Author: James Edmund DoylePublisher:
ISBN:
Category : Nobility
Languages : en
Pages : 806
Book Description
The Official Baronage of England: Gainsborough -Oxford
Author: James Edmund DoylePublisher:
ISBN:
Category : Nobility
Languages : en
Pages : 806
Book Description
The Official Baronage of England
Author: James Edmund DoylePublisher:
ISBN:
Category : England
Languages : en
Pages : 788
Book Description
The official baronage of England showing the succession, dignities, and offices of every Peer from 1066 to 1885 with 1600 illustrations
Author: James E. DoyleGainsborough-Oxford
Author: James Edmund DoylePublisher:
ISBN:
Category : Nobility
Languages : en
Pages : 784
Book Description
The official baronage of England
Author: James E. DoyleThe official baronage of England
Author: James William Edmund DoylePublisher:
ISBN:
Category : Nobility
Languages : en
Pages : 796
Book Description
The Official Baronage of England: Abercon-Fortescue
Author: James Edmund DoylePublisher:
ISBN:
Category : Nobility
Languages : en
Pages : 838
Book Description
The Official Baronage of England: Pembroke-Zetland
Author: James Edmund DoylePublisher:
ISBN:
Category : Nobility
Languages : en
Pages : 800
Book Description
The Business of Satirical Prints in Late-Georgian England
Author: James BakerPublisher: Springer
ISBN: 3319499890
Category : History
Languages : en
Pages : 240
Book Description
This book explores English single sheet satirical prints published from 1780-1820, the people who made those prints, and the businesses that sold them. It examines how these objects were made, how they were sold, and how both the complexity of the production process and the necessity to sell shaped and constrained the satiric content these objects contained. It argues that production, sale, and environment are crucial to understanding late-Georgian satirical prints. A majority of these prints were, after all, published in London and were therefore woven into the commercial culture of the Great Wen. Because of this city and its culture, the activities of the many individuals involved in transforming a single satirical design into a saleable and commercially viable object were underpinned by a nexus of making, selling, and consumption. Neglecting any one part of this nexus does a disservice both to the late-Georgian satirical print, these most beloved objects of British art, and to the story of their late-Georgian apotheosis – a story that James Baker develops not through the designs these objects contained, but rather through those objects and the designs they contained in the making.
Author: