Terracotta Pipes with Triangular Engravings

The discovery of two smoking pipes from seventeenth-century contexts in Buenos Aires, Argentina, is used to suggest the presence in colonial times of a new set of stylistic norms derived from African traditions that are expressed at a regional scale not only in smoking pipes, but in a variety of items of material culture. These terracotta pipes, recovered at Bolívar 373 and the Liniers House sites, are characterized by their particular geometric decorative pattern, achieved by engravings and incisions. Similar specimens were found elsewhere inBuenos Aires, as well as in Cayastá (province of Santa Fe,Argentina) and Brazil.Fil: Zorzi, Flavia. Universidad de Buenos Aires. Facultad de Arquitectura y Urbanismo. Instituto de Arte Americano e Investigaciones Estéticas ; ArgentinaFil: Schavelzon Chavin, Daniel Gaston. Universidad de Buenos Aires. Facultad de Arquitectura y Urbanismo. Instituto de Arte Americano e Investigaciones Estéticas ; Argentin

Matthew Baillie's specimens and engravings

In 1799, Matthew Baillie, William Hunter's nephew, published his famous atlas of pathology. It was entitled A Series of Engravings Accompanied with Explanations which are Intended to Illustrate the Morbid Anatomy of Some of the Most Important Parts of the Human Body. The present study aims to match the illustrations to extant specimens in the collections of William and John Hunter, preserved at the University of Glasgow and at the Royal College of Surgeons of England respectively. Baillie's book contains 10 fasciculi, consisting of 73 plates and 206 figures. The specimens Baillie illustrated came from his own collection and those of ten others, including his uncles, William and John Hunter. The book was illustrated by William Clift and engraved by James Basire, William Skelton and James Heath. Excluding eight illustrations of intestinal worms where the provenance of the specimens is uncertain, a total of 98 specimens from William Hunter's collection were illustrated in 104 figures. Eight of the specimens were calculi impossible to identify specifically. Excluding worms and calculi, 72 of William Hunter's specimens illustrated by Baillie are extant in the Hunterian Collection at the University of Glasgow. All but one of the 20 specimens illustrated that had belonged to John Hunter were identified in the on-line catalogue of the Royal College of Surgeons of England. Baillie's own collection was destroyed when the Royal College of Surgeons of England was bombed in 1941. Baillie is credited with being the first to produce an illustrated systematic textbook of morbid anatomy and probably the first to illustrate emphysema and transposition of the great vessels. His book, however, was not comprehensive. It did not cover a number of topics such as muscles and bones and there is little coverage of the nervous system. Baillie's book, however, was an original concept as an atlas of morbid anatomy and showed his deep insight into pathology

Creative image maker: Edward Gordon Craig’s achievements in the visual arts

In his own lifetime and beyond, Craig’s immediately recognisable wood-engravings, woodcuts and etchings were widely exhibited both domestically and internationally. The speaker will argue that these images also had an important place in the wider creative revolution of content and medium explored by twentieth-century artists

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

Editorialising practices, competitive marketablility and James Thomson's 'The seasons'

The lapse of Andrew Millar's copyright for James Thomson's The Seasons in 1765 resulted in an increasing number of new editions of the poem being published in the late eighteenth century. This article compares the print-cultural make-ups of three editions of The Seasons that were issued in the 1790s. An examination of the print-cultural differences between these publishing ventures reveals distinct editorial practices and marketing strategies. In an attempt to increase the attractiveness of their editions with visual and textual paraphernalia, the producers developed their own versions' of The Seasons and, in the process, fashioned new interpretations of Thomson's poem