‎Anglais‎

‎VV.AA.‎

‎BLACK SWAN. THE DARK SIDE.‎

‎SPEAKUP. MANTENGA VIVO SU INGLES.‎

‎VV.AA.‎

‎FAIR GAME. BETREYED BY YOUR CONTRY.‎

‎SPEAKUP. MANTENGA VIVO SU INGLES.‎

‎VV.AA.‎

‎THE IRON LADY. A WOMAN OF CONVICTION.‎

‎SPEAKUP. MANTENGA VIVO SU INGLES.‎

‎VV.AA.‎

‎THE BEST EXOTIC MARIGOLD HOTEL. LIFE BEGINS AT SIXTY.‎

‎SPEAKUP. MANTENGA VIVO SU INGLES.‎

‎VV.AA.‎

‎MONEYBALL. BEATING THE SYSTEM.‎

‎SPEAKUP. MANTENGA VIVO SU INGLES.‎

‎HOLMSEN, Sverre‎

‎Il canto dei coralli‎

‎285 p.; 23,5 cm. Legatura editoriale con sovracoperta. Buono‎

‎AA.VV‎

‎American English‎

‎AA.VV American English. , Thomas Pyles 1952, Libro in condizioni mediocri, presenta pagine interne leggermente ingiallite e sovraccoperta usurata Mediocre (Poor) . <br> <br> <br> 310<br>‎

‎Jagram Singh‎

‎New Flow of General English‎

‎ABOUT THE BOOK:- The first edition of "New flow of General English" is in your hands. For preparing this book we have surveyed many students, understood their problem with English language and tried to sort them out as per the modern requirements. Today in spite of the fact that maximum time is devoted to the teaching of English; our schools have hardly succeeded in equipping the students with ability of speaking and writing even few correct sentences of their own. English, the most fastidious language of the world, has been reduced merely to Hinglish by the unwanted admixture of Hindi & English. This book is an endeavour to supply the students at school and college level with various constructions of Grammar and its usage in easy and idiomatic language. Covering nearly all the aspects of applied Grammar with exhaustive exercises, the book is expected to teach the scholar correct English with the exactness of mathematical formulae. A definite plan has been followed in its compilation. The book clarifies different kinds of sentence and explains how to convert a direct statement into indirect one and vice-versa. Comprehensive exercises and examination papers at the end of the chapters will give a good practice to the scholars. Every method of 'synthesizing and transforming the sentences has been clarified with the help of up to date rules in the form of formulae. Syntax, the essence of entire grammatical portion, is the special attraction of this book. Synonyms, antonym, paronyms one word substitution and idioms and phrases from common parlance of the Indian people in different walks of life have been selected and explained with the help of easy usage. The book is fully based on the latest amended syllabus notified. I decide to come out with the first edition, with some additions such as book language and tips for an effective communication to make it further learner friendly. I am confident, the edition of the book will be further useful to it users and all those who are using it on their journey of excellence in the area on effective communication. We hope that more advanced learners and teachers will also find it useful. Any suggestions or feedback for further improvement of the book may please be directly sent at. We wish to thank all who have assisted in the preparation of the first addition. We would also like to thank all colleagues for their friendly and helpful suggestions. ABOUT THE AUTHOR:- Name : Jagram Singh Mother's Name : Late Shrimati Gomti Devi Father's Name : Late Shri Indal Singh Education : Postgraduate - English Teaching : Teaching of English Language in Gwalior District (from 1989 to 1994) Working Space : Rashtriya Swyam Sevak Sangh Pracharak in M.P, Since 1994 Literary Service : Original Interest : Poetry writing in English Language (Poetry Collection over a 100) : In English Grammar : (1) New Flow of Spoken English (2) New Flow of General English Poetry Books in Hindi language : (1) Kavyanjali-Bhor (2) Kavyanjali-Uday (3) Kavyanjali-Kiran (4) Kavyanjali-Prabhat Prose Books in Hindi language : (1) Bharat Darshan (2) Maa (3) Samajik Kranti Ke Shilpi (4) Samrasta Ke Bhagirath (5) Utsav Hamare Pran (6) Rashtra Ke Gaourav (7) Hamari Prarthna CONTENTS:- Messages. 13 Preface. 15 Golden Rules for Spoken English. 17 Chapter – 1. 19 1. Printing Capital Letters ???? ?? ???? ?????------------------------------------- 19 2. Printing Small Letters ???? ?? ???? ?????-------------------------------------- 19 3. Writing Capital Letters ????? ?? ???? ?????---------------------------------- 19 4. Writing Small Letters ????? ?? ???? ?????----------------------------------- 19 5. Vowels ????-----------------------------------------------------------------------------------------19 6. Consonant ??????------------------------------------------------------------------------------------ 19 Chapter – 2. 20 1.????????? ???? Vowels. 20 2. ?????? Consonant. 20 3. ???? ????------------------------------------------------------------------------------------------------- 21 4. ???? ?????? ????? Join vowels & consonants. 21 5.???? ?????? ????? Join vowels & consonants. 21 Chapter – 3. 22 1. Vowels Part (???????)---------------------------------------------------------------------22 2. Consonants Part. 24 Chapter – 4. 28 1. Number (???). 28 2. Articles (????????). 29 1. Indefinite Article. 30 2. Definite Article. 31 3. Gender (????). 31 1. Masculine Gender (????????). 31 2. Feminine Gender (??????????). 32 3. Neuter Gender (??????????). 32 4. Common Gender (???????). 32 5. Person (?????). 32 Chapter – 5. 33 Case (????). 33 1. Nominative Case (?????????). 33 2. Objective Case (????????). 33 3. Possessive Case (?????????). 33 Case Chart ???? ?????------------------------------------------------------------------------------ 34 Important Rules. 34 Mood (???). 35 1. Indicative Mood (???? ??? ???). 35 2. Subjective Mood (????????? ??? ???). 35 3. Imperative Mood (???????? ??? ???). 35 4. Infinitive Mood (?????????? ??? ???). 35 Chapter – 6. 36 (1) . 36 1.Word (????)---------------------------------------------------------------------------------------- 36 2.Sentence (?????)-------------------------------------------------------------------------------- 36 3.Phrase (????????)-------------------------------------------------------------------------------- 36 4.Clause (???????) ------------------------------------------------------------------------------ 36 5.Syllables (????????/??????)------------------------------------------------------- 37 (2) . 37 1. Subject ?????-------------------------------------------------------------------------------------- 37 2.Object ????------------------------------------------------------------------------------------------ 37 3.Verb ??????------------------------------------------------------------------------------------------- 38 Forms of some verbs ??? ???????? ?? ???------------------------------- 40 Chapter – 7. 41 Parts of Speech ???? ?????/???? ????. 41 1. Noun ??????------------------------------------------------------------------------------------------ 41 2. Pronoun ???????------------------------------------------------------------------------------- 41 3. Adjective ??????----------------------------------------------------------------------------- 41 4. Verb ??????------------------------------------------------------------------------------------------- 42 5.Adverb ?????? ??????---------------------------------------------------------------------- 42 6.Preposition ???????????----------------------------------------------------------------- 42 7.Conjunction –??????/???????----------------------------------------------- 45 Chapter - 8. 48 Active Voice ?????????--------------------------------------------------------------------------------- 48 Tense (???)----------------------------------------------------------------------------------------------------- 48 Chapter – 9. 79 Auxiliaries (Verbs) ????? ?????????---------------------------------------------------------- 79 Chapter – 10. 100 Sentence ?????-----------------------------------------------------------------------------------------------100 1. Kinds of Sentences(??????? ?? ???)----------------------------------------------------100 1.Assertive Sentences ?????? ?????/???????? ?????---------100 2.Interrogative Sentences ?????? ???? ?????---------------------------------101 3.Imperative Sentences ????? ???? ?????----------------------------------101 4.Exclamatory Sentences ??????????? ?????-------------------------------103 5.Optative Sentences ????????? ?????-----------------------------------------103 6.Habitual Sentences ???/?????????? ?????------------------------104 7.Causative Sentences ??????????? ?????/???????------------------------105 8.Simple Sentences ??????? ?????--------------------------------------------------106 9.Compound Sentences ??????? ?????-------------------------------------------107 10.Complex Sentences ????/??????? ?????-------------------------------108 11. Conditional Sentences ??????????------------------------------------------- 111 12.General Sentences ???????/?? ?????------------------------------------ 111 13.Double Parts of Speech ?????? ?? ????? ???----------------------------- 113 14.Determinatives ???????? ?????--------------------------------------------------118 15.Common signs of Punctuation ??????? ????? ?????------------123 Chapter – 11. 125 Passive voice ???? ?????. 125 Tense. 125 Modal Auxiliaries ????? ????? ???????---------------------------------------------141 12. Chapter. 146 1. Short form negatives ????????? ????????? ?????--------------------------146 2. Question Tag ?????? ?????-------------------------------------------------------147 3.Present Simple (for Future) ??????? ??????? (?????? ?? ???)----------------------------------------------------148 4.Sentence Pattern ????? ????----------------------------------------------------------149 5.Degree of Adjective ?????? ?????????--------------------------------------151 6.Mind. 155 7.Get/Got. 159 8.Made from / Made of. 160 9.Kind of/Type of. 162 10.It (Anticipatiory). 164 11. It (In Complex Sentence) . 166 12.There (Introductory) ??????????. 167 13.Be Sure / Be afraid. 168 14.Going to. 170 15.About to. 171 16.Pronoun – Self (Emphatic). 171 17.Let. 172 18.Unreal Past Had – would have (??? ??? ????)--------------------173 19.Transformation of Sentences. 174 Chapter – 13. 175 Compound Sentences ??????? ?????. 175 1. Coorelative Conjunctions ???? ??????? ???? ?????? 175 2. Adversative Conjunctions ?????????/???????????? 180 3. Alternative Conjunctions ???????/?????????????? 184 4. Illative Conjunctions ?????? ????/??????. 188 Chapter – 14. 191 Complex Sentences ??????? ????? 1. Adjective Clause. 191 2. Noun Clause. 193 3. Adverb Clause. 194 3. Adverb clause of Purpose. 203 4. Adverb clause of Reason / Case ????/????. 205 5. Adverb clause of Result ??????/??????. 206 6. Adverb clause of Condition ????. 208 7. Adverb clause of Manner ???.210 8. Adverb clause of Comparision ?????.211 9. Adverb clause of Supposition ????? ?? ??????. 213 Chapter – 15. 234 Direct and Indirect Narration Or Direct and Indirect Speech ????????? ?? ?????????? ???. 234 Direct ?? Indirect ??? ???????? ???? ???? ?????. 234 Parts of Direct Narration / Speech ????????? ??? ?? ???. 234 Direct ls Indirect ??? ???????? ???? ???? ?????. 234 Memory Chart for Tense change. 236 Kinds. 238 Chapter – 16. 248 Affix ???????. 248 Kinds ??????. 248 Antonyms (????? ????). 249 Synonyms (?????????? ????) . 255 One word ????? ?? ??? ?? ????. 259 Proverbs (???????????). 261 Idioms (???????) . 264 Figures of Speech (??????). 267 Chapter – 17. 270 1. Name of edible things ????? ?? ????? ?? ???. 270 2. Name of Fruits & Trees ?????? ?? ???? ?? ??? . 272 3. Human Limbs vknEkh ds ???? ?? ???? ?? ????? ?? ???. 275 4. Court related words ????? ?????? ????. 278 5. Name of Metals ?????? ?? ???. 280 6. Time ???;. 281 7. Name of Jewels / ornaments ??????? ?? ???. 282 8. Name of Ornaments/Jewels ??????? ?? ???. 282 9. Name of Colors ???? ?? ???. 283 10. Name of Days ????? ?? ??? . 283 11. Name of Direction ?????? ?? ???. 283 Chapter – 18. 284 Hindi – English Dictoinary ?????? ???????? ???????. 284 The Title 'New Flow of General English written/authored/edited by Jagram Singh', published in the year 2019. The ISBN 9789353240684 is assigned to the Paperback version of this title. This book has total of pp. 381 (Pages). The publisher of this title is Kalpaz Publications. This Book is in Hindi-English. The subject of this book is English Grammar / Education. Size of the book is 13.34 x 21.59 cms Vol:-‎

‎Rupika Raj‎

‎Language Articulation (SENTENCES)‎

‎ABOUT THE BOOK This book is an attempt to help those who find it difficult to communicate in English with ease. It's designed in such a way that it can help basic as well as intermediate level students alike. Learning a language and that too English language seems a never-ending process. Many-a-times there are endless words, phrases, confusing rules, tongue-flexing pronunciation exercises and so on. It is quite expected that the English learners feel like quitting their language learning journey as it is psychologically discouraging especially for those who don't have elementary knowledge. I believe that if we first start with those sentences which mostly come in our day-to-day conversation then it will get pretty much easier to get hang of them and we'll soon find ourselves uttering some of the sentences. Our confidence will naturally soar high and make us keep going further. Hope it works wonders! May the joy of learning be with you! ABOUT THE AUTHOR Rupika is an aspiring “English language trainer” and a freelance writer. She has been writing for over 10 years, as a hobby, and has finally taken the leap to publish her first book. This is a big and welcome step for her. She hails from Bihar and has worked in various English training institutes in Bihar, Delhi and Dehradun for more than 10 years. She realized that learning the English language could be a challenging task for non-native speakers. As the purpose of your life defines the way of living your life, she decided to help others make their journey easier on the path to English fluency. This book can be considered as the crux of all her learnings and experiences regarding the English language till date. This book is her sincere attempt of giving plenty of engaging sentences for English learners/speakers to get a head start. Her alternative system of learning has helped many inside classrooms. Now you can have it in your hands and make the best out of it. All green lights! Rupika CONTENTS LANGUAGE ARTICULATION . 7 CHAPTER – 1 INSTRUCTIONS . 9 CHAPTER – 2 DAILY ROUTINE (HAPPENS EVERY TIME) . 29 CHAPTER – 3 DIARY (ONE-TIME INCIDENT) . 49 CHAPTER – 4 HAPPENING NOW . 71 CHAPTER – 5 PLAN (NOT YET HAPPENED) . 93 CHAPTER – 6 RANDOMLY-CHOSEN SENTENCES . 115 CHAPTER – 7 FREQUENTLY USED/SPOKEN SENTENCES . 137 CHAPTER – 8 READ OUT LOUD . 161 The Title 'Language Articulation (SENTENCES) written/authored/edited by Rupika Raj', published in the year 2022. The ISBN 9789353249342 is assigned to the Paperback version of this title. This book has total of pp. 182 (Pages). The publisher of this title is GenNext Publication. This Book is in English. The subject of this book is English Language. Size of the book is 13.34 x 21.59 cms Vol:-‎

‎Spinucci, Pietro‎

‎La poesia di Edward Taylor.‎

‎cm. 15,5 x 21,5, 208 pp. Letterature d'Oltralpe e d'Oltre Oceano - Saggi e studi 355 gr. 208 p.‎

‎MARTIN Johan Fredrik (Stoccolma 1755 - ivi 1816)‎

‎Festa di Sant'Andrea ad Amalfi‎

‎Veduta della festa di Sant’Andrea ad Amalfi, tratta da un disegno di Luois Jean Desprez. Amalfi festeggia Sant’Andrea, patrono della città, ben due volte all'anno, una il 30 novembre, l'altra il 27 giugno nell'anniversario del miracolo che salvò la città di Amalfi dall'invasione del pirata Kair-Ad-Din detto Barbarossa nel 1544. Sant'Andrea è protettore dei pescatori di tutto il mondo, di pescivendoli e di tutti coloro che hanno a che fare con la pesca. Ai festeggiamenti del 30 novembre, partecipa tutta la popolazione, ed è in questa occasione che avviene il “miracolo di Sant’Andrea”, per tanti versi molto simile al miracolo della liquefazione del sangue di San Gennaro. Probabile che il Desprez realizzi il disegno durante il suo viaggio in Italia, durante il quale descrive molto luoghi dell'Italia meridionale, poi base iconografica per il "Voyage Pittoresque" dell'abate Richard de Saint-Non.Incisione all'acquatinta ad inchiostro bistro, lievemente rifilata all'interno della linea marginale, piccole crepe di carta, per il resto in ottimo stato di conservazione. Rarissima. View of the feast of St. Andrew in Amalfi , taken from a drawing by Louis Jean Desprez. Amalfi celebrates St. Andrew, patron saint of the city, twice a year, on Nov. 30, the other June 27 anniversary of the miracle that saved the city from the invasion of Amalfi pirate Kair -Ad- Din said Barbarossa in 1544. St. Andrew is the patron of fishermen from all over the world, fishmongers and all those that have to do with fishing . The celebrations of November 30 , participates in the entire population, and it is on this occasion that happens the "miracle of St. Andrew " , in many ways very similar to the miracle of the liquefaction of the blood of San Gennaro.Likely that the realized design Desprez during his trip to Italy, during which describes a lot of places in southern Italy , then iconographic basis for the " Voyage Pittoresque " by the Richard de Saint-Non.Aquatint printed with bistro ink, slightly trimmed within the marginal line, small cracks of paper, otherwise in excellent condition. An extremely rare work. Frölich, Johan Fredrik Martins gravyrer, Stockholm, 1939, 291 II.‎

‎COLEMAN Charles (Pontefract 1807 ca. - Roma 1874)‎

‎Campagna romana‎

‎Acquaforte, tratta da 'A series of subiects peculiar to the campagna of Rome and Pontine marshes designed from nature and etched by C. Coleman', edito a Roma nel 1850. Magnifica prova, impressa su carta cina applicata su cartoncino, pieni margini, in perfetto stato di conservazione. Charles Coleman è stato un pittore inglese di paesaggi e animali, nato a Pontefract, nello Yorkshire, in Inghilterra. Fu attivo principalmente a Roma, dove fu un'importante influenza su Nino Costa e diede un contributo significativo alla formazione della Scuola di pittura di Campagna Romana. Dalle brulle colline dello Yorkshire, Charles Coleman arriva a Roma nel 1831 e si mostra un pittore appassionato del territorio che circonda l’urbe, pubblicando alla metà del secolo, presso la libreria Spithover, un ricco volume con 53 acqueforti: A series of subiects peculiar to the campagna of Rome and Pontine marshes designed from nature and etched by C. Coleman. I paesaggi che Coleman rappresenta somigliano molto alle vedute desolate del suo Yorkshire, “ventose e abitate soltanto dall’erica”. Nella gran parte delle vedute dell’artista inglese il paesaggio si presenta con vivaci contrapposti, facendo sì che Coleman rappresenti un vero e proprio maestro per una o due generazioni di pittori romani e non solo. Era sprezzante dell'insegnamento accademico, credendo che l'osservazione dalla natura fosse la migliore educazione per un artista. Espose cinque volte alla Royal Academy di Londra, per l'ultima volta nel 1869. Timbro di collezione la verso di Luciana Simonetti (Lugt 3616). Etching from the 'A series of subiects peculiar to the campagna of Rome and Pontine marshes designed from nature and etched by C. Coleman', printed in Rome in 1850. A fine  work, printed on China paper and laid on cardboard, full margins, in perfect condition. Charles Coleman was an English landscape and animal painter, born in Pontefract, Yorkshire, England. He was active primarily in Rome, where he was an important influence on Nino Costa and made a significant contribution to the formation of the School of "Campagna Romana" Painting. From the barren hills of Yorkshire, Charles Coleman arrived in Rome in 1831 and showed himself a passionate painter of the territory surrounding the urbe, publishing in the middle of the century, at the Spithover bookstore, a rich volume with 53 etchings: A series of subiects peculiar to the countryside of Rome and Pontine marshes designed from nature and etched by C. Coleman. The landscapes that Coleman depicts are very similar to the desolate views of his Yorkshire, "windy and inhabited only by heather". In most of the English artist's views, the landscape is presented with vivid contrasts, making Coleman a true master for a generation or two of painters in Rome and beyond. He was contemptuous of academic teaching, believing that observation from nature was the best education for an artist. He exhibited five times at the Royal Academy in London, for the last time in 1869. Collection marks on verso, by Luciana Simonetti (Lugt 3616).‎

‎Scotin Jean-Baptiste‎

‎Memento Mori‎

‎Acquaforte e bulino, 1747, stampata da H. Woodfall per John e Paul Knapton a Londra, nel 1749. Ottima impressione su carta vergata coeva, con margini, perfette condizioni.   Questo raro lavoro fa parte dello splendido atlante anatomico del XVIII secolo, il The Tables of the Skeleton and Muscles of the Human Body di Albino. Venne pubblicato da John e Paul Knapton, a Londra, senza il permesso dell'autore solo due anni dopo la prima edizione del 1747, a Leida. Questa seconda edizione è stampata nello stesso enorme formato della prima edizione, con le illustrazioni derivanti dalle celebri tavole di Jan Wandelaar, curate qui da Charles Grignion, Jean-Baptiste Scotin, Ludovico Antonio-Ravenet e Louis-Pierre Boitard. Wandelaar posò scheletri e figure muscolose contro lussureggianti sfondi ornamentali per dare loro l'illusione di vitalità, arricchiti con contrasti di massa e luce per produrre un effetto tridimensionale. Etching with engraving, 1747. Printed by H. Woodfall for John and Paul Knapton, London, 1749. A very good impression on contemporary laid paper, with margins, perfect condition.   This rare work is part of the most splendid anatomical atlas of 18th century, The Tables of the Skeleton and Muscles of the Human Body, published by John and Paul Knapton in London without author's permission (later that year they issued an English translation of the work), only two years after the 1st edition was published in 1747 in Leiden (largely at Albinus' own expense). This second edition is printed in the same enormous format as the first of 1747, with the celebrated Jan Wandelaar's plates re-engraved for this edition by Charles Grignion, Jean-Baptiste Scotin, Ludovico-Antonio Ravenet and Louis-Pierre Boitard. Wandelaar placed his skeletons and musclemen against lush ornamental backgrounds to give them the illusion of vitality, using contrasts of mass and light to produce a three-dimensional effect. ESTC (RLIN) N49651 Garrison-Morton (5th ed.), no. 399 Russell, K.F. British anatomy (2nd ed.), no. 5 Wellcome cat. of printed books, vol. II, p. 26.‎

‎Ryland William Wynne (Londra 1732 - 1783)‎

‎Giove e Giunone‎

‎Acquaforte stampata ad inchiostro bruno, 1763, firmata e datata in lastra in basso a destra.Da un disegno di Baccio Bandinelli.Magnifica prova, impressa su carta vergata coeva, con margini, in perfetto stato di conservazione.L'opera è parte della raccolta di Charles Rogers, 'A Collection of Prints in Imitation of Drawings. To which are annexed lives of their authors', edita a Londra da John Boydell e altri nel 1778. Le tavole che sono contenute nell'opera riproducono a grandezza naturale e con gli stessi colori, una serie di disegni antichi nella collezione del Rogers. Etching printed in brown ink, lettered below the image "In the Collection of Mr. Reynolds. CR edidt. Baccio Bandinelli delt. W.W. Ryland sct. 1763".After a drawing by Baccio Bandinelli.A fine impression, printed on contemporary laid paper, with margins, perfect condition. The work is part of Charles Rogers, A Collection of Prints in Imitation of Drawings. To which are annexed lives of their authors. printed by J. Nichols in London, and sold by John Boydell, Benjamin White, and Peter Molini, 1778. The plates, which use a wide variety of techniques, show some old master drawings in Rogers's own collection. His preface states: “That these prints may be faithful imitations, they are engraved the same way as, as well as the same size, as the Originals are drawn; and printed, as nearly as possible, in the same colours”. A fine impression, printed on contemporary laid paper, with margins, perfect condition. R. Weigel, Die Werke der Maler in ihren Handzeichnungen p. 77 no. 122.‎

‎COLEMAN Charles (Pontefract 1807 ca. - Roma 1874)‎

‎Campo Vaccino‎

‎Acquaforte, tratta da 'A series of subiects peculiar to the campagna of Rome and Pontine marshes designed from nature and etched by C. Coleman', edito a Roma nel 1850. Magnifica prova, impressa su carta cina applicata su cartoncino, pieni margini, in perfetto stato di conservazione. Charles Coleman è stato un pittore inglese di paesaggi e animali, nato a Pontefract, nello Yorkshire, in Inghilterra. Fu attivo principalmente a Roma, dove fu un'importante influenza su Nino Costa e diede un contributo significativo alla formazione della Scuola di pittura di Campagna Romana. Dalle brulle colline dello Yorkshire, Charles Coleman arriva a Roma nel 1831 e si mostra un pittore appassionato del territorio che circonda l’urbe, pubblicando alla metà del secolo, presso la libreria Spithover, un ricco volume con 53 acqueforti: A series of subiects peculiar to the campagna of Rome and Pontine marshes designed from nature and etched by C. Coleman. I paesaggi che Coleman rappresenta somigliano molto alle vedute desolate del suo Yorkshire, “ventose e abitate soltanto dall’erica”. Nella gran parte delle vedute dell’artista inglese il paesaggio si presenta con vivaci contrapposti, facendo sì che Coleman rappresenti un vero e proprio maestro per una o due generazioni di pittori romani e non solo. Era sprezzante dell'insegnamento accademico, credendo che l'osservazione dalla natura fosse la migliore educazione per un artista. Espose cinque volte alla Royal Academy di Londra, per l'ultima volta nel 1869. Etching from the 'A series of subiects peculiar to the campagna of Rome and Pontine marshes designed from nature and etched by C. Coleman', printed in Rome in 1850. A fine  work, printed on China paper and laid on cardboard, full margins, in perfect condition. Charles Coleman was an English landscape and animal painter, born in Pontefract, Yorkshire, England. He was active primarily in Rome, where he was an important influence on Nino Costa and made a significant contribution to the formation of the School of "Campagna Romana" Painting. From the barren hills of Yorkshire, Charles Coleman arrived in Rome in 1831 and showed himself a passionate painter of the territory surrounding the urbe, publishing in the middle of the century, at the Spithover bookstore, a rich volume with 53 etchings: A series of subiects peculiar to the countryside of Rome and Pontine marshes designed from nature and etched by C. Coleman. The landscapes that Coleman depicts are very similar to the desolate views of his Yorkshire, "windy and inhabited only by heather". In most of the English artist's views, the landscape is presented with vivid contrasts, making Coleman a true master for a generation or two of painters in Rome and beyond. He was contemptuous of academic teaching, believing that observation from nature was the best education for an artist. He exhibited five times at the Royal Academy in London, for the last time in 1869.‎

‎JACKSON John Baptiste (1701 - 1780)‎

‎Presentazione di Gesù al Tempio‎

‎Xilografia a chiaroscuro, 1745, in basso al centro la dedita dello stampatore: Illustrissimo, &amp; Erudito Viro CAROLO FREDERICK Armigero, liberalium Artium Patrono, / Pauli Cagliari praeclarum hoc Opus in Ligno coelatum, in grati animi argumentum humiliter D. D. D. / J: B: Jackson”. Da un dipinto di Paolo VeroneseBell’esemplare, impresso su carta vergata coeva, completo dei margini bianchi, in ottimo stato di conservazione.La tavola è una della 24 dell’opera dal titolo “Titiani Vecelli, Pauli Caliarii, Jacobi Robusti, et Jacobi de Ponte opera selectiora” edita da J. B. Jackson nel 1745.La stampa è tratta dal dipinto di Paolo Caliari, detto il Veronese (1528-1588) per la cassa dell’organo della chiesa di S. Sebastiano, a Venezia, realizzato tra il 1558 e il 1560: le portelle dell’organo, chiuse, mostrano la “Presentazione di Gesù al Tempio”, mentre sul retro, visibile quando lo strumento è in uso, appare la scena della “Probatica piscina”. Chiaroscuro woodcut, 1745. inscribed lower center: “Illustrissimo, &amp; Erudito Viro CAROLO FREDERICK Armigero, liberalium Artium Patrono, / Pauli Cagliari praeclarum hoc Opus in Ligno coelatum, in grati animi argumentum humiliter D. D. D. / J: B: Jackson”. After Paolo Veronese.Good example, printed on contemporary laid paper, white margins, in very good condition.Published as 1 of 24 prints and originally issued in portfolio with title: “Titiani Vecelli, Pauli Caliarii, JacobiRobusti, et Jacobi de Ponte opera selectiora”The plate is after an organ shutter of ca. 1588 painted by Paolo Veronese (1528-1588) for the Church of San Sebastiano, Venice. In 1558, Paolo designed the organ and painted its external shutters with the Presentation of Christ and the internal ones with a Pool of Bethesda (1560). The Presentation represents the bringing of the infant Jesus by Mary and Joseph to the Temple in Jerusalem to be 'consecrated to the Lord.' The Jewish rite of the 'purification' of the mother was celebrated simultaneously and involved the sacrifice of doves or pigeons and incorporated a procession of candles, both of which are portrayed by Veronese. The painted and actual architecture of Paolo's organ in San Sebastiano are coordinated so that, whether the shutters are open or closed, painted architecture continues the organ’s exterior architecture in both perspective and vocabulary. Kainen, Jacob. John Baptist Jackson : 18th-century master of the color woodcut, 1962‎

‎PINE John‎

‎Battaglia navale‎

‎Acquaforte stampata in verde / blu, tratta da The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &amp;c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Poco dopo la sconfitta dell'armata spagnola del 1588, Lord Howard of Effingham, comandante della flotta britannica, commissionò a Robert Adams la produzione di una serie di disegni che rappresentavano le varie fasi dell'azione; poi commissionò H.C. Vroom la realizzazione di una serie di disegni per arazzi, basati sul lavoro di Adams. Le tele furono tessute da Francis Spiring di Haarlem. Alcuni anni dopo, i disegni furono venduti a Giacomo I e, successivamente, arredarono le pareti della Camera dei Lord. Tutti gli arazzi, tranne uno rubato precedentemente, furono bruciati, insieme a gran parte del Palazzo di Westminster nel 1834. La grande opera di Pine che raffigura questa famosa battaglia navale è, ora, di grande importanza storica. A parte il notevole dettaglio dell'incisione e la ricchezza dell'invenzione nei vari cartigli, l'uso contenuto dell'inchiostro colorato per stampare la superficie della lastra produce un effetto sorprendentemente attraente e rappresenta un importante esempio primordiale della stampa a colori per le illustrazioni. Bellissimo esemplare, stampato su carta vergata coeva, con pieni margini, in ottimo stato di conservazione. Etching printed in green/blue, taken from The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &amp;c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Shortly after the defeat of the Spanish “Armada” in 1588, Lord Howard of Effingham, commander of the British Fleet, commissioned Robert Adams to produce a series of charts representing the various phases of the action and then H.C. Vroom to produce a series of designs for tapestries, based on the work of Adams. They were woven by Francis Spiring of Haarlem.  Some years later, they were sold to James I and eventually came to furnish the walls of the House of Lords. All the tapestries, except one stolen at an earlier date and now lost, were burned in the fire that destroyed most of the Palace of Westminster in 1834. Pine's great work depicting this famous naval battle is therefore now of great historical importance.  Apart from the remarkable detail of the engraving and the wealth of invention in the various cartouches, the restrained use of coloured ink to print the plate surface produces a strikingly attractive effect, and represents a very early example of the colour-printing of illustrations. T.Clayton, 'The English Print 1688-1802', New Haven and London, 1997, pp.87; Berlin Catalogue 1677.‎

‎PINE John‎

‎Battaglia navale‎

‎Acquaforte stampata in verde / blu, tratta da The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &amp;c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Poco dopo la sconfitta dell'armata spagnola del 1588, Lord Howard of Effingham, comandante della flotta britannica, commissionò a Robert Adams la produzione di una serie di disegni che rappresentavano le varie fasi dell'azione; poi commissionò H.C. Vroom la realizzazione di una serie di disegni per arazzi, basati sul lavoro di Adams. Le tele furono tessute da Francis Spiring di Haarlem. Alcuni anni dopo, i disegni furono venduti a Giacomo I e, successivamente, arredarono le pareti della Camera dei Lord. Tutti gli arazzi, tranne uno rubato precedentemente, furono bruciati, insieme a gran parte del Palazzo di Westminster nel 1834. La grande opera di Pine che raffigura questa famosa battaglia navale è, ora, di grande importanza storica. A parte il notevole dettaglio dell'incisione e la ricchezza dell'invenzione nei vari cartigli, l'uso contenuto dell'inchiostro colorato per stampare la superficie della lastra produce un effetto sorprendentemente attraente e rappresenta un importante esempio primordiale della stampa a colori per le illustrazioni. Bellissimo esemplare, stampato su carta vergata coeva, con pieni margini, in ottimo stato di conservazione. Etching printed in green/blue, taken from The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &amp;c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Shortly after the defeat of the Spanish “Armada” in 1588, Lord Howard of Effingham, commander of the British Fleet, commissioned Robert Adams to produce a series of charts representing the various phases of the action and then H.C. Vroom to produce a series of designs for tapestries, based on the work of Adams. They were woven by Francis Spiring of Haarlem.  Some years later, they were sold to James I and eventually came to furnish the walls of the House of Lords. All the tapestries, except one stolen at an earlier date and now lost, were burned in the fire that destroyed most of the Palace of Westminster in 1834. Pine's great work depicting this famous naval battle is therefore now of great historical importance.  Apart from the remarkable detail of the engraving and the wealth of invention in the various cartouches, the restrained use of coloured ink to print the plate surface produces a strikingly attractive effect, and represents a very early example of the colour-printing of illustrations. T.Clayton, 'The English Print 1688-1802', New Haven and London, 1997, pp.87; Berlin Catalogue 1677.‎

‎PINE John‎

‎Battaglia navale‎

‎Acquaforte stampata in verde / blu, tratta da The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &amp;c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Poco dopo la sconfitta dell'armata spagnola del 1588, Lord Howard of Effingham, comandante della flotta britannica, commissionò a Robert Adams la produzione di una serie di disegni che rappresentavano le varie fasi dell'azione; poi commissionò H.C. Vroom la realizzazione di una serie di disegni per arazzi, basati sul lavoro di Adams. Le tele furono tessute da Francis Spiring di Haarlem. Alcuni anni dopo, i disegni furono venduti a Giacomo I e, successivamente, arredarono le pareti della Camera dei Lord. Tutti gli arazzi, tranne uno rubato precedentemente, furono bruciati, insieme a gran parte del Palazzo di Westminster nel 1834. La grande opera di Pine che raffigura questa famosa battaglia navale è, ora, di grande importanza storica. A parte il notevole dettaglio dell'incisione e la ricchezza dell'invenzione nei vari cartigli, l'uso contenuto dell'inchiostro colorato per stampare la superficie della lastra produce un effetto sorprendentemente attraente e rappresenta un importante esempio primordiale della stampa a colori per le illustrazioni. Bellissimo esemplare, stampato su carta vergata coeva, con pieni margini, in ottimo stato di conservazione. Etching printed in green/blue, taken from The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &amp;c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Shortly after the defeat of the Spanish “Armada” in 1588, Lord Howard of Effingham, commander of the British Fleet, commissioned Robert Adams to produce a series of charts representing the various phases of the action and then H.C. Vroom to produce a series of designs for tapestries, based on the work of Adams. They were woven by Francis Spiring of Haarlem.  Some years later, they were sold to James I and eventually came to furnish the walls of the House of Lords. All the tapestries, except one stolen at an earlier date and now lost, were burned in the fire that destroyed most of the Palace of Westminster in 1834. Pine's great work depicting this famous naval battle is therefore now of great historical importance.  Apart from the remarkable detail of the engraving and the wealth of invention in the various cartouches, the restrained use of coloured ink to print the plate surface produces a strikingly attractive effect, and represents a very early example of the colour-printing of illustrations. T.Clayton, 'The English Print 1688-1802', New Haven and London, 1997, pp.87; Berlin Catalogue 1677.‎

‎COOKE Edward William (Londra 1811 - 1880)‎

‎Roman Wine Cart‎

‎Litografia tinta firmata in basso a sinistra. Da un disegno dello stesso Cooke, ora conservato alla Royal Academy of Arts. Edward Cooke arrivò a Roma con sua sorella Laura il 23 dicembre 1845. Tranne che per un'escursione di due settimane a Tivoli, rimase in città fino al maggio dell'anno successivo. Roma era una destinazione insolita per un pittore di marine, e Cooke scrisse alla sua famiglia affermando che la stava "prendendo con freddezza" e aggiungendo che aveva 'taking it coolly' and adding that he had 'intended to paint one or two pictures for the Academy whilst here but it was impossible - 1st because I have been out of spirits and poorly, 2ndly the multitude of objects of intense interest have so completely seized all my thoughts since I left Genoa and the sea, that I seem for a time to have lost all my impressions of marine subjects and effects'.  Tuttavia, Cooke disegnò avidamente i siti classici e medievali della città durante il suo soggiorno e questi formarono la base per diversi successivi dipinti ad olio di scene romane. Molti dei disegni furono incisi e pubblicati nelle due edizioni di Leaves from my Sketchbook (1876 e 1877). Nell'introduzione a queste pubblicazioni Cooke scrisse: "I viaggi in molti paesi, che si estendono per un periodo di cinquant'anni, hanno riempito i miei Sketch-books con diverse migliaia di schizzi, che spesso sono serviti a richiamare agli amici piacevoli ricordi di giorni felici e climi soleggiati, e ad eccitare il desiderio di visitare luoghi ugualmente notevoli per bellezza naturale e interesse storico". Tinted litograph signed at lower left. From a drawing by Cooke himself, now preserved at   Royal Academy of Arts. Edward Cooke arrived in Rome with his sister Laura on December 23rd 1845. Except for a two week excursion to Tivoli, he remained in the city until May the following year. Rome was an unusual destination for a marine painter, and Cooke wrote to his family stating that he was 'taking it coolly' and adding that he had 'intended to paint one or two pictures for the Academy whilst here but it was impossible - 1st because I have been out of spirits and poorly, 2ndly the multitude of objects of intense interest have so completely seized all my thoughts since I left Genoa and the sea, that I seem for a time to have lost all my impressions of marine subjects and effects'.  Nevertheless, Cooke avidly sketched the city's classical and medieval sites during his stay and these formed the basis for several subsequent oil paintings of Roman scenes. Many of the drawings were engraved and published in the two editions of Cooke's Leaves from my Sketchbook (1876 and 1877). In the introduction to these publications Cooke wrote, 'Travels in many countries, extending over a period of fifty years, have filled my Sketch-books with several thousand sketches, which have often served to recall to friends pleasant memories of happy days and sunny climes, and excite a wish to visit places alike remarkable for natural beauty and historic interest.'‎

‎Bickham il Giovane George (circa 1706 - 1771)‎

‎The Return from the Chace‎

‎Tavola tratta dal celebre The Musical Entertainer, stampato a Londra da Charles Corbett, [1737-1739 o dopo]. Bickham è principalmente conosciuto per quest'opera incisa, pubblicata per la prima volta in parti quindicinali, ciascuna con quattro tavole, tra il gennaio 1737 e il dicembre 1739. Una seconda edizione fu anche pubblicata in parti tra il 1740 e il 1741, e una terza, stampata dalle tavole originali, fu pubblicata da John Ryall nel 1765. Le 200 tavole sono canzoni di Purcell, Handel, Haydn, Corelli, Pepusch e altri, ognuna con una vignetta incisa, e a parte il loro interesse musicale, forniscono una visione affascinante della vita sociale del tempo. Otto dei disegni sono di Gravelot, e secondo l'opinione di Ray molti altri sono stati imitati dall'opera di Watteau, il che lo porta a dire che il canzoniere "può quasi essere considerato francese". George Bickham il Giovane era incisore, editore, tipografo e uno dei primi caricaturisti inglesi. Ha prodotto pubblicazioni didattiche, caricature politiche e stampe pornografiche. Era il figlio dell'incisore George Bickham il Vecchio, che pubblicò la Universal Penman. Acquaforte, stampata su carta vergata coeva, con margini, in ottimo stato di conservazione. Bibliografia Stephen, Leslie, ed. (1886). "Bickham, George (d.1758)". Dictionary of National Biography. Vol. 5. London: Smith, Elder &amp; Co; Cohen-de Ricci 145-146; Ray, French Illustrated Book, 12 Plate taken from The Musical Entertainer. London: Charles Corbett, [1737-1739 or later]. Bickham was principally known for this engraved work, first issued in fortnightly parts, each with four plates, between January 1737 and December 1739. A second edition was also brought out in parts 1740-41, and a third, printed from the original plates, was issued by John Ryall in 1765. The 200 plates are songs by Purcell, Handel, Haydn, Corelli, Pepusch and others, each headed with an engraved vignette, and quite apart from their musical interest they provide fascinating insight into the social life of the time. Eight of the designs are after Gravelot, and in Ray's opinion many others were imitated from Watteau's Oeuvre, leading him to say the song book "may almost be regarded as French." George Bickham the Younger (c. 1706–1771) was an English etcher and engraver, a printseller, and one of the first English caricaturists. He produced didactic publications, political caricatures, and pornographical prints. He was the son of the engraver George Bickham the Elder (1684–1758), who published the Universal Penman (1733–41). Etching, printed on contemporary laid paper, with margins, perfect condition. Bibliografia Stephen, Leslie, ed. (1886). "Bickham, George (d.1758)". Dictionary of National Biography. Vol. 5. London: Smith, Elder &amp; Co; Cohen-de Ricci 145-146; Ray, French Illustrated Book, 12.‎

‎Bickham il Giovane George (circa 1706 - 1771)‎

‎The Meeting in the Morning‎

‎Tavola tratta dal celebre The Musical Entertainer, stampato a Londra da Charles Corbett, [1737-1739 o dopo]. Bickham è principalmente conosciuto per quest'opera incisa, pubblicata per la prima volta in parti quindicinali, ciascuna con quattro tavole, tra il gennaio 1737 e il dicembre 1739. Una seconda edizione fu anche pubblicata in parti tra il 1740 e il 1741, e una terza, stampata dalle tavole originali, fu pubblicata da John Ryall nel 1765. Le 200 tavole sono canzoni di Purcell, Handel, Haydn, Corelli, Pepusch e altri, ognuna con una vignetta incisa, e a parte il loro interesse musicale, forniscono una visione affascinante della vita sociale del tempo. Otto dei disegni sono di Gravelot, e secondo l'opinione di Ray molti altri sono stati imitati dall'opera di Watteau, il che lo porta a dire che il canzoniere "può quasi essere considerato francese". George Bickham il Giovane era incisore, editore, tipografo e uno dei primi caricaturisti inglesi. Ha prodotto pubblicazioni didattiche, caricature politiche e stampe pornografiche. Era il figlio dell'incisore George Bickham il Vecchio, che pubblicò la Universal Penman. Acquaforte, stampata su carta vergata coeva, con margini, in ottimo stato di conservazione. Bibliografia Stephen, Leslie, ed. (1886). "Bickham, George (d.1758)". Dictionary of National Biography. Vol. 5. London: Smith, Elder &amp; Co; Cohen-de Ricci 145-146; Ray, French Illustrated Book, 12 Plate taken from The Musical Entertainer. London: Charles Corbett, [1737-1739 or later]. Bickham was principally known for this engraved work, first issued in fortnightly parts, each with four plates, between January 1737 and December 1739. A second edition was also brought out in parts 1740-41, and a third, printed from the original plates, was issued by John Ryall in 1765. The 200 plates are songs by Purcell, Handel, Haydn, Corelli, Pepusch and others, each headed with an engraved vignette, and quite apart from their musical interest they provide fascinating insight into the social life of the time. Eight of the designs are after Gravelot, and in Ray's opinion many others were imitated from Watteau's Oeuvre, leading him to say the song book "may almost be regarded as French."  George Bickham the Younger (c. 1706–1771) was an English etcher and engraver, a printseller, and one of the first English caricaturists. He produced didactic publications, political caricatures, and pornographical prints. He was the son of the engraver George Bickham the Elder (1684–1758), who published the Universal Penman (1733–41). Etching, printed on contemporary laid paper, with margins, perfect condition. Bibliografia Stephen, Leslie, ed. (1886). "Bickham, George (d.1758)". Dictionary of National Biography. Vol. 5. London: Smith, Elder &amp; Co; Cohen-de Ricci 145-146; Ray, French Illustrated Book, 12.‎

‎STRUTT Arthur John (Chelmsford, 12 giugno 1818 – Roma, 1888)‎

‎Pine in the Colonna Gardens, Rome‎

‎Acquaforte, 1844 circa, firmata in lastra in basso. Figlio del pittore paesaggista Jacob George Strutt (1790-1864), del quale fu allievo, girovagò attraverso la Francia e la Svizzera in compagnia del padre, prima di giungere entrambi in Italia nel 1831, per stabilirsi a Roma. Rimase per il resto della sua vita in Italia, interessandosi soprattutto agli aspetti "pittoreschi", in particolare a quelli della Campagna romana, rivolgendo la sua attenzione, in modo specifico, ai paesaggi e ai costumi degli abitanti. Nel 1841 intraprese un viaggio a piedi verso il sud dell'Italia (allora Regno delle Due Sicilie, in compagnia dell'amico William Jackson, partendo da Porta San Giovanni (Roma) il 30 aprile e giungendo a Palermo il 15 dicembre, dopo aver attraversato la Campania e la Calabria. Le sue osservazioni furono raccolte in un libro, A pedestrian tour in Calabria &amp; Sicily (Un viaggio a piedi in Calabria e in Sicilia) che ebbe un notevole successo, soprattutto nei paesi anglosassoni, ed è considerato ancor oggi un documento molto importante per comprendere la società del Regno delle Due Sicilie nel periodo pre-unitario. Magnifica prova, impressa su carta coeva, ampi margini, in perfetto stato di conservazione. Etching, 1844 circa, signed at the bottom.  Arthur John Strutt (1819, in Chelmsford – 1888, in Rome), was an English painter, engraver, writer, traveller and archaeologist. He was the son of the landscape painter Jacob George Strutt (1790–1864) and the writer and traveller Elizabeth Strutt. In 1841 he travelled on foot through central and southern Italy and in Sicily. He and his friend, the poet William Jackson, otherwise unknown, started from the Porta San Giovanni of Rome on 30 April 1841, reaching Palermo on 15 December, and arriving back at Rome in July of the following year. An account of this journey is given in his A Pedestrian Tour in Calabria &amp; Sicily published in London, in 1842. A fine impression, on contemporary paper, large margins, very good condition.‎

‎FISHER Alfred Hugh (1867-1945)‎

‎San Giovanni, Siena‎

‎Acquaforte e puntasecca, 1910 circa, firmata in lastra in basso a sinistra Fisher f. Dedicata dall'artista a Malcolm Salaman; iscrizione a matita in basso: "To Malcolm Salaman from the artist, San Giovanni Siena. A. Hugh Fisher". Una bella impressione, stampata su carta coeva, con margini, in buone condizioni. Il dedicatario dell’opera, Malcolm Charles Salaman (Londra 6 settembre 1855 - 22 gennaio 1940) è stato un autore, giornalista e critico inglese. Fu educato alla University College School e all'Owens College di Manchester. Anche se aveva studiato ingegneria meccanica per quattro anni, divenne un giornalista e pubblicò due settimanali. I suoi scritti critici erano dedicati principalmente alle stampe e alle opere teatrali. Dal 1883 al 1894 fu critico drammatico e d'arte per il Sunday Times, e dal 1890 al 1899 fu nello staff di The Graphic. Scrisse regolarmente sulle stampe per le riviste d'arte The Studio e Apollo. Salaman scrisse anche le introduzioni ai 33 volumi della serie Modern Masters of Etching pubblicati tra il 1925 e il 1932 da The Studio, ognuno dei quali conteneva riproduzioni di 12 stampe di un grande incisore. Questa serie includeva volumi su Frank Brangwyn, Alphonse Legros, Ernest Stephen Lumsden, Malcolm Osborne e Edmund Blampied. Hugh Fisher si dedicò inizialmente all'incisione paesaggistica e architettonica, ma fu anche un abile incisore e incisore di ritratti, studi di figure e raffigurazioni di animali. Bibliografia H. Fisher, 'Catalogue of Etchings and Drypoint by A. Hugh Fisher', 1927. Etching and drypoint, circa 1910, signed at lower left Fisher f. Dedicated by the artis to Malcolm Salaman; inscribed at the bottom: To Malcolm Salaman from the artist, San Giovanni Siena. A. Hugh Fisher". A fine impression, printed on ivory wove paper, with margins, good condition. Malcolm Charles Salaman (London 6 September 1855 – 22 January 1940) was an English author, journalist and critic. He was educated at University College School and at Owens College, Manchester. Although he had studied mechanical engineering for four years, he became a journalist, and edited two weekly papers. His critical writing was devoted chiefly to prints and to plays. From 1883 to 1894 he was dramatic and art critic for the Sunday Times, and from 1890 to 1899 was on the staff of The Graphic. He wrote regularly on prints for the art magazines The Studio and Apollo. Salaman also wrote the introductions to the 33 volume series Modern Masters of Etching published between 1925 and 1932 by The Studio, each of which contained reproductions of 12 prints by a great etcher. This series included volumes on Frank Brangwyn, Alphonse Legros, Ernest Stephen Lumsden, Malcolm Osborne and Edmund Blampied. Hugh Fisher initially dedicated himself to landscape and architectural engraving, however he was also an accomplished etcher and engraver of portraits, figure studies and animal depictions. Bibliografia H. Fisher, 'Catalogue of Etchings and Drypoint by A. Hugh Fisher', 1927.‎

‎HADEN Francis Seymour (Londra 1818 - 1910)‎

‎Old Chelsea, Out of Whistler's Window (Battersea Reach)‎

‎Veduta della riva di un fiume a Chelsea; in primo piano a sinistra, persone con cani, due che portano lunghi bastoni; chiatte ormeggiate vicino alla riva; la casa di Whistler vista a sinistra. Iscrizione in lastra, in alto a sinistra: "Whistler's House at Old Chelsea Seymour Haden ft. an[no] 1863".  Acquaforte e puntasecca; secondo stato di due (Harrington); settimo stato di sette (Schneiderman). "All the foreground boats have vertical reflections. There is now a line at the base of the house most to the left, which extends almost to the margin of the plate. This plate 'wore out very soon and had to be destroyed before it had given its full quota of impressions. Published in Études à l'eau-forte (No. VIII.), under the title of 'Old Chelsea,' some copies having the First, others the Second State. Exhibited at the Royal Academy, 1865." [cf. Harrington, p. 28] "There are several preliminary drawings for this print […] similar in composition though the view point is from farther into the river. State VII. Published in Études à l'eau-forte (N. VIII). Line added at base of house on left and a few lines to indicate modeling at right on the wall. The smoke, rising from the chimney of the house, second from the right of Whistler's house, is no longer visible." [cf. Schneiderman, p. 143] Seymour Haden era l'improbabile combinazione di un chirurgo e un incisore. Sebbene abbia perseguito una carriera medica di grande successo, è ricordato soprattutto per i suoi lavori all'acquaforte e per i suoi scritti sull'acquaforte. Fece parte di un gruppo di artisti, tra cui James McNeill Whistler (1834-1903) e Alphonse Legros (1837-1911), il cui appassionato interesse per questo mezzo portò al cosiddetto revival dell'acquaforte, un periodo che durò fino al XX secolo. L'esaltazione dell'acquaforte per le sue intrinseche qualità spontanee raggiunse il suo apice durante questo periodo. Mentre la linea dell'ago da acquaforte, scrisse Haden, era "libera, espressiva, piena di vivacità", quella del bulino era "fredda, costretta, poco interessante" e "senza identità". Stampata su carta vergata coeva, con margini, condizioni perfette. Bibliografia Henry Nazeby Harrington The Engraved Work of Sir Francis Seymour Haden, P.R.E.: an illustrated and descriptive catalogue. Liverpool, 1910, cat. no. 54 ii, p. 28, ill; Richard S. Schneiderman A Catalogue Raisonné of the Prints of Sir Francis Seymour Haden. London, 1983, cat. no. 50 vii, p. 143, ill. View of a river bank in Chelsea; in the foreground at left, people with dogs, two carrying long sticks; barges moored near the bank; the house of Whistler seen to the left. Lettered in plate, lower left: "Whistler's House at Old Chelsea Seymour Haden ft. an[no] 1863".  Etching and drypoint; second state of two (Harrington); seventh state of seven (Schneiderman). "All the foreground boats have vertical reflections. There is now a line at the base of the house most to the left, which extends almost to the margin of the plate. This plate 'wore out very soon and had to be destroyed before it had given its full quota of impressions. Published in Études à l'eau-forte (No. VIII.), under the title of 'Old Chelsea,' some copies having the First, others the Second State. Exhibited at the Royal Academy, 1865." [cf. Harrington, p. 28] "There are several preliminary drawings for this print […] similar in composition though the view point is from farther into the river. State VII. Published in Études à l'eau-forte (N. VIII). Line added at base of house on left and a few lines to indicate modeling at right on the wall. The smoke, rising from the chimney of the house, second from the right of Whistler's house, is no longer visible." [cf. Schneiderman, p. 143] Seymour Haden was the unlikely combination of a surgeon and an etcher. Although he pursued a very successful medical career, he is mostly remembered for his etched work as well as for his writings on etching. He was one of a group of artists, including James McNeill Whistler (1834–1903) and Alphonse Legros (1837–1911), whose passionate interest in the medium led to the so-called etching revival, a period that lasted well into the twentieth century. The extolling of etching for its inherent spontaneous qualities reached its pinnacle during this time. While the line of the etching needle, Haden wrote, was "free, expressive, full of vivacity," that of the burin was "cold, constrained, uninteresting," and "without identity." Printed on contemporary laid paper, with margins, perfect condition. Bibliografia Henry Nazeby Harrington The Engraved Work of Sir Francis Seymour Haden, P.R.E.: an illustrated and descriptive catalogue. Liverpool, 1910, cat. no. 54 ii, p. 28, ill; Richard S. Schneiderman A Catalogue Raisonné of the Prints of Sir Francis Seymour Haden. London, 1983, cat. no. 50 vii, p. 143, ill.‎