From Artist to Patron : The Fraser Collection of Engravings Presented to Dr. Robert Gibbes

This catalog accompanies an exhibition that deals with collecting, taste and culture in the nineteenth century. Although many individuals enjoy visiting museums to admire individual objects, few people ever wonder why a particular object was collected. Rarely are collections themselves considered a single entity worthy of study. This examination of the print collection assembled for Robert Gibbes by Charles Fraser, however, reveals the value of utilizing collections to study cultural history

Illustrated travel: steel engravings and their use in early 19th century topographical books, with special reference to Henry Fisher & Co..

The aim of this thesis is to investigate the introduction, production and sale of steel engravings in the illustrated picture books of the first half of the nineteenth century with particular reference to the publications of Henry Fisher, who began his career in Liverpool and continued it together with his son Robert in London. By looking at the processes from the initial artist's design through to its engraving and printing, and by establishing the interaction between the artist, author, publisher and engraver, this study will lead to a better understanding of both the economics and aesthetics of print production and determine the destination of these illustrated picture books by examining the relationship between the publisher and the public. Previous work on nineteenth-century topographical steel engraving has largely had a bibliographical rather than historiographical aim and has concentrated on the classification of images into regional units. Although useful these publications are not intended to be critical and do not lead to an understanding of the contextual background necessary to explain the enormous output and consumption of topographical steel-engraved books in the 1830s and 1840s. The two leading specialist topographical print-publishers were the London firms of Fisher, Son & Co. and George Virtue. The early career of Henry Fisher as a master printer of mainly religious publications issued in numbers is examined, and this study shows how his innovative marketing, selling and distribution methods led to these being adopted by others in the publishing trade. His transition from publisher of religious numbers in Liverpool to leading publisher of illustrated topographical works in London is investigated for the first time. As no records, account books or archives appear to have survived, this dissertation is based on the substantial number of illustrated travel books with steel-engraved plates that both firms produced between 1829 and 1844 as well as correspondence from Robert Fisher to the Irish artist George Petrie, in which Fisher explains some of 'the peculiarities of our business'. The two most prolific designers of illustrations for topographical picture books in this period were Thomas Allom (1804-1872) who worked for Fisher, and William Henry Bartlett (1809-1854) who worked for Virtue. Their contribution to the field of topographical book illustration has largely passed unnoticed by art historians who question whether mass produced images can be valued as art. Allom and Bartlett are usually classified as jobbing topographical artists or, at best, as architectural draughtsmen. A secondary aim of this dissertation is to offer a counterbalance to this view and show that their art was more genuinely creative than merely reproductive and moreover that their motives for doing this work were far from being similar

Recent Acquisitions, 2007-2017: Selections from the Gettysburg College Fine Arts Collection

This exhibition reflects the breadth of Gettysburg College’s significant art collection and acknowledges the generosity of its donors. Major acquisitions have been made possible by The Michael J. Birkner \u2772 and Robin Wagner Art and Photography Acquisition Fund, which was established in 2013 to enhance the Gettysburg College curriculum, to offer curatorial opportunities for students, and to provide first-hand access to significant works of art. Purchases made possible by this endowment include works by prominent, internationally renowned artists Kara Walker, Wafaa Bilal, John Biggers, and Michael Scoggins. Other recent donations include important works by Andy Warhol, Glenn Ligon, Leonard Baskin, Raphael Soyer, Marion Greenwood, William Clutz, William Mason Brown, Sally Gall, and Jules Cheret’s Les Maîtres de l\u27Affiche lithographs. The Fine Arts Collection at Gettysburg College is comprised of over 500 museum-quality works, in addition to over 2000 Asian art objects that are featured routinely in Schmucker Art Gallery exhibitions and studied in Gettysburg College courses. The College has acquired over 200 fine art works in the past ten years, and this exhibition marks the first occasion to celebrate and view the scope of the collection. Some of the objects have been featured in recent exhibitions, while others, including large-scale color silkscreens by Andy Warhol and a rare print by MacArthur “Genius” Award recipient Carrie Mae Weems, have not yet been exhibited.https://cupola.gettysburg.edu/artcatalogs/1024/thumbnail.jp

The world on a plate: the impact of photography on travel imagery and its dissemination in Britain, 1839-1888

This thesis explores how early photography contributed to the visual understanding of the world in the nineteenth century. It draws extensively on the collection of nineteenth-century photographic albums at the National Maritime Museum, London. These albums, compiled or purchased by officers in the Royal Navy, offer an extensive view of how the world was perceived by both the officers who collected photographs during overseas service and the photographers who competed to supply them. Chapter 1 considers two personal photographic albums compiled by naval officers Frederick North and Tynte F. Hammill. Through these it reveals the agency of the collector as a curator of their own world picture, and introduces wider currents visible across the archive. Chapter 2 explores the impact of photography on the visual representation of the Crimean War and the competitive market for travel imagery in Britain. Chapters 3 and 4 explore the work of photographer Felice Beato, the studio albums he created in Japan and Korea, and the role of the British navy and military in Asia – a significant early market for overseas photography. Chapter 3 looks at Beato’s Views and Costumes albums (c. 1868) and problematizes previous readings, arguing for a more nuanced and cross-cultural approach. This chapter also offers evidence to support a realignment (caused by previous misbinding) of the V&A Views album. Chapter 4 employs Beato’s Korean album (1871) as a case study and reveals pictorial slippage across albums previously believed to be homogenous. Chapter 5 explores the secondary use of overseas photographs as engravings in the British press and publications. The thesis concludes that nineteenth-century photographic albums compiled by naval officers while on overseas service offer visual evidence that vision underwent a profound shift during this time and that looking at the world became subjective, fragmentary and contingent

Books in Pieces: Granger, History, and the Collection

This article analyzes the influence of James Granger's Biographical His­tory of England (1769), a volume that spearheaded a remarkable praxis of collecting, interleaving, and rebinding during the eighteenth and nineteenth centuries. This praxis reflects not only radical changes in concepts of col­lecting during this period, but also three central dimensions of book his­tory. These include the era's passion for artefactual collections; its propen­sity for annotative forms, such as marginalia and prefaces; and its burgeon­ing publication of compilatory, systematized texts—such as catalogues, al­manacs, encyclopedias, and other compendium forms. The article goes on to suggest that grangerized texts extend beyond simple, stochastic gather­ings to reveal key precepts of historiographic continuity, serialized succes­sion, ekphrastic reproduction, and synoptic collectivity

United States Senate Catalogue of Graphic Art

This volume is the first comprehensive publication of the almost one thousand prints in the holdings of the United States Senate. The collection represents a 30-year effort to document graphically the 19th and early 20th century history of the Senate, the Capitol, and American political history. The diverse illustrations range from inauguration ceremonies and impeachment trials to senatorial portraits and political cartoons. Represented in the Senate\u27s graphic art collection are some of the most notable artists who worked in the printmaking medium: Augustus Kallner, Rembrandt Peale, Alexander Hay Ritchie, Thomas Nast, and Joseph Keppler. While visually engaging, these prints also are important primary historical records. By carefully scrutinizing a print, in the same way a historian might analyze a journal or diary, one can extract the meaning of the artist and decode the historical subtext. Often, the elements omitted by the artist in an image are just as important as those that are included. As a research tool, the graphic art collection has been invaluable to historians and scholars for many years. This publication seeks to broaden the appeal of the collection by making the information available to a wider audience. Essays by Senate Curator Diane K. Skvarla and Associate Senate Historian Donald A. Ritchie provide an overview of the collection, with selected prints highlighted throughout the book. This is the second volume dedicated to the Senate\u27s art and historic collections. In 2002 the Senate published the United States Senate Catalogue of Fine Art, presenting the 160 paintings and sculptures in the Senate\u27s fine art collection

Leonard Baskin

This catalogue issued in lieu of Bulletin vol. II, no. 1 Designed by Leonard Baskin. Set in type at the Stinehour Press and printed at the Meriden Gravure Company --Colophonhttps://digitalcommons.bowdoin.edu/art-museum-exhibition-catalogs/1004/thumbnail.jp

War, Inflation, Monetary Reform and the Art Market

During World War II, the art market experienced a massive boom in occupied countries. The discretion, the inflation proof character, the absence of market intervention and the possibility to resell artworks abroad have been suggested to explain why investing in artworks was one of the most interesting opportunities under the German boot. On basis of an original database of close to 4000 artworks sold between 1944 and 1951 at Giroux, one of the most important Art Gallery in Brussels, this paper analyzes, the price movements on the Belgian art market following the liberation. Market reactions following the war are used to understand which motivations played the most important role in investorsÕ decisions. Prices on the art market experienced a massive drop. This huge price decline is attributed to two elements: fear of prosecution for war profits and the monetary reforms set into place in October 1944.Art market, Art Investment, WWII, Belgium, Post-war, Monetary reforms

Treasures at Butler University: Some Special Collections at Butler University (1986)

https://digitalcommons.butler.edu/scbib/1002/thumbnail.jp