The reminiscences of Carl Schurz : illustrated with portraits and original drawings /

"A sketch of Carl Schurz's political career, 1869-1906, by Frederic Bancroft and William Dunning": v. 3, p. [311]-455.

English political portraits of the nineteenth century,

The first Duke of Wellington.--George Canning.--The second Viscount Melbourne.--Sir Robert Peel.--Benjamin Disraeli, earl of Beaconsfield.--William Ewart Gladstone.--Queen Victoria.

The beauties of Moore: a series of portraits of his principal female characters, from paintings by eminent artists, executed expressly for the work.

First published, with title: The poet's gallery of beauty, London, 1846.

The poetical works of Horace Smith and James Smith ... with portraits and a biographical sketch.

"Our reprint of this work is from the twenty-third London edition, and the notes inclosed in brackets are from the pen, we believe, of Mr. Peter Cunningham."--Pref.

Universities and their sons; history, influence and characteristics of American universities, with biographical sketches and portraits of alumni and recipients of honorary degrees.

Special editors approved by authorities of the respective universities: Harvard, William Roscoe Thayer, Yale, Charles Henry Smith: Princeton, John De Witt, Jesse Lynch Williams: Columbia, J. Howard Van Amringe. Biographical editors, Charles E. L. Wingate, Albert Lee, Jesse Lynch Williams and Henry G. Paine.

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.

Morgan horses : a premium essay on the origin, history, and characteristics of this remarkable American breed of horses; tracing the pedigree from the original Justin Morgan, through the most noted of his progeny, down to the present time. With numerous portraits, to which are added hints for breeding, breaking, and general use and management of horses, with practical directions for training them for exhibition at agricultural fairs /

Publisher's advertisement at end.

Imaginary Portraits,

Mode of access: Internet.

Portugal : with five new portraits and an additional chapter by Martin Hume. /

Mode of access: Internet.

Beza's Icones; contemporary portraits of reformers of religion and letters, being facsimile reproductions of the portraits in Beza's "Icones" (1580), and in Goulard's edition (1851), with introduction and biographies

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.

Outdoor portrait of Jenny Gutman (left) and Erna Strasburger with unidentified young boy Portraits Groups

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