Letter from Jacob Sheape to William Tudor,

One letter relaying commercial news.

Victoires, conquêtes, désastres, revers et guerres civiles des français : de 1792 a 1815 /

Mode of access: Internet.

Jacob Faithful /

"First edition, 1896."

A catalogue, of the most remarkable collection of prints ever offered to the public; being matchless both for number, variety, beauty, and scarcity : consisting of all the great masters in Europe ... the topography of England, Ireland, Scotland and Wales ... heraldry, and all other antiquities in each country; likewise a wonderful collection both of English and foreign portraits ... : which will be sold by Mr. Greenwood, at his room, in Leicester Square on Monday the 16th day of January, 1786, and the following days.

Issued in 3 parts. The second (p. [81]-158) has special t.p.: A catalogue of the remaining part of this collection of prints ... which will be sold by Mr. Greenwood ... on Tuesday the 21st day of February, 1786, and seventeen following days. The third (p. 159-169) has special t.p.: A continuation, of a most curious, scarce, valuable, and fine collection of all those persons who ... are entitled to a place in the English school ... [sold March 14-15, 1786].

Erzherzog Karl und der Weltstreit von 1792 bis 1815 : Vaterländisches Geschichtsbild /

Mode of access: Internet.

Fanaticism; its source and influence, illustrated by the simple narrative of Isabella, in the case of Matthias, Mr. and Mrs. B. Folger, Mr. Pierson, Mr. Mills, Catherine, Isabella, &c. &c. A reply to W. L. Stone, with descriptive portraits of all the parties, while at Sing-Sing and at Third street ...

Checklist Amer. Imprints

Johan Maritis Resu uti Syrien, Palästina och på Cypern,

Includes index.

Jacob Faithful /

Mode of access: Internet.

Jacob Faithful /

"With the portrait of the author."

Jacob Faithful /

Mode of access: Internet.

Histoire particulière des événements qui ont eu lieu en France pendant les mois de juin, juillet, août et septembre 1792, et qui ont opéré la chute du thrône royal ...

Mode of access: Internet.

Vierzig Jahre von Frankfurt am Main, oder: Frankfurt im Jahr 1792, im Jahr 1832 und im Jahr 1872 : nebst einer chronologischen Uebersicht der merkwürdigsten Begebenheiten Frankfurts von 1700 bis 1833

[D. Ring]

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.