Today's (2/4/2012) New Book Releases on Arts & Photography

This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1903. Excerpt: ... Italian binding of the 16th century. Calf, stamped in arabesque pattern with azured gold ground, interlacings en relievo in silver and black, open spaces covered with a semis of fleurs-de-lis. Stamped and tooled back; gilt edges; green silk ribbon fasteners. First Protestant Bible printed in Italy. Said to have belonged to Renee de France, Duchesse de Ferrare, daughter of Louis XII and Anne of Brittany. On foot of title-page, in ms., "Gio: Antonio De Pellizzari 1745." Horae Beatissimae virginis Mariae, ad vsvm Romanum, Nunc primum perquam syncere castigatas atque repurgatae, ac triplici officio illustratae. Antverpia, Ex officina Christophori Plantini, M.d.lxv. 1 1. 16 355 17 p. 1 I. ill. printer's device on t.-p. 19.2 x 12.2 cm. Rubricated; printed within engraved borders. 100 dropped from page numbering at p. 214. Venetian binding of the 16th century. Within a two-line gold fillet a heavy border of Aldine ornaments gold-tooled to form circles. Corners of inner panel and the centerpiece of arabesque pattern on a solid gold background, showing marked oriental influence; rest of compartment powdered with gold dots. No bands on back, panels filled with the Aldine ornament of the border. Edges gilt and goffered. A brilliant example. At foot of title-page is written "Le Comte de Menthon." Ariosto. Roland Furieux, compose premierement en ryme Thuscane par messire Loys Arioste, noble Ferraroys, & maintenant traduict en prose Francoyse: partie suyuat la phrase de l'Auteur, partie aussi le style de ceste notre langue. A Paris, Langelier, 1552. 2, viii 339 3 1. ill. ruled in red. 17.4 x 10.5. Lyonnese painted binding of the 16th century; full calf, inter-lacing bands and scrolls in green, white, yellow, and black. Rosettes and gold dots around the compartments on ...

Title: An Inquiry Into the Authenticity of Various Pictures and Prints, Which From the Decease of the Poet to Our Own Times, Have Been Offered to the Public as Portraits of Shakespeare Subtitle: Containing a Careful Examination of the Evidence on Which They Claim to Be Received General Books publication date: 2009 Original publication date: 1824 Original Publisher: R. Triphook Subjects: Drama / Shakespeare Literary Criticism / Shakespeare Notes: This is an OCR reprint. There may be typos or missing text. There are no illustrations or an index. When you buy the General Books edition of this book you get free trial access to Million-Books.com where you can select from more than a million books for free. You can also preview the book there.

This is an OCR edition without illustrations or index. It may have numerous typos or missing text. However, purchasers can download a free scanned copy of the original rare book from GeneralBooksClub.com. You can also preview excerpts from the book there. Purchasers are also entitled to a free trial membership in the General Books Club where they can select from more than a million books without charge. Original Published by: The Macmillan company in 1922 in 198 pages; Subjects: Photoengraving; Photomechanical processes; Art / Techniques / Printmaking; Photography / General; Science / Chemistry / General;

This is an OCR edition without illustrations or index. It may have numerous typos or missing text. However, purchasers can download a free scanned copy of the original rare book from GeneralBooksClub.com. You can also preview excerpts from the book there. Purchasers are also entitled to a free trial membership in the General Books Club where they can select from more than a million books without charge. Volume: 2; no. 1856; Original Published by: Smith, Elder & Co. in 1856 in 83 pages; Subjects: Painting; Art / General; Art / Collections, Catalogs, Exhibitions; Art / History / General; Art / European; Art / History / Modern (late 19th Century to 1945); Art / Techniques / Painting; Art / Techniques / General;

This is an OCR edition without illustrations or index. It may have numerous typos or missing text. However, purchasers can download a free scanned copy of the original rare book from GeneralBooksClub.com. You can also preview excerpts from the book there. Purchasers are also entitled to a free trial membership in the General Books Club where they can select from more than a million books without charge. Volume: 35; Original Published by: Seeley and co., limited in 1898 in 133 pages; Subjects: Art / General; Art / History / General; Art / European; Art / Individual Artist;

This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1920. Excerpt: ... CHAPTER I. DRAWING AND ENGRAVING The life and dignity of all pictures derive primarily from outline drawing. It is the first essential of truth-telling about the subject depicted, and, be it remembered, all good drawing is truth-telling by means of lines, just as all good writing and speaking are truth-telling by means of words; signs signifying definite intellectual concepts in one and the other case equally. An obvious fact, yet one almost universally unheeded in this connection, and especially by teachers of drawing, is that of spatial relations in the most literal sense. For example, two apples set side by side, or two heads, or any of the main masses which compose a picture, however intricate, must first be outlined as individuals. Most people seem to think that it is enough if the right shape be got, and so of course it is; but these same people rarely recognize this further fact that the spaces between head and head, apple and apple, are also shapes and must be drawn accurately. To draw the spaces accurately means having drawn the objects accurately, and vice versa. To look first at one, and then at the other, and to get the results to tally is, in a manner, analogous to adding a column of figures first up and then down,--not a parallel, but an analogy; an analogy in which much help exists for him who does not know it, and so much obviousness for him who does that he is apt to assume that every one knows it. The assumption that every one knows certain illuminating facts which seem obvious to the expert, artist, art teacher, or art critic, whether it be in connection with children or grown people, is the negation alike of advancing the practice and the appreciation of art. It is not to be assumed that this mode of procedure in regard to spatial rela...

Iain Baxter legally changed his name to IAIN BAXTER& in 2005. He appended an ampersand to his name to underscore that art is about connectivity — about contingency and collaboration with a viewer. He also effected the name change to perpetuate a strategy of self re-definition that is central to his creative project. BAXTER& began making art in the late-1950s under his birth name but quickly realized that the name itself was creative material, to be deployed, manipulated, and shared. In 1965, he formed a collaborative art-making entity which evolved into N. E. Thing Company, a corporate-styled entity whose co-presidents were BAXTER& and his wife Ingrid. Producing a diverse array of projects that encompassed conceptually based photography, pioneering works of appropriation art, and gallery transforming installations, the N. E. Thing Company offered a new model of art making, allowing the artists to remain anonymous and masquerade in the guise of business people. Following the dissolution of N.E. Thing Company in 1978, BAXTER& produced extensive bodies of work with Polaroid film, created numerous installations that blended painting and sculpture, and made pedagogy a focus of his creative enterprise. Consistent themes permeate his work and vector through his thinking. And by assessing these themes — a relentless emphasis on reaching out to the viewer, a core concern with ecology and the environment, and a belief that art must assume plural means and media — one discerns BAXTER&’s creative credo, understanding that “art is all over.” This comprehensive book reviews BAXTER&’s remarkable career across all media. It accompanies a major international touring exhibition, which opened at the Museum of Contemporary Art, Chicago in November 2011 and at the Art Gallery of Ontario in April 2012. Featuring more than 160 reproductions of BAXTER&’s work, it also includes essays by the exhibition’s curator, David Moos, along with contributions by Michael Darling (James W. Alsdorf Chief Curator, Museum of Contemporary Art, Chicago), Alex Alberro (Associate Professor, University of Florida), and others. The book will also feature a comprehensive bibliography compiled by Adam Lauder (W.P. Scott Chair for Research in E-Librarianship, York University). (20111220)

This is an OCR edition without illustrations or index. It may have numerous typos or missing text. However, purchasers can download a free scanned copy of the original rare book from GeneralBooksClub.com. You can also preview excerpts from the book there. Purchasers are also entitled to a free trial membership in the General Books Club where they can select from more than a million books without charge. Original Published by: The Collegiate Press, George Banta Publishing Co. in 1913 in 99 pages; Subjects: Theater; Great Britain; London (England); Biography & Autobiography / Royalty; History / Europe / Great Britain; Performing Arts / Theater / General; Social Science / Customs & Traditions; Biography & Autobiography / Royalty; Drama / Shakespeare; History / Europe / Great Britain; Literary Criticism / Shakespeare; Performing Arts / Theater / General; Performing Arts / Theater / History & Criticism; Performing Arts / Theater / Stagecraft;

This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1863. Excerpt: ... 13 JOHN HENRY FOLEY, RA, RH.A. John Henry Foley was born in Dublin on the 24th of May, 1818. From early life his tastes pointed to Art, which being cherished by his grandfather, Mr. Schrowder, a sculptor of the same city, he entered the Eoyal Dublin Society as a student at the age of thirteen, and in one year carried away the first prize in each of the four separate departments for the study of the figure, animals, architecture, and modelling. With the ambition common to men of genius, he determined upon making London his future home. He became a student of the Royal Academy at seventeen, and being soon admitted to the higher schools for the study of the "life," worked with such power and earnestness as to be awarded the first prize therein. This success dates his transition from the pupil to the master, the Academy Catalogue for 1839 containing his name as the author of two works, ' The Death of Abel, ' and that sweetly simple figure 'Innocence. ' In his twenty-second year (1840) appeared the 'Ino and Bacchus, ' a conception of such classic beauty and poetic feeling as to place him at once on a level with the master-spirits of his art. This charming composition now graces the vestibule of Bridgewater House, having been purchased in marble by that distinguished patron of art, Francis, first Earl of Ellesmere. Following this, and still indulging in the ideal fancies of the poet, in 1842 was produced 'The Houseless Wanderer, ' a shivering, girlish form, so touchingly expressive, the coldest heart might warm in response to its appeal for pity. It will be remembered that by this date the Westminster Hall competition, in 1844, was becoming the leading topic in art circles, as an occasion for demonstrating to the world the existence of an art element in the nat...

This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1856. Excerpt: ... Jewelry, &c.--Coins And Medals--Seals, Etc. 19 satisfactory carrying out of a definite decorative idea. The general form cTM, of the object is, on the other hand, somewhat heavy. Purchased from----the Exhibition of 1851. (119) No. 51. Indian Bracelet In Enamelled Gold, Set With Table Diamonds.--Manufactured at Dholepore. The enamelled pattern on the inner surface is, in this specimen also, the most notable feature of the design. (120) No. 52. Bracelet In Chiselled Gold And Silver.--Recent French. Manufactured by Froment Meurice, of Paris. Purchased from the Exhibition of 1851. (166) No. 53. BOX, "BONBONNIERE," IN ROCK CRYSTAL, MOUNTED IN Enamelled Gold.--French work. Date about 1690-1700. (405) Coins and Medals.--Seals.--Engraved Gems. No. 54. Collection Of Sixty Coins.--Lent by Mr. W. Chaffers, jun., F.S.A. Exhibited solely as illustrations of Numismatic Art. The selection comprises coins of the following series:--1. Greek cities. 2. Greek kings. 3. Roman family or consular coins. 4. Roman imperial coins. 5. Ancient British, Parthian, and Sassanian coins. 6. English mediaeval and modern coins. Apart from what may be termed the Science of Numismatics, in which erudition and the practical knowledge of the collector have perhaps the chief share, coins and medals have a particular utility to the student in the point of view of the historic development of Art, which perhaps no other class of works illustrates in an equally compendious manner. The characteristics of the several series of coins may be thus briefly noted:--1. Greek Cities.--Distinguished by an infinite variety of designs, the earliest and rudest even exhibiting a grand and severe style of art; whilst those of the later periods are often equal in perfection to the finest contemporary works in scu...

This is an OCR edition without illustrations or index. It may have numerous typos or missing text. However, purchasers can download a free scanned copy of the original rare book from GeneralBooksClub.com. You can also preview excerpts from the book there. Purchasers are also entitled to a free trial membership in the General Books Club where they can select from more than a million books without charge. Original Published by: J. Murray in 1870 in 428 pages; Subjects: Art; Art / General; Art / Criticism; Art / History / General; Art / Individual Artist; Philosophy / Aesthetics;

This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1900. Excerpt: ... 205 THE P.R.B. JOURNAL, 1849-53. The facts regarding the formation of the Praeraphaelite Brotherhood, or P.R.B., have been frequently summarized ere now in print, by others and by myself: but I must run them over again briefly, in order to make the P.R.B. Journal the clearer. In 1848 there were four young students in the Royal Academy Schools--John Everett Millais and William Holman Hunt in the Life-school, Thomas Woolner in the Sculpture-school, and Dante Gabriel Rossetti in the Antique-school. Woolner, born in 1825, was the eldest; Millais, born in 1829, the youngest. These young men were all capable and ambitious: they had all, except Rossetti, exhibited something, to which (more especially in the case of Millais) the Artauthorities and the public had proved not wholly indifferent. They entertained a hearty contempt for much of the art--flimsy, frivolous, and conventional--which they saw in practice around them; and wanted to show forth what was in them in the way of solid and fresh thought or invention, personal observation, and the intimate study of and strict adherence to Nature. The young men came together, interchanged ideas, and were joined by two other youthful Painter-Students, James Collinson and Frederic George Stephens, and also myself, who was not an Artist So there were seven men forming the Praeraphaelite Brotherhood. I will not debate at any length why the term Praeraphaelite was adopted. There was much defiance in it, some banter, some sense, a great deal of resolute purpose, a large opening for misinterpretations, and a carte-blanche invitation for abuse. After thus constituting themselves, what they had to do was to design, paint, and model, and one of them in especial, Dante Rossetti, to write poetry; and they did it with a will. Som...