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Frederic is a limited edition Fine Art Giclée Archival print on Hahnemühle etching paper. Your signed Limited Edition print of 200 is wrapped with love, and is shipped rolled in a tube. Frederic was always a quiet boy and growing up he felt very misunderstood. He was very musical and mastered the lute, the lyre, the harp (very rare for a man), the piano, the accordion., and he was particularly good on the horn. One day, whilst out walking he heard a young boy singing so beautifully that he had to find the face behind the voice. Please take care when handling this print and use white gloves if possible when framing.

Unread book in perfect condition.

A revolutionary comic masterpiece, an icon of literature as American pop art, and a book unlike any other, The Adventures of Mao on the Long March breaks all frames. An icon of literature as American Pop Art, Frederic Tuten’s Adventures of Mao on the Long March is a triumphantly witty and subversive novel. The New York Times called it “almost too good to be true.” Tuten’s deadpan textbook narrative of Mao’s Long March is peppered with loving parodies of Hemingway, Kerouac, Dos Passos, and Malamud. As John Updike comments, the book includes “twenty-seven pages of straight history of the Long March (October 1934-October 1935), done in a neutral, factual tone, as by a fellow-traveling Readers Digest...thirty-six and a half pages of quotations in quotation marks...and twenty-six pages of what might be considered normal novelistic substance―imaginary encounters and conversation. For an example: ‘a tank, covered with peonies and laurels, advances towards him. Mao thinks the tank will crush him, but it clanks to a halt. The turret rises, hesitantly. Greta Garbo, dressed in red sealskin boots, red railway-man’s cap, and red satin coveralls, emerges. She speaks: “Mao, I have been bad in Moscow and wicked in Paris, I have been loved in every capital, but I have never seen a MAN whom I could love. That Man is you, Mao, Mao mine.” Mao considers this dialectically. The woman is clearly mad. Yet she is beautiful and the tank seems to work.‘”

A verdant bouquet emanating pure refinement. A symphony of green notes. A unique accord of Tarragon, Basil and Galbanum. A creative ratio of Sandalwood and Patchouli. Reimagined by Frédéric Malle, Private Collection Legacy allows the signature green accord of the original to shine, backing it with Rose and Jasmine but in a contemporary way. A maze of blazing green streaked with color. Bold and unafraid. Impressive and willful. At the height of artistry, unadorned opulence. "Private Collection Legacy is a contemporary perfume...a strong signature." -Frédéric Malle Olfactive Family: Floral Green THE DESIGN Stunning and sculptural. Contemporary expression, elevated to the sublime with Mrs. Estée Lauder's signature touches. A substantial cylinder of glass. Exquisite fluting. Heritage rope detail. All wrapped in a fluted box in legacy blue, our founder's favorite shade. Breathtaking. ESTÉE LAUDERTHE LEGACY COLLECTION Iconic scents, ingeniously evolved. Mrs. Estée Lauder, the creator of indelible masterpieces. Frédéric Malle, the acclaimed perfume editor who has reimagined our legacy fragrances for the 21st century. Two extraordinary scent artists. Five ingenious sensorial experiences. Floral Green. Basil, Galbanum, Patchouli notes. Estée Lauder Private Collection Legacy Eau de Parfum Spray

Gold and green and color illus. wraps; 32 pp.; 32 color plates, 14 color and bw figures. From a 2003 exhibition at the Allentown Art Museum featuring works by American artist Charles Frederic Ramsey (1875-1951). With an essay by Thomas C. Folk. The exhibition checklist cites 45 pieces, and 42 are pictured here. A nice introduction to an artist you may not know.

Prewar Shanghai: casinos, brothels, Green Gang racketeers, narcotics syndicates, gun-runners, underground Communist assassins, Comitern secret agents. Frederic Wakeman's masterful study of the most colorful and corrupt city in the world at the time provides a panoramic view of the confrontation and collaboration between the Nationalist secret police and the Shanghai underworld.In detailing the life and politics of China's largest urban center during the Guomindang era, Wakeman covers an array of topics: the puritanical social controls implemented by the police; the regional differences that surfaced among Shanghai's Chinese, the influence of imperialism and Western-trained officials. Parts of this book read like a spy novel, with secret police, torture, assassination; and power struggles among the French, International Settlement, and Japanese consular police within Shanghai.Chiang Kai-shek wanted to prove that the Chinese could rule Shanghai and the country by themselves, rather than be exploited and dominated by foreign powers. His efforts to reclaim the crime-ridden city failed, partly because of the outbreak of war with Japan in 1937, but also because the Nationalist police force was itself corrupted by the city.Wakeman's exhaustively researched study is a major contribution to the study of the Nationalist regime and to modern Chinese urban history. It also shows that twentieth-century China has not been characterized by discontinuity, because autocratic government―whether Nationalist or Communist―has prevailed.

Prewar Shanghai: casinos, brothels, Green Gang racketeers, narcotics syndicates, gun-runners, underground Communist assassins, Comitern secret agents. Frederic Wakeman's masterful study of the most colorful and corrupt city in the world at the time provides a panoramic view of the confrontation and collaboration between the Nationalist secret police and the Shanghai underworld.In detailing the life and politics of China's largest urban center during the Guomindang era, Wakeman covers an array of topics: the puritanical social controls implemented by the police; the regional differences that surfaced among Shanghai's Chinese, the influence of imperialism and Western-trained officials. Parts of this book read like a spy novel, with secret police, torture, assassination; and power struggles among the French, International Settlement, and Japanese consular police within Shanghai.Chiang Kai-shek wanted to prove that the Chinese could rule Shanghai and the country by themselves, rather than be exploited and dominated by foreign powers. His efforts to reclaim the crime-ridden city failed, partly because of the outbreak of war with Japan in 1937, but also because the Nationalist police force was itself corrupted by the city.Wakeman's exhaustively researched study is a major contribution to the study of the Nationalist regime and to modern Chinese urban history. It also shows that twentieth-century China has not been characterized by discontinuity, because autocratic government—whether Nationalist or Communist—has prevailed.