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194980 pages. Features: William Winter cover art shows Boy Scout campfire lighting; Nice colour Internationa Truck ad inside front cover shows red semi- driving past kids; RCAF one-page recruiting ad; Nostalgic one-page black and white photo ad for Canadian General Electric radios features the model C182, C150P, C66/67 and radio phonograph; Lionel Shapiro and photographer Ken Bell return to the WWII battlefields where they served - major article with many photos, including some before and after shots; The Startling Inside Scientific Story of the fiery Aurora Borealis; Beads to Billions - The Story of the H.B.C. (Hudson's Bay Company), Part II - photo-illustrated article; Spinnaker Spinster (fiction); How to Save Your Husband's Life - famous psychologist George Lawton gives instructions to help wives avoid becoming widows; Leonard Levinson's Impossible Pictures Inc. makes cartoons for 1/3 the usual cost; A Bush Wife's Life for Me - Women in the wilds get treated like duchesses by the grizzled guys of the mining camps, but there's no movie on the corner - with photo of Red Lake country writer Freda Woodhouse washing clothes by hand; George Young - Yesterday's Hero - at 17 Canada's boy wonder, and perhaps the world's greatest swimmer ever, swam his way into a fame that tore his life to shreds - once offered a quarter million dollars for a movie contract he is now penniless - photo-illustrated article; The Wind in the Juniper (fiction); Ten ways to Save Money on Clothes; School and Me, by Ernest Buckler; The Land of Black and White - Alan Paton tells the tragic story of his land, South Africa; Small clipping from ad on page 37 affects ad on page 38; Colour Westinghouse refrigerator centrefold ad; Nice color one-page RCA Victor ad shows their Models 9-W-91, 9JY and 9EY3 phonographs and coloured records; Massey-Harris one-page ad shows European village scene with tractor; Nice colour Hudson car ad; Back cover O'Keefe's Brewing ad features J.S. Hallam illustration of boy on tricycle passing bus. Please note: Very heavy wear to covers which are loose but present and bear multiple clear archival tape patches. Unmarked. A worthy reference copy of this uncommon issue. Book
194656 pages. Features: Lovely cover illustration of prairie grain elevators by John Phillips; O'Keefe's ad inside front cover features tribute to Sir Frederick Grant Banting, with reproduction of painting by Arthur T. Cooper; Colour ad for Ritz Crackers; One-page colour ad for Frigidaire home appliances; Why the Dominion-Provincial Conference Failed; Nice one-page ad for the Trans-Canada Telephone System highlights long-distance calling with large illustration of old-style rotary telephone; Nice colour ad for Orange Crush features young lady holding brown bottle; One-page colour-photo ad for Jordan Grape Juice features young ladies harvesting grapes; New Hope, Pennsylvania - Boom Town for The Arts - article with several photos of local celebrities; Mrs. Minden Comes Home; Studio Cop - "Whitey" Hendry is chief of police for MGM (Metro-Goldwyn-Mayer) Studios - article with photo of Hendry with Donna Reed; Exploits of M.I.5 (Part 2) - the first detailed record of Britain's secret agents, contact men and saboteurs in Germany and German-occupied territory; The Neighbours; In the Time Appointed; Ottawa Roundup - Mackenzie King searching for alter ego; Water Safety Tips for kids; Wonderful half-page photo ad for Woodbury Soap features newlyweds Margaret Ellen Thorson and Theodore (Ted) Panos, both of the RCAF; Vintage half-page colour ad for Canada Dry Sparkling Water; Handsome one-page colour Oldsmobile ad features red car with Hydra-Matic Drive (and Frank Lloyd Wright-style home in background); Canadian Travel Bureau one-page ad features gas attendant and encourages all Canadians to be friendly to U.S. tourists; Great colour half-page Rice Crispies ad features man taking photo; Beautiful one-page White Rose ad features colour illustration of newlyweds in green convertible; Pressure Cooker article; Lovely Lux ad features colour illustration of Judy Garland; Adapting the School to the Child; Half-page colour ad for Nabisco Shredded Wheat; Blue Top Brewing ad inside back cover features "The Colourful Home"; and more. Average wear. Unmarked. Binding intact. A sound copy of this wonderful vintage issue. Book
194360 pages. Features: Cover photo of baby gnawing on huge Easter egg; Canadian National - Canadian Pacific ad inside front cover called "War Whoop" shows speeding night train and illustration of native warrier to explain how the night-time whistle of a locomotive means men and materiel are being rushed to the front; News digest discusses German propaganda efforts to incur western suspicion against Russia; One-page Trans-Canada Telephone System ad implores long distance users to "Be Brief!", given wartime restrictions on their ability to increase capacity; Editorial comments on support for Russia and the need for those unable to fight in person to contribute financially to the war effort; Brain Waves For Winning the War - photo-illustrated article on technical innovations used in the war effort; Excellent photo-illustrated article on the new Canadian Pacific Airlines includes photos of Stewardess Ethel Hailes, Air Commodore H. Hollick-Kenyon, Grant W.G. McConachie, C.H. Dickins, and veteran parachutist Jack McGovern (at No.l 2 Air Observer School); Earthbound (short story); The Pomander Walk Myster (short story); Alterations (short story); The Royal Engineers - The Army's Pathfinders - nice photo-illustrated article; Sight Unseen (short story); Hollywood news and photos; GM one-page ad highlights their "Victory Service"; One-page Ford ad features illustrations of some of their 1943 military vehicles; The United Service Centre, located in the Eaton Annex, Winnipeg; Centrefold Victory Bonds ad sponsored by the National War Finance Committee illustrates seven Canadians from various walks of life and explains their financial contributions to the war effort; Woodbury Soap ad includes photos of Barbara Sellers of Winnipeg; Woodbury Cold Cream ad includes photo of film star Janet Blair; Food article on "Russia's Nutrition" explains how Russia is tightening its belt to support the Red Army - with photos; Fashion illustrations; Photo-illustrated article on the women of Russia; Quotes from around the world; H.J. Heinz ad inside back cover explains how "To Make Plain Foods Taste Like Banquet Fare"; Fantastic colour-illustrated back cover Coke ad shows soldier proudly walking in great coat, with smaller images of additional members of the military; and more. Unmarked with moderate wear. A quality copy of this excellent wartime issue. Book
194244 pages. Features: National War Finance Committee ad inside front cover features mature man and woman encourages readers to financially support the war effort; News digest discusses second front difficulties, if Russia were to fall, and the Nazi "Pincers"; Editorial discusses propaganda; I Was Very Happy (short story); Warriors of Hindustan - photo-illustrated article on India and her fighting potential ; Samaritan Seed (short story); Cattle Emperor - photo-illustrated story on Sir Sidney Kidman who built up the world's greatest cattle rance; Johnny for Granted (short story); Camellias... Red and White (short story); Hollywood news and photos; Pepsodent ad features photos of the Brautigam twins, Charlotte and Beverly; Group photo of the Graduates of Alma College, St. Thomas, Ontario at the 1942 Convocation in Garden Theatre; Woodbury soap ad features photos of Miss Margaretta Smith of Vancouver; Woodbury Powder ad includes photo of Rosalind Russell; Back to school hints and recipes; Photo of Mr. John Manooch, 82-year-old pensioner of Christie, Brown and Company; Glamour Girl 1942 - beauty and fashion article; Fashion illustrations; Quotes from around the world; Government of Canada, Income Tax Division, ad inside back cover states "There Will Be Less Money in Pay Envelopes", and explains in detail deductions which will be taken from paycheques; Marboleum Flooring colour ad on back cover shows military airfield; and more. Unmarked with average wear. A sound copy of this excellent wartime issue. Book
194860 pages. Features: Cover photo of young lady with three kittens; Great colour GWG (Great West Garment ad inside front cover features farmer with pitchfork in his Red Strap overalls; Half-page colour Canada Dry ad shows happy kids with mom; Massy-Harris one-page colour ad shows combine harvester at work; Fascinating post WWII article considers Liberty, Imperialism, Food Controls, and Cost of Living; Nice one-page colour B-A ad shows four happy motoring scenes; Colour half-page V-8 veggie drink ad; Vintage one-page colour-photo ad for Sunworthy Wallpapers shows elegant lady and wallpaper photos; Great one-page colour Coke ad shows high school kids at lunch time and a large Coke ice chest full of bottles; What's Wrong with Canada-U.S. Relations?; Partners in Fact (short story); The Boy Who Stopped Niagara - children Jeff Martin and Norah McFarlane made a very successful movie; In Post-War Italy - photo-illustrated article discusses the 'black market mind', and the intriguing story of the Monks and the hand grenades; The Blonde Baby (short story); Professionals (short story); The Tug with a History - photo-illustrated article on London's Tower Bridge Tug; , with photos of John Sumpter, Roy Evans, Richard Dominy Hollingum and William Adie; One-page ad for the 1948 Chevrolet features red 2-door Fleetmaster with black background; Watch Your Laundry (short story); Article on records with photo of Johnny Long; One-page Champion Spark Plug ad features illustration of racer Ted Horn, national AAA champion; Fashion illustrations; Spalding ad shows lady hockey player sprawled on ice beneath caption "Hockey for Housewives? NO!"; Beauty article; One-page colour-photo ad for Nabisco Shredded Wheat; Fashion article with photos; Classy half-page colour-photo ad for Monarch's debutante hosiery includes photo of lady with stocking lines up the back of her legs; Easter recipes; Uncommon half-page colour ad for Sovereign Potters of Hamilton, Ontario features their Montcalm Pattern, Number 718 Maroon; Nice mother and daughter colour ad for Wabasso Cottons inside back cover; Back cover O'Keefe's colour ad features reproduction of painting "The Miner" by Rex Woods; and more. Average wear. Unmarked. A sound copy of this wonderful vintage issue. Book
1950933 pages. The Commission was appointed in 1945 to "inquire into and report upon the provincial education system, and without derogating from the generality thereof, including courses of study, text books, examinations, financing, and the general system and scheme of elementary and secondary schools involving public schools, separate schools, schools for the training of teachers and all other schools under the jurisdiction of the Department of Education, as well as the selection and training of teachers, inspectors, and other officials of such schools, and the system of provincial and local school administration." - from page vi. Includes the following sections: The Educational Scene; Aims of Education; Proposed Reorganization of Elementary and Secondary Education; The Pupil's Growth and Progress; Programmes for the Schools of the Reorganized Educational System; Social, Spiritual, and other Aspects of Education; Centralization and Decentralization in Administration; Development and Present Status of Local School Administration; Local School Administration Under Other Jurisdictions; Local Education Authorities in the proposed Reorganization; Other Aspects of the Local Administration of Education; The Supervisor of Education; The Central Education Authority; Exceptional Children; History of the French Language in teh Publicly Supported Schools of Ontario; Recommendations on the Teaching and Use of the French Language; Origin and Development of Separate Schools in Ontario; Roman Catholic Separate Schools in the Reorganized Educational System; Protestant and Coloured Separate Schools in the Reorganized Educational System; The Teaching Staff of the Publicly Supported Schools of Ontario; Recommendations with Respect to the Professional Preparation of Teachers; Conditions of Service of Teaching Personnel; Community Programmes of Adult Education and Recreation; School Site, Plant, and Equipment; Other Educative Agencies; The Development of Methods of Financing Education in Ontario; Our Proposed Method of Financing the Educational Programme; Divergence of Opinion Within the Commission; Conclusion; Minority Report and Memoranda; Appendices. Navy boards. Well-preserved with very light wear and soiling externally. Contents clean, bright and unmarked. Binding sound. A superior copy of this landmark work. Book
1927The Eleventh annual report from 1923 includes: Annual Meeting, President's Address - Early Settlements in Upper Canada - W.H. Breithaupt; Aboriginal Agriculture in Southwest Ontario - William Herriot; War Memorials of Waterloo County - Miss L.M. Bruce; Brubacher Family History - Benjamin Brubacher; Eby Family - A.A. Eby; Biography of Miss L.M. Bruce; Biography of Dr. John Beattie Crozier; Illustrations of the Ayr Monument, Trinity Church Tablet (Galt), and Miss L.M. Bruce. Twelfth Annual Report from 1924 includes: Early Days in Ayr - Miss E.D. Watson; The Trees of Waterloo County - William Herriot; Jacob Y. Shantz and Russian Mennonites - H.M. Bowman; Reminiscences of Freeport - M.G. Sherk; Biography of Thomas Carscadden; Biography of David Forsyth; Illustrations of Jacob Y. Shantz, Shantz homestead, Shantz barns, Freeport Academy, Group photo of Freeport Academy teachers and students (with names) circa 1869, Thomas Carscadden, David Forsyth. Thirteenth Annual Report from 1925 contains: History of the Galt Collegiate Institute, 1881-1914; Reminiscences of Early Waterloo; Galt, Sixty Years Ago; The Exiles of 1838; Biography of Sir Adam Beck; Biography of Dr. John Beattie Crozier (Supplemental). Includes illustrations of Galt Collegiate Institute, Thomas Carscadden, The Old Galt Hish School, Sheriff A.S. Allan and Sir Adam Beck. Fourteenth Annual Report from 1926 includes: The Galt Collegiate Institute 1914-1926; The Waterloo County Pioneers Memorial Tower; The Public Schools of Galt; Also includes a biography of Dr. Augustus Stephen Vogt. Illustrations include: Pioneers' Memorial Tower; Galt Collegiate Institute, 1924; Dr. Augustus Vogt; Officers Pioneers' Memorial Association. Additional articles: Blazing the Trail in New Dumfries; The Pennsylvania-German in History; Significance of the Memorial Tower. Fifteenth Annual Report from 1927 covers: The Trail of the Aborigines through Waterloo County; History of the Kitchener-Waterloo Collegiate and Vocational School; Early Days of Elmira; Hespeler Public Schools; Hespeler Public Library; The Reserve of the Six Nations Indians on the Grand River, and the Mennonite Purchase; Origin of the Place and Stream Names of Waterloo County; Museum Report, etc.; Current History; plus biographies of Hugh McCulloch and John Mickleborough. Illustrations include: Kitchener-Waterloo Collegiate & Vocational School; Map of Waterloo County-Places and Streams; Old Waterloo Mill. Unmarked with average wear. Binding sound. Gilt lettering upon green spine. Prior owner's small bookplate inside front board. A sound copy. Book
1932Bound run of Vantech yearbooks for the years 1927 through 1932. Each yearbook was originally bound in softcover. All covers included. Binding may readily be disassembled to reveal 6 sound and complete issues. Very rare. Moderate wear overall. Some years contain autographs. One loose page shows nice photos of the 1931 champion soccer and track teams. A precious and unique memento of early Vancouver. Book
1926Puntasecca a inchiostro nero su carta vergata color crema, 1926, firmata in basso a sinistra: G. Firmato, a matita, in basso a destra: Frank Gillet. Bellissima prova, in ottimo stato di conservazione. Edward Frank Gillet, spesso accreditato come Frank Gillett, è stato un artista e illustratore britannico. Gillett lavorò a penna e inchiostro, pastello, acquerello e olio e fu notato come un abile caricaturista. Era ispirato dalla vita rurale di Norfolk e il suo lavoro spesso coinvolgeva lo sport, in particolare la caccia alla volpe e la caccia alla lepre. Il suo lavoro è stato esposto dalla Royal Academy of Arts e dalla Walker Art Gallery ed è detenuto dal British Museum e dal Victoria and Albert Museum. Drypoint in black ink on cream laid paper, 1926, signed, lower left: G. Signed, in pencil, lower right: Frank Gillet. A fine impression, very good condition. Edward Frank Gillett often credited as Frank Gillett, was a British artist and illustrator. He worked in pen and ink, pastel, watercolour, and oil. Gillett worked in pen and ink, pastel, watercolour, and oil and was noted as a skillful caricaturist. He was inspired by Norfolk's rural life and his work often involved sport, particularly fox-hunting and hare-coursing. His work has been exhibited by the Royal Academy of Arts and the Walker Art Gallery and is held by the British Museum and the Victoria and Albert Museum.
1680Maniera nera, 1680-1700 circa, nella cornice ovale: “ADRIANI VAN OSTADE PICTORIS”, firmato in basso a sinistra “A. van Ostade del: Effigies”, e a destra “J. Gole exc: cum Privil: ord: Holland:”. Stato unico. Da un autoritratto di Adrian van Ostade. Jacob Gole (1660-1737) fu un incisore, editore e produttore di carte da gioco franco-olandese. Nato in Francia, figlio dell’ebanista francese Pierre Gole, come ugonotto fu costretto ad emigrare in Olanda, intorno al 1684. Sua sorella sposò un altro ugonotto emigrato, Daniel Marot. Legato a Cornelis Dusart, pubblicò stampe di Dirk Maas. Poco si sa della sua vita. È noto per i suoi ritratti alla maniera nera delle personalità più importanti del suo tempo, come Guglielmo III d'Orange-Nassau, Papa Innocenzo XI, Filippo d’Orleans, Luigi XIV, Giovanni III Sobieski, Augusto II, Federico Guglielmo I di Brandeburgo, Kara Mustafa. Fece anche un ritratto di Rembrandt, dal quale interpretò diverse incisioni. La sua stamperia ad Amsterdam aveva due indirizzi: Vijselstraat, bij de Prinse graft, Amsterdam e Leydse Straat, by de Prince graft, tot Amsterdam. Bella prova, impressa su carta vergata coeva, margini bianchi, in ottimo stato di conservazione. Mezzotint, 1680-1700 circa, circularly in the image “ADRIANI VAN OSTADE PICTORIS”, signed at bottom left “A. van Ostade del: Effigies”, at bottom right "J. Gole exc: cum Privil: ord: Holland:" Only state. After A. van Ostade. Jacob Gole (1660-1737) was a Dutch mezzotinter, engraver, publisher, and playing-card maker. Born in France, son of the French cabinet-maker Pierre Gole, emigrated as a Huguenot to Holland circa 1684. His sister married another Huguenot émigré, Daniel Marot. Linked with Cornelis Dusart, and published prints by Dirk Maas. Little is known about his life. He is known for his portraits in the black manner of the most important personalities of his time, such as William III of Orange-Nassau, Pope Innocent XI, Philip of Orleans, Louis XIV1, John III Sobieski, Augustus II, Frederick William I of Brandenburg, Kara Mustafa. He also made a portrait of Rembrandt, from whom he interpreted several engravings. His print shop in Amsterdam had two addresses: Vijselstraat, bij de Prinse graft, Amsterdam and Leydse Straat, by de Prince graft, tot Amsterdam. Good example, printed on contemporary laid paper, with margins, in good condition. Hollstein VII p. 214 (Gole); Wessely 103 (Gole)
1891Fotoincisione, circa 1891, firmata in lastra in basso al centro.Da un dipinto di Henriette Ronner (Amsterdam 1821-1909), la più grande pittrice di gatti.Prova di stampa, prima del titolo, impressa su carta cina applicata, con margini, in perfetto sttao di conservazione.Questo lavoro è parte del catalogo della mostra che esponeva i dipinti di Henriette Ronner, curato dalla stessa galleria Goupil, nle maggio del 1891.Questo l'astratto originale che annunciava il catalogo: 'Cats and kittens by Madame Henriette Ronner, May 189 ... Goupil Gallery' Catalogue includes advertisement for 'Henriette Ronner, The Painter of Cat-Life and Cat-Character' with text by M.H. Spielmann, containing a portrait and twelve full-page illustrations in photogravure by Boussod, Valadon & Co. Photogravure, circa 1891, signed at the center.After a painting by Henriette Ronner (Amsterdam 1821-1909).Proof before title on china wove paper, with full margins, perfect condition.This work is part of the exhibition catalogue of Henriette Ronner, published by Goupil Gallery.Exhibition catalogue extract: 'Cats and kittens by Madame Henriette Ronner, May 189 ... Goupil Gallery' Catalogue includes advertisement for 'Henriette Ronner, The Painter of Cat-Life and Cat-Character' with text by M.H. Spielmann, containing a portrait and twelve full-page illustrations in photogravure by Boussod, Valadon & Co.
PARIS, Lib. Mil. de L. Baudouin & Cie - 1885 - In-12 - Broché - Sixième édition augmentée d'une 8 ième partie consacrée à l'élevage et à l'entrainement des chevaux de course & de chasse d'après Digby COLLINS - Très nombreuses planches dépliantes HT - XVI, 563 pages
1878Acquaforte, firmata e datata in lastra in alto a sinistra all’interno del soggetto. Oltre l’immagine in alto a destra numero 470, in basso “A. Piccinni pinx. et sc,” titolo e “V.ve A. Cadart Edit. Imp. 56 B.ard Haussmann. Paris”. Questa lastra fu pubblicata su L’Illustration Nouvelle, album edito dalla Maison Cadart nel marzo del 1879. Impressione eccellente con leggero effetto di tono, carta vergata. Ottimo stato di conservazione. Ampi margini oltre la battuta del rame. Il soggetto è riconducibile ad un gruppo di lavori appartenenti alle prime acqueforti di invenzione realizzate dall’artista, tutte hanno per soggetti personaggi e situazioni colti durante il soggiorno romano. In questa stampa vediamo rappresentati dodici spettatori a teatro che si sporgono dalla balconata per osservare meglio la rappresentazione. Grazie a potenti giochi chiaroscurali emergono dallo sfondo scuro e i loro volti indagati minuziosamente sono illuminati dalle luci teatrali della ribalta. Le luci imbiancano anche i due pilastri con capitelli che spezzano l’andamento lineare e prospettico volto a sinistra della superficie della balconata. Proprio l’effetto di luce e il punto di osservazione da sotto in su trasforma i volti in una serie di maschere il che suggerisce un’analisi psicologica dei “tipi da teatro”. Il Piccinni tra gli artisti europei fautori della rinascita dell’acquaforte originale. Sperimentatore delle nuove possibilità legate al mezzo fotografico è tra i primi in Italia a impiegare la fotoincisione tra il 1874 ed il 1886. I temi affrontati da Piccinni dimostrano l’attenzione costante verso i gesti più semplici della quotidianità della vita, gli individui vengono rappresentati come modelli di categorie sociali. Etching, signed and dated in plate at upper left in the image. Beyond image in upper right corner number 470, below lettered "A. Piccinni pinx. et sc," the title and "V.ve A. Cadart Edit. Imp. 56 B.ard Haussmann. Paris." This plate was published in L'Illustration Nouvelle, an album edited by Maison Cadart in March 1879. Excellent impression with slight toning effect, printed on laid paper. Very good condition. Wide margins beyond the platemark. The subject can be traced back to a group of works belonging to the first etchings of invention made by the artist, all have for subjects characters and situations captured during his stay in Rome. In this print we see twelve spectators at the theater who lean out from the balcony to better observe the representation. Thanks to powerful chiaroscuro effects they emerge from the dark background and their meticulously studied faces are illuminated by the theatrical lights of the limelight. The lights also whitewash the two pillars with capitals that break the linear and perspective trend facing left of the surface of the balcony. Just the effect of light and the point of observation from below up turns the faces into a series of masks suggesting a psychological analysis of the "theater types". Piccinni was one of the European artists who were responsible for the rebirth of the original etching. Experimenter of the new possibilities related to the photographic medium, he is among the first in Italy to use the photoengraving between 1874 and 1886. The themes addressed by Piccinni show the constant attention to the simplest gestures of everyday life, individuals are represented as models of social categories. A. Petrucci, “A. Piccinni incisore”, 1931; G. Bassi “Antonio Piccinni”, Fasano di Puglia 1978; F. Fiorani G. Scaloni, “Antonio Piccinni incisore”, Roma 2005, 1.13.a, pag.75
1844Acquaforte, 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 & 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 & Sicily published in London, in 1842. A fine impression, on contemporary paper, large margins, very good condition.
1844Acquaforte, 1844 circa, firmata in lastra in basso al centro. 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 & 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 & Sicily published in London, in 1842. A fine impression, on contemporary paper, large margins, very good condition.
1954An early standard monograph on Jules Pascin. Limited to 2000 numbered copies, of which this is ONE OF THE FIRST 100 COPIES, WITH THREE LOOSE ETCHINGS (numbered 71/100 in pencil, like the book itself), PRINTED ON EXTREMELY FINE ARCHES WOVE PAPER, IN A SEPARATE FOLDER. The etchings are "La plage" (or "Les jeux"), 1917 (HÈmin 91); "Homage aux dames fortes", 1927 (HÈmin 138); "L'enfant prodigue buvant 1927 (HÈmin 146). Folio. In stiff wraps, as issued. In the original board chemise and slipcase. FINE AND BRIGHT.
1795Copia di un niello della collezione Durazzo, di cui una impressione originale è ora nella collezione Cabinet Rothschild al Louvre. Questa composizione raffigura una coppia di guerrieri pseudo-classici, faccia a faccia e con elmi stravagantemente fantasiosi di un tipo visto in un gruppo di stampe niello correlate. Come la maggior parte di questi disegni, la stampa originale è probabilmente fiorentina e databile alla fine del XV secolo. I nielli della collezione Durazzo vennero fatti riprodurre in incisioni dal proprietario, tra fine XVIII e inizio XIX secolo, a Venezia - come specificato anche dal Malaspina nel suo catalogo del 1824 - costituendo una serie che venne diffusa e collezionata dagli amatori. Bartsch descrive queste copie nel suo volume edito nel 1811, data che quindi costituisce il terminus ante quem per l'esecuzione. Copy of a niello print from the Durazzo Collection, (n. 3009) the original of which is now in the Cabinet Rothschild at the Louvre. This piece depicts a pair of pseudo-classical warriors, face to face and wearing extravagantly fanciful helmets of a tyoe seen in a group of related niello prints. Like most of these design, the original print is probably Florentine and datable to the late fifteenth century. The nielli of the Durazzo collection were reproduced in engravings by the owner himself, between the end of the 18th and the beginning of the 19th century, in Venice - as also specified by Malaspina in his catalog of 1824 - constituting a series that was circulated and collected by amateurs. Bartsch describes these copies in his volume published in 1811, a date that therefore constitutes the termus ante quem for the execution. For the attribution to Maso Finiguerra, disputed by some scholars, see the summary in Zucker in The Illustrated Bartch,1993. TIB 2401.020; Duchesne, pp. 271-272; Zanetti, p. 105, n. 144
1795Copia di un niello della collezione Durazzo, di cui una impressione originale è nella collezione del Cabinet Rothschild al Louvre. La composizione corrisponde, al contrario, ad un dipinto di Filippino Lippi del 1490-95 circa, probabilmente il pannello centrale di una predella, nella collezione Kress al National of Art, Washington, così come al cartone di Filippino per lo stesso, punzonato per il trasferimento, nel Allen Memoril Art Museum, Oberlin. Anche se Blum ha attribuito questa stampa al nord Italia, deve essere fiorentina e databile alla fine del XV secolo. I nielli della collezione Durazzo vennero fatti riprodurre in incisioni dal proprietario, tra fine XVIII e inizio XIX secolo, a Venezia - come specificato anche dal Malaspina nel suo catalogo del 1824 - costituendo una serie che venne diffusa e collezionata dagli amatori. Bartsch descrive queste copie nel suo volume edito nel 1811, data che quindi costituisce il terminus ante quem per l'esecuzione. Copy, on the same verso, of a niello print formerly kept in the Durazzo collection (n. 2903), now in Paris, Louvre, Cabinet Rothschild collection. The composition corresponds, in reverse, to a painting by Filippino Lippi of ca. 1490-95, probably the middle panel of a predella, in the Kress Collection at the National of Art, Washington, as well as to Filippino’s cartoon for the same, pricked for transfer, in the Allen Memoril Art Museum, Oberlin. Although Blum has attributed this print to northern Italy, it must be Florentine and datable to the end of the fifteenth century. The nielli of the Durazzo collection were reproduced in engravings by the owner himself, between the end of the 18th and the beginning of the 19th century, in Venice - as also specified by Malaspina in his catalog of 1824 - constituting a series that was circulated and collected by amateurs. Bartsch describes these copies in his volume published in 1811, a date that therefore constitutes the terminus ante quem for the execution. TIB 2401.005; Duchesne, pp. 172-173; Zanetti, p. 104.
1795Copia di un niello appartenuto alla collezione Durazzo, oggi non reperito. I nielli della collezione Durazzo vennero fatti riprodurre in incisioni proprio dal proprietario, tra fine XVIII e inizio XIX secolo, a Venezia - come specificato anche dal Malaspina nel suo catalogo del 1824 - costituendo una serie che venne diffusa e collezionata dagli amatori. Bartsch descrive queste copie nel suo volume edito nel 1811, data che quindi costituisce il terminus ante quem per l'esecuzione. Copy, from a niello belonged to the Durazzo collection, now lost.. The nielli of the Durazzo collection were reproduced in prints by owner’s will, between the end of the 18th and the beginning of the 19th century, in Venice - as also specified by Malaspina in his catalog of 1824 - constituting a series that was circulated and collected by the amateurs. Bartsch describes these niello prints in his volume published in 1811, a date that therefore constitutes the terminus ante quem for the execution.
1795Firmato su una tavoletta in alto al centro: P. Iscritto su ciascuna delle due tavolette che fiancheggiano la figura in basso al centro: SCOF. Copia di un niello della collezione Durazzo, il cui originale si trova ora nella collezione Cabinet Rothschild al Louvre. L'opera è caratteristica delle stampe a niello di Peregrino da Cesena e paragonabile nello stile ad un certo numero di altri pannelli ornamentali monogrammati. La stampa include il monogramma di Peregrino nella sua forma più semplice e situato all'interno della composizione stessa. Include anche l'enigmatica iscrizione SCOF. I nielli della collezione Durazzo vennero fatti riprodurre in incisioni dal proprietario, tra fine XVIII e inizio XIX secolo, a Venezia - come specificato anche dal Malaspina nel suo catalogo del 1824 - costituendo una serie che venne diffusa e collezionata dagli amatori. Bartsch descrive queste copie nel suo volume edito nel 1811, data che quindi costituisce il terminus ante quem per l'esecuzione. Signed on a tablet at upper center: P. Inscribed on each o two tablet flanking the figure at lower center: SCOF. Copy of a niello print from the Durazzo Collection, the original of which is now in the Cabinet Rothschild at the Louvre. The work is characyeristic of Peregrino da Cesena’s niello – manner prints and comparable in style to a number of other monogrammed ornamental panel. The print includes Peregrino’s monogram in its simplest form and located within the composition itself. It also includes the enigmatic inscription SCOF. The nielli of the Durazzo collection were reproduced in engravings by the owner himself, between the end of the 18th and the beginning of the 19th century, in Venice - as also specified by Malaspina in his catalog of 1824 - constituting a series that was circulated and collected by amateurs. Bartsch describes these copies in his volume published in 1811, a date that therefore constitutes the terminus ante quem for the execution. TIB 2401.030 e 2503.009
1795Copia, nello stesso verso, da un niello appartenuto alla collezione Durazzo, oggi non reperito. I nielli della collezione Durazzo vennero fatti riprodurre in incisioni proprio dal proprietario, tra fine XVIII e inizio XIX secolo, a Venezia - come specificato anche dal Malaspina nel suo catalogo del 1824 - costituendo una serie che venne diffusa e collezionata dagli amatori. Bartsch descrive queste copie nel suo volume edito nel 1811, data che quindi costituisce il terminus ante quem per l'esecuzione. Copy, from a niello belonged to the Durazzo collection, now lost. The nielli of the Durazzo collection were reproduced in prints by owner’s will, between the end of the 18th and the beginning of the 19th century, in Venice - as also specified by Malaspina in his catalog of 1824 - constituting a series that was circulated and collected by the amateurs. Bartsch describes these niello prints in his volume published in 1811, a date that therefore constitutes the terminus ante quem for the execution. The composition seems to have as pendant the niello depicting St. George and the dragon
1610Bulino, 1610 circa, firmato in lastra, in basso nell'immagine, "A Bloem. Inv. Abolsverd sculp".Da un soggetto di Abraham Bloemart (ca. 1564–1651).Bulino, impresso su carta vergata coeva, rifilato alla liena marginale, in ottimo stato di conservazione. Bulino, 1610 circa, firmato in lastra, in basso nell'immagine, "A Bloem. Inv. Abolsverd sculp".Da un soggetto di Abraham Bloemart (ca. 1564–1651).Bulino, impresso su carta vergata coeva, rifilato alla liena marginale, in ottimo stato di conservazione.
1514Xilografia, 1514 – 1516 circa, fermata col monogramma “H B” sul capitello della Colonna. Della serie Der Weisskunig (Il Re Bianco). Si tratta di una biografia idealizzata di Massimiliano I d’Asburgo (1459 – 1519), con due sezioni iniziali sulla vita dei suoi genitori, e la sua nascita ed educazione, che sono state compilate dal segretario di Massimiliano, Marx Treitzsaurwein, e una terza sezione più lunga che tratta la storia politica del regno di Massimiliano, per la quale l'imperatore stesso era il principale responsabile. A tutti i personaggi vengono dati degli pseudonimi, molti dei quali derivano dalle loro armi araldiche; così, per esempio, Massimiliano è il Giovane Re Bianco, Federico III il Vecchio Re Bianco, e il Re di Francia è il Re Blu. Il testo fu dettato da Massimiliano a Treitzsaurwein ed è sopravvissuto in vari manoscritti nella Österreichische National-bibliothek di Vienna (vedi 'Maximilian I, 1459-1519', exh. cat., Vienna, 1959, pp.26f, con letteratura). Il suo stato confuso si riflette nelle illustrazioni xilografiche che furono eseguite ad Augusta sotto la supervisione di Peutinger. Alcuni soggetti sono stati tagliati due volte, altri sono stati omessi, e alcuni rappresentano soggetti non presenti nel testo, nella misura in cui è stato completato. Su 236 illustrazioni, di cui 223 blocchi sono sopravvissuti (Vienna, Albertina), Burgkmair fu responsabile, secondo Dodgson, del disegno di 121. L'altro disegnatore principale fu Leonhard Beck; Hans Springinklee e Hans Schäufelein contribuirono con alcuni disegni al progetto. I blocchi furono intagliati tra il 1514 e il 1516 da un gruppo di xilografi supervisionati da Jost de Negker, e alcune serie di prove contemporanee sono sopravvissute, le più importanti delle quali sono a Vienna, Stoccarda e precedentemente nella collezione Liechtenstein, ora a Boston (vedi Musper, pp. 102ff). Nel 1526 il nipote di Massimiliano, l'arciduca Ferdinando, commissionò a Treitzsaurwein di completare e pubblicare 'Der Weisskunig', ma questo progetto rimase incompiuto a causa della morte di Treitzsaurwein nel 1527. Fu solo nel 1775, dopo che i blocchi furono trovati a Graz, che fu pubblicato in forma di libro da Hoffstätter a Vienna. Bella prova, in ottimo stato di conservazione. Quando l'imperatore Massimiliano I si recò a Treviri in occasione della riunione del parlamento del regno del 1512, chiese di vedere la Sacra Tunica. L’arcivescovo Richard von Greiffenklau fece aprire l’altare, alla presenza non solo dell’Imperatore, ma anche dei numerosi principi e prelati recatisi alla città per l’assise parlamentare. Fu celebrata una Santa Messa in memoria della defunta consorte di Massimiliano I. Woodcut, 1514-1516 circa, signed with monogram H B on the upper column, From the series Der Weisskunig (the White King); It is an idealised biography of Maximilian, with two early sections on the life of his parents, and his birth and education, which were compiled by Maximilian's secretary, Marx Treitzsaurwein, and a longer third section dealing with the political history of Maximilian's reign, for which the Emperor himself was primarily responsible. All the characters are given pseudonyms, many of which are derived from their heraldic arms; thus for example, Maximilian is the Young White King, Frederick III the Old White King, and the King of France is the Blue King. The text was dictated by Maximilian to Treitzsaurwein and has survived in various manuscripts in the Österreichische National-bibliothek in Vienna (see 'Maximilian I, 1459-1519', exh. cat., Vienna, 1959, pp.26f, with literature). Its confused state is reflected in the woodcut illustrations which were carried out at Augsburg under Peutinger's supervision. Some subjects were cut twice, others were omitted, and some represent subjects not in the text, as far as it was completed. Out of 236 illustrations, of which 223 of the blocks have survived (Vienna, Albertina), Burgkmair was responsible, according to Dodgson, for the design of 121. The other main designer was Leonhard Beck; Hans Springinklee and Hans Schäufelein contributed a few designs each to the project (see 1837,0616.308). The blocks were cut between 1514 and 1516 by a group of cutters supervised by Jost de Negker, and a few contemporary sets of proofs have survived, the most important of which are in Vienna, Stuttgart and formerly in the Liechtenstein collection, now in Boston (see Musper, pp. 102ff). In 1526 Maximilian's grandson, the Archduke Ferdinand, commissioned Treitzsaurwein to complete and publish 'Der Weisskunig', but this plan was frustrated by Treitzsaurwein's death in 1527. It was not until 1775, after the blocks had been found at Graz, that it was published in book form by Hoffstätter in Vienna. There are ninety proof impressions of the series in the British Museum which would have been taken while work on the blocks was in progress during the life of Maximilian. Good example, printed on contemporary laid paper, very good condition. When Emperor Maximilian I came to Treves for the Imperial Diet in 1512, he asked to see Holy Coat which was kept in the Cathedral. Archbishop Richard von Greiffenklau arranged the opening of the altar that had enshrined the tunic since the building of the Dome and exhibited it. The people of Treves heard about that and demanded to see the Holy Coat. Hollstein V.117.448; Bartsch VII.224.80-35; Dodgson II.93.58.
1895Very Good Greek, Modern (post 1453) Contemporary fine leather bdg. Demy 8vo. (22 x 15 cm). In Greek. 1118 p., richly illustrated (b/w ills.). Period bindery label of E. Watson in London. Ex-library copy on fourth blank page. Otherwise a very good copy. First and extremely rare translation into Greek of Taxil's 'Myste`res de la Franc-Mac?onnerie'. Mysteries of Freemasonry. Marie Joseph Gabriel Antoine Jogand-Pagès, better known by the pen name Léo Taxil was a French writer and journalist who became known for his strong anti-Catholic and anti-clerical views. He is also known for the Taxil hoax, a spurious expose of Freemasonry and the Roman Catholic Church's opposition to it. Marie Joseph Gabriel Antoine Jogand-Pagès was born in Marseille, and at the age of five, he was placed into a Jesuit seminary. After spending his childhood years in the seminary, he became disillusioned with the Catholic faith and began to see the religious ideology as socially harmful. Taxil first became known for writing anti-Clerical or anti-Catholic books, notably "La Bible amusante" (The Amusing Bible) and "La Vie de Jesus" (The Life of Jesus), in which Taxil satirically pointed out inconsistencies, errors, and false beliefs presented in these religious works. In his other books Les Debauches d'un confesseur (with Karl Milo), Les Pornographes sacrés: la confession et les confesseurs, and Les Maîtresses du Pape, Taxil portrays leaders of the Catholic Church as hedonistic creatures exploring their fetishes in the manner of the Marquis de Sade. In 1879, he was tried at the Seine Assizes for writing a pamphlet A Bas la Calotte ("Down with the Cloth"), which was accused of insulting a religion recognized by the state, but he was acquitted. In 1885, he professed conversion to Catholicism, was solemnly received into the church, and renounced his earlier works. In the 1890s, he wrote a series of pamphlets and books denouncing Freemasonry, charging their lodges with worshiping the devil and alleging that Diana Vaughan had written for him her confessions of the Satanic "Palladist" cult. The book had great sales among Catholics, although Diana Vaughan never appeared in public. In 1892, Taxil also began to publish a paper, La France chrétienne anti-maçonnique (Christian Antimasonic France), with his staunch anti-Masonic publishing friend, Abel Clarin de la Rive. In 1887, he had an audience with Pope Leo XIII, who rebuked the bishop of Charleston for denouncing the anti-Masonic confessions as a fraud and, in 1896, sent his blessing to an anti-Masonic Congress of Trent. Doubts about Vaughan's veracity and even her existence began to grow, and finally, Taxil promised to produce her at a lecture to be delivered by him on 19 April 1897. To the amazement of the audience (which included a number of priests), he announced that Diana was one of a series of hoaxes. He had begun, he said, by persuading the commandant of Marseille that the harbor was infested with sharks, and a ship was sent to destroy them. Next, he invented an underwater city in Lake Geneva, drawing tourists and archaeologists to the spot. He thanked the bishops and Catholic newspapers for facilitating his crowning hoax, namely his conversion, which had exposed the anti-Masonic fanaticism of many Catholics. Diana Vaughan was revealed to be a simple typist in his employ, who laughingly allowed her name to be used by him.The audience received these revelations with indignation and contempt. Afterwards, Taxil left the hall, where policemen escorted him to a neighboring café. He then moved away from Paris. He died in Sceaux in 1907. First Greek Edition. Rare. Only one copy in OCLC: 758917323.
1979635 pages. Index. Archives. Printed upon glossy stock. Covers the following school districts: Flowerdale, Blackfoot, Westminster Park, Lloydminster (rural), Spencer, Devonia Lake, Kinella, Thomasville, West Centre, Cheviot Hills, Madresfield, Golden Valley, Sunnydale, Sefton Park, Uneeda, Paradise Valley (E. Rural), Highbury, Allister, Ridgeclough, Crosslynde, Winona, Oxville, Park Valley, Woodford. Hamlets included: Rivercourse and McLaughlin. Gift greetings inside front board else contents clean and bright. Binding tight. Average external wear. A sound copy of this excellent reference. Krotki 1106. Book
