DigiCat Publishing presents to you this special edition of "Mr Weston's Good Wine" by T. F. Powys. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.

Orry Kelly, Miss Weston’s Protégé tells the incredible story of one of Hollywood’s greatest designers. Using never before seen materials, photographs and letters, Robert Parkinson has compiled years of research into one of the most detailed accounts of Orry Kelly’s history. Born in Kiama in December 1897 Orry Kelly moved to Sydney as a young man to seek a theatrical career and to study painting. Though unsuccessful on the stage he could not be dissuaded from his dream of stage fame. Eleanor Weston, a well-known Kiama businesswoman, encouraged Kelly to move to the US where he found his calling designing scenes and costume for film, television and the stage. Over the course of his career Orry Kelly worked for all of the major studios, including Warner Brothers, Paramount and Fox, dressing many of the well-known female stars in some 312 films. Though always widely renowned in Hollywood, Kelly did not gain his fame in Australia until after his death in 1964. As biographies of movie stars began to appear in the 1980s his fashion styling and costume design came to be highly regarded and worthy of study across several universities and colleges.

Edward Weston (1886–1958) was one of the most celebrated photographers of the twentieth century. Jean Charlot (1898–1979), a classically trained French artist best known for his murals, woodcuts, and paintings celebrating Mexican culture, played a key role as a participant and chronicler of the Mexican Renaissance. This book, based on letters that Weston and Charlot exchanged from the early 1920s until Weston’s death in 1958, documents a friendship that says as much about art—about photography and fresco, practice, criticism, and history—as it does about the intersection of a number of fascinating characters, the ups and downs of the correspondents’ daily lives, the pursuit of their dreams and aspirations, and the support and encouragement they gave each other. Lew Andrews crafts a multivalent narrative that reconfigures our understanding of Weston, Charlot, and their era, shedding new light on specific events and artwork. While giving us rare insight into the everyday life of these artists, this work also supplies an important chapter in the history of twentieth-century art and photography, seen close up and from the inside.