Excerpt from A Collection of One Hundred and Twenty Paintings by David Teniers (From Blenheim Palace), The Property of His Grace the Duke of Marlborough, on Exhibition at Mr. Davis's Galleries, 147, New Bond Street, London Pictures in Blenheim Palace, most carefully compiled by George Scharf, Esq., F. S. A, and published m 1862. At that time the collection was placed 111 the Billiard Room in Blenheim Palace. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

A Collection of One Hundred and Twenty Paintings by David Teniers (From Blenheim Palace), The Property of His Grace the Duke of Marlborough, on Exhibition at Mr. Davis's Galleries, 147, New Bond Stree

Charles Davis

Forgotten Books

Question of Conscience Paperback CHARLES DAVIS

Religion & Spirituality

Hodder&Stoughton Ltd

Charles Davis was one of the world's leading maritime model builders. During the first half of the last century, he was also acclaimed as an artist, historian, and author. This is his recollection of one of his first adventures at sea: sailing out of New York in 1892 on a voyage around Cape Horn, aboard the bark James A. Wright.

Around Cape Horn

Biographies & Memoirs

Historical

Down East Books

The Who, What, Where Guide to STP Solutions (Who, What, Where Guides)

Business & Money

Economics

IBS Publishing Ltd

This concise Haggadah for the celebration of Passover is especially designed to be both authentically Jewish and appropriate for interfaith settings. The extraordinary symbolism and richness of Passover create an opportunity to explore a history that is both Jewish and universal, and to strengthen our commitment to work for justice and peace. Through the use of contemporary poetry and traditional texts, this Haggadah will engage young people as well as adults.

Because We Were Slaves: A Concise Haggadah for All of Us

Claire E. Gorfinkel

Judaism

Intentional Productions

The baggage that phenomenology carries with it in architectural discourse is weighty, writes guest editor Bryan E. Norwood in Log 42. This issue of Log aims to lighten the load, or at the very least redistribute it.
 Subtitled Disorienting Phenomenology, the thematic 204-page Winter/Spring 2018 issue presents 18 essays by philosophers, theorists, art and architectural historians, and architects that range from Mark Jarzombek s close reading of the first three sentences in Husserl s Ideas: General Introduction to Pure Phenomenology to Caroline A. Jones s historical analysis of phantom phenomena in Doug Wheeler s work Synthetic Desert; from Charles L. Davis s speculations on an architectural phenomenology of blackness to Adrienne Brown s look at the role of space in producing racialization to Jos Boys s and Sun-Young Park s explorations of disability. In addition, Norwood a philosopher/architectural historian talks with Jorge Otero-Pailos, author of Architecture s Historical Turn: Phenomenology and the Rise of the Postmodern, a key reassessment of the idea of architectural phenomenology first put forth in the mid 20th century. 
As Norwood concludes, Architecture doesn t need a phenomenology; it needs phenomenologies. Log42 is a critical observation of those phenomenologies that reflects architecture s and society s increasing awareness of the sociocultural richness to be had in diversity. 
 Also in this issue: Joseph Bedford rethinks the practice of phenomenology, Kevin Berry projects a new mode of being-in-the-world, Lisa Guenther infiltrates the gated community, Bruce Janz wonders about creativity, Rachel McCann exfoliates the flesh, Winifred E. Newman disputes disembodied visuality, Ginger Nolan historicizes the metahistorical, Dorothée Legrand suspends the reduction, Benjamin M. Roth seeks out meaninglessness, David Theodore inverts the Vitruvian Man, Dylan Trigg excavates a prehistory.

Log 42: Disorienting Phenomenology

Caroline Jones

Kevin Berry

Mark Jarzombek

Jos Boys

Adrienne Brown

Joseph Bedford

Lisa Guenther

Bruce Janz

Dorothée Legrand

Rachel McCann

Winifred Newman

Ginger Nolan

Bryan Norwood

Sun-Young Park

Benjamin M. Roth

David Theodore

Dylan Trigg

Anyone Corporation

This is for all 5 books ( 2 FAR, 1 BEC, 1 AUD, 1 REG)

Wiley CPAexcel Exam Review: Course Outlines - Financial Accounting and Reporting (Part 1)

Pam Smith

Ervin Black

Accounting

A touching account of friendship and betrayal in Moorish Spain, Walk On, Bright Boy evokes the pleasures and purposes of walking as a way of engaging with life. Marrying a coming-of-age tale with Gothic horror, it is at once an adventure story, a celebration of the power of dreams, magic and illusion, and an uplifting fable about the joys of living, even in the shadow of death. Both timely and timeless, it can be read as an allegory of contemporary political expediencies and as a parable of personal enlightenment.

Walk On, Bright Boy

Literature & Fiction

Literary

Permanent Press

Two people, two faiths, one hope, one destiny . . . . A white woman and a black man, stranded in the desert in a land laid waste by an undeclared war. She is a campaigning academic and believes in justice, absolutely. He is a barefoot librarian and believes in books, just about. Hunted by The Warriors of God, they must take refuge in the mountains and learn to live with their divergent beliefs if they are to survive. Examining themes broached in Charles Davis' first novel (Walk On, Bright Boy), Standing At The Crossroads explores the parallels between walking and reading, the nature of belief, and the transformational power of storytelling. As the two protagonists are pursued across the mountains, they discover an unlikely love that is of itself their best riposte to the fanatics who want to kill them, and which reaches its climax in the shattering, final confrontation.

Standing at the Crossroads

Hitler, Mussolini, and Me

1938, Hitler visits Italy. An expatriate Irish art historian is obliged to guide Mussolini and his guest round the galleries. Half fascinated, half repelled, he watches the tyrants, wrestling with the uneasy conviction that he ought to use the opportunity to 'do something' about them yet lacking the zeal that might transform misgivings into action. Thirty years later, his daughter comes across a compromising clipping showing her father with the dictators. Exposed as a collaborator, the narrator explains what happened, what he did and did not do, and why, revealing in the process the part the girl's mother played in promoting the digestive disorders that were to influence the course of the war. To help his daughter understand, he conjures a time before the crime that would define the century, a time before these men became monsters inflated to fit that crime, showing her the tawdry little people behind the myths, the real Hitler and Mussolini, The Flatulent Windbag and The Constipated Prick. Based on historical events and using the tyrants' own words, Hitler, Mussolini, and Me brings the dictators down to earth, describing the murkier, more scurrilous aspects of their careers, and using jokes and scatology to weave a crazed pathway toward a cracked kind of morality. It is the story of an ordinary man living in extraordinary times, times when being ordinary was an act of rebellion in itself.

Humor & Satire

See the best price to sell, buy, or rent books by Charles Davis. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by Charles Davis