GLYN, ELINOR ELINOR SUTHERLAND GLYN (6 résultats)

Rústica con solapas. Etat : A estrenar. Ilustrada. 192 pp/ Reproduce la edición: Barcelona, 1928; Edita/ Esta obra se escribe para que quien lo lea pueda conseguir la belleza y eterna juventud de la mujer. Da consejos para un rostro perfecto y atractivo. La vejez no es más que un ocaso de los músculos, un endurecimiento de las arterias. Todo esto no se deterirora solo por el paso de los años, sino que es fruto de lo que comemos, del estrés de la vida moderna, del mal genio y de las pasiones, que causan toxinas, ideas deprimentes, pensamientos ruines, que crean una atmósfera negativa favorable para que nos atraque eso que llamamos la vejez. Esta obra se acompaña de multitud de ilustraciones que lo implementan en su utilidad y curiosidad. / R54-3.

Tela. Etat : Normal. 255 pp/ R35 Size: 12.5x19. Libro.

Firenze, A. Salani, 1928, in-16, tela editoriale con fregi stile liberty in verde ed ocra, pp. 320. Graziosa antiporta illustrata a colori.

A clean sound copy of the scarce First Edition in worn original publishers cloth with top edge gilt. 8vo. 280pps. Glyn a prolific British novelist & scriptwriter found fame in America and pioneered risqué, and sometimes erotic, romantic fiction aimed at a female reader ship, a very radical idea for its time and a huge influence on Holywood and the careers of Rudolph Valentino, Gloria Swanson and Clara Bow who she famously dubbed The It Girl Naturally digitised reprints abound but the original is now uncommon.

Octavo, original blue cloth. First edition. The author's first collection of short fiction. NCBEL IV 590. Some foxing to endpapers, edges of text block, and preliminary and terminal leaves, a very good, externally bright copy. (#115388).

Hard & Soft cover. THE QUEEN OF ROMANCE FICTION, A HOLLYWOOD ICON OF THE 1920s Elinor Glyn was an English author, journalist and screen writer and best known for Three Weeks (1907) a steamy romance novel which was shocking for its time. She specialised in romantic fiction which was considered scandalous for its time, although her works are relatively tame by modern standards. Her vibrant romances dealt with aristocracy and issues of morality in society. She popularized the concept of the It-girl and had tremendous influence on early 20th-century popular culture and, possibly, on the careers of notable Hollywood stars such as Rudolph Valentino, Gloria Swanson and, especially, Clara Bow.This large collection contains 168 items dating from 1902 to 2009, specifically, 60 Ephemera and archives, 103 Books and 5 Books about Elinor Glyn and related material. 60 Ephemera and archives:â ¢ Autograph page from a guest book signed by Glyn, Margot Glyn (her daughter), and others, 1-3 August 1912.â ¢ "The Awakening of Lady Ardayre" in Hearst's 34, no. 6 (December 1918): 435-7, 489-91. Iconic illustration on the front cover of an eagle and a woman in stars and stripes carrying a rifle. â ¢ ANS, 11 December 1920, printed card and small envelope addressed to Helen Hull Monnette in Los Angeles.â ¢ Card signed in an envelope post-marked 16 October 1923, addressed to Warner E. Colville,â ¢ ANS, 17 March 1925. "In memory of a perfectly divine party! Copenhagen".â ¢ ALS to Mr. Marriott, 9 January 1932, inviting him and a friend to visit, but telling him that she has injured her knee a month previously and is unable to walk.â ¢ ALS thanking the correspondent (Chère Madame), 28 April 1935, for her condolences on the death of her sister. "My sister was a great artist & a delightful companion but thank God she went before the pain which we feared would manifest itself inevitably became bad. Yes the service was beautiful & I felt she was happy & at peace."â ¢ ALS to Madame Novello Davies, 1 May 1935, in which she responds to a telegram sent in commiseration over the death of her sister ("She just went to sleep in perfect peace.")â ¢ ALS to the Editor of Prediction, 18 September 1940. Apologizes for the delay in her reply, that the Daily Sketch's paragraph quoted a private conversation, and that she won't write anything about it.â ¢ Calling card of Miss Gladys Greeley, signed "Good wishes from | Elinor Glyn".â ¢ Lobby card for silent movie, His Hour, Elinor Glyn's production of her own story, Metro Goldwyn picture, starring Aileen Pringle and John Gilbert, with line: "Permit one, who is but your slave, to toast you". Portions of corners missing several pin holes, 11" × 14".â ¢ Post card of Cecil De Mille's production of The Affairs of Anatol (1921) in which Glyn played the part of a bridge player.â ¢ 2 colourized lobby cards (28 x 37 mm.) of Three Weeks, the 1924 American drama film (Goldwyn-Cosmopolitan) directed by Alan Crosland of Glyn's novelâ ¢ Movie flyer for Glyn's production of The Only Thing, Metro-Goldwyn-Mayer Picture, starring Eleanor Boardman, Conrad Nagel, and Edward Connelly, directed by Jack Conway, [1925].â ¢ Colour postcard of Rudolph Valentino, Gloria Swanson, and Glyn, Paramount Studios, Hollywood, California, [192?]. 2 copies.â ¢ "Elinor Glyn's Letters from Hollywood", Picture Show, 10, nos. 236-7 (3 and 10 November 1923), 4-5; 5 respectively; 2 issues. Re Gloria Swanson, Charlie Chaplin, and Rudolf Valentino.â ¢ "What Elinor Glyn Thinks of Pola Negri", Picture Show, 11, nos. 261 (26 April 1924). â ¢ Loew's Weekly, 8, no. 5 (18 October 1926), advertising Love's Blindness.â ¢ Cross Roads, sheet music, lyric by Raymond Klages, melody by William Axt and David â ¢ Mendoza, theme song of Metro-Goldwyn-Mayer Production of Show People (1928), in which Glyn appears at the High Art Studios. â ¢ "The Mad Hour of Love", Girls' Cinema, 16, no. 400 (16 June 1928): 9, 23.â ¢ B&w photo of Billie Dove and Gwen Lee (?), from The Man and the Moment (1929), First National Pictures. Copyright Culver Services.â ¢ 2 large b&w photos, Brown Brothers, 1920s. â ¢ "Glorious Flames", Hearst's International-Cosmopolitan 90, no. 5 9 (May 1931): 32-6, 146, 148-50, 152, 155.â ¢ 2 b&w cabinet photos of Glyn, portraits of her wearing jewelry, Elliott & Fry, London, circa 1905.â ¢ B&w photo, 8 October 1907, Gilliams Press Syndicate, verso says that Glyn is in this country (USA) looking for a new hero and that American women have been exploited in recent novels.â ¢ B&w photo of Glyn in evening dress and tiara seated on a chair, n.d.â ¢ B&w facsimile photo of Glyn in evening dress and tiara seated on a chair, 1908.â ¢ B&w signed photo of Glyn wearing a hat, n.d.â ¢ B&W photo (torn at the sides) of Glyn smiling and wearing fur hat, n.d.â ¢ B&w photo of Glyn (head and shoulders), 15 January 1924, after the making of Three Weeks into a film. "It took six months of my hardest work to make `Three Weeks' for the screen aided by the most devoted, admirable artists."â ¢ 4 b&w photos: Glyn at her writing desk ("Mrs. Eleanor [sic] Glyn Enjoys Hollywood Visit"), 24 April 1922, Central News Photo Service; 2 photos of Glyn wearing pearls, 17 June 1927 and 4 February 1929; Glyn walking in the grounds of her home near Kingston with her grandchildren, Glyn and Susan, 23 September 1943, with obit.â ¢ B&w photo of Gly standing on a ship and carrying a piece of luggage (Majestic, White Star Line), 13 July 1927.â ¢ Oval b&w portrait of Glyn wearing a hat (10 on the right side), 23 June 1927.â ¢ B&w photo, Glyn standing in coat and matching hat, 11 November 1927, "specially posed".â ¢ B&w photo of Glyn with her mother, Elinor Kennedy, 1930, on her mother's 89th birthday.â ¢ B&w photo of Glyn, her mother, Elinor Kennedy, her daughter Lady Davson, and her grandson Geoffrey Davson, 12 September 1930, "Four Generations of a Famous Novelist's Family", World Wide Photos.â ¢ 3 b&w photos from her film, Such Men Are Dangerous (1930).â ¢ B&w photo of Glyn with Rudolph Valentino,