The first volume of" French Drawings and Sketchbooks of the Nineteenth Century," the third part in an ongoing series of text-fiche publications presenting the distinguished drawing collection of the Art Institute, contains works by artists born between 1770 and 1830. This period includes Ingres, who is represented by nine drawings, including five exemplary pencil portraits, and Gericault, whose extraordinary album of sixty-four sheets, reproduced here, represents two crucial phases of the artist's career. The text-fiche also contains drawings by Delacroix and Daumier, which range from casual study sheets to complete pictorial compositions, as well as important groups of drawings by Millet and Bresdin, a group of important, but as yet unknown, drawings by the great sculptor Carpeaux, and an impressive sheet by Courbt.

The French Popular Lithographic Imagery, 1815-1870 series reproduces in twelve volumes approximately 5000 nineteenth-century lithographs from the collections of the Bibliotheque nationale. Beatrice Farwell's multivolume text-fiche catalog is an essential resource to art historians and will appeal to all those interested in nineteenth-century France.

Abner Cook has long been acknowledged as the most important architect in antebellum Texas, but this extensively illustrated volume is the first to document fully his life and works. This well-told history of Cook's life also presents a vivid account of his city--nineteenth-century Austin.

This volume is unique in its focus on cross-fertilisation in the arts, on very specific exploration of liminal spaces, and on the representation of marginal figures in writing. The essays here grew out of the Borders and Margins colloquium, held at Leeds Trinity University, UK, in April 2010, which was the fourth in a series of colloquia. This collection, moreover, contributes to a growing area of scholarship which explores Anglo-French interactions and exchanges. In choosing the term "liminality", the editors are aware of its nuanced implications, allowing suggestions both of the initial and the transitional. The contributors here are academics from the fields of literature, history and art history, and their essays cover art history, literature, cultural history, the arts, and faith. Altogether, this collection evokes a sense of temporal shift, in that changes in values and focus are uncovered as the nineteenth century progresses. Some have an ekphrastic quality, showing how pictures can have a narrative, and how pictures, as well as texts, can be encoded with moral and social interpretations. Close scrutiny is applied to different kinds of texts, fiction and non-fiction, and the purposes for which they were produced. This book will appeal to scholars and academics interested in a wide range of cross-categorisational transactions in nineteenth-century Britain. It will be of interest to scholars of Victorian culture, and English nineteenth-century literature and art, particularly in terms of genre, as well as to academics interested in the development of social, personal, and national identities.

The Museum for Lacquer Art in Munster has what is probably the mostimportant collection of Russian lacquer art outside Russia. The works of art date from the early nineteenth century to the 1950s and comprehensively document the development of a flourishing branch of the arts and crafts.