This four-volume work by Gustav Friedrich Waagen (1794 1868), edited and translated by Lady Eastlake (1809 93), was published between 1854 and 1857. As Waagen explains in his preface to the first volume, he had previously published an account of his experiences on his first visit to Britain in 1835, but this new and longer work was addressed primarily to a British audience. It also differs in that the earlier work was more of a general travelogue, whereas these volumes, after an introductory essay, provide a more detailed catalogue - albeit in epistolary form - of works of art in public and...

This four-volume work by Gustav Friedrich Waagen (1794 1868), edited and translated by Lady Eastlake (1809 93), was published between 1854 and 1857. As Waagen explains in his preface to the first volume, he had previously published an account of his experiences on his first visit to Britain in 1835, but this new and longer work was addressed primarily to a British audience. It also differs in that the earlier work was more of a general travelogue, whereas these volumes, after an introductory essay, provide a more detailed catalogue - albeit in epistolary form - of works of art in public and...

This four-volume work by Gustav Friedrich Waagen (1794 1868), edited and translated by Lady Eastlake (1809 93), was published between 1854 and 1857. As Waagen explains in his preface, he had previously published an account of his experiences on his first visit to Britain in 1835, but this new and longer work was addressed primarily to a British audience. It also differs in that the earlier work was more of a general travelogue, whereas these volumes provide a more detailed catalogue - albeit in epistolary form - of works of art in public and private collections. Waagen was crucial to the...

This four-volume work by Gustav Friedrich Waagen (1794 1868), edited and translated by Lady Eastlake (1809 93), was published between 1854 and 1857. As Waagen explains in his preface, he had previously published an account of his experiences on his first visit to Britain in 1835, but this new and longer work was addressed primarily to a British audience. It also differs in that the earlier work was more of a general travelogue, whereas these volumes provide a more detailed catalogue - albeit in epistolary form - of works of art in public and private collections. Waagen was crucial to the...

This fascinating 1873 publication is a version of the catalogue produced by the Wedgwood company almost one hundred years earlier, in 1787. Its editor, the feminist writer Eliza Meteyard (1816-79), was a friend of the Wedgwood/Darwin families, and had published a two-volume biography of Josiah Wedgwood in 1865. She explains in her preface that the sixth (and last) such catalogue of Wedgwood's lifetime, 'having been long out of print ... is thus verbally reprinted, without other alteration than a few press corrections and the insertion of various illustrations from the Life of Wedgwood'. A...

The most accomplished female painter of her age, Elisabeth Vigee-Lebrun (1755 1842) is best remembered for her many portraits of Queen Marie Antoinette of France. Her two-volume autobiography was published in France in 1835 7, and this English version (of which the translator is unknown) in 1879. It begins with a series of ten letters to a Russian friend, Princess Kourakin, describing her family and early life, her artistic training, and her rise to the position of portraitist to the queen. The letters end with the Revolution and Vigee-Lebrun's flight abroad: the 'souvenirs' which follow...

The most accomplished female painter of her age, Elisabeth Vigee-Lebrun (1755 1842) is best remembered for her many portraits of Queen Marie Antoinette of France. Her two-volume autobiography was published in France in 1835 7, and this English version (of which the translator is unknown) in 1879. It begins with a series of letters to a Russian friend, Princess Kourakin, describing her family and early life, her artistic training, and her rise to the position of portraitist to the queen. The letters end with the Revolution and Vigee-Lebrun's flight abroad: the 'souvenirs' which follow describe...

James Elmes (1782 1862), the son of a builder, trained at the Royal Academy Schools as an architectural designer, but his career encompassed publishing and writing on architecture as well. A friend of Benjamin Robert Haydon and his circle, he was the first publisher (in his Annals of Fine Arts) of Keats' most famous odes. This work - the first biography of Wren - was published in 1823, and is dedicated to the President and Fellows of the Royal Society, of which Wren was a founder member in 1660. Elmes based his work on the so-called 'Parentalia', or notes on the Wren family compiled by his...

The first version of this three-volume work was published in 1829 as a question-and-answer book of 80 pages. The eleventh, and definitive, 1882 edition of this hugely popular, highly illustrated work, reissued here, was published at the urging of Sir George Gilbert Scott, and consists of two volumes on Gothic ecclesiastical architecture and a 'companion' volume on church vestments. Matthew Holbeche Bloxam (1805 88), a solicitor by profession, was an enthusiastic architectural historian with a passion for churches. In the preface, as well as explaining his reasons for another edition, Bloxam...

The first version of this three-volume work was published in 1829 as a question-and-answer book of 80 pages. The eleventh, and definitive, 1882 edition of this hugely popular, highly illustrated work, reissued here, was published at the urging of Sir George Gilbert Scott, and consists of two volumes on Gothic ecclesiastical architecture and a 'companion' volume on church vestments. Matthew Holbeche Bloxam (1805 88), a solicitor by profession, was an enthusiastic architectural historian with a passion for churches. In the preface, as well as explaining his reasons for another edition, Bloxam...