The native tribes of South-east Australia

Appendix: Some legends of Central Australian tribes: p. 779-806.Mode of access: Internet

Vicissitudes of Bush Life in Australia and New Zealand

https://commons.und.edu/settler-literature/1066/thumbnail.jp

Annual Report of the Board of Regents of the Smithsonian Institution, showing the operations, expenditures, and condition of the institution for the year 1879

Annual Report of the Smithsonian Institution. [1891] Research related to the American Indian; Indian mounds in Indiana and Florida; Indian shell-heaps and relics

Opals and agates, or, scenes under the Southern Cross and the Magellans: being memories of fifty years of Australia and Polynesia

Mode of access: Internet

Holland City News, Volume 14, Number 16: May 23, 1885

Newspaper published in Holland, Michigan, from 1872-1977, to serve the English-speaking people in Holland, Michigan. Purchased by local Dutch language newspaper, De Grondwet, owner in 1888.https://digitalcommons.hope.edu/hcn_1885/1020/thumbnail.jp

Phillips Phonograph : Vol. 1, No.10 - November 16, 1878

https://digitalmaine.com/phillips_phonograph/1106/thumbnail.jp

American Square Dance Vol. 32, No. 6 (June 1977)

Monthly square dance magazine that began publication in 1945

The Looking-Glass World: Mirrors in Pre-Raphaelite Painting 1850-1915

This dissertation examines the role of mirrors in Pre-Raphaelite painting as a significant motif that ultimately contributes to the on-going discussion surrounding the problematic PRB label. With varying stylistic objectives that often appear contradictory, as well as the disbandment of the original Brotherhood a few short years after it formed, defining ‘Pre-Raphaelite’ as a style remains an intriguing puzzle. In spite of recurring frequently in the works of the Pre-Raphaelites, particularly in those by Dante Gabriel Rossetti and William Holman Hunt, the mirror has not been thoroughly investigated before. Instead, the use of the mirror is typically mentioned briefly within the larger structure of analysis and most often referred to as a quotation of Jan van Eyck’s Arnolfini Portrait (1434) or as a symbol of vanity without giving further thought to the connotations of the mirror as a distinguishing mark of the movement. I argue for an analysis of the mirror both within the context of iconographic exchange between the original leaders and their later associates and followers, and also that of nineteenth-century glass production. The Pre-Raphaelite use of the mirror establishes a complex iconography that effectively remytholgises an industrial object, conflates contradictory elements of past and present, spiritual and physical, and contributes to a specific artistic dialogue between the disparate strands of the movement that anchors the problematic PRB label within a context of iconographic exchange. Considering the mirror as a stand-alone entity in their works, it not only gives a modern, contemporary relevancy to their images regardless of the subject matter depicted, it also functions as a metaphor for their specific approach to realism mediated through visions in glass

The Art of Magic: British Depictions of the Occult in the Nineteenth and Early Twentieth Centuries

In 2013, Witches and Wicked Bodies was the first major British exhibition with a focus on images of witches and witchcraft in art and visual culture, with a timeline spanning from the Renaissance period to the early twenty- first century, but one era was sorely neglected - only two of the impressive number of images made in the nineteenth and early twentieth centuries were included. The first aim of this thesis is, therefore, to draw attention to the occult imagery in British artworks created between 1849 and the end of the First World War, providing new perspectives on the works of Dante Gabriel Rossetti, Frederick Sandys, Simeon Solomon, Edward Burne-Jones, Evelyn De Morgan, and John William Waterhouse. Additionally, this thesis addresses the prevalence of images of witchcraft, magico-religious ritual, and spiritualist practice (and the real-life continuation of such practices) in an era often characterised by scientific and industrial revolution, and tensions between the ‘rational’ and the ‘irrational’. As implied by the title, with the crux of the argument resting on the emphasis of a close examination between the connection between the occult and the arts, with both practices being forms of expression that rely on creativity