Illustrations; Book illustrations; Frontispieces; Books; Literature; Catalogs; Exhibition catalogs; Inscriptions; Lettering (Layout features); Graphic design; Artists' signatures; Names; Heads (Anatomy); Faces; Cliffs; Rocks; Bodies of water
"L'Androgyne" (The Hermaphrodite) by Josephin Peladan, Part VIII of "L'Ethopee" or "La Decadence latine," frontispiece. Illustration from the catalogue of the Salon de la Rose Croix, Galerie Durand-Ruel, Paris, 1892.
"The Canterbury Tales", prologue, opening page, in "The Works of Geoffrey Chaucer," Kelmscott Press, 1896, woodcut illustration by Burne-Jones, border decorations and initials by William Morris.
Prints; Broadsides; Broadsides; Advertisements; Advertising; Language; Communication; Communication devices; Inscriptions; Lettering (Layout features); Punctuation; Question marks
"Jenny Holzer extended the use of language in art to another dimension by presenting words alone; for the viewer, looking and reading became one and the same act. […] In graduate school at the Rhode Island School of Design in the mid-1970s,...
Woodcut illustration for "Le Livre des Masques, Portraits Symbolistes" by Remy de Gourmont, Mercure de France, Paris, 1896-1898. Published in Le Figaro, Paris, 18 September 1886.
Painting destroyed during the London blitz (photograph shows the artist, 1938, [and Fantomas, a character in the early twentieth-century pulp fiction novels by Pierre Souvestre and Marcel Allain.]). The Savage (Le barbare): c. 1928.
Rosetta Stone (top), with its three tiers of writing (hieroglyphic, hieratic, demotic) and eight hieroglyphs with the sounds they represent (bottom). From the "Hieroglyphic, Hieratic, and Demotic Writing" section of the "Art of...
