Anton Stankowski Books

Three witnesses hold all the clues in three crimes of passion that have even Nero Wolfe guessing to the very end. Did the dead millionaire who suddenly came back to life—only to end up dead again—write his own death warrant years before? Will the black Labrador retriever who follows Archie home prove that man’s best friend is a killer’s worst enemy? And in a case involving a telephone answering service with three very untalkative operators, could the great detective himself be the witness who will save an innocent man from the chair? Introduction by Susan Conant “It is always a treat to read a Nero Wolfe mystery. The man has entered our folklore.”—The New York Times Book Review A grand master of the form, Rex Stout is one of America’s greatest mystery writers, and his literary creation Nero Wolfe is one of the greatest fictional detectives of all time. Together, Stout and Wolfe have entertained—and puzzled—millions of mystery fans around the world. Now, with his perambulatory man-about-town, Archie Goodwin, the arrogant, gourmandizing, sedentary sleuth is back in the original seventy-three cases of crime and detection written by the inimitable master himself, Rex Stout.

The fourteenth book in the classic British detective series featuring amateur sleuth Lord Peter Wimsey, with a new introduction by crime writer Elizabeth George.

As instructed, stenographer Stella Webb let herself into the house at 19 Wilbraham Crescent. It was then she made a grisly discovery: the body of a man sprawled across the floor.

German

1932 organisierte der Schweizerische Werkbund eine Ausstellung mit namhaften Schweizer Fotografen, welche die 'neue fotografie' propagierten – ein Manifest gegen die traditionellen Bildauffassungen der so genannten Piktorialisten. Die vor kurzem wieder entdeckten Originale aus jener Ausstellung geben Anlass, den Bilderstreit von damals neu zu beleuchten. Die hochkarätigen Vintageprints u. a. von Binia Bill, Hans Finsler, Herbert Matter, Gotthard Schuh, Max P. Linck, Robert Spreng und Anton Stankowski werden den Bildern von Fotografen gegenübergestellt, die mit weichen Konturen, getonten Papieren und romantischen Motiven weiterhin der Malerei des späten 19. Jahrhunderts nacheiferten (u. a. Fred Boissonnas, Johann Feuerstein, Stefan Jasienski, Emil Lüdin, Felix Marx). Weshalb lehnten sich die Avantgardisten so heftig gegen die 'Kunst'-Fotografie auf? Ausstellung und Buch führen ins Zentrum einer Kontroverse, die den Durchbruch der Moderne begleitete und die Fotografie des 20. Jahrhunderts nachhaltig prägte.