1996, ISBN: 9780904152272

Edition reliée

Bergenfield, New Jersey, U.S.A.: Overlook Press / Reprint In good condition, some wear to edges, as normal for age. Library pocket in back, but otherwise clean. Overall good copy of this… Plus…

Bergenfield, New Jersey, U.S.A.: Overlook Press / Reprint In good condition, some wear to edges, as normal for age. Library pocket in back, but otherwise clean. Overall good copy of this scarce title. Excellent read. A good book to enjoy and keep on hand. Or would make a great gift for the fan / reader in your life. About the author: Eric Hebborn was born in the London suburb of South Kensington to a Cockney family in 1934, although his mother was a gypsy. According to his autobiography, his mother beat him constantly as a child. At the age of eight, he states that he set fire to his school and was sent to Longmoor reformatory in Harold Wood, although his sister Rosemary disputes this.[citation needed] Teachers encouraged his painting talent and he became connected to the Maldon Art Club, where he first exhibited at the age of 15. Hebborn attended Chelmsford Art School and Walthamstow Art School before attending the Royal Academy. He flourished at the Academy, winning the Hacker Portrait prize and the Silver Award, and the Rome Scholarship in Engraving, a two year scholarship to the British School at Rome in 1959.[1] There he became part of the international art scene and formed acquaintances with many artists and art historians, including the British spy, Sir Anthony Blunt in 1960, who told Hebborn that a couple of his drawings looked like Poussins. This sowed the seeds of his forgery career. Hebborn returned to London where he was hired by art restorer George Aczel. During his employ he was instructed not only to restore paintings, but to alter them and improve them. George Aczel graduated him from restoring existing paintings to "restoring" paintings on entirely blank canvases so that they could be sold for more money. A falling out over Eric's knowledge of painting and restoration destroyed the relationship between Aczel and Hebborn. Eric and his lover Graham David Smith also frequented a junk and antique shop near Leicester Square, where Eric befriended one of the owners, Marie Gray. In organizing the prints catalogued in the shop Eric began to understand more about paper, and its history and uses in art. It was on some of these blank, but old, pieces of paper that Eric made his first forgeries. His first true forgeries were pencil drawings after Augustus John and were based on a drawing of a child by Andrea Schiavone. Graham Smith states [2] that several of these were sold to their landlord Mr Davis, several to Bond Street galleries and two or three through Christie's sale rooms. Eventually Hebborn decided to settle in Italy with Graham, and they founded a private gallery there. Life as a forger When contemporary critics did not seem to appreciate his own paintings, Hebborn began to copy the style of old masters such as: Corot, Castiglione, Mantegna, Van Dyck, Poussin, Ghisi, Tiepolo, Rubens, Jan Breughel and Piranesi. Art historians such as Sir John Pope Hennessy declared his paintings to be both authentic and stylistically brilliant and his paintings were sold for tens of thousands of pounds through art auction houses, including Christie's. According to Hebborn himself, he had sold thousands of fake paintings, drawings and sculptures. Most of the drawings Hebborn created were his own work, made to resemble the style of historical artists—and not slightly altered or combined copies of older work. In 1978 a curator at the National Gallery of Art in Washington DC, Konrad Oberhuber, was examining a pair of drawings he had purchased for the museum from Colnaghi an established and reputable old-master dealer in London, one by Savelli Sperandio and the other by Francesco del Cossa. Oberhuber noticed that two drawings had been executed on the same kind of paper. Oberhuber was taken aback by the similarities of the paper used in the two pieces and decided to alert his colleagues in the art world. Upon finding another fake "Cossa" at the Morgan Library, this one having passed through the hands of at least three experts, Oberhuber contacted Colnaghi, the source of all three fakes. Colnaghi, in turn, informed the worried curators that all three had been acquired from Hebborn. Colnaghi waited a full eighteen months before revealing the deception to the media, and, even then never mentioned Hebborn's name, for fear of a libel suit. Alice Beckett states that she was told '...no one talks about him...The trouble is he's too good'. Thus Hebborn continued to create his forgeries, changing his style slightly to avoid any further unmasking, and manufactured at least 500 more drawings between 1978 and 1988. Confession, criticism and murder. In 1984 Hebborn confessed to the forgeries —and feeling as though he had done nothing wrong, he used the press generated by his confession to denigrate the art world. In his autobiography Drawn to Trouble (1991), Hebborn continued his assault on the art world, critics and art dealers. He boasted of how easily he had fooled supposed art experts and how eager the art dealers were to declare his works authentic to maximize their profits. Hebborn also claimed that some of the works that had been proven genuine were actually his fakes and that Sir Anthony Blunt had not been his lover, as stated in some articles. On one page he offers a side-by-side comparison of his forgeries of Henri Leroy by Jean-Baptiste Camille Corot, and the authentic drawing, challenging "art experts" to tell them apart. On 8 January 1996, shortly after the publication of the Italian edition of his book The Art Forger's Handbook, Eric Hebborn was found lying in a street in Rome, his skull crushed with a blunt instrument. He died in the hospital on 11 January 1996. The provenance of many paintings connected to Hebborn, some of which hang in renowned collections, continues to be debated. ~ SCARCE TITLE ~. Soft Cover / Cloth Binding. Good/No Dust Jacket. Illus. by Some b/w Illustrations. Art History / Reference. Recipe book for Artists., Overlook Press / Reprint, 2.5, Bergenfield, New Jersey, U.S.A.: Overlook Press / Reprint In good condition, some wear to edges, as normal for age. Library pocket in back, but otherwise clean. Overall good copy of this scarce title. Excellent read. A good book to enjoy and keep on hand. Or would make a great gift for the fan / reader in your life. About the author: Eric Hebborn was born in the London suburb of South Kensington to a Cockney family in 1934, although his mother was a gypsy. According to his autobiography, his mother beat him constantly as a child. At the age of eight, he states that he set fire to his school and was sent to Longmoor reformatory in Harold Wood, although his sister Rosemary disputes this.[citation needed] Teachers encouraged his painting talent and he became connected to the Maldon Art Club, where he first exhibited at the age of 15. Hebborn attended Chelmsford Art School and Walthamstow Art School before attending the Royal Academy. He flourished at the Academy, winning the Hacker Portrait prize and the Silver Award, and the Rome Scholarship in Engraving, a two year scholarship to the British School at Rome in 1959.[1] There he became part of the international art scene and formed acquaintances with many artists and art historians, including the British spy, Sir Anthony Blunt in 1960, who told Hebborn that a couple of his drawings looked like Poussins. This sowed the seeds of his forgery career. Hebborn returned to London where he was hired by art restorer George Aczel. During his employ he was instructed not only to restore paintings, but to alter them and improve them. George Aczel graduated him from restoring existing paintings to "restoring" paintings on entirely blank canvases so that they could be sold for more money. A falling out over Eric's knowledge of painting and restoration destroyed the relationship between Aczel and Hebborn. Eric and his lover Graham David Smith also frequented a junk and antique shop near Leicester Square, where Eric befriended one of the owners, Marie Gray. In organizing the prints catalogued in the shop Eric began to understand more about paper, and its history and uses in art. It was on some of these blank, but old, pieces of paper that Eric made his first forgeries. His first true forgeries were pencil drawings after Augustus John and were based on a drawing of a child by Andrea Schiavone. Graham Smith states [2] that several of these were sold to their landlord Mr Davis, several to Bond Street galleries and two or three through Christie's sale rooms. Eventually Hebborn decided to settle in Italy with Graham, and they founded a private gallery there. Life as a forger When contemporary critics did not seem to appreciate his own paintings, Hebborn began to copy the style of old masters such as: Corot, Castiglione, Mantegna, Van Dyck, Poussin, Ghisi, Tiepolo, Rubens, Jan Breughel and Piranesi. Art historians such as Sir John Pope Hennessy declared his paintings to be both authentic and stylistically brilliant and his paintings were sold for tens of thousands of pounds through art auction houses, including Christie's. According to Hebborn himself, he had sold thousands of fake paintings, drawings and sculptures. Most of the drawings Hebborn created were his own work, made to resemble the style of historical artists—and not slightly altered or combined copies of older work. In 1978 a curator at the National Gallery of Art in Washington DC, Konrad Oberhuber, was examining a pair of drawings he had purchased for the museum from Colnaghi an established and reputable old-master dealer in London, one by Savelli Sperandio and the other by Francesco del Cossa. Oberhuber noticed that two drawings had been executed on the same kind of paper. Oberhuber was taken aback by the similarities of the paper used in the two pieces and decided to alert his colleagues in the art world. Upon finding another fake "Cossa" at the Morgan Library, this one having passed through the hands of at least three experts, Oberhuber contacted Colnaghi, the source of all three fakes. Colnaghi, in turn, informed the worried curators that all three had been acquired from Hebborn. Colnaghi waited a full eighteen months before revealing the deception to the media, and, even then never mentioned Hebborn's name, for fear of a libel suit. Alice Beckett states that she was told '...no one talks about him...The trouble is he's too good'. Thus Hebborn continued to create his forgeries, changing his style slightly to avoid any further unmasking, and manufactured at least 500 more drawings between 1978 and 1988. Confession, criticism and murder. In 1984 Hebborn confessed to the forgeries —and feeling as though he had done nothing wrong, he used the press generated by his confession to denigrate the art world. In his autobiography Drawn to Trouble (1991), Hebborn continued his assault on the art world, critics and art dealers. He boasted of how easily he had fooled supposed art experts and how eager the art dealers were to declare his works authentic to maximize their profits. Hebborn also claimed that some of the works that had been proven genuine were actually his fakes and that Sir Anthony Blunt had not been his lover, as stated in some articles. On one page he offers a side-by-side comparison of his forgeries of Henri Leroy by Jean-Baptiste Camille Corot, and the authentic drawing, challenging "art experts" to tell them apart. On 8 January 1996, shortly after the publication of the Italian edition of his book The Art Forger's Handbook, Eric Hebborn was found lying in a street in Rome, his skull crushed with a blunt instrument. He died in the hospital on 11 January 1996. The provenance of many paintings connected to Hebborn, some of which hang in renowned collections, continues to be debated. ~ SCARCE TITLE ~. Soft Cover / Cloth Binding. Good/No Dust Jacket. Illus. by Some b/w Illustrations. Art History / Reference. Recipe book for Artists., Overlook Press / Reprint, 2.5, London: Circa 1930s. Pencil on thick paper. 38 x 25 cm. Titled but not signed. Estate no. 3.14087During the early-mid 1930's, the artist lived in London. He was first a student at the Westminster School of Art and then received a scholarship to the Royal College of Art between 1931 and 1934. He worked for the British sculptor Henry Moore for a short time and also taught at the Luton Technical Institution. In 1936 he won a British Prix de Rome prize which included a residency in Rome until 1938.Provenance: Estate of the artist.Garth William, "American Illustrator: A Life" by E. & J. Wallace, pp. 16-18., London: Circa 1930s, 0, Bergenfield, New Jersey, U.S.A.: Overlook Press / Reprint In good condition, some wear to edges, as normal for age. Library pocket in back, but otherwise clean. Overall good copy of this scarce title. Excellent read. A good book to enjoy and keep on hand. Or would make a great gift for the fan / reader in your life. About the author: Eric Hebborn was born in the London suburb of South Kensington to a Cockney family in 1934, although his mother was a gypsy. According to his autobiography, his mother beat him constantly as a child. At the age of eight, he states that he set fire to his school and was sent to Longmoor reformatory in Harold Wood, although his sister Rosemary disputes this.[citation needed] Teachers encouraged his painting talent and he became connected to the Maldon Art Club, where he first exhibited at the age of 15. Hebborn attended Chelmsford Art School and Walthamstow Art School before attending the Royal Academy. He flourished at the Academy, winning the Hacker Portrait prize and the Silver Award, and the Rome Scholarship in Engraving, a two year scholarship to the British School at Rome in 1959.[1] There he became part of the international art scene and formed acquaintances with many artists and art historians, including the British spy, Sir Anthony Blunt in 1960, who told Hebborn that a couple of his drawings looked like Poussins. This sowed the seeds of his forgery career. Hebborn returned to London where he was hired by art restorer George Aczel. During his employ he was instructed not only to restore paintings, but to alter them and improve them. George Aczel graduated him from restoring existing paintings to "restoring" paintings on entirely blank canvases so that they could be sold for more money. A falling out over Eric's knowledge of painting and restoration destroyed the relationship between Aczel and Hebborn. Eric and his lover Graham David Smith also frequented a junk and antique shop near Leicester Square, where Eric befriended one of the owners, Marie Gray. In organizing the prints catalogued in the shop Eric began to understand more about paper, and its history and uses in art. It was on some of these blank, but old, pieces of paper that Eric made his first forgeries. His first true forgeries were pencil drawings after Augustus John and were based on a drawing of a child by Andrea Schiavone. Graham Smith states [2] that several of these were sold to their landlord Mr Davis, several to Bond Street galleries and two or three through Christie's sale rooms. Eventually Hebborn decided to settle in Italy with Graham, and they founded a private gallery there. Life as a forger When contemporary critics did not seem to appreciate his own paintings, Hebborn began to copy the style of old masters such as: Corot, Castiglione, Mantegna, Van Dyck, Poussin, Ghisi, Tiepolo, Rubens, Jan Breughel and Piranesi. Art historians such as Sir John Pope Hennessy declared his paintings to be both authentic and stylistically brilliant and his paintings were sold for tens of thousands of pounds through art auction houses, including Christie's. According to Hebborn himself, he had sold thousands of fake paintings, drawings and sculptures. Most of the drawings Hebborn created were his own work, made to resemble the style of historical artists—and not slightly altered or combined copies of older work. In 1978 a curator at the National Gallery of Art in Washington DC, Konrad Oberhuber, was examining a pair of drawings he had purchased for the museum from Colnaghi an established and reputable old-master dealer in London, one by Savelli Sperandio and the other by Francesco del Cossa. Oberhuber noticed that two drawings had been executed on the same kind of paper. Oberhuber was taken aback by the similarities of the paper used in the two pieces and decided to alert his colleagues in the art world. Upon finding another fake "Cossa" at the Morgan Library, this one having passed through the hands of at least three experts, Oberhuber contacted Colnaghi, the source of all three fakes. Colnaghi, in turn, informed the worried curators that all three had been acquired from Hebborn. Colnaghi waited a full eighteen months before revealing the deception to the media, and, even then never mentioned Hebborn's name, for fear of a libel suit. Alice Beckett states that she was told '...no one talks about him...The trouble is he's too good'. Thus Hebborn continued to create his forgeries, changing his style slightly to avoid any further unmasking, and manufactured at least 500 more drawings between 1978 and 1988. Confession, criticism and murder. In 1984 Hebborn confessed to the forgeries —and feeling as though he had done nothing wrong, he used the press generated by his confession to denigrate the art world. In his autobiography Drawn to Trouble (1991), Hebborn continued his assault on the art world, critics and art dealers. He boasted of how easily he had fooled supposed art experts and how eager the art dealers were to declare his works authentic to maximize their profits. Hebborn also claimed that some of the works that had been proven genuine were actually his fakes and that Sir Anthony Blunt had not been his lover, as stated in some articles. On one page he offers a side-by-side comparison of his forgeries of Henri Leroy by Jean-Baptiste Camille Corot, and the authentic drawing, challenging "art experts" to tell them apart. On 8 January 1996, shortly after the publication of the Italian edition of his book The Art Forger's Handbook, Eric Hebborn was found lying in a street in Rome, his skull crushed with a blunt instrument. He died in the hospital on 11 January 1996. The provenance of many paintings connected to Hebborn, some of which hang in renowned collections, continues to be debated. ~ SCARCE TITLE ~. Soft Cover / Cloth Binding. Good/No Dust Jacket. Illus. by Some b/w Illustrations. Art History / Reference. Recipe book for Artists., Overlook Press / Reprint, 2.5, British School At Rome. Fine in Very Good+ dust jacket. 1995. Hardcover. 0904152278 . DJ spine very slightly sunned. Faint shelfwear to DJ. ; Over twenty papers from an international conference on the place of wine in ritual, culture and society in the Ancient World (including Near Eastern culture, Greek culture, Etruria and Italy, and Republican and Imperial Rome). The subject is approached from historical, archaeological, art historical and literary perspectives. Contents include: Histories of pleasure (Oswyn Murray) ; Le vin dans une civilisation de la biere (Jean Bottero) ; Wine in Old Comedy (E. L. Bowie) ; Rituels Romains das les vignobles (Olivier De Cazanove) ; In vino stuprum (M. Bettini) ; Il vino di Orazio (Antonia La Penna) ; Wine in Virgil (Jasper Griffin) ; Heavy drinking and drunkenness in the Roman world (John H. D'Arms). ; 9.7 X 6.9 X 1.0 inches; 318 pages ., British School At Rome, 1995, 3<

1995, ISBN: 9780904152272

British School At Rome. Fine in Very Good+ dust jacket. 1995. Hardcover. 0904152278 . DJ spine very slightly sunned. Faint shelfwear to DJ. ; Over twenty papers from an international con… Plus…

British School At Rome. Fine in Very Good+ dust jacket. 1995. Hardcover. 0904152278 . DJ spine very slightly sunned. Faint shelfwear to DJ. ; Over twenty papers from an international conference on the place of wine in ritual, culture and society in the Ancient World (including Near Eastern culture, Greek culture, Etruria and Italy, and Republican and Imperial Rome). The subject is approached from historical, archaeological, art historical and literary perspectives. Contents include: Histories of pleasure (Oswyn Murray) ; Le vin dans une civilisation de la biere (Jean Bottero) ; Wine in Old Comedy (E. L. Bowie) ; Rituels Romains das les vignobles (Olivier De Cazanove) ; In vino stuprum (M. Bettini) ; Il vino di Orazio (Antonia La Penna) ; Wine in Virgil (Jasper Griffin) ; Heavy drinking and drunkenness in the Roman world (John H. D'Arms). ; 9.7 X 6.9 X 1.0 inches; 318 pages ., British School At Rome, 1995, 3<

1995, ISBN: 0904152278

[EAN: 9780904152272], Gebraucht, guter Zustand, [PU: British School At Rome], Jacket, DJ spine very slightly sunned. Faint shelfwear to DJ. ; Over twenty papers from an international conf… Plus…

[EAN: 9780904152272], Gebraucht, guter Zustand, [PU: British School At Rome], Jacket, DJ spine very slightly sunned. Faint shelfwear to DJ. ; Over twenty papers from an international conference on the place of wine in ritual, culture and society in the Ancient World (including Near Eastern culture, Greek culture, Etruria and Italy, and Republican and Imperial Rome). The subject is approached from historical, archaeological, art historical and literary perspectives. Contents include: Histories of pleasure (Oswyn Murray) ; Le vin dans une civilisation de la biere (Jean Bottero) ; Wine in Old Comedy (E. L. Bowie) ; Rituels Romains das les vignobles (Olivier De Cazanove) ; In vino stuprum (M. Bettini) ; Il vino di Orazio (Antonia La Penna) ; Wine in Virgil (Jasper Griffin) ; Heavy drinking and drunkenness in the Roman world (John H. D'Arms). ; 9.7 X 6.9 X 1.0 inches; 318 pages, Books<

1995, ISBN: 9780904152272

Hardcover, 0904152278., Fine in Very Good+ dust jacket, DJ spine very slightly sunned. Faint shelfwear to DJ.; Over twenty papers from an international conference on the place of wine in … Plus…

Hardcover, 0904152278., Fine in Very Good+ dust jacket, DJ spine very slightly sunned. Faint shelfwear to DJ.; Over twenty papers from an international conference on the place of wine in ritual, culture and society in the Ancient World (including Near Eastern culture, Greek culture, Etruria and Italy, and Republican and Imperial Rome). The subject is approached from historical, archaeological, art historical and literary perspectives. Contents include: Histories of pleasure (Oswyn Murray); Le vin dans une civilisation de la biere (Jean Bottero); Wine in Old Comedy (E. L. Bowie); Rituels Romains das les vignobles (Olivier De Cazanove); In vino stuprum (M. Bettini); Il vino di Orazio (Antonia La Penna); Wine in Virgil (Jasper Griffin); Heavy drinking and drunkenness in the Roman world (John H. D'Arms).; 9.7 X 6.9 X 1.0 inches; 318 pages., [PU: British School At Rome]<