Background
Hutton was born in New York City in 1843. He was the son of a New York businessman, John Hutton, and his wife Eliza Ann.
( “This is by far the best book of its kind; some readers...)
“This is by far the best book of its kind; some readers may go further and pronounce it the only book of its kind. Neither historical nor biographical, it is full of interesting chat about stage people – more than five hundred of them.” -New York Herald “Mr. Hutton has packed a marvelous amount of curious information into his pages…To collectors this volume must be quite indispensable, and there is no lover of the theater who will not find it entertaining and instructive.” -New York Tribune “Theatrical literature has nothing better and few things as good….Mr. Hutton seems to have an inexhaustible fund of personal reminiscences, and to these he has added all sorts of curious information from other sources.” -Cincinnati Times-Star “One of the most important contributions yet made to the history of our native drama….It is not only a history of the American stage, but it suggests the interests and amusements of the American people for the past century, and the advance in literary and dramatic standards. This is a book which will fill a valuable and permanent place as a book of reference, and as a cleverly told and interesting history of the people who have amused the American public….Mr. Hutton is to be congratulated upon the clearness and fulness of his work, which, taken as a whole, is a unique and valuable addition to the literature of this century.” -Boston Traveler “Mr. Hutton has brought to bear on his subject both sympathy and appreciation. Moreover, his well-tested knowledge and his well-known accuracy stamp all his statements with a double value, all of these things giving to his ‘Curiosities’ an importance not to be attained by the average collection, and carrying his volume far beyond the level of his own modest estimate.” -New York Mail and Express “Mr. Hutton has an unerring instinct for discerning what to collect and what to omit from his book. A more delightful treasury of the “Curiosities of the American Stage’ it would be difficult to conceive.” -Philadelphia Ledger "Mr. Hutton has collected some of the magazine articles on theatrical subjects he has written since his "Plays and Players" was published in this handsome volume. He writes entertainingly and with knowledge of the stage, and his new book is crammed full of facts. The various chapters treat of the native American drama, from the time of Royall Tyler, author of "The Contrast," to the time of Bronson Howard....the American burlesque, the infant phenomena of America, and a century of American Hamlets….No writer on this subject is more painstaking and accurate than Laurence Hutton. His sources of information are as trustworthy as possible. His memory is generally clear and unerring….Stage history is generally confusing and few contemporary theatrical historians have the fitness for their task that Mr. Hutton has." -The New York Times
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(Literary landmarks of Florence is an unchanged, high-qual...)
Literary landmarks of Florence is an unchanged, high-quality reprint of the original edition of 1897. Hansebooks is editor of the literature on different topic areas such as research and science, travel and expeditions, cooking and nutrition, medicine, and other genres. As a publisher we focus on the preservation of historical literature. Many works of historical writers and scientists are available today as antiques only. Hansebooks newly publishes these books and contributes to the preservation of literature which has become rare and historical knowledge for the future.
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(Literary Landmarks of Venice is an unchanged, high-qualit...)
Literary Landmarks of Venice is an unchanged, high-quality reprint of the original edition . Hansebooks is editor of the literature on different topic areas such as research and science, travel and expeditions, cooking and nutrition, medicine, and other genres. As a publisher we focus on the preservation of historical literature. Many works of historical writers and scientists are available today as antiques only. Hansebooks newly publishes these books and contributes to the preservation of literature which has become rare and historical knowledge for the future.
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(Leopold is delighted to publish this classic book as part...)
Leopold is delighted to publish this classic book as part of our extensive Classic Library collection. Many of the books in our collection have been out of print for decades, and therefore have not been accessible to the general public. The aim of our publishing program is to facilitate rapid access to this vast reservoir of literature, and our view is that this is a significant literary work, which deserves to be brought back into print after many decades. The contents of the vast majority of titles in the Classic Library have been scanned from the original works. To ensure a high quality product, each title has been meticulously hand curated by our staff. This means that we have checked every single page in every title, making it highly unlikely that any material imperfections – such as poor picture quality, blurred or missing text - remain. When our staff observed such imperfections in the original work, these have either been repaired, or the title has been excluded from the Leopold Classic Library catalogue. As part of our on-going commitment to delivering value to the reader, within the book we have also provided you with a link to a website, where you may download a digital version of this work for free. Our philosophy has been guided by a desire to provide the reader with a book that is as close as possible to ownership of the original work. We hope that you will enjoy this wonderful classic work, and that for you it becomes an enriching experience. If you would like to learn more about the Leopold Classic Library collection please visit our website at www.leopoldclassiclibrary.com
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(Leopold is delighted to publish this classic book as part...)
Leopold is delighted to publish this classic book as part of our extensive Classic Library collection. Many of the books in our collection have been out of print for decades, and therefore have not been accessible to the general public. The aim of our publishing program is to facilitate rapid access to this vast reservoir of literature, and our view is that this is a significant literary work, which deserves to be brought back into print after many decades. The contents of the vast majority of titles in the Classic Library have been scanned from the original works. To ensure a high quality product, each title has been meticulously hand curated by our staff. This means that we have checked every single page in every title, making it highly unlikely that any material imperfections – such as poor picture quality, blurred or missing text - remain. When our staff observed such imperfections in the original work, these have either been repaired, or the title has been excluded from the Leopold Classic Library catalogue. As part of our on-going commitment to delivering value to the reader, within the book we have also provided you with a link to a website, where you may download a digital version of this work for free. Our philosophy has been guided by a desire to provide the reader with a book that is as close as possible to ownership of the original work. We hope that you will enjoy this wonderful classic work, and that for you it becomes an enriching experience. If you would like to learn more about the Leopold Classic Library collection please visit our website at www.leopoldclassiclibrary.com
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(A Boy I Knew and Four Dogs is presented here in a high qu...)
A Boy I Knew and Four Dogs is presented here in a high quality paperback edition. This popular classic work by Laurence Hutton is in the English language, and may not include graphics or images from the original edition. If you enjoy the works of Laurence Hutton then we highly recommend this publication for your book collection.
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(This is a reproduction of a historical book called Portra...)
This is a reproduction of a historical book called Portraits in Plaster that was originally published in 1894. It is a fascinating book with over 70 illustrations of plaster mask portraits of some of the word's most influential people from Dante and Shakespeare to Lincoln, Washington and Franklin. See what these people looked like in life and death. Here's is an excerpt: The story of the beginning of my collection of masks is curious and perhaps interesting. The half-dozen casts upon which it is based were found, early in the Sixties, in a dust-bin in one of the old-fashioned streets which run towards the East River, in the neighborhood of Tompkins Square, New York. Their owner had lately died; his unsympathetic and unappreciative heirs had thrown away what they considered “the horrible things;” a small boy had found them, and offered them for sale to a dealer in phrenological casts, who realized their worth, although, in many cases, he did not know whose heads they represented; and so, by chance, they came into my possession, and inspired the search for more. The history of these masks which formed the nucleus of the collection, or the history of the original collector himself, I have never been able to discover. They are, however, the casts most frequently described in the printed lectures of George Combe, who came to America in the winter of 1838-39, and the inference is that they were left here by him in the hands of one of his disciples. The earliest masks in the collection to-day are replicas of those of Dante, made, perhaps, in the first part of the fourteenth century, and of Tasso, certainly made at the end of the sixteenth. The latest mask is that of Edwin Booth, who died only a few months ago. They range from Sir Isaac Newton, the wisest of men, to Sambo, the lowest type of the American negro; from Oliver Cromwell to Henry Clay; from Bonaparte to Grant; from Keats to Leopardi; from Pius IX. to Thomas Paine; from Ben Caunt, the prize-fighter, to Thomas Chalmers, the light of the Scottish pulpit. So far as I have been able to discover, mine is the most nearly complete and the largest collection of its kind in the world. I have, indeed, found nothing anywhere to compare with it. Usually, the Phrenological Museums contain casts of idiots, criminals, and monstrosities, and these are seemingly gathered together to illustrate what man’s cranial structure ought not to be. There are but three or four casts of the faces of distinguished persons in the British Museum, and about as many in the National Portrait Gallery in London; and all of these I am able to present here, with the exception of that of James II., who belongs, perhaps, to the criminal class. In the Hohenzollern Museum are many casts, but these generally are those of civic or national celebrities—Berlin aldermen or German warriors, in whom the world at large has but little interest. The casts of Frederick the Great, Queen Louise, Schiller, and one or two more in that institution, however, I was permitted to have reproduced. The others I have gathered after many years of patient and pleasant research in the studios, the curiosity-shops, and the plaster-shops of most of the capitals of Europe and America. The story of this research, with an account of the means taken to identify the masks when they were discovered, could itself make a book of this size. I am sure that mine is the actual death-mask of Aaron Burr, for instance, because I have the personal guarantee of the man who made the mould in 1836; I am positive of the identity of another cast, because I saw it made myself; and concerning still another, I have no question, because I know the man who stole it! In the matter of the great majority of the masks, however, the difficulties were very great. Hardly one per centum of the hundreds of biographers whose works I have consulted ever refer to the taking of a mask in life, or after death, and there is absolutely no literature which is devoted to the subject.
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Hutton was born in New York City in 1843. He was the son of a New York businessman, John Hutton, and his wife Eliza Ann.
He was educated in a private school in his native city, and, according to his own report, was dull at mathematics and indolent in general.
He received honorary degrees of M. A. , from Yale in 1892 and from Princeton in 1897.
At eighteen he was challenged by his father as to his fairness in neglecting rather expensive advantages. He became self-supporting at once, though there was no estrangement, and for the next nine years was engaged in a hop business until the firm with which he was connected failed. On his father's death he was left with a modest competence which set him free to range in literary fields without the necessity of earning a livelihood.
His first consecutive activity as a writer was as contributor of dramatic criticisms to the New York Mail in an informal connection which began about 1872. This led to the compilation of his Plays and Players (1875), Curiosities of the American Stage (1891), and, subsequently, to his Edwin Booth (1893), to the publications of the Dunlap Society, Opening Addresses (1887), and Occasional Addresses (1890) with William Carey as collaborator, and to Actors and Actresses of Great Britain and the United States from the Days of David Garrick to the Present Time (1886) in collaboration with Brander Matthews. Financial independence and freedom for travel gave him leisure and material to write his Literary Landmarks of London (1885), which was followed by similar books on Edinburgh (1891), Jerusalem (1895), Venice (1896), Rome (1897), Florence (1897), Oxford (1903), and the Scottish Universities (1904).
In the course of events he became a collector in several fields; rare books, autographs and autograph letters, extraillustrated works, and portrait masks. His interest in masks resulted in his volume entitled Portraits in Plaster (1894); and the miscellany of his interests and contacts, in the further variety of his publications, including his collaboration with Clara Erskine Clement Waters in the writing of Artists of the Nineteenth Century (1879), Talks in a Library (1905), recorded by Isabel Moore, his collection of essays for collectors From the Books of Laurence Hutton (1892), and his reminiscent volumes, Other Times and Other Seasons (1895), and A Boy I Knew (1898, 8th edition 1900).
His complete bibliography runs to forty-eight titles. From 1886 to 1898 he served as literary editor of Harper's Magazine, conducting the department of "Literary Notes, " a combination of book talk and more specific reviewing. From 1901 to 1904 he was lecturer in English literature at the latter university.
( “This is by far the best book of its kind; some readers...)
(This is a reproduction of a historical book called Portra...)
(Leopold is delighted to publish this classic book as part...)
(Leopold is delighted to publish this classic book as part...)
(Literary landmarks of Florence is an unchanged, high-qual...)
(Literary Landmarks of Venice is an unchanged, high-qualit...)
(A Boy I Knew and Four Dogs is presented here in a high qu...)
He was a New Yorker who inevitably enjoyed membership in the Century Club, and charter membership in The Players, the Authors Club and the American Copyright League.
On April 7, 1885, he married Eleanor Varnum Mitchell.
