Peter Quennell - Works

Works

  • Masques & Poems (1922)
  • Oxford Poetry (1924) editor with Harold Acton
  • Poems (1926)
  • Inscription on a Fountainhead (1929), poems
  • Baudelaire And The Symbolists: Five Essays (1929)
  • Memoirs of the Comte de Gramont (1930) with Anthony Hamilton
  • The Phoenix Kind (1931)
  • A Superficial Journey Through Tokyo and Peking (1932)
  • A Letter to Mrs. Virginia Woolf (Hogarth Press 1932)
  • Aspects of Seventeenth Century Verse (1933), editor
  • Byron (1935)
  • Somerset (1936), Shell Guide with C.H.B. Quennell
  • The Private Letters of Princess Lieven to Prince Metternich 1820–1826 (1937), editor
  • Victorian Panorama: a survey of life & fashion from contemporary photographs (1937)
  • Sympathy (1938), stories
  • To Lord Byron: Feminine Profiles - based upon unpublished letters 1807-1824 (1939) with George Paston
  • Caroline of England: An Augustan Portrait (1940)
  • Brown the Bear: Who scared the villagers out of their wits (circa 1940), translator Katharine Busvine
  • Byron In Italy (1941)
  • Byron: the Years of Fame (1943)
  • Four Portraits: Studies of the Eighteenth Century - James Boswell, Edward Gibbon, Laurence Sterne, John Wilkes (1945)
  • Time Exposure (1946) with Cecil Beaton
  • John Ruskin, The Portrait of a Prophet (1949)
  • The Pleasures Of Pope (1949)
  • Mayhew’s London (1949)
  • My Heart Laid Bare and Other Prose Writings by Charles Baudelaire (1950), editor, translator Norman Cameron
  • Byron: A Self-Portrait - Letters and Diaries 1798-1824 (2 Volumes) (1950), editor
  • London's Underworld by Henry Mayhew (1951), editor
  • Mayhew's Characters (1951)
  • The Singular Preference (1952)
  • Spring In Sicily (1952), travel book
  • Selected writings of John Ruskin (1952), editor
  • Diversions of History (1954)
  • Hogarth's Progress (1955)
  • Selected Verse and Prose Works Including Letters and Extracts from Lord Byron's Journal and Diaries, 1959
  • The Past We Share. An Illustrated History of the British and American Peoples (1960), with Alan Hodge
  • The Sign of the Fish (1960)
  • Byronic Thoughts: Maxims Reflections Portraits From the Prose and Verse of Lord Byron (1961)
  • Selected Essays of Henry de Montherlant (1961), editor, John Weightman translator
  • The Prodigal Rake – memoirs of William Hickey (1962), editor
  • Edward Lear in Southern Italy: Journals of a Landscape Painter in southern Calabria and the Kingdom of Naples (1964), introduction
  • Alexander Pope: The education of genius 1688-1728 (1968)
  • Henry De Montherlant, with translator Terence Kilmartin
  • The Girls, A Tetraology of Novels : The Girls, Pity for Women, The Hippograf & The Lepers
  • The Colosseum - a History of Rome from the Time of Nero (1971)
  • Shakespeare, a biography (1963)
  • The Journal of Thomas Moore (1964) editor
  • Who's Who in Shakespeare (1971)
  • Casanova in London (1971), essays
  • Marcel Proust, 1871-1922 - A Centennial Volume (1971)
  • Samuel Johnson - his friends and enemies (1973)
  • Romantic England Writing And Painting 1717 - 1851 (1970)
  • A History of English Literature (1973)
  • The Marble Foot: An Autobiography, 1905-1938 (1977)
  • The Day Before Yesterday (1978)
  • Vladimir Nabokov, a Tribute (1979) editor
  • Customs and characters: Contemporary portraits (1982)
  • Wanton Chase: An Autobiography from 1939 (1980)
  • Genius in the Drawing Room (UK)/Affairs of the Mind: the Salon in Europe and America (1980), editor
  • A Lonely Business: A Self-Portrait of James Pope-Hennessy (1981) editor
  • The Selected Essays of Cyril Connolly (1984) editor
  • The Last Edwardians: An Illustrated History of Violet Trefusis and Alice Keppel (1985) with John Phillips and Lorna Sage
  • An Illustrated Companion to World Literature (1986) editor, original Tore Zetterholm
  • The Pursuit of Happiness (1988)
Authority control
  • VIAF: 83089573
Persondata
Name Quennell, Peter
Alternative names
Short description British writer
Date of birth 9 March 1905
Place of birth
Date of death 27 October 1993
Place of death

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Famous quotes containing the word works:

    “We all agree now—by “we” I mean intelligent people under sixty—that a work of art is like a rose. A rose is not beautiful because it is like something else. Neither is a work of art. Roses and works of art are beautiful in themselves. Unluckily, the matter does not end there: a rose is the visible result of an infinitude of complicated goings on in the bosom of the earth and in the air above, and similarly a work of art is the product of strange activities in the human mind.”
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    Even where horrible green parrots call and swing.
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    “The slightest living thing answers a deeper need than all the works of man because it is transitory. It has an evanescence of life, or growth, or change: it passes, as we do, from one stage to the another, from darkness to darkness, into a distance where we, too, vanish out of sight. A work of art is static; and its value and its weakness lie in being so: but the tuft of grass and the clouds above it belong to our own travelling brotherhood.”
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