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COUDERT BROTHERS

Name: COUDERT BROTHERS
Author: Virginia Kays Veenswijk
ISBN: 0-525-93585-1

THE HISTORY OF AMERICA'S FIRST GLOBAL LAW FIRM

by Virginia Kays Veenswijk ‧ RELEASE DATE: April 7, 1994

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Engrossing corporate history of the Manhattan-based Coudert Brothers—the prototype of today's far-flung international law firms. Coudert Brothers began as an anomaly: a New York law firm with an international practice founded at a time (1857) of American provincialism and isolation, and composed of devout Catholics in a predominantly Protestant country with widespread anti-Catholic sentiment. Still, Coudert Brothers thrived and even achieved prominence representing Spanish and French corporate and individual clients. The original Coudert brothers (Frederic RenÇ, Charles, and Louis Leonce) were sons of Charles Coudert, a Bonapartist who escaped a Bourbon prison to flee to New York in 1822. While thoroughly American in many ways—Frederic RenÇ even became an important leader in the New York State Democratic party—the Coudert sons were also fluent in French and Spanish, and had a sensitivity to ÇmigrÇ communities, traits leading to their quickly developing a successful practice in the New York and federal courts in admiralty, estates, and general civil litigation. Veenswijk describes Frederic RenÇ's participation in several important international arbitrations, including an unsuccessful attempt by the US government to condemn British exploitation of Siberian seals, and its mediation of a border dispute between Britain and Venezuela. By the 1890's, Coudert Brothers was a ``giant among law firms'' and a family business with continuity; on the death of Charles Coudert, Jr., in 1897 and Frederic RenÇ in 1903, foster brother Paul Fuller and Frederic RenÇ, Jr., assumed the mantle. Veenswijk describes the explosive growth of the firm under Frederic, Jr., and his son, Alexis Coudert. While law practice changed dramatically in the century that followed—by Alexis' death in 1980, the practice of law was a high-pressure, round-the-clock business—Veenswijk shows that the firm's humane, civilized character, excellence in international law practice, and devotion to quality survived. An absorbing history of one of America's great law firms.

Pub Date: April 7, 1994

ISBN: 0-525-93585-1

Page Count: 432

Publisher: Dutton

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Jan. 1, 1994

Categories:

GENERAL NONFICTION

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NUTCRACKER

by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996

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This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)

Pub Date: Oct. 28, 1996

ISBN: 0-15-100227-4

Page Count: 136

Publisher: Harcourt

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 15, 1996

Categories:

GENERAL NONFICTION

- BOOK REVIEW
THE NUTCRACKER AND THE MOUSE KING
by E.T.A. Hoffmann ; adapted by Natalie Andrewson ; illustrated by Natalie Andrewson

- BOOK REVIEW
THE NUTCRACKER
by E.T.A. Hoffmann & illustrated by Julie Paschkis

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TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

by Ludwig Bemelmans ‧ RELEASE DATE: Feb. 23, 1955

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An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.