Sidney Strube (17 results)

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

Soft cover. Condition: 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.

Hardcover. Condition: Very Good. Drawings by Sidney Strube (illustrator). NO JACKET. Hardback 1926. Front end paper inscription is dated 1926. Clean & tight book. NO JACKET. Dispatched Royal Mail First Class with tracking next working day or sooner securely boxed in cardboard. ref D10. The Comic History of the Co-Optimists. by Ashley Sterne & Archibald De Bear. Drawings by Sidney Strube. Published by Herbert Jenkins, London.

Paperback. Condition: Very Good. Strube Cartoons (illustrator). Soft cover. Landscape format. 18x24.5cm COVERS HAVE MINOR STAINING. Internally clean.Tight binding. A few page corners are folded at the bottom corner, just at the tip, never across the cartoon. Dispatched Royal Mail First Class with tracking next working day or sooner securely boxed in cardboard. ref A11. Cartoons from the Daily Express by Strube. Eighth Series 1934. ANNUAL.

Paperback. Condition: Good. Cartoons by Strube (illustrator). Soft Cover. Landscape format. 20x25cm. Covers are worn around the edges. Internally clean. Dispatched Royal Mail First Class with tracking next working day or sooner securely boxed in cardboard. ref A11. Cartoons by Strube from the Daily Express. Post War Edition 1947. Strube Annual.

Soft cover. Condition: Very Good. Cartoons by Strube (illustrator). Tenth Series. Soft cover. Landscape format: 18x24.5cm. Spine top has minor loss. Clean & tight book. No inscriptions. Dispatched Royal Mail First Class with tracking next working day or sooner securely boxed in cardboard. ref A11. 100 Daily Express Cartoons by STRUBE. Tenth Series 1936. Annual.

Soft cover. Condition: Very Good. Cartoons by Strube (illustrator). SOFT COVER. Landscape format: 18x24cm. Minor marks to covers & the tip of the first few pages, otherwise generally clean. Tight binding. Dispatched Royal Mail First Class with tracking next working day or sooner securely boxed in cardboard. ref A11. Strube's Annual Number 6. Cartoons from the Daily Express by Strube. Sixth Series 1932.

Soft Cover. Condition: 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.

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.

Card. Condition: 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.

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.

Paperback. Condition: 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.

Zettel. Condition: 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 (18911956) 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 sneakStrube'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.

Zettel. Condition: 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.

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. The artwork comes from the archive of Cole, who presumably nudged Churchill to sign it at the event. Provenance: the collection of Steve Forbes, chairman of Forbes Magazine, and presidential candidate in the 1996 and 2000 US elections; his book label is loosely inserted. 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.