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At the age of seventy-two, Mary Delany, n�e Mary Granville (1700-1788), embarked upon a series of nearly a thousand botanical collages, or "paper mosaics,” which would prove to be the crowning achievement of her rich creative life. These delicate hand-cut floral designs, made by a method of Mrs. Delany’s own invention, vie with the finest botanical works of her time. More than two centuries later her extraordinary work continues to inspire. Although best known for these collages, Mrs. Delany was also an amateur artist, woman of fashion, and commentator on life and society in 18th-century England and Ireland. Her prolific craft activities not only served to cement personal bonds of friendship, but also allowed her to negotiate the interconnecting artistic, aristocratic, and scientific networks that surrounded her. This ambitious and groundbreaking book, the first to survey the full range of Mrs. Delany’s creative endeavors, reveals the complexity of her engagement with natural science, fashion, and design.
Traces the life and accomplishments of septuagenarian artist Mary Delany, describing her invention of the art of collage late in life after two heart-breaking marriages, in an account that also evaluates the roles of her relationships with such figures as Jonathan Swift, the Duchess of Portland and King George III. 35,000 first printing.
The first comprehensive biography of Mary Granville Delany - the artist and court insider whose flower collages, in particular, continue to inspire widespread admiration Mrs Delany is best remembered for her captivating paper collages of flowers, but her artistic flourishing came late in life. This nuanced, deeply researched biography pulls back the lens to place Delany's art in the broader context of her family life, relationships with royalty, and her endeavor to live as an independent woman. Clarissa Campbell Orr, a noted authority on the eighteenth century court, charts Mary Delany's development from a young woman at the heart of elite circles to beloved godmother and celebrated collagist. Orr traces the varied connections Mary Delany fostered throughout her life and which influenced her intellectual and artistic development: she was friends with prominent figures such as Methodist leader, John Wesley, composer G. F. Handel, the writer Jonathan Swift, and England's leading patron of science, Margaret Bentinck, Duchess of Portland. Mrs Delany reveals its subject to be far more than a widow befriended by George III and Queen Charlotte; she is, instead, restored to her proper place in the era's aristocratic society -and as a ground-breaking artist.
Mark Laird offers a wealth of visual and literary materials to revolutionize our understanding of the English landscape garden as a powerful cultural expression.
Devon Delaney cannot believe she's lying again. But the thing is, she couldn't help it. Her new boyfriend, Luke, is talking to his (gorgeous) ex-girlfriend, Bailey Barelli (!!!), every single day in mock trial. Devon couldn't just stand by and let him find out that she'd never dated anyone else before. Could she? Oopsie. Too late now. To show how totally unaffected she is by Bailey's obvious Luke hang-up, Devon invents a fake ex-boyfriend of her own: Greg. Fab! What could go wrong? But it isn't long before Devon finds herself in the middle of another supergigantic lie. Can Devon come clean in time to keep the guy? Or will she lose everything due to another lie?
Previously unedited, the letters exchanged by Mary Delany (1700-1788), one of the most prolific women in eighteenth century English correspondence, and Lord Guilford (1704-1790), the father of one of England's most famous Prime Ministers, Lord North, provide new material on eighteenth-century England. The letters are a source of information about life at Court, since Lord Guilford was governor to Princes George and Edward, King George III's intimate friend and Queen Charlotte's treasurer, while Mary Delany was offered a lodging at Court where she resided from 1785 to her death. Everyday concerns are associated with such exceptional events as the Gordon riots or the assassination attempt on King George III. The letters also bear testimony to the epistolary context of the period: the manuscripts are examined and commented upon, the structure of the letters examined, the originality of the style questioned. Morover, the correspondence between a man and a woman permits to question the contact between the public and private spheres in the second half of the eighteenth century. The whole constitutes a valuable source for further historical, biographical or literary study. In the footnotes, the names of the people and places mentioned are sorted out, and various connections established to the writing and historical context. Quick navigation through the letters is made possible by two indices.
During his lifetime, the sounds of Handel’s music reached from court to theater, echoed in cathedrals, and filled crowded taverns, but the man himself—known to most as the composer of Messiah—is a bit of a mystery. Though he took meticulous care of his musical manuscripts and even provided for their preservation on his death, very little of an intimate nature survives. One document—Handel’s will—offers us a narrow window into his personal life. In it, he remembers not only family and close colleagues but also neighborhood friends. In search of the private man behind the public figure, Ellen T. Harris has spent years tracking down the letters, diaries, personal accounts, legal cases, and other documents connected to these bequests. The result is a tightly woven tapestry of London in the first half of the eighteenth century, one that interlaces vibrant descriptions of Handel’s music with stories of loyalty, cunning, and betrayal. With this wholly new approach, Harris has achieved something greater than biography. Layering the interconnecting stories of Handel’s friends like the subjects and countersubjects of a fugue, Harris introduces us to an ambitious, shrewd, generous, brilliant, and flawed man, hiding in full view behind his public persona.
A New York Times Best Art Book of 2019 “A riveting book . . . few stones are left unturned.”—Roberta Smith’s “Top Art Books of 2019,” The New York Times This fascinating and enlightening study of the tie-on pocket combines materiality and gender to provide new insight into the social history of women’s everyday lives—from duchesses and country gentry to prostitutes and washerwomen—and to explore their consumption practices, sociability, mobility, privacy, and identity. A wealth of evidence reveals unexpected facets of the past, bringing women’s stories into intimate focus. “What particularly interests Burman and Fennetaux is the way in which women of all classes have historically used these tie-on pockets as a supplementary body part to help them negotiate their way through a world that was not built to suit them.”—Kathryn Hughes, The Guardian “A brilliant book.”—Ulinka Rublack, Times Literary Supplement
Just in time for Sherlock Holmes's 166th birthday, the fifth installment in national bestselling author Vicki Delany's Sherlock Holmes Bookshop mystery takes Sherlockania to the max with a Holmes convention and historic 221 Baker Street. Gemma Doyle and her friends travel to London for a Sherlock Holmes convention--but will Gemma's father take the fall for a felonious forger's fatality? The 6th of January is Sherlock Holmes's birthday, and lucky for Gemma Doyle, January is also the slowest time of the year at both the Sherlock Holmes Bookshop and Emporium, and Mrs. Hudson's Tea Room. It's a good time for Gemma and her friends to travel to England for a Holmes Convention. For Gemma, the trip provides an opportunity to visit her parents, Jayne Wilson is excited about seeing all the sites London has to offer, and Ryan Ashburton just wants to spend some time with Gemma. But the trip is immediately derailed when Gemma's father Henry recognizes his brother-in-law Randolph Denhaugh, who disappeared more than thirty years ago on the night he stole a valuable painting from his own parents. Henry, a retired detective with Scotland Yard, has been keeping tabs on the man's career as a forger of Old Masters and he warns Randy to stay away from his family. It's up to Gemma, with the help of her friends, to plunge into the "lowest and vilest alleys" of London to save her father from prison.