Frankel also crusaded to protect his beloved East Hampton "from the wave of new construction that swept Long Island in the post-war years." Not confining himself to mere opposition to development, he worked to rehabilitate existing structures to avoid their replacement, and sold land or buildings "only to buyers who agreed to build and plant traditionally or to dedicate open space" to land banks. His home became a showcase for his architectural flair and was frequently featured for layouts in design and architectural publications. There was irony in this, given that the latter half of Frankel s life would be devoted to arresting development."Frankel first saw East Hampton when he surveyed it for construction of radar stations in World War II." Soon he had converted a carriage house and 15 acres into an estate, and inextricably anchored himself to East Hampton and the South Fork of eastern Long Island. He became an owner and builder of Manhattan properties and "assembled the Avenue of the Americas blockfront". Raised in Manhattan s Lower East Side, Frankel was one of ten children and helped support his family "by selling shoelaces and chewing gum in the subway and on ferryboats." Eventually Frankel enrolled at Columbia College intending to become an architect, but quit to become a partner in Ross-Frankel, a designer and builder of stores and offices. It seems plausible that this inscribed copy came to Frankel via his friendship with Sarah.Born in a hamlet in the Carpathian Mountains near Crackow, Poland, Frankel was raised in an orthodox Jewish family that emigrated to the United States, arriving at Ellis Island in the winter of 1905 when Evan was two and a half years old. Frankel (1902-1991) was, in many ways, an archetypal American rags-to-riches story, as well as "a charismatic personality" who counted among his friends Lucille Ball, Margaret Truman, and Winston Churchill s daughter, Sarah (1914-1982). Condition of both the binding and slipcase are pristine, as-new.The recipientEvan M. The volume is housed in a dark green rigid cloth slipcase. The binding is a handsome and skillfully executed dark green Morocco goatskin, the spine featuring raised and gilt-decorated spine bands, the covers featuring gilt-decorated borders and beveled edges, The contents are bound with gilt top edge and marbled endpapers framed by gilt-decorated turn-ins. In this case, the contents are particularly well-suited, clean and bright with no spotting. The laid paper and full-color illustrated plates of this first edition lend themselves well to fine binding. Only the title page recto and verso differ. edition were supplied by the British printers. editions are virtually the same the sheets for the U.S. first edition followed its British counterpart two years later, in 1950. Edition and conditionThe content of Painting as a Pastime had been printed in The Strand Magazine as early as 1921, but it was not until 1948 - nearly three decades after his first published words on the subject - that Churchill consented to a book about his pastime and passion. Winston Churchill inscribed and dated this copy of his essay about his famous hobby in black ink in five lines on the front free endpaper recto: "For | Evan M. first edition, first printing of Painting as a Pastime. This is a finely-bound and inscribed presentation copy of the U.S.
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