2012, ISBN: 9780195685183

London: London Films, [Ca. 1930s]. Original B&W sepia-toned photograph issued as a postcard. 5.5 x 3.5 inches. Very Good. Minor wrinkle on left edge and bottom right corner. Made in … mais…

London: London Films, [Ca. 1930s]. Original B&W sepia-toned photograph issued as a postcard. 5.5 x 3.5 inches. Very Good. Minor wrinkle on left edge and bottom right corner. Made in Great Britain. Scarce.Merle Oberon (born Estelle Merle O'Brien Thompson; 19 February 1911 - 23 November 1979) was a British actress[1] who began her film career in British films as Anne Boleyn in The Private Life of Henry VIII (1933). After her success in The Scarlet Pimpernel (1934), she travelled to the United States to make films for Samuel Goldwyn. She was nominated for an Academy Award for Best Actress for her performance in The Dark Angel (1935). A traffic collision in 1937 caused facial injuries that could have ended her career, but she recovered and remained active in film and television until 1973. Estelle Merle O'Brien Thompson was born in Bombay, British India, on 19 February 1911. Merle was given "Queenie" as a nickname, in honour of Queen Mary, who visited India along with King George V in 1911.London Films Productions is a British film and television production company founded in 1932 by Alexander Korda and from 1936 based at Denham Film Studios in Buckinghamshire, near London. The company's productions included The Private Life of Henry VIII (1933), Things to Come (1936), Rembrandt (1936), and The Four Feathers (1939). The facility at Denham was taken over in 1939 by Rank and merged with Pinewood to form D & P Studios. The outbreak of war necessitated that The Thief of Bagdad (1940) be completed in California, although Korda's handful of American-made films still displayed Big Ben as their opening corporate logo. More than 40 years after Korda died in January 1956, the company returned to active film-making in 1997 with Morgan Mason as the chief executive., London: London Films, [Ca. 1930s], 0, London: London Films, [Ca. 1930s]. Original B&W photograph issued as a postcard. 5.5 x 3.5 inches. Very Good+. Printed on verso: "Film Partners" Series, 85, Long Acre, London. Made in Great Britain.Leslie Howard Steiner (3 April 1893 - 1 June 1943) was an English actor and film maker. He also wrote many stories and articles for The New York Times, The New Yorker, and Vanity Fair and was one of the biggest box-office draws and movie idols of the 1930s. Active in both Britain and Hollywood, Howard is probably best remembered for playing Ashley Wilkes in Gone with the Wind (1939).Merle Oberon (born Estelle Merle O'Brien Thompson; 19 February 1911 - 23 November 1979) was a British actress[1] who began her film career in British films as Anne Boleyn in The Private Life of Henry VIII (1933). After her success in The Scarlet Pimpernel (1934), she travelled to the United States to make films for Samuel Goldwyn. She was nominated for an Academy Award for Best Actress for her performance in The Dark Angel (1935). A traffic collision in 1937 caused facial injuries that could have ended her career, but she recovered and remained active in film and television until 1973. Estelle Merle O'Brien Thompson was born in Bombay, British India, on 19 February 1911. Merle was given "Queenie" as a nickname, in honour of Queen Mary, who visited India along with King George V in 1911.London Films Productions is a British film and television production company founded in 1932 by Alexander Korda and from 1936 based at Denham Film Studios in Buckinghamshire, near London. The company's productions included The Private Life of Henry VIII (1933), Things to Come (1936), Rembrandt (1936), and The Four Feathers (1939). The facility at Denham was taken over in 1939 by Rank and merged with Pinewood to form D & P Studios. The outbreak of war necessitated that The Thief of Bagdad (1940) be completed in California, although Korda's handful of American-made films still displayed Big Ben as their opening corporate logo. More than 40 years after Korda died in January 1956, the company returned to active film-making in 1997 with Morgan Mason as the chief executive., London: London Films, [Ca. 1930s], 0, Bombay: Air India Art Studio. Portfolio. Very Good. XL. Air India gift folder of 21 loose 10 1/2""w x 15""h illustrated sheets of verses from the Bhagavata Purana in a textured cardstock folder with gilt decorations and die-cut opening. One sheet depicts the luxurious interior of the Being 747, including the Maharaja Lounge (accessed by a spiral stairway!), Ajanta mural, and costumed hostesses. No date of publication given, circa 1960's., Air India Art Studio, 3, San Rafael, Calif. : Mandala Pub., 2012. First Edition. Fine cloth copy in an equally fine dw. Particularly well-preserved; tight, bright, clean and strong. Literally as new.; 8vo 8"" - 9"" tall; 226 pages; ""Gods in Print"" is the first comprehensive collection of early hand-colored lithographs, multiple-block chromolithographs, and offset print images of India's world of gods and goddesses. India's love of gods in print began in the 1870s with the founding of the Calcutta Art Studio and the Chitrashala Press. In 1894, artists Ravi and Raja Varma set up the Ravi Varma Fine Art Lithographic Press outside Bombay. By the early 1900s, these presses had begun selling their prints throughout the subcontinent. Collectors Mark Baron and Elise Boisante have traveled to remote corners of India to document and preserve this fragile and beautiful popular art form. Their diligence in tracking down ""God prints"" and restoring them to their original brilliance has resulted in the extraordinary and comprehensive collection featured in this volume. For the first time, the full scope of India's sacred imagery in print can be viewed from its earliest days. Physical description: xiii, 226 p. : ill. (chiefly col.) ; 35 cm. Subjects: Indian prints - Hindu art - Art, Indic - Gods in art.., San Rafael, Calif. : Mandala Pub., 2012, 5, New Delhi, India: Oxford University Press, 2008 This volume presents a collection of display prints that were omnipresent during India’s struggle for independence, and have fundamentally revolutionized our understanding of popular pictures. Serving as a visual tour d’horizonto various facets of the Indian freedom movement, it gives readers the freedom to interpret this tumultuous historical event of the twentieth century and explore, on the 60th anniversary of India’s freedom struggle, new facets of the movement that may have gone unnoticed until now. This possibility is also accompanied by radical attempts to shift our attention: Delhi, Mumbai, Kolkata, and Chennai do matter to the new visual studies, but so do such small towns like Sivakasi, Nathdwara, Meerut—locations for popular pictorial productions in colonial and post-colonial India. Well-known colonial art schools are eclipsed by the likes of the Calcutta Art Studio, Chitrashala Press, and S.S. Brijbasi & Sons. Elite artists like Ravi Varma or Abanindranath Tagore now share space with street-smart subalterns like Kondiah Raju, Rupkishor Kapur, and Yogendra Rastogi whose pictures are reprinted in this volume. Once ignored and dismissed for their vulgarity, repetitiveness, and lack of originality, these ‘god posters? ‘framing pictures? and ‘calendar art?have been rescued from obscurity to occupy centrestage in new narratives where they now condition our understanding of everything from post-coloniality to the creation of India’s first nationalist political regime. Printed Pages: 238 with numerous colour illustrations.. First Edition. Hardbound. New/New. 23 x 29 Cm., Oxford University Press, 2008, 6<

2008, ISBN: 9780195685183

New Delhi, India: Niyogi Books Rajas and maharajas from all over the British Indian Empire congregated in Delhi to attend the great Delhi Durbar of 1911. A new capital city was born—… mais…

New Delhi, India: Niyogi Books Rajas and maharajas from all over the British Indian Empire congregated in Delhi to attend the great Delhi Durbar of 1911. A new capital city was born—New Delhi. Soon after, the princely states came up with elaborate palaces in the “new” Imperial capital—Hyderabad House, Baroda House, Jaipur House, Bikaner House, Patiala House, to name a few.Why did the British government allot prime land to the princely states and how? How did the construction come up and under whose architectural design? Who occupied these palaces and what were the events held? What happened to these palatial buildings after the integration of the states with the Indian Republic?This book delineates the story behind the story, documenting history through archival research, interviews with royalty and unpublished photographs from royal private collections.These princely palaces form an integral part of New Delhi’s urban topography. Built about a century ago for purposes that may not be of relevance anymore, these palaces are the relics of the past passed on to posterity, speaking of a time that was part of the continual process of knitting an unstitched destiny.A colourful procession in full regalia, uniformed men guarding the palaces, fluttering flags of myriad hues, saxophones regaling the guests, the tinkling of wine glasses… slip into a time-warp till you encounter the modern.Printed Pages: 264 with 140 colour photographs.. Hardcover. New/New., Niyogi Books, 6, Paris: Atelier Populaire de l' École des Beaux Arts, 1968. Original political poster produced in Paris by revolutionary art-students of the Atelier Populaire de l' École des Beaux Arts. The building, occupied by students during the 1968 May-revolt was focal point of the production of revolutionary posters. Text in red on cream newsprint paper. No image. Texte rouge sur papier jaune. ( Gasquet, Vasco - Les 500 affiches de mai 68, Balland, 1978, page 146 . 56 x 64 cm., Atelier Populaire de l' École des Beaux Arts, 1968, 0, New Delhi, India: Oxford University Press, 2008 This volume presents a collection of display prints that were omnipresent during India’s struggle for independence, and have fundamentally revolutionized our understanding of popular pictures. Serving as a visual tour d’horizonto various facets of the Indian freedom movement, it gives readers the freedom to interpret this tumultuous historical event of the twentieth century and explore, on the 60th anniversary of India’s freedom struggle, new facets of the movement that may have gone unnoticed until now. This possibility is also accompanied by radical attempts to shift our attention: Delhi, Mumbai, Kolkata, and Chennai do matter to the new visual studies, but so do such small towns like Sivakasi, Nathdwara, Meerut—locations for popular pictorial productions in colonial and post-colonial India. Well-known colonial art schools are eclipsed by the likes of the Calcutta Art Studio, Chitrashala Press, and S.S. Brijbasi & Sons. Elite artists like Ravi Varma or Abanindranath Tagore now share space with street-smart subalterns like Kondiah Raju, Rupkishor Kapur, and Yogendra Rastogi whose pictures are reprinted in this volume. Once ignored and dismissed for their vulgarity, repetitiveness, and lack of originality, these ‘god posters? ‘framing pictures? and ‘calendar art?have been rescued from obscurity to occupy centrestage in new narratives where they now condition our understanding of everything from post-coloniality to the creation of India’s first nationalist political regime. Printed Pages: 238 with numerous colour illustrations.. First Edition. Hardbound. New/New. 23 x 29 Cm., Oxford University Press, 2008, 6<

2008, ISBN: 9780195685183

New Delhi, India: Oxford University Press, 2008 This volume presents a collection of display prints that were omnipresent during India’s struggle for independence, and have fundament… mais…

New Delhi, India: Oxford University Press, 2008 This volume presents a collection of display prints that were omnipresent during India’s struggle for independence, and have fundamentally revolutionized our understanding of popular pictures. Serving as a visual tour d’horizonto various facets of the Indian freedom movement, it gives readers the freedom to interpret this tumultuous historical event of the twentieth century and explore, on the 60th anniversary of India’s freedom struggle, new facets of the movement that may have gone unnoticed until now. This possibility is also accompanied by radical attempts to shift our attention: Delhi, Mumbai, Kolkata, and Chennai do matter to the new visual studies, but so do such small towns like Sivakasi, Nathdwara, Meerut—locations for popular pictorial productions in colonial and post-colonial India. Well-known colonial art schools are eclipsed by the likes of the Calcutta Art Studio, Chitrashala Press, and S.S. Brijbasi & Sons. Elite artists like Ravi Varma or Abanindranath Tagore now share space with street-smart subalterns like Kondiah Raju, Rupkishor Kapur, and Yogendra Rastogi whose pictures are reprinted in this volume. Once ignored and dismissed for their vulgarity, repetitiveness, and lack of originality, these ‘god posters? ‘framing pictures? and ‘calendar art?have been rescued from obscurity to occupy centrestage in new narratives where they now condition our understanding of everything from post-coloniality to the creation of India’s first nationalist political regime. Printed Pages: 238 with numerous colour illustrations.. First Edition. Hardbound. New/New. 23 x 29 Cm., Oxford University Press, 2008, 6<

2008, ISBN: 0195685180

Edição encadernada

[EAN: 9780195685183], Neubuch, [PU: Oxford University Press, New Delhi, India], INDIA MOTHER BHARAT MATA, Jacket, This volume presents a collection of display prints that were omnipresent… mais…

[EAN: 9780195685183], Neubuch, [PU: Oxford University Press, New Delhi, India], INDIA MOTHER BHARAT MATA, Jacket, This volume presents a collection of display prints that were omnipresent during India’s struggle for independence, and have fundamentally revolutionized our understanding of popular pictures. Serving as a visual tour d’horizonto various facets of the Indian freedom movement, it gives readers the freedom to interpret this tumultuous historical event of the twentieth century and explore, on the 60th anniversary of India’s freedom struggle, new facets of the movement that may have gone unnoticed until now. This possibility is also accompanied by radical attempts to shift our attention: Delhi, Mumbai, Kolkata, and Chennai do matter to the new visual studies, but so do such small towns like Sivakasi, Nathdwara, Meerut—locations for popular pictorial productions in colonial and post-colonial India. Well-known colonial art schools are eclipsed by the likes of the Calcutta Art Studio, Chitrashala Press, and S.S. Brijbasi & Sons. Elite artists like Ravi Varma or Abanindranath Tagore now share space with street-smart subalterns like Kondiah Raju, Rupkishor Kapur, and Yogendra Rastogi whose pictures are reprinted in this volume. Once ignored and dismissed for their vulgarity, repetitiveness, and lack of originality, these ‘god posters’, ‘framing pictures’, and ‘calendar art’ have been rescued from obscurity to occupy centrestage in new narratives where they now condition our understanding of everything from post-coloniality to the creation of India’s first nationalist political regime. Printed Pages: 238 with numerous colour illustrations. Size: 23 x 29 Cm<