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The drawings collected here were made weekday mornings over breakfast, then hidden in my daughter's lauchbox. E.A. The book designed by the artist shows 200 colored drawings on Post-It in formats 76 x 76 or 126 mm, 102 x 102 mm in original size.

Artists' illustrated books --- Atkins, Ed.

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The development of photography from its roots in 19th century science gradually transformed book illustration and the dissemination of images. This reference work presents a first comprehensive overview of Belgian photographic literature of the 19th century, both illustrated books and scientific publications. It makes a major contribution to academic study in the field, with a corpus composed of 681 entries and, for each title, indicates locations of surviving copies in institutional collections in Belgium and elsewhere. An introductory essay plots the development of photographic publishing in Belgium, making full use of primary and secondary sources. An album of over eighty images draws on the rich iconography of early Belgian photographic literature, most reprinted here for the first time.

Illustrated books --- Illustration of books --- Photography --- Books --- Book illustration --- Art --- Decoration and ornament --- Pictures --- History

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In the nineteenth century, new image-making methods like steel engraving and lithography caused a surge in the publication of illustrated books in the United States. Yet even before the widespread use of these technologies, Americans had already established the illustrated book format as central to the nation's literary culture. In The Portrait and the Book, Megan Walsh argues that colonial-era author portraits, such as Benjamin Franklin's and Phillis Wheatley's frontispieces; political portraits that circulated during the debates over the Constitution, such as those of the Founders by Charles Willson Peale; and portraits of beloved fictional characters in the 1790s, such as those of Samuel Richardson's heroine Pamela, shaped readers' conceptions of American literature. Illustrations played a key role in American literary culture despite the fact there was little demand for books by American writers. Indeed, most of the illustrated books bought, sold, and shared by Americans were either imported British works or reprinted versions of those imported editions. As a result, in addition to embellishing books, illustrations provided readers with crucial information about the country's status as a former colony. Through an examination of readers' portrait-collecting habits, writers' employment of ekphrasis, printers' efforts to secure American-made illustrations for periodicals, and engravers' reproductions of British book illustrations, Walsh uncovers in late eighteenth-century America a dynamic but forgotten visual culture that was inextricably tied to the printing industry and to the early US literary imagination.

American literature --- Illustration of books --- Illustrated books --- History and criticism. --- History --- History

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76:655.5 --- 82-93 --- 684.94 --- adressen --- illustraties --- kinderboekillustraties --- 82-93 Kinderliteratuur. Jeugdliteratuur --- Kinderliteratuur. Jeugdliteratuur --- 76:655.5 Grafische kunsten. Grafiek. Prentkunst-:-Geïllustreerde boeken (boekillustraties) --- Grafische kunsten. Grafiek. Prentkunst-:-Geïllustreerde boeken (boekillustraties) --- het boek, boekillustratie --- Book design --- Illustrated children's books --- Illustration of books --- Illustrators --- Artists --- Children's illustrated books --- Illustrated books, Children's --- Children's books --- Illustrated books --- Design, Book --- Books --- Graphic design (Typography) --- Format

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"Handsomely bound in red leather, [Houghton] MS Typ 411 is one of thousands of rare editions, manuscripts, and documents in that library's Printing and Graphic Arts Section, formerly called the Typography Department. Resembling an old fashioned family Bible at 10x8 inches and some 300 pages, when opened this book reveals no text but a series of fine pen-and-ink drawings, 1,220 illustrations of ancient coins. These are the records of a coin collection owned by Andrea Loredan, a Venetian patrician well known in the 1550s and '60s as a passionate connoisseur of antiquities. Silver tetradrachmas of Athens and Alexander the Great, aurei of Philip and Augustus, denarii of Caesar and his assassins, large Imperial sestertii of Nero and Hadrian, the numismatic images were intended to delight the eye, stir the curiosity, and enflame the acquisitive instincts of prospective buyers, at a time when the cash-strapped patrician was seeking to liquidate the ancient treasures of his private museum. The volume was, in essence, a sales catalogue, a species of book not often sought out and admired for artistic or literary merit. Yet Loredan and his unknown draftsman, unaware of how they were benefiting future scholars, produced a graphic masterpiece of elegance and charm, a document of the highest importance for the study of Renaissance antiquarianism, humanism, and archaeology ... While written descriptions and even partial catalogues of some Renaissance coin collections have come down to us--for example, the Greek and Roman silver of Cardinal Pietro Barbo, the future Pope Paul II, inventoried in 1457, and the 800 gold coins owned by Duke Ercole II of Ferrara, recorded by his courtier Celio Calcagnini around 1540--the Houghton manuscript is unique in offering an album of pictures of a complete Renaissance collection. And whereas the written catalogues are often informative enough to allow us to identify the type of coin described in the text, in the Loredan manuscript the abundance of detail permits a modern numismatist to pinpoint an item more precisely to a particular issue, and sometimes to a particular die, based on subsidiary symbols and variations of the portrait that are overlooked in written descriptions ... For art historians such as Cunnally who specialize in tracing the survival and revival of antiquity during the Renaissance, continually asking the 'Watergate' questions--what did they know and when did they know it?--the Loredan manuscript is a precious witness to the abundance and variety of ancient numismatic material available to the artists, as well as their patrons and public, during that period. Art historians searching for the antique sources available to Titian, Palladio, Sansovino, and other Venetian masters of the Cinquecento should find the drawings of MS Typ 411 particularly interesting"--From publisher's website.

Coins, Ancient --- Numismatics --- Manuscripts, Renaissance --- Art, Renaissance --- Illustrated books --- Antiquarians --- History. --- History --- Collectors and collecting --- Loredan, Andrea --- Coin collections. --- Houghton Library.