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Elephant House may be the most intimate portrait of Edward Gorey ever published. McDermott's reminiscences and descriptions of the house accompany his engaging photographs, and more than a dozen of Gorey's etchings and drawings of elephants-never before published-are paired with quotes from the artist. Through this portrait, Edward Gorey becomes even more the man we all wish we had had the chance to meet, an artist whose brilliant and hilarious art and words will continue to charm and delight us for generations to come.
Drawings (including thirty-two pages in color), captions, and verse showcasing Gorey's unique talents and humor. "The Glorious Nosebleed," "The Utter Zoo," "The Epiplectic Bicycle," and fourteen other selections.
The definitive biography of Edward Gorey, the eccentric master of macabre nonsense. From The Gashlycrumb Tinies to The Doubtful Guest, Edward Gorey's wickedly funny and deliciously sinister little books have influenced our culture in innumerable ways, from the works of Tim Burton and Neil Gaiman to Lemony Snicket. Some even call him the Grandfather of Goth. But who was this man, who lived with over twenty thousand books and six cats, who roomed with Frank O'Hara at Harvard, and was known -- in the late 1940s, no less -- to traipse around in full-length fur coats, clanking bracelets, and an Edwardian beard? An eccentric, a gregarious recluse, an enigmatic auteur of whimsically morbid masterpieces, yes -- but who was the real Edward Gorey behind the Oscar Wildean pose? He published over a hundred books and illustrated works by Samuel Beckett, T.S. Eliot, Edward Lear, John Updike, Charles Dickens, Hilaire Belloc, Muriel Spark, Bram Stoker, Gilbert & Sullivan, and others. At the same time, he was a deeply complicated and conflicted individual, a man whose art reflected his obsessions with the disquieting and the darkly hilarious. Based on newly uncovered correspondence and interviews with personalities as diverse as John Ashbery, Donald Hall, Lemony Snicket, Neil Gaiman, and Anna Sui, Born to Be Posthumous draws back the curtain on the eccentric genius and mysterious life of Edward Gorey.
Figbash is acrobatic, topiaries are tragic, hippopotami are admonitory, and galoshes are remorseful in this celebration of a unique talent that never fails to delight, amuse, and confound readers. This latest collection displays in glorious abundance the offbeat characters and droll humor of Edward Gorey.
What is it about the old Wilder Creek Bridge that makes Lewis Barnavelt so curious-and so afraid? When Lewis and his best friend Rose Rita Pottinger set out to explore the bridge and the deserted farm nearby, they discover shocking secrets—and a horrifying monster. Even Lewis's Uncle Jonathan and the magical Mrs. Zimmermann may not be able to vanquish this ferocious creature! "[Strickland's] characters ring true in this entertaining page-turner that will captivate readers." —VOYA "A wonderful blend of mystery, adventure, ghosts, and friendship." —School Library Journal
Edward Gorey and Peter Neumeyer met in the summer of 1968. Gorey had been contracted by Addison-Wesley to illustrate "Donald and the...," a childrens story written by Neumeyer. On their first encounter, Neumeyer managed to dislocate Goreys shoulder when he grabbed his arm to keep him from falling into the ocean. In a hospital waiting room, they pored over Goreys drawings for the first time together, and Gorey infused the situation with much hilarity. This was the beginning of an invigorating friendship, fueled by a wealth of letters and postcards that sped between the two men through the fall of 1969. Those letters, published here for the first time, are remarkable in their quantity and their content. While the creative collaborations of Gorey and Neumeyer centered on illustrated books, they held wide-ranging interests; both were erudite, voracious readers, and they sent each other many volumes. Reading their discussions of these books, one marvels at the beauty of thoughtful (and merry) discourse driven by intellectual curiosity. The letters also paint an intimate portrait of Edward Gorey, a man often mischaracterized as macabre or even ghoulish. His gentleness, humility, and brilliance--interwoven with his distinctive humor--shine in these letters; his deft artistic hand is evident on the decorated envelopes addressed to Neumeyer, 38 of which are reproduced here. During the time of their correspondence, Peter Neumeyer was teaching at Harvard University and at SUNY Stony Brook, on Long Island. His acumen and compassion, expressed in his discerning, often provocative missives, reveal him to be an ideal creative and intellectual ally for Gorey. More than anything else, "Floating Worlds" is the moving memoir of an extraordinary friendship. Gorey wrote that he felt they were part of the same family, and I dont mean just metaphorically. I guess that even more than I think of you as a friend,
A bibliographic reference to American artist Edward Gorey's (b. 1925) books, contributions to periodicals, book covers, original art, ephemera and collectibles, periodicals inspired by him, catalogs of his work, and other items of interest to collectors and dealers. Includes information on identifying first editions and suggested retail price. Comprehensive to the end of 1995. Paper edition (unseen), $24.95. Available from Word Play Publications, 1 Sutter Street, Suite 205, San Francisco 94104. Annotation copyrighted by Book News, Inc., Portland, OR
With its abundant history of prominent families, Massachusetts boasts some of the most historically rich residences in the country. In the eastern half of the Commonwealth, these include Presidents John and John Quincy Adams's home in Quincy, Bronson and Louisa May Alcott's Orchard House in Concord, the Charles Bulfinch -- designed Harrison Gray Otis House in Boston, and Edward Gorey's Elephant House in Yarmouth Port. In At Home: Historic Houses of Eastern Massachusetts, Beth Luey uses architectural and genealogical texts, wills, correspondences, and diaries to craft delightful narratives of these notable abodes and the people who variously built, acquired, or renovated them. Filled with vivid details and fresh perspectives that will surprise even the most knowledgeable aficionados, each chapter is short enough to serve as an introduction for a visit to its house. All the homes are open to the public.
For the first time, the interiors of some of the Chicago area's greatest buildings, designed by celebrated architects, are brought together and featured in truly stunning original photographs. These Chicago-area homes, religious spaces, and commercial and public structures give visual meaning to Frank Lloyd Wright's belief that "the space within becomes the reality of the building." Beginning with the Clarke House of 1836 and continuing to the present, every type and style of building is presented. Famous residences such as Wright's Robie House and Mies van der Rohe's Farnsworth House are here, but so are more modest (and not so modest) homes by Walter Burley Griffin, George Washington Maher, and Paul Schweikher. The ornate warmth of Adler & Sullivan's Auditorium Building provides striking contrast to the modern, towering underground stacks of Helmut Jahn's Mansueto Library. The soaring Bahá'í Temple, by Louis Bourgeois, is elegantly highlighted alongside a humble chapel in St. Procopius Abbey Church, by Edward Dart. And commercial buildings by Daniel Burnham, John Wellborn Root, John Holabird, Martin Roche, and many more reaffirm Chicago's position as a great business center. These architects and their contemporaries have made the Chicago area a mecca for both architects and lovers of architecture from around the world. Text by author Patrick F. Cannon, who has lived and worked in Chicago and its suburbs for more than sixty years, discusses each building's architecture, architect, and place in history. James Caulfield, a noted architectural photographer, leads a visual tour into both the intimate and grand interiors of the Chicago area's finest buildings. Now the duo's fifth book, The Space Within demonstrates that good design comes in many styles. While many of these architectural masterpieces are open to the public, others--particularly the private homes--can only be seen here.