instrument maker (6 Ergebnisse)

Stipple engraving,

First Hardback Edition. Very good copy in the original title-blocked cloth. Spine bands and panel edges slightly dust-toned and rubbed as with age. Remains particularly well-preserved overall. Physical description; 60 pages ; (4º). Subjects; Musical instruments. Orchestras; music. Musical instruments; history. Music; history. 3 Kg.

8vo. pp. vii, 260; illustrations. Original cloth a little marked but Very Good. "Had my object been the mere enumeration of the names and prices of instruments, etc., the present edition would have been completed long since; but my desire was to unite with these a brief description of many of them, including not only those of recent design, but also of others for which explanations are often required." From the introduction.

See the articles on Antes by Donald M. McCorkle in the Musical Quarterly, 1956, and Richard D. Claypool, in the Moravian Music Foundation Bulletin, 1978. Seven copies listed on JISC (only three in deposit libraries); now scarce. 8pp, 12mo. Disbound. In fair condition, worn and discoloured. Vignette on cover shows Osman Bey sitting cross-legged while two of his followers whip the unfortunate Antes, while a third looks on. Drophead title, p.2: 'Anecdotes in the Life of John Antes, A Moravian Missionary.'.

Meyerbeer's diary records (25 May 1853) a visit 'from Raoul Allary, who makes wind instruments. He is an opponent of Sax, and came to me because he had heard that I had spoken to the emperor on Sax's behalf' (1999 English translation of volume for 1850-1856). A pencil note at the head of the present letter identifies the subject as 'Louise Gned / 4 Rue [de] Bellefond [Paris]'. Gned (b.1810) was an Austrian soprano from a musical/theatrical family, who faded into obscurity. (Her sister Nina (1811-1874) was also an opera singer, and was married to the baritone Zacharias von Poißl.) Meyerbeer writes that he has just heard that there is a 'place de Choriste vacante à Votre Châtre', and takes the liberty of recommending to Allary's attention 'la personne qui Vous remettra ces lignes'. He describes her as 'une excellente musicienne, ancienne prima donna qui a chanté sur les premiers théâtres d'Allemagne'. It is only by 'des revers de fortune' that she is at the moment reduced to applying for the 'modeste position de Choriste'. He can personally guarantee that she is an 'excellente musicienne et elle avoit aussi quand je l'ai entendue, une très belle voix'. As she is well-acquainted with the Italian language, and has also sung in Italian theatres, 'elle pouvait encore être chargé de petits rôles'. He ends by explaining that his right arm has been troubling him for some weeks, and it this that has forced him to dictate the letter. From the autograph album of the novelist George Meredith's daughter Marie Eveleen (Mariette; 1871-1933), later the wife of Henry Parkman Sturgis (1847-1929), American-born banker and Liberal politician.

8 x 8 cm. mostly b/w (some hand coloured). glass slides (condition varies, all which bear Charles Potter labels, as well as personalized numbers). While the photographer of these images remains anonymous, their manufacturer, Charles Potter stands as an important name in Toronto's early commercial history. The collection here contains mostly European scenic views but there are several portraits (individual and group), as well as a few fine art slides. Potter himself ran one of Ontario's most successful optic companies during the latter nineteenth century. By the 1880's "Potter's small instrument shop had by now become a big national concern" having increasingly made a name for himself in the world of academia making instruments and tools for local institutions (Smith, Julian A., "Potter, Charles Optician and Instrument Maker," Journal of the Royal Astronomical Society of Canada, vol. 87, no. 1, pp. 26-27). His business continued well beyond his death in 1899. There are numerous records from local directories produced in the 1930's advertising the firm's Magic Lantern slides and projectors for academic, commercial and religious purposes. (Smith, Julian A., "Potter, Charles" p. 29).From the seventeenth to the early twentieth century Magic Lanterns served as an extremely popular portable image projector device throughout Europe, Asia and the New World. The medium was used as an aid for academics, tourism, settlement strategies or theatrical entertainment (Robinson, David. The Lantern Image, pp. 9-11). Magic Lantern slide lectures became common in Canada after 1890 when they were first used as tools in the federal immigration strategy (Scheinberg, Ellen; Rombout, Melissa K. "Projecting Images of the Nation" The Archivist No. 111).