38 x 26.5cm. Image size approx. 35 x 19cm. Library stamp to verso, image unaffected. With original leaf of biographical text.
Publicado por UK, 1892
Librería: Lasting Words Ltd, Northampton, UK, Reino Unido
Miembro de asociación: PBFA
Manuscrito Original o primera edición Ejemplar firmado
Paper. Condición: Good. First Edition. An Original Hand Written Letter and Signed by Artist and Costume Designer John Seymour Lucas. Dated 1892. Letter of thank you about becoming a member of the Society. John Seymour Lucas RA 1849-1923 was a Victorian English historical and portrait painter, as well as an accomplished theatrical costume designer. Size is 180mm x 112mm. Condition is good. Folding crease. More images can be taken upon request. Ref17349. Signed by Author(s).
Publicado por Aldus Books 1971,, 1971
Librería: Harteveld Rare Books Ltd., Fribourg, Suiza
in-4to, richly illustrated, bound jacket / Wrappers. Please notify before visiting to see a book. Prices are excl. VAT/TVA (only Switzerland) & postage.
Publicado por Early 20th Century
Librería: Sulis Fine Art, Corsham, Reino Unido
Arte / Grabado / Póster Ejemplar firmado
Condición: used. With blind stamp for Print Sellers Association. Signed. On chine-collà . Size: Large (30-60cm) Framed: No Style: Realism.
Publicado por [London], 18. Dezember 1920., 1920
Librería: Kotte Autographs GmbH, Roßhaupten, Alemania
Manuscrito
1 S. 4to. An den Maler, Kunstautor und Sekretär der Society of Graphic Arts Frank L. Emmanuel (1865 1948): I much regret I have no black + white work by me. I seldom do any now; Mr. Carmichael would I have no doubt put you in the way of borrowing some I chose from. All my best work in Black + White was done for the Graphic, and Mr Thomas would (if he could) oblige me by lending [.]".
Publicado por 1886, 1886
Librería: Jarndyce, The 19th Century Booksellers, London, Reino Unido
160 ALsS, ANs & telegrams, all but one laid on to rectos only of a 4to album. Contemp. full red crushed morocco over heavy boards, elaborate gilt borders, lettered 'Letters of Congratulation.' on front board, raised gilt bands, compartments ruled & dec. in gilt; a little rubbed, corners bumped. There are two versions of Lucas' bookplate, one dated 1895, and a printed quote from Gilbert mounted on to the inner board on 'the influence of pictures'. The artist's own elaborately bound collection of congratulatory missives received on his election as an Associate of the Royal Academy in 1886. One earlier letter informs him of his acceptance as a member of the Institute of Painters in Water Colours in May 1877. The letters, often deeply affectionate, are from family, friends (Edmund Gosse), fellow artists (Linley Sambourne, John Tenniel, Marcus Stone), his suppliers, members of St Martins School of Art, from the Royal Academy to prepare his diploma, various publishers, and even his banker. A notably long and gushing letter comes from the artist Arthur Brandish Holte: '. I can tell you that it gives me joy to the bottom of my heart to be able to congratulate you even as much as tho' you were my son'. 'Doubtless you will have many who will write you kindly letters, but I venture to think that there are very few who have known you as long as I have and who knew you when you were "Little Jack".' Gosse, the English poet, author and critic, writes to Lucas the day after his election: 'Pray accept my cordial congratulations on the result of last night's election. It recalls to me our talk last summer under the elms of Trinity. I hear your closest rival was W. B. Richard'. John Seymour Lucas, 1849-1923, was a historical and portrait painter, as well as an accomplished theatrical costume designer. Fascinated by art from a young age, 'Jack' as he was affectionately known, was originally trained as a woodcarver, before being taught art by his uncle, the society portraitist John Lucas. He entered first the St. Martin's Lane Art School and later the Royal Academy Schools. Here he met fellow artist Marie Cornelissen from France, whom he married in 1877. Lucas' artistic education included extensive travels around Europe, particularly Holland and Spain, where he studied the Flemish and Spanish masters. He first exhibited at the Royal Academy in 1872, was elected an associate member in 1886, and became a full Royal Academician in 1898. As a costume designer of note, he worked for Henry Irving and Ellen Terry. Lucas co-founded the Kernoozer's Club to promote the study and collection of historical costume and armour. Letters from a number of its members, on distinctive headed paper, are included in this album.
Año de publicación: 1859
Librería: Hordern House Rare Books, Surry Hills, NSW, Australia
Ejemplar firmado
Signed and inscribed 'no 2 Admiral/ Sir G.F. Seymour *.*.*./ John Lucas.' (on reverse); oil on canvas, unlined 1428 x 1118 mm. A magnificent Pacific painting: the superb large portrait of Admiral Sir George Seymour as commander-in-chief at Portsmouth. This imposing full-length portrait depicts George Francis Seymour, not long after he had served as commander-in-chief of the Pacific Station, at one of the high-points of his career, as commander-in-chief at Portsmouth, with his flagship HMS Victory resting at anchor behind him and proudly wearing his naval uniform and all the regalia of his rank. "An intelligent and resourceful officer, successful in all his commands" (ODNB), Seymour had first shipped as a 10-year-old in 1797 under the command of Edward Riou, who had himself served with Cook on the third voyage and been captain of the Guardian when it wrecked en route for Port Jackson in 1789. After a brilliant naval career including some 20 years constant action against the French, Seymour became a key advisor to Parliament and King in the 1820s and 1830s, and a Lord of the Admiralty in 1840; frustrated by politics he was given another command when appointed to the 80-gun HMS Collingwood and sent to the Pacific to resolve a situation drifting towards open warfare with the French. During his command of the Pacific Station, and by insisting on diplomacy over armed conflict, Seymour would change the course of Pacific history with significant repercussions in Sydney and leading to substantial realignments within the broader Pacific region, and of the colonial relationship with Britain. Lucas, a prominent society painter of the early Victorian era, painted portraits of notables ranging from the Duke of Wellington to Queen Adelaide, and from the Duchess of Kent to Albert, Prince Consort. His accomplished and frequently very large portraits were much sought after - he "caught likenesses cleverly" (ODNB) - and his magnificent depiction of the Admiral in all of his splendour must have greatly pleased his subject. The Sir George Seymour, built in Sunderland, Tyne and Wear in 1844 by Somes Brothers, was named for him, an indication of his significance at the time he took up his post as commander-in-chief in the Pacific in the same year. She made one voyage transporting convicts to Australia and at least one carrying emigrants to Australia and one to New Zealand. A portrait of the ship is held by the Royal Museums Greenwich (may be sen online at collections.rmg.co). She was one of the "First Four Ships" to carry the Canterbury Association's first settlers to New Zealand. Significance to Australia Seymour's main task as defined in 1844 was to resolve the question of Tahiti and in particular the "Pritchard Affair", the tense stand-off between British and French naval officers about the colonial future of Tahiti. This had significant implications for "not merely Tahiti but the whole of the Pacific" (Bach, The Australia Station, p. 26). It is to be remembered that until the events which Seymour's careful diplomacy set in train, the Pacific Station was based in far-distant Valparaiso. Apart from the obvious significance of the Pacific Station in general, the repercussions of Seymour's activities in the Pacific would reshape the geopolitics of the Pacific, and certainly caused significant consternation in New South Wales; the recognition of French sovereignty over Tahiti was found to be so alarming that serious petitions were sent to Whitehall begging the government to reconsider. At the same time Seymour's actions impacted on the strong trade that had existed between Sydney and Tahiti since the days of the First Fleet. Seymour was seen as a masterful diplomat, and returned to England in something like glory. However, while a few in Britain felt that a wrong step had been taken, it was really only in the Pacific that his decisions continued to be questioned, and only in Sydney - where some local politicians and traders looking further into the future saw the likely impact of ceding Tahiti to the French - that there was a real reluctance to accept what was otherwise the fait accompli. Seymour not only witnessed, he was in a sense the midwife to, the creation of French Polynesia. His carefully conceived decision not to aggressively protect Tahiti against the French appalled policy hawks in Sydney, who made a strong case for armed intervention, petitioning Queen Victoria directly. In doing so they continued to express their anxiety about the apparent turning away of the British government. To the closest stakeholders in the Pritchard Affair and the situation in the South Pacific, the colonial government in New South Wales, British recognition of French authority in Tahiti was both alarming and even incomprehensible: the events provided an important catalyst towards self-government (the first Legislative Assembly was sworn in a decade later in 1856). One of the most significant long-term effects was that cannier politicians began to imagine a future in which Australia took the lead in the entire region, because they foresaw that by effectively cutting the southern Pacific in half, a major realignment would have to take place. The loss of Tahiti, and indeed the fading influence of Valparaiso as centre of command for the Pacific Station, left the field open for Sydney. This may have been well understood by the Admiralty: in 1848 Sydney was upgraded to hosting an "Australian Division" of the East Indies Station (prior to that having been only a remote outpost of the East Indies Station). Just a decade later, in 1859 the Australia Station was inaugurated. The shape of the Pacific had changed). . Provenance: Commissioned by Admiral Seymour personally, given by him to his third daughter Emily Charlotte (1825-1892, who had sailed with her parents on the Collingwood to the Pacific). She married William Richard Ormsby-Gore (second Baron Harlech, 1819-1904) in 1850. The portrait was exhibited at the Royal Academy in 186.