Edwin One Being Living

Hambly, Barbara...re. Bram Stoker: Those Who Hunt the Night, Westminster, Maryland, U.S.A. Del Rey 1988
ISBN: 0345343808 Near Fine Edwin Herder

....Quarter bound in black cloth with red lettering on spine, 296 pages, deckle front edge, headband, former owners name on half title page, dust jacket is in NF condition. "Location: London - Time: The period of Sherlock Holmes - Subject: Vampires - The vampires had been living in London since the time of Elizabeth I, existing without suspicion. But now they were being ruthlessly murdered by someone or something that ripped their coffins open for the light of day to burn them to ashes. The killer worked by day, but no vampire could endure the daylight to seek for and destroy the murderer. Against all their traditions, they had to turn to a mortal human for aid. Thus it was that Professor James Asher, one time spy for His Majesty's government, returned fron his class at Oxford to find his young wife in a strange coma and Simon Ysidro, oldest of the London vampires, waiting for him. Ysidro was polite and urbane, but he left no doubt of his power to locate and place his spell on the young woman, wherever she might flee. If Asher wanted to save her, he must find the destroyer of the vampires for them. Asher had no choice but to agree. But if he found the killer, what must happen then? What would inevitably be the fate of any mortal human who learned the identities and locations of the vampires? The answer was all too obvious. Whether he succeded of failed, it seemed that Professor James Asher was Doomed! Any image directly beside this listing is the actual book and not a stock photo! First Edition NF Hard Cover 8vo - over 7¾" - 9¾" tall

[SW: FICTION FANTASY MYSTERY DETECTIVE ASHER....Quarter bound in black cloth with red lettering on spine, 296 pages, deckle front edge, headband, former owners name on half title page, dust jacket is in NF condition. "Location: London - Time: The period of Sherlock Holmes - Subject: Vampires - The vampires had been living in London since the time of Elizabeth I, existing without suspicion. But now they were being ruthlessly murdered by someone or something that ripped their coffins open for the light of day to burn them to ashes. The killer worked by day, but no vampire could endure the daylight to seek for and destroy the murderer. Against all their traditions, they had to turn to a mortal human for aid. Thus it was that Professor James Asher, one time spy for His Majesty's government, returned fron his class at Oxford to find his young wife in a strange coma and Simon Ysidro, oldest of the London vampires, waiting for him. Ysidro was polite and urbane, but he left no doubt of his power to locate and place his spell on the young woman, wherever she might flee. If Asher wanted to save her, he must find the destroyer of the vampires for them. Asher had no choice but to agree. But if he found the killer, what must happen then? What would inevitably be the fate of any mortal human who learned the identities and locations of the vampires? The answer was all too obvious. Whether he succeded of failed, it seemed that Professor James Asher was Doomed! Any image directly beside this listing is the actual book and not a stock photo!]

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Fildes, Sir (Samuel) Luke: "The Doctor" Published April 10th 1893 by Thomas Agnew & Sons, Painted by Luke Fildes, R.A., Photogravure Gouipil, printed in Paris, Plattengrösse 60 x 80 cm, Blattgrösse 60,5 x 94,

Sir Luke Fildes's popular masterpiece, "The Doctor", which refers to the experience of the death of his son. The scene is structured in two grounds, separated by the central figure, the little child who is lying ill on a hurriedly prepared bed.
She has survived the night (we are advised about this by the dawn we can see coming in through the window). The background is lit by the natural light coming from the window and it is dominated by the figure of the father. His hand is on the shoulder of his desperate wife, who is withdrawn into herself, while he stands up firmly and his face is knitted and turned towards the doctor - he is taking part in the situation attentively. Besides, the direction in which he is looking and his being lit by both the natural and the artificial light (as we can see from the colour of his face and the double shadows we can see behind his body), show us that he is the meeting point between the two grounds.
In the foreground we can see the figure of the doctor and the child. The physician has his back bent towards the little girl. His right hand is leaning on his leg, as if he was about to get up, but his left hand is holding his face: in his figure there is a contrast between dynamism and being static. This contrast is underlined by his look, turned towards the girl and at the same time full of deep wonder. The doctor wishes to save her, but he is unable to do it.It is the drama of the experience of one's own limit.
The late-Victorian public really appreciated this image of the quiet heroism of the ordinary doctor: the hero is not the one who does incredible things, but the one who fully lives his everyday life, the one who does what he is asked to do.
After looking at this painting, one doctor of sir Luke's days told his students: "a library of books would not do what this picture has done and will do for the medical profession in making the hearts of our fellow men warm to us with confidence and affection".
The Doctor was commissioned by Henry Tate in 1887, since then the image has been used in many different forms. The United States and Britain put it on postage stamps, political cartoonists lampooned it, and the American Medical Association used it in a campaign against socialized medicine.
There are different stories about the origins of the painting. The most likely is that Tate gave Fildes the freedom to choose the subject matter himself. Fildes eldest son, Phillip died Christmas morning, 1877. He was attended by Dr. Gustavus Murray, who impressed Fildes greatly with his care and attention to his dying child. The painting has a happier ending than real life did, as the child has survived through the night and dawn is breaking. Fildes chose his subject matter immediately, although the painting was not begun for four years, and then only with urging from Tate. Another version has Queen Victoria ordering the painting to commemorate the service of her own physician, Sir James Clark who she was said to have sent to care for a servant's sick child. Fildes went to great lengths to achieve realism in this painting, by constructing the cottage scene in his studio in London, and painting at dawn to catch the unique character of dawn light. Fildes is well known in the context of the social realist movement depicting the plight of the poor, his painting Applicants for Admission to the Casual Ward was so popular police had to keep back the large crowds of onlookers. Fildes was also a talented illustrator whose work appeared in magazines and books, most notably Charles Dickens's last book Edwin Drood. Fildes like most painters of his era made most of his income from painting portraits for wealthy clientele, but he made the most impact with social pictures.
SIR (SAMUEL) LUKE Fildes (1844-1927), painter, was born at Liverpool 18 October 1844, the son of James Fildes, of Chester, by his wife, nee Fogg. Educated privately at Chester, he studied art successively at Warrington, at the South Kensington Art School, and the Royal Academy Schools. Towards the end of the 'sixties he began practising book and magazine illustration, working for the Cornhill Magazine, Once a Week, and the "Graphic"; to the first number of the Graphic he contributed in 1869 a drawing, 'The Casuals', which anticipates the subject of one of his most famous pictures, painted five years later. Through (Sir) J.E. Millais Fildes was brought into contact with Charles Dickens, and produced the set of illustrations which in August 1870 appeared in the volume containing Dickens's unfinished novel The Mystery of Edwin Drood. His first exhibit at the Royal Academy, in 1868, was a drawing, 'Nightfall' ; in 1872 he exhibited for the first time a picture, 'Fair Quiet and Sweet Rest' (now belonging to the Corporation of Warrington), which was followed in 1873 by 'Simpletons' and in 1874 by 'Applicants for admission to a Casual Ward'. The last of these was Fildes's first great public success in the then popular anecdotal and melodramatic vein, which for a considerable period he continued to exploit: the picture, the significance of which was emphasized by a quotation from Dickens, is now at the Royal Holloway College. 1874 was also the year of Fildes's marriage to Fanny, daughter of William Woods, of Warrington, and sister of the painter Henry Woods, R.A. (1846-1921). Fildes's brother-in-law soon afterwards settled permanently in Venice, and as a result, Fildes was brought into frequent contact with that city, being also to some extent influenced by certain contemporary painters working there, notably an Austrian artist who at the time enjoyed a great vogue, Cecil von Haanen. Scenes from Venetian life were thenceforth for a while frequently treated by Fildes alongside of those anecdotal subjects in an English "setting by which he had established his position as a popular painter. Among his pictures in the former category 'An Alfresco Toilet' (1889 ; now in the Lady Lever Art Gallery, Port Sunlight) was an immense success; and in the latter group there should further be mentioned 'The Widower' (1876; this and the 'Casual Ward', already mentioned, each realized oe2,100 at Christie's, 28 April 1S83); 'The Return of the Penitent' (1879); 'The Village Wedding' (1883); and, Fildes's most widely known painting, 'The Doctor' (1891; now in the Tate Gallery). Meanwhile, Fildes had in 1879 been elected A.R.A. and in 1887 R.A., his diploma work being 'A School Girl', exhibited in 1888. He soon became an influential member of the Academy council; and he was also for many years chairman of the Arts Club.
The portrait of his wife exhibited by Fildes at the Academy in 1887 attracted much attention, and gradually the artist was led to devote himself almost exclusively to portraiture, gaining a large and fashionable clientele. In 1901 he was commissioned to paint a state portrait of King Edward VII (exhibited in 1902) followed by one of Queen Alexandra (exhibited in 1905; both are in the Blue Drawing Room at Buckingham Palace); and in 1912 the task of painting a state portrait of King George V was also allotted "to him. A fluent, facile realism is characteristic of Fildes's work as a portrait-painter and may be regarded as the keynote of his art generally, explaining its wide popularity at the time. Pictorially, Fildes stands for that average modernity of handling which gained ground in European painting as the conquests of French impressionism were gradually absorbed.
Fildes, who was knighted in 1906 and created K.C.V.O. in 1918, died 27 February 1927 at his house, 11 Melbury Road, Kensington, built by Richard Norman Shaw. His wife, who also practised painting, and exhibited at the Academy in 1878 and 1883, died in April 1927; they had four sons and two daughters. A selection of Fildes's works was exhibited at the Royal Academy Winter Exhibition in 1928.
[The Times, 28 February 1928; Algernon Graves, The Royal Academy of Arts, a complete dictionary of contributors and their work., vol. ii, 1905; subsequent Royal Academy Exhibition Catalogues, including.that-of the Memorial Exhibition of 1928." T. BOBENIUS, D.N.B.

W. W. Fenn: 'Our Living Artists: Luke Fildes, A.R.A.', Mag. A., iii (1880), pp. 49-52; D. C. Thomson: 'The Life and Work of Luke Fildes, R.A.', A. Annu. (1895), pp. 1-3; L. V. Fildes: Luke Fildes, R.A.: A Victorian Painter (London, 1968); B. Myers: 'Studies for Houseless and Hungry and the Casual Ward by Luke Fildes, R.A.', Apollo, cxxiv/952 (1982), pp. 36-43 Hard Times (exh. cat. by J. Treuherz, Manchester, C.A.G., 1987-8)

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Anderson, Jonathan & Low, Edwin. ATHLETES & GYMNASTS Limited Slipcased Edition. Santa Fe, NM: Twin Palms Publishing, 2002.
Hardcover. First Edition. First Printing. 192 pages. As New in As New Dust Jacket. Collection of toned black-and-white photographs. Published as a Limited Slipcased Edition in a small and limited print run. Should not be confused with the regular editions of the books, which were released subsequently and separately. A handsome production by Jack Woody: Oversize-volume format. Pictorial hard boards with titles on spine, as issued. Photographs by Jonathan Anderson and Edwin Low. Two separate volumes encased in one handsome slipcase. The slipcase is in elegant black silk cloth with gilt titles embossed on spine. Printed on thick coated stock paper to the very highest standards. In pictorial DJ's, as issued. The first volume is called "Athletes". The second, "Gymnasts". Published on the occasion of the landmark exhibition of the same name held at the National Portrait Gallery in London in 2002. Presents the most magical collaboration thus far between the two photographers who have worked together as the photographic team of Anderson & Low since 1990. Based in London, the two met while sharing a darkroom and have since collaborated on a broad range of photographic projects encompassing portraiture, architecture, and male nudes. Recently, their work has focussed on various aspects of sports and the lives of athletes. "Athletes" features photographs taken during the three years prior to the 2000 Olympics in Sydney. The photographers attempted to photograph an athlete from virtually every country that participated in the Olympics. The result is some of the most spectacular and most memorable images ever taken on the subject. The shot of a swimmer proudly standing on the floor of a swimming pool evokes every human being's desire to be "at home" in the water as much as on solid ground. "Gymnasts" features photographs of the incomparable National Danish Gymnastic Team. Every shot shows the team of mostly male gymnasts, completely naked, emphasizing the beauty, power, and grace of these athletes as they assume Greek-classical poses, work through routines, and defy gravity in breathtaking "aerial" photographs. The homoeroticism is subdued but unmistakable. It is powerful because it is restrained. Only the very best of Bruce Weber's sports photographs and Annie Leibovitz's "Olympic Portraits" come close to what Anderson & Low have achieved in the best photographs of this magnificent book. A "must-have" title for Anderson & Low collectors. <b><i> This copy is prominently and beautifully signed in black pen by Jonathan Anderson and Edwin Low. The number of signed copies of the Slipcased Set was small and is now completely sold out. The two books are now being sold separately, which makes this Slipcased Set very special indeed. This is the last remaining set available online and has no flaws, a pristine beauty. A rare signed set thus. </b></i> 70 duotone plates. Two of the most brilliant living photographers. A flawless collectible copy. . ISBN 1931885044. Signed by Author.

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