Bemerkungen zu Cäsar's Gallischen Kriege /

Vol. 1 within: Bericht über den Lehrgang der Kieler Gelehrtenschule von Ostern 1853 bis Ostern 1854, erstattet von J.F. Horn; v. 2 within: Zu der öffentlichen Classenprüfung der Schüler unserer Gelehrtenschule ... von J.F. Horn.

Unequalled collection of engraved portraits of Napoleon Bonaparte and his marshals, and members of his family,

Mode of access: Internet.

Twenty-four portraits

"This edition is limited to 2000 copies, of which 1200 are for sale in Great Britain and 800 in the U. S. A.

Washington and the generals of the American Revolution : with finely-engraved portraits, from original pictures.

"Edited by Griswold, with the assistance of William Gilmore Simms, E.D. Ingraham, and others"--Boston Athenaeum, Catalogue of Washington collection, 1897, p. 361. R.W. Griswold wrote about one-third of the work. Cf. Passages from the correspondence ... of Rufus W. Griswold, 1898, p. 230.

Portraits of the eighties,

G. W. E. Russell.--W. E. Gladstone.--Lord Hartington.--Charles Stewart Parnell.--John Bright.--Joseph Chamberlain.--Sir William Vernon Harcourt.--The members for Northampton.--General Gordon.--Lord Wolseley and Lord Roberts.--Archbishop Temple, Archdeacon Farrar, and some other churchmen.--Professor Huxley and the evolutionists.--Sir John Lubbock.--Sir Thomas Brassey.--Lord Elcho and Lord Wemyss.--William Morris.--Swinburne and George Meredith.--Spencer Walpole and Andrew Lang.--G. F. Watts, J. E. Millais, and E. Burne-Jones.--Nellie Farren and some other players.--W. S. Gilbert and the Savoyards.--The "Æsthetes" and Oscar Wilde.--W. G. Grace.--The Souls.--Index.

Portraits des financiers ...

Includes bibliographical references.

A collection of old paintings by English and continental masters from London and other sources with an unusual number of early American portraits.

Mode of access: Internet.

Illustrated catalogue of the remarkable and widely known collection of early American and British portraits /

Mode of access: Internet.

An illustrated history of the state of Indiana : being a full and authentic civil and political history of the state from its first exploration down to 1875; including an account of the commercial, agricultural, and educational growth of Indiana; with historical and descriptive sketches of the cities, towns and villages ... together with biographical sketches and portraits of the prominent men of the past and present, and a history of each county separately /

Mode of access: Internet.

The land of Burns, a series of landscapes and portraits, illustrative of the life and writings of the Scottish poet.

Added t.-p., engraved with vignettes.

La Chambre de Commerce de Saint-Etienne; Bustes & Portraits; Vingt-trois heliogravures de Felix Thiollier faites d'apres les originaux des pentures et sculptures appartenant a la Chambre de Commerce, oeuvres de Hte. Flandrin, Albert Maignan, Guillaume, Montagny, etc.

Mode of access: Internet.

Stripping Sight Bare : Alison Jones’ ‘Portraits by Proxy’

In this paper I analyse UK artist Alison Jones’ sonic interventions Portrait of the Artist by Proxy (2008), Voyeurism by Proxy (2008) and Art, Lies and Audio Tapes (2009). In Portrait of the Artist by Proxy, Jones – who, due to deteriorating vision, has not seen her reflection in a mirror in years – asks and trusts participants to audio-describe her own image back to her. In Voyeurism by Proxy, Jones asks participants to audio-describe erotic drawings by Gustav Klimt. In Art, Lies and Audio Tapes, Jones asks participants to audio-describe other artworks, such as W.F. Yeames’ And When Did You Last see Your Father?. In these portraits by proxy, Jones opens her image, and other images, to interpretation. In doing so, Jones draws attention to the way sight is privileged as a mode of access to fixed, fundamental truths in Western culture – a mode assumed to be untainted by filters that skew perception of the object. “In a culture where vision is by far the dominant sense,” Jones says, “and as a visual artist with a visual impairment, I am reliant on audio-description …Inevitably, there are limitations imposed by language, time and the interpreter’s background knowledge of the subject viewed, as well as their personal bias of what is deemed important to impart in their description” . In these works, Jones strips these background knowledges, biases and assumptions bare. She reveals different perceptions, as well as tendencies or censor, edit or exaggerate descriptions. In this paper, I investigate how, by revealing unconscious biases, Jones’ works renders herself and her participants vulnerable to a change of perception. I also examine how Jones’ later editing of the audio-descriptions allows her to show the instabilities of sight, and, in Portrait of the Artist by Proxy, to reclaim authorship of her own image.