Rops provided frontispieces for several of the "Décadence Latine" novels, which began appearing in 1884.
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But it is exhausting dealing with the higher priests of Shakespearean arcana, who believe that because they are enthralled by book bindings, frontispieces and vellum, then Shakespeare must have been too.
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The entries reproduce frontispieces and proofs (if available), but also detail the books' page size, pagination and inclusion of unnumbered or blank leaves, techniques and printing studios used for illustrations, typography including printers and presses (with illustrations of trail fonts used if available), paper type, and edition run.
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Tchakikian's name was also mentioned on the frontispieces of the published books.
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Iyo Blind a kuchi-e by Mizuno Toshikata, 1906, Honolulu Museum of Art are frontispieces of books, especially woodblock printed frontispieces for Japanese romance novels and literary magazines published from the 1890s to the 1910s.Newland, Amy Reigle. (2005). Hotei Encyclopedia of Japanese Woodblock Prints. Amsterdam: Hotei, p.
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Joseph Nutting (1660–1722) was an English engraver, working in London. He is known for his portraits, often used as book frontispieces.
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Elena Calvillo, Romanità and Grazia: Giulio Clovio's Pauline Frontispieces for Marino Grimani, The Art Bulletin, Vol. 82, No. 2 (Jun., 2000), pp. 280-297, .
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Gravelot's rococo book illustrations in London reached a peak in the designs he contributed to Theobald's 1740 edition of the complete works of William Shakespeare, for which Gravelot provided 35 frontispieces.
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Kantaka Cetiya Vaahalkada. Kantaka Cetiya is a circular stupa having a base circumference of about 425 feet. It has three stepped rims. It has four frontispieces in the four cardinal directions.
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Journal of Mechanical Engineering, Vol. 56, No. 1, pp 1–17. # Al-Atabi, M.T., Chin, S.B. and Luo, X.Y. 2005. “Visualization of Mixing of Flow in Circular Tubes with Segmental Baffles”. (Frontispieces).
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Cranach lived in Wittenberg after 1504 and painted portraits of Martin Luther, Philip Melanchthon and other leaders of the German Reformation. Holbein made frontispieces and illustrations for Protestant books and painted portraits of Erasmus and Melanchthon.
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Frontispiece of the Saint George Chapel, at the Palau de la Generalitat de Catalunya in Barcelona In architecture, a frontispiece is the combination of elements that frame and decorate the main, or front, door to a building. The term is especially used when the main entrance is the chief face of the building rather than being kept behind columns or a portico. Early German churches often employed frontispieces to hide the aisles and nave. In Kentucky, the frontispieces of Georgian buildings characteristically feature a lunette above the door and colonettes on either side.
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His music was published by more than 50 publishers. Hubert J. Foss of the Oxford University Press published many of his compositions, illustrations, frontispieces and cover- designs, which he made for various publications, including the one for Benjamin Britten's Simple Symphony.
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Sime also contributed frontispieces to The Ghost Pirates by William Hope Hodgson Shadows in the Attic:A Guide to British supernatural fiction, 1820-1950, By Neil Wilson. British Library,2000 (p. 206). and The House of Souls by Arthur Machen.Arthur Machen by Mark Valentine.
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91Aliata, Fernando (2004). Diccionario de arquitectura en la Argentina: Estilos, obras, biografías, instituciones, ciudades. Diario de Arquitectura de Clarín, p. 69. The precursor of the style was the Italian-born engineer Alula Baldassarini, who popularized the use of stone on the frontispieces in 1925.
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This collection includes the frontispieces of 16th- and 17th- century accounting texts; cartoons and illustrations from 19th- and early 20th-century books, logos, and mastheads; and photographs from early organizational meetings, early journals and books. It also includes pages of the Accounting Historians Journal and Accounting Historians Notebook.
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The situation concerning the deeper modification Sixtus had made to the Leuven Vulgate text is totally different. The editors tried to make the Clementine Vulgate as similar as possible to the Sixtine Vulgate: titles and frontispieces were similar, and the page numbering of the Sixtine and Clementine editions was identical.
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Much of Lightle's work since then has been as a cover artist for which he typically inks his own penciled artwork. In 1989 and 1990, Lightle was the regular cover artist for Classic X-Men (later retitled X-Men Classic). He produced new covers and frontispieces to accompany the reprinted stories.
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The Grete Herball proved popular enough to be reprinted several times after Treveris's death. Thome Gybson printed an updated edition "The grete herbal newly corrected" in 1539, and printer John Kyng produced the final Early Modern edition in 1561. Both Gybson and Kyng use fewer images and different frontispieces than Treveris's editions.
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The Journal originally published nine issues per academic year. The issues contained legal articles, comments, and case reviews. They also contained write-ups on the University of the Philippines College of Law, including its social events and co-curricular activities, and the College's alumni. Frontispieces of Supreme Court justices and prominent practitioners were also featured in the earlier issues.
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Three of his published works include frontispieces by Thomas Rowlandson. The remainder of his library was sold at auction the year following his death.A Catalogue of the ... Library of ... Mr. Edward Jones, Bard to the King, Containing an Extremely Rare Collection of Music and Works on Music, Pageants and Archery ... Sold by Auction, by Mr. Sotheby ... Feb. 7th, 1825.
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In 2008, Lonely Road Books sold out its pre-orders for O'Nan's latest writing, a screenplay simply titled Poe. It is a dramatic retelling of the life of Edgar Allan Poe. The screenplay was released as a limited edition of 200 copies and as a lettered edition of 26 copies. It features a foreword by Roger Corman and frontispieces by Jill Bauman.
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The hall is built in a Jacobean style, with many chimneys. It was designed by William Burn, who also laid out the gardens in collaboration with William Andrews Nesfield. The gate lodge, also in a Jacobean style, was designed in 1834 by Cornelius Sherborne. The front elevation of the Elizabethan stables was re-erected and the stone frontispieces still stand in the park.
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He lived in Blackfriars, London, where he published drawing books on natural history and other educational subjects. (According to some accounts he lived in the Strand.) He engraved portraits for frontispieces of books, including portraits of Charles I, Charles II, William III, Queen Mary II, Rev. John Carter (Minister of Bramford, 1644), James Ussher (1656), and Rev. Samuel Clarke (1675).
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Gaywood was prolific, the bulk of his work consisting of portraits and frontispieces to books, for which he was widely employed by publishers. Much of his work was for Peter Stent. Gaywood is noted for his etchings of birds and animals after Francis Barlow. They worked together on a large etching after Titian's Venus and the Organist, which was dedicated to John Evelyn.
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He made a "celestial globe" depicting the constellations in 1635, also based on Blaeu, who had used the data of Tycho Brahe. Again he appears to have updated the globe. He also designed reduced-size globes between 1636 and 1638. Other works were book frontispieces, portraits and allegorical designs.Victor Beyer, « Matthias Greuter, Greuther », in Nouveau dictionnaire de biographie alsacienne, vol.
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The development of eyestalks reaches its extreme in the platystomatid species Achias rothschildi Austen, 1910 from New Guinea, pictured here in which males have an eye-span up to 55 mm.Arnauld, P H Jr (1994) Frontispieces: Achias rothschildi Austen (Diptera: Platystomatidae). Myia 5: iv. Families of acalyptrate flies exhibiting morphological development associated with agonistic behaviour include: Clusiidae, Diopsidae, Drosophilidae, Platystomatidae, Tephritidae, and Ulidiidae.
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He was born in London on 6 April 1658, and at the age of seventeen was apprenticed to Robert White, in whose manner he engraved a number of small portraits as frontispieces to books. Sturt at one time kept a drawing school in St. Paul's churchyard in partnership with Bernard Lens II. He died in London, poor, in August 1730.
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His frontispieces and illustrations in the Bannatyne Club and other antiquarian publications applied antiquarian knowledge. In 1833 he published a volume of etchings, under the title Portraits of an Amateur, and his Etchings, with Photographs from Original Drawings, Poetical and Prose Fragments, appeared after his death at Edinburgh in 1869. The Letters to and from C. K. Sharpe (1888) were edited by Alexander Allardyce, 1888.
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After 1943, the illustration was printed on plain paper. The series ceased printing in 1945 for four years. The 1949 edition of the book featured a new cover in the full-color wrap style used on Nancy Drew, the Hardy Boys, and other Grosset and Dunlap series. The first four volumes of the Danas were reintroduced with new jacket art and frontispieces, but no spine symbols or numbering.
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After Classic X-Men #45, the series was retitled X-Men Classic and from then solely reprinted material from the original Uncanny X-Men series with no edits or additional new material. The series also included new covers and frontispieces produced by artists such as Art Adams (issues #1-16, 18-23), Steve Lightle (#30-42, 44-52), Mike Mignola (#57-70), and Adam Hughes (issues #71-79).
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Flowers and fruit Lucas Victor Schaefels was the foremost floral and still life painter of his generation in Antwerp. His style goes back to the Flemish Baroque of the 17th century and appears not to have been influenced by contemporary art movements. His works feature elaborate and opulent interiors with a wealth of game, produce and flowers arranged in a traditional pyramid-shaped composition. He also produced engravings for frontispieces.
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Donovan 1993, 6. The different books of the Bible are determined by large decorative first initials; three books were important enough to have full-paged scenes dedicated to them. I Samuel, Judith, and Maccabees all have full page frontispieces but only I Samuel's was actually completed; the other two were left only as drawings. The decoration of the manuscript involved many different artists with different styles, both figural and decorative.
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Mattheus Borrekens was mainly a reproductive printmaker. He made prints after the work of leading Flemish painters of his time such as Rubens, van Dyck, Erasmus Quellinus the Younger, Abraham van Diepenbeeck, Jan Thomas van Ieperen, Pieter van Lint and Cornelis Schut. He mainly concentrated on Christian religious subjects and portraits. He also engraved frontispieces of publications such as Christophe Butkens'sTrophées tant sacrés et profanes du Duché de Brabant. 1724-1726.
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Engraving by Melchor Prieto and Alardo Popma, 1622 Alardo de Popma (before 1617-1641) was a Flemish engraver, who worked in Madrid in the early seventeenth century, according to the earliest references to his works. His copperplate engravings include title-pages, frontispieces and portraits, which are characterized by an exceptionally clean and confident line. His is known to have lived in Seville for a time, perhaps in order to undertake a commission there.
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The Antwerp engravers Cornelis Galle the Elder and Christoffel Jegher engraved the frontispieces and woodcut book illustrations designed by Sallaert. This attests to Sallaert's close links with artistic circles in Antwerp. Examples of publications on which he worked were the "Perpetua Crux sive Passio Jesu Christi", written by the Jesuit Jodocus Andries. The book was first published in 1649 in Antwerp by Cornelis Woons and frequently re-published between 1649 and 1721.
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Rubens's highly charged compositions reference erudite aspects of classical and Christian history. His unique and immensely popular Baroque style emphasized movement, colour, and sensuality, which followed the immediate, dramatic artistic style promoted in the Counter-Reformation. Rubens was a painter producing altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects. He was also a prolific designer of cartoons for the Flemish tapestry workshops and of frontispieces for the publishers in Antwerp.
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Throughout his life Dickinson fascinated family and friends with his constant sketching; some sketches, including those for the Washington Walk Book, are at the Library of Congress.See Library of Congress Thousands of Dickinson sketches are of places, trees, vistas, figures, and boats, notably in parks, on mountain trails, at Squam Lake in New Hampshire, and in China. One of Dickinson's folios was full of colored sketches of gaily painted Chinese junks. Many sketches became frontispieces and cards.
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This ability made him very popular among people with an engineering background. During most of Ejler Jakobsson's tenure as editor of Galaxy Science Fiction from 1969 to 1974, Gaughan did all the illustration and much of the design that went on in the magazine. In addition, many of the books he did for Ace featured hand-lettered titled pages, frontispieces, or maps with Gaughan's distinctive calligraphy. One example is its 1966 edition of Alan Garner's The Weirdstone of Brisingamen.
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Trained by his brother, he later studied with Étienne Fessard, Nicolas-Henry Tardieu and Laurent Cars. His first submission to the Salon was an etching in 1752. He was approved by the Académie Royale in 1771, but did not graduate, as he failed to submit one of the required reception pieces. He took many commissions for commercial purposes like bookplates, frontispieces, invitations, tradesmen's cards, and programs, but also illustrated books such as the Decameron by Boccaccio.
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The double page format of the illustrations is a unique artistic decision, as in this period most double illustration pages were only used for frontispieces (Natif, 225). Two theories are used to explain this divergent inclusion. Some believe that the design for the Yazdi’s Zafarnama was inspired by the Zafarnama of Ibrahim Sultan (1436 Zafarnama) which had five double page compositions, although the Zafarnama of Ibrahim Sultan illustrates a narrative sequence with the addition of smaller miniatures. (Natif, 25).
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At this shop, Jean-François engraved portraits of local notables as well as vignettes for the works that were being published in Lyon. He also engraved the titles and frontispieces of the books for the libraries of Lyon. He had several presses and employed several Lyonnaise engravers, including Claude Séraucourt and especially his own brother, François Cars fils. Jean-François moved to Paris at the beginning of the 18th century, followed by his younger brother, François.
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Edward Gorey provided cover illustrations and frontispieces for all but three of Bellairs' 15 children's works, and continued to provide them for the Strickland novels until his death in 2000. The novel The Beast Under the Wizard's Bridge featured Gorey's last published artwork before his death. Artists S. D. Schindler and Bart Goldman have created cover art for the books published since 2001. The Gorey covers are no longer in print, though some books still contain interior Gorey illustrations.
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The volume's frontispiece contains an extremely unflattering portrait of Milton by the engraver William Marshall. Underneath the portrait are satirical verses in Greek denying any resemblance. It is assumed that this was a practical joke on Marshall, who is unlikely to have known that he was engraving insults directed at himself.Skerpan, Elizabeth Penley, Authorship and Authority: John Milton, William Marshall, and the Two Frontispieces of Poems 1645, Milton Quarterly - Volume 33, Number 4, December 1999, pp.
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Impressions of them are exceedingly rare, and hardly half a dozen of the plates were known to be in existence as of 1911. He himself regarded them only as experiments in a difficult but fascinating medium. But in the opinion of the expert they suffice to place him among the best etchers of the 19th century. Apart from the etched frontispieces to some of the Punch pocket-books, only three, and these by no means the best, have been published.
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In early 1637 Quellinus drew frontispieces for the Antwerp printing house Plantin Press according to Rubens' instructions regarding iconography and layout. These drawings were in Quellinus' own style as Rubens let him a free hand in the design of the modelli. Artemisia His brother Artus Quellinus I returned to Antwerp from Rome around 1640. Artus worked in a classicizing style of Baroque under the influence of his compatriot, the sculptor François Duquesnoy, in whose workshop in Rome he had worked.
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The publisher is mentioned at the frontispieces of eight of the nine volumes with the following text: Table des cartes etc: de I. Cóvens et C. Mortier contenues dans ce volume. Also, most of the maps in the atlas were published by Covens and Mortier. When the last volume of the atlas was finished around 1816, the publishing house was led by Cornelis Covens (1764-1825). He worked for his family’s firm from 1790 until 1825, bringing it innovation and success.
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Jan Drapentier (fl. 1674–1713), was an engraver. Drapentier was the son of D. Drapentier or Drappentier, a native of Dordrecht, who engraved some medals commemorative of the great events connected with the reign of William III and Mary II, and also a print with the arms of the governors of Dordrecht, published by Mathias Balen in his Beschryving van Dordrecht (1677). Jan Drapentier seems to have come to England and worked as an engraver of portraits and frontispieces for the booksellers.
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He appears conflicted and hesitates between them, starting to transform from a tragic playwright into a comedian. Tragedy grabs Garrick's wrist with one hand and raises her other hand. Comedy is framed by a field and sky as she pulls on Garrick's arm. The painting has motifs similar to 18th-century theatrical frontispieces depicting the Muses of Tragedy and Comedy: the Muse of Tragedy has a dagger and raises one arm, and the Muse of Comedy holds a mask in her left hand.
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The Five Senses (Visus) at the British MuseumThe Four Seasons (Ver) at the British Museum In addition, he worked on many of the devotional publications of the Catholic monastic orders, in particular the Jesuits, Franciscans and Dominicans. He also produced plates for the frontispieces and illustration of various other publications. An example is the frontispiece, which he cut after a design by Rubens for the 1633 publication 'Theoremata de centro grauitatis partium circuli et ellipsis' by the Flemish Jesuit and mathematician Jean-Charles della Faille.
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He also created large religious works with geometric layouts and poses. According to Barbara Brejon de Lavergnée, writing in The Dictionary of Art, Mellan's use of the single line gives "an abstract effect" and, "as an engraver he proved sensitive to the classical ideal developed by Nicolas Poussin, Jacques Stella and others in Paris in the middle of the 17th century." Among Mellan's reproductive engravings are two frontispieces for religious works after designs by Poussin (1640; Préaud no. 294) and Stella (1641; Préaud no. 296).
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Taking an interest in art while still in high school, he went on to attend the Eric Pape Art School in Boston. In the summer of 1901 Ashley, along with friends N.C. Wyeth and Henry J. Peck, studied under George Noyes in Annisquam, Massachusetts. In the fall, he went on to become a student of Howard Pyle's school in Wilmington, Delaware. Pyle helped secure commissions for his students, and Ashley's early work included book frontispieces and illustrations for magazines such as The Delineator, Leslies, McClure's, and Success.
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He executed also a large amount of miscellaneous designs, such as etchings and frontispieces for books; and served as an architect as well. Ferri was appointed to direct the Florentine students in Rome, and Gabbiani was one of his leading pupils. As regards style, Ferri ranks as chief of the grand manner of Cortona, as opposed to the more sober and spare style promulgated by Andrea Sacchi, and continued by Carlo Maratta and others. The 1911 Britannica refers to this as the so-called Machinists movement.
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Mallinson was a close personal friend of Gerald Durrell, the founder of the Durrell Wildlife Park and Durrell Wildlife Conservation Trust. Jeremy Mallinson has authored books about his animal experiences at the zoo and on animal collecting or conservation missions for the Trust. He has also published a book on book frontispieces and cover pages dedicated to him by personal friends Gerald Durrell and Lawrence Durrell. He has also brought out his first novel in 2004 - The Count's Cats - which was received favourably by the media.
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The majority of the illustrations were painted in a naturalistic style so as to aid a pharmacologist in the recognition of each plant. However, it is believed that these illustrations were made as copies of an earlier herbal and were not drawn from nature. European Bramble In addition to the illustrations of the text, the manuscript contains several frontispieces in the form of a series of full-page miniatures. Of special note is the dedication miniature portrait of Anicia Juliana on folio 6 verso.
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Lorenzo Tinti (1626–1672) was an Italian painter and engraver of the Baroque period. He was born in Bologna and was a pupil of Giovanni Andrea Sirani, and painted altar-pieces for the churches in Bologna, among them Scourging of Christ for the church of the Madonna del Piombo; and the Virgin and Child with several Saints for Santa Tecla. Tinti etched several plates after painters of the Bolognese school, including a Holy Family and an Allegory, are after Elisabetta Sirani; the rest are portraits and frontispieces to books.
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One of the convicted "criminals" challenges the court, attacking the credentials of the jury, including Shakespeare, who is called a mere "mimic". Despite the fact that Bacon and Shakespeare appear as different individuals, Baconians have argued that this is a coded assertion of Bacon's authorship of the canon, or at least proof that he was recognised as a poet.Baxter, James, The Greatest of Literary Problems, Houghton, 1917, pp. 389–91. Various images, especially in the frontispieces or title pages of books, have been said to contain symbolism pointing to Bacon's authorship.
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This book was the first promotional release for the 1959 debut of the Nancy Drew Reader's Club. The covers of volumes released in this group are two-toned pastels, featuring full color jackets and frontispieces, as well as eight double-page drawings by artist Polly Bolian. Bolian depicts Nancy as a strawberry-blond, but with the short tousled "Audrey Hepburn" hairstyle worn by many young women at the time, and tailored, preppy 1950s ensembles. These editions had internal references to other volumes removed, and contain no clues of sequencing.
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Portrait of Nicholas Culpeper. Gaywood's portraits include copies from engravings by Hollar, and those in the Centum Icones of Anthony van Dyck. Others were those of: William Drummond of Hawthornden, and the early kings of Scotland in his History of Scotland, 1655; Oliver Cromwell; James Shirley; Sir Peter and Lady Ellinor Temple; George Monck, Duke of Albemarle (after Barlow); Madame Anne Kirk; General William Fairfax; Sir Bulstrode Whitelocke; and John Browne the instrument maker. Among the frontispieces and title-pages was that to Johann Jacob Wecker's Secrets of Art and Nature (1660).
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In the 1650s, Athanasius Kircher's Oedipus Aegyptiacus explicitly explained Isis's veil as an emblem of the secrets of nature. The frontispiece to Gerhard Blasius's 1681 book Anatome Animalum, engraved by Jan Luyken, was the first depiction of a many-breasted Isis-Artemis figure with her veil being removed. It shows a personification of science removing the veil, as an allegory for the way science uncovers nature's secrets. This metaphor was reused in the frontispieces of many of Antonie van Leeuwenhoek's works, and then in illustrations to other scientific works throughout the 18th century.
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The three-storey, "L"-shaped building with its largest facade oriented to the south, and a small wing, towards the west, covered in tiled roof. The southern facade is symmetric and broken on the ground floor by seven sections, aligned on the first and second floors. On the top floor, are seven windows, of which six are surmounted by broken frontispieces, while the central is much higher and flanked by curvilinear scribes. The ground floor has three doors, with the central doorway surmounted by a granite coat-of-arms.
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This miniature is an altogether original creation and, with the inclusion of the personifications and the putti, shows the endurance of the classical tradition in Constantinople, despite the fact that Anicia herself was a pious Christian. The series of frontispieces in the manuscript begins with two full-page miniatures, each having a group of seven noted pharmacologists. In the second picture (folio 3 verso, see here), the most prominent and only one sitting on a chair is Galen. He is flanked by three pairs of other physicians, seated on stones or the ground.
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His best work included "The Halt" after Jean-Louis-Ernest Meissonier, etched for the magazine l'Art, and "Portrait of Madame Pompadour" after Maurice Quentin de La Tour, published by the Société des Artistes Français. During his lifetime he was called "one of the most skillful original etchers of the modern French school". An 1889 book described him as an etcher with extreme facility who composed elegant vignettes and frontispieces. Later, Claude Roger-Marx criticized him for having fallen from interpretive drawing into a "laborious work of illustration" and of multiplying small compositions and vignettes.
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Nothing is known of Marshall's life beyond references to his career as an engraver. Marshall's earliest known work is the frontispiece to the book A Solemne Joviall Disposition Briefly Shadowing the Law of Drinking, which was published in 1617. In the 1630s he produced a number of portrait engravings and book frontispieces, depicting Puritan divines, poets, and figures associated with the High Church establishment of the day, such as William Laud.National Portrait Gallery, William Marshall prints His most ambitious work was the highly elaborate frontispiece to George Wither's 1635 Collection of Emblemes, Ancient and Moderne, an unusually complex example of the Emblem book.
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In 1884 the building more than doubled in size with the addition of a No. 2 Hall to the east, a new bay to the south and gabled frontispieces to the Rouse St facade. These elements were constructed in a mixed Victorian Rustic Gothic and Victorian Romanesque styles. The Main Hall in Federation Free Classical style, completed in 1903, is a memorial to men from Tenterfield who gave their lives during the Boer War, 1898 - 1901. The Billiard Room, designed by F. J. Madigan, was completed in 1913 towards the end of period uniquely nationalist architectural expression not known as the Federation Style.
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Baccio d'Agnolo also designed, among others, the Palazzo Borgherini-Rosselli del Turco and the Palazzo Bartolini Salimbeni. The Bartolini palace was the first house to be given frontispieces of columns to the door and windows, previously confined to churches; he was ridiculed by the Florentines for this innovation. Another much-admired work of his was the campanile of the church of Santo Spirito. His studio was the resort of some of the most celebrated artists of the day, Michelangelo, Andrea Sansovino, the brothers Antonio da Sangallo the Elder and Giuliano da Sangallo and the young Raphael.
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'Threshing of wheat by Hottentots' Jakob van der Schley aka Jakob van Schley (26 July 1715 Amsterdam – 12 February 1779 Amsterdam) was a Dutch draughtsman and engraver. He studied under Bernard Picart (1673-1733) whose style he subsequently copied. His main interests were engraving portraits and producing illustrations for "La Vie de Marianne" by Pierre Carlet de Chamblain de Marivaux (1688-1763), published in The Hague between 1735 and 1747. He also engraved the frontispieces for a 15-volume edition of the complete works of Pierre de Brantôme (1540-1614), "Oeuvres du seigneur de Brantôme", published in The Hague in 1740.
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It was the first time that a single artist has been commissioned to illuminate the four Gospels in nearly five hundred years. The Gospels were on exhibition at the Museum Of Biblical Art in Manhattan in 2011, and are on display in Takashimaya, Nihonbashi, Tokyo, until December, 2011. The Four Holy Gospels consist of five major frontispieces, 89 chapter heading letters and over 140 pages of hand illumined pages, all done in traditional Nihonga. The Four Holy Gospels original art will be featured in "Four Holy Gospels Chapel" at the Museum of the Bible] in Washington D.C..
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The adjacent commercial block was originally owned by John J. Heatherington, and is similar in style to the Opera House block. Both buildings feature facades with a tripartite arrangement and center frontispieces that project slightly forward, a broad rock-faced beltcourse that runs above the second floor windows, a narrow metal cornice, and a brick parapet with finials. The Opera House's parapet has a triangular pediment with "Opera House" on a rectangular base, and the Hetherington Block has a similar feature in a simplified form. with The buildings were listed together on the National Register of Historic Places in 1979.
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This project, for which Vanderbank's initial designs were preferred over Hogarth's, appears to have preoccupied Vanderbank, perhaps almost empathetically, for the remainder of his life, resulting in three sets of drawings; first sketched then finished for the engraver's use, then drawn afresh, elaborated, and fully finished, as well as a series of some thirty-five small freely painted oil panels. Vanderbank also illustrated or designed frontispieces for various volumes of plays. Vanderbank's only known apprentice was John Robinson (1715-1745) whom he took on for five years for a premium of £157 10s on 23 July 1737. Robinson attained some success as a portrait-painter in his short life.
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By 1986, Adams' professional career had been cemented, and he moved out of his parents' home and into the same Oakland, California apartment building where fellow artists Mike Mignola and Steve Purcell lived. Adams and Nocenti reunited for a story in Web of Spider-Man Annual #2 (1986) in which Warlock of the New Mutants encounters Spider-Man. His work on the X-Men franchise would continue with a number of covers for The New Mutants and The Uncanny X-Men in 1986 and 1987, respectively. He also drew all but three of the first 23 covers and interior frontispieces to Classic X-Men from 1986 to 1988.
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Turkmen artworks can be seen as the forerunners of Ottoman art, in particular the "Milet" ceramics and the first blue-and-white Anatolian works. Islamic book painting witnessed its first golden age in the thirteenth century, mostly from Syria and Iraq. Influence from Byzantine visual vocabulary (blue and gold coloring, angelic and victorious motifs, symbology of drapery) combined with Mongoloid facial types in 12th-century book frontispieces. Earlier coinage necessarily featured Arabic epigraphs, but as Ayyubid society became more cosmopolitan and multi- ethnic, coinage began to feature astrological, figural (featuring a variety of Greek, Seleucid, Byzantine, Sasanian, and contemporary Turkish rulers' busts), and animal images.
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Portrait of Don Gaspar de Tebes y Tello de Guzmán Meyssens worked as an engraver who produced mainly portrait engravings and frontispieces of books after designs by other artists. He made a few reproductive prints after artworks of the masters such as his Saint Roch interceding for the Plague-stricken after Peter Paul Rubens.Cornelis Meyssens, after Peter Paul Rubens, Saint Roch interceding for the Plague-stricken at the Netherlands Institute for Art History Meyssens collaborated on the publication Historia di Leopoldo Cesare written by Galeazzo Gualdo Priorato and published in Vienna by the Flemish publisher from Antwerp Johann Baptist Hacque. The first and second volumes of the book were published in 1670 and a third one in 1674.
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The second and subsequent editions were rather smaller, around the same size as the first printing of the King James Bible, and mostly lacked illustrations other than frontispieces and maps. The text lacked most of the notes and cross-references in the Geneva Bible, which contained much controversial theology, but which were helpful to people among whom the Bible was just beginning to circulate in the vernacular. The last edition of the complete Bible was issued in 1602, but the New Testament was reissued until at least 1617. William Fulke published several parallel editions up to 1633, with the New Testament of the Bishops' Bible alongside the Rheims New Testament, specifically to controvert the latter's polemical annotations.
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Among other portraits engraved by Payne were those of Bishop Joseph Hall, Bishop Lancelot Andrews, Sir Edward Coke, Hobson the Carrier, Sir James Ley, Christian of Brunswick, &c.;, and among the title-pages those to The Works of John Boys, D.D., 1629, and to Gerarde's Herball, 1633. Antony Gerard wrote Payne's biography in the Oxford Dictionary of National Biography and stated in it that "Payne's fifty-three known plates, which bear dates between 1620 and 1639, and most of which are portrait frontispieces or title-plates to books, vary widely in quality. The worst are no better than those of many contemporaries, but the best, such as the portrait of Sir Benjamin Rudyerd of 1632, are outstanding".
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In addition to finely presented works, illuminated at Bruges and other centres, for the Dukes Philip the Good and Charles the Bold and the Duchess Margaret of York, he completed manuscripts for Antoine de Bourgogne and Philippe de Croy."Burgundian Frontispieces". He was the son of the ducal accountant and calligrapher Jean Aubert, and his elder brother worked as an administrator, members of a family with a tradition of public service in the Burgundian court, though his first mention as a scribe in the ducal service dates to 1463, after which he was salaried as a ducal secretary until Philip's death, and seems to have followed, at least some of the time, the very mobile court around the Duchy.
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There are also groups of the seven bishops, the bishops' council, the lords justices of England, and the Portsmouth captains who declared for King William. White engraved the plates to Francis Sandford's account of the funeral of the Duke of Albemarle, 1670; the first Oxford Almanac, 1674; a set of portraits of members of the Rawdon family; the plates to John Guillim's 'Heraldry' and Gilbert Burnet's History of the Reformation; as well as many book-titles and frontispieces. A few mezzotint portraits of noblemen bear White's name as the publisher, and are assumed to have been executed by him. A portrait of White was engraved by W. H. Worthington for Ralph Nicholson Wornum's edition of Horace Walpole's Anecdotes.
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One of the reasons for the appeal of these abridgements was their ability to tell the same story as a three to four volume novel in 36 or 72 pages, successfully bringing the characters to the altar or to the grave. The fiction was highly predictable, and readers could hardly miss the point of the story because the narration was straightforward. Given their reasonable prices, they were said to have been sold by 'every other bookseller in the United Kingdom' and therefore, readily available. Gothic bluebooks lured the consumer with engravings and woodcuts on their title pages and frontispieces; these illustrations were often fearsome, with a prototypical image being that of a maiden in flight down a dark path glancing over her shoulder.
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Two of the four walls are noteworthy for the presence of eight wooden panels with relief medallions depicting biblical episodes from the Book of Exodus, including the city of Jericho, the Crossing of the Red Sea, the Altar of Sacrifice, the Manna, the Ark on the banks of the Jordan River, Korah, the gift of the Torah, and Moses making water flow from the rock. The eight medallions, painted in tempera, are of no particular artistic merit, but do stand out for their rarity: landscape paintings are indeed an extremely uncommon feature in synagogues, and their presence in the Canton Synagogue may reflect the influence of Central European models. The medallions are in fact reminiscent of oval cartouches displayed on the frontispieces of Jewish books printed in Kraków in the late sixteenth century.
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Requiem is an old-style serif typeface designed by Jonathan Hoefler in 1992 for Travel + Leisure magazine and sold by his company, Hoefler & Co.. The typeface takes inspiration from a set of inscriptional capitals found in Ludovico Vicentino degli Arrighi's 1523 writing manual, Il Modo de Temperare le Penne, and its italics are based on the chancery calligraphy, or cancelleresca corsiva of the period. Like many other typefaces designed by Hoefler & Co., the family is large, intended for professional use. It is designed with three separate optical sizes of font, intended for different sizes of text, as well as two different styles of capitals inside cartouches intended for title pages and frontispieces. It also contains fleurons and italic ligatures inspired by calligraphy, as well as stylistic alternates such as an alternative 'Y' character.
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The original sketchbook with leather binding and marbled board covers is now held by the Allport Library and Museum of Fine Arts, in the State Library of Tasmania; due to its age and condition it is not available for general access, however a digital version is available on the internet. This work was made famous in recent times by Tasmanian author Richard Flanagan's critically acclaimed and Commonwealth Writers' Prize winning 2001 novel Gould's Book of Fish: A Novel in Twelve Fish. This book is a fictionalised account of Gould's life in Van Diemen's Land, focussing on his time at Macquarie Harbour and his work on the Sketchbook of fishes. The book includes a reproduction of Gould's Weedy seadragon painting on the cover (although the actual image used varies depending on the edition), and other works from the sketchbook as the twelve chapter frontispieces.
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The majority of elements within Hart House hint at the Perpendicular style of Gothic architecture and thus generally line up in a row. Arches and vaults are the dominant structural form, however, there are parts of the building that employ lintels to create open spaces with flat ceilings (such as the East Common Room). The ceilings in the corridors and many rooms such as the Upper Gallery of the Great Hall are vaults with ridge ribs, but of particular emphasis is the treatment of the library ceiling that uses decorative Lierne ribs, which can also be seen in the entrance vaults. The general shape of the frontispieces and what appear to be Tudor-like archways mirror the shape of the chimney arches, while the decorative cinquefoil shapes used for the windows can also be seen in the woodwork of doors and trusses.
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The Qur'an and other purely religious works are not known to have been illustrated in this way, though histories and other works of literature may include religiously related scenes, including those depicting the Prophet Muhammed, after 1500 usually without showing his face.Gruber, throughout; see Welch, 95–97 for one of the most famous examples, illustrated below As well as the figurative scenes in miniatures and borders, there was a parallel style of non-figurative ornamental decoration which was found in borders and panels in miniature pages, and spaces at the start or end of a work or section, and often in whole pages acting as frontispieces. In Islamic art this is referred to as "illumination", and manuscripts of the Qur'an and other religious books often included considerable number of illuminated pages.In the terminiology of Western illuminated manuscripts, "illumination" usually covers both narrative scenes and decorative elements.
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The founders of the Monsohn press produced Jewish-themed color postcards, greeting cards, Jewish National Fund stamps, and maps documenting the evolution of the Jewish settlement in Eretz Israel in the nineteenth- twentieth centuries; religious material such as decorative plaques for synagogues, portraits of Old Yishuv rabbis such as Shmuel Salant, Mizrah posters indicating the direction of prayer for synagogues, memorial posters, and posters for Sukkot booths;, color frontispieces for books such as Pentateuch volumes and the early song collections of Abraham Zvi Idelsohn (e.g., Shire Zion, Jerusalem 1908); artistic wedding invitations; and later, government posters; and labels, packaging and advertisements for the pioneering entrepreneurs of Eretz Israel. Many of the postcards and maps can be seen online, as can the artistic invitations to his children's weddings which Monsohn published in the Jerusalem Hebrew press (e.g., that for his son Menachem Mendel Monsohn and his wife Zipporah in the 24 June 1914 issue of Moria).
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Gruber, throughout; see Welch, 95-97 for one of the most famous examples, illustrated below A rare pure landscape, with a river, Tabriz (?), 1st quarter of 14th century As well as the figurative scenes in miniatures, which this article concentrates on, there was a parallel style of non-figurative ornamental decoration which was found in borders and panels in miniature pages, and spaces at the start or end of a work or section, and often in whole pages acting as frontispieces. In Islamic art this is referred to as "illumination", and manuscripts of the Quran and other religious books often included considerable number of illuminated pages.In the terminology of Western illuminated manuscripts, "illumination" usually covers both narrative scenes and decorative elements. The designs reflected contemporary work in other media, in later periods being especially close to book-covers and Persian carpets, and it is thought that many carpet designs were created by court artists and sent to the workshops in the provinces.
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Luther had left Karlstadt in effective charge of his church in Wittenberg when he went into retreat in the Wartburg, but Karlstadt introduced a considerably more Radical Reformation than Luther approved, which included the removal of all religious images from churches. As with the later Calvinist programmes of complete destruction of images, this aroused more popular opposition than other aspects of the radical innovations, and Luther's support for images was in part an attempt to distinguish his positions from more radical ones, as well as an attempt to avoid stirring up opposition over an issue he did not see as central. Luther also understood the value of crude polemical woodcuts in the propaganda battle, and commissioned some himself. He also appears to have worked personally with artists to develop didactic compositions that were used as book frontispieces, including for the Luther Bible which had an elaborate frontispiece in all early editions, prints, and relatively small versions in oils.
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