École

École — marelibri

1888réf. 215331888. Rowan County Board of Education teacher pay vouchers 1888 and 1892 documenting African American education within the segregated public school system of post-Reconstruction North Carolina. The vouchers record segregated public education and its funding mechanisms through payments to Black teachers approved at the county level. These documents show how African American educators were paid through formally structured systems requiring countersignature by the county superintendent and approval by district committee members. Two manuscript teacher salary vouchers each approximately 8.5 x 7 inches and written on both sides. The first dated March 26 1888 authorizes payment of $30.00 to Maggie Locke for teaching in "School District No. 4 Rowan County for Colored Race" covering the period from January 3 to March 2 1888 in Atwell Township. The printed form specifies that payment is contingent upon countersignature by the county superintendent and approval by at least two district committee members establishing formal oversight procedures. The verso bears Locke's signed receipt dated March 27 1888 acknowledging payment from county treasurer J. M. McCubbins. The second voucher dated January 16 1892 records payment of $25.00 to Isaac Kerns for teaching in "School District No. 2 Salisbury & No. 2 Prov. Rowan County for Colored Race" with similar requirements for administrative approval prior to disbursement. The verso includes Kerns's signed acknowledgment of payment. Both documents explicitly designate the schools as serving the "Colored Race" indicating the formalized racial segregation embedded within the educational system. These vouchers document the operation of segregated schooling in the decades following the Civil War when African American education expanded under conditions of systemic underfunding and institutional control. The requirement for multiple authorizations before payment records the bureaucratic regulation of Black teachers' labor while the recorded wages provide quantitative evidence for comparative study of compensation disparities. Produced during a period when access to education for African Americans remained contested these documents contribute to research on Reconstruction-era legacies Jim Crow governance and the role of Black educators in sustaining community institutions. Light wear minor creasing and typical manuscript handling marks; overall very good condition. Documentary record of the administrative structure and lived realities of segregated education in the late nineteenth-century South. unknown books

(Xt) Sholem Aleykhem Folk InstitutMareMagnum

ZEKHTSN: A ZAMLUNG SIEM-KOMPOZITSYES: FUN ZEKHTSN TALMIDIM-GRADUIRER FUN DI ELEMENTARE SHOLEM-ALEYKHEM FOLK-SHULN, SHIKAGO [SIGNED BY FIFTEEN OF THE SIXTEEN YOUNG CONTRIBUTORS! ]

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 writings from elementary-age boys and girls from secular-Yiddish Chicago schools but published in Warsaw; this copy signed by all but one of the young authors on their essays! The young Chicago writers include: Bashe Slabadkin, Nate Shechter, Mendel Zilberman, Hanah Kamski, Menuche Ben-Ami, Dabe Izrael, Yitsak Rozenfeld, Shulamit Malkin, Tsiril Gordin, Khayke Nayman, Sarah Veksler, Zalman Imianatof, Blume Miler, Chaim Miler, Motl Rozenblum, and Chanah Gekhtler. 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 only 2 copies worldwide (Harvard, NLI, ) . Pages browning. Some light soiling to front wrapper. Overall Very Good Condition. Rare and important(YID-27-39)

Dan Wyman Books LLC · États-Unis500,00 €

AnonimoMareMagnum

Ercole uccide Achilleo sotto forma di toro

1630Bulino, 1630 circa, firmata nell'immagine in basso a sinistra: F floris inventor N excudit Numerata 6. Nel margine inferiore: Mutilat indefessum Acheloum divite cornu caussa trucis pugnae Deianira fuit.Della serie "Le fatiche di Ercole", da dipinti di Frans Floris realizzati nel 1554 e andati poi perduti. La scena mostra Ercole, con la pelle del leone che svolazza sulle sue spalle, nel momento culminante della lotta con il toro. Sullo sfondo, in alto a sinistra, nei pressi di un boschetto, tre figure femminili nude: in piedi è la Fortuna, che sta facendo riempire da due ancelle una cornucopia; in alto a destra è raffigurata la conclusione dell'impresa: il toro si allontana, lasciato libero da Ercole; in lontananza le case di un borgo. Magnifica prova, ricca di toni, impressa su carta vergata coeva, con sottili margini, in perfette condizioni. L’opera è una fedele replica dell’incisione di Cornelis Cort realizzata nel 1563 ed è edita dall’incisore Nicolaes Lauwers verso il 1630. Magnifico esemplare.Bibliografia: Bierens de Haan 1948 177; New Hollstein (Dutch & Flemish) 177 (Cornelis Cort); Van de Velde 1975 51; New Hollstein (Dutch & Flemish) 72.III (Frans Floris); Riggs 1977 78. Engraving, 1630 circa, signed on plate, lower left in the image: F floris inventor N excudit Numbered 6. In lower margin: Mutilat indefessum Acheloum divite cornu caussa trucis pugnae Deianira fuit. Hercules Struggling with Achelous, in the Form of a Bull; Hercules kneels on the neck of the animal and tugs on its horn; in the background, to left, two figures seated by a builduing, holding a cornucopia; after Floris. From the series "The labors of Hercules", after paintings by Frans Floris, made in 1554 and then went lost. Copy from a series of ten plates (New Hollstein 172-181). After a lost series of paintings by Floris painted in 1554-55 for the Antwerp merchant and art collector Nicolaas Jongelinck.Magnificent proof, rich tone, printed on contemporary laid paper, with narrow margins, in good condition. The work is a faithful replica of the engraving by Cornelis Cort built in 1563 and is edited by the engraver Nicolaes Lauwers around 1630. Magnificent example. Hollstein 117b.

Libreria Antiquarius · Italie500,00 €

Bartolini Luigi (Cupramontana 1892 – Roma 1963)MareMagnum

Genziane e cetonia dorata

1957Acquaforte. Lastra mm 160x245, foglio 350x500 mm. Firma e data in lastra in basso e in alto a sinistra Bartolini 1957. Tiratura a matita in basso al centro 9/50. Firma a matita in basso a destra Luigi Bartolini Altri titoli: Vaso di fiori, Fiori, I fiorellini. Le genziane, insieme alle fonti marchigiane, sono uno dei soggetti più amati da Bartolini. Dagli anni del confino politico meranese fino alla fine degli Anni Cinquanta, l’artista ne ha inciso almeno una ventina di versioni, dieci delle quali solo nel 1934. Il presente soggetto riprende, con alcune modifiche e un tratto diverso, una lastra del 1934 dal titolo Genziane. Luigi Bartolini è considerato uno dei maggiori incisori italiani del Novecento, insieme a Giorgio Morandi e Giuseppe Viviani. Oltre ad essere un prolifico incisore (al suo attivo oltre mille acqueforti), fu anche pittore e scrittore. Partecipò sia come pittore che come incisore a diverse edizioni della Biennale di Venezia dal 1928 al 1962. Presente a varie manifestazioni artistiche, sviluppò diverse maniere definite: ‘maniera bionda’, ‘lineare’ e ‘nera’. Ricordiamo soprattutto le acqueforti della serie Marche e della serie Sicilia. Iniziò la sua produzione grafica nel 1914 e il suo stile si rifà alla tradizione naturalistica dell’Ottocento. Molte sue incisioni si possono ricollegare ad alcune opere del Goya, di Telemaco Signorini e di Giovanni Fattori. Eccellente nella rappresentazione della natura morta e del paesaggio, spesso il Bartolini rappresentò dolcemente le cose e gli oggetti più umili, i soggetti di natura più dimessi. In essi ritroviamo il sentimento che diviene immagine e la forma che si sviluppa in espressione. Con Bartolini l’incisione torna ad essere un mezzo di espressione poetica libera dal simbolismo e dal vedutismo allora in voga presso le accademie. Nelle sue acqueforti prevale ora un tratteggio leggero (genere biondo), ora una ricerca del chiaroscuro alla Rembrandt (genere nero). Magnifica prova, con margini, in ottime condizioni. Bibliografia L. Palumbo Scalzi, Luigi Bartolini Incisioni, Galleria Flaviostocco, Castelfranco Veneto, 1998, pag. 69 (variante tirata a 30 esemplari). Etching. Plate 160x245 mm, sheet 350x500 mm. Signature and date on plate at bottom and top left Bartolini 1957. Pencil print run at bottom center 9/50. Signature in pencil at lower right Luigi Bartolini. Other titles: Vaso di Fiori (Vase of Flowers), Fiori (Flowers), I Fiorellini (The Little Flowers). The gentians, together with the Marche sources, are one of the subjects most loved by Bartolini. From the years of political exile in Merano until the end of the 1950s, the artist engraved at least twenty versions, ten of which in 1934. The present subject is taken, with somechanges, from a 1934 plate entitled Genziane. Born in Cupramontana near Ancona, Luigi Bartolini was the twentieth century Italian etcher, who came closest to the stature of his great rival, Morandi. As a teenager, he saw the collection of etchings, including work by Callot, owned by the Corradi family in Iesi. From 1907 to 1910 Bartolini studied at the Istituto di Belle Arti in Siena, and started to etch c. 1909. He moved to Rome in 1910, where until 1912 he frequented the Accademia di Belle Arti, while also attending lectures on literature and the history of art, and courses on anatomy at the University in Rome. Bartolini studied the etchings of Goya and took lessons on drawing at the Accademia di Spagna. From there, he went to Florence in 1913, where he attended the Scuola del nudo. Bartolini continued his anatomical research, as well as studying architecture, making himself the most assiduous student of all Italian twentieth century printmakers. He also visited the Uffizi and Florentine print dealers to look at the etchings of Rembrandt and Fattori. Bartolini painted his first oils just before the outbreak of the First World War. Although he painted pictures throughout the rest of his career, and was awarded the Premio Marzotto for them in 1956, they have been far eclipsed in fame by his etchings and writings. During the First World War, Bartolini published his first collection of poetry. A very prolific and accomplished writer, in this field he is best known today as the author of the novel, 'Ladri di biciclette' (Bicycle thieves), of 1946, which was quickly turned into a celebrated film by Vittorio de Sica and Cesar Zavattini. After the First World War, Bartolini held a series of minor teaching posts in Macerata, Sassari, Avezzano, Pola, and Caltagirone, while he continued to etch, and started a long career as a polemical journalist and critic of art and architecture. From 1923 to 1929, he wrote for the Naples periodical, 'Cimento', but he also contributed to 'Il Selvaggio', 'Quadrivio', 'Italia letteraria', and 'L'Ambrosiana'. Bartolini's 1924 exhibition of etchings at the Casa d'Arte Bragaglia in Rome was a great success, and later that year he showed 70 etched landscapes of the Marches at the Casa Palazzo di Roma. The following year he visited Paris, where he paid particular attention to the paintings of Van Gogh. Bartolini's political convictions led him to being assaulted by Fascists and hospitalised in 1928. Two years later, he won a prize at the Venice Biennale, where he had exhibited a portfolio of etchings. In 1930, the Turin publisher, Buratti, began to issue a series of portfolios of etchings by contemporary Italian artists under the editorship of Cipriano Oppi, selecting Bartolini for the first album. The following year, Buratti published 'Le carte parlanti', a portfolio of 10 of Bartolini's etchings, which was published in an edition of 20. In 1932, Bartolini shared the first prize at the Prima mostra dell'incisione moderna at the Uffizi with Morandi and Boccioni. His close friend, the leading anti-Fascist art historian, Lionello Venturi, acted as his agent selling his etchings in Paris. Bartolini's correspondence with his compatriots in exile led to his imprisonment, from which he was released on Mussolini's personal intervention. He was then placed under political surveillance. From 1933 to 1938, Bartolini taught in Merano, wh...

Libreria Antiquarius · Italie500,00 €

Bianchi Mosè (Monza 1840 – Monza 1904)MareMagnum

I fratelli sono al campo! Ricordo di Venezia

1870Acquaforte e puntasecca stampata su carta coeva, in eccellente stato di conservazione. Incisione originale eseguita all'acquaforte su matrice di rame; in lastra, sotto la parte figurata, indicazione dell'artista in qualità di inventore ed esecutore, nome dello stampatore e titolo. L'opera, pregevole e coinvolgente per l'intenso effetto chiaroscurale, è tratta da una delle principali riviste d'arte italiane dell'epoca. L'immagine, riproducente un dipinto dello stesso Bianchi oggi conservato presso la Galleria d'arte moderna di Milano, rappresenta una scena ispirata agli ideali del Risorgimento: nella penombra di una chiesa, tre giovani donne pregano dinanzi all'altare per i fratelli che sono al campo di battaglia. Dipinto fortunato e celebratissimo anche per l'indovinata scelta del soggetto, ispirato alla terza guerra d'indipendenza combattuta per la liberazione di Venezia (1866), con chiari sottintesi risorgimentali e patriottici evocati fin dall'allusione al tricolore nelle vesti delle tre giovinette, fu tra le opere di Mosè Bianchi che maggiormente piacquero ai suoi primi critici. L'opera risente del giovanile soggiorno a Venezia, evidente nella cromia accesa e luminosa. La fama dei "Fratelli al campo" contribuì a moltiplicare le versioni, sotto forma di repliche, pseudo-bozzetti, varianti, in tecniche diverse, dall'olio all'acquarello, all'acquaforte. Influenzato dallo stile di Faruffini e Mariano Fortuny, Mosè Bianchi inizia con quadri storici di soggetto romantico, per volgersi poi al genere e al paesaggio. La sua pittura parve assai rinnovatrice, per l’attenzione data agli effetti atmosferici e per la tecnica spigliata, in realtà più vicina a quella del Fortuny che a quella degli impressionisti. Egli realizzò circa settanta opere incise all’interno delle quali riportò ciò che rappresentava nei dipinti ma l’attenzione non è più rivolta tanto al soggetto quanto ai giochi chiaroscurali. Etching and drypoint printed on contemporary paper, in excellent condition. Original etching executed on copper matrix; on the plate, under the image, indication of the artist as inventor and executor, name of the printer and title. The work, valuable and involving for the intense chiaroscuro effect, is taken from one of the main Italian art magazines of the time. The image, reproducing a painting by Bianchi himself, now preserved at the Gallery of Modern Art in Milan, represents a scene inspired by the ideals of the Risorgimento: in the half-light of a church, three young women pray before the altar for their brothers who are at the battlefield. This is a fortunate and celebrated painting, also because of the fortunate choice of the subject, inspired by the third war of independence fought for the liberation of Venice (1866), with clear Risorgimento and patriotic subtexts evoked by the allusion to the tricolor flag in the garments of the three young girls. It was one of the works by Mosè Bianchi that his critics liked the most. The work is influenced by his youthful stay in Venice, evident in the bright and vivid colors. The fame of the "Fratelli al campo" contributed to the multiplication of versions, in the form of replicas, pseudo-sketches, variants, in different techniques, from oil to watercolor, to etching. Influenced by the style of Faruffini and Mariano Fortuny, Moses Bianchi began with historical paintings of romantic subjects, then turned to the genre and landscape. His painting seemed very innovative, for the attention given to the atmospheric effects and for the easy technique, actually closer to that of Fortuny than to that of the impressionists. He made about seventy engraved works in which he reported what he represented in the paintings but the attention is no longer directed so much to the subject as to the chiaroscuro games. Bibliografia Giubbini G., "L'acquaforte originale in Piemonte e in Liguria. 1860-1875", Genova 1976, p. 103 fig. 41; "Mosè Bianchi e il suo tempo", cat. della mostra, Milano 1987, p. 202 fig. 3.

Libreria Antiquarius · Italie500,00 €

COLEMAN Charles (Pontefract 1807 ca. - Roma 1874)MareMagnum

Campo Vaccino

1850Acquaforte, 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.

Libreria Antiquarius · Italie500,00 €

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