This book has character profiles from 1994 & 2004 and illustrations from 2004-2012. It includes covers, illustrations from the books, and original artwork never seen before. Creator Crystal Selness has every piece of artwork she made for the series, including pencil drawings and colored pencil illustrations. This double-page book is perfect as an addiction to the series or for any art lover's collection. Finally art for Lachymal Chronicles Enjoy Please visit www.crystalselnessbooks.vpweb.com for more books, Thanks.

This book includes a rich and fascinating consideration of the golden age of French printmaking. Once considered the golden age of French printmaking, Louis XIV's reign saw Paris become a powerhouse of print production. During this time, the king aimed to make fine and decorative arts into signs of French taste and skill and, by extension, into markers of his imperialist glory. Prints were ideal for achieving these goals; reproducible and transportable, they fueled the sophisticated propaganda machine circulating images of Louis as both a man of war and a man of culture. This richly illustrated catalogue features more than one hundred prints from the Getty Research Institute and the Bibliotheque nationale de France in Paris, whose print collection Louis XIV established in 1667. An esteemed international group of contributors investigates the ways that cultural policies affected printmaking; explains what constitutes a print; describes how one became a printmaker; studies how prints were collected; and considers their reception in the ensuing centuries.A Kingdom of Images is published to coincide with an exhibition on view at the Getty Research Institute from June 18 through September 6, 2015, and at the Bibliotheque nationale de France in Paris from November 2, 2015, through January 31, 2016.

Twelve portraits of women by artist Audrey Hergert.

a coloring book for 18 and older. FUN/FUNNY

World War 1 Posters - 100th Anniversary Commemorative Edition is a stunning collection of propaganda poster art widely distributed before and during the war. Featuring magnificent works by some of the best illustrators in the US, Britain, Germany and Europe, this rare collection also includes valuable tips for collectors.

William Hogarth is a house-hold name across the country, his prints hang in our pubs and leap out from our history-books. He painted the great and good but also the common people. His art is comically exuberant, 'carried away by a passion for the ridiculous', as Hazlitt said. Jenny Uglow, acclaimed author of Elizabeth Gaskell, Nature's Engraver and In These Times, uncovers the man, but also the world he sprang from and the lives he pictured. He moved in the worlds of theatre, literature, journalism and politics, and found subjects for his work over the whole gamut of eighteenth century London, from street scenes to drawing rooms, and from churches to gambling halls and prisons. After striving years as an engraver and painter, Hogarth leapt into lasting fame with A Harlot's Progress and A Rake's Progress, but remained highly critical of the growing gulf between the luxurious lives of the ruling elite and the wretched poverty of the massess. William Hogarth was an artist of flamboyant, overflowing imagination, he was a satirist with an unerring eye; a painter of vibrant colour and tenderness; an ambitious professional who broke all the art-world taboos. Never content, he wanted to excel at everything - from engraving to history painting - and a note of risk runs through his life. Shortlisted for the Whitbread Prize, Hogarth: A Life and a World brings art history to life in the voices of Hogarth's own age. The result is an unforgettable portrait of a great artist and a proud, stubborn, comic, vulnerable man.

As well as telling for the first time the story of Hewitt Henry Rayner - probably the 20th century's most prolific drypoint etcher - this biography also provides fresh insights into the personality of Walter Sickert, observed during a friendship that lasted almost a decade. Matthew Sturgis, noted Sickert expert, has contributed the Foreword to this biography. He commented: This book adds many things to the record of Sickert s life, his working practices, his teaching methods, his work-spaces, and his character. It will be a useful and enduring addition to the story of early Twentieth Century British art. Australian-born Hewitt Henry Rayner came to England in 1923 at the age of 21 to study art, fell in love with London (and Chelsea in particular), and stayed for the rest of his life. He won a place at the Royal Academy Schools in 1925, where Sickert was a visiting teacher. The two struck up a friendship and saw each other regularly at Sickert s homes and studios, in cafes and restaurants, and sometimes sketching together in London locations. Sickert was a generous friend and mentor to Rayner, who assiduously noted down the things his master did and said. These first-hand reminiscences form a significant strand of the book. Other figures from London s artistic and literary worlds of the 1920s and 1930s who appear in the Rayner story include Augustus John, Nina Hamnett, Ethel Mannin, Yoshio Markino, Charles Sims, Dame Ethel Walker and Philip Wilson Steer. Unusually, and against Sickert s advice, Rayner chose drypoint etching as his principal medium, and from 1926 on adopted Henry Rayner as his professional name. Between 1926 and 1945 he produced what is quite probably the largest body of original drypoint etchings by any 20th century artist. Over 500 plates are known, most in his distinctive Impressionistic style. Most of the plates have survived. Although Rayner has been largely forgotten since his death in 1957, there are numerous institutions that hold examples of his drypoints. These include the V&A, the British Museum, the National Portrait Gallery and the Royal Collection at Windsor, as well as many regional galleries in Britain and major galleries in Australia and New Zealand. This biography charts Rayner s struggle to earn a living as an artist in the face of an economic depression, ill health, serious war injuries and - as he saw it - cold-shouldering by the British art establishment. It is rich in detail, thanks in part to a large archive of the artist s unpublished autobiographical manuscripts, notebooks, essays and correspondence, discovered recently. Some 95 examples of Rayner s work are reproduced in the book, together with 70 photographs, making it an important reference work on this neglected artist.

I began printing books with the hope of producing some which would have a definite claim to beauty, while at the same time they should be easy to read and should not dazzle the eye, or trouble the intellect of the reader by eccentricity of form in the letters. I have always been a great admirer of the calligraphy of the Middle Ages, & of the earlier printing which took its place. As to the fifteenth-century books, I had noticed that they were always beautiful by force of the mere typography, even without the added ornament, with which many of them are so lavishly supplied. And it was the essence of my undertaking to produce books which it would be a pleasure to look upon as pieces of printing and arrangement of type. Looking at my adventure from this point of view then, I found I had to consider chiefly the following things: the paper, the form of the type, the relative spacing of the letters, the words, and the lines; and lastly the position of the printed matter on the page. It was a matter of course that I should consider it necessary that the paper should be hand-made, both for the sake of durability and appearance. It would be a very false economy to stint in the quality of the paper as to price: so I had only to think about the kind of hand-made paper. On this head I came to two conclusions: 1st, that the paper must be wholly of linen (most hand-made papers are of cotton today), and must be quite 'hard, ' i. e., thoroughly well sized; and 2nd, that, though it must be 'laid' and not 'wove' (i. e., made on a mould made of obvious wires), the lines caused by the wires of the mould must not be too strong, so as to give a ribbed appearance. I found that on these points I was at one with the practice of the paper-makers of the fifteenth century; so I took as my model a Bolognese paper of about 1473. My friend Mr. Batchelor, of Little Chart, Kent, carried out my views very satisfactorily, and produced from the first the excellent paper, which I still use

Monumental Collaborative Puzzle Prints are huge woodcuts created and instigated by printmaking artist Maria Arango Diener. City of the World 2012 is the third of such projects and probably not the last. Project SUMMARY Generally speaking, a puzzle print is any print in which the block is sawed into pieces, each of which is carved and sometimes inked separately. The "puzzle" is then assembled at press and printed as a single image.

A Collaborative-Puzzle-Print is a special kind of puzzle print whereby a humongous block or three are painstakingly sawed into many many many funny shaped pieces. Each of the pieces is then flown across the world landing squarely in the carving bench of dozens of brave printmakers everywhere. Each artist carves their little piece, sometimes unaware of the "big picture" but always under a theme.

The coordinator receives back the tiny blocks and assembles them one by one until all come home. The coordinator then assembles and prints the entire puzzle composed of wonderfully carved images. Each printmaker then receives a rather large print of the entire project.

THE THEME for this project is "City of the World," as tightly or loosely interpreted as each participant wishes. The overall design interprets the theme literally, that is, the pieces could be part or entire cars, trucks, apartment windows, houses, clouds, planes, park benches, trees, shops, pieces of street or sidewalk, buses, and a very long etcetera. The piece each participant receives may or may not be recognizable and the shape may or may not influence the individual's design. The design may be how an individual sees themselves "in their corner of the world"; how they perceive themselves within the world or the world of printmaking; a representation of their actual place in their city or town; more generally "home"; their view of their city or town, again, etcetera. Anything goes in the City of the World.

Chronology and Print Information The City of the World 2012 was started in 2011 and completed in about a year. The resulting print spanned 6 wood panels and therefore 6 sheets of 22 x 30 inch paper, resulting in a print around 30 inches tall by almost 9 feet wide.

THIS BOOK is an expanded colophon of information about each panel, each piece, each printmaker and each image that composed the entire monumental woodcut.

The sections of the book include:

-Entire image reproduced -Key to the image -Participants -Each piece with participant comments -Process photos with explanation

The print repertoire of the 16th and 17th centuries in England has been neglected historically, and this remarkable book rectifies a major oversight in the history of English visual art. It provides an iconographic survey of the single-sheet prints produced during the early modern era and brings to light significant recent discoveries from this visual storehouse. It publishes many works for the first time, as well as placing them and those relatively few others known to specialists in their cultural context. This large body of material is treated broadly thematically, and within each theme, chronologically. Portents and prodigies, the formal moralities and doctrines of Christianity, the sects of Christianity, visual satire of foreigners and "others," domestic political issues, social criticism and gender roles, marriage and sex, as well as numerical series and miscellaneous visual tricks, puzzles, and jokes, are all examined. The book concludes by considering the significance of this wealth of visual material for the cultural history of England in the early modern era. Published for the Paul Mellon Centre for Studies in British Art

Neither rich, famous, nor notorious, Whiting was a loyal officer in the U.S. Army for three decades during the middle of the 19th century. His career began in the time of Daniel Webster and John C. Calhoun and coincided with a period in American history when the country was moving West in those tumultuous years of Manifest Destiny.

A selection of photographs available as fine art prints capturing the Devon Horse Show, Florals & Gardens, City & Parks, Pets, Collector Automobiles, Sailboats, viewing Philadelphia, Devon, Annapolis, Blackwood, Atlantic City adding to the continuity of nature and man in real and pleasant settings.

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!