Читать книгу Where Art Begins - Hume Nisbet - Страница 5

Table of Contents

	PAGE
A New Zealand Fern-tree Gully.	Frontispiece
Repose.	Vignette for title-page
Group of Fisher-Folk. From a photograph by John Foster of Coldstream	5
A Group of Working Horses. From a photograph by John Foster of Coldstream	26
Ancient Assyrian Hall: The Feast of Sardanapalus. From a sepia sketch by the Author	56
An Ancient Egyptian Corridor. From a sepia sketch by the Author	61
On the Esk River, Tasmania. From a photograph by Major Aikenhead, Launceston	97
A New Guinea Village. A study of lighting from behind	125
Noah’s Ark. A process paper drawing	132
Ship-of-the-Line, 1815. Pen and ink	134
A Viking Boat. Process paper	138
Fishing Boats. Pen and ink	142
Homeward Bound. Process paper	143
The Storm. Pen and ink	147
At Rest. Pen and ink	148
From Breydenbach’s Travels	150
St. Christopher. From ‘A Treatise on Wood-Engraving,’ page 46	153
History of the Virgin Mary. From ‘A Treatise on Wood-Engraving,’ page 72	154
Albert Dürer’s Apocalypse	156
By Christopher Jegher, after Rubens	158
A Panel of Black and Gold	176
Initial Letter O, and Moonlight	196
The Avenue—Hobbema	229
Harmony. A night effect	250
Art Subjects	272
A Garden Scene	297
The Ancient Nile	300

Note A.—John Foster, of Coldstream, is one of the most accomplished of photographic artists, who has made a specialty of cattle groups, and whose studies are nearly always perfect in their grouping and effect.

Note B.—Major W. Aikenhead, of the Launceston Rifle Regiment, Tasmania, favoured me with some of his finest specimens, with permission to reproduce them. His aerial effects are wonderful and delicate, too tender in most instances for reproduction by process: therefore I have been compelled to give one of his most positive pictures as a specimen of his art and the beauties of the country in which he works.