Hetzer William (9 results)

LeatherBound. Condition: New. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. LeatherBound edition. Condition: New. Reprinted from 1940 edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. Pages: 16 NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 16 Volume no.570 Hetzer, H. O. (Herbert Ottmar), 1905-,Lambert, W. V. (William Vincent), 1897-,Zeller, J. H. (John Henry), 1894-.

LeatherBound. Condition: New. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. LeatherBound edition. Condition: New. Reprinted from 1883 edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. Pages: 343 As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 343 Language: Spanish.

Stereoscopic albumen print photograph, each individual image 76 x 71 mm (arch-top format), original plain white mount 84 x 172 mm, recto with an erroneouslithographically printed caption 'Wooloomooloo [sic] Bay, Pott's Point, Sydney'; verso blank; both albumen prints are in fine condition, although a little dark; the mount is very clean and stable. An insect-damaged example of this stereoscopic photograph is held in the SLNSW collection (PXB 334/no. 3), where it is attributed to William Hetzer and assigned the date 1858-59. What has not been previously noted about this image, however, is that it clearly relates to a carte de visite photograph in the AGNSW collection (Accession number 585.2014), of which we have provided an image for comparative purposes. Both photographs were taken in exactly the same spot, the camera pointing in the same direction. The AGNSW carte, which is approximately dated to 1865 (but which could well be earlier), bears a fully contemporary inscription on the verso: 'Australian scenery, Middle Harbour, Port Jackson.' A Middle Harbour location is obviously correct; the scene - a muddy foreshore at the head of a narrow inlet - has nothing to do with Woolloomooloo or Potts Point. We believe these photographs were possibly taken at the head of Willoughby Bay, looking north from what is today Primrose Park, with Folly Point on the left and Cremorne on the right. This was a just short walk along Willoughby Creek from Willoughby Falls, a popular spot in the nineteenth century for picnickers, artists and photographers. The treeline on the left is at a similar height in both photographs, suggesting that the pair are likely to have been taken within the space of only a year or two; the logs have moved around in the mud (probably dragged by human hands as much as by the tides), but otherwise the scenes are eerily similar, with the notable exception of the tidal pool and its sublime reflection of the young girl in the AGNSW carte. What is perhaps most noteworthy though, is the fact that in both images the photographer has placed two figures in precisely the same positions, which prompts the question: did Hetzer take both this stereoscopic photograph and the anonymous AGNSW carte de visite? In 2015 the AGNSW carte was included in its major exhibition The Photograph and Australia. The photograph featured as the frontispiece plate in the eponymously titled catalogue (Sydney : AGNSW, 2015, p. 8), and was voted by visitors the most popular photograph in the exhibition.

Albumen print photograph, carte de visite format, 104 x 62 mm (mount); verso with imprint of 'W. Hetzer's Photographic Gallery, 287, George Street, Sydney, N.S.W.', and a fully contemporary inscription in ink, identifying the sitter: 'W. Huon Esq., Wodonga, March 1866'; both the print and mount are in fine condition. William Huon (Campbelltown 1825 - 1907 Wodonga) was the son of Paul Huon, one of the first squatters to settle in the Murray River district in the 1830s in the wake of Hume and Hovell's overland journey of exploration in 1824-5. William took over the Wodonga run from his father in 1846, when the Port Phillip district was still part of New South Wales. We can locate no portrait photographs of William Huon in Australia public collections. The following obituary for William Huon includes a great deal of information on the Huon family, their fascinating historical background, and the significant role they played in the colonisation of the Riverina. It was published in the Wodonga and Towong Sentinel, 22 November 1907: 'DEATH OF MR WILLIAMHUON.A PIONEER SQUATTER.AN AUSTRALIAN BORN OCTOGENARIAN.In the death of Mr William Huon, of"de Kerilleau", Wodonga, a prominentlandmark in the history of the districthas disappeared. Although the sadevent, which took place on Saturdayafternoon at 2.30, was not unexpected,and in the circumstances was a happyrelease, so great was the respect in whichthe deceased gentleman was held thatexpressions of regret were general. MrHuon's health, which throughout hislong life had been most robust, commenced to fail about five years ago, whena severe operation was performed onhim. About that time his hearing became more difficult, and, the troubleincreasing with his advancing years,conversation became almost impossiblewith him for some months past. Anaffection of the kidneys had made seriousinroads on the once powerful constitution, and six weeks ago he had to take tohis room. Having leased "de Kerrilleau,"he had three years before taken uphis residence temporarily in Albury,but he determined, on the expiration of the lease, to return to hisold home without a moment's delay.Having re-established himself in his oldquarters, he calmly awaited the end,which he recognised was not far off. Aweek later he became alarmingly ill, andfor several days was unconscious, savefor short intervals. For three days beforehis death he was in a comatose state, anddied without regaining consciousness.The cause of death was Bright's disease.The deceased gentleman was the sonof the late Paul Huon, an earlysettler at Campbelltown, near Sydney,and was born in that district in 1825.His exact age was 82 years 5 months.His father was the first squatter on theVictorian side of the Murray, which hadonly 10 years before been discovered byHume and Hovell in their historicjourney. Mr Paul Huon took up WodongaStation, which embraced the whole ofthe area on which the town of Wodonganow stands. The management of thestation was entrusted to a youngerbrother of the owner ; but later on he wassuperseded by his nephew. Originallythe station was devoted to the breedingof cattle, which were sent to the SouthAustralian market. Later on, as theproperty was reduced by the incoming ofpopulation, it passed into the hands ofMr William Huon, and was renamed"de Kerilleau". The deceased has beenin the district since 1845, and was one ofthe few surviving members of the bandof spirited men who, when the wholecountry was wild bush, and "life on theland" involved hardship and privationand daily peril, pushed out beyond thebounds of civilisation and marked theway for those who were to come after.That wonderful bushman Charles Huonwas an uncle of the deceased. Thisextraordinary man, who took upBaranduda in 1832, was frequently threemonths on a journey with cattle to SouthAustralia ; yet he escaped molestationfrom the blacks. On one occasion he leftAdelaide, on the way back to Wodonga,with a tomahawk for his sole equipment.Mr Paul Huon had erected his homestead of Wodonga station on a piece ofhigh land at the back of the present siteof Nurse Dunphy's Private Hospital, andMr William Huon continued to residethere for five years, after which he removed to a situation almost immediatelybelow "de Kerilleau." In 1870 he builtthe magnificent homestead at Huon'sHill. It is interesting to recall the factthat the land now covered by LakeHume?or as it is more familiarly called,"The Lagoon"?in the Wodonga Parkwas cultivated for barley and vegetablesby the Huons from the thirties (whenCharles Huon arrived) to the fifties.Mr William Huon probably put up arecord as a justice, having held the commission of the peace in both Victoria andNew South Wales for over half a century.For 30 years he regularly attended theWodonga Police Court, where he rendered important service to the community. He was an absolutely fearless,painstaking, conscientious and capablemagistrate. He had a very high sense ofjustice, and his decisions invariablycommanded the respect both of theprofession and of litigants. On theestablishment of a County Court atWodonga, he was generally selected asforeman in any jury case in which heserved. Twenty years ago he felt that hehad fairly earned a rest, and he ceased toattend. In fact, about that time he wentinto retirement altogether, and has sincetaken no active interest in publicmatters.Mr Huon was always fond of sport.He was a foundation member of both theWodonga and Albury Racing Clubs,and had a number of good horses. Hewas also one of the first members of theAlbury and Border A., H., and P. Society.Sir George Bowen, then Governor ofVictoria, was the principal guest at theopening of the North-Eastern line toWodonga in 1873, and Mr Huon had thehonor of entertaining his Excellencyduring his visit.The deceased was twice married. Hisfirst wife was the daughter of the latePeter Stuckey, of Willie Ploma Station,Gundagai (N.S.W.) Of the family ofnine children, five survive him?viz.,Messrs William, Louis, George, HenryGoul.

Stereoscopic albumen print photograph, each individual image 80 x 77 mm (arched format), original plain grey mount 84 x 172 mm, verso with fully contemporary inscription in ink 'Circular Quay' (but lacking Hetzer's printed label)and an accompanying contemporary caption in ink 'Circular Quay'; both of the prints are strong and have excellent tonal range; the mount is clean and stable. This rare, very early photographic view of Circular Quay from The Rocks was taken in the first half of 1859 by Sydney photographer William Hetzer. The view looks east across Campbell?s Wharf, where a sailing ship is moored, towards Government House in the distance. Another example, with Hetzer's printed label on the reverse that readsStereoscopic Views of Sydney and Environs by W. Hetzer, Photographic Artist, 287 George Street, Sydney, N.S.W., is held in the Historic Houses Trust'sCaroline Simpson Library & Research Collection. Hetzer had arrived in Sydney from Germany in 1850. With his wife Thekla as his assistant, Hetzer was active as a professional photographer in Sydney from this date until the Hetzers' departure from the colony in 1867. From 1858 Hetzer pioneered the stereoscopic albumen print photograph in Australia, and in 1860 was also among the first Australian photographers to experiment with and promote the carte de visite.His studio premises were located at 287 George Street from 1859. Hetzer's stereoscopic photographs are among the earliest outdoor views of Sydney.He was the first photographer to attempt to make a comprehensive record of the buildings, streetscapes and topography of this rapidly developing metropolis with its distinctive and majestic natural setting. From late 1858 until 1863, Hetzer produced a significant number of such views which proved immensely popular with the public. The series titled Stereoscopic Views of Sydney and Environswas first offered by subscription in September 1858, with an initial set of 36 views. During 1859 Hetzer added to the series; the following journalist's review inThe Sydney Morning Herald, 13 May 1859, states that there were 'now upwards of sixty slides' commercially available, which included the present view of Circular Quay, looking east: 'The introduction here ofphotography,bygentlemenwho had attained eminence as artists in other countries, has enabled us to secure, on comparatively easyterms, many enchanting representations oflocalscenery, andpicturesofother subjects, which,but for the cultivationofthat art, wouldbe entirely beyond the reachofall excepta fewofour more affluent citizens. Some monthsago,we introduced to public notice a number of photographic stereoscopic viewsof Sydneyanditsenvirons, just then completedbyMr. W.Hetzer.The series now numbers upwardsofsixty slides, which comprise a successionofviewsforming two or threecomplete panoramas, with many detached picturesofnooks andcornersofbushandrook scenery,ofextreme beautyandinterest. Commencing at the entranceofour noble port,wehave a fine viewoftheGap, which will ever be remembered in connectionwith the lossofthe Dunbar ; then the SouthandNorth Heads, Port Jackson, Watson's Bay ; theharbour from Fort Macquarie, Government House,SydneyCove, the Mariners' Church, Dawes'Battery, Circular Quay (east), bird's-eye viewoftheharbour from Cumberland-street North, also Campbll's Wharf; from the Flagstaffviewsare givenofBalmain, Miller's Point,andParramatta River, Fortstreet,Sydney(east), all the principal churches, theFitz-Roy Dry Dock, at the time H. M. S. Herald wasthere undergoing a thorough overhauling ; the variousbanksandpublic buildings, there being two printsofthe University amongst the number ; from BalmaintwoviewsofSydneyhave been taken ; there is also aviewofBalmainandoneofPyrmont; going downthe harbour again, someofthe baysandindentationsare introduced ; not the least interesting portionofthe series is that which shows the streets, of which six only have been taken as yet, viz.,George-street, Bent-street,andthe Australian Club ;Macquarie-street (twoviews),showing prominentlythe Australian Library, the Free Church, land CouncilChambers ; Bridge-street, with the Exchange as a prominent feature;andHunter-street from George-street,with the premisesoftheSydneyMorning Herald inthe perspective. To colonists at home theseviewswill prove a great treat : and accordingly, weunderstand that the demand for complete sets, as they appear, has been very great .'.

Stereoscopic albumen print photograph, each individual image 80 x 77 mm (arched format), original plain greyish buff mount 84 x 172 mm, versowith studio label printed in blue 'Stereoscopic Views of Sydney and Environs by W. Hetzer, Photographic Artist, 287 George Street, Sydney, N.S.W.' and an accompanying contemporary caption in ink 'George St. / Commercial Bank - Bank of N.S. Wales'; both albumen prints are in fine condition, with good tonal range and sharp detail; the mount is free from foxing. This view looks north along George Street. It was taken from an elevated vantage point on the east side of the street - apparently the balcony of the building adjacent to the Post Office, one of the columns of which frames the image on the right. On the west side of the street, in the left foreground and standing on the corner of Barrack Lane, isthe original David Jones building built in 1838; on the opposite corner of Barrack Lane stands the magnificent Palazzo-style Commercial Bank, whose façade was removed piecemeal in 1923 and reconstructed on the grounds of the University of Sydney; and a little further north, on the corner of Wynyard Street at the bottom end of Martin Place, stands the Bank of New South Wales, which was demolished in 1923. William Hetzer had arrived in Sydney from Germany in 1850. With his wife Thekla as his assistant, Hetzer was active as a professional photographer in Sydney from this date until the Hetzers' departure from the colony in 1867. From 1858 Hetzer pioneered the stereoscopic albumen print photograph in Australia, and in 1860 was also among the first Australian photographers to experiment with and promote the carte de visite.His studio premises were located at 287 George Street from 1859. Hetzer's stereoscopic photographs are among the earliest outdoor views of Sydney.He was the first photographer to attempt to make a comprehensive record of the buildings, streetscapes and topography of this rapidly developing metropolis with its distinctive and majestic natural setting. From late 1858 until 1863, Hetzer produced a significant number of such views which proved immensely popular with the public. The series titled Stereoscopic Views of Sydney and Environswas first offered by subscription in September 1858, with an initial set of 36 views. During 1859 Hetzer added to the series; a journalist's review inThe Sydney Morning Herald, 13 May 1859, stated that there were 'now upwards of sixty slides' commercially available, and that 'not the least interesting portionofthe series is that which shows the streets, of which six only have been taken as yet, viz.,George-street, Bent-street,andthe Australian Club ;Macquarie-street (twoviews),showing prominentlythe Australian Library, the Free Church, and CouncilChambers ; Bridge-street, with the Exchange as a prominent feature;andHunter-street from George-street,with the premisesoftheSydneyMorning Herald inthe perspective.' We can locate only two institutional copies of this Hetzer stereoview. One is in the collection of the National Gallery of Australia (NGA 83.3665.143), but its catalogue entry does not suggest a specific date. The other is in the collection of the Museum of Applied Arts and Sciences, Sydney (87/1019-12); curator Geoff Barker is of the opinion that the view 'is one of the later sets of William Hetzer's stereoviews', and he dates it to between 1860 and 1863 (MAAS). MAAS also holds another Hetzer stereoview (P3145-6), taken from almost the same spot, but at street level, to which Barker assigns an earlier date of 1858-1860 (MAAS).

Stereoscopic albumen print photograph, each individual image 80 x 77 mm (arched format), original plain greyish buff mount 84 x 172 mm, versowith contemporary caption in ink 'Sydney - from the Domain'; both albumen prints are in fine condition, with good tonal range and sharp detail; the mount is free from foxing. This view, looking west across Macquarie Street to Bent Street, was taken by William Hetzer from a specially constructed platform at the top of Governor Bourke's statue, on the edge of what was known as the Inner Domain (now the entrance to the Royal Botanic Gardens). On the north corner of Bent Street stands thePublic Subscription Library. Hetzer had arrived in Sydney from Germany in 1850. With his wife Thekla as his assistant, Hetzer was active as a professional photographer in Sydney from this date until the Hetzers' departure from the colony in 1867. From 1858 Hetzer pioneered the stereoscopic albumen print photograph in Australia, and in 1860 was also among the first Australian photographers to experiment with and promote the carte de visite.His studio premises were located at 287 George Street from 1859. Hetzer's stereoscopic photographs are among the earliest outdoor views of Sydney.He was the first photographer to attempt to make a comprehensive record of the buildings, streetscapes and topography of this rapidly developing metropolis with its distinctive and majestic natural setting. From late 1858 until 1863, Hetzer produced a significant number of such views which proved immensely popular with the public. The series titled Stereoscopic Views of Sydney and Environswas first offered by subscription in September 1858, with an initial set of 36 views. During 1859 Hetzer added to the series; the following journalist's review inThe Sydney Morning Herald, 13 May 1859, states that there were 'now upwards of sixty slides' commercially available, and that 'not the least interesting portionofthe series is that which shows the streets, of which six only have been taken as yet, viz.,George-street, Bent-street,andthe Australian Club ;Macquarie-street (twoviews),showing prominentlythe Australian Library, the Free Church, and CouncilChambers ; Bridge-street, with the Exchange as a prominent feature;andHunter-street from George-street,with the premisesoftheSydneyMorning Herald inthe perspective.' We can locate two institutional copies of this Hetzer stereoview; one is in the collection of the Museum of Applied Arts and Sciences, Sydney (87/1019-2). Curator Geoff Barker is of the opinion that the view 'is one of the later sets of William Hetzer's stereoviews', and he dates it to between 1860 and 1863 (MAAS); the other is in the State Library of New South Wales (call no. PXB 698 / file no.FL657102), but is dated to 1859. This earlier date is likely to be correct, as the entry notes 'The elevated viewpoint indicates the photograph was made from the tower erected over the Sir Richard Bourke statue in May 1859'.

Stereoscopic albumen print photograph, each individual image 80 x 77 mm (arched format), original plain greyish buff mount 84 x 172 mm, versowith studio label printed in blue 'Stereoscopic Views of Sydney and Environs by W. Hetzer, Photographic Artist, 287 George Street, Sydney, N.S.W.' and an accompanying contemporary caption in ink 'Millers Point - Parramatta River, from the Flagstaff, Sydney'; both albumen prints have some very light marks in the sky area of the image, but are otherwise in fine condition, with good tonal range and sharp detail; the mount is free from foxing. This view looks northwest over Millers Point from Flagstaff Hill, with the upper portions of buildings along Kent Street - most notably the Lord Nelson Hotel at right - in the middle ground. A little to the left and beyond the Lord Nelson we can make out the sign on the side of the Whalers Arms Hotel, on the corner of Lower Fort Street and Windmill Street. William Hetzer had arrived in Sydney from Germany in 1850. With his wife Thekla as his assistant, Hetzer was active as a professional photographer in Sydney from this date until the Hetzers' departure from the colony in 1867. From 1858 Hetzer pioneered the stereoscopic albumen print photograph in Australia, and in 1860 was also among the first Australian photographers to experiment with and promote the carte de visite.His studio premises were located at 287 George Street from 1859. Hetzer's stereoscopic photographs are among the earliest outdoor views of Sydney.He was the first photographer to attempt to make a comprehensive record of the buildings, streetscapes and topography of this rapidly developing metropolis with its distinctive and majestic natural setting. From late 1858 until 1863, Hetzer produced a significant number of such views which proved immensely popular with the public. The series titled Stereoscopic Views of Sydney and Environswas first offered by subscription in September 1858, with an initial set of 36 views. During 1859 Hetzer added to the series; a journalist's review inThe Sydney Morning Herald, 13 May 1859, stated that there were 'now upwards of sixty slides' commercially available, and that amonst these 'from the Flagstaffviewsare givenofBalmain, Miller's Point and Parramatta River'. The view we offer here clearly belongs to this latter group taken from the Flagstaff, which allows us to assign it a date of 1859 (or even 1858) with some confidence. The State Library of New South Wales holds a hand coloured example of this view (call no.PXB 698 / file no.FL657096) which it dates to 1858; the National Library of Australia holds a non-coloured example; the Historic Houses Trust of New South Wales (Caroline Simpson Research Library and Collection) holds one of its companion views, showing Balmain from the Flagstaff (46577).

Leather Bound. Condition: New. Language: Spanish. Language: Spanish, Castilian. Presenting an Exquisite Leather-Bound Edition, expertly crafted with Original Natural Leather that gracefully adorns the spine and corners. The allure continues with Golden Leaf Printing that adds a touch of elegance, while Hand Embossing on the rounded spine lends an artistic flair. This masterpiece has been meticulously reprinted in 2024, utilizing the invaluable guidance of the original edition published many years ago in 1883. The contents of this book are presented in classic black and white. Its durability is ensured through a meticulous sewing binding technique, enhancing its longevity. Imprinted on top-tier quality paper. A team of professionals has expertly processed each page, delicately preserving its content without alteration. Due to the vintage nature of these books, every page has been manually restored for legibility. However, in certain instances, occasional blurriness, missing segments, or faint black spots might persist. We sincerely hope for your understanding of the challenges we faced with these books. Recognizing their significance for readers seeking insight into our historical treasure, we've diligently restored and reissued them. Our intention is to offer this valuable resource once again. We eagerly await your feedback, hoping that you'll find it appealing and will generously share your thoughts and recommendations. Lang: - Spanish, Castilian, Pages: - 341, Print on Demand. If it is a multi-volume set, then it is only a single volume. We are specialised in Customisation of books, if you wish to opt different color leather binding, you may contact us. This service is chargeable. Product Disclaimer: Kindly be informed that, owing to the inherent nature of leather as a natural material, minor discolorations or textural variations may be perceptible. Explore the FOLIO EDITION (12x19 Inches): Available Upon Request. 341 341.