(Trieste Publishing has a massive catalogue of classic boo...)
Trieste Publishing has a massive catalogue of classic book titles. Our aim is to provide readers with the highest quality reproductions of fiction and non-fiction literature that has stood the test of time. The many thousands of books in our collection have been sourced from libraries and private collections around the world.The titles that Trieste Publishing has chosen to be part of the collection have been scanned to simulate the original. Our readers see the books the same way that their first readers did decades or a hundred or more years ago. Books from that period are often spoiled by imperfections that did not exist in the original. Imperfections could be in the form of blurred text, photographs, or missing pages. It is highly unlikely that this would occur with one of our books. Our extensive quality control ensures that the readers of Trieste Publishing's books will be delighted with their purchase. Our staff has thoroughly reviewed every page of all the books in the collection, repairing, or if necessary, rejecting titles that are not of the highest quality. This process ensures that the reader of one of Trieste Publishing's titles receives a volume that faithfully reproduces the original, and to the maximum degree possible, gives them the experience of owning the original work.We pride ourselves on not only creating a pathway to an extensive reservoir of books of the finest quality, but also providing value to every one of our readers. Generally, Trieste books are purchased singly - on demand, however they may also be purchased in bulk. Readers interested in bulk purchases are invited to contact us directly to enquire about our tailored bulk rates.
(Excerpt from Idols
About the Publisher
Forgotten Books ...)
Excerpt from Idols
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.
The Burial of Francis Bacon and Its Rosicrucian Significance
(This scarce antiquarian book is a facsimile reprint of th...)
This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.
Burial of Francis Bacon and His Mother in the Lichfield Chapter House
(This scarce antiquarian book is a facsimile reprint of th...)
This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.
(This scarce antiquarian book is a facsimile reprint of th...)
This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.
(This book was digitized and reprinted from the collection...)
This book was digitized and reprinted from the collections of the University of California Libraries. It was produced from digital images created through the libraries’ mass digitization efforts. The digital images were cleaned and prepared for printing through automated processes. Despite the cleaning process, occasional flaws may still be present that were part of the original work itself, or introduced during digitization. This book and hundreds of thousands of others can be found online in the HathiTrust Digital Library at www.hathitrust.org.
Walter Conrad Arensberg was an American art collector, critic and poet.
Background
Walter Conrad Arensberg was born on April 4, 1878 in Pittsburgh, Pennsylvania, United States. He was the son of the industrialist Conrad Christian Arensberg and Flora Belle Covert Arensberg.
His father had been a frontier teacher and Civil War soldier before helping to organize (1872) the McCullough Dalzell Crucible Company in Pittsburgh.
Education
Arensberg attended schools in Pittsburgh and Harvard University, from which he received the B. A. in 1900.
Career
While an under-graduate he was editor of the Harvard Monthly and class poet. After graduating from Harvard, Arensberg spent almost a year in Italy, where he learned to read Italian and became passionately devoted to Dante's Divine Comedy. His decidedly traditional taste in art at this time is reflected in his poems on a Leonardo Madonna and on Michelangelo's Pietâ, published in 1914 but most likely written during or shortly after his Italian sojourn.
After a year of graduate work in English at Harvard (1903-1904), Arensberg settled in New York City as a reporter on the New York Evening Post. He was occasionally assigned to work with art critic Frank Mather and wrote his own reviews. During the early years of his marriage, Arensberg's collection consisted of a few works by eighteenth-century Florentine painters.
He devoted much time to poetry and counted among his closest friends the poet Wallace Stevens. Arensberg's published poetry reveals the emergence, from a traditional style, of a more experimental, imagist manner. The Armory Show, which opened in New York in February 1913, proved crucial in Arensberg's development as art collector and connoisseur.
He acquired his first modern work from the show, Jacques Villon's Puteaux: Smoke and Trees in Bloom (1912). As his enthusiasm for modern art grew, he purchased other works exhibited in the show, including Marcel Duchamp's Nude Descending a Staircase. Although his friend Walter Pach, an artist and art historian, helped him to appreciate the new schools of painting, Arensberg's devotion to the modern, especially the cubist, works was promoted by his own predilection for solving puzzles and uncovering hidden meanings.
This devotion soon extended to the artists themselves, and through Pach and other friends Arensberg met and entertained many avant-garde painters, writers, and musicians, including Albert Gleizes, Man Ray, Francis Picabia, Charles Demuth, Alfred Stieglitz, Edgard Varése, Arthur Dove, and John Covert. Arensberg met Marcel Duchamp in 1915 through Pach and immediately offered the French artist the use of his apartment, which Duchamp accepted for a month. The Arensbergs then helped Duchamp find a studio, for which they paid the rent.
An important factor in their friendship, which lasted until the collector's death, was their passion for chess, in addition to their mutual regard for ideas and for the free play of the mind. Art, like chess, served both painter and patron mainly as a medium for working out elaborate theories and solving abstruse intellectual problems.
Arensberg eventually acquired most of Duchamp's works, including paintings in the possession of the artist's family.
His major work, The Bride Stripped Bare by Her Bachelors, Even (also called The Large Glass), was begun in 1915, mainly at the insistent urging of Arensberg. Arensberg helped found and funded Others, a little magazine devoted to experimental poetry; and in 1917, with Duchamp, he began the little magazines Rongwrong and The Blind Man. From 1916 the Arensbergs' apartment and Stieglitz's studio became the focal points of New York proto-Dada. Meetings held at the apartment by Pach, William Glackens, and others led to the 1917 First Annual Exhibition of the Society of Independent Artists at the Grand Central Gallery, to which Duchamp submitted his celebrated Ready-Made Fountain (a urinal) under the pseudonym R. Mutt.
In the May 1920 issue of Littérature, devoted to Dada, Arensberg joined Louis Aragon, André Breton, and Jean Arp in writing one of twenty-three manifestos of the movement. Picabia gave the American collector the title "le vrai dada de New York. "
The Arensbergs gradually withdrew from participation in literary and artistic movements, severing themselves completely in 1922, when they moved to Hollywood, Calif. Arensberg continued to add to his collection, often assisted by Duchamp as unofficial agent, and purchased many important works from the John Quinn collection, including seven sculptures by Constantin Brancusi. While in California the Arensbergs acquired much of their extensive collection of pre-Columbian Indian artworks.
Both collections were donated to the Philadelphia Museum of Art in 1950, and three years later twenty-two galleries in a special wing were completed to house the collections. Arensberg died in Hollywood. Arensberg was also involved in the Baconian controversy as founder of the Francis Bacon Foundation and as author of a number of books in which he sought to prove through cryptographic methods that Francis Bacon wrote Shakespeare's works.
In The Cryptography of Dante (1921) he stated his conviction that Dante and other great writers themselves employed cryptograms "to express and solve. the problem of appearance and reality. " This was the basis for his painstaking analysis of Shakespeare's plays and poems, as in The Cryptography of Shakespeare (1922) and The Shakespearean Mystery (1928).
(Trieste Publishing has a massive catalogue of classic boo...)
Interests
He was a skillful chess player.
Connections
In June 1907 he married Mary Louise Stevens, a wealthy amateur singer, and soon afterward gave up his career as a journalist. The couple moved to Boston, Massachussets, for a year before returning to New York City.