A study of some aspects of the life and works of Abraham De Smidt (1829-1908) surveyor-general of the Cape Colony, with particular reference to the Cape Fine Arts Exhibitions between 1851 and 1890

BIbliography: p. 151-154a

A study of some aspects of the life and works of Abraham De Smidt (1829-1908) surveyor-general of the Cape Colony, with particular reference to the Cape Fine Arts Exhibitions between 1851 and 1890

BIbliography: p. 151-154a

The market for modern art in New York in the nineteen forties and nineteen fifties: a structural and historical survey

The nineteen forties and nineteen fifties, acknowledged as the decades in which New York first emerged as a locus for modern art production of international stature (particularly the so-called 'New York School '), also witnessed its development into a market for modern art, both European and American, and it is upon this that this study focuses. A modern art market is a 'support-system' which consists of not only the producer-artists and consumer-collectors but also of a number of 'intermediaries'. This complex, in addition to the actual purchase of art works, serves, for instance: to disseminate a knowledge about modern art in general; to select particular artists and promote their work in the public eye; to support contemporary artists financially; and to enhance the sphere of collecting activity. The groups or institutions involved in these functions vary according to historical circumstances, and the first part of this study identifies the key constituents of the 'support-system' in the New York art market in this period as: New York museums concerned with modern and contemporary art, both foreign and native, private dealer-galleries, and collectors; and examines what parts each played in the structure of the art market as a whole, paying particular attention to the influence of wider socio-economic factors upon this. This 'support-system' structure discussed in the first part may be considered as synchronic. The second part of this study, however, concentrates upon an examination of changing trends in prices and in collectors' preferences for different artistic expressions (particularly the relative status of American as against European modern art). Emphasis is placed in this upon demonstrating where possible how such developments were related to the functioning of the support system as discussed; and to situating the behaviour of the New York art market of the period into a wider national socio-economic context

IC 001 Guide to Houston Academy of Medicine-Texas Medical Center Library Records

Houston Academy of Medicine-Texas Medical Center Library records consist of about 135 boxes and contains photographs, scrapbooks, VHS tapes, reports, printed material, financial documents, correspondence, architectural drawings, and surveys that document the history of HAM-TMC Library. See more at https://archives.library.tmc.edu/ic-001

Ângelo de Sousa’s photographic and film collection: strategies for the preservation of colour slide-based artworks

The Portuguese artist Ângelo de Sousa (1938-2011) produced noteworthy work in photography and experimental film. However, a lack of in-depth studies focusing on the use of these media by the artist is acknowledged. Thus, his work has been studied, particularly through unpublished documentation found in the artist’s house and in public archives, bringing new insights into his production. Despite the delay in the artistic context felt in Portugal in the post-modern period, Ângelo de Sousa produce photographic and film work perfectly in line with that of other international artists. The slide-based artwork Slides de Cavalete (1978-1979), constructed with the additive synthesis of colours, stands out as an example of the inventiveness achieved by the artist with these media. The production process behind Slides de Cavalete has been studied and reproduced, allowing for a thorough understanding of the work and contributing to the definition of its significance. The photographs and films have been gathered together in his house. Since typologies, quantities and condition of the materials were unknown, a survey was carried out to enhance knowledge of the collection and to define preservation priorities. Accordingly, 35 mm chromogenic reversal films (slides), used to produce almost all his photographic colour work, was highlighted as the set in highest risk due to colour change detected in one third of these materials. Thereby, slide-based artworks by Ângelo de Sousa were studied in further detail. The display options undertaken by the artist during his lifetime have been investigated, in order to guide the decision-making process regarding the exhibition and preservation of his slide-based artworks. Slides de Cavalete was selected as a case study, and the history of its exhibition was assessed by searching for documentation and interviewing people. Thus, it is understood that the work was first presented projected on a canvas over an easel, in 1979. Since the artist’s death, the work has been presented without this setup, and recently, as a digital projection. An exhibition was conducted at FCT NOVA, to test the variability of the work displayed with a digital and a slide projector. Based on a questionnaire, a clear preference for the slide projection was acknowledged. Thus, guidelines for the exhibition of Slides de Cavalete are defined, following its first presentation. Considering that chromogenic reversal films are highly susceptible to colour change and that there is still much to know about these materials, their molecular characterization and degradation has been studied. Different pathways to characterize chromogenic dyes are suggested based on chromatographic and spectroscopic techniques. Additionally, a methodology to accurately monitor colour change in these materials has been defined, based on samples artificially aged at different temperatures (50, 60, 70 and 80˚C) and relative humidity (40% and 60%). The samples were assessed using spectrophotometry with optical fibre probes in the ultraviolet-visible range. From the spectral data, intensity maximums, CIE L*a*b* coordinates and the total colour variation (ΔE*) have been determined. Optical microscopy and digitization have also proven useful for degradation assessment on these materials

Truth and subjectivity: explorations in identity and the real in the photographic work of Clemetina Hawarden (1822-65) and Samuel Butler (1835-1902) and their contemporaries

This study focuses upon Victorian photograph and in particular upon two bodies of photographic work which are, as yet, comparatively little-known - the work of Lady Clementina Hawarden and of Samuel Butler. While the pairing may at first seem an odd one, since the connections between the two are not immediately obvious, it is in my view entirely justified; for in the work of both one finds a similar sense of unease at Victorian discourses of truth and the real, whereby the idea of the indivisible and a priori nature of reality and truth is enshrined and protected, and at the implications of such a conception for the identity of the human subject. Even more strikingly, both choose (entirely independently) to examine and challenge their discourses using remarkably similar photographic strategies. It is argued that, taking subjects which are at times very different and at others startlingly similar, both use photograph as the means to explore a sense of the human subject, and the conception of truth/reality upon which is is based, as characterized by multiplicity, contingency and arbitrariness. Parallels are drawn with artists including Vermeer and Velazquez to support this reading, and their work is contrasted with that of other artists, both Victorian and otherwise, to demonstrate the degree to which their ideas diverge from the discursive norm. The study builds towards the conclusion that, in the contingent and ambiguous nature of the photograph itself, both Hawarden and Butler found a medium capable of strengthening and confirming their resistance to the unifying and homogenizing structures employed by many of their contemporaries against the development of the modern decentred subject

Thomas Hayton Mawson 1861-1933 : the English garden designs of an Edwardian landscape architect

Imperial Users onl

The South African Philatelist : 1952

The Philatelic Federation of South Africa (PFSA) is a voluntary association organised as a federation of clubs & societies for stamp collectors and philatelists of all ages and all types. To produce the up-to-date journal locally is no easy matter, but we shall continue to give our readers what we think they will appreciate most. The journal is managed by a collector for the benefit of collectors, and as no dealer has any choice in the management, philatelists will realise that they have a paper which will cater for their wants, and give them reliable, unbiassed advice.The South African Philatelist, January - December (1952)Digitised by the Department of Library Services in support of Open Access to information, University of Pretoria.pm202

Sources for the history of sport in Britain: A bibliographical compilation and analysis with particular reference to the problems of bibliographical control

The purpose of this study is to identify, discuss the merits of, list and analyse the bibliographical control of secondary and selected primary sources for the history of sport in Britain. The Introduction sets sport in its social setting, traces the emergence of sports history as a field of study, identifies historiographical trends and barriers to progress. Following a review of the literature, it is concluded that a major barrier to research and improved scholarship is a perceived lack and awareness of source material. Part A identifies both primary and secondary sources for the sports historian, both in general terms and in relation to specific areas of research and topics of investigation. This includes detailed discussions of their merits, problems associated with their use, identification and location. The need is stressed for a comprehensive bibliography of secondary works and a listing of manuscript material. Part B attempts to document all secondary sources (monographs, periodical articles, conference papers, chapters in books, festschriften, theses, and typescripts, including reference works), on the history of sport and physical education in Britain published in the English language, in a classified order designed to meet the needs of the sports historian and all those otherwise interested in the development of sport in Britain and its literature. Part C attempts to index sporting manuscripts held in public record offices and by national governing bodies of sport. An overview describes problems experienced by the author during the course of the study and analyses the effectiveness of existing bibliographical control in efficient literature searching. This thesis concludes that whilst sporting records have been sadly neglected by the sporting bodies, by professional archivists and in librarians' divisions of human knowledge, considerable source material of value to the sports historian does exist but that this is scattered and fragmented. Existing bibliographical sources do not serve the interests of the researcher in sports history well. For sport, as perhaps for several other 'low status', multi-disciplinary subject areas, the most efficient strategy for comprehensive literature searching within the existing bibliographical network is to start with the most extensive 'form' bibliographies and to then eliminate unwanted items