Multiple ContributorsMareMagnum
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60 pages. Features: Great cover art of a Sunday School teacher struggling to maintain order; Editorial - a fond farewell to Harry S. Truman; Great ad for International Harvester excavating equipment; Our Sorry Record on Housing - Canada rates last among western nations since WWII - article with photos; Youth and Age in a Timeless Seaport - Karsh photographs Saint John, New Brunswick; Queen of the Sob Sister - a Maclean's Flashback to Mrs. Kathleen (Kit) Blake Watkins, the world's first woman war correspondent; Rory Peter's Last Run - story by David MacDonald - illustrated by Jack Bush; How Margery Anderson Came Back from Insanity after a nervous breakdown in 1945; When Ignorance is Bliss - humour by Robert Thomas Allen illustrated by Duncan MacPherson; Do Civil Servants Earn Their Salaries? - The Government (Ottawa) Girl - red tape, the frustration of routine work and Ottawa's man shortage often bring disillusionment to her - article with photos; Nice colour-photo ad for Allis-Chalmers excavation equipment - Ungava theme; 1953 Dodge ad; Excellent Coke ad on back cover features man in a foundry. Clean and unmarked with light wear. An excellent vintage copy. Book
96 pages. Includes photos of the official opening of Magee's new addition on 11 March, 1960. Loaded with great black and white photos. Two inscriptions inside back cover. Dab of liquid paper inside front cover. Somewhat above-average wear. Binding sound. Book
104 pages. Many black and white photos. Average wear. Binding tight. Many autographs from members of the graduating class. A sound copy. Book
66 pages. Many autographs. Average wear. A sound copy. Book
84 pages. Wonderful vintage black and white photos. Numerous autographs throughout. Average wear. A sound copy. Book
130 pages. Many black and white photos. Several pages of contemporary local advertisements. Numerous short tears to and chips from brown paper covers. Textblock tight and square. Numerous autographs. This copy belonged to Jack Hightower and is signed and dated May 16, 1924. A wonderful throwback to the 1920s in Artesia, New Mexico. Book
Features: Iran's Good King - a report from the imperial realm of 'our staunchest ally in the Middle East'; People on the Way Up - Val Forgett, Norma Gibbs, Charles Swibel, Catherine Anouilh; The Menningers of Kansas - Part 2 - the hopeless patient is a myth; nice color ad for Seattle's World's Fair 1962; Reading - a way upward - school officials in St. Louis are showing that good books provide a way out of poverty; Posh Palace of Fashion - New York's Bergdorf Goodman; Nice Cadillac ad on page 65; An Answer to Teller - a reply to Edward Teller's S.E.P. articles in Febrary 1962; The Met's Second Caruso - Richar Tucker. Average wear. A sound copy. Book
Unpaginated. Almost one inch thick. Not only a complete 1974 yearbook, this volume also includes a substantial primarily photographic history of the school back to its founding in 1931. Prior owner's small name hidden on backside of front free endpaper else unmarked with moderate wear. Binding sound. Supplement included. A quality copy of this special issue. Book
47 pages. Features: I Like Hollywood Children - so says Montreal artist Eva Prager, who has painted portraits of leading stars' youngsters; I became a spy for the man I loved - Ethel Gee, Harry Houghton and the Lonsdale Spy Ring; Lovely full-page colour ad for Rowntree's Fruit Pastilles; The Royal Commission on Publications; Salute to the Salmon - mosaic depicting salmon swimming upstream is part of a fountain in Nanaimo, B.C. which was a belated centennial gift from the city's Italo-Canadian community - two nice colour photos with text - great Nanaimo history; Man O' War's farewell drama - $80,000 thrill for Windsor, Ontario; 10 Photos of Canadian MPs exercising; Terry the tricky dog - drives tractors, water skis, and more; Toronto taxis set up their own theatre; They got what they wanted - Gerry and Elspeth Burnett of Matane Air Services, Matane, Quebec; Muscle men rented out for photo shoots; Sunnyview Outdoor Science School on Toronto Island; Nipper by Doug Wright. Nice colour ads. Average wear. Unmarked. Book
Unpaginated. Many black and white photos. Bonus: Book contains a lengthy list of graduates (alumni) with addresses for the classes of 1898-1900 through 1948. A superb reference. Maroon-coloured boards. Average wear. Unmarked. Binding intact. Book
[3], v, 118 pages. Opens with one-page biographies for each of Michael Hirsch, Maxwell Goldstein, K.C., and Simon Belkin. Deals with a problem which arose in Montreal in the 1920's concerning the public schooling of the Jewish children. Lists the holdings of the National Archives of the Canadian Jewish Congress (CJC) on this subject. Intended as a tool for those interested in this chapter of our history; it is not a history or even an outline of these annals." - from Foreword. Unmarked with moderate wear. Moderate moisture staining to fore-edge. Binding intact. A sound copy. Book
185 pages. Printed upon glossy stock. Profusely illustrated with black and white photos. Many great local ads and much more. Average wear. Unmarked. Covers affixed backwards by printer. A sound vintage copy of this wonderful memento. Book
216 pages. Bibliography. Abundantly illustrated in black and white. "Presents works by artists of the Barbizon School, so influential to Dutch art in the 19th century." - from Foreward. Moderate wear. Unmarked. Tight and square. A sound copy. Book
191 pages. Maroon embossed leatherette boards. Loaded with black and white photos. Somewhat above-average wear. Modest lean to spine. Large tear to page 134. Several autographs. (Please ask if we still have our 20 year reunion book for this class) Book
90 pages. Hundreds of reproductions of black and white photos. Generous section of nostalgic local ads. Few autographs. Above-average wear and soiling. A worthy copy of this wonderful vintage yearbook. Book
100 pages. Hundreds of reproductions of black and white photos. Lots of autographs. Heavy external wear and soiling. Lacking back cover. Prior owner clipped out his own small photo. A worthy copy of this wonderful vintage yearbook. Book
98 pages. Hundreds of reproductions of black and white photos. Generous section of nostalgic local ads. Few autographs. Heavy external wear and soiling. A worthy copy of this wonderful vintage yearbook. Book
108 pages. Hundreds of reproductions of black and white photos. Lots of autographs. Generous selection of nostalgic local ads. Heavy external wear and soiling. Front cover almost loose. A worthy copy of this wonderful vintage yearbook. Book
Two volumes in-4to, 1) XII + 798 p., including frontispice and env. 15 planches n./b., 2) 782 pp., including frontispice and 15 planches n./b.; binding in red-morocco with corners, gilt spine with Art Nouveau motifs, some rubbing to the head and tails of spines. Pages are bright with occasional spotting.
Copia, nello stesso verso, da un niello appartenuto alla collezione Durazzo oggi conservato a Parigi, Louvre, collection Rothschild. Nel nastro svolazzante l’iscrizione “SOL IN DEO SPERO”.L’iscrizione consente di identificare il soggetto come un’allegoria della Speranza. La rappresentazione della figura femminile e lo stile molto delicato possono confrontarsi con altri nielli comunemente attribuiti a a Francesco Francia (Hind, Nielli, n. 242 e n. 247). I nielli della collezione Durazzo vennero fatti riprodurre in incisioni proprio dal proprietario, tra fine XVIII e inizio XIX secolo, costituendo una serie che venne diffusa e collezionata dagli amatori. Bartsch descrive queste copie nel suo volume edito nel 1811, data che quindi costituisce il terminus ante quem per l'esecuzione. Copy, on the same verso, from a niello that belonged to the Durazzo collection, now in Paris, Louvre, Rothschild collection. Inscribed in the flattering banner “SOL IN DEO SPERO”.The inscription (Only in God I Hope) identifies the woman as an allegory of Hope. The feautures of the woman and the very delicate, but regular technique compare well with nielli usually attribued to Francesco Francia as: Hind, Nielli, n. 242 and n. 247. 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.
Copia di un niello della ex collezione Durazzo, (n. 3860) L'immagine esiste anche in almeno altre tre varianti: un disegno lombardo ( ?) agli Uffizi ( inv . no . 209F), falsamente inscritto come un ritratto di Beatrice d'Este di Leonardo; un dipinto nel Metro politan Museum of Art con un monogramma di Dürer falsificato (il dipinto potrebbe essere esso stesso un falso) e la data 1506; e un'incisione precedentemente attribuita a Zoan Andrea ( vedi TIB 2509.026 ), apparentemente un artista fittizio ora identificato con Giovanni Antonio da Brescia ( TIB 2511 ) . Sebbene Dutuit e Blum abbiano chiamato l'opera veneziana, la composizione è chiaramente lombarda, e la stampa fu probabilmente prodotta a Milano alla fine del XV o all'inizio del XVI secolo. I nielli della collezione Durazzo vennero fatti riprodurre in incisioni dal proprietario, tra fine XVIII e inizio XIX secolo, a Venezia - come specificato anche dal Malaspina nel suo catalogo del 1824 - costituendo una serie che venne diffusa e collezionata dagli amatori. Bartsch descrive queste copie nel suo volume edito nel 1811, data che quindi costituisce il terminus ante quem per l'esecuzione. Copy of a niello print from the Durazzo Collection (n. 2860) The image also exists in at least three other variants : a Lombard ( ? ) drawing in the Uffizi ( inv . no . 209F ) , falsely inscribed as a portrait of Beatrice d'Este by Leonardo ; a painting in the Metro politan Museum of Art with a forged Dürer monogram ( the painting may itself be a forgery ) and the date 1506 ; and an engraving formerly attributed to Zoan Andrea ( see TIB 2509.026 ) , apparently a fictitious artist now identified with Giovanni Antonio da Brescia ( TIB 2511 ) . Although Dutuit and Blum called the work Venetian , the composition is clearly Lombard , and the print was probably produced in Milan at the end of the fifteenth or the beginning of the sixteenth century . The nielli of the Durazzo collection were reproduced in engravings by the owner himself, between the end of the 18th and the beginning of the 19th century, in Venice - as also specified by Malaspina in his catalog of 1824 - constituting a series that was circulated and collected by amateurs. Bartsch describes these copies in his volume published in 1811, a date that therefore constitutes the terminus ante quem for the execution. TIB 2401.017; Duchesne, pp. 275-76, n. 347; Zanetti, p. 102, n. 136.
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. La composizione sembra essere in pendant con un altro niello raffigurante San Giorgio che sconfigge il drago. Copy, on the same verso, from a niello belonged to the Durazzo collection. The nielli of the Durazzo collection were reproduced in prints by owner’s will, between the end of the 18th and the beginning of the 19th century, in Venice - as also specified by Malaspina in his catalog of 1824 - constituting a series that was circulated and collected by the amateurs. Bartsch describes these niello prints in his volume published in 1811, a date that therefore constitutes the terminus ante quem for the execution The composition seems to have as pendant the niello depicting St. George and the dragon
Sul nastro, al contrario: VA˙INLA˙CA...NEVA Copia, nello stesso verso, di un niello della collezione Durazzo (n. 2834), di cui una impressione originale è ora a Parigi, Louvre, collezione Cabinet Rothschild. Questa stampa può essere approssimativamente assegnata all'Italia settentrionale, e in particolare a Bologna. Zanetti e Dutuit ritengono che il dialetto dell'iscrizione sia quello di Venezia e, di conseguenza, attribuiscono l'opera alla scuola veneziana. Le parole Va inla caneva sono probabilmente emiliane invece. Il soggetto è enigmatico. 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. On the scroll, in reverse: VA˙INLA˙CA…NEVA Copy, on the same verso, of a niello print formerly kept in the Durazzo collection (n. 2834), now in Paris, Louvre, Cabinet Rothschild collection. This print can be tentatively assigned to northern Italy, and specifically to Bologna. Zanetti and Dutuit believed the dialect of the inscription to be that of Venice and accordingly attributed the piece to the Venetian school. The words Va inla caneva are probably Emilian instead of, or in addition to, being Venetian. The subject is enigmatic. 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 2401.021; Duchesne, p. 266, n. 326; Zanetti, pp. 102-103.
Copia di un niello già conservato nella collezione Durazzo (n. 2854), di cui una impressione originale è a Berlino, Staatliche Museen. Sui cartigli, in senso orario da sinistra, al contrario: REGNABO, REGNA, REGNATEM. Questo bel lavoro, delicatamente inciso, è caratteristico delle stampe a niello per le sue dimensioni ridotte, la sua forma circolare e la sua iscrizione al contrario, ma non è caratteristico per il suo sfondo bianco e non ombreggiato. Tecnicamente, sembra risalire alla fine del XV o all'inizio del XVI secolo. Il soggetto era comune in tutta l'arte europea dall'alto medioevo in poi ed è spesso accompagnato da varianti delle iscrizioni sopra citate, ciascuna associata a una figura diversa posta a intervalli regolari intorno alla ruota della fortuna. In questa immagine, la ruota è fatta girare da una corda, attaccata a una manovella nel centro e tirata da una mano che emerge dal cielo in alto a destra. La mano sembra emergere da, o passare attraverso, un'aureola inscritta con una croce. La mano, quindi, deve essere la mano di Dio, che determina il destino dell'uomo spingendo la Ruota della Fortuna. 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 terminusine ante quem per l'esecuzione. Copy of a niello print formerly kept in the Durazzo collection (n. 2854), now in Berlin, Staatliche Museen. On the scrolls, clockwise from the left, in reverse: REGNABO, REGNA, REGNATEM. This fine, delicately engraved work is characteristic of niello prints in its diminutive size, its circular shape, and its inscription in reverse, but uncharacteristic in its white, unshaded background. Technically, it appears to date from the late fifteenth or early sixteenth century. The subject was common throughout European art from the high middle ages onward and is often accompanied by variants of the inscriptions quoted above, each one associated with a different figure placed at regular intervals around Fortune’s wheel. In this image, the wheel is turned by a rope, attached to a crank in the center and pulled by a hand emerging from the sky at the upper right. The hand appears to emerge from, or pass through, a halo inscribed with a cross. The hand, therefore, must be the hand of God, who determines man’s fate by propelling the Wheel of Fortune. 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. For the attribution to Maso Finiguerra, disputed by some scholars, see the summary in Zucker in The Illustrated Bartch,1993. TIB 2401.011; Duchesne, pp. 259-60, n. 312; Zanetti, p. 107, n. 151
Copia di un niello della collezione Durazzo. Secondo Dutuit , il facsimile registrato da Bartsch , Duchesne , e Zanetti non corrisponde a nessuna delle impressioni su carta nella vendita Durazzo del 1872. Dutuit ha ipotizzato che abbiano visto un facsimile copiato da una placca d'argento descritta da Passavant (vol. 1, p. 272, n. 10; anche Dutuit, p. 46, n. 187). Questo medaglione ovale era il n. 2827 del catalogo della vendita Durazzo. Si suppone che il soggetto sia la Madonna col Bambino in trono affiancata da un vescovo santo (con una croce?) e un altro santo (un cardinale o un monaco che porta un libro?). 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 termine ante quem per l'esecuzione. Copy of a niello print from the Durazzo Collection. According to Dutuit , the facsimile recorded by Bartsch , Duchesne , and Zanetti does not correspond with any of the paper impressions in the Durazzo sale of 1872. Dutuit speculated that they had seen a facsimile copied from a silver plaque described by Passavant ( vol . 1 , p . 272 , no . 10 ; also Dutuit , p . 46 , no . 187 ) . This oval medallion , measuring 52 x 39 mm , was no . 2827 in the Durazzo sale catalogue . Supposedly , the subject was the Madonna and Child enthroned and flanked by a bishop saint ( with a cross ? ) and another saint ( a cardinal or a monk carrying a book ? ) . Repository unknown . 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 2401.007; Duchesne, p. 160, n. 67; Zanetti, p. 99, n. 127
