Opalescent (Harmony Run Book 2)

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Youngson often includes a comparison with European birds. Although Youngson painted many of the images there are a number of distinctive images by extremely talented Indian artists interspersed throughout.

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Youngson was born in Aberdeenshire, the son of a clergyman. In he joined the Madras Infantry and was stationed first at Bellery and then at Jalna in Hyderabad. Purchased at Sotheby's 7th June , lot Catalogue description prepared for and on behalf of Arader Galleries by Kate Hunter. More information about this seller Contact this seller 2. Published by About this Item: , Redoute was first brought to Royal patronage by Marie-Antoinette in when she appointed him Dessinatteur du Cabinet de la Reine and granted him access to the Petit Trianon. From then until the end of his long life Redoute weathered the political storms of France with remarkable ease "he survived the difficult years of the Revolution and the Restoration and found approval with all the rulers who changed in quick succession" Hinz.

However it was ten years later that his most creative period began under the patronage of the Empress Josephine when she acquired the Malmaison Chateau in Rueil, south of Paris: "she was passionately interested in botany and horticulture, and the design and layout of the Malmaison chateau garden became her personal concern. She went to great efforts to collect beautiful and rare plants from all over the world and to cultivate them in her gardens " Hinz.

For more information about this painting, please contact Lori Cohen at Arader Galleries. Seller Inventory r.

What its Like to Run on the Moon

More information about this seller Contact this seller 3. About this Item: More information about this seller Contact this seller 4. Published by [Colombia: ] About this Item: [Colombia: ], Contemporary dark green straight-grained morocco, with floral blind-tooled border and gilt-tooled frame, spine gilt, top edge gilt, pink silk markers extremities a bit rubbed. Provenance: with the invoice of Francis Edwards dated October , made out to; Jacques Levy, his sale, Sotheby's, 20th April , lot 96 This album of beautiful original watercolours is accompanied by Empson's published account of his journey to South America: "Narratives of South America; illustrating Manners, Customs, and Scenery" London: A.

Empson, a print and watercolour dealer in Bath, spent three years travelling the northern part of South America, for the most part in what is now Colombia, from to It was my happiness to associate with many travellers who had established themselves in the Republic before any of the European nations had acknowledged the independence of Columbia, and had shared in the vicissitudes of the revolutionary war; but they found ample compensation for all their privations in the inexhaustible variety of the new world.

A field so rich, and so extensive, proved an irresistible temptation to the scientific man; the produce and commercial demands of so vast a continent were not less attractive to the merchant, while scenes of grandeur and beauty offered the most fascinating allurements to the imagination of the enthusiast. Empson was accompanied by his friend Robert Stephenson, son of the famous railway engineer. They returned with precious objects of pre-Colombian art, including some gold artifacts which Charles later exhibited in Newcastle-upon-Tyne.

Unfortunately, some of their possessions were lost in a shipwreck at the entrance to New York harbor. On his return Empson published his account of their adventures as "Narratives South America; Illustrating Manners, Customs, and Scenery: containing also numerous facts in Natural History, collected during a Four Years' Residence in Tropical Regions", , illustrated with facsimiles of his original watercolour drawings, many of which feature in this album. On our arrival, the river had swollen until the pressure of water above the Angostura forced the current through the strait with such violence, that it formed a cascade, or salto, as the natives call it.

Seller Inventory 72lib More information about this seller Contact this seller 5. About this Item: 4to. Original half maroon cloth, marbled boards, gilt, all edges gilt extremities worn, binding detached. Priscilla Susan Falkner "drew plants raised in the greenhouses of her family home, Fairfield demolished , 2 miles east of Liverpool and, by , had enough studies of lilies and allied plants for publication, a venture promoted by her friend, William Swainson.


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She modelled her proposed book, then tentatively named Drawings of lilies , on William Roscoe's Monandrian Plants 8 , with the plates to be accompanied by brief letterpresses based on her notes. Indeed, she even used Roscoe's book prospectus as a model for her own. In it, she advertised her Drawings of Liliaceous Plants arranged by Botanists in the genera Crinum, Amaryllis, Pancratium , to appear in ten numbers, each of five plates to be lithographed by Hullmandel, subscribers paying a guinea a number, others 27s.

On 4 March , at Walton on the Hill, Priscilla Falkner married Edward Bury , a railway engineer; the couple had at least three sons, born between and Fifty-one plates appeared in ten fascicles, the last in , but whether or not the text is Bury's is unclear. The plates are fine-grained aquatints, partly printed in colour and retouched by hand: the original drawings later went to Dumbarton Oaks, Washington. The published work has been praised as certainly one of the most effective colour-plate folios of its period Blunt and Stearn, After Priscilla Bury contributed eight plates to originals now in NHM Maund and Henslow's The Botanist and, in 1, brought out Figures of Remarkable Forms of polycystins, or Allied Organisms, in the Barbados Chalk deposit, with twelve plates of photographic prints of drawings made from microscopic preparations mounted by Christopher Johnson of Lancaster, from specimens collected by John Davy About there was a second edition with twenty-four plates with a photograph of diatoms by Bury and she seems to have issued further separate plates.

About This Artist

Cooke brought out another edition in and that included another plate of diatoms, signed P. Bury " D. Mabberley for DNB. Catalogued by Kate Hunter. More information about this seller Contact this seller 6. Preserved in 5 modern vinyl folders with pockets. Provenance: with correspondence to and from the Misses A. Phillips and the Glasgow Museums and Art Galleries regarding an exhibition of the watercolours in An exceptionally fine and comprehensive collection of original watercolour drawings of British flowers by Elizabeth Twining, the second of nine children of Richard Twining the celebrated tea-merchant and banker.

A carte de visite signed by Twining and dated is enclosed, as is a complete index, hand and type-written. The two-volume folio edition of her 'Illustrations of the Natural Orders of Plants' 2 vols. The 'natural order' is that of Alphonse de Candolle, who rejected the Linnaean or 'artificial' classification. The emphasis on the appearance of mature plants and their habitat rather than their physiology is echoed not only in her art but also in her lectures on plants, which as well as having a strong geographical theme also discussed how plants were used, particularly by women.

She believed botany had a place in the education of women of all social classes and her approach was that of 'mother educator', whether she was encouraging the poor to grow plants for flower shows or promoting the cultivation of window boxes in institutions such as workhouse wards, where the glory of plants could be shared by sick inmates and staff alike" Theresa Deane for DNB.

Twining's original watercolours for the "Natural Orders of Plants" are held in the extensive collection of botanical art at the Natural History Museum in London. They were gifted to the Museum in by the Misses A. For more information about this watercolour, please contact Lori Cohen at Arader Galleries. More information about this seller Contact this seller 7. Published by []. About this Item: []. Provenance: Fine gift inscription from the artist to her son William Bury on the verso of the front free endpaper dated May , further inscribed by the artist on the recto of the first blank.

These are followed by 9 "Proof plates from some of Mrs. Edward Bury's Drawings for the Botanist" June , engraved and hand-coloured. Bury, nee Falkner was the daughter of a wealthy Liverpool trader, and she began drawing plants raised in the greenhouses of her family home, Fairfield just outside Liverpool. In she published her famous collection of watercolours of lilies as "A Selection of Hexandrian Plants", the plates for which were engraved by the celebrated Robert Havell. The eight plates Bury later contributed to Maund and Henslow's "The Botanist" are tipped-in to the end of this beautiful album.

More information about this seller Contact this seller 8. Contemporary diced russia remains of gilt spine with part of label reading "Flore Bresilienne," very worn, upper cover detached. Provenance: with the engraved armorial bookplate of Joaquim de Sousa-Leao, first Baron and Viscount of Campo Alegre fl - , owner of substantial sugar mills in Pernambuco, on the front paste-down; with Sotheby's, November 21st, , lot 48 A very attractive set of drawings, most certainly predating the monumental work on the fora of Brazil by Martius and Endlicher: "Flora brasiliensis sive enumeratio plantarum in Brasilia hactenus detectarum.

The only clue as to the identity of the artist is a pencilled signature "Schonfeld" on drawing number A note loosely inserted by a descendant of Sousa-Leao records a Dutch provenance for the volume and suggests that the drawings were made by a Dutch artist under the auspices of Baron van Mollerus and J. Crommelin, Dutch diplomats at the Brazilian court from to The species illustrated include heliconia, tea, coffee, mimosa, passiflora, caladina, bignonia, bromelia, begonia, heliotrope, ru-ellia, impomea, commelina, hemerocallis, hamellia, cassia, amaryllus, hibiscus, globba, canna, pontederia, mollia, wittelsbachia, alstromeria, epidendrum, iris, sobelia, cactus, bougainvillier, etc.

Seller Inventory 72wcd More information about this seller Contact this seller 9. About this Item: A unique collection of 88 signed original drawings by the German-Jewish artist Rosy Lilienfeld, contained within two portfolios created consecutively in and , illustrating the short stories of Martin Buber's Die Legenden des Baalschem, parts one and two.

Executed in charcoal and pencil on paper, the The drawings illustrate 14 legends, originally transmitted orally in Yiddish, that recount the spiritual triumphs and teachings of the founder of modern Chassidism, Rabbi Israel ben Elieser c. With dramatic titles such as "The Fire Prince" and "The Martyrs and the Revenge" the tales illuminate moments of awakening and empowerment, where the child Baal Schem might pluck the heart from a demonic werewolf, or allow a dead bride-to-be to rise from her grave and be married.

Lilienfeld's powerful rendition of the Eastern European tales has a dreamlike, almost nostalgic quality-something of memories endowed with magic. Her stylistic choreography endows the suites deeply with a quality of interplay: suggestions of the Expressionists' modern, primal style in the service of powerful Jewish mythos, at a time when the traditional and the modern, history and legend, religious and secular mingled briefly in Frankfurt, before European Jewry was consumed by war.

While Lilienfeld did not survive, her work remains a document of that extraordinary moment. More information about this seller Contact this seller Published by Paris: ca About this Item: Paris: ca Paris: ca Redoute" lower left. The leaves have medicinal use in relieving fever and bowel troubles, both leaves and flowers are apparently used to cure scorpion sting. Redoute had, as pupils or patrons, five queens and empresses of France, from Marie Antoinette to Josephine's successor, the Empress Marie-Louise.

Despite many changes of regime in this turbulent epoch, he worked without interruption, eventually contributing to over fifty books on natural history and archaeology. Published by c. About this Item: c. Sheet size: c. Loose in later portfolio with white title label to front cover. Dali's unpublished illustrated manuscript for a Surrealist theatrical scenario.

Dali has illustrated his text with 3 original drawing: one small head in ink leaf 1 , a soft skull leaf 2 , and a piano with umbrellas mounted on a bed leaf 6. From the late s Dali had become fascinated by theatre and film. In he had designed and built the scenery for his friend Federico Garcia Lorca's play 'Mariana Pineda' before his collaborations with Luis Bunuel.

Dali continued to work on film scripts and set design throughout his life, working with Jean Gabin on 'Moontide' and designing the Surrealist dream sequences for Alfred Hitchcock's 'Spellbound'. Dali produced both the sets and the libretto for the ballet 'Bacchenale' set to the music of Richard Wagner and set designs for 'Labyrinth' and 'The Three-Cornered Hat' The setting is completely Surrealist and references Dali's own motifs and obsessions at the time - the 'Angelus of Millet' and naked cyclists, amongst others.

Dali painted his famous 'Architectural Angelus of Millet' in as well as 'Gala and the Angelus of Millet preceding the Imminent arrival of the Conical Anamorphoses'. He executed several paintings with imagery featuring naked cyclists at this time. This work probably predates Dali's important text 'Interpretation paranoiaque-critique de l'image obsedante de L'Angelus de Millet', published in Minotaure in June , which has affinities with Dali's drama. As a further indication that the subject was a considerable obsession for Dali, an alternate version with the same title exists, although it must be stated that the text is longer and more detailed in the present version.

Including correspondence between the author, artist and the publishers Jonathan Cape, Alfred A. Knopf and Penguin Puffin Books. The illustrations begin with the three fine pencil character studies Jill Bennett sent to Dahl who forwards them to his publisher and includes the full colour dustjacket artwork and the 71 original pen and ink drawings on 66 sheets used to illustrate the story. Also present is the original photograph believed to be Roald Dahl as a baby used at the beginning of chapter one, and the "Sparky" lettering used at the conclusion of the final page.

Correspondence includes two autograph letters from Roald Dahl to Jill Bennett, one confirming receipt of the trial drawings, the other confirming the commission and forwarding comments from Knopf's "wizz-kid editor" Bob Gottlieb; two typed letters from Alfred Knopf to Roald Dahl, one returning Jill Bennett's illustrations, the other giving layout measurements and deadlines for the jacket illustration; three typed letters from Kaye Webb at Penguin to Jill, the first sending the manuscript of 'Roald's new book', the second asking for an alternative illustration to the photograph due to concerns about the quality of reproduction and the last enclosing two copies of Danny 'in its Puffin coat'; three typed letters from Robert Bob Gottlieb at Alfred Knopf to Jill confirming receipt of the jacket artwork 'which has been hailed a triumph', another enthusing about the Danny pictures and advising that 'our half of your payment was sent out to you some days ago.

And I have written strongly to Tom Maschler, urging him to pay his share at once. All the above is housed and beautifully presented in two purpose made quarter black morocco solander cases. Having been published in the UK by George Allen and Unwin, a muddle occurred over the contract for Danny, provoking Dahl to investigate alternative publishers, and, impressed by Tom Maschler's energy, he transferred to Jonathan Cape. For the first time both the UK and US editions were to have the same illustrations. Jill Bennett had just completed the illustrations for the first paperback edition of Fantastic Mr.

The correspondence retained in the archive clearly shows that all three publishing houses worked together in order to bring the book to print and even though the Puffin edition would be the last to publish, it was Kaye Webb who, with the obvious approval of Roald Dahl, was instrumental in bringing Jill Bennett to the project.

In chapter two of Danny we meet for the first time a character who would become one of Dahl's most famous and best loved creations: The BFG. Jill's illustration of the Big Friendly Giant who, "three times as tall as an ordinary man," with "hands as big as wheelbarrows," appears on page 20 of the Jonathan Cape first edition.

Dahl's own manuscripts, notebooks and correspondence, including those for Danny, are held at the Roald Dahl Museum in Great Missenden, Buckinghamshire. Manuscript material pertaining to any of his major books is exceedingly rare. To have such a complete archive documenting the illustration process from the initial sight of the manuscript, retaining the three trial sketches, through to the execution and completion of the project, we believe is unique. Further details and images for any of the items listed are available on request.

Lucius Books welcomes direct contact with our customers. Published by England About this Item: England, An exquisite and unrecorded album of watercolours by Sarah Stone, the artist who made a decisive contribution to the early natural history of the Pacific and Australia, with a clear provenance to her family. The album is a dazzling testament to Stone's range and skill, and is also likely to be a key that will help unlock more details of her later career, because the great majority of works in the album are signed with her married name and therefore date from after her marriage to John Langdale Smith, by far the least known period of her work as an artist.

All-in-all, it is a fascinating and enigmatic assemblage, dominated by a series of Stone's signature depictions of sea-life, exotic birds and artificial curiosities, notably six wonderful depictions of parrots, including what seems certain to be a slightly ragged Rainbow Lorikeet still recognisable despite the vagaries of taxidermy in this era. The variety is incredible, ranging from a fine image of the mysterious "Tahitian Chief Mourner" acquired by Captain Cook, through to religious icons, bucolic barnyard scenes and a number of rural and coastal scenes that appear to show holiday-makers.

The latter images, which frequently feature a young couple, suggest that this is a very personal selection: it is difficult not to speculate that some of the scenes in England and the highlands of Scotland or perhaps Switzerland , may in fact be autobiographical. Sarah Stone c. She "spent hours in Sir Ashton Lever's museum, faithfully drawing and painting mounted birds, insects, mammals, fishes, lizards, fossils, minerals, shells and coral from all over the world, as well as ethnographical artefacts brought back from exploratory voyages, including those of Captain Cook" Jackson, Sarah Stone, p.

Such is Stone's connection to Cook's voyages that it has tended to obscure her profound importance for the early natural history of Australia, despite her central role in the illustration of First Fleet surgeon John White's Journal of a Voyage to New South Wales Although the album itself dates from the s, it is clear that many of the watercolours are much earlier. Indeed, the fact that the works are signed Smith not Stone , together with the condition of some of the birds, is the closest thing to a time-stamp that could be imagined on an undated watercolour: after because of the change in her name, but before the end of the s because their appearance broadly matches those in other works of this pioneering era, such as the awkwardly posed birds in the Museum Leverianum Of the six exotic parrots, one has been firmly identified as an African Grey, Psittacus erithacus Jackson, p.

As yet, the precise nature of the other two remains unknown, although one could feasibly be a Rosella. A fourth watercolour depicts three beautifully-rendered seabirds, two gulls and a tern, on a rocky outcrop overlooking a bay. The album also includes an uncommonly fine depiction of seven exotic shells, dominated by a large Charonia, as well as a fine Cone with purple striations and another with an opalescent green.

Another familiar inclusion in the Leverian were sharks and their teeth , which must explain why the present album includes a fine example of a shark, very similar to one depicted in Stone's so-called Sketchbook I see Kaeppler's Holophusicon, p. The last of the definitively Leverian works is an exceptionally important depiction of the Tahitian Chief Mourner, the religious dress of tapa, shells and feathers which fascinated Cook, who personally acquired the examples that ended up in the Museum.

Stone's depiction here is not unlike another of her watercolours now in the Bishop Museum see Kaeppler, Artificial Curiosities, p. A list of the watercolours and a fuller description is available. By the twentieth century the album was in the possession of Elizabeth Bateman, who worked at Hall's Bookshop in Royal Tunbridge Wells, Kent, from until her death in , and with her descendants until recently sold.

About this Item: Painting on paper framed and matted 25" x 21" under glass. Style: Cubism. No Binding. No Jacket. Framed and in Fine condition. Solid Provenance.

Additional matching framed ink lithograph of a footbridge over a stream possibly near Brooke's home. Signed by Illustrator s. Approx 60 linear feet 31 file boxes and 1 box of oversize material. The Archive of Meadow Run Press, sporting book publisher For two decades William D. Trego's Meadow Run Press set the standards for American sporting book publishing and issued a series of finely produced original works by new and established authors as well as sporting club histories, privately printed angling volumes, and a select group of reprints of neglected classics.

Many of the titles were also issued in limited deluxe editions with special bindings and additional material by the artists and authors; several were printed letterpress by Bradley Hutchinson of Austin, Texas. The books were uniformly well received by reviewers and readers alike, and several were reprinted on multiple occasions. The publisher, Mr. William D. He established the press as his interests in collecting evolved from American literature to American sporting books and to the outdoors.

From modest beginnings in with a reprint of a classic American angling work, he undertook to publish original works and commissioned suitable illustration art from living American artists including Peter Corbin, John Swan, John Rice, and others. The Meadow Run Press books reflected the publisher's style and something of his character as well: Tom McGuane, now a legendary figure in American outdoor writing, wrote to Mr.

Trego, "The books are beautiful and you've done such a fantastic job on this project - in every way! I've been writing for a living for almost three decades and this is, by far, my most pleasant publishing experience" autograph letter, signed, dated 27 December , in the archive. The Archive includes editorial, business, and production correspondence relating to the books and to their sale to mail-order and trade customers, with significant exchanges with authors Tom McGuane, Ernest Schwiebert, Tosh Brown, David Swanson, John Cole, and others, as well as with the artists commissioned by the press.

Trego views The Starlight Creek Angling Society as one of the most significant accomplishments of the press, and this is documented in the original typescript of the book, as well as in the extensively edited drafts and abundant correspondence with the author, who died, untimely, soon after the book was published. The other important discovery of the press was Jeffrey Cardenas, whose first book, Marquesa, has become a modern salt water angling classic. Biscotti's A Bibliography of American Sporting Books is a significant addition to the tradition of sporting reference works.

Trego is himself a well-regarded writer and one large archive box relating to his earlier articles is present. The archive also includes a variety of submission manuscripts for works that the press declined to publish. As a bookman, Mr. Trego is known for his his meticulous insistence on condition; all of the publisher's copies of books are in superb condition, most with warm inscriptions from the authors and often with original drawings by the artists.

Much of the smaller format artwork has been put into boxes to accompany notable typescripts, such as the raw, unedited typescript of Schwiebert's Henryville Fly Fishers, or the substantial archive of Harry Middleton material. Generally the condition of materials in the archive files is fine; some of the correspondence is on thermal fax paper and thus may present conservation issues in the longer term.

Trego is at work on a book on Harry Middleton and Starlight Creek, and retains all publishing rights in the Middleton material suitable acknowledgment of the owner of the archive would be made when the book is published. A full description of the contents is available. A substantial archive and a rich glimpse into American sporting publishing at the close of the twentieth century. Swanson, Water Music, publisher's copy, inscr. Carmichael; Cole, Fish of My Years, inscr. Swanson, Record Atlantic Salmon, bound proofs; R. Box 1A : Starlight Creek Angling Society : Original first draft computer printout typescript with numerous pencil and ink corrections by Harry Middleton, second draft typescript with numerous alterations , original illustration art ten pencil drawings by Peter Corbin, camera ready pages for book, trial case binding and slipcase for book, in custom green and tan cloth.

From: Manfred Nosbuesch Kuchenheim, Germany. About this Item: This is certainly the largest, most detailed and comprehensive documentation of an interior design project on the grand scale we have ever come across. King Peter I of Serbia commissioned August Bosse, the owner of a Weimar company for interior design, to supply designs and estimates for the about 80 rooms in the Belgrade New Konak, the shell of which was completed about The building was damaged during both World Wars and was completely altered and the site serves now as Belgrade's town hall.

The two enormous volumes come together with files containing hundreds of pages of duplicated typescript and manuscript pages of estimates and accosting, detailing the stucco, painting, carpentry, etc. Included is as well a hand-written account of the project by the colleague and wife of the designer August Bosse, Else Bosse , written in , from which we translated the most relevant passages.

Because of the construction of a new castle in Belgrade he was interested in interior design. During his travels in Silesia and Turingia he saw interiors which impressed him and came across the name of the Weimar company Bosse. We are lucky to have an account of the history of the project through a memoir by Bosse's wife included with the designs: 'We were encouraged by an agent to participate in working on the design plans. Hugo went there and visited the half-finished building and discussed the project with the court architect.

The rooms were to to be furnished in French styles and in the highest quality. It was a big task; about 80 rooms. Hugo loved the challenge; however, he mistrusted the matter a bit, because Belgrade had left with him a discomforting impression. He thought that such a lavish building would not be in harmony with the bad roads with deep potholes and modest houses On top of that the war [of the Ottoman Empire] with Serbia broke out in , which made Hugo wait and see.

He wanted to see the outcome of the war and if King Peter would still be able to have his plans carried out. In spring of the architect came to the court of Weimar, in order to see the progress of the plans. The king had already asked for a prospectus. We had to console him and promised, to resume work on the plan immediately. The war had ended favourably for Serbia. With full steam we went ahead with the work. At that time we had three daughtsmen in the studio, and in addition we involved architects from outside who participated in the execution of the designs.

We established a system, according to which the drawings where all of the same size, in watercolour or pencil, so that the different walls and views were depicted in a similar way. Many a night hour was devoted to this work, as it was most quiet then. Hugo got himself a Parlograph [a recording device] The other day the young girl would listen to the recordings with headphones and type [what Hugo had dictated] Although we had married during the art nouveau period, we had always had an affinity to classical styles.

Hugo introduced me to this world and we accquired many beautiful works on these styles which we studied together. It was beautiful to be creative together Both of us determined the styles for the different rooms; I prepared and executed the details.

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We had to harmonize the woodwork with the textiles and carpets etc. We were pleased with the success, as much as the king was impressed. He decided on materials for the various rooms and expressed his ideas and wishes. A big book with watercolours was made, in a dignifying pigskin binding with royal coat-of-arms and lettering. At the back of the volume was [and is] a leaf of recommendation [promising 'genuine German work' - 'echte deutsche Arbeit'].

The designs were photographed and accompanied by text explaining the main concepts of and ideas behind the designs. Then there was an album of the same size bound in Japanese gilt paper which contained the details in pencil at a scale of The photo album with explanatory text was sent to Belgrade for the parliament skupchina to be assessed. Our plans were accepted and we got the commission. Three estimates were made; one over , Mark for the Skupchina, another one over , Mark and one over one million Mark.

It was up to the king's choice; he would pay the excess from his private money. The detailed work on the designs went on up to Wood samples were provided, textiles and carpets designed, which had to be executed to the highest standards of the Parisian Savonnerie manufacturers. Then came the war which destroyed all hopes, work and designs. Only that it cost us 15, Mark! We started to demand our money; however, but to no avail.

They kept the photo album and we heard that a French company carried out the commission. The war of '39 destroyed - I think - the Royal Castle. The human works are easily destroyed. Even when the work did not come to fruition, it is a document of a bygone era'. The Castle was bombed by the Germans in and the Allies in resulting in a building so heavily damaged that it's appearance today is quite different.

Seller Inventory AB. Twining, 2 signed by Julia Boyd her niece? Tipped in to later half black morocco, gilt, marbled paper boards album. Provenance: By descent from the artist to the Boyd family. Elizabeth Twining was the second of nine children of Richard Twining the celebrated tea-merchant and banker. June ; Posey of spring flowers; Saxifraga granulata, Arnecliffe Churchyard May ; Saxifraga tridactylites, May ; Saxifraga hypnoides, ; Saxifraga umbrosa, Hesleden Gill; Geranium robertianum and Cistus helianthemum, ; Geranium pratense; Geranium sanguineum, Arncliffe ; Polemonium caeruleu, ; Convallaria polygonatum, ; Trollus europaeus, ; Vaccinum myrtillus, ; Menyanthes trifoliata; Primula farinosa; Cistus helianthemum; Colchicum autumnale, Arncliffe ; Rubus chamaemorus, ; Dryas octopetala, ; Parnassia palustris, Arnecliffe ; Pinguicula vulgaris; Galeopsis vericolor, August ; Butonius umbellatus, June ; Pyrola media, ; Campanula latifolia folding, spotted ; Geranium pratense, Arnecliffe July ; Apple "Grown at Sheen", About this Item: An 18th-century manuscript copy, in colour, of a lost map in the Islamic tradition, with dozens of inscriptions in Persian and extensive pictorial imagery showing numerous mosques, elephants in southern Africa and eastern India, other animals in Bengal?

No message, no text, nothing. Just an enormous, slimy, dragon-resembling lizard. Megan sunk her head to her chest. Where in the world was her sister? Startled from her hopeless thoughts, Megan sat upright at the sound of the low voice. Her eyes scanned the length of the man standing before her, and she pursed her lips together. She guessed he was probably about six-foot-two. With a smile, his concern faded away, and he reached behind his back to untie a grease-spotted apron. An internal alarm went off, making Megan feel extremely uncomfortable with his proximity, and she fidgeted with her hands as he stared at her, finally forcing them into her lap.

How could a voice so soothing go with a gruff-looking character like him? And what in the world was he doing sitting down so close to her? Virgin Islands, and has traveled extensively beyond. Sarah lives in Naples, Florida with her family. Rain, what was the worst part of being enslaved before meeting The Freedom Front? I was really struggling to keep it together. After we were relocated, my mom gradually slipped away into depression and anxiety. I was doing my best to be upbeat and positive for my brother, and also for Zi, but some days it was really tough to smile.

Rain, when did you first realise your special ability — perhaps without knowing it was something special? On my nightly jogs, I started searching for signs of nature. Being surrounded by concrete and dilapidated buildings will do that to you. And honestly, I missed Grandma Julia so much. We went hiking in the woods with her so much before New Segregation. She taught us to identify birds, plants, flowers, you name it. I wanted to see a bird so badly it was all I could think about. Eventually, I saw a blue jay, and another night, I spotted a sparrow.

I took off after it. But looking back, I can see how it all unfolded. In the dream, Jabari, who I had only seen once on the street, walked over to me and took my hand in his. I woke up feeling so desperate to get back to the dream. I felt so confused after that dream. Nothing really made sense until I met Jabari officially.

Rain, when did you reach the conclusion that someone has detected The Freedom Front? I mean, I know it came across like that for a while. I think I actually started to doubt myself. I think I got so jealous seeing him talk to her, I sort of lost it. In my defense, that was my first time really caring about a guy…and dealing with jealously for that matter. I forgave him. How could I not?

I was just so relieved to have him back and acting normal. It hurt my heart when there was friction between us. Rain, what about Calista — what is she willing to do to reach her goal? My cousin is willing to do anything to help us. She would put her own life in jeopardy just to help us. And all she wanted to do was to protect us. Absolutely not. Calista, like I said before, would die before she collaborated with Nicks. Hooray, it is finally release day for Nacreous! Thanks for stopping by the fabulous Release Day Blitz, organized by b00k r3vi3w Tours. Writing Playlist:.

Some authors swear by it. They have their playlist set in the background while they pen their latest manuscript. Not exactly. Music is very important to me. I believe in dance parties, and by dance parties I mean cranking up my I-pod to the music fitting my mood, be this salsa, classic rock, blues, country, classical, whatever, and dancing alone in my room or kitchen.

Yes, I said classical and country in the same list. My kids may or may not be in attendance. They like to watch and laugh. Sometimes, they join in.


  • Medieval Warfare: A History.
  • Kates Progress.
  • The Little Black Book of Mafia Wisdom: Secrets, Lies, Tricks, and Tactics of the Organization That Was Once Bigger Than U.S. Steel (Little Red Books)?
  • But as far as my writing process goes, the music is sort of my warm up. So I might turn on some music that fits my mood for parts of the story and listen to it in my car or at my desk before I write, but not while I am actually writing. I need it to be quiet in the room, so I can tell the story… Ahem, hear what my characters are trying to tell me. While I wrote Nacreous, and the other books in the Harmony Run Series, my favorite music warm-up to set the mood was Lorde.

    Specifically, the songs Team and A World Alone. In fact, if any of the books from my series could be made for film, I would beg producers to include one of those songs in the movies. My Writing Process:. I love using my dreams in my writing and have written a few of them into scenes in the Harmony Run Series. When I got to the end of the corridor, I opened the last door, and he was standing there facing me. I woke up sobbing…About a year later, a psychology professor at my university asked some of us to share dreams with him so he could demonstrate dream analysis.

    I bravely raised my hand, this was huge for me, since I am very shy in person , and shared my dream in vivid detail. That student shared a dream about not being able to make a goal in a soccer match, and the professor dissected his dream in depth for fifteen minutes. Years later, I incorporated that dream, adding on some twists and turns of course, into book one from the Harmony Run Series, Prismatic. I take heaps of notes.

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