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1930First edition. Original paper wrappers in protective cardboard binding. 8vo. 49 pages. 24cm. In Yiddish. Title translates to Sixteen: A Collection of End Compositions of Sixteen Graduate of the Shalom Aleichem Elementary School in Chicago. Rare collection of elementary-age writings from secular-Yiddish Chicago but published in Warsaw. Yiddish schools in America were always supplemental schools, meeting several times a week after public schools. This was a major difference between the Yiddish schools in Poland which were, if chosen by the parents, the primary day school of the child, and the Yiddish schools in America which never developed a single Yiddish day school. On the political spectrum of the Yiddish cultural world in the 1920s and 1930s, the Sholem Aleichem Folk Institute and its schools, and the Yiddish camp, Camp Boiberik, were more to the right, with less emphasis on socialism and more stress on the humanistic values that can be learned from traditional Judaism and applied to the modern Jewish experience. Founded in 1918, the Institute lasted until the 1970s, and was a national movement which attained its greatest support in the 1930s (UTexas, 2017) . SUBJECTS: School prose, Yiddish -- Illinois -- Chicago. Jews -- Education -- Illinois -- Chicago. Jews -- Education. School prose, Yiddish. OCLC lists 2 copies worldwide (Harvard, NLI, ) . Pages browning. Some light soiling to front wrapper. Overall Very Good Condition. Rare and important(YID-27-39)
1849Acquaforte, 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).
1849Acquaforte, 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).
193164 pages. Features: Great photo ad for International Trucks on page 1; Junior Boxing Champion of Quebec - Laurier DesRochers is featured in full-page Cream of Wheat ad; Judgement (short story); Taming the Seven Sisters - gigantic hydro-electric development in Manitoba - article with photos; Dusty Courage (short story); Maker of Champions - Captain J.R. Cornelius trains the Hamilton Central Collegiate track team to success - article with photos; A Salute for the Constitution - a plea for veneration of the document that makes us what we are; Dancing Partners (short story); How I Do Love Water-Lilies!; The Kincade Mystery - Who Killed Ethel Kincake of Hamilton? - article with photos; The Beggar of Ur (shorted story); The Queen of the "Turks" - Turkey farmer Mrs. W.A. Freeman of Ardenode, Alberta - article with photos; Premier of Nova Scotia - Hon. Gordon Sydney Harrington - article with photo; Mr. Gobbins Falls In (short story); The Silver Scale (part I); Political article by Sir Austen Chamberlain, with his photo; Canada's pioneer steam engine, long lost, returned to Nova Scotia - the 'Samson'; full-page Dodge car ad; full-page ad for the new Reo Flying Cloud car; Nice full-page photo ad for Hoover vacuums features cute chilid on vintage phone; Nice full-page ad for Auburn cars features the 5-passenger 2-door Brougham $1445; De Soto Six ad; The School Lunch - article with photos; crossword; Transforming the Cellar - article and photos with ideas of how to transform waste cellar space for an extra games and play room; Nice full-page Studebaker ad; Nice colour Calay soap ad inside back cover; Colour Old Dutch Cleanser ad on back cover. Average wear. Unmarked. A sound vintage issue. Book
1910Acquaforte e puntasecca, 1910 circa, firmata in alto a sinistra Fisher f. Dedicata dall'artista a Malcolm Salaman; iscrizione con inchiostro marrone in basso a destra: "To Malcolm Salaman from A. Hugh Fisher". Una bella impressione, stampata su carta avorio, con margini, in buone condizioni. 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 upper left Fisher f. Dedicated by the artis to Malcolm Salaman; inscribed woth brown ink at lower right: “To Malcolm Salaman from 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.
1932Pages 365-438 plus 68 pages of ads. Printed upon glossy stock. Black and white photography throughout. Features: Hotel De Ville at Loches, France (Illustration); Builder and Poet - Frank Lloyd Wright - Review of his Autobiography; Night Views of New York City; The Juilliard School of Music - article and cover photo; Firm Specifications; Portfolio of Current Architecture; An Innovation in Steel Flooring; Theater Designs for Rockefeller Center; Portfolio of Theaters; Dozens of sensational full-page illustrated ads; and much more. Minimal library markings. Average wear. External soiling. Binding intact. A sound copy of this excellent vintage issue. Magazine
1753Acquaforte e bulino, 1753, nel margine inferior a sinistra: Adr. Manglard fecit Romae La data 1753 che seguiva la firma è abrasa. Bell’esemplare, ricco di toni, rifilato alla linea del rame, in ottimo stato di conservazione. Adrien Manglard (1695-1760) nativo di Lione, visse a lungo a Roma dove si distinse come pittore e incisore di marine. Etching and engraving, 1753, signed at lower left, beneath the image Adr. Manglard fecit Romae The date 1753, at the end on the inscription is abraded. Magnificent example, printed on contemporary paper, trimmed close to platemark, in good condition. Robert-Dumesnil, Le peintre-graveur français, ou catalogue raisonné des estampes gravées par les peintres et les dessinateurs de l'école française : ouvrage faisant suite au peintre-graveur de Bartsch, cat.nr. 27.
1880Acquaforte, 1880 circa, firmata in lastra in basso. Esemplare nel quinto stato di sei, con l’indirizzo di Cadart. Bellissima prova, impressa su carta vergata coeva, con margini, in buono stato di conservazione. Pittore, incisore e fotografo abruzzese. Si forma presso l’Accademia di Belle Arti di Napoli sotto Domenico Morelli che ne riconobbe immediatamente le doti. L’ambiente napoletano lo spingerà a dedicarsi ad una pittura realista e naturalista grazie anche ai contatti con Filippo Palizzi, Giuseppe De Nittis e Marco De Gregorio, artisti della cosiddetta Scuola di Resina. Abbandonata l’Accademia per la troppa rigidità torna in Abruzzo a Francavilla. Nel 1871 parte per Parigi per partecipare al Salons, apprezzato dal pubblico e dalla critica riesce a farsi conoscere da un pubblico internazionale; a Parigi presso l’editore Cadart vengono pubblicate le quattro lastre che hanno così una tiratura regolare: Cueillette d’olives dans les Abruzzes 1875, L’enfant au panier, Gardeuse de dindons, Jeunes bergers des environs de Chieti. Le altre quattro lastre note di Michetti Tatone, Ragazza alla fontana, Pastorella abruzzese e Ritratto di anziano sono ad oggi note in pochissimi esemplari. L’incontro con il pittore spagnolo Mariano Fortuny nel 1874 a Napoli favorisce un cambiamento nella tavolozza e lo avvicina a soggetti più folkloristici. Intorno al 1879 risale la sua amicizia, fratellanza con il vate Gabriele d’Annunzio che considera l’artista mei dimidium animi. Nel cosiddetto Conventino, abitazione e studio di Michetti a Francavilla, si riunisce il cenacolo michettiano: un’esperienza unica in cui il pittore Michetti, il poeta Gabriele d’Annunzio, lo scultore Costantino Barbella e il musicista Francesco Paolo Tosti – ai quali poi si uniranno altri scrittori ed artisti – lavorarono insieme e sviluppano il tema comune della natura e della gente d’Abruzzo. Una bambina in abiti tradizionali incede frontale verso lo spettatore. La figura è in piena luce, si staglia su uno sfondo costituito da una fitta boscaglia, potente è l’uso del chiaroscuro che conosce la lezione di Rembrandt. La bimba ha le braccia appoggiate sul ventre per reggere un cestino, i capelli mossi incorniciano il volto, sembra che stia canticchiando e il particolare degli orecchini e della collana di perle accentuano la luminosità del suo incarnato. Il soggetto è già affrontato in pittura, in particolare nel dipinto La Petite Fille au panier sul mercato parigino nel 1875 come appartenente alla collezione H. Nel catalogo di venidita il dipinto è illustrato con l’incisone di Michetti che dunque costituisce un termine ante quem di datazione della lastra. La figura è costruita con il tipico segno fine e libero di Michetti, un segno graffiato, elegante; i volumi sono costruiti con un fitto e irregolare intrecciarsi di tratti delicati e punti, morsure successive marcano progressivamente le zone in ombra. Firma nella lastra in basso a destra P Michetti. Nel margine inferiore oltre l’immagine a sinistra “Paolo Michetti del. et sc. “, titolo al centro, a destra “Imp.Cadart, Paris” e a sinistra “Gazzette de Beaux-Arts”. L’esemplare è tratto da La Gazette des Beaux-arts numero del marzo 1880. Etching, circa 1880, signed in plate at bottom. Exemplar in the fifth state of six, with Cadart's address. Beautiful proof, impressed on coeval laid paper, with margins, in good condition. A little girl in traditional clothes walks frontally towards the viewer. The figure is in full light, stands out against a background of dense brushwood, powerful is the use of chiaroscuro that knows the lesson of Rembrandt. The child has her arms resting on her stomach to hold a basket, the wavy hair frames her face, it seems that she is humming and the detail of the earrings and the pearl necklace accentuate the brightness of her complexion. The subject is already addressed in painting, particularly in the painting La Petite Fille au panier on the Paris market in 1875 as belonging to the H collection. In the sale catalog, the painting is illustrated with Michetti's engraving, which therefore constitutes a terminus ante quem for the dating of the plate. The figure is constructed with Michetti's typical fine and free mark, a scratched, elegant mark; the volumes are constructed with a dense and irregular interweaving of delicate strokes and dots, successive morsure progressively marking the areas in shadow. Signature in the lower right corner of the plate P Michetti. In the lower margin beyond the image on the left "Paolo Michetti del. et sc.", title in the center, on the right "Imp.Cadart, Paris" and on the left "Gazzette de Beaux-Arts". The copy is taken from La Gazette des Beaux-arts issue of March 1880. Francesco Paolo Michetti (1851 – 1929) learned painting's rudiments from a local fresco painter. In 1868 he traveled to Naples, supported by a small grant to study at the academy there. Asserting that his temperament would benefit more from real life situations, he was allowed to return to the Abruzzo region in 1869 and continued to receive his grant. Michetti exhibited at the Paris Salons of 1872 and 1875, but he also belonged to Scuola di Resina, a group of Neapolitan painters that aimed to bring Italian art into Europe's mainstream. Abruzzo was his emotional and aesthetic inspiration. He captured its people, animals, and local events in emotionally charged paintings with luminous colors and vibrant light. In 1883 Michetti purchased a convent as his home and studio. For the next twenty years, the convent was a meeting place for Abruzzo's artists and exponents of culture, including writer Gabriele D'Annunzio. Michetti's 1895 Daughter of Iorioinspired D'Annunzio's 1904 tragedy, for which Michetti designed the sets and costumes. From 1872 onward, Michetti also produced small, decorative clay sculptures. After a lukewarm response to his paintings at the 1900 Exposition Universelle in Paris, he abandoned painting, sold his studio, and generally lived as a recluse. Bibliografia: Davoli, 5; Prandi 4 (ill.); V. Bindi, Artisti abruzzesi, Napoli 1883, pp. 172-176; G. D’Annunzio, Nota su F.P. M., in Convito, VIII (1896), pp. 583-592; R. De Logu, Per un profilo di M., in Mostra dei disegni, incisioni e pastelli di F.P. M.
194533 pages. Features: Photo of smiling Eisenhower and an animated Patton, plus smiling Bradley and Hodges; Photo of Japanese Shrine on Saipan plus journal notes from a Japanese soldier; Photos of Juan Trippe, Lewis Douglas, Army nurses drilling at Camp Capson Colorado, Forger Alexander Thiel; Article on Okinawa; Full-page military map entitled "The Floods Come" shows positions centered around Hitler's inner fortress of Berchtesgaden; photo of U.S. armour on one of Germany's fine roads; Photo of very long column of German prisoners; Article and photo on German youth; Photo of "German Looters"; Photo of Chiang Kai Shek with General Hurley; Photo of St. Louis Browns' one-armed baseball player Pete Gray; Photo of a Brooklyn Public School classroom trashed by three young boys; Great photo of a navy bank in a quonset hut on Guam. No ads in this edition. Moderate wear. Unmarked. Binding intact. A quality copy of this excellent Patton collectible. Book
1870Acquaforte (mm 229x174; foglio: mm 335x292), monogrammata sulla lastra in basso a sinistra. Esemplare del secondo stato su due, stampato da Carlo Lovera e pubblicata su L’Arte in Italia del novembre 1870. Ottima impressione. Grandi margini, ottima conservazione. Alberto Pasini nasce a Busseto (PR) nel 1826. Iscrittosi all’Accademia di Belle Arti di Parma ha come maestro Girolamo Magnani, per la pittura. Nel 1851 si reca a Parigi dove, alla scuola dei pittori di Barbizon, si dedica alla pittura di paesaggio. Nel 1855, per interessamento del pittore Théodore Chassériau è aggregato ad una missione diplomatica diretta in Persia. Da qui la svolta nella sua vita. In questo primo e in successivi viaggi in vari paesi affacciati sul Mediterraneo, rimane conquistato dall’Oriente traendone spunti in disegni che poi svilupperà in numerosi dipinti. A Parigi dove si stabilisce espone ai numerosi Salon ottenendo prestigiosi premi. Lo Scià di Persia e il Sultano di Costantinopoli gli commissioneranno varie opere e i collezionisti si contenderanno i suoi piacevolissimi dipinti. Dal 1871 si ritira a Cavoretto, nelle colline piemontesi, non rinunciando tuttavia a continuare a viaggiare a Parigi e Venezia, città che verrà spesso ritratta nei suoi dipinti. Muore a Cavoretto nel 1899. È da considerarsi uno dei più notevoli orientalisti a livello europeo. Bibliografia G. Giubbini, L’acquaforte originale in Piemonte e in Liguria 1860 - 1875, Genova 1976, n.1. Etching (mm 229x174; sheet: mm 335x292), monogrammed on the plate at lower left. Exemplar of the second state of two, printed by Carlo Lovera and published in L'Arte in Italia - November 1870. Very good impression. Large margins, excellent conservation. Alberto Pasini was born in Busseto and attended the Academy at Parma. From 1851 to 1853 he studied under Eugène Ciceri (1803-1886) in Paris, where he completed his training in the atelier of M.E. Isabey (1813-1890). He made his Salon debut in 1853. From his first visit to Persia in 1855, as part of the suite of the French delegation to the Persian Gulf and Tehran, Pasini specialized in views of remote corners of Turkey and Persia. He travelled to Constantinople between 1868 and 1869 and to Asia Minor and Syria in 1873. Pasini was also a seasoned traveller within Europe and from 1878 visited Venice on several occasions, and made a journey to Spain with Gérôme from 1879 to 1883. "Principally a landscape and architectural painter, Pasini came under the influence of Théodore Rousseau and Fromentin in the late 1850s, though his later style reveals affinities with the Néo-grec school of painters. Apart from his Orientalist work, he painted some genre scenes and subjects taken from Turkish history and was also known for his lithographic work. "After the Franco-Prussian War (1870-71), Pasini returned to Italy, but continued to exhibit at the Salon until his death in 1899” (MaryAnne Stevens, ed., The Orientalists: Delacroix to Matisse - The Allure of North Africa and the Near East, exhibition catalogue, National Gallery of Art, Washington, DC, 1984, p. 195). References: G. Giubbini, L’acquaforte originale in Piemonte e in Liguria 1860 - 1875, Genova 1976, n.1.
1991375 pages. Index. Glossary. Footnotes. Black and white photographic plates. "Reveals how the strategy of indiscriminate bombings against the public was the result of secret NATO accords and was sanctioned at the highest levels of the Atlantic Alliance... Shows the crucial role played by the Hyperion Language School in Paris in the manipulation of the Red Brigades, and the role of the CIA in arming the revolutionary group. Casts a spotlight on Licio Gelli, the head of the now outlawed P2 Masonic lodge, who has been convicted of financing fascist terrorists." - dust jacket. Remainder mark to bottom edge. Some red markings to contents in first 70 pages. Bit of clear tape inside back board. Light wear to dust jacket now preserved in glossy new archival-grade Brodart. A sound copy. Book
1728Acquaforte, firmata e datata nel margine inferiore: Fran Zuccherelli Pitilianen incid. Flo. 1728. Da un disegno di Giovanni Manozzi. La stampa mostra una figura femminile in piedi che cammina verso sinistra tenendo una lampada, indicando con la mano destra. Bell’esemplare, stampato su carta vergata coeva, rifilato in prossimità della linea marginale, privo del testo contenuto nel margine inferiore. Francesco Zuccarelli studiò a Firenze nella bottega di Paolo Anesi ed in seguito si trasferì a Roma presso i pittori Giovanni Maria Morandi e Pietro Nelli. Fu inizialmente un pittore di soggetti storici ispirato dalla conoscenza della pittura di Claude Lorrain, pittore francese del Seicento vissuto a Roma che fu maestro di questo genere insieme al connazionale, ma più scenografico, Nicolas Poussin. Trasferitosi a Venezia, Zuccarelli, si rivolse alla pittura di soggetto arcadico, che coltivò in concorrenza col bellunese Giuseppe Zais. Come successe ad altri pittori veneti suoi contemporanei, quali Canaletto e Bernardo Bellotto, la sua pittura fu molto apprezzata all'estero dove fu chiamato a dipingere per ricchi mecenati come ad esempio il celebre Console Joseph Smith. Zuccarelli lavorò molto in Inghilterra dove influenzò importanti pittori locali in maniera particolare il suo stile fu ripreso dal grande Joshua Reynolds. Dopo cinque anni di permanenza a Londra, Zuccarelli ritornò a Venezia. Di nuovo a Londra nel 1765, fu uno dei fondatori della Royal Academy of Arts nel 1768. Etching, signed and dated lower margin: Fran Zuccherelli Pitilianen incid. Flo. 1728. After a drawing by Giovanni Manozzi. The print shows a standing female figure walking to the left holding a lamp, pointing with right hand. Good example, printed on contemporary laid paper, trimmed close to the marginal line, in perfect condition. Cut off the inscription in the lower margin. Francesco Zuccarelli studied in Florence in Paolo Anesi's workshop and later moved to Rome with the painters Giovanni Maria Morandi and Pietro Nelli. He was initially a painter of historical subjects inspired by his knowledge of the painting of Claude Lorrain, a 17th-century French painter who lived in Rome and who was a master of this genre together with his compatriot, but more scenic, Nicolas Poussin. After moving to Venice, Zuccarelli turned to painting Arcadian subjects, which he cultivated in competition with Giuseppe Zais from Belluno. As with other Venetian painters of his time, such as Canaletto and Bernardo Bellotto, his painting was much appreciated abroad where he was called to paint for wealthy patrons such as the famous Consul Joseph Smith. Zuccarelli worked extensively in England where he influenced important local painters, and in particular his style was taken up by the great Joshua Reynolds. After five years in London, Zuccarelli returned to Venice. Back in London in 1765, he was one of the founders of the Royal Academy of Arts in 1768. Massar - The prints of Francesco Zuccarelli (3.I) in Print Quarterly (XV) (3) (pp. 247-263).
2 Vols., 4to (280 x 215 mm), 141, [3]pp., number 17 of 50 de luxe copies signed by the author, Vivian Ridler and John Simmons, numerous plates and specimens tipped-in, quarter-bound red morocco, marbled paper boards, together with a portfolio of 12 additional specimen sheets, the whole presented in a slip-case, fine copy. Tells the story of the writing and printing of what was perhaps the masterpiece of printing in the 'Fell types' in the twentieth century: Stanley Morison's John Fell, the University Press and the 'Fell' types published by Oxford University Press in 1967. Prospectus inserted.
2008Paperback Like New. Ships directly from publishers being a new release book . Pls. allow a minimum of 25 business days delivery time.
1795Copia, nello stesso verso, da un niello attribuito a Maso Finiguerra, appartenuto alla collezione Durazzo, di cui oggi si conosce solo una prova su carta (conservata al Louvre, coll. Rothschild, inv. 137 Ni, in controparte rispetto a questa), tratta probabilmente da un'impronta in zolfo. Il niello originale appartenne alla collezione di Eugène Félix, poi passò ai Durazzo, in seguito nella collezione Figdor di Vienna. 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. Per l'attribuzione a Maso Finiguerra, contestata da alcuni studiosi, si veda la sintesi in Zucker in The Illustrated Bartch,1993. Copy, on the same verso, of a niello attributed to Maso Finiguerra, owned by Marchese Jacopo Durazzo. Only one paper impression is known (kept at the Louvre, Rothschild collection, inv. 137 Ni, in counterpart to this one), probably pulled not from the silver plaque, but from a lost sulfur cast, as is shown by the thick, dark lines, caused by cracks in the sulfur, that run diagonally across the top of the image, as noted by Hind. The silver plaque owned by Durazzo was sold (Durazzo sale, 1872, n. 2876) to the Eugène Félix collection in Leipzig and later to the collection of Albert Figdor in Vienna. 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. For the attribution to Maso Finiguerra, disputed by some scholars, see Zucker in The Illustrated Bartsch, 2401.002.
2013The tenth and final volume of the catalogue raisonnÈ. 216 pp. 127 color plates; 9 b&w plates. Large 4to. Publisher's cloth. NEW.
18998vo., with engraved portrait frontispiece; handsomely bound in full light tan calf BY ZAEHNSDORF, boards with double frame border stopped at corners with rosettes all in gilt, upper board with Uppingham crest blocked in gilt, back with five raised bands tooled in gilt, second and fourth compartments with green and red leather labels ruled and lettered in gilt, all other compartments richly tooled in gilt to an art nouveau floral design, gilt dentelles, gilt doublures, gilt edges, marbled endpapers, silk headbands, a splendid example of a notable prize binding. The frontispiece is by Finden after Wageman.
18738vo., handsomely bound in contemporary calf, sides diced within a double gilt fillet border stopped at corners with a gilt rosette and enclosing in corners the Harrow 'crossed arrows' tool in gilt, back gilt extra with five raised bands, compartments tooled alternately to a geometric 'key' design and the 'crossed arrows' tool within a filigree frame, edges of boards gauffred in gilt, doublures tooled in blind, gilt edges, marbled endpapers, A FINE EXAMPLE OF AN EXTENDED HARROW PRIZE BINDING with the School's engraved prize armorial bookplate of the period, inscribed to Bertram Hunt in the name of Henry Butler and dated 1875.
1975Appears to be a 1970s or 1980s replica of the pre-WWII original. Features gorgeous smiling young lady in sleeveless red and white patterned dress seated at what appears to be a trendy restaurant table with white floral bouquet in background. Illustration of brown glass bottle of Polytanin in lower left corner. Polytanin, exported from Japan, was a 'eutrophic of amino acids'. Approximately 30" x 20". Crimped metal strips protect top and bottom edges. Clean and unmarked with light wear. A very attractive memento of 1930s Shanghai. Will be shipped in a sturdy mailing tube. Poster
1980182 pages. Includes the histories of those people who homesteaded or resided within the Favorite and Lyndhurst areas of Morris Municipality No. 312, those within or outside the municipality who had children attending these schools, and also those who were members of Bethel Church and did not reside within the municipality. Clean, bright and unmarked with negligible wear. Chapters include: A History of Bethel Scandinavian Lutheran Church/List of those buried in the Cemetery/Bethel Sunday School/Bethel Ladies Aid; History of Bethel Historical Society; Fifty Years of Favorite History 1913-1963; Lyndhurst S.D. #2583; Social Events of S.W. Curling Club; General Interest Stories; Homestead Information and Maps; Family Histories. Many black and white photographs. Bright gilt lettering and illustration upon maroon front board. Excellent copy. Book
191796, 112 [ads] pages. Profusely illustrated with diagrams and black and white photos. Includes many pages of wonderfully nostalgic illustrated ads. Printed upon glossy stock. Features: Peacock Point, The Residence of Henry P. Davison, Esq., Locust Valley, Long Island - Walker & Gillette, Architects; The Southwest Museum, Los Angeles - Sumner Hunt & S.R. Burns, Architects; A Model Public School Clinic; St. Agnes' Church, Cleveland, Ohio - John T. Comes, Architect; The Roger Morris House, or Jumel Mansion, New York City - Part I; The New Buildings of the Sea View Hospital, Staten Island, New York City - Edward F. Stevens and Renwick, Aspinall & Tucker, Associate Architects; Portfolio of Current Architecture; The Architect's Library - Books on Colonial Architecture - Part VI - Periodicals; Notes & Comments. Average wear. Binding intact. Library stamp atop front cover otherwise unmarked. Two small binding holes near spine. A sound vintage copy. Book
1917401-496, 120 [ads] pages. Profusely illustrated with diagrams and black and white photos. Printed upon glossy stock. Includes dozens of magnificently illustrated ads. Features: The Residence of the Honorable Henry White, Washington, D.C., John Russell Pope, Architect; The Edward Lee McLean High School, Greenfield, Ohio, and the Central High School, Washington, D.C., William B. Ittner, Architect; Thornton Manor, Cheshire, England; Architectural Polychrome Decoration; The Destruction of Historic Buildings as Revealed by The Official French War Photographs, Part II - Arras; Notes on Camouflage; Portfolio of Current Architecture; The Architect's Library - Books on Colonial Architecture, Part VIII - The Final Record; Notes and Comments. Two small binding holes near spine. Library stamp atop front cover otherwise unmarked with average wear. Binding intact. A sound vintage copy. Book
1918Features: Title page illustration of the Prince of Wales at a Clyde shipyard; The Situation in Mesopotamia (article); One of Our Indispensables - The Padre (article); New and Dainty War-Time Luxury Dishes (article); The Funeral of Irish Leader John Redmond - eight photos; Six photos illustrate the Seaplane Pigeon Service; Three photos document the memorial service for General Maude in Baghdad; G.K. Chesterton writes about being a 'Back Number'; Two photos after the Charterhouse School fire; One-page illustration of the Prince of Wales observing Clyde shipbuilders bending hot steel; Two pages of illustrations document the Prince of Wales' tour of the shipbuilders of the Clyde; Article on the Air Force Medical Service; Wonderful centrefold illustration of the Grand Fleet Squadron at anchor; Photo of a British flame-projector operator in protective clothing at a demonstration for Serbian officers; Photos of War Donkeys and Dogs in the Alps - Italy's four-footed allies; Roll of Honour - photos of 21 officers, including Major Victor Rogers D.S.O.; Photo of King Alexander of Greece on the British front in Macedonia; Charming one-page Tootal ad; Very artistic two-colour back cover ad for Erasmic "The Dainty" Soap, features young lady in tub reaching for her robe; and more. 36 pages including several pages of marvelous vintage ads, most of which are illustrated. Unmarked with average wear. Binding intact. A sound copy of this excellent WWI-era issue. Magazine
1919Pages 442-528 plus 24 pages of nice ads. Features: Hunting Wild Cattle - an Englishman's stirring adventures while catching bulls in Patagonia; My Mine-Sweeping Experiences - Joe W. White describes his WWI mine-sweeping and submarine-hunting adventures in home waters - a valuable record of the dangerous work and daring methods employed by our fishermen in destroying enemy mines and driving away submarines - with great photos; The Golden Nugget (short story); The One-Handed Hunter and the Rhinocerous; In the Wilds of Siberia - Part III - fascinating narrative with many photos of convicts/prisoners; My Adventures with the Wanderobo (a warlike African tribe); The Strange Order of the Dervishes - article with great photos; Filming the Sea Elephant; The Adventures of a Newspaperman - part 5 - some wartime experiences with German spies and other curious characters; My Week-End at Freetown - a picturesque account of the capital of Sierra Leone, with photos; Relief Worker's Adventures - part III - thrilling photo-illustrated experiences among the war victims of Armenia, Syria and Persia (The American Committee for the Relief of War Victims in the East); Kangaroo Hunting and Bark-Stripping; My South African Adventures - part 2; Canary Birds at School - French methods of breeding and training canaries; and more. Somewhat above-average external wear with loss to bottom of back strip and openings between front cover and spine at each end. Bit of writing on back cover. A worthy copy of this great vintage issue. Book
1979176 pages. Index. "When Norman Rockwell was at the height of his career in the late 1940's, he wrote a delightful book called How I Make a Picture. It was the basis for an advanced illustration course at the Famous Artists School, but was never made available to the general public. We are now delighted to have this unique opportunity to make Rockwell's original book available for the first time in an expanded version, containing full-color reproductions of the artists best work along with previously unpublished color sketches." - from Publisher's Note. Book clean and unmarked with light wear. Average wear to dust jacket which bears some staining and a taped repair to bottom edge of back panel. A sound copy of this special book. Please note: we believe the ISBN stated on the publisher's page of this copy, 083202380x, is incorrect and have changed it to what we believe is the correct number. Book