This is the first English language work to examine the subject in detail and the first in any language to identify, describe, and quantify variations and production figures for the models covered. The book focuses on the Czechoslovak Communist period (1948-1989), but reaches back into the 1930s in order to trace the history of the 6.35 mm Duo pocket pistol, which remained in production under the name Z until 1974 with a total of thirteen distinct marking variations, and the 6.35 mm model 1945, which had its beginnings as the model 1936. The 7.65 mm model 50 police pistol and its successor, the model 70, are covered in depth, documenting both marking variations and a significant number of design changes introduced during their thirty-three-year production life. The 7.62 mm model 52 Army pistol is given extensive treatment based on data drawn from over 2,000 specimens; in addition to descriptions of both standard and rare variants, significant discussion of the pistol's mechanical characteristics and potential safety problems is presented. Also covered are the more modern commercial CZ 75 and CZ 85, the military model 82, and the commercial CZ 83, as are small caliber target pistols and signal pistols.

This volume has been prepared as an inexpensive guide to Japanese military handguns of the first half of the 20th Century. It is intended primarily for the collector who, upon encountering a new specimen, wants information to identify, classify and evaluate it in order to make a decision on its purchase. It will also be useful to dealers in establishing values, and to firearms owners who simply want to know where an individual pistol or its accessories fit in the overall picture of Japanese military collectibles.

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

Text extracted from opening pages of book: BRITISH MUSICAL BIOGRAPHY: A DICTIONARY OF MUSICAL ARTISTS, AUTHORS AND COMPOSERS, BORN IN BRITAIN AND ITS COLONIES. BY JAMKS D. BROWN, AI'IHOK OK A ItlOOKAl'HICAL DKTIONAKY OK MUSICIANS, '* KTC., * AND STEPHEN S. STRATTON. WKMINOHAM: 8. 8-STKATTON, 247, MONUMKNT RoAD. I'ftfNTKD V CHAl* FIKM> ANI> SON, LT0, , DKRBV, TO THE INCORPORATED SOCIETY OP MUSICIANS THIS WORK IS DEDICATED BY THE AUTHORS. PREFACB. IN undertaking this work, the authors have been animated by the desire lo present the true position of the British Empire in the world of music. A country is musical only by the music it produces for itself, not by what it takes from others. In tins work, therefore, only what has been done by Britain's own sons and daughters is placed on record. It is probable that in no other nation is there, at the present time, greater musical activity, creative or executive, than is to be witnessed in our own; and this not only in the great centres of population and culture, but everywhere throughout the Empire* In this connection the work of provincial and colonial musicians has received its proper share of atten tion. The greater masters, already noticed at length in other similar publications, have been treated with brevity in order to afford space for mention of many worthy, if obscure, workers in the cause of Art, hitherto passed over by writers of biography. The very large number ( probably over 40,000) of persons engaged in the musical profession at the present time will explain the apparent preponderance of notices devoted to living musicians, This part of the work, however, is intended rather to be representative than complete; and from variouscauses, in many cases only a bare outline could be accomplished. While some names may seem to havo but slight claim to inclusion, it is hoped that no artist of eminence has boon omitted. The book being written from an independent standpoint, matters of opinion have been subordinated to the presentment of facts; and its usefulness as a work of reference has been one of the main objects of the authors. Accuracy has been striven for as regards dates of birth and death; first performance of important works; and first appearances of artists, which have been carefully collated, where possible, from contemporary notices, Many of these differ from dates hitherto accepted* Still, faults and omissions may be detected, and any information in correction thereof will be gladly received. The work is 11 PREFACE. issued by the authors themselves as a kind of experiment in publishing their object being a patriotic desire to record the achievements of British workers in the field of musical art. The authors are indebted to the following gentlemen for information or aid rendered during the progress of the work: Mr. Reginald I). Moore, Exeter; Mr. J. A. Browne, editor of tlio Kritixh Mitwi'tn; I> r. James ( J. Culwick, Dublin; Mr. Hponcer Ounven, Ijondon; Mr. T. \\ t Howling, Cape Town, South Africa; Mr. Umlyn Kvaim, Ommos, Montgomery; Mr. John Glen, Edinburgh; Mr. W. J. Ions, King's Norton; Mr. K. R Jones, Brisbane, Australia; Mr. J. A. Matthews, Cheltenham; Mr. (' IP. South, Salisbury; Mr. C, J. tt. Tirbutt, Heading; Mr. Herbert Thompson, Leeds; and Mr. F. II. Torrington, Toronto, ( Canada. Also tt> those artists wlio responded to tho a])]> licationH irnulo to them for personal information. In additionto the catalogues of i, he British Museum and other public libraries, general newspapt? rs, and other sources of information, the following works have boon drawn upon for particular detail**: Brown's Biographical Dictionary of Musicians; ( Srovo's Dictionary of Music and Musicians; tho works of Fotis and Meuclel-Heisstuaun; Dictionary of National Biography; JJOVO'H Scottish Church Music; Buptie** Musicians of All Times, and Musical Beotland; Roll of the Union of ( inuttuiti's in Music; Dttgnws in Music, Abdy Williams, etc, The ( hif nutlinritieH fur datos within tli

Text extracted from opening pages of book: BRITISH MUSICAL BIOGRAPHY: A DICTIONARY OF MUSICAL ARTISTS, AUTHORS AND COMPOSERS, BORN IN BRITAIN AND ITS COLONIES. BY JAMKS D. BROWN, AI'IHOK OK A ItlOOKAl'HICAL DKTIONAKY OK MUSICIANS, '* KTC., * AND STEPHEN S. STRATTON. WKMINOHAM: 8. 8-STKATTON, 247, MONUMKNT RoAD. I'ftfNTKD V CHAl* FIKM> ANI> SON, LT0, , DKRBV, TO THE INCORPORATED SOCIETY OP MUSICIANS THIS WORK IS DEDICATED BY THE AUTHORS. PREFACB. IN undertaking this work, the authors have been animated by the desire lo present the true position of the British Empire in the world of music. A country is musical only by the music it produces for itself, not by what it takes from others. In tins work, therefore, only what has been done by Britain's own sons and daughters is placed on record. It is probable that in no other nation is there, at the present time, greater musical activity, creative or executive, than is to be witnessed in our own; and this not only in the great centres of population and culture, but everywhere throughout the Empire* In this connection the work of provincial and colonial musicians has received its proper share of atten tion. The greater masters, already noticed at length in other similar publications, have been treated with brevity in order to afford space for mention of many worthy, if obscure, workers in the cause of Art, hitherto passed over by writers of biography. The very large number ( probably over 40,000) of persons engaged in the musical profession at the present time will explain the apparent preponderance of notices devoted to living musicians, This part of the work, however, is intended rather to be representative than complete; and from variouscauses, in many cases only a bare outline could be accomplished. While some names may seem to havo but slight claim to inclusion, it is hoped that no artist of eminence has boon omitted. The book being written from an independent standpoint, matters of opinion have been subordinated to the presentment of facts; and its usefulness as a work of reference has been one of the main objects of the authors. Accuracy has been striven for as regards dates of birth and death; first performance of important works; and first appearances of artists, which have been carefully collated, where possible, from contemporary notices, Many of these differ from dates hitherto accepted* Still, faults and omissions may be detected, and any information in correction thereof will be gladly received. The work is 11 PREFACE. issued by the authors themselves as a kind of experiment in publishing their object being a patriotic desire to record the achievements of British workers in the field of musical art. The authors are indebted to the following gentlemen for information or aid rendered during the progress of the work: Mr. Reginald I). Moore, Exeter; Mr. J. A. Browne, editor of tlio Kritixh Mitwi'tn; I> r. James ( J. Culwick, Dublin; Mr. Hponcer Ounven, Ijondon; Mr. T. \\ t Howling, Cape Town, South Africa; Mr. Umlyn Kvaim, Ommos, Montgomery; Mr. John Glen, Edinburgh; Mr. W. J. Ions, King's Norton; Mr. K. R Jones, Brisbane, Australia; Mr. J. A. Matthews, Cheltenham; Mr. (' IP. South, Salisbury; Mr. C, J. tt. Tirbutt, Heading; Mr. Herbert Thompson, Leeds; and Mr. F. II. Torrington, Toronto, ( Canada. Also tt> those artists wlio responded to tho a])]> licationH irnulo to them for personal information. In additionto the catalogues of i, he British Museum and other public libraries, general newspapt? rs, and other sources of information, the following works have boon drawn upon for particular detail**: Brown's Biographical Dictionary of Musicians; ( Srovo's Dictionary of Music and Musicians; tho works of Fotis and Meuclel-Heisstuaun; Dictionary of National Biography; JJOVO'H Scottish Church Music; Buptie** Musicians of All Times, and Musical Beotland; Roll of the Union of ( inuttuiti's in Music; Dttgnws in Music, Abdy Williams, etc, The ( hif nutlinritieH fur datos within tli