|Armgaard Karl Graves|
|Secrets of the German War Office: With the Collaboration of
Edward Lyell Fox.~ 1914 ~ A.L. Burt Co. ~ Illustrated Copyrights
by Sunday Magazine, P.F. Collier & Son and McBride, Nast & Co.
FOREWORD: In view of the general war into which Europe has been precipitated just at the moment of going to press, it is of particular interest to note that the completed manuscript of this book has been in the hands of the publishers since June 1st. Further comment on Dr. Graves’ qualifications to speak authoritatively is unnecessary; the chapters that follow are a striking commentary on his sources of information. ~ The Publishers ~ August 7, 1914.
|Violet Gordon Gray|
|Margery Morris and Plain Jane
Others in the Margery Morris Series:
|Hempfield ~ 1915 ~ G&D/Doubleday ~ Illustrated By Thomas
Fogarty ~ 335 pages
Adventures of David Grayson: Adventures in Contentment ~ Adventures
in Friendwhip ~ The Friendly Road ~ 1925 ~ NY Sun Dial Pess ~ Illustrations
by Thomas Fogarty ~ 444 pages
|Anna Katharine Green (November 11, 1846 - April 11, 1935)|
|The Woman in the Alcove (A Woman of Mystery) ~ 1906
Online eText: http://onlinebooks.library.upenn.edu/webbin/gutbook/lookup?num=1851
Alternat eText: http://www.pagebypagebooks.com/Anna_Katharine_Green/The_Woman_in_the_Alcove/
|Adventures of Ruben Davinger - 1884
1866 Harper Seventeen years among the Dyaks of Borneo (Monster Men?) (2
different editions, one gilt and DJ)
Another Edition of Ruben Pompeii
Ruben Davinger His Adventures in Peril London Ward Locke and Company
Curiosities of Savage Life - 1864 - London Strand 418 pages ~ Nine plates printed in color from watercolor drawings by F. W. Keyl and R. Huttula, as well as 78 illustrations in the text engraved by H. Newsom Woods from designs by Harden S. Melville
This is a collection of accounts of customs practiced by so-called savages in many parts of the world, organized according to subject headings such as adornment, courtship and marriage, law, and so on. A journalist, novelist, miscellaneous writer, and author of juvenile fiction, Greenwood authored a number of works on savages as well as various books about people outside the mainstream of life: criminals, the inhabitants of workhouses, the homeless of London.
James Greenwood, the son of a coach-builder, was born in London in the 1840s. As a young man he obtained employment on the Pall Mall Gazette. Sympathetic to the plight of the working-class, Greenwood wrote several articles highlighting the problems of poor housing and public heath. Greenwood moved to the Daily Telegraph where he continued to write articles on social issues. Although primarily a journalist, Greenwood also published novels and short-stories. James Greenwood died in 1929.
|Sir Richard Arman Gregory|
|Discovery: or, the Spirit and Service of Science
1916 ~ London: Macmillan
"Science is... one of the great human endeavors to be ranked with arts and religion as the guide and expression of man's fearless quest for truth" ~ Sir Richard Arman Gregory
Handlist to the Papers of Sir Richard Gregory
|Last of the Great Scouts ~ 1918 (with
Online eText Edition: http://www.usgennet.org/usa/topic/preservation/bios/toc.htm
The Mysterious Rider 1921
Online eText Edition: http://arthursclassicnovels.com/arthurs/grey/mrider10.html
The Rainbow Trail 1915 G&D
Online eText Edition: http://www.blackmask.com/books72c/rnbwt.htm
Grey was a prolific American writer and pioneer of the Western as a
new literary genre. Grey produced over sixty books, and almost as many
have been published posthumously. In his works Grey presented the West
as a moral battle ground, in which his characters are destroyed because
of their unableness to change or redeemed through a final confrontation
with their past. Grey's semioutlaw heroes were his most interesting creation,
among them Lassiter in RIDERS OF THE PURPLE SAGE (1912), a gunman
who has lost a girl he loved to a Mormon preacher, and Buck Duane, the
agonized killer of LONE STAR RANGER (1915). Randolph Scott played
a former outlaw in Fritz Lang's film Western Union (1941), based on Grey's
novel. Grey's stories, set against the beautiful but harsh landscape of
the West, have fascinated readers all over the world.
Zane Grey was born in Zanesville, Ohio. His father was a farmer and preacher, and mother a Quaker, of Danish background. Grey graduated from the University of Pennsylvania with a degree in dentistry in 1896, and practiced in New York City until 1904. During these years he started to write. Grey's first book, BETTY ZANE, was turned down by several published, and in 1904 Grey published it privately. The colorful frontier story was based on his ancestor's journal. After the book gained a critical success, Grey continued his family story in THE SPIRIT OF THE BORDER (1905). In his writing Grey was encouraged by his wife, Lina Elise Roth. They married in 1905. She supported his aspirations to become a professional writer. In 1908 Grey made a journey to the West with Colonel C.J. ('Buffalo') Jones, who told him tales of adventure on the plains. The trip was a turning point in Grey's career. He began writing Western novels in the tradition of Owen Wister and produced the first, THE LAST OF THE PLAINSMEN, in 1908. In 1912 the publishing company Harpers brought out Riders of the Purple Sage. It sold two million copies, was filmed three times, and became Grey's best-known western. Its formula, in which a tormented outlaw fights to protect the good and finds love, Grey used in many novels. Much of Grey's knowledge of the West was based on research or trips in the regions he wrote about. He also interviewed authentic residents of the Wild West. In 1918 Grey moved to California, and lived there for the rest of his life. He built a large, Spanish-style house in Altadena, and continued to produce the usual 100 000 words each month. While not writing, Grey fished in the South Seas, or hunter along the Rogue River in Oregon, or spent time on Catalina Island. According to some sources, he fished up to 300 days of the year. In TALES OF SWORDFISH AND TUNA (1927) he tells that he had exceptionally good luck in locating schools of large tuna. Grey died on October 23, 1939, in Altadena.
Grey's books dealt with settlers, cowboys, desperadoes, Indians, cattle drives, the advance of technology, family feuds, feuds between cattlemen and sheepherders, the bison hunting (The Thundering Herd), the defeat of the American Indian - all the aspects of West that later generations of writers and filmmakers utilized. Grey's style has been called antiquated, but it had much emotional power: THE ROARING U.P. TRAIL (1918) has been criticized for it melodramatic plot but acknowledged for its reliable historical description about the building of the transcontinental railroad. THE VANISHING AMERICAN (1925), Grey's own favorite work, recycled the idea of the noble savage familiar from The Last of the Mohicans. The social commentary on the treatment of American Indians on the reservation included also a love theme between a red man and a white woman. George B. Seitz's film The Vanishing American (1925) from Grey's novel was melodramatic but dramatized the progression of American Indian life, and their hopeless situation in a way that no film previously had attempted. In such short stories as 'The Great Slave,' 'Yaqui, and 'Tigre' Grey showed his knowledge of Indian tribes and their history and the peon system of Mexican plantations. In 'Tappan's Burro,' a story of a wandering gold prospector and his faithful burro, Grey masterfully described the beauty of desert plains, barren mountain country, and forest land. Grey sold 17 million copies during his life time. His non-fiction includes several tales of fishing. Grey left a number of manuscripts for novels, of which several has been published, among others THE REEF GIRL in 1977. Hollywood have used his books eagerly, according to one estimation 100 Western films have been based on Grey's stories. In the 1930s lowbudget Zane Grey films were highly popular and profitable for Paramount. Grey also wrote two screenplays, THE VANISHING PIONEER and RANGLE RIVER. Paramount had used the Zane Grey name as a draw since the silent era. Although Grey stories were low-budgeted, they were not meant only for juveniles. In the early phase of his career director, Henry Hathaway leant on Grey's stories and the actor Randolph Scott in several films. By 1935 they both were on their way to bigger productions. In Heritage of the Desert (1932) was in his fist starring role. Wild Horse Mesa (1932) was a tale of wild horse taming.Scott stops Fred Kohler who uses barbed wire to catch wild stallions. Under the Tonto Rim (1933) depicted a slow-witted cowboy who wins his manhood and the boss's daughter. In the romantic Western Man of the Forest (1933) Scott's pet lion helps him to escape from jail. To the Last Man (1933) was a story of a family feud healed by young love. Scott was austere and Shirley Temple made her debut. There is also a 'tastefully photographed' nude swimming sequence. The Thundering Herd (1933) was one of the best of Paramount's Zane Grey quickies. The story dealt with buffalo hunters and marauding Indians. Footage from William K. Howard's film from 1925 was used in the scene of the stampede of wagons across a frozen lake. The Last Round-Up (1934) starring Randolph Scott, was based on Zane Gray's novel THE BORDER LEGION. It told a story about a gang of rustlers and their boss who sacrifices his life for two young lovers. Stock footage from the silent version and Border Legion (1930) were used in the film. Fritz Lang's Western Union (1941) was beautifully photographed by Edward Cronjager.
|Johnny Gruelle 1880 - 1938|
|My Very Own Fairy Stories
Raggedy Ann Stories
My Very Own Fairy Stories: 1917 Chicago: P.F.Volland Co. - color
pictorial boards - 90 pages ~ colour
Gruelle, Artist at Heart
By Patricia Hall: Johnny
Gruelle Raggedy Anne Museum
Johnny Gruelle is best known for creating the world famous rag doll characters, Raggedy Ann and Andy. While the Raggedys were the indisputable centerpiece of Gruelle's career, in his heart of hearts, Johnny was a dyed-in-the-wool freelance artist, who felt most at home at his drawing board, crafting illustrations and features for newspapers and magazines. John Barton Gruelle was born in Arcola, Illinois in 1880. At the age of two, his family moved to Indianapolis, where his father, R.B. Gruelle, became known as one of the Hoosier Group of Impressionist artists. By his early teens, John Gruelle already knew he was a cartoonist. During a train-hopping adventure to Cleveland, Ohio in 1894, his caricature of a beat cop named Tom McGinty so impressed the officer that he supposedly offered to stake Gruelle while the boy sought cartooning work at a local newspaper. As it turned out Gruelle did not stay on in Cleveland (although he would return to live there years later). But after this experience, a career spent painting landscapes and portraits like those his father rendered seemed far less appealing than one spent turning out pithy little funnies for a living. In 1901 the 20-year-old Gruelle landed his first newspaper job, at an Indianapolis tabloid called the People. There he worked for several months creating rough-hewn "chalk-plate" portraits. By April 1902, Gruelle had moved on to the more mainstream Indianapolis Sun, while managing also to do work for the Detroit-based Peninsular Engraving Company. In June 1903, Gruelle was hired at the brand-new Indianapolis Star as the paper's first assistant illustrator. His three years at the Star were interrupted by nine-months spent at the rival Indianapolis Sentinel. Once back at the Star, in 1905, Gruelle accepted a freelancing job with World Color Printing Company of St. Louis to produce four-color Sunday comics, a connection he continued after relocating to Cleveland in 1906 to work for the Cleveland Press and the Newspaper Enterprise Association. During these years, Gruelle would turn out as many as ten cartoons each week, his style steadily growing more expert and refined. Although most of his early newspaper work was aimed at adults, by 1908, Gruelle had begun producing features for children. After winning a national comic drawing contest, Gruelle went to work for The New York Herald in early 1911. Although he would continue creating for adults, his most important audience became children, whom he kept entertained with colorful "Mr. Twee Deedle" Sunday comic pages. Once "Mr. Twee Deedle" was in print, it wasn't long before Gruelle was receiving commissions from a broad array of monthly and weekly magazines. His distinctive cartoons, illustrations, and illustrated stories appeared regularly in well-known publications including John Martin's Book, Physical Culture, Illustrated Sunday Magazine, McCall's, The Ladies' World, and Judge. It was his illustrating work that led him to create a distinctive, whimsical design for a doll named "Raggedy Ann," which he patented and trademarked in 1915. Gruelle was soon pitching book ideas, and ultimately, he connected with the P.F. Volland Company, a juvenile publisher in Chicago. In 1918 Volland published Gruelle's Raggedy Ann Stories and also introduced a matching character doll, and the rest is history. More Raggedy books and dolls followed, and Gruelle eventually became known as "The Raggedy Ann Man." Johnny eventually entered the arena of juvenile book illustrating and writing and achieved fame as creator of Raggedy Ann and Andy. However, Gruelle's newspaper and magazine work remained vital outlets for him, providing him not only with welcome income, but also a forum in which to explore an extensiverange of illustrating and writing interests, in full view of hundreds of thousands of readers of all ages and persuasions. In 1922, Gruelle's serialized "Adventures of Raggedy Ann and Andy" stories premiered in newspapers across the country. He continued providing artwork to adult magazines such as Life, Cosmopolitan, and College Humor, and kept up with his illustrated juvenile features, which appeared in Woman's World and Good Housekeeping. In 1929, Gruelle's full-color Sunday comic "Brutus" began what would be a nine-year run, and by 1934, his illustrated "Raggedy Ann" newspaper proverbs were innational syndication. By the time of his death in 1938, Gruelle's Raggedy characters, dolls, and books were known throughout the world. However, his fanciful newspaper and magazine works had also kept Americans amused for nearly four decades, and Gruelle had become extremely well-regarded in cartooning and illustrating circles. Throughout his life, and in his heart of hearts, Johnny Gruelle was ever and always -- an artist. ©2001 Patricia Hall
|#GuestEdgar A. (Albert) Guest (1881-1959)|
Heap O' Livin' (Along Life's Highway): 1916 Reilly & Britton,
Co. A book of verses written by Edgar A. Guest for his children.
All That Matters: 1922 Reilly & Lee Co. ~ Poetry with over 20 pages of illustrations.With pictures by W. T. Benda, M. L. Bower, F. X. Leyendecker, F. C. Yohn, H. C. Pitz, Robert E. Johnston, Harvey Emrich, Pruett Carter. Illustrations Copyrighted 1920, 1921, 1922 by The International Magazine Co. and reproduced by special arrangement with the Cosmopolitan Magazine. 96 pages, 50 poems, 20 illustrations. Titles of poems include: All That Matters, Motherhood, The Common Touch, A Boy and His Dad, Little Feet, Success, A Warm House and A Ruddy Fire.
The Path To Home: 1919 Reilly & Lee Co., Chicago 192 pages.
SHEET MUSIC: Cradle Song, by Carl Hoefle, the musical background for Edgar A. Guest's"Thought for Tomorrow" heard on The Household Hour on the NBC radio network, 1934, Carl Hoefle with photos of 7 Household Hour performers on the back.
Guest authored over 20 volumes
of poetry. At his death on August 5, 1959, he was affectionately called
"the poet of the people" because he wrote of everyday family lives with
deep sentimentality. He was thought to have penned over 11,000 poems in
his lifetime, many of them in fourteeners, which have been neglected by
major poets for centuries. The Detroit Public Library holds information
about his writings, and the Central Michigan University's Clarke Historical
Library and University of Michigan's Bentley Historical Library house his
papers and manuscripts. Academic anthologies usually omit his works, possibly
because in them he unashamedly wears his heart on his sleave and leaves
little room for multiple interpretations. Possibly his best-known poem
is "It Couldn't be Done." His Collected Verse appeared in 1934 and went
into at least 11 editions.
|Voyage of the Constance ~ Gall and Englis, London|
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