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Excerpt from Address to the Lotos Club of New York Gathering around the dinner table and talking over the questions of the day is not a phase of modern life. It is as old as civilization. Much good often comes from these din ners, although they impose, perhaps, a burden upon the Speakers and often a greater burden upon the listeners. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Celebrates 150 years of the artistic menu designs for the State Dinners at the Lotos Club, one of the oldest private clubs in the United States. Founded in New York City in 1870, The Lotos Club is one of the oldest literary and arts clubs in the United States. Lotos became known for its tradition of honouring outstanding men and women from all walks of life with testimonial 'State Dinners', especially after it began to commemorate these occasions with unique souvenir menus designed by artists and illustrators of the day. Art at the Table is a lavishly illustrated retrospective of the Club's 150-year-old-tradition, featuring the art of the menus and the stories behind them. American culture and history are chronicled in these fêtes, from Gilbert and Sullivan and Mark Twain to aviator Amelia Earhart and author Tom Wolfe.
Once the world’s tallest skyscraper, the Woolworth Building is noted for its striking but incongruous synthesis of Beaux-Arts architecture, fanciful Gothic ornamentation, and audacious steel-framed engineering. Here, in the first history of this great urban landmark, Gail Fenske argues that its design serves as a compelling lens through which to view the distinctive urban culture of Progressive-era New York. Fenske shows here that the building’s multiplicity of meanings reflected the cultural contradictions that defined New York City’s modernity. For Frank Woolworth—founder of the famous five-and-dime store chain—the building served as a towering trademark, for advocates of the City Beautiful movement it suggested a majestic hotel de ville, for technological enthusiasts it represented the boldest of experiments in vertical construction, and for tenants it provided an evocative setting for high-style consumption. Tourists, meanwhile, experienced a spectacular sightseeing destination and avant-garde artists discovered a twentieth-century future. In emphasizing this faceted significance, Fenske illuminates the process of conceiving, financing, and constructing skyscrapers as well as the mass phenomena of consumerism, marketing, news media, and urban spectatorship that surround them. As the representative example of the skyscraper as a “cathedral of commerce,” the Woolworth Building remains a commanding presence in the skyline of lower Manhattan, and the generously illustrated Skyscraper and the City is a worthy testament to its importance in American culture.