SKU: 37762236964

From The Collection Of Prince And Princess Henry De La Tour D'Auvergne Lauraguais 2012 Sotheby's London

Sale price$112.50 Regular price$125.00
Save 10%

Shipping Estimate
USA
  • USA
  • CAN

Ships within 48 hours · Estimated delivery Jul 13 - Jul 18

Promo Codes Available:

For Your Every Summer RSVP, with Code: SUMMER15

Description

From The Collection Of Prince And Princess Henry De La Tour D'Auvergne Lauraguais 2012 Sotheby's LondonImportant Books From The Library Of Emilio Terry [247] pp. w 513 lots Sotheby's London 2012 10 5 8" x 8 3 8" Sothebys London will offer for sale The Collection of Prince and Princess Henry de La Tour dAuvergne Lauraguais on 3rd May 2012 [L12308]. The auction comprises property from the familys London homes. It will include very fine Neo classical and Empire furniture, the finest collection of 18th century scagliola to appear at auction, Old Master

Important Books From The Library Of Emilio Terry

[247] pp.

w/ 513 lots

Sotheby's London

2012

10 5/8" x 8 3/8"

Sotheby’s London will offer for sale The Collection of Prince and Princess Henry de La Tour d’Auvergne Lauraguais on 3rd May 2012 [L12308]. The auction comprises property from the family’s London homes. It will include very fine Neo-classical and Empire furniture, the finest collection of 18th-century scagliola to appear at auction, Old Master paintings, silver, objets de vertu, and drawings and books from the library of celebrated designer and architect Emilio Terry from Château de Rochecotte. Estimates in the sale range from £400 to £300,000. In total, the auction is estimated to realise £2-4 million. The history of the de La Tour d’Auvergne Lauraguais family is a long and distinguished one. Related by marriage to the noblest dynasties in France, it is one of only six families (alongside the houses of Savoie, Lorraine, Grimaldi, Rohan and La Tremoille) to be granted the rights and privileges accorded to foreign princes.

Mario Tavella, Deputy Chairman, Sotheby’s Europe commented: “It is an honour for Sotheby’s to be entrusted with this wonderful collection from one of France’s greatest and most glamorous families. Collectors will be delighted with the quality and breadth of items on offer, which together exude a very chic look. Emilio Terry was at the heart of avant-garde circles in 1920s Paris and many of the books in his library reflect his intimate relationship with key figures such as Henri Matisse and Salvador Dali. More than that, his passionate interest in architecture is manifest in the host of important architectural books that he owned, as well as in his own fabulous and often fantastical drawings.”

The sale includes museum quality Neo-classical and Empire furniture by some of the greatest French ébenistes, including Jacob and Joseph. The group is headlined by a magnificent gilt-bronze mounted amaranth and tulip wood secrétaire by Joseph, circa 1770, which, with its very strong neo-classical outline, represents the pinnacle of Le Goût Grec style. Estimated at £150,000-300,000*, an identical secrétaire is held in the Getty Museum in Malibu.

The sale will present the greatest collection of 18th-century scagliola ever to come to the market. Developed in 17th-century Tuscany as an alternative to the costly marble inlays of pietra dura, scagliola is an extraordinarily complex technique, often used to produce decorative effects resembling inlays in marble and semi-precious stones. The technique is a particular passion of Princess Anne de La Tour d’Auvergne Lauraguais, who is an expert in the field. The sale will offer eight rare scagliola panels by virtuoso craftsmen Enrico Hugford and Lamberto Christiano Gori, which depict seascapes and marine scenes inspired by the Tuscan coast. Princess Anne de La Tour d’Auvergne Lauraguais commented: “It was my father, Prince Henry who inspired me to study the art of scagliola, and in turn it was my father’s uncle Emilio Terry who also truly appreciated this form of art and who had influenced him. In my father’s opinion, scagliola had a refinement of colour, texture and sensuality softened as if dimmed by a veil of fog, not like pietre dure which could be bright and almost screaming with colour. Scagliola is a man-made stone, not meant to be used outside, but to live with…. I followed his advice and am indebted to him for giving me a life-long love for the art of scagliola.”

Emilio Terry (1890-1969), the maternal uncle and mentor of Prince Henry de La Tour d’Auvergne Lauraguais, was a well-known designer, artist and architect. He was a member of the 1930s Parisian avant-garde, and in 1936, his work was exhibited alongside Salvador Dali and Meret Oppenheim at the Fantastical Art, Dada and Surrealism exhibition at the Museum of Modern Art in New York. Many of his designs are now held at the Musée des Arts Decoratif in Paris. Renowned for his magnificent library at Château de Rochecotte, the sale presents part of Emilio Terry’s collection of architectural books and livres d’artistes from the Château, which were passed down to the de La Tour d’Auvergne Lauraguais family by descent. A selection of Emilio Terry’s architectural drawings and paintings ranging in estimate from £1,000 to £8,000 will also be offered for sale.

Highlights from Emilio Terry’s library include a near complete set of the first Paris edition, 1800-1807, of Giovanni Battista and Francesco Piranesi’s works, (29 works in 27 volumes) estimated at £150,000-£240,000. Giovanni Battista Piranesi’s much admired prints of Rome contributed considerably to the growth of the Neo-classical movement in art and architecture. His depictions of the drama and romantic grandeur of ancient Rome and his technical mastery make his works some of the most original and impressive representations of architecture found in Western art.

The largest known version of Antoine Ignace Melling’s Voyage pittoresque de Constantinople et des rives du Bosphore to have been offered at auction, is estimated to realise £20,000-30,000. Published in Paris in 1819, the grandest book of engraved views of Constantinople contains the earliest interior views and plans of the harem and palaces of Sultan Selim III. The exhibition of Melling’s original paintings for the Voyage pittoresque earned him the title of Painter to the Empress Josephine. A selection of Emilio Terry’s livres d’artistes includes: George Braque’s illustrated Hesiod by Théogonie, Paris, 1955, number 12 of 150 copies, estimated at £5,000-£7,000 and Henri Matisse’s illustrated Poèmes de Charles d’Orléans, estimated at £1,500-2,000. The sale will also include a selection of other items integral to the daily lives of this great aristocratic family: porcelain, silver, glass, linen, jewellery, clocks, objets de vertu and paintings, medals, orders and Cardinal’s regalia. In particular, lots 43, 62, 63, 138 and 139 have the provenance of Château de Rochecotte, the magnificent late 18th-century château bought by Emilio Terry from his brother-in-law Stanislas de Castellane in 1934.

Shipping Notes
  • Free Standard Shipping on $100+ Orders to the USA.
  • Except Preorder products are shipped in 48 hours.
  • Delivery to the USA:
  1. Standard Shipping : 3-10 business days
  • If time is of the essence, please consider selecting expedited delivery for faster service.
Exchange/Return Notes
  • We offer a 30-day return/exchange service after receiving.
  • Final sale items are not eligible for returns or exchanges.
  • To process your return/exchange, please contact us at [email protected]
  • Please click here for more details>>> Return & Exchange Policy
SKU: 37762236964

Discover Niche Categories That Outsell

Top-Converting Item to Boost Your Average Order

4.2 ★★★★★
Based on 98 reviews
Sort
Highest Rating
Newest First
Oldest First
Product Reviews
J
Verified Purchase
Jassar
Lowell, US
★★★★★ 5
GREAT
Format: Paperback
even though i didn't finish 10% of it i still know that its great and i learned new scripting skills so thank you so much roblox for making this for small developers.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on March 6, 2022
H
Verified Purchase
Harry
Lowell, US
★★★★★ 5
Helpful to a beginner...
Format: Paperback
It is very nice to read and the book has a good design. I read it and I just learned some couple things. Thanks Roblox!
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on May 15, 2022
A
Amazon Customer
Charlottesville, US
★★★★★ 5
Great book
Format: Paperback
Got this for my son and helped him finish coding his game although it takes some time to learn it I definitely recommend this book
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on September 21, 2024
T
Verified Purchase
Tyler Backus
Boise, US
★★★★★ 1
Out of date and just plain not good instruction
Format: Kindle
This has problems that I have seen from many non-educators when they write an instructional book (so I hope she is not an actual educator). The book makes leaps of faith of knowledge and has a belief that they have shown you well enough to do one thing (which it doesn't) and that you can extrapulate from that knowledge to do something completely different. They makes these leaps of faith in the first couple hours, when people are just getting used to coding in this language. This book also fails to even tell you what different parts of the code are doing, so that you can make those leaps of knowledge. I also find this happens a lot when people write coding books. They know how to code, so they figure if they just show you parts of a code you will figure out why it did what it did, instead of explaining to you what different parts of code actually do when you put them together. I made it almost through hour two before I gave up trying to decipher all the nonsense that was written in this book. In hour two they have you make a sphere, but never actually show you how to make the sphere, but then start telling you how to create dialog for the sphere. Apparently in hour 1, even though it was never explained, I was supposed to understand how to make a lava field with objects.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on May 11, 2024
J
Verified Purchase
Josh D
Carnegie, US
★★★★★ 5
Must-read book for everyone (not just Ai proponents)
Format: Paperback
I realize I say this about every AI book I read, but this one really is the best (so far), and most important in my view."Atlas of AI" by Kate Crawford is a well-researched work that should appeal to AI enthusiasts and opponents alike; not because it flatters either side, but because it challenges both to think beyond the usual narratives. Whether you see Ai as a revolutionary tool for progress or a dystopian force of unchecked power, there’s no denying that it it is shaped by real-world systems of labor, industry, and politics.This book makes it clear: Ai is not just about algorithms and efficiency. It is about power: who wields it, who profits from it, and who is left to bear its costs. For those who celebrate Ai’s potential (like me), Atlas of AI offers a sobering look at the material and ethical realities behind the inertia and hype.For those who critique AI as a damaging or dystopian force, the book provides a well-researched (eye-opening) foundation for those concerns.What makes it especially compelling is that it doesn’t fall into the trap of alarmism OR blind optimism. Instead, Crawford takes us on a deep, methodical journey through the infrastructures that sustain artificial intelligence, revealing the hidden costs (labor, environmental, political) that come with EVERY so-called innovation.**Deconstructing the Myths of AI**One of the book’s greatest strengths is its ability to cut through the persistent myths surrounding artificial intelligence. Crawford systematically dismantles the notion that AI is a purely immaterial, frictionless technology. She examines the vast mining operations necessary to produce hardware, the exploitative labor practices behind data annotation, and the enormous energy demands of AI training model. Ai, in her analysis, is not an autonomous or inevitable force—it is an industrial system deeply intertwined with capitalism, surveillance, and environmental degradation (much of her research applies to Big Tech, and not just Ai). This perspective is crucial in an era where Ai is often presented as a revolutionary technology that exists outside of history and politics.Crawford makes it clear that Ai is not “just math” but a political tool wielded by those in power, often reinforcing existing inequalities. The Ethics of Extraction and Control: One of Crawford's most compelling arguments is the framing of AI as an extractive industry: one that harvests resources, labor, and data in much the same way as colonial enterprises have in the past.The book traces how Ai development is dependent on resource-intensive practices, from lithium mining for hardware to the invisible armies of low-wage workers tasked with cleaning and labeling data. Crawford argues Ai is a system built on the extraction of value from the most vulnerable populations, whether they be gig workers, Amazon's "Mechanical Turk" laborers, or the communities living in the shadow of server farms that consume enormous amounts of water and energy.Crawfors cites numerous examples of how corporations like Google and Amazon, and even the government, skirt the system to save on taxes, while promising better futures to the resource-rich communities they exploit. The theme of extraction extends beyond the physical to the digital realm.Crawford shows how personal data is commodified under the guise of “training AI,” reinforcing the asymmetrical relationship between those who generate data and those who profit from it.The book’s critique aligns with broader concerns about surveillance capitalism, demonstrating how Ai is often wielded as a means of control rather than liberation. (I learned some sad truths about local community policing and Ai) AI and the Politics of Classification Crawford explores how classification systems, often presented as objective/neutral, are deeply embedded with biases. Ai systems are trained on datasets shaped by human prejudices, yet are frequently deployed as infallible arbiters of truth. Crawford examines how facial recognition, predictive policing, and automated hiring systems encode and reinforce racial, gendered, and socioeconomic biases, often amplifying systemic discrimination. This analysis is particularly relevant in today’s discussions on AI ethics. Crawford’s work underscores that Ai bias is not simply a technical glitch to be fixed, but rather a feature of the broader political and economic structures that Ai is designed to serve. A Necessary and Timely Intervention For those who have followed debates on Ai ethics, surveillance capitalism, and data justice, Atlas of AI provides a well-researched and compelling synthesis of these concerns, free from the noise we commonly hear on social media outlets. It is particularly valuable in challenging the mainstream, corporate-driven narratives that portray Ai as an inevitable and benign technological force. Crawford’s writing is insightful, well-documented, and accessible, making complex ideas understandable without sacrificing depth. While the book is critical in tone, it does not merely scold Ai developers; rather, it offers a crucial intervention in ongoing discussions about how Ai is developed, deployed, and governed.The book had a surprisingly anti-capitalist/anti-technocratic tone, that inspired me to continue learning/aligning under the anti-fascist flag so many of us wield. For artists, researchers, and technologists (especially those working at the intersection of Ai and creative expression) Atlas of Ai serves as a stark and vital reminder that technology is never neutral. It invites us to think critically about the systems we engage with and the ethical implications of our participation in Ai-driven ecosystems (and really, all major technologies). Atlas of AI is an essential read for anyone interested in understanding the broader implications of artificial intelligence beyond the hype. It moves beyond discussions of algorithms and model accuracy to examine the power structures that shape Ai’s impact on society. By reframing AI as a material and political phenomenon rather than a disembodied technological marvel, Crawford provides a necessary course-correction to the dominant narratives surrounding Ai. This book is not just for AI skeptics but for anyone who wants to engage in a deeper, more nuanced conversation about the technology shaping our present and future. If we are to meaningfully confront the challenges AI presents, we need more books that challenge us to think critically, demand accountability, and advocate for more just and equitable technological futures. For those of us who engage with AI,whether as artists, researchers, developers, or critics, Atlas of AI should serve as a wake-up call. Too often, Ai artists defend the technology out of pride or personal investment, dismissing valid ethical concerns as fear-mongering. On the other side, anti-AI voices often resist engagement with nuance, preferring to frame Ai as an existential threat rather than a tool shaped by human systems of power. Both of these stances miss the point. Crawford makes it clear that the real battle isn’t Ai vs. artists or progress vs. tradition, it’s about who controls the technology, who benefits from it, and who is left to suffer the consequences. If we are serious about the future of art, technology, and creative autonomy, we must move beyond our egos and engage critically with the systems that shape Ai. This book gives us all a foundation to unify under, not in opposition to Ai itself, but in opposition to the unchecked power structures that exploit it and us.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on February 6, 2025

recommand products