Wardenville Community Club [Compiler]MareMagnum
2 213 résultats
313 pages. Index. Map endpapers. Generously illustrated with black and white reproductions of archival family photos. Includes well over 200 pages of histories of families from across this Saskatchewan region located west of Battleford. Unmarked with average wear. Binding intact. A sound copy of this invaluable genealogical reference. Arora 5676. Book
131 pages. Black and white reproductions of archival photos. Two-page map indicating landowners is undated but possibly circa 1925. "Dedicated to the memory of the pioneers of our district - the hardy men and women who braved the hardships and toil to establish this land upon which we proudly live." - Preface. Average wear to red card covers. Few markings to contents, including pages 101-102 where some people in photos have been identified. Binding tender but intact. A sound copy of this informative local history and genealogical reference. Hackett (2) 923. Book
258 pages. "On the adbication of Nicholas II Russia's new rulers found themselves confronted by a host of problems, two of which were particularly urgent. What was to be the new government's relationship to its rival in power, the Petrograd Soviet, and what was to be its position on the war and on the aims for which Russia was fighting? To a large degree the answer to the first question depended on the Provisional Government's response to the second. This in turn depended on a third: how did the Tsar's successors conceive of Russia's role and place in Europe? Expressed in the terms of 1917, should the nation still struggle for Constantinople and the reassertion of Russian preponderance in the Balkans? Or should the Russian people fight now only in defense of the revolution and for the democratic principles it proclaimed?" - from Abstract. A dissertation presented to the Faculty of the Graduate School of Yale University in Candidacy for the Degree of Doctor of Philosophy. Average wear. Green boards with gilt lettering upon spine. Binding intact. Book
Xilografia a due legni, 1908, priva di firma. Impressione eccellente su carta avorio liscia. Ottimo stato di conservazione. Ampi margini oltre la linea marginale. Nel primo decennio del 1900, De Carolis dedica molta attenzione alla rievocazione di temi popolari, legati in particolare alle raffigurazioni di marine, così come testimonia questa stampa. L'utilizzo di più colori e quindi di un numero maggiore di legni ben si adatta alla vivacità di questi soggetti. Dopo l'adesione nel '96 al gruppo romano In arte libertas, creato dal paesista Nino Costa, dal 1901 insegna ornato in accademia nella Firenze dei maestri del Rinascimento, del "terribile" Michelangelo, del Böcklin dell'Isola dei morti. Comincia ad ornare libri per D'Annunzio e Pascoli e dal 1903 elabora fregi e d articoli per la rivista "Leonardo" fondata con Papini e Prezzolini. Fra le rigogliose figurazioni per la Francesca da Rimini (1902), le rusticane de La figlia di Iorio (1904), le lapidarie del Notturno del "Vate" (1917-21), le stampe marinaresche esprimono un'autonoma poetica. Il varo, L'argano, Il timone, La foce, Le arche - xilografie eseguite fra il 1904 e il 1908, mentre in Europa esplodono primi fenomeni d'avanguardia - denotano un lirismo contemplativo invischiato nel ristagno simbolista che connota la situazione italiana all'avvio del secolo. Ma al di là dei convenzionali significati latenti, quelli manifesti aprono - pur aderendo al fervore estetico del giapponismo fin-de-siècle - un discorso etnografico che si fa via via più urgente, teso a documentare l'irripetibile patrimonio che la "novella civiltà livellatrice" viene annientando. L'appello del 1920 (L'arte popolare, in "La Fionda", Roma) riscuote entusiastiche risposte, stimolando una sensibilità che nel 1923 porta all'istituzione del Regio Museo di etnografia italiana, dal 1956 Museo Nazionale delle Arti e Tradizioni popolari. Woodcut, 1908, printed from two blocks. Excellent impression, printed on ivory paper, wide margins, good condition. De Carolis was an artistic polymath, working as a painter (in particular of murals), interior designer, decorator, xylographer (wood engraver), illustrator and photographer, and is probably the best known exponent of Art Nouveau in Italy. His talent and originality was quickly recognised by two of the greatest Italian writers and poets of the day, Gabriele D'Annunzio and Giovanni Pascoli, and he became their preferred illustrator. Among his most popular works were many illustrations for Gabriele d'Annunzio's novels (Il Notturno, La figlia di Jorio) and Giovanni Pascoli‘s books of poems. In the first decade of the 1900s, De Carolis devoted a great deal of attention to the evocation of popular themes, linked in particular to representations of seascapes, as this print testifies. The use of more colors and therefore a greater number of woods is well suited to the liveliness of these subjects. After joining in '96 the Roman group In arte libertas, created by the landscape painter Nino Costa, from 1901 he taught ornament in the academy in Florence of the Renaissance masters, of the "terrible" Michelangelo, of Böcklin of the Isle of the Dead. He began to decorate books for D'Annunzio and Pascoli and since 1903 elaborates friezes and articles for the magazine "Leonardo" founded with Papini and Prezzolini. Among the luxuriant figurations for the Francesca da Rimini (1902), the rusticane of The daughter of Iorio (1904), the lapidarie of the Nocturne of the "Vate" (1917-21), the prints marinaresche express an autonomous poetic. Il varo, L'argano, Il timone, La foce, Le arche - woodcuts made between 1904 and 1908, while the first avant-garde phenomena were exploding in Europe - denote a contemplative lyricism caught up in the symbolist stagnation that characterized the Italian situation at the beginning of the century. But beyond the conventional latent meanings, the manifest ones open - while adhering to the aesthetic fervor of Japanism fin-de-siècle - an ethnographic discourse that becomes more and more urgent, aimed at documenting the unique heritage that the "new leveling civilization" is annihilating. The appeal of 1920 (L'arte popolare, in "La Fionda", Rome) received an enthusiastic response, stimulating a sensitivity that in 1923 led to the establishment of the Royal Museum of Italian Ethnography, since 1956 the National Museum of Popular Arts and Traditions.
Xilografia a due legni, 1908, priva di firma. Impressione eccellente su carta avorio liscia. Ottimo stato di conservazione. Ampi margini oltre la linea marginale. Nel primo decennio del 1900, De Carolis dedica molta attenzione alla rievocazione di temi popolari, legati in particolare alle raffigurazioni di marine, così come testimonia questa stampa. L'utilizzo di più colori e quindi di un numero maggiore di legni ben si adatta alla vivacità di questi soggetti. Dopo l'adesione nel '96 al gruppo romano In arte libertas, creato dal paesista Nino Costa, dal 1901 insegna ornato in accademia nella Firenze dei maestri del Rinascimento, del "terribile" Michelangelo, del Böcklin dell'Isola dei morti. Comincia ad ornare libri per D'Annunzio e Pascoli e dal 1903 elabora fregi e d articoli per la rivista "Leonardo" fondata con Papini e Prezzolini. Fra le rigogliose figurazioni per la Francesca da Rimini (1902), le rusticane de La figlia di Iorio (1904), le lapidarie del Notturno del "Vate" (1917-21), le stampe marinaresche esprimono un'autonoma poetica. Il varo, L'argano, Il timone, La foce, Le arche - xilografie eseguite fra il 1904 e il 1908, mentre in Europa esplodono primi fenomeni d'avanguardia - denotano un lirismo contemplativo invischiato nel ristagno simbolista che connota la situazione italiana all'avvio del secolo. Ma al di là dei convenzionali significati latenti, quelli manifesti aprono - pur aderendo al fervore estetico del giapponismo fin-de-siècle - un discorso etnografico che si fa via via più urgente, teso a documentare l'irripetibile patrimonio che la "novella civiltà livellatrice" viene annientando. L'appello del 1920 (L'arte popolare, in "La Fionda", Roma) riscuote entusiastiche risposte, stimolando una sensibilità che nel 1923 porta all'istituzione del Regio Museo di etnografia italiana, dal 1956 Museo Nazionale delle Arti e Tradizioni popolari. Woodcut printed from two blocks. Excellent impression, printed on ivory paper, wide margins, good condition. De Carolis was an artistic polymath, working as a painter (in particular of murals), interior designer, decorator, xylographer (wood engraver), illustrator and photographer, and is probably the best known exponent of Art Nouveau in Italy. His talent and originality was quickly recognised by two of the greatest Italian writers and poets of the day, Gabriele D'Annunzio and Giovanni Pascoli, and he became their preferred illustrator. Among his most popular works were many illustrations for Gabriele d'Annunzio's novels (Il Notturno, La figlia di Jorio) and Giovanni Pascoli‘s books of poems. In the first decade of the 1900s, De Carolis devoted a great deal of attention to the evocation of popular themes, linked in particular to representations of seascapes, as this print testifies. The use of more colors and therefore a greater number of woods is well suited to the liveliness of these subjects. After joining in '96 the Roman group In arte libertas, created by the landscape painter Nino Costa, from 1901 he taught ornament in the academy in Florence of the Renaissance masters, of the "terrible" Michelangelo, of Böcklin of the Isle of the Dead. He began to decorate books for D'Annunzio and Pascoli and since 1903 elaborates friezes and articles for the magazine "Leonardo" founded with Papini and Prezzolini. Among the luxuriant figurations for the Francesca da Rimini (1902), the rusticane of The daughter of Iorio (1904), the lapidarie of the Nocturne of the "Vate" (1917-21), the prints marinaresche express an autonomous poetic. Il varo, L'argano, Il timone, La foce, Le arche - woodcuts made between 1904 and 1908, while the first avant-garde phenomena were exploding in Europe - denote a contemplative lyricism caught up in the symbolist stagnation that characterized the Italian situation at the beginning of the century. But beyond the conventional latent meanings, the manifest ones open - while adhering to the aesthetic fervor of Japanism fin-de-siècle - an ethnographic discourse that becomes more and more urgent, aimed at documenting the unique heritage that the "new leveling civilization" is annihilating. The appeal of 1920 (L'arte popolare, in "La Fionda", Rome) received an enthusiastic response, stimulating a sensitivity that in 1923 led to the establishment of the Royal Museum of Italian Ethnography, since 1956 the National Museum of Popular Arts and Traditions.
Fine Russian In comtemporary cloth bdg. Roy. 8vo. (24 x 17 cm). In Russian. 428 p. Vvedeniye v teorik diyaleksiyeskogo materyalizma. From the library of Ismail Hüsrev Tökin, (1902-1992). Second Edition. Tökin completed his primary, secondary and high school education at the Austrian High School in Istanbul. Between 1922 and 1925 he completed his higher education in KUTV in Moscow. In the same year he continued his economics seminars in KUTV. After returning from the Soviet Union to Turkey, he was sentenced in '1925 Communist Tevfikat'. He is well-known for his works on economics. As understood from his collection, he has studied many religious and economic systems that exist in the world.
Very Good Turkish, Ottoman (1500-1928) Original wrappers. 12mo. (16 x 12 cm). In Ottoman script. 44 p. Hejra-Hijri: 1304 = Gregorian: 1887. Extremely rare first edition of this Ottoman edition of 'history of the Jesuits'. This book has been abridged and translated from Taxil's work. 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 "Palladian" 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. Afterward, Taxil left the hall, where policemen escorted him to a neighboring café. He then moved away from Paris. He died in Sceaux in 1907. An extremely rare first translation in Ottoman Turkish. Özege 9775. First Edition.
Very Good Turkish, Ottoman (1500-1928) Original illustrated and decorative wrappers. Pages are untrimmed and not opened. 12mo. (16 x 12 cm). In Ottoman script. 104 p. Hejra-Hijri: 1311 = Gregorian: 1894. Early edition of this rare Turkish book with Arabic script about the Jesuits' society, the most influential community of the Catholic Church, their activities and formations from the 16th to the late 19th century. It was a translation from German, but it's not written original title in the book. Kaymakam Mehmed Tahir was a late Turkish martry who was a district governor of Yozgat city. He died in the War of Independence (1919-1922). Extremely rare. Özege 3085 / 2.; TBTK 7602. Second Edition.
LACKS FIRST TWO LEAVES, INCLUDING TITLE PAGE pp. 12 [of 16], 19, 458, [10]. Small 8vo. 190 mm. **EARLY GERMANIC PLAQUE STAMPED ALUM TAWED VELLUM BINDING. The front board has a portrait of Martin Luther and on the rear board is a similar portrait of Philip Melanchthon. The boards are almost detached. No clasps. These plaque stamped bindings are rarely found in the current antiquarian book market. quite scarce. Several early ownerships including one (unidentified) from 1652. Later stamped ownership of William Harris. Henrich Smet (also Henricus Smetius Alostanus, Henricus Smetius a Leda, or Hendrik de Smet) (1535-1614) of Heidelberg was a physician and humanist scholar. The first edition of Prosodia came out in 1599 at Frankfurt. In 1603 Antoine de Harsy (fl. 1572-1607) published this second edition. It was a very popular anthology of Latin quotations and their authors that functioned as a kind of students' dictionary of phrases that could be quickly traced to the correct classical author. SAFE ADD 1
Copia, 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.
Acquaforte, siglata in lastra con il monogramma di Salvato Rosa. Copia in controparte del lavoro del Rosa. Bellissima prova, impressa su carta vergata coeva, con ampli margini, in perfetto stato di conservazione. Etching, signed with Salvator Rosa monogram. A fine impression, with margins, in very good conditions.
Acquaforte, siglata in lastra con il monogramma di Salvato Rosa. Copia in controparte del lavoro del Rosa. Bellissima prova, impressa su carta vergata coeva, con ampli margini, in perfetto stato di conservazione. Etching, signed with Salvator Rosa monogram. A fine impression, with margins, in very good conditions.
Acquaforte, siglata in lastra con il monogramma di Salvato Rosa. Copia in controparte del lavoro del Rosa. Bellissima prova, impressa su carta vergata coeva, con ampli margini, in perfetto stato di conservazione. Etching, signed with Salvator Rosa monogram. A fine impression, with margins, in very good conditions.
New English Original bdg. HC. Roy. 8vo. (24 x 17 cm). In French. 9 volumes full set: ([4], 396 p.; [4], 290 p.; [4], 352 p.; [viii], 374 p., 2 maps; [vii], 341 p.; [viii], 366, [1] p.; [viii], 342 p.; [vi], 323 p.; [vi], 255 p.). 1- Les Juifs de Constantinople sous Byzance. Les Juifs sous la domination des Turcs Seldjoukides. Les Juifs d'Istanbul sous Mehmet le Conquerant. Histoire des Juifs d'Istanbul depuis la prise de cette ville en 1453 par Mehmet II jusqu'a nos jours (1er volume). 2- Histoire des Juifs d'Istanbul depuis la prise de cette ville en 1453 par Mehmet II jusqu'a nos jours (2me volume). Histoire des Juifs d'Anatolie (1er volume); les Juifs d'Izmir (Smyrne) (1ere partie). 3- Histoire des Juifs d'Anatolie (1er volume); les Juifs d'Izmir (Smyrne) (2eme partie). Histoire des Juifs d'Anatolie (2eme volume) (1ere partie). 4- Histoire des Juifs d'Anatolie (2eme volume) (2eme partie). Appendice a l'histoire des Juifs d'Anatolie. 5- Documents officiels Turcs concernant les Juifs de Turquie. Appendice a l'ouvrage Documents officiels Turcs concernant les Juifs de Turquie. Recueil de nouveaux documents inedits concernant l'histoire des Juifs de Turquie. 6- Nouveau recueil de nouveaux documents inedits concernant l'histoire des Juifs de Turquie. Encore un nouveau recueil de documents concernant l'histoire des Juifs de Turquie -etudes scientifiques. Quatrieme recueil de documents concernant les Juifs de Turquie proverbes Judeo-Espagnols. Cinquieme recueil de documents concernant les Juifs de Turquie -divers sujets Juifs. Sixieme recueil de documents concernant les Juifs de Turquie et divers sujets Juifs. 7- Septieme recueil de documents concernant les Juifs de Turquie et divers sujets Juifs. Histoire des Juifs de Rhode, Chio, Cos, etc. Appendice a l'histoire des Juifs de Rhode, Chio, Cos, etc. et fin tragique des communautes Juives de Rhodes et de Cos, oeuvre du brigandage Hitlerien. Turcs et Juifs, etudes historique, politique. 8- Turcs et Juifs, etudes historique, politique (suite). Appendice a l'ouvrage Turcs et Juifs, etudes historique, politique. Appendice a mes ouvrages Turcs et Juifs. Nouveaux documents sur Sabbetai Sevi organisation et us et coutumes de ses adeptes. Don Joseph Nassi d'apres de nouveaux documents. 9- Esther Kyra d'apres de nouveaux documents. Don Salomon Aben Yaeche Duc de Metelin. Hommes et choses Juifs Portugais en Orient. Medecins Juifs au service de la Turquie. Un chapitre inedit de l'histoire Juive: Marranes Iraniens. Le Juif dans le proverbe: Le conte et la chanson Orientaux. Abdul Hamid II et le sionisme. L'adoption des caracteres Latins dans la langue Hebraique signifie sa dislocation. La presse Judeo-Espagnol mondiale.
New English Original bdg. HC. [Red cloths]. Roy. 8vo. (24 x 17 cm). In French. 9 volumes full set: ([4], 396 p.; [4], 290 p.; [4], 352 p.; [viii], 374 p., 2 maps; [vii], 341 p.; [viii], 366, [1] p.; [viii], 342 p.; [vi], 323 p.; [vi], 255 p.). 1- Les Juifs de Constantinople sous Byzance. Les Juifs sous la domination des Turcs Seldjoukides. Les Juifs d'Istanbul sous Mehmet le Conquerant. Histoire des Juifs d'Istanbul depuis la prise de cette ville en 1453 par Mehmet II jusqu'a nos jours (1er volume). 2- Histoire des Juifs d'Istanbul depuis la prise de cette ville en 1453 par Mehmet II jusqu'a nos jours (2me volume). Histoire des Juifs d'Anatolie (1er volume); les Juifs d'Izmir (Smyrne) (1ere partie). 3- Histoire des Juifs d'Anatolie (1er volume); les Juifs d'Izmir (Smyrne) (2eme partie). Histoire des Juifs d'Anatolie (2eme volume) (1ere partie). 4- Histoire des Juifs d'Anatolie (2eme volume) (2eme partie). Appendice a l'histoire des Juifs d'Anatolie. 5- Documents officiels Turcs concernant les Juifs de Turquie. Appendice a l'ouvrage Documents officiels Turcs concernant les Juifs de Turquie. Recueil de nouveaux documents inedits concernant l'histoire des Juifs de Turquie. 6- Nouveau recueil de nouveaux documents inedits concernant l'histoire des Juifs de Turquie. Encore un nouveau recueil de documents concernant l'histoire des Juifs de Turquie -etudes scientifiques. Quatrieme recueil de documents concernant les Juifs de Turquie proverbes Judeo-Espagnols. Cinquieme recueil de documents concernant les Juifs de Turquie -divers sujets Juifs. Sixieme recueil de documents concernant les Juifs de Turquie et divers sujets Juifs. 7- Septieme recueil de documents concernant les Juifs de Turquie et divers sujets Juifs. Histoire des Juifs de Rhode, Chio, Cos, etc. Appendice a l'histoire des Juifs de Rhode, Chio, Cos, etc. et fin tragique des communautes Juives de Rhodes et de Cos, oeuvre du brigandage Hitlerien. Turcs et Juifs, etudes historique, politique. 8- Turcs et Juifs, etudes historique, politique (suite). Appendice a l'ouvrage Turcs et Juifs, etudes historique, politique. Appendice a mes ouvrages Turcs et Juifs. Nouveaux documents sur Sabbetai Sevi organisation et us et coutumes de ses adeptes. Don Joseph Nassi d'apres de nouveaux documents. 9- Esther Kyra d'apres de nouveaux documents. Don Salomon Aben Yaeche Duc de Metelin. Hommes et choses Juifs Portugais en Orient. Medecins Juifs au service de la Turquie. Un chapitre inedit de l'histoire Juive: Marranes Iraniens. Le Juif dans le proverbe: Le conte et la chanson Orientaux. Abdul Hamid II et le sionisme. L'adoption des caracteres Latins dans la langue Hebraique signifie sa dislocation. La presse Judeo-Espagnol mondiale.
Acquaforte, tratta da 'A series of subiects peculiar to the campagna of Rome and Pontine marshes designed from nature and etched by C. Coleman', edito a Roma nel 1850. Magnifica prova, impressa su carta cina applicata su cartoncino, pieni margini, in perfetto stato di conservazione. Charles Coleman è stato un pittore inglese di paesaggi e animali, nato a Pontefract, nello Yorkshire, in Inghilterra. Fu attivo principalmente a Roma, dove fu un'importante influenza su Nino Costa e diede un contributo significativo alla formazione della Scuola di pittura di Campagna Romana. Dalle brulle colline dello Yorkshire, Charles Coleman arriva a Roma nel 1831 e si mostra un pittore appassionato del territorio che circonda l’urbe, pubblicando alla metà del secolo, presso la libreria Spithover, un ricco volume con 53 acqueforti: A series of subiects peculiar to the campagna of Rome and Pontine marshes designed from nature and etched by C. Coleman. I paesaggi che Coleman rappresenta somigliano molto alle vedute desolate del suo Yorkshire, “ventose e abitate soltanto dall’erica”. Nella gran parte delle vedute dell’artista inglese il paesaggio si presenta con vivaci contrapposti, facendo sì che Coleman rappresenti un vero e proprio maestro per una o due generazioni di pittori romani e non solo. Era sprezzante dell'insegnamento accademico, credendo che l'osservazione dalla natura fosse la migliore educazione per un artista. Espose cinque volte alla Royal Academy di Londra, per l'ultima volta nel 1869.ne. 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.
Copia di un niello già conservato nella collezione Durazzo (n. 2869), di cui sopravvivono due impronte originali (Gabinetto Rothschild al Louvre; British Museum, Londra). L'opera può essere datata alla fine del XV secolo e attribuita con una certa sicurezza alla scuola bolognese. Il giovane uomo e la donna sono probabilmente ritratti di persone reali, una coppia di fidanzati o sposati da poco. La loro disposizione, uno di fronte all'altro di profilo, è conforme alla pratica convenzionale del Quattrocento per i ritratti in pendant di mariti e mogli. 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 formerly kept in the Durazzo collection (n. 2869), of which two original impression survives (Cabinet Rothschild at the Louvre; British Museum, London). The work may be dated to the end of the fifteenth century and attributed with some confidence to the Bolognese school. The young man and woman are probably portraits of actual people, a betrothed or recently married couple. Their arrangement, facing each another in profile, conforms to conventional quattrocento practise for pendant portraits of husbands and wives. 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 2401.019; Duchesne, p. 271 n. 337; Zanetti pp. 99-100 n. 128
Appears to be a 1970s or 1980s replica of the pre-WWII original. Features lovely young lady in elegant long light-blue dress seated on bench with floral backdrop. Illustration at bottom suggests this is an ad for a high-quality fabric brand. Approximately 30" x 20". Crimped metal strips protect top and bottom edges. Unmarked with moderate wear and soiling. Last few inches of lower right corner detached from metal strip. A charming memento of 1930s Shanghai. Will be shipped in a sturdy mailing tube. Poster
Appears to be a 1970s or 1980s replica of the iconic pre-WWII original. Features comely young lady on bicycle wearing shorts, heels, and an open top revealing a tantalizing glimpse of her right breast. Approximately 30" x 20". Crimped metal strips protect top and bottom edges. Clean and unmarked with light wear. A charming memento of 1930s Shanghai. Will be shipped in a sturdy mailing tube. Poster
Appears to be a 1970s or 1980s replica of the pre-WWII original. Features lovely young lady in long red floral print dress with white fur around her neck. Illustrations of Gold Bar and Hateman cigarette boxes along bottom edge. Approximately 30" x 20". Crimped metal strips protect top and bottom edges. Clean and unmarked with light wear. A charming memento of 1930s Shanghai. Will be shipped in a sturdy mailing tube. Poster
Appears to be a 1970s or 1980s replica of the pre-WWII original. Features lovely young lady in long red and white dress seated in what appears to be an elegant restaurant. Illustrations of cigarette packs across the bottom include the Fiddle, 5 Bats and Good Crop brands. Approximately 30" x 20". Crimped metal strips protect top and bottom edges. Clean and unmarked with light wear. A charming memento of 1930s Shanghai. Will be shipped in a sturdy mailing tube. Poster
Appears to be a 1970s or 1980s replica of the pre-WWII original. Features lovely young lady in pearls and red-checked vest holding adorable Pekingese dog close to her breast. Approximately 30" x 20". Crimped metal strips protect top and bottom edges. Clean and unmarked with very light wear. A charming memento of 1930s Shanghai and a great gift idea for any fan of the Pekingese breed. Will be shipped in a sturdy mailing tube. Poster
75 pages. The first eight pages are devoted to "Drills, Pantomines and Motion Songs - Swimming Drill" and are cutely illustrated with sketches of children performing the various motions. Next come 9 pages of "Marching and Motion Songs for Schools" which include words and piano music. Pages 19 through 61 cover Motion Songs with piano music included for most - songs include The Brook, Our Flag, The Violets, The Leaves, What the Wind Says, Fife and Drum, Little Things, On the Lake, Pussies, The Farm, The Meadows, Good Night, Song of the Waves, and Japanese Parasol Drill. Pages 62 through 75 are devoted to Marches and include diagrams. Heavily worn, soiled and stained yet binding remains intact. Page 17 missing. Prior owner's name atop front free endpaper else unmarked. While copy has seen considerable use, it retains its vintage charm. Book
Acquaforte, circa 1870, dimensioni 160 x 255 mm, impressa su carta coeva, in ottimo stato di conservazione. Firma a matita in basso a desta. Dalla attivissima calcografia Lovera di Torino è stampata l'acquaforte di Vittorio Avondo, artista torinese che studiò a Pisa e Ginevra, per poi approdare al naturalismo morbido e sfumato di Fontanesi. Visse anche a Roma dal 1857 al 1865; forse di quel soggiorno resta un ricordo in questa acquaforte della campagna Romana (della quale esistono anche alcuni dipinti in collezione privata), splendido brano intriso di un'atmosfera elegiaca, malinconica, pervaso di una luce vibrante e sfumature delicate. Le acqueforti dell'artista che si conservano non sono molte, forse una decina. Grande collezionista e conoscitore dell’arte medievale e moderna, oltre che pittore paesaggista, Avondo ebbe un ruolo fondamentale nella storia culturale del Piemonte contribuendo, insieme a Alfredo d’Andrade, allo studio e alla tutela del patrimonio artistico del territorio. Importante la sua figura anche per la GAM, egli fu infatti Direttore del Museo Civico di Torino per un lungo periodo, dal 1890 al 1910, e contribuì in modo significativo alla definizione della raccolta d’arte moderna accogliendo ad esempio la donazione delle opere di Antonio Fontanesi. La nascita in una famiglia dalle ampie possibilità economiche gli permise di coltivare a tempo pieno la passione per la pittura di paesaggio e di compiere viaggi per l’Europa che ne arricchirono la formazione. Tappa obbligata di questa educazione, dopo un primo alunnato presso Alexandre Calame a Ginevra concluso nel 1857, fu un lungo soggiorno a Roma che si protrasse sino al 1860 e che si rinnovò intorno al 1865. Qui egli ebbe modo di conoscere Nino Costa e frequentare un entourage colto e ricco di stimoli in cui spiccavano artisti come Enrico Gamba, Frederic Leighton, George Mason e i tedeschi legati ai Deutsch Römer, come Anselm Feuerbach, Hans von Marées e lo stesso Böcklin. Ma fu sopratutto la sua sensibilità a contatto con il vasto scenario della campagna romana a condurlo a superare lo stile minuzioso e finito appreso in Svizzera, a favore di un nuovo linguaggio scarno ed essenziale, in grado di restituire per sintesi gli ampi orizzonti del paesaggio laziale. In questa svolta pare di cogliere un gusto artistico in rapido cambiamento, in cui si riflette l’interesse per la resa del paesaggio “sul vero” - tema che anima il fronte degli artisti più avanzati di quegli anni - e che pare testimoniata anche dall’acquisto delle prime stampe fotografiche di quei luoghi. Una scelta che la mostra restituisce attraverso alcune preziose carte salate di Giacomo Caneva che fanno parte della generosa eredità dei beni che Vittorio Avondo lasciò alla Città di Torino alla sua morte. Il rapporto tra i suoi schizzi, originariamente raccolti in taccuini, e quelle prime immagini fotografiche offre un ulteriore spunto di riflessione su come si modifichi il modo di guardare al paesaggio in quegli anni: uno sguardo che coglie la natura in presa diretta ma che può anche tornarvi in tempi successivi attraverso gli appunti grafici e le prime immagini fotografiche. Una riflessione che porta a interrogarsi sulla stessa funzione del disegno e su scelte e soluzioni che si discostano radicalmente dalla tradizione accademica. Si apprende da Giubbini che l'opera è stata pubblicata su "L'Arte in Italia" (agosto 1870, tav. 22) con commento di Camerana a p. 128. Riguardo allo stile Giubbini ha commentato molto favorevolmente questa acquaforte, mettendola in relazione con "il gruppo delle incisioni più 'finite' di Appian"; sul piano della tecnica ha osservato: "Da notare che il processo di semplificazione, probabilmente già forte nel passaggio dal disegno preparatorio al disegno tracciato con la punta sulla vernice, continua nelle fasi successive della lavorazione della lastra attraverso la mancata o parziale morsura di molti dei segni ... Etching, circa 1870, size 160 x 255 mm, impressed on coeval paper, in excellent condition. Signature in pencil in the lower right corner. Printed by chalcography Lovera in Turin. Light, and brilliant landscape with the poetical expression of trees, that recalls the traditional Italian painting of the XIX century. The work is characterized by a well-balanced lightening which created a strong feeling of the scene, with the movement of trees in the wind through intense black made shadows and light in far behind of landscapae. Vittorio Avondo, an artist from Turin who studied in Pisa and Geneva, and then came to the soft and nuanced naturalism of Fontanesi. He also lived in Rome from 1857 to 1865; perhaps a memory of that stay remains in this etching of the Roman Campagna (of which there are also some paintings in a private collection), a splendid piece imbued with an elegiac, melancholic atmosphere, pervaded by a vibrant light and delicate nuances. The etchings of the artist that are preserved are not many, perhaps a dozen. We learn from Giubbini that the work was published in "L'Arte in Italia" (August 1870, table 22) with a comment by Camerana on p. 128. Regarding the style, Giubbini commented very favorably on this etching, relating it to "the group of Appian's most 'finished' etchings"; as far as technique is concerned, he observed: "It should be noted that the process of simplification, probably already strong in the passage from the preparatory drawing to the drawing traced with the tip on the varnish, continues in the successive phases of the working of the plate through the lack or partial biting of many of the marks corresponding to the branches of the trees". A great collector and connoisseur of medieval and modern art, as well as a landscape painter, Avondo (1836 – 1910) played a fundamental role in the cultural history of Piedmont, contributing, together with Alfredo d'Andrade, to the study and protection of the artistic heritage of the territory. He devoted himself to painting from an early age, training in Italy, Switzerland and France. After his return to Piedmont, he became a consultant to the City of Turin and since 1863 is part of the commission responsible for selecting the works for the collections of the Civic Museum. His activities are varied: painter, antiquarian, city councilor and member of numerous cultural institutions. In 1872 he bought the castle of Issogne (Aosta) which he restored and redecorated with the help of Alfredo d'Andrade and Giuseppe Giacosa: starting from this experience he collaborated, from 1882, to the construction of the medieval village of Turin and with Emanuele Tapparelli d'Azeglio to the restoration of Casa Cavassa in Saluzzo. In 1890, he succeeded Tapparelli d'Azeglio as director of the Civic Museum: upon his death in 1910, his personal collection was transferred to the Museum. G. Giubbini, L’acquaforte originale in Piemonte e in Liguria 1860 - 1875, Genova 1976, n.3; A. Dragone, J. Conti, I paesisti piemontesi dell'Ottocento, Milano, 1947; R. Maggio Serra e B. Signorelli, a cura di, Tra verismo e storicismo. Vittorio Avondo (18
128 pages. Features: Gorgeous one-page color-photo Chanel ad featuring Catherine Deneuve; Two-page Vantage cigarette ad features Dave Ness of Seattle; Ending an End to Cosmic Loneliness - Goldstone Tracking Center radiotelescope seeks out intelligent life; Behind the Lazar Berman Legend; In England Now, by John le Carre; When Fat was in Fashion - abundant flesh was a thing of beauty to artist Peter Paul Rubens, who was born 400 years ago; To be Young, Black and Out of Work - depressing photos and stats on the 'Clockwork Orange' epidemic in the ghettos of America's cities; Great two-page color-photo ad for the Talon Channel-Zip zipper features stuntmen in action; Color-photo ad for Lakeland coats features New York Giants running back Gordon Bell; Silent Fall - Dissidents behind the iron curtain are being suppressed - with photos of folk singer Wolf Biermann, Rumanian writer Paul Goma, correspondent Rober Toth, Czech playwright Paul Kohout, Yugoslav writer Mihajlo Mihajlov, and Anatoly Shcharansky; Tennis player Marty Riessen is featured in a tennis school ad; At Home with a Skyscraper - architects Oliver Lundquist and John Stonehill build a townhouse next to a 50-story skyscraper in New York; The Maestro - Cellist Mstislav Rostropovich; "Dewar's Profile" on back cover features film animation producer, director and designerJim Simon of North Hollywood. Average wear. Unmarked. A sound vintage copy. Book
