Yousuf Karsh
A photograph showing the Great Britain's Prime Minister Winston Churchill n Canada's Parliament in Ottawa, welcomed by William Mackenzie King, the Prime Minister of Canada. Churchill addressed the Canadian Parliament on 30 December 1941. Sir Winston Leonard Spencer Churchill (30 November 1874 ? 24 January 1965) was a British statesman, military officer, and writer who was Prime Minister of the United Kingdom from 1940 to 1945 (during the Second World War) and again from 1951 to 1955. Apart from 1922 to 1924, he was a member of Parliament (MP) from 1900 to 1964 and represented a total of five constituencies. Ideologically an adherent to economic liberalism and imperialism, he was for most of his career a member of the Conservative Party, which he led from 1940 to 1955. He was a member of the Liberal Party from 1904 to 1924.In August 1941, Churchill met with United States President Franklin D. Roosevelt in Placentia Bay, Newfoundland, where they signed the Atlantic Charter. Shortly after the entry of the United States into the war in December 1941, Churchill addressed the Canadian House of Commons on December 30.William Lyon Mackenzie King (December 17, 1874 ? July 22, 1950) was a Canadian statesman and politician who was the tenth prime minister of Canada for three non-consecutive terms from 1921 to 1926, 1926 to 1930, and 1935 to 1948. A Liberal, he was the dominant politician in Canada from the early 1920s to the late 1940s. King is best known for his leadership of Canada throughout the Great Depression and the Second World War. He played a major role in laying the foundations of the Canadian welfare state and established Canada's international reputation as a middle power fully committed to world order. With a total of 21 years and 154 days in office, he remains the longest-serving prime minister in Canadian history., Image Size : 364x500 (mm), 14.33x19.69 (Inches), Platemark Size : , Paper Size : , Black & White, Photograph Very Good, pasted on contemporary cardboard
J. Payne
It was published in "The Evening Advertiser" November 1755.It shows Lake George called by the French S.Sacrament. The first European to see Lake George was Father Jogues, a French Jesuit missionary, taken captive by the Mohawk in 1642. Father Jogues later named the lake Lac Saint Sacrament. In 1755, the British soldier and colonial official Sir William Johnson renamed it Lake George in honor of George II.During the French and Indian War and during the American Revolution, Lake George, on a transportation route between New York and Canada, was the scene of many battles. The most famous was the Battle of Lake George, fought on September 8, 1755, in which a force of French and Native Americans was defeated by a British colonial force under General William Johnson. The battle is commemorated by a monument in Lake George Battleground Park at Lake George village., Size : 91x158 (mm), 3.58x6.22 (Inches), Black & White
Piranesi, Giovanni Battista (1720-1778); Piranesi, Francesco (c.1756 -1810)
Edition : First Edition. , Expertly rebacked burgundy quarter calf saving contemporary marbled boards and calf spine; with five (5) raised blind bands; gilt lettered title on two and four; compartments with central floral ornament. , The engravings in the present edition are all signed by Cav. Piranesi F. On some plates watermarks visible ? according to Andrew Robison?s classification, numbers 80, 85 and 87 (bird on house)- also provided in Wilton Ely. Wilton-Ely writes concerning the original work: "Piranesi's final work is one of his most commanding statements on architecture and, ironically, was to have a profound effect on the appreciation of the monumental austerity of Greek architecture as Neo-classicism developed. Even more than with the relief columns, there are considerable problems of authorship, here involving the contribution of Francesco Piranesi. Although Giamattista had undoubtedly been familiar with the three 5th-century temples at Paestum much earlier, it was not until late in 1777, or possibly the spring of 1778, that he made an expedition to record them, accompanied by Francesco, his assistant Benedetto Mori and the architect Augusto Rosa. The result was a suite of 20 plates plus a frontispiece and inscriptions in French, which received the imprimatur on 15 September, 1778, some two months before Giambattista's death. ?Although 18 plates are signed by Giambattista, it is likely that his son contributed to these and particularly to the remaining three - the frontispiece and Plates XIX and XX - which are signed by Francesco. The 17 surviving preparatory drawings for the series in London, Paris and Amsterdam are particularly relevant to determining authorship. All these studies, unusually finished for Giambattista and executed from the same points of view as the plates (with the exception of that for Plate II), show his hand throughout, though various attempts have been made to attribute them to his son. ?In all 21 plates, the architecture is clearly by Giambattista's hand, as are the vegetation and fragments. The figures, on the other hand, are somewhat coarse, being awkwardly drawn in a broad outline and rather similar to those in Francesco's later etched works. While this aspect is already present in the figures found in the preparatory studies, the broad treatment of the figures therein is not dissimilar to the style of the contemporary drawings of Pompeii which are clearly by Giambattista. What probably happened, therefore, is that Giambattista, having produced all the drawings, executed 18 of the plates from them and carried out much work on the remaining three before his mortal illness overtook him. Francesco then proceeded to complete these latter and to go over the remaining 18 plates, somewhat unsuccessfully attempting to reproduce the character of his father's figure style. ?In discussing these problems, Scott has drawn attention to an interesting discrepancy between a proof (729, first version), pulled from a discarded version of Plate XII, and the published plate (729, second version). In the earlier version the view is taken from a slightly lower point, the background columns are differently arranged and the figures and vegetation are completely different. It would seem that the earlier plate was damaged in some way and the composition revised by Giambattista in the preparatory drawing before he etched a fresh version. , Size : Folio (583x455+mm)., Illustrated with twenty-one (21) copper-engraved etched, elephant folio size plates which include the engraved title. , References : Giesecke: 1911, p. 120; Hind, 1922: p.19; Robison, Andrew: pp.234-237; Wilton-Ely, 1978: pp. 117-19; Wilton-Ely: #?s 717-737. A fine example of first edition with dark impression, plates are clean and crisp.
Goad, Charles Edward
English railway engineer, went to Canada in 1868, where he did not pursue engineering, but became a representative for the Sanborn Company which published fire insurance plans. From 1875 Goad began to compile and publish his own large-scale plans of Canadian towns from a base in Montreal, and soon became the largest private mapmaker in Canada. By 1885 Charles Goad had returned to Britain and established a branch in London. Goad?s highly detailed plans included information on property holdings, building construction, use and contents, and, like Sanborn?s, functioned as Fire Insurance Plans. Once leased to an insurance company the map volumes were regularly updated by a team of workers who over-pasted sections with new information onto the existing maps, some of them building up to many layers. Goad?s business rapidly expanded to cover the cities and industrial areas of Britain, Denmark, France, Egypt, Turkey, Venezuela, Bermuda, Mexico and South Africa. After his death the company was run by his three sons. Copyrights and assets of the Canadian branch of the company were sold to The Underwriter?s Survey Bureau in 1931., Size : 457x712 (mm), 17.99x28.03 (Inches), Printed in Color, 0
Goad, Charles Edward
English railway engineer, went to Canada in 1868, where he did not pursue engineering, but became a representative for the Sanborn Company which published fire insurance plans. From 1875 Goad began to compile and publish his own large-scale plans of Canadian towns from a base in Montreal, and soon became the largest private mapmaker in Canada. By 1885 Charles Goad had returned to Britain and established a branch in London. Goad?s highly detailed plans included information on property holdings, building construction, use and contents, and, like Sanborn?s, functioned as Fire Insurance Plans. Once leased to an insurance company the map volumes were regularly updated by a team of workers who over-pasted sections with new information onto the existing maps, some of them building up to many layers. Goad?s business rapidly expanded to cover the cities and industrial areas of Britain, Denmark, France, Egypt, Turkey, Venezuela, Bermuda, Mexico and South Africa. After his death the company was run by his three sons. Copyrights and assets of the Canadian branch of the company were sold to The Underwriter?s Survey Bureau in 1931., Size : 456x711 (mm), 17.95x27.99 (Inches), Printed in Color, 0 Very Good, two brown spots on upper margin not affecting the map.
Goad, Charles Edward
English railway engineer, went to Canada in 1868, where he did not pursue engineering, but became a representative for the Sanborn Company which published fire insurance plans. From 1875 Goad began to compile and publish his own large-scale plans of Canadian towns from a base in Montreal, and soon became the largest private mapmaker in Canada. By 1885 Charles Goad had returned to Britain and established a branch in London. Goad?s highly detailed plans included information on property holdings, building construction, use and contents, and, like Sanborn?s, functioned as Fire Insurance Plans. Once leased to an insurance company the map volumes were regularly updated by a team of workers who over-pasted sections with new information onto the existing maps, some of them building up to many layers. Goad?s business rapidly expanded to cover the cities and industrial areas of Britain, Denmark, France, Egypt, Turkey, Venezuela, Bermuda, Mexico and South Africa. After his death the company was run by his three sons. Copyrights and assets of the Canadian branch of the company were sold to The Underwriter?s Survey Bureau in 1931., Size : 456x717 (mm), 17.95x28.23 (Inches), Printed in Color, 0
Stanley Francis Turner [1883-1953]
Stanley Francis Turner, a talented artist, and etcher, was known for his remarkable ability to capture the essence of Canadian cities in his work.He was born in Aylesbury, England, and trained at the South Kensington School of Art in London, England.In 1903, he immigrated to Canada and settled near Yorkton, Saskatchewan. In 1911, Turner moved to Toronto, where he would make a significant impact on the Canadian art scene. He joined the advertising department of the prominent Eaton Company, which was renowned for its contributions to Canadian culture. Turner became a part of the advertising firm Rous and Mann Press Ltd, working under the guidance of established Canadian artist Franklin Carmichael.He received an Eaton scholarship to attend the Ontario College of Art in Toronto, where he had the opportunity to study under influential Canadian artists such as George Reid and J.W. Beatty. These experiences enriched his artistic skills and deepened his understanding of the Canadian art landscape.Stanley Francis Turner's artistic legacy primarily revolves around his etchings and colour woodcuts. He was best known for his etchings of Toronto and Quebec City street scenes, which masterfully depicted the distinctive architecture and monuments of these Canadian cities. , Image Size : 241x136 (mm), 9.49x5.35 (Inches), Platemark Size : 265x143 (mm), 10.43x5.63 (Inches), Paper Size : 337x213 (mm), 13.27x8.39 (Inches), Black & White, Etching
Giovanni Battista Piranesi (1720-1778)
Hind #103. State 1.View of the Piazza of Monte Cavallo from Vedute di Roma (Views of Rome) by Giovanni Battista Piranesi (1720-1778).Giovanni Battista Piranesi is celebrated for his dramatic renderings of Roman landmarks. Giovanni Battista Piranesi was one of the leading figures in the development of the neoclassical style in the late 18th Century. As architect, archaeologist, artist, designer, collector, and antiquities dealer, he produced a series of etchings and engravings depicting the glories of ancient Rome. , Image Size : 468x700 (mm), 18.43x27.56 (Inches), Platemark Size : 475x708 (mm), 18.70x27.87 (Inches), Paper Size : 500x723 (mm), 19.69x28.46 (Inches), Black & White, Copper Engraving
