13 products were found matching your search for Decorous in 4 shops:

Beautiful barware deserves to be displayed with decorous style. Constructed from stainless steel with a veneer of polished gold, the Belmont bar cart succeeds in doing just that. Rubber-lined wheels make hosting a breeze, while dual mirror shelves reflect back the curated bar tools, stemware and liquor that sit on each tier. Two-Tiered Mirrored Shelves. Gold-Plated Stainless Steel. Stainless Steel & PVC Wheels. Dual Handles. Assembly required Measures 17.9in x 7in x 28.5in Made from: stainless steel, gold plating, mirror shelves, pvc Hand Wash Imported

Inspired by the aristocratic charm of prewar Fifth Avenue design, this Lattice Urn table lamp brings grand style to any room. Each posh white cotton shade sits regally atop a nickel-finished base alive with the texture of decorous curves. This is a great companion for your home whether in the country side or in the busy city.

Color/finish: cream The modish Hazel chair features clean lines and a textural boucle fabric to transform your dining room. Supported by a sturdy pine wood frame with plush foam seats for ultimate comfort, this chair is the perfect decorous yet practical piece that your dining experience needs! Measures 19.3in x 19.7in x 31.5in 16.1in x 19.7in x 18.5in seat Boucle (polyester), Pine, Plywood Spot Clean Only Imported

Color/finish: grey finish The modish Hazel chair features clean lines and a textural boucle fabric to transform your dining room. Supported by a sturdy pine wood frame with plush foam seats for ultimate comfort, this chair is the perfect decorous yet practical piece that your dining experience needs! Measures 19.7in x 19.3in x 31.5in 19.7in x 16.1in x 18.5in seat For indoor use Boucle (polyester), Pine, Plywood Spot Clean Fully Assembled Imported

Color/finish: cream upholstered Part of the Olafur collection A deliciously decadent piece that will capture the attention of anyone who enters the room, meet the Olafur Sectional. This sectional is decorous and refined, it comes in lavish black velvet fabric or fresh cream linen. This polished piece is the perfect addition to any stylish modern space! Measures 97.3in W x 67.5in D x 26.3in Hin Indoor Spot Clean Only Assembly required Imported

Color/finish: gold Imbue the room with a romantic ambiance with this twisted flower-shaped candle holder. Its decorous design makes it a suitable addition for elegant table settings. These uniquely sculpted holders will infuse flavor into everything-even the food. Measures 3.25x4.50x11.5in Hand Washable Imported

Color/finish: gold Imbue the room with a romantic ambiance with this twisted flower-shaped candle holder. Its decorous design makes it a suitable addition for elegant table settings. These uniquely sculpted holders will infuse flavor into everything-even the food. Measures 3.5x4.25x13in Hand Washable Imported

The gilded age was one of unrivalled opulence, an age of castles transported from Europe, four-hundred-foot yachts, and the great American family fortunes. Society was decorous, strict, and entirely stratified. Above all, it had but one leader, Mrs. Astor. It was she whom with the help of her friend and social confidant Ward McAllister, decided who was, and who was not, a member of Society-- a group limited to four hundred by the confines of the Astor mansion's stately ballroom.Four years the press clamored to know who the Four Hundred were, who comprised the inner sanctum of Gilded Age Society? Mrs. Astor never in her life spoke with a journalist, but Ward McAllister often did. Famous for his flippant remarks and unwavering loyalty to Mrs. Astor and Society, he leaked the list to the New York Times in 1892. Instantly the term, "The Four Hundred," entered the national vocabulary, as a way to describe New York's hereditary elite: the Vanderbilts, the Van Rensselaers, the Goelets, the Stuyvesant Fish, the Chanlers....Jerry E. Patterson, social historian and widely published author, brings the names on McAllister's list to life. Describing their lineage, wealth, exploits, and amusements, Patterson paints a vivid and remarkably human portrait of Gilded Age Society at its peak. In telling the story of the First Four Hundred, Patterson details the composition and lore of New York Society from the time the early Dutch settlers first broke bread through the Gilded Age and into the early part of the twentieth century. This telling history of New York's very rich is as much a history of the city itself as it is of social customs, dynamics, idiosyncrasies, and private architecture.

Fiction. Is Jeffers an Alligator Zoo-Park magician or the Messiah? Two friends live unapologetically on the edge of poverty in the rugged, un-decorous part of the South. Jimmy, a single father with an addict ex, and Jeffers, a magician whose tricks are closer to miracles--both are immersed in a place where trailers and Hot Pockets dominate the landscape, and alligators roam free. When Jimmy witnesses "losing" his best friend to his biggest trick gone awry, he reflects on their lifelong friendship and what it really means to escape."C.H. Hooks' mesmerizing novel, ALLIGATOR ZOO-PARK MAGIC, hovers in the boundaries between city boys and country boys, businessmen and truck drivers, a van named NAILR and a radiator-busting deer drinking beer. The world is both nature untamed and twisted in a theme park of mermaids and crispy-fried reptile bites. Yet, Hooks does so much more than create a new spin on the mystical, mythical South. This fascinating debut delves into the true nature of the heart: everyone's need to belong to someone, to some place, and, most importantly, to oneself."--Erica Dawson"Mr. Hooks has produced a magic show of the highest order."--Jensen Beach"I've died and been born anew! C.H. Hooks is a damned wizard, and ALLIGATOR ZOO-PARK MAGIC is a holy hell of a book."--Harrison Scott Key"AZPM is in the best tradition of Southern literature--it's fast and funny, dark and desperate."--Shane Hinton"Draw a direct line from Larry Brown and Harry Crews to Chris Hooks."--Jeff Parker

This decorous if provocatively titled meeting of two songbirds stars Metropolitan Opera soprano Grace Moore ("The Tennessee Nightingale") in her film debut portraying legendary 19th-century diva Jenny Lind ("The Swedish Nightingale"). A Lady's Morals is a prime example of highbrow-meets-hokum fluff from the early sound era. Bringing Moore's vibrant voice and charming poise to the screen was an ambitious attempt to launch a new film star and give the new audio technology an exciting workout. The

The greatest wave of communal living in American history crested in the tumultuous 1960s era including the early 1970s. To the fascination and amusement of more decorous citizens, hundreds of thousands of mostly young dreamers set out to build a new culture apart from the established society. Widely believed by the larger public to be sinks of drug-ridden sexual immorality, the communes both intrigued and repelled the American people. The intentional communities of the 1960s era were far more diverse than the stereotype of the hippie commune would suggest. A great many of them were religious in basis, stressing spiritual seeking and disciplined lifestyles. Others were founded on secular visions of a better society. Hundreds of them became so stable that they survive today. This book surveys the broad sweep of this great social yearning from the first portents of a new type of communitarianism in the early 1960s through the waning of the movement in the mid-1970s. Based on more than five hundred interviews conducted for the 60s Communes Project, among other sources, it preserves a colorful and vigorous episode in American history. The book includes an extensive directory of active and non-active communes, complete with dates of origin and dissolution.

Amours de Voyage (1849) is a novel in verse and is arranged in five cantos, or chapters, as a sequence of letters. It is about a group of English travellers in Italy: Claude, and the Trevellyn family, are caught up in the 1849 political turmoil. The poem mixes the political ('Sweet it may be, and decorous, perhaps, for the country to die; but,/On the whole, we conclude the Romans won't do it, and I sha'n't') and the personal ('After all, do I know that I really cared so about her?/Do whatever I will, I cannot call up her image'). The political is important – hence the Persephone edition reproduces nine London Illustrated News drawings of the battlefront – but the personal dilemmas are the crucial ones. Claude, about to declare himself, retreats, then regrets his failure to speak. It is this retreat, his scruples and fastidiousness, that, like a conventional novel, is the core of Amours de Voyage.

Decorous flirtations and suppressed emotions characterize the several near romances of Wilmet Forsyth--a young woman bored by her civil-servant husband--and the various occasions of romantic error that touch upon her life