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This volume catalogues the 860 items which comprise the Shaw-Hellier music collection now housed in the Music Library of the Barber Institute of Fine Arts at the University of Birmingham. A foreword by Percy Young outlines the musical activities of the Worcestershire landowner, Samuel Hellier who began the collection in the middle of the 18th century. The collection includes sonatas by Corelli and Geminiani, and dances by Arnes and Bach, as well as less commonly found works such as the Chinzer symphonies and the complete published works of William Felton. As Ian Ledsham explains in this introduction, the collection was added to by Colonel Thomas Brandon Shaw-Hellier in the 19th century. He acquired some notable examples of military music, including the unique copy of "The Young Drummer's Assistant", an early treatise on military drumming. The catalogue entries include information on the content of the item, notes on watermarks and paper type, binding, ownership marks, instrumentation, portraits and subscribers lists. Items are also cross-referenced to the British Library Catalogue of Printed Music and the relevant volumes of RISM.A musical incipit is provided for all items that have not been identified or which seem to be unique. ... Read more

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Unlike other art indexes (arranged by artist's name) this essential reference work locates art by saint. For each saint a brief account of the subject's religious order, patronage (if known), method of martyrdom (if applicable), date of death, and feast day are provided. References to works depicting the saint are arranged chronologically and include the title, medium, artist's name, and date of creation. A major feature of this work is the notations of institutions holding the artwork, and books in which they are reproduced. ... Read more

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As art historians draw increasingly from such cognate fields as literary theory and anthropology for new modes of inquiry, scholars in fields as diverse as music and the history of medicine are turning to images in art as sources of information for their respective disciplines. Focusing on the role of iconography in this cross-fertilization, these papers examine how students of the Middle Ages and Renaissance search for meaning in the subject matter of works of art. Art historians as well as scholars from other disciplines provide a broad spectrum of approaches to icongraphic research and to the methodological and theoretical issues involved. These papers were presented at a conference sponsored by the Index of Christian Art in Princeton in 1990. The contributers to this volume are Howard Mayer Brown, Michael Camille, John V. Fleming, Craig Harbison, Michael Ann Holly, Wolfgang Kemp, Herbert L. Kessler, V. A. Kolve, Marilyn Aronberg Lavin, Irving Lavin, Henry Maguire, Keith Moxey, Ynez Viole O'Neill, H. Colin Slim, and Richard C. Trexler. ... Read more

Customer Reviews (1)

Early Clay Actors in the Northwest
This is an excellent overview, and the only one, as far as I know, of the growth of studio ceramics in the Pacific Northwest from the 1920's through the 1970's.It fascinates me, by presenting the work of artists who are household names and/or my teacher, or a friend's teacher.Thus, it is both intimate and covers a lot of territory (Washington to Montana, south through Idaho to Oregon with dips into California).These old artists help one understand the background of Northwest clay work now.Lots of B&W photos.It's a good book, because it fills the need for review/perusal of a specifically local past in ceramics. ... Read more

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Lying at Europe's remote western edge, Ireland long has been seen as having an artistic heritage that owes little to influences beyond its borders. This publication, the first to focus on Irish art from the eighth century AD to the end of the sixteenth century, challenges the idea that the best-known Irish monuments of that period-the high crosses, the Book of Kells, the Tara Brooch, the round towers-reflect isolated, insular traditions. Seventeen essays examine the iconography, history, and structure of these familiar works, as well as a number of previously unpublished pieces, and demonstrate that they do have a place in the main currents of European art.

While this book reveals unexpected links between Ireland, Late-Antique Italy, the Byzantine Empire, and the Anglo-Saxons, its center is always the artistic culture of Ireland itself. It includes new research on the Sheela-na-gigs, often thought to be merely erotic sculptures; on the larger cultural meanings of the Tuam Market Cross and its nineteenth-century re-erection; and on late-medieval Irish stone crosses and metalwork. The emphasis on later monuments makes this one of the first volumes to deal with Irish art after the Norman invasion.

The contributors are Cormac Bourke, Mildred Budny, Tessa Garton, Peter Harbison, Jane Hawkes, Colum Hourihane, Catherine E. Karkov, Heather King, Susanne McNab, Raghnall Ó Floinn, Emmanuelle Pirotte, Roger Stalley, Kees Veelenturf, Dorothy Hoogland Verkerk, Niamh Whitfield, Maggie McEnchroe Williams, and Susan Youngs. ... Read more

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The medieval liturgy was in many ways a performance in which the worshipper was transformed into both actor and audience--an act of intense involvement steeped in spoken words, music, and images alike. Of all these elements, art was arguably paramount: it transformed the physical setting of this ritual, shaped the medieval sense of belief, and guided the faithful toward a fuller comprehension of the word. The complex and always evolving relationship between the liturgy and the wide range of art that it influenced is the subject of the thirteen scholars who present their recent work in this richly illustrated volume.

The authors' approaches are as varied as the objects they examine, which range from sumptuous codexes, altarpieces, metal shrines, ivories, and the expansive stained-glass windows of the Sainte-Chapelle to more humble artifacts such as baptismal fonts, choir stalls, and drinking horns. One of the many conclusions that emerge from these essays is that "liturgical art" was far from being a rigidly controlled or formulaic genre. Throughout the Middle Ages it could--and did--respond readily and in nuanced detail to the changing expectations of the devout, the taste and demands of individuals, and even the lingering presence of secular and pagan objects.

The contributors are Adelaide Bennett, Elaine C. Block, Lisa Victoria Ciresi, Michael Curschmann, William J. Diebold, Julian Gardner, Alyce A. Jordan, Peter Lasko, John Lowden, Carol Neuman de Vegvar, Harriet M. Sonne de Torrens, Elizabeth C. Teviotdale, and Beth Williamson. ... Read more

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First classified as an early phase of the Gothic, Romanesque art of the late eleventh and twelfth centuries presents a variety of challenges. Difficulties as to when the Romanesque began or ended (even within individual countries), the disparities in local idioms of the style, and its intrinsic links to nationalism in a variety of countries in the post-medieval period have sometimes hindered scholarly research on a European scale.It is a period and style that is best studied with no classificatory platform, as the many essays in this volume indicate. Some of the most eminent scholars in the field gathered in Princeton in 2006 to celebrate Walter Cahn, one of the doyens of the period, and this volume presents their research for the first time. Looking at the concepts of style and historiography, these essays set out to stimulate new scholarship in the Romanesque and to show us how we have tended to neglect it in recent studies. Issues of reception, innovation, nationalism, iconography, technology, dating, and geographic coverage are all examined and make this volume a necessary addition for all scholars of medieval art. ... Read more

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Established in 1917, the Index of Christian Art, located at Princeton University, is now the largest archive of medieval art in existence and the most specialized resource for the iconographer. Throughout its eighty-five years, it has justly been recognized as one of the most learned institutions for the study of the art and culture of the medieval world. The essays in this book, all by staff or scholars of the archive, highlight some of the current research in the archive and the scholarship for which it has been widely renowned.

The studies cover art from the Late Antique period to the end of the fifteenth century and include most of the media represented in the archive, from manuscripts to sculpture to glass. From reinterpreting previous scholarship to making new insights into the medieval mind, they explore such themes as Jephtha's Daughter; Mary Magdalene; Saints Blaise, Paul, Joseph, and Elisabeth of Hungary; and topics including women in the Bibles moralisées, Late German sermons, the iconographic program at Bourges Cathedral, Franciscan devotional art, and a late medieval Islamic manuscript. This volume presents some of the most exciting and interdisciplinary approaches to the study of these subjects, from the home of medieval iconography in Princeton.

The contributors are Adelaide Bennett, Lois Drewer, Ivan Great, Judith Golden, Gerald Guest, Margaret Jennings, Margaret Lindsey, Mika Natif, Lynn Ransom, Pamela Sheingorn, and A. E. Wright. ... Read more

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A unique and thorough reference work Comic Art of Europe through 2000: An International Bibliography chronicles in two volumes the development of comic art in Europe and reflects the burgeoning amount of literature on the subject. Supplementing the award-winning works on comic art published by the author with Greenwood in 1994 and 1996, the expanded volumes contain over 17,000 multi-language entries on comic art literature in 42 European countries. Bringing order to the scholarship on this fascinating topic, this is an invaluable reference work for those interested in comic art, mass communication, and popular culture. ... Read more

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Covers 131 titles published in the last twenty years, from1980 through 1999. Most of the works indexed are in English, although some titles in French and Spanish are included. Artists are listed alphabetically, with birth and death dates, nationality, media in which the artist worked, and a code referring to the bibliography of titles indexed. Variant spellings, pseudonyms, and alternate names appear in parentheses after the name, with cross references provided. Coverage is worldwide, and some titles have been included that are not strictly biographical, in order to provide coverage for lesser-known artists. The main volume, published in 1973, was selected as an outstanding reference source by a committee of the Reference and Adult Services Division of ALA. ... Read more