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Examines anonymous wallpapers and wallpaper designs from 1509 to 1978 as well as looking at works by individual artists

Examines anonymous wallpapers and wallpaper designs from 1509 to 1978 as well as looking at works by individual artists

300 pp., illustrations, bibliography. "The Glyptotek's large collection of Roman portraits, mainly acquired by the founder of the museum, the brewer Carl Jacobsen, in the decades around the turn of the century, comprises all the powerful and famous men and women of Rome, as well as some of the anonymous Romans portrayed for official or private purposes. In this second volume we meet the emperors who followed Nero -- from Vitellus, who only occupied the throne for a few months in 69 A.D., through Trajan and Hadrian, who extended the Empire, up to Marcus Aurelius and his son Commodus, whose reign marked the end of a period of prosperity in 192 A.D"

A mysterious series of paintings in a Hong Kong art museum, including one featuring a woman who bears a striking resemblance to her, draws photojournalist Jordan Glass into a painful search for the murderer of her twin sister, killed one year earlier, as she becomes embroiled in a deadly duel with the anonymous killer who knows all too much about her. 100,000 first printing.

The anonymous Brooklyn-based tricksters of the Bruce High QualityFoundation are back, this time with a cheeky take on the religious habitsof their fictitious artist namesake in this colorful catalog accompanyingexhibitions at CFA, Fine Arts Berlin and the Brooklyn Museum New York.It would surprise many to know that Bruce High Quality attended weeklyMass. Scourge of both the radical left and the religious right, it s difficultto imagine the world s greatest ironist as a true believer. Nonetheless,there he was, week after week, checking in with the man upstairs. FromThe Sacraments, his masterful series of Play-Doh reliquaries, to thegrand triptych self-portrait Father, Son, and Holy Ghost, which castsBruce High Quality s death mask, their intention to bring us face toface with the great beyond is shameless.

At a Christie's auction in October 1998, a battered medieval manuscript sold for two million dollars to an anonymous bidder, who then turned it over to the Walters Art Museum in Baltimore for further study. The manuscript was a palimpsest-a book made from an earlier codex whose script had been scraped off and the pages used again. Behind the script of the thirteenth-century monk's prayer book, the palimpsest revealed the faint writing of a much older, tenth-century manuscript. Part archaeological detective story, part science, and part history, The Archimedes Codex tells the extraordinary story of this lost manuscript, from its tenth-century creation in Constantinople to the auction block at Christie's, and how a team of scholars used the latest imaging technology to reveal and decipher the original text. What they found was the earliest surviving manuscript by Archimedes (287 b.c.-212 b.c.), the greatest mathematician of antiquity-a manuscript that revealed, for the first time, the full range of his mathematical genius, which was two thousand years ahead of modern science.

These works of museum quality, from an anonymous collection (one of the most important currently in private hands), were exhibited at the Victoria and Albert Museum in 2005. Many of the objects in the catalogue will be well known to those familiar with the specialist literature, though most will have been unaware of their whereabouts, and this catalogue will be of use to all those interested in medieval works of art and the history of collecting.An introduction places the highlights of the collection in context. Paul Williamson is curator with responsibility for medieval sculpture at the Victoria and Albert Museum and is well known for his authoritative contributions to the study of medieval sculpture.

Presented in a stylish 4-CD box set, here is a comprehensive recording of one of the most enigmatic manuscripts in the history of European music, preserved in the museum at the Chteau de Chantilly in France. 'Anything that can be sung, can be written in music notation,' claimed an anonymous treatise on notation in the late fourteenth century. The harmonies thus 'captured' on parchment represent an apex in Western music, associated with the wealthiest courts in Christendom, called 'decadent' by