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This delightful book is an anthology of Beerbohm`s best images, accompanied by historical and analytical commentary by N. John Hall that is enriched by liberal quotation from Beerbohm`s own witty essays, criticism, letters, and fiction.

First edition. Illustrations. xiv, 193 pages. cloth, dust jacket.. 8vo..

Literary Criticism, Humor, English Literature, Comedic Fiction

Max Beerbohm was widely celebrated as the wittiest mind of his age. And it was a very long age indeed: he became famous in the mid-1890s and remained so until his death in 1956. His wit manifested itself in both prose and caricature, and his writings and drawings are keenly interesting. Max’s life, however, was relatively uneventful, and of interest, he said, only to himself. This biography of Beerbohm, the first in forty years, enlivens his story by quoting him whenever possible, and the result―thanks to Max himself―is a scintillating and entertaining book.John Hall moves quickly through Max’s history: schoolboy; college undergraduate; London caricaturist, journalist, and critic; Edwardian social butterfly; married man and self-exile to Italy in 1910, where he produced numerous books, essays, and caricatures; and, from 1935 to 1956, occasional BBC radio broadcaster. Hall notes that although all Max’s work during his fifteen early years on the London scene concerned contemporary art and life, after his “retirement” in 1910 his writings and drawings harkened back to the late-Victorian/Edwardian era and even to the Pre-Raphaelites; he became, he said, an “interesting link with the past.”This book, like Beerbohm’s work, highlights his connection with various eminences over three eras: Algernon Swinburne, J.A.M. Whistler, Oscar Wilde, Henry James, George Bernard Shaw, Lytton Strachey, Virginia Woolf, and many others. Written in an idiosyncratic, opinionated, lively, quirky style, it is just the kind of biography of which Max might have (for the most part) approved.

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When Steve brings home a time machine he bought for $2.50 at a garage sale, Max is suspicious. "There' s no such thing as time travel. Or time machines." Then they both end up in the year 1250 in medieval England -- Steve as Sir Robert Marshall and Max as his horse! -- and Max must admit the machine works.Sir Robert soon finds himself in the midst of a duel to the death with the Hampshire mauler, defending not only his honor, but his life. Can Max rescue him? Will the machine return him in time to spare his life? The 20th century never looked so good.

This is the first full-length biography of Sir Max Mallowan (1904-78), archaeologist and husband of Agatha Christie. Trained by the great Leonard Woolley at the site of the royal cemetery at Ur in the mid 1920s, Max Mallowan then excavated at previously untried sites in north-eastern Syria. After the Second World War, he returned to Iraq to supervise over a period of 12 years the excavation of the important city of Nimrud. Mallowan was always accompanied by his wife Agatha Christie, whose work on her current book was frequently interrupted by the demands of her role as site photographer, registrar of finds and repairer of pottery, as well as medical adviser and cook. She was fascinated by his work, and theirs was a supremely happy marriage. Like Hercule Poirot, her world-famous detective, Mallowan was a master of the false trail and the misleading clue. For both of them, the art was to discover the hidden truth.

Sir Max Beerbohm (1872 – 1956) was an English writer best known for satirical works including the novel Zuleika Dobson.

This is the biography of the film director, Carol Reed. Born the illegitimate son of Sir Henry Beerbohm Tree, by the 1930s Reed was established as one of Britain's best young directors. After the war, Reed's intimate collaboration with Graham Greene blossomed in the film "The Third Man", which became a popular and critically acclaimed classic. Reed's personal life was no less extraordinary: he was Daphne du Maurier's first sweetheart, and married two of British cinema's most beautiful stars, Diana Wynyard and Penelope Dudley Ward. "The Man Between" explores every aspect of Reed's life and presents a portait, of one of Britain's greatest film directors.

The whimsical tale of a beautiful girl who takes Oxford by storm. Written by Max Beerbohm, it is illustrated with his own sketches, and there is an introduction by Professor N. John Hall.

An selection of work from "The Yellow Book," a literary magazine which, for its three years of existence in the mid-1890s, shocked, titillated and amused literary London. Published by John Lane and Elkin Mathews at Bodley Head, the magazine boasted writers such as Max Beerbohm and Edmund Gosse. This book is a facsimile of the original issue, with front and back covers and spine designed by the ever-controversial Aubrey Beardsley, whose work is well represented among the many illustrations. Spine sunned. vi , 308, 12 pages. cloth.. 8vo..

Beerbohm, Max, Christmas Garland, A

Most critics of aestheticism focus on the Yellow Book, the glossy Victorian journal with the shocking yellow cover that counted among its contributors Aubrey Beardsley and Max Beerbohm. But one of the best-known aesthetes, Oscar Wilde, launched his own magazine, the Woman's World. The audience for Wilde's magazine reveals another side of the aesthetic movement that has been largely forgotten.Every now-canonical male aesthete once competed with what Talia Schaffer calls the female aesthetes, whose critical and popular success made them formidable contemporaries. Not only did these women make significant contributions to the development of feminist ideologies; they pioneered new literary strategies that were incorporated by their canonical successors.Schaffer analyzes writers who have never been considered together, including Lucas Malet (Mary Harrison), Ouida (Marie Louise de la Ramée), Alice Meynell, Rosamund Marriott Watson, Una Ashworth Taylor, Elizabeth Robins Pennell, Mary and Jane Findlater, and John Oliver Hobbes (Pearl Craigie). These women used aestheticism to forge a compromise between the two models of female identity available to them--the New Woman and the Angel in the House. They developed plots, ideas, and styles that would later be adopted, parodied, or revised by canonical writers such as Oscar Wilde, Virginia Woolf, Thomas Hardy, and Henry James. They used the "pretty" language of aestheticism as a strategic cover behind which they could attempt radical experiments, many of which prefigure modernist innovations.Recovering the lost work of the female aesthetes forces us to reconsider the central tenets of late-Victorian literary history.

Most critics of aestheticism focus on the Yellow Book, the glossy Victorian journal with the shocking yellow cover that counted among its contributors Aubrey Beardsley and Max Beerbohm. But one of the best-known aesthetes, Oscar Wilde, launched his own magazine, the Woman's World. The audience for Wilde's magazine reveals another side of the aesthetic movement that has been largely forgotten.Every now-canonical male aesthete once competed with what Talia Schaffer calls the female aesthetes, whose critical and popular success made them formidable contemporaries. Not only did these women make significant contributions to the development of feminist ideologies; they pioneered new literary strategies that were incorporated by their canonical successors.Schaffer analyzes writers who have never been considered together, including Lucas Malet (Mary Harrison), Ouida (Marie Louise de la Ramée), Alice Meynell, Rosamund Marriott Watson, Una Ashworth Taylor, Elizabeth Robins Pennell, Mary and Jane Findlater, and John Oliver Hobbes (Pearl Craigie). These women used aestheticism to forge a compromise between the two models of female identity available to them--the New Woman and the Angel in the House. They developed plots, ideas, and styles that would later be adopted, parodied, or revised by canonical writers such as Oscar Wilde, Virginia Woolf, Thomas Hardy, and Henry James. They used the "pretty" language of aestheticism as a strategic cover behind which they could attempt radical experiments, many of which prefigure modernist innovations.Recovering the lost work of the female aesthetes forces us to reconsider the central tenets of late-Victorian literary history.

C.B. Fry was Captain of England at cricket, played soccer for England, and became the joint-holder of the world long-jump record. But he was much more than a sportsman. He won a major scholarship to Oxford, where his friends numbered Max Beerbohm, Hilaire Belloc, and F.E. Smith. He wrote several books, including an autobiography and a novel, and he was one of the most successful journalists of his day. He was a friend of many prominent Labour and Liberal politicians, but flirted with Fascism, meeting Hitler in 1934. He tried out for Hollywood, represented India at the League of Nations, and stood for Parliament three times.

Max Beerbohm's whimsical tale of a beautiful girl who takes Oxford by storm is illustrated with his own charming sketches.

Many have told the story of Sir Robert Scott's dramatic and, ultimately, tragic race to the South Pole. But in The Last Great Quest, Max Jones adds a new dimension to the story by probing the nature of heroism in modern Britain as reflected in the strengths and weaknesses of Scott himself. In particular, he charts the cultural reverberations of Scott's death and sacrifice on the eve of the greatest slaughter in British history--the First World War. A dramatic opening leads to a compelling examination of the British traditions of exploration, the scientific ambitions of the expedition, the "race to the South Pole," and the disaster itself. Jones argues that Scott's death was a pivotal moment in British history, and central to this is his extraordinary journal--the ultimate expression of self-control and heroism in the face of death--which was immensely popular in the years before the war. This important and challenging interpretation of Scott's life and death re-evaluates the man and his sacrifice. Indeed, Jones shows that the story of Scott of the Antarctic is a key to understanding modern British history, connecting Scott with Dr. Livingstone, the Titanic disaster, and the ascent of Everest. In particular, Scott's story helps us to fathom the generation who fought and died in the Great War. The most important new contribution to our knowledge of this compelling story in nearly 25 years, and the first account that sets the story in a wider historical context, The Last Great Quest brims with original conclusions that are based on previously unavailable evidence.

Published in association with the Campaign to Protect Rural England (CPRE) and introduced by its president, Sir Max Hastings, this beautifully designed coffee-table tome is a must for anyone who cherishes the British countryside. It offers a combination of stunning landscape photography and quintessentially English quotes, poetry, reminiscences, and anecdotes. With a chapter for each of England’s counties, it captures the superb peaks and tumbling waterfalls in the Lake District, the windswept moorland of the Yorkshire Dales, the dramatic cliffs at Land’s End, sunrise on the Norfolk Broads, the historic houses of Chatsworth and Burghley in the East Midlands, and many more locales.