Hughson hawley (11 risultati)

Soft cover. Condizione: VG. 5pp extract, printed in double columns, illustrated with 2 full-page plates of the memorial, one at night, by Fenn, the other at day, by Hawley, salvaged from a damaged issue of The Century Illustrated Monthly Magazine, Volume LX, No. 5, September, 1900. It is noted by the Editor as an afterword that due to lack of funding, the memorial project may be abandoned. Housed in protective mylar report cover. Harry Fenn / Hughson Hawley (illustratore).…

Soft cover. Condizione: VG. 20pp extract, printed in double columns, illustrated with 17 drawings, salvaged from a damaged issue of The Century Illustrated Monthly Magazine, Volume XL, #1, May, 1890. The reform of higher education in England, including The Polytechnic, founded by Quintin Hogg, the Polytechnic Young Men's Christian Institute, the Crystal Palace, the People's Palace, etc. Other names include J. E. K. Studd, Robert Mitchell, author Walter Besant, and Sir Edmund Hay Currie. Housed in protective mylar report cover. Joseph Pennell, Harry Fenn, E. J. Meeker, Hughson Hawley, V. Gribayedoff (illustratore).…

Unbound. Condizione: Very Good. 1st. 1/2 page engraving a drawing of the medical building along with small inset portraits of Gustav C.E. Weber, & John L. Woods Size: 9" x 10.5. Hughson Hawley (illustratore).

Unbound. Condizione: Very Good. 1st. exterior sketch of club along with text and portraits of Hartwell (President); JR Whittemore (Swimmer) & CT Reber (Track) . page. Size: 10.5 x 15.75". Hughson Hawley (illustratore).

No Binding. Condizione: Very Good. Original engraving from a 1888 Harper's Weekly - ENGRAVING ONLY! Measures W11 x H15 3/4 inches including border - light creases/smudge. Bookseller since 1995 (LL-Base2-BS-6-Bottom-Flat) rareviewbooks.

Paperback. Brown wraps with color illustrations and white lettering, 63 pp, illustrated throughout in bw and color. Catalog essay by Janet Parks. Issued in conjunction with the exhibition held at the Museum of the City of New York, Nov. 25, 1998 through April 4, 1999. Includes bibliographical references. VG- (light wear to wraps, interior is otherwise clean and clear.).…

Condizione: Very Good. First edition. Paperback. Very good indeed with slight edge wear and fading.

No Binding. Condizione: Very Good. Original engravings from a 1888 issue of Harper's Weekly - ENGRAVING ONLY! Measures W11 x H15 1/2 inches including border. Light creases on border. Bookseller since 1995 (LL-15A-Top-L-Flat) rareviewbooks.

No Binding. Condizione: Very Good. Original oblong engraving from a 1885 Harper's Weekly - ENGRAVING ONLY! Measures W16 x H10 1/2 inches - light creases. Bookseller since 1995 (LL-15A-Top-L-Flat) rareviewbooks.

No binding. Condizione: Very good. First. THE BIRTH AND DEATH OF THE GREATEST BEAUX-ARTS BUILDING IN AMERICA. Magnanti, Angelo. Pennsylvania Station New York. New York: for McKim, Mead & White; ca. 1946. Graphite, ink and gouache on artist's board (visible: 63" x 32" visible, frame: 73 1/2" x 42 1/2"). A little foxing; not viewed out of frame. WITH Hughson, Hawley (after). Pennsylvania Station, New York City Seventh Avenue and Thirty-Second Street. Philadelphia: Ketterlinus for the Pennsylvania Railroad Co., 1910. Offset chromolithograph on card (sheet: 33 1/4" x 57 1/2", frame: 39 1/2" x 61 3/4"). Water damage to the lower edge, partially matted out. Not viewed out of frame. In 1910, the New York terminus of the Pennsylvania Railroad Company opened on two full blocks between Seventh and Eighth Avenues and West Thirty-First and Thirty-Third Streets. Charles Follen McKim was the lead architect at McKim Mead and White, the firm responsible for some of America's great buildings: the East and West Wings of the White House, Symphony Hall in Boston, the major clubs of New York (Century, Metropolitan, University, Harvard, Harmonie, Racquet & Tennis). The original Penn Station was considered the greatest of them all, a towering monument to American wealth, mobility and progress. Hawley Hughson (1850-1936) was born in London but became one of the preeminent chroniclers of American buildings. Although romanticized, his building portraits and panoramas are among the best documents of a period of rapid change that shaped the cities of the United States. His depiction of the brand-new Penn Station is among his most recognizable, and documents much of midtown Manhattan (the Plaza Hotel at 59th and Fifth is depicted in part at the left-hand side, the Hotel Martha Washington (now the Redbury on 29th St.) is at the right), as well as Queens and Brooklyn beyond. The skyscrapers were still to come; the tallest building in New York in 1910 was the Metropolitan Life Insurance Building. The station's flow of passengers increased and hit its zenith in 1945-1946, precisely when MMW commissioned the "decorator" Angelo Magnanti (1879-1969) to depict their renovation of the station to accommodate the surge of pedestrian traffic. This would eventually be installed as a mural in the station master's office (other surviving Magnanti murals are at the Dollar Savings Bank, the Frick Art Reference Library and the conference room of the U.S. Supreme Court; he also designed mosaic ceiling at the Williamsburg Savings Bank). The New-York Historical Society in its MMW archives holds a less-developed sketch (2":1' scale) executed in color with gilt, presumably as a proposal to the firm, signed and dated "A. Magnanti/ 1946." The present work is drafted quite precisely, with washes of gouache and ink in a quasi-grisaille depiction of a sectional view of the station. At the lower left is a view of lower Manhattan from the South, rendered in near-photographic accuracy. The combination of the age of air travel and the 1956 Federal Aid Highway Act signed by Eisenhower ended the dominance of railroads. The mural stood in the station-master's office until the destruction of the station in 1963, widely considered one of the great architectural travesties, and the proximate cause of modern historical preservation. The new Penn Station is generally reviled; only in 2021 was the sin somewhat redeemed with the opening of the Moynihan Train Hall in the James A. Farley Building across Eighth Ave. -- luckily also designed by McKim, Mead & White. The Magnanti drawing was acquired from the Swann "New York Sale" (lot 306) that took place just two weeks after September 11th, 2001. The Hughson chromolithograph was acquired at Bonham's New York 10 December 2014 (lot 197).…

A scarce and attractive chromolithographic view of the New York Stock Exchange's middle iteration, when it stood at 10 Broad Street from 1880 until 1903. The building was designed by James Renwick, a leading American architect who designed the Smithsonian Institution Building and St. Patrick's Cathedral in New York, among many other famous structures. His design for a new Stock Exchange building was first completed in 1872 and then enlarged and renovated in 1880. The new building was particularly well-known for the red granite columns which are captured vividly in this view, and which stood until the building was replaced in 1903 by George Post's iconic neoclassical structure. This colorful and strikingly accurate rendering of the building was done by the hand of Hughson Hawley, an English-born artist who became known for his architectural drawings and designs. He operated a highly successful business in the city for over fifty years, and many of his architectural illustrations were appealing and popular enough to be reproduced for commercial distribution. Hawley has captured a vibrant and lively scene on Broad Street, with a wide range of mostly well-dressed men and women engaged in eager conversation, reading the newspaper, and generally going about their business. Of particular note are the all-important telegraph lines leading from the exchange and across the city, and a lone pair of African-American men in straw hats in conversation with what appears to be a news boy. Several nearby businesses are identified, most significant among them the offices of Drexel, Morgan, & Co., founded by Pierpont Morgan and his mentor, Anthony J. Drexel just about a decade before the present view was created. Other businesses include telegraph and cable companies, Shepherd Knapp & Co., and the offices of the Mining Review journal of Chicago. "One of the pioneer delineators of this country, Mr. Hughson Hawley, was one of the most 'popular' the profession has produced. Today his work looks mid-Victorian but with all its faults, measured by later standards, it still had a popular appeal that the most beautiful 'architectural' drawing lacks. His buildings were of brick and stone, not white paper and India ink; his skies were blue with real clouds in them, which cast cloud shadows in a fascinating way across even the most monotonous of facades. His streets were full of people who were doing something, not just figures, gaitered and caned, obligingly standing still to give scale to the building" Clark. Not in Deák. This scarce print is not recorded on OCLC, though we locate copies at the Library of Congress, Museum of the City of New York, and the Metropolitan Museum of Art. PETERS, pp.204-5. Kenneth Clark, "The Renderings of an Early Master" in Pencil Points, Vol. 7, no. 1 (January 1926), p.3. Sheet tanned. Tears in margins (repaired on verso) just grazing the image at top and bottom; one longer, neatly repaired tear to right edge, about two inches into image. Colors a bit faded, but otherwise a very good copy. Matted.…