strube sidney (12 Ergebnisse)

Card Covers. Zustand: Fair. No Jacket. Strube, Sidney (illustrator). 1st Edition. [1945], [144pp], cartoons, landscape format, card covers worn with sl loss, spine cocked.

Soft cover. Zustand: Very Good. Oversized softcover. Covers are very mildly scuffed with some minor edge wear small piece of tape on spine, otherwise clean. Binding is good and tight. No date on title page. Copyright page dated 1981. 96 pages. Pages are clean, crisp, and bright with some mild toning on fore-edge. B&W cartoon reprints throughout. Overall a nice copy. This is an oversized book, so extra shipping will be necessary for priority or international shipping. Please email with questions or to request photos. Note: if there is a photo beside this listing, it s a STOCK photo that ABE put there (for reasons that we cannot understand or control) and might not match this actual book.

Both 1p., 8vo. In good condition, lightly aged and worn, with paperclip stain to first letter. Unusual signature, in block capitals. Both addressed to Brooks at the Savage Club, with both salutations to 'Collin'. ONE: 18 April 1947. Begins: 'My dear Collin, | I consulted my firend in the Process Department here and he said that a half-tone block would not be very successful, as there is a dash of colour in the picture and the half-tone would not bring it out very well. He thought that a photograph on a piece of Matt bromide paper would look much better and not spoil the detail of the drawing. | So our photographer made a negative and I had a print made on the bromide paper, which I enclose with my compliments. | This is straight from the horse's mouth, Sir! There are other horses, I know, and if you feel that you would like to adjourn to other stables I shall quite understand.' He ends with a discussion of a couple of practical matters. TWO: 9 May 1947. He is enclosing the negative, and apologises for the delay: 'This has no connection with my artistic temperament I really have been unusually busy lately.' THREE: Carbon copy of typed letter from Brooks to Strube. 18 April 1947. 1p., 8vo. One edge frayed. Letter of thanks, beginning: 'When I left you, somewhat abruptly, at the lunch-table today, I went to the Northwest Room for the glass of port which my doctor insists that I take after each meal, hoping you would soon join us. As you did not join us, I picked up from Jack's box the parcel, the print, and your letter.' Strube was the highest paid 'journalist' in Fleet Street, on a salary of £10,000 a year. See his biography by Timothy S. Benson.

Soft Cover. Zustand: Very Good. No Jacket. First Edition. Softback book. Grey card covers with black lettering and cartoon ilustration.Unpaginated 155 pages.[1945] Cartoons from the Daily Express satirising the events and personalities of the second world war from 1939 to 194 by Strube.9.75 X 7.25 inches. Very good copy.

Card. Zustand: Good+. 4pp Card cover with hand stitched sheets about the dinner. The main feature is the superb cover cartoon by Strube, the long-serving 'Daily Express' cartoonist - the best paid in Fleet Street. Titled "Father's Dream" with a drawing of the Father of the Chapel (G K Southwell) dreaming of a Heath-Robinson machine that combines a printing press with a restaurant.

Paperback. Zustand: Good. Sidney Strube (illustrator). First edition. An uncommon oblong first publication of the cartoons for the 'Daily Express' by Sidney Strube. A series of cartoons from theDaily Express by Strube. The first and only edition of this work, an uncommon copy. With a foreword by H V Morton.Sidney Strube was a British cartoonist. This work features his most popular design, the character of 'Little Man', the personification of the "man in the street" which appeared every day on the editorial page. With a bowler hat and umbrella at hand, he represented the tax-payer suffering under politicians and vested interests, and the modern Englishman of interwar years.In the original publisher's wraps. This copy features a lovely reproduction of the 'Little Man' in pencil to the title page by a previous owner. In the original publisher's wraps. Externally generally sound with some shelf wear and chipping to the wraps. With minor mathematical inscriptions in pen to the front and rear wrap, and the general minor marking. Featuring a reproduction of the 'Little Man' in pencil to the title page by a previous owner, signed Tomas and dated 1927. Internally, firmly bound. With a minor spotting scattered throughout. Fully illustrated. Good. book.

First edition in publisher's original illustrated blue card wrap covers, black lettering to the front cover. Landscape 7½'' x 10''. Contains monochrome cartoon illustrations with text to every page. 50 mm repaired tear to the foot of the spine, corners a little turned-in, light soiling to the pale card covers, without any ownership markings, no dust wrapper as published. Member of the P.B.F.A. HUMOUR (Satire, Cartoon).

Paperback. (100pp) card covers, London Express Newspapers Ltd., London 1928. Covers marked & chipped, contents VG.

Zettel. Zustand: Sehr gut. Vermutlich ein kleines Albumcutout, ca 7,5x4 cm von Sidney Strube mit schwarzer Tinte signiert.- /// Signiert signed signée autograph autographe autogramm /// Sidney Strube (1891-1956) was a British cartoonist. He was born in Bishopsgate, London. His early career included work as a junior draughtsman with a furnishing company and as a drawer of electrical equipment and lettering for a small advertising agency.[1] He then entered John Hassall's art school. Hassall admired his caricatures and sent Strube's drawings to the periodical Conservative and Unionist (later renamed Our Flag). The editor printed four of Strube's caricatures during the January 1910 United Kingdom general election. Strube later worked as a freelance cartoonist, including drawing for the Bystander and the Evening Times.[1] In 1912 he joined the Daily Express with an exclusive contract, where he would work until retiring in 1948.[1] In 1933 he was offered £10,000 a year to leave the Express and join the Daily Herald but Lord Beaverbrook matched the offer to retain Strube.[2] In the 1930s Strube was contrasted with fellow cartoonist David Low. Stanley Baldwin admired Strube: "Strube is a gentle genius. I don't mind his attacks because he never hits below the belt. Now Low is a genius, but he is evil and malicious. I cannot bear Low".[3] The Little Man His cartoons for the Express included his character the Little Man, the personification of the "man in the street", which appeared every day on the editorial page.[4] The "Little Man" wore a bowler hat and an umbrella and represented the hard-pressed taxpayer suffering under politicians and vested interests.[1][4] The Little Man also represented an Englishness that saw itself as modern, in contrast with the traditional John Bull figure used by cartoonists.[5] The interwar years witnessed the growth of the middle class and the suburbs, along with the domestification of popular culture. According to Alison Light, the nation abandoned "formerly heroic.public rhetorics of national destiny" in favour of "an Englishness at once less imperial and more inward-looking, more domestic and more private".[6] Consequently, traditional state displays of patriotism (such as the Silver Jubilee of George V) became less significant; in this context the Little Man replaced John Bull as the personification of the nation.[7] According to Rod Brookes, Strube's cartoons represented a "modern, privatised version of British national identity defined against the archaic, aggressive, jingoistic Nationalism of European countries".[8] Some saw the Little Man as symbolic of Britain's post-First World War decline. George Orwell's protagonist in his 1936 novel Keep the Aspidistra Flying denounces the Little Man as a symbol of suburban mediocrity and conformity: "the typical bowler-hatted sneak?Strube's ?little man?".[9] W. H. Auden's 1937 poem "Letter to Lord Byron" favourably contrasted John Bull to the Little Man.[10] Auden wrote: Ask the cartoonist first, for he knows best. Where is the John Bull of the good old days, The swaggering bully with the clumsy jest? His meaty neck has long been laid to rest, His acres of self-confidence for sale; He passed away at Ypres and Passchendaele. Turn to the work of Disney or of Strube; There stands our hero in his threadbare seams; The bowler hat who strap-hangs in the tube, And kicks the tyrant only in his dreams, Trading on pathos, dreading all extremes; The little Mickey with the hidden grudge; Which is the better, I leave you to judge.[11] /// Standort Wimregal GAD-0062 Sprache: Englisch Gewicht in Gramm: 10.

Zettel. Zustand: Sehr gut. Blankokarte mit Schwarzweissphoto eines Schattenriss-Portraits von Sidney Strube auf schwarzem Tonkarton montiert, das Kärtchen von Sidney Strube mit schwarzer Tinte signiert.- Darunter vom Sammler mit zartem Bleistift auf den 26.3.1931 datiert. /// Signiert signed signée autograph autographe autogramm /// Sidney Strube (1891-1956) was a British cartoonist. He was born in Bishopsgate, London. His early career included work as a junior draughtsman with a furnishing company and as a drawer of electrical equipment and lettering for a small advertising agency.[1] He then entered John Hassall's art school. Hassall admired his caricatures and sent Strube's drawings to the periodical Conservative and Unionist (later renamed Our Flag). The editor printed four of Strube's caricatures during the January 1910 United Kingdom general election. Strube later worked as a freelance cartoonist, including drawing for the Bystander and the Evening Times.[1] In 1912 he joined the Daily Express with an exclusive contract, where he would work until retiring in 1948.[1] In 1933 he was offered £10,000 a year to leave the Express and join the Daily Herald but Lord Beaverbrook matched the offer to retain Strube.[2] In the 1930s Strube was contrasted with fellow cartoonist David Low. Stanley Baldwin admired Strube: "Strube is a gentle genius. I don't mind his attacks because he never hits below the belt. Now Low is a genius, but he is evil and malicious. I cannot bear Low".[3] The Little Man His cartoons for the Express included his character the Little Man, the personification of the "man in the street", which appeared every day on the editorial page.[4] The "Little Man" wore a bowler hat and an umbrella and represented the hard-pressed taxpayer suffering under politicians and vested interests.[1][4] The Little Man also represented an Englishness that saw itself as modern, in contrast with the traditional John Bull figure used by cartoonists.[5] The interwar years witnessed the growth of the middle class and the suburbs, along with the domestification of popular culture. According to Alison Light, the nation abandoned "formerly heroic.public rhetorics of national destiny" in favour of "an Englishness at once less imperial and more inward-looking, more domestic and more private".[6] Consequently, traditional state displays of patriotism (such as the Silver Jubilee of George V) became less significant; in this context the Little Man replaced John Bull as the personification of the nation.[7] According to Rod Brookes, Strube's cartoons represented a "modern, privatised version of British national identity defined against the archaic, aggressive, jingoistic Nationalism of European countries".[8] Some saw the Little Man as symbolic of Britain's post-First World War decline. George Orwell's protagonist in his 1936 novel Keep the Aspidistra Flying denounces the Little Man as a symbol of suburban mediocrity and conformity: "the typical bowler-hatted sneak?Strube's ?little man?".[9] W. H. Auden's 1937 poem "Letter to Lord Byron" favourably contrasted John Bull to the Little Man.[10] Auden wrote: Ask the cartoonist first, for he knows best. Where is the John Bull of the good old days, The swaggering bully with the clumsy jest? His meaty neck has long been laid to rest, His acres of self-confidence for sale; He passed away at Ypres and Passchendaele. Turn to the work of Disney or of Strube; There stands our hero in his threadbare seams; The bowler hat who strap-hangs in the tube, And kicks the tyrant only in his dreams, Trading on pathos, dreading all extremes; The little Mickey with the hidden grudge; Which is the better, I leave you to judge.[11] /// Standort Wimregal Ill-Umschl2021-07 Sprache: Englisch Gewicht in Gramm: 10.

First edition in publisher's original illustrated sand card wrap covers, black lettering to the front cover. Landscape 7½'' x 10''. Contains monochrome cartoon illustrations with text to every page. Overlapping card edges a little nicked, without any ownership markings and in Very Good clean condition, priced 1/- to the front cover, no dust wrapper as published. Member of the P.B.F.A. HUMOUR (Satire, Cartoon).

A splendid artwork, signed by Churchill, the artist Strube, and Percy F. Cole, the chairman of the Parliamentary Press Gallery, who were hosting Churchill as guest of honour at a luncheon in the Palace of Westminster on 23 April 1945, two weeks before victory in Europe. The artwork depicts Churchill crowned by History with the helm of St. George, surrounded by hats from his wartime conferences. Sidney Strube (1891-1956) worked as cartoonist for the Daily Express. Cole wrote to Churchill on 5 July 1961, that he had given "an original Strube cartoon of yourself, which we much prize" to Churchill's secretary Grace Hamblin, and hopes "you will be pleased to see & possibly to enrich with your initials. The cartoon formed the basis of the menu for the Parliamentary Press Gallery luncheon, which fell on St George's Day 1945 just before the end of the war. I had the honour of acting as host to you on this occasion". Churchill's secretary Anthony Montague Brown wrote to Cole on 18 July 1961 - "Dear Mr. Cole, Sir Winston Churchill has signed the cartoon for you, and asks me to send you his good wishes. As Sir Winston now very rarely gives his autograph, perhaps you would kindly ensure that not too many people know about it - otherwise he would be inundated with requests and reproaches!" (letters in the Churchill Archives, CHUR 2/507). In his essay "Cartoons and Cartoonists", published in Thoughts and Adventures in 1932, Churchill wrote "I always loved cartoons" (p. 23) and reproduced two by Strube, commenting they were "very good examples of his genial spirit" (p. 33). While Churchill was frequently the target of Strube's sharp humour, the cartoons often celebrated him, particularly during the Second World War, when Strube's widely reproduced image of Churchill as a bulldog helped cement the enduring Churchill/bulldog association. Provenance: the collection of Steve Forbes, chairman of Forbes Magazine, and presidential candidate in the 1996 and 2000 US elections. The programme is illustrated in Brian E. Krapf, A Churchill Treasury, 2023, p. 197. Pen, ink, and wash on paper drawing board, 532 x 346 mm. A little light soiling, minor rubbing at edges, tape residue on verso. In very good condition.