Lely & the Stuart portrait painters; a study of English portraiture before & after Van Dyck:

"Of this work 375 copies (of which 350 are for sale) have been printed on pure rag paper; also (for a subscriber) 30 copies (25 for sale) on hand-made paper, with an extra set of the plates. Of the ordinary edition this is no. 21."

Illustrated catalogue of the ninth series of 100 paintings by old masters of the Dutch, Flemish, Italian, French, and English schools : being a portion of the Sedelmeyer Gallery which contains about 1500 original pictures by ancient and modern artists.

Mode of access: Internet.

Illustrated catalogue of the fourth series of 100 paintings by old masters of the Dutch, Flemish, Italian, French, and English schools : being a portion of the Sedelmeyer Gallery, which contains about 1500 original pictures by ancient and modern artists.

Mode of access: Internet.

A treatise on the art of painting, in all its branches; accompanied by seventy engraved plates, and exemplified by remarks on the paintings of the best masters, illustrating the subject by reference to their beauties and imperfections.

Plates by John Carwitham after Lairesse. They are numbered I-LXXI, with II/III and IV/V on single leaves.

Catalogue of the Ehrich Galleries collection of valuable paintings by the masters of the classic Italian, Dutch, Flemish, English, Spanish and French schools, to be sold at absolute public sale ... March 24th [1905] The sale will be conducted by James P. Silo, of the Fifth avenue galleries.

Mode of access: Internet.

The earlier English water-colour painters /

"Of this edition on large paper 100 copies are printed, with proofs of the plates."

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.

A descriptive catalogue (with remarks and anecdotes never before published in English) of some pictures, of the different schools, purchased for His Majesty the late King of Poland, which will be exhibited early in 1802, at the Great Room, No. 3, in Berners-Street, the third door on the right, from Oxford-Street /

Mode of access: Internet.

Encountering the Spectre of Painting

When thinking what paintings are, I am continually brought back to my memory of a short sequence in Alfred Hitchcock’s Vertigo. In the scene, Kim Novak’s Madeleine is seated on a bench in an art gallery. She is apparently transfixed by a painting, Portrait of Carlotta. Alongside James Stewart, we watch her looking intently. Madeleine is pretending to be a ghost. At this stage she does not expect us to believe she is a ghost, but simply to immerse ourselves in the conceit, to delight in the shudder. Madeleine’s back is turned away from us, and as the camera draws near to show that the knot pattern in her hair mirrors the image in the portrait, I imagine Madeleine suppressing a smile. She resolutely shows us her back, though, so her feint is not betrayed. Madeleine’s stillness in this scene makes her appear as an object, a thing in the world, a rock or a pile of logs perhaps. We are not looking at that thing, however, but rather a residual image of something creaturely, a spectre. This after-image is held to the ground both by the gravity suggested by its manifestation and by the fine lie - the camouflage - of pretending to be a ghost. Encountering a painting is like meeting Madeleine. It sits in front of its own picture, gazing at it. Despite being motionless and having its back to us, there is a lurching sensation the painting brings about by pretending to be the ghost of its picture, and, at the same time, never really anticipating your credulity.

The Wounded Me: a novel and critical essay on Hugo Simberg's oeuvre and the literary engagement with his painting The Wounded Angel

No abstract available.

Illustrated catalogue of notable paintings by masters of the early English, Barbizon, modern French and contemporaneous schools ... sold ... February 3rd, 1921 ...

Mode of access: Internet.

English and the discourses of colonialism

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Influence of English language in the number of citations of articles published in Brazilian journals of Ophthalmology

PURPOSE: To determine the association between language and number of citations of ophthalmology articles published in Brazilian journals. METHODS: This study was a systematic review. Original articles were identified by review of documents published at the two Brazilian ophthalmology journals indexed at Science Citation Index Expanded - SCIE [Arquivos Brasileiros de Oftalmologia (ABO) and Revista Brasileira de Oftalmologia (RBO)]. All document types (articles and reviews) listed at SCIE in English (English Group) or in Portuguese (Portuguese Group) from January 1, 2008 to December 31, 2009 were included, except: editorial materials; corrections; letters; and biographical items. The primary outcome was the number of citations through the end of second year after publication date. Subgroup analysis included likelihood of citation (cited at least once versus no citation), journal, and year of publication. RESULTS: The search at the web of science revealed 382 articles [107 (28%) in the English Group and 275 (72%) in the Portuguese Group]. Of those, 297 (77.7%) were published at the ABO and 85 (23.3%) at the RBO. The citation counts were statistically significantly higher (P<0.001) in the English Group (1.51 - SD 1.98 - range 0 to 11) compared with the Portuguese Group (0.57 - SD 1.06 - range 0 to 7). The likelihood citation was statistically significant higher (P<0.001) in the English Group (70/107 - 65.4%) compared with the Portuguese Group (89/275 - 32.7%). There were more articles published in English at the ABO (98/297 - 32.9%) than at the RBO (9/85 - 10.6%) [P<0.001]. There were no significant difference (P=0.967) at the proportion of articles published in English at the years 2008 (48/172 - 27.9%) and 2009 (59/210 - 28.1%). CONCLUSION: The number of citations of articles published in Portuguese at Brazilian ophthalmology journals is lower than the published in English. The results of this study suggest that the editorial boards should strongly encourage the authors to adopt English as the main language in their future articles.

There is no subjunctive in English

The western classical tradition identifies three moods: indicative, subjunctive, imperative. Protagoras split the indicative into interrogative and declarative. Palmer 2001, 2003 argues for only two: indicative and subjunctive. Given any of these classifications of mood, English has no category of mood and so has no subjunctive. Instead it has certain clause-types which express hypotheticality and which can be subsumed to the irrealis branch of the apparently universal category realis~irrealis; to which subjunctives, optatives, jussives and the like can also be subsumed.

Mummy! Ball! Fish!: Why English-learning children produce nouns earlier than verbs

When English-learning children begin using words the majority of their early utterances (around 80%) are nouns. Compared to nouns, there is a paucity of verbs or non-verb relational words, such as 'up' meaning 'pick me up'. The primary explanations to account for these differences in use either argue in support of a 'cognitive account', which claims that verbs entail more cognitive complexity than nouns, or they provide evidence challenging this account. In this paper I propose an additional explanation for children's noun/verb asymmetry. Presenting a 'multi-modal account' of word-learning based on children's gesture and word combinations, I show that at the one-word stage English-learning children use gestures to express verb-like elements which leaves their words free to express noun-like elements.