Harry Heuser Libros

This fully illustrated and annotated catalogue raisonné of the prints of Sydney Lee (1866-1949) offers a long-overdue appraisal of Lee's contribution to British art. Primarily a painter, Lee was widely acclaimed during his lifetime for his virtuoso prints of landscapes, town scenes, and historic buildings, executed in a remarkable variety of sizes and media. From the Colosseum in Rome to the summit of Mount Snowdon in Wales and the windmills of Kent, England, he traveled throughout Britain and Europe in search of subjects both epic and picturesque. A leading authority on printmaking and a committed collector of Lee's prints, Robert Meyrick identifies the precise locations of these subjects and establishes an accurate chronology of Lee's printed work. Robert Meyrick is head of the School of Art and keeper of the School of Art Museum and Collections at Aberystwyth University in Wales. In 2001 he was made an honorary fellow of the Royal Society of Painter-Printmakers in recognition of his services to printmaking in Britain.

Despite living through some of the most dramatic changes of the twentieth century, Stanley Anderson CBE (1884-1966) created a vision of an essentially timeless English rural tradition in his etchings and woodcuts. This title tells his story.

Immaterial Culture engages with texts that are now largely unread and dismissed as trivial or dubious: the vast body of plays – thrillers, narrative poetry, comedy sketches, documentaries and adaptations of literature and drama – that aired on American network radio during the medium’s so-called golden age. For a quarter century, from the stock market crash of 1929 to the introduction of the TV dinner in 1954, radio plays enjoyed an exposure unrivalled by stage, film, television and print media. As well as entertaining audiences numbering in the tens of millions for a single broadcast, these scripted performances – many of which were penned by noted novelists, poets and dramatists – played important and often conflicting roles in advertising, government propaganda and education. Reading these fugitive and often self-conscious texts in the context in which they were created and presented, the author considers what their neglect might tell us about ourselves, our visual bias and our attitudes toward commercial art and propaganda. The study’s ample scope, its interdisciplinary approach and its insistence on the primacy of the texts under discussion serve to regenerate the discourse about cultural products that challenge the way we classify art and marginalise the unclassifiable.