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Author Topic: Laurence Whistler: The Image on the Glass  (Read 9643 times)

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Offline Bernard C

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Laurence Whistler: The Image on the Glass
« on: December 16, 2005, 12:28:35 PM »
In a local charity shop:-

Laurence Whistler, The Image on the Glass, John Murray, 1975, 79 b/w plates, d/w, fine condition with slightly foxed endpapers, £14.99.

Is this a reasonable buy?   I am rather wary as it could well be vanity publishing.

Bernard C.  8)
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Offline paradisetrader

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Laurence Whistler: The Image on the Glass
« Reply #1 on: December 16, 2005, 01:52:48 PM »
Publisher: John Murray in Association with the Cupid Press
Certainly sounds like it but not all self-publishing should be considered "vanity". There can be many reasons why an author chooses to go that route.  

Quote
The revival of diamond point engraving in England was started in the mid 30s by William Wilson and Laurence Whistler independently of each other. Both were self taught.

http://www.diamondpoint.fsnet.co.uk/history.htm

Sir Laurence Whistler CBE, (1912 - 2000) is described as an "outstanding artist" on the same page.

I have the strongest feeling I saw a copy of this in my local second hand book shop. Despite the stunning photos I didn't consider it, as another book on engraved glass I tried to sell drew no takers at any price.  

I have to admit that while in awe of the craftsmanship and artistry involved, very little engraved glass appeals to me personally. It would seem I'm not alone. Despite this prices at Amazon UK for this book start at £38.

He published another entitled Scenes and Signs on Glass in an  edition of 1,200 this time with Woodbridge / Cupid Press.
Pete

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Offline Frank

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Laurence Whistler: The Image on the Glass
« Reply #2 on: December 16, 2005, 01:54:23 PM »
Bargain, not vanity publishing

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Offline Ivo

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Laurence Whistler: The Image on the Glass
« Reply #3 on: December 16, 2005, 02:37:43 PM »
There used to be a copy in De Slegte (Amsterdam main street 2nd hand book dealer) @ not much and I decided to not get it on three seperate occasions for the same reasons as outlined by Peter.

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Sklounion

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Laurence Whistler: The Image on the Glass
« Reply #4 on: December 16, 2005, 04:15:31 PM »
Hardly what I would describe as vanity publishing.

Alongside David Peace's book; "Glass Engraving: Lettering and Design" Batsford 1985, it records a renaissance period for English engraved glass. As Frank says, bargain.

The reason for the "in association with Cupid Press" is relatively simple. There are limited private 1st editions of at least three of Whistler's books, as Peter observes of @ 1200-1400 copies. Murray and others will have seen these sell out, and then bought a license to print public editions. Very common publishing company behaviour. Its called "caution".

Regards,

Marcus

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Offline Bernard C

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Laurence Whistler: The Image on the Glass
« Reply #5 on: December 16, 2005, 04:40:58 PM »
Thanks, everyone.    I did wonder how much use it would be to me.   On reflection, I will probably give it a miss.   I think I can recognise fine engraving by now without having a book of one-offs taking up space on my bookshelf.   And my local library can get me more or less any publication via inter-library loan within a week or so.

Also I have overspent on publications this month, having bought a small collection of '60s & '70s books, mostly on old English drinking glasses.   ... and the subject is in no way as boring as I thought it was!

Bernard C.  8)
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Offline Frank

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Laurence Whistler: The Image on the Glass
« Reply #6 on: December 16, 2005, 06:24:49 PM »
Whistlerswork is arguably the best in the world. Owning a piece is restricted to the wealthy and Museums, a book is a good substitute as many of his works show well in photographs, if lacking the depth of the original piece.

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Sklounion

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Laurence Whistler: The Image on the Glass
« Reply #7 on: December 16, 2005, 09:03:37 PM »
Bernard,

If a copy comes cheaper I'd be surprised. What I would say, and this applies to D. Peace as well, is they had a lot of private clients as well as corporate and museum/collections that they did work for. The reality is that their work may well turn up rather more often than people would think, often in unusual places, and for the most part unrecognised.

Early pieces could be expected to start appearing in the next ten years with increasing regularity.

Regards,

Marcus

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Offline Bernard C

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Laurence Whistler: The Image on the Glass
« Reply #8 on: December 17, 2005, 09:32:04 AM »
Quote from: "Le Casson"
... The reality is that their work may well turn up rather more often than people would think, often in unusual places, and for the most part unrecognised.

Early pieces could be expected to start appearing in the next ten years with increasing regularity.

Marcus — you stirred memories of a report of one of the great engravers working at Blackpool, so I found it, fairly quickly, ref. Hajdamach, Two Bohemian Engravers Rediscovered, in Glass Association Journal #2, 1987.
Quote from: "Hajdamach"
Apparently Wilhelm Pohl also worked on the seafront at Blackpool for two seasons where he engraved tumblers etc. with names and mottoes. The high cost of hiring a stall was prohibitive, and Pohl decided it was unprofitable and he gave it up after two years.

This would have been some time in the 1870s or 1880s.   Another connection is that a water jug owned by Pohl's descendants, and engraved by him with a view of The Devil's Glen, Co. Wicklow is similar to the frontispiece in Whistler's book.

Anyway, the point I was making is that a fairly comprehensive collection of engraved souvenirs from Blackpool is quite likely to include one or more examples of Wilhelm Florian Pohl's work.   As always, the problem is how to identify them, apart from the obvious point that engravings featuring Blackpool Tower could not have been by Pohl, as the tower was not built until 1894.   In his day the main attractions would have been the piers.

... I seem to be becoming something of an expert here on Blackpool Tower!   I have fond memories of Blackpool as I worked on the Pleasure Beach in summer 1969 in between finishing University and starting work as a trainee analyst/programmer.

Bernard C.  8)
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Offline David E

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Laurence Whistler: The Image on the Glass
« Reply #9 on: December 17, 2005, 04:40:27 PM »
Laurence and Simon Whistler were also responsible for The Finzi Bowl, to commemorate the English composer Gerald Finzi (1901-56). This was a private commission and presented to his wife Joy in 1981, but can be viewed at the Ashmolean Museum in Oxford.

http://www.ashmol.ox.ac.uk/ash/exhibitions/exh014.html – although the link isn't currently working.

Slightly off-topic...
I mention this as I have an interest in the work of the Finzi family and know son Nigel quite well. In particular my interest is with Joy Finzi (1907-91) who was a very under-estimated artist, poet and sculpturist [sculpter?] and have created a web site devoted to her work ( http://www.joyfinzi.com/ ) - work in progress.

If anyone is interested in Gerald or Joy's work, feel free to ask. The Finzi Friends are also currently gearing up for the 50th anniversary of Gerald's death next year.
David
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