Carrick edward 1905 (6 risultati)

First American Edition. Fine cloth copy in an equally fine dw. Particularly and surprisingly well-preserved; tight, bright, clean and especially sharp-cornered. ; 398 pages; Description: 398 p. Illus. 25 cm. Subjects: Craig, Edward Gordon, 1872-1966. Notes: Includes bibliographical references. 1 Kg.

First American Edition. Fine cloth copy in an equally fine dw. Particularly and surprisingly well-preserved; tight, bright, clean and especially sharp-cornered. ; 398 pages; Description: 398 p. Illus. 25 cm. Subjects: Craig, Edward Gordon, 1872-1966. Notes: Includes bibliographical references. 1 Kg.

ONE: Christmas card. 12mo bifolium, with coloured illustration of Christmas candle on cover. Pearson writes: 'FOR [corrected from 'from'] | Edward. A. Carrick | from his old inspirer | George Pearson | 1970'. The association between the two men was warm. In the acknowledgments to his 'Designing for Moving Pictures' (1941) Craig writes that chief among those in the film industry who helped him was 'George Pearson, who gave me my first job as Art Director to his film company in 1927 and who has encouraged me ever since.' In the acknowledgments to the revised edition, 'Designing for Films' (1947), Pearson's name is the only one given in block capitals, as Craig writes: 'To GEORGE PEARSON, as friend and teacher, a special debt of gratitude is owed, for his encouragement at all times has made the future of the films seem worth striving for.' Craig's entry in the Oxford DNB describes his 'first break into the film world. In 1927 Edward Carrick, as he was to be known professionally for the rest of his film career, began working for the enlightened film-maker George Pearson at the Welsh-Pearson-Elder company, at Stoll Studios, Cricklewood.' See also Pearson's entry in the Oxford DNB. TWO: 'Photographic Journal' article. 4pp., 4to. Extracted from magazine. 'This paper, illustrated by films, was read by Mr. Pearson at the Western Conference on 29 February 1948.' In fair condition, with slight discoloration to one corner. Accompanied by a slip of paper with typed cutting from the end of a letter::'PS . . . And here is the shade of the palm into which I have had to withdraw from the dazzling light of the highway. GP'. From the Edward Carrick papers.…

First Edition. Near fine copy in the original stiff-card wrappers; edges very slightly dust-dulled and toned. Remains particularly and surprisingly well-preserved; tight, bright, clean and especially sharp-cornered. Physical description; 8 p. : ill., cuts ; 28 cm. Notes; Chairman of the Fund: Sir Johnston Forbes-Robertson. Imprint from rear cover. Includes a statement of the objects of the Fund and its management. Programme editor: Edward Carrick. Woodcut portrait of Ellen Terry, 1899, by Gordon Craig. Subjects; Terry, Ellen (1847-1928) - Celebrations. Palace Theatre. 1 Kg.…

First Edition. Near fine copy in the original stiff-card wrappers; edges very slightly dust-dulled and toned. Remains particularly and surprisingly well-preserved; tight, bright, clean and especially sharp-cornered. Physical description; 8 p. : ill., cuts ; 28 cm. Notes; Chairman of the Fund: Sir Johnston Forbes-Robertson. Imprint from rear cover. Includes a statement of the objects of the Fund and its management. Programme editor: Edward Carrick. Woodcut portrait of Ellen Terry, 1899, by Gordon Craig. Subjects; Terry, Ellen (1847-1928) - Celebrations. Palace Theatre. 1 Kg.…

Both items in good condition, lightly-aged. ONE: 2pp., 4to. Having returned from 'a rather long painting expedition to France' he finds that 'circumstances have arisen in regard to the administration of the Society' [ the Society of British Film Art Directors and Designers, of which Craig was a leading light], and in the light of these circumstances Irving feels compelled to resign. 'It is [.] unlikely that I shall design any more films. Life is short and there is so much to be done that even if anybody wished me to, I should hesitate to commit myself to the months not only of work but of preoccupation which a film production involves. Quite apart from this I feel that the principles of film design which, however wrongly, I have always advocated, are being abandoned, naturally, in the face of economic pressure and the general registration of film making. I am old fashioned enough to believe that the situation into which films have fallen is very largely due to the insistance [sic] of those who have misguidedly and not very successfully tried to make it into an industry rather than a medium of expression for groups of artists of enterprise and imagination.' Two more paragraphs follow before the letter ends. TWO: 1p., 4to. Following the last letter Irving has been offered honorary membership of the Society, and writes: 'I do not feel that I deserve such consideration, for you and several others have striven hard to maintain the prestige of Art Directors in the gruelling factory conditions of commercial studios through good and bad times. However, as you well know, to an artist, the only commendation or criticism which really touches him is that of his fellow craftsmen [.]'. He offers his assistance to the Society, before ending: 'I heard from Flower that your meeting in London was a success, and that you are going to get out drawings and plans for the proposed Elizabethan theatre. I am very glad to hear this, and I know you will find the Stratford people charming to deal with.'.…