paul holberton publishing ltd london (219 results)

Paperback. Condition: Very Good. Canaletto's time in Mid-Georgian Britain has received much scholarly attention in the past. But this book places his work in a broader political and social context, linking his paintings and drawings with a growing sense of assurance and mission which the British nation was beginning to display - perhaps best represented by the works of William Hogarth. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Paperback. Condition: Very Good. The Courtauld Gallery holds the most important collection of works in the United Kingdom by the Post-impressionist master Paul Gauguin (1841-1903). Assembled by the pioneering collector Samuel Courtauld (1876-1947), it includes major paintings and works on paper as well as one of the only two marble sculptures ever created by the artist. This special Summer display presents the complete collection together with the loan of two important works by Gauguin formerly in Courtauld's private collection: Martinique Landscape (Scottish National Gallery, Edinburgh), and Bathers at Tahiti (The Barber Institute of Fine Arts, Birmingham). Today, Gauguin is widely celebrated as one of the most important and popular artists of the 19th century. Collecting Gauguin offers an opportunity to consider the contribution of Samuel Courtauld in developing the artist's reputation in this country. In 1910, the critic Roger Fry organised his ground-breaking exhibition Manet and the Post-Impressionists, a major step in generating awareness of Gauguin in Britain. Fry included 37 works by Gauguin (more than by any other artist) and also chose a work by him for the poster, a rare surviving copy of which will be included in the display. Inspired by this exhibition, over the following decade the educationalist Michael Sadler (1861-1943) established the first substantial collection of works by Gauguin in this country. A small number of other individuals acquired single paintings, but Courtauld was the only other early collector to assemble a major group of works by Gauguin. Collecting Gauguin is the first of a new series of special Summer displays which will showcase aspects of The Courtauld's outstanding permanent collection. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Paperback. Condition: Very Good. This catalogue accompanies the first ever loan exhibition of drawings from Waddesdon Manor, the house that was built and furnished by Ferdinand de Rothschild (1839-1989) to show off his works of art and to entertain the fashionable world. Most of the drawings gathered together for this exhibition have never been exhibited in pulbic and most have not been published. There are works by major French draughtsmen of the eighteenth century, including Francois Boucher, Jean-Honore Fragonard, Jean-Baptiste Greuze, Nicolas Lancret, Gabriel de Saint-Aubin and Jean-Baptiste Le Prince. Other artists are less familiar, Charles-Nicolas Cochin and Moreau le jeune among them, and it is hoped that this exhibition will introduce the visitor to the verve and originality of their work. The selection reflects the diversity of the Rothschild Collection and the overlapping preoccupations and unflagging curiosity of its creators. It encompasses observation and invention, academic learning and social comment, propaganda and reportage, and sheds light on the many different techniques and uses of drawing. It is hoped that scruntiny of these works outside their usual context will intrigue those that do not know Waddesdon, surprise those that do and give insight and pleasure to new audiences. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Paperback. Condition: Very Good. The rural idyll is a powerful force in the British national imagination. This highly original and vibrant study will examine how key moments in art history have shaped the concept of the idyll and how contemporary artists continue to access and often challenge this concept. From High Art to propaganda, garden centres to air fresheners, contemporary art to computer games - a constellation of powerful images and ideas contribute to our understandings of the rural. This publication offers new ways of thinking about the rural idyll and the countryside more broadly, through the innovative integration of a wide range of art and visual cultures. These include classic landscapes by artists such as Blake, Claude, Constable and Turner, works of modern British art, and contemporary works by artists who present new perspectives on the rural idyll. Crucially, this volume will enter these familiar and unfamiliar art works into a productive dialogue with an extensive range of visual cultures which populate everyday life now and in the past, for instance Frank Newbould's iconic wartime recruitment posters of 1942-44 and rural-themed video games. In the contemporary art world the rural is seriously under-represented as an arena of critical inquiry and artistic production. This publication will make a significant contribution towards redressing this situation. In addition to the new scholarship on the rural idyll - by academic experts from a wide range of disciplines, encompassing the spheres of art history, contemporary art, poetry, literature, rural history, agriculture, and everyday life - it will include interviews with ten key contemporary artists who are working with the rural in innovative ways. It will also contain newly commissioned material from leading artists and writers which articulate the themes of the publication in ways that differ from the traditional catalogue essay. It will include a specially commissioned visual essay by Jeremy Deller. Deller will select a series of images from the exhibition and elsewhere and combine them with short pieces of text that develop the questions and themes discussed throughout the book in creative and open-ended visual dialogue. There will also be a new commission from the Scottish poet and writer Kathleen Jamie, whose moving observations on the relationships between nature and everyday life, articulate the embeddedness of the rural idyll into the mundane and the quotidian. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Paperback. Condition: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Paperback. Condition: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Paperback. Condition: Very Good. This fascinating book tells the story of Thomas Hardy's Wessex. Accompanying a multi-venue exhibition, it explores Hardy's life and work. Internationally-acclaimed writer Thomas Hardy (1840-1928) is best known for his evocative depictions of the West Country landscape and its people, a region that he called 'Wessex'. What is less well-known is that this landscape also inspired him in many other aspects of his life, from campaigning for animal welfare to questioning the way society viewed women. This publication accompanies a blockbuster, multi-venue exhibition of the largest collection of Thomas Hardy memorabilia ever to be displayed at once. Hardy was born in the West Country, a few years after Queen Victoria came to the throne, and spent most of the rest of his life among its landscapes and people. When he turned writer, these landscapes and people re-emerged as his 'partly-real, partlydream country' of Wessex, in novels likeTess of the d'Urbervilles,Far from the Madding Crowd andJude the Obscure. Hardy's Wessex now conjures up a range of mental images: from raging seas on the coast to haunting ancient monuments, Victorian towns packed with life to peaceful hillsides grazed by sheep. However, through Hardy's 87-year life span, the West Country changed dramatically. Ideas of the role of women, humans' responsibility to animals, the realities of war, love and courtship, superstition, social structure, religion and how people related to the world around them altered fundamentally. Through his stories and campaigning, Hardy was keen to show not only the rural idyll, but also the tensions and difficulties that lay beneath these views. These dramatic landscapes were the lens through which Hardy presented his worldview to his readership. From the tragedy of a woman saying farewell to her sailorlover on the end of Portland Bill, to a shepherd losing his flock and facing ultimate ruin on the chalky hills. The landscapes shape his characters, whose stories in turn convey his messages of social change to his readers. This publication will explore the impact that Wessex had on Hardy's works, and how living there shaped his views on the often divisive social issues of the period. Uniting beautiful landscape imagery with a selection of personal items from Hardy's life, this book will show you the man behind the literature. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Paperback. Condition: Very Good. Disillusioned with London life and struggling to make a living, Blake and his wife Catherine went in 1800 to live at the coastal village of Felpham, which the artist soon described as the sweetest spot on earth. Providing his principal encounters with both English rural life and the coast, the artists three years on the banks of the ocean informed his two greatest illustrated epic poems, Milton and Jerusalem, and continued to be refl ected in his work for the rest of his career: In Felpham, claimed Blake, I saw and heard Visions of Albion. In addition to the work associated with Felpham, this publication considers the collections of nearby Petworth House, which include three major paintings by Blake otherwise unrepresented in other grand houses of Britain along with related prints, books and archival material. The authors will examine the relationships formed by Blake in Sussex, particularly with the poet William Hayley, the sculptor John Flaxman, the 3rd Earl of Egremont (one of the great collectors of contemporary art in the early 19th century) and his estranged wife Elizabeth Ilive, who commissioned two of the three paintings now in Petworth. Blakes work for Hayley, often dismissed as illustrative and decorative, will be reappraised, and other projects he worked on in Sussex including remarkable biblical watercolours produced for his great London patron, Thomas Butts will be celebrated. Blakes infamous arrest and trial for sedition chief among the events profoundly aff ecting him in Sussex will be discussed. It is not widely known that Blake was tried fi rst in Petworth, where he was vouched for by the 3rd Earl. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Paperback. Condition: Very Good. Patron Saints: Collecting Stanley Spencer is a revealing new exhibition at the renowned Stanley Spencer Gallery in Cookham Spencers spiritual home and major source of inspiration. The exhibition draws together a spectacular collection of loans, including The Centurions Servant (Tate); Love on the Moor (Fitzwilliam); John Donne Arriving in Heaven, (Fitzwilliam) and one work not seen in the public domain in over 50 years. The exhibition and catalogue examine the often complex relationships between Spencer and his patrons and what drove them to collect his work. Spencer was a single-minded genius, but the influence of his patrons on his painting is far greater than has hitherto been realised. At the turn of the century, collecting art was no longer the preserve of the aristocracy and the upper classes, but Spencers art appealed to a broad spectrum of art lovers, fellow artists, businessmen and politicians. Many of his patrons lived in Cookham, where he lived and found artistic inspiration, and many of his paintings were influenced by his spiritual feelings for that place. His idiosyncratic and deeply personal approach gave him a wide and enduring appeal, and he was patronised by some of the most important cultural figures and taste-makers of that time. Curator Amanda Bradley comments, Behind Stanley Spencer, one of the greatest Modern British artists, were a group of individuals who enabled his very existence both artistically and emotionally. They were not wildly rich, but they were powerful, cultivated, intellectual and artistic. Some bought on spec, others were true patrons, giving him the freedom to fulfil his artistic genius. Most fostered long-lived relationships with the artist, influencing his life and work more than has hitherto been realised. These were the patron saints. Patron Saints: Collecting Stanley Spencer explores the emergence of Spencer as an artistic personality, looking at those who helped him and why he and his popularity was a product of the zeitgeist (first half of the twentieth century) characterised by social and economic anxiety. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Paperback. Condition: Very Good. Lewis, Wyndham (illustrator). The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Hardcover. Condition: new. Hardcover. Isabella Stewart Gardner was a force to be reckoned with. She routinely went toe-to-toe with major museums and titans of industry to purchase masterpieces, created a museum unlike any other, and was famous for consistently flouting the social conventions that governed women of her time. However, this book shows another side of Isabella that readers may not expect: her love of dogs. Richly illustrated with images from the collection and museum archives, this volume allows readers to meet Isabella's favorite dogs (Kitty Wink and Patty Boy), see the litters of puppies she bred, and discover how her dogs were a comfort toward the end of her life. Usually stern in photographs, Isabella - like many people - could not help grinning when posing for photos with puppies. This enthusiasm for dogs is also evident in her correspondence. As she wrote excitedly to her art advisor Bernard Berenson: "Part of my morning's work has been to try to induce two 9 days old fox terrier pups to open their eyes again. They did once; and then clapped them to, with a vim that seemed to say that the box they found themselves in was not the ideal they had come to this world to see!" Even the dogs of celebrities - both celebrities she knew personally, and others she admired from afar - drew her attention. This book also features some of the many photographs she collected of notable people and their dogs, like the painter Anders Zorn and his adorable pup Mouche and Caesar, the regal and loyal terrier who belonged to King Edward VII and even marched in the monarch's funeral parade. From gathering Renaissance masterpieces to raising Fox Terriers, this book shows that Isabella approached all her tasks with enthusiasm and dedication. By learning about her love of her canine companions, this book presents a more human side of Isabella than typically on display. Isabella Stewart Gardner routinely went toe-to-toe with major museums and titans of industry to purchase masterpieces, created a museum unlike any other, and was famous for consistently flouting the social conventions that governed women of her time. This book shows another side of Isabella that readers may not expect: her love of dogs. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condition: new. Paperback. This welcome catalogue accompanies The Courtauld's display of the work of Helen Saunders (1885-1963), the first monographic exhibition devoted to the artist in over 25 years. After years of obscurity, Helen Saunders: Modernist Rebel reconsiders her work as an important part of the story of British modernism. One of the first British artists to pursue abstraction, Saunders was one of only two women to join the Vorticists, the radical but short-lived art movement that emerged in London on the eve of the First World War. Her extraordinary drawings capture both the dynamism of modern urban life and the horrors of mechanised warfare. Following the war, she turned her back on Vorticism and pursued her own path, working in a more figurative style. Due in part to the loss of a significant portion of her oeuvre, including all of her Vorticist oil paintings, this remarkable artist fell into obscurity. Only in recent years has her work begun to be rediscovered and celebrated as an important piece of the story of British modernism. A group of 20 drawings gifted in 2016 by her relative, the artist and writer Brigid Peppin, has transformed The Courtauld into the largest public collection of Saunders's work in the world. These drawings trace Saunders's artistic development in the orbit of Roger Fry and the Bloomsbury Group, keenly attuned to contemporary art in France, to the ground-breaking abstraction of Vorticism. Following the disruption of the First World War and the disbanding of the Vorticists, Saunders turned again to figuration, developing her own approach to landscape, portraiture and still life which she would pursue alone for the rest of her career, exhibiting sporadically and never again joining a group of artists. This interest is revealed here in a group of landscapes created in L'Estaque in the south of France in the 1920s, which show the artist responding both to her surroundings as well as to predecessors such as Paul Cezanne and Georges Braque who had previously worked in the area. Featuring essays by Brigid Peppin and Jo Cottrell on Saunders's artistic education and career and on her relationship to the places of Vorticism in London, and catalogue entries by Rachel Sloan, this catalogue sheds light on an artist who steadily pursued her own path and whose contribution to the story of modern art is being newly appreciated. AUTHORS: Brigid Peppin studied Fine Art at the Slade and Art History at Birkbeck. She taught Art History at the University of East London and now practises as a painter. She is guardian of Helen Saunders's estate. Jo Cottrell is an arts consultant and a postgraduate research student in Art History at Birkbeck, University of London. Her research is concerned with Vorticism, gender, and the cosmopolitan spaces of the avant-garde in pre-First World War London. Rachel Sloan is Assistant Curator of Works on Paper at The Courtauld. 40 illustrations The first monographic exhibition and catalogue devoted to this important figure in British modernist art in over 25 years. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condition: new. Paperback. A celebration of an artist whose under-sung legacy testifies to the enduring power of originality, drive, and devotion. Accompanying a major exhibition at Philip Mould & Company, Without Hands: The Art of Sarah Biffin presents the work of the remarkable 19th-century disabled artist who has been largely overlooked by art historians. This book and exhibition celebrate her art, life and legacy. Sarah Biffin (1784-1850) came from humble origins yet rose to fame in the 19thcentury as an exceptionally talented miniaturist. As a working-class, disabled female artist, her artworks - many proudly signed "without hands - are a testament to her talent and life-long determination. Despite her prolific artistic output, Biffin's life and work has been largely overlooked by art historians - until now. Sarah Biffin was born with the condition 'phocomelia', described on her baptism record as 'born without arms and legs'. She spent her childhood in her family home where she learnt to sew and write. Biffin was later contracted to Mr Dukes, who ran a travelling sideshow, where Biffin would write and paint in front of an audience. The crowds who turned up left with a sample of her writing included in the cost of their ticket. In her mid-twenties she began formal tuition with a miniature painter, William Marshall Craig, and from 1816 she set herself up as an independent artist. Biffin travelled extensively, exhibiting her artwork and taking commissions all over the country, before finally settling in Liverpool. Throughout her long and successful career, she took commissions from nobility and royalty, and recorded her own likeness across the years through exquisitely detailed self-portraits. Working closely with the project's advisor - artist Alison Lapper MBE (born with the same condition as Sarah Biffin 180 years later) - and consultant and contributor - Professor Essaka Joshua (specialist in Disability Studies at the University of Notre Dame, Indiana) - this publication and exhibition seek to celebrate Biffin as a disabled artist who challenged contemporary attitudes to disability. It is fully illustrated and includes original research. AUTHORS: Emma Rutherford is a Portrait Miniatures Consultant at Philip Mould & Company, London. Ellie Smith is a Researcher at Philip Mould & Company, London. Professor Essaka Joshua is a specialist in Disability Studies at the University of Notre Dame, Indiana. Alison Lapper is an artist, television presenter, speaker and Gig-Arts Charity patron, Brighton. Elle Shushan is a specialist, author, lecturer and museum consultant in Philadelphia. 50 colour illustrations Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condition: new. Paperback. This book tells the fascinating story of the rhinoceros Miss Clara, the most famous animal of the eighteenth century. It accompanies the fi rst ever major loan exhibition devoted to Clara and celebrity pachyderms in the UK and will off er a signifi cant contribution to scholarship on the subject. The latest in the Barber's acclaimed objectin-focus series, Miss Clara focuses on a small bronze sculpture of a rhinoceros, and also considers other celebrity beasts, the emergence of menageries and zoos, and the significance of the capture and captivity of these big beasts within wider academic discussions of colonialism and empire. 'Miss Clara' arrived in Europe from the Dutch East Indies in 1741, brought by a retired Dutch East India Company captain, Douwe Mout van der Meer, who then toured her round Europe (including England) to huge acclaim and excitement. Jungfer Clara (so christened while visiting Wuerzburg in 1748) was the first rhino to be seen on mainland Europe since 1579 and the object of great wonder and aff ection. Her fame generated a massive industry in souvenirs and imagery from life-scale paintings by major masters to cheap popular prints; there were even Clara-inspired clocks and hairstyles. This book will look at the phenomenon of Clara but, unlike previous studies of the subject, will focus primarily on sculptural/3D representations of her, within the context of other celebrity pachyderms represented by artists between the 16th and 19th centuries. Miss Clara is one of the most remarkable and best-loved sculptures in the Barber and was praised by the great German art historian and museum director Wilhelm von Bode as 'the fi nest animal bronze of Renaissance' - a telling tribute to its quality, even if he misunderstood its date. The Barber's cast is one of only two known, the other being at the V&A. There are also closely related marble versions. Other celebrity beasts featured will include the elephants Hansken, Chunee and Jumbo; Duerer's and various London rhinos; and the hippo Obaysch, star of London Zoo in the 1850s, and the fi rst to be seen in Europe since the fall of the Roman Empire. The publication will consist of entries for the thirty exhibits - included extended texts by Dr Helen Cowie (York University) on images of Chunee and Obaysch - preceded by three essays. Robert Wenley, Deputy Director of the Barber Institute, and the curator of the exhibition, will relate the story of Miss Clara (and of other celebrity rhinos), and explore the sculptural representations of her, presenting new research into their attribution and dating. The eminent sculptural historian, Dr Charles Avery, formerly of the V&A Museum and Christie's, will write a complementary essay about celebrity elephants in Europe between 1500 and 1700. Dr Sam Shaw (Open University), will discuss private menageries and public zoos between about 1760 and 1860 in the UK, and consider celebrity pachyderms as emblems of empire and colonialism. The fascinating story of the rhinoceros Miss Clara, the most famous animal of the eighteenth century. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condition: new. Paperback. Hogarth's Britons explores how the English painter and graphic satirist William Hogarth (1697-1764) set out to define British nationhood and identity at a time of division at home and conflict abroad. With notions of community cohesion, good citizenship and patriotism, wrapped up in a unifying idea of British national character and spirit in all its variety, and set alongside the ongoing national debate on Britain's past, present and future within European and World affairs, Hogarth and his art has never been more relevant. In the summer of 1745, Prince Charles Edward Stuart 'Bonnie Prince Charlie' landed with his supporters, the 'Jacobites', in a remote corner of Scotland. This signalled the start of his audacious military campaign, with the backing of Britain's global adversary France and during a Europe-wide war, to topple the Hanoverian, Protestant monarch George II and restore the Catholic Stuarts, exiled in France and then Rome since 1688, to the throne. The country descended into turmoil, with regional, local and family loyalty for these rival royal dynasties severely tested, and opposing visions for the new nation of Great Britain - since the Union of England and Scotland in 1707 - laid bare. By early December the prince and his 6,000 troops arrived in Derby, just 120 miles and five days' march from London. For both sides everything was at stake. From the 1720s, through the crises of the early 1740s, to the civil war called the 1745 Jacobite Rebellion or Rising, Prince Charles's defeat at Culloden in April 1746 and beyond, Hogarth created some of the most iconic images in British and European art, including Marriage A-La-Mode, O the Roast Beef of Old England (The Gate of Calais) and The March of the Guards to Finchley. Through such vibrant scenes, rich in topical commentary, he conveyed a sense of external threat (real and imagined) from foreign powers and internal political, social and cultural upheaval. At the same time he offered his fellow Britons a confident, reassuring idea of the rights and liberties they enjoyed under King George and his government: a flawed status quo, as Hogarth would readily admit, yet certainly better, he would argue, than the regime that would replace it under the 'popish' Stuarts as client monarchs of the self-serving French king, Louis XV. With British society and politics in flux, and the Union between Scotland and England arguably more vulnerable now than at any moment since 1746, the themes explored in Hogarth's Britons have profound resonance with our own time. AUTHOR: Dr Jacqueline Riding is an acclaimed curator, historian and art historian, author of Jacobites: A New History of the '45 Rebellion (Bloomsbury 2016) and Hogarth: Life in Progress (Profile 2021) the Sunday Times Art Book of the Year. 65 colour illustrations Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover. Condition: new. Hardcover. This book recounts the exciting rediscovery of Giorgio Vasari's painting Allegory of Patience, painted in 155152 for the Bishop of Arezzo, Vasari's hometown. The painting was conceived in Rome with the aid of Michelangelo, as many surviving letters reveal. The work will be on view to the public at the National Gallery, London, through 2023. The monumental figure of a woman, life-sized, with arms crossed, watches time run down. The passing of time is symbolised in the drops that fall from an antique water clock beside her, gradually wearing away the stone on which she rests her foot. The Bishop of Arezzo regarded patience as the key to his career and achievements, and wished it to be represented in a picture. Vasari consulted his contemporaries and fellow humanists as well as the great sculptor Michelangelo when deciding what form it should take. The image represents more exactly the Latin tag 'diuturna tolerantia' (daily tolerance). The painting quickly became famous in its time and numerous copies were made of it but not until now has the original emerged. Thanks to letters between those involved, the painting and the process of its creation are richly documented, and in particular provide insights and quotations about picture-making from Michelangelo. The book carries full documentation of the work and its known copies, some of which can be traced to leading patrons in Renaissance Italy. It also examines Vasari's own autograph technique and artistic aims. 30 illustrations Recounts the exciting rediscovery of Giorgio Vasaris painting Allegory of Patience, painted in 155152 for the Bishop of Arezzo. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover. Condition: new. Hardcover. Presenting for the first time the Alexis Gregory Gift to The Frick Collection, this exquisite publication provides illuminating insights into Gregory's magnificently eclectic collection, cataloging his fine and decorative works of art in detail. Twenty-eight works of art bequeathed to the Frick by Alexis Gregory range from Limoges enamels to Saint-Porchaire ware to pastels by the Venetian painter Rosalba Carriera. This remarkable gift has introduced new types of objects to the Frick: works in ivory and rhinoceros horn are the first of their kind to be held in the collection. Gregory's gift includes fifteen Limoges enamels, one of them produced in the workshop of Suzanne de Court, the only woman known to have led an enamel workshop in Limoges. Also part of the gift are a gilt-bronze sculpture, an ivory hilt, a pomander, ewers, saltcellars, and two clocks. Many of Gregory's objects came from such prestigious owners as the French royal collections and the Rothschilds. Included in the publication are commentaries on each gift. This lavishly illustrated publication accompanies an exhibition that will be on view at The Frick Collection February 16 through May 14, 2023. AUTHOR: Marie-Laure Buku Pongo is the Frick's assistant curator of decorative arts. She is a specialist in eighteenth-century French decorative arts and has worked on several exhibitions including Visitors to Versailles: Travelers, Princes, Ambassadors (16821789). 45 colour illustrations Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condition: Fine. Published to celebrate the 200th anniversary of the birth of G.F. Watts, this book provides a lively and engaging introduction to one of the most charismatic figures in the history of British art. Covering all aspects of Watts's career, it places him back at the centre of the visual culture of the 19th century. George Frederic Watts (1817-1904) was one of the great artists of the 19th century. As a young man Watts exhibited alongside Turner, and by the end of his long career he was influential upon Picasso. Sculptor, portraitist and creator of classic Symbolist imagery, Watts was seen also as more than an artist - a philanthropic visionary whose art charted the progress of humanity in the modern world. After four years in Italy in the 1840s, Watts was recognized as a Renaissance master reborn in the Victorian age. Nicknamed 'Signor', and working in isolation from the mainstream commercial art-world, he became a cult figure, obsessively returning to a series of subjects describing the fundamental themes of existence - love, life, death, hope. Engaging in turn with Romanticism, the Pre-Raphaelites, the Aesthetic Movement and Symbolism, Watts remained true to his own personal vision of the evolution of humanity. As a portraitist, Watts set out to capture the essence of the great characters of 19th-century Britain, donating his finest portraits to the National Portrait Gallery in London. Watts's portraits of figures such as William Morris, John Stuart Mill and the poets Tennyson and Swinburne have become the classic images of these cultural celebrities, while more intimate portraits such as Choosing, showing the artist's first wife, the actress Ellen Terry, are among the most popular of all British portraits. During the 1880s Watts emerged from his cult status to be embraced by the public. Feted as the great modern master, even as England's Michelangelo, he was given large retrospective exhibitions in London and at the Metropolitan Museum in New York. His reputation grew also in Europe, where the Symbolists revered him as one of their great exemplars. Watts's most celebrated works, such as Love and Life, Hope, and the epic sculpture Physical Energy, were reproduced globally and their fame was unsurpassed within contemporary art in the years around 1900. By this time, Watts had acquired a country home in Surrey - Limnerslease - around which he and his second wife, the designer Mary Watts, built a type of utopian settlement, which has recently been restored and opened to the public as Watts Gallery - Artists' Village. By the end of his life Watts was a national figure, an inspirational artist who had found a meaningful role for art as a catalyst for social change and community integration.

Paperback. Condition: new. Paperback. A collection of work from contemporary Afro-Cuban American artist Harmonia Rosales. This vibrant catalogue presents the work of contemporary artist Harmonia Rosales. Featuring over twenty paintings and a monumental sculptural installation, Harmonia Rosales: Master Narrative is the artist's first major touring exhibition and first scholarly catalogue of her work. Los Angeles-based artist Harmonia Rosales (b. Chicago, 1984) rewrites the canon, or the master narrative of art history, from the perspective of an Afro-Cuban American woman in the twenty-first century. Her canvases seamlessly weave the tales and characters rooted in West African Yoruba religion, Greek mythology, and Christianity with the canonical works and artistic techniques of the European Renaissance. Through her visual storytelling, Rosales presents the notion of human and cultural survival on her own terms one that highlights the beauty and strength of Black people, particularly women, while touching upon grand narratives of creation, tragedy, survival and transcendence. This beautifully illustrated publication includes a catalogue of works in the exhibition, a biography of the artist and new essays by noted scholars in their fields. These essays explore themes ranging from storytelling and narrative to gender and depiction of beauty to race and diaspora. 30 illustrations Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condition: new. Paperback. New approaches to the study of the complex processes involved in the making of a work of art. Patronage and Devotion accompanies an exhibition of works by prominent Baroque artists at the Villa Mondragone, a Renaissance papal villa in the countryside of Rome. The highlight of the catalog and exhibition is a group of masterpieces by seven prominent artists of the seventeenth century: five altarpieces by Carlo Saraceni, Valentin de Boulogne, Andrea Sacchi, Andrea Camassei, and Carlo Maratti, and one easel painting by Guido Reni commissioned for private devotion. Most of the paintings will be on public view for the first time. With new research, remarkable photographs, and details of diagnostic analyses of the altarpieces, this publication offers a fresh look at sacred imagery and its uses through selected studies related to seventeenth-century Roman visual culture. By reconstructing the religious and social dynamics of artistic patronage and the context of worship and devotion in which these paintings were executed - fully documented by primary sources - the volume explores the visual impact of these works on the viewers. AUTHORS: Giovan Battista Fidanza is professor of early modern art history at Tor Vergata University of Rome. Guendalina Serafinelli teaches at the Catholic University of America Rome Center and is advisor to the American Academy in Rome. 35 colour illustrations A fresh perspective on the understanding of sacred imagery and its use through selected studies related to 17th century Roman visual culture. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condition: new. Paperback. A showcase of eighteen masterworks by one of the world's greatest modern artists. This important publication accompanies a major exhibition at the Courtauld Gallery, London, of paintings by Edvard Munch (18631944). The catalogue and accompanying exhibition showcase eighteen major works from the collection of KODE Art Museums in Bergen, one of the most important collections of Munch paintings in the world. The works span the most significant part of Munch's artistic development and have never before been shown as a group outside of Scandinavia. This book explores this group of remarkable works in detail and considers the important role of its collector, Rasmus Meyer. The exhibition and publication include seminal paintings from Munch's early "realist" phase of the 1880s, such as Morning and Summer Night, pivotal works that show the artist's move towards the expressive and psychologically charged work for which he became famous. These paintings launched Munch's career and set the stage for his renowned, highly expressive paintings of the 1890s. Such works are a major feature of the exhibition that includes remarkable canvases from Munch's famous Frieze of Life series, which address profound themes of human existence, from love to death. Munch's powerful use of colour and form marked him as one of the most radical painters at the turn of the twentieth century. This fully illustrated publication includes a catalogue of the works, with contributions by leading experts in their field from KODE and the Courtauld. AUTHORS: Barnaby Wright is Deputy Head of The Courtauld Gallery and Daniel Katz Curator of 20th Century Art. Coralie Malissard is the Bridget Riley Art Foundation Curatorial Assistant. 60 illustrations This important publication accompanies a major exhibition at The Courtauld Gallery, London, of paintings by Edvard Munch (18631944), one of the world's greatest modern artists. The exhibition and catalogue showcase 18 major works from the collection of KODE Art Museums in Bergen. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condition: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Paperback. Condition: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Paperback. Condition: new. Paperback. The depth of history at Queen Annes Gate a handsome Baroque street overlooking St Jamess Park is unusual even in London, and few houses resonate with more memories than the extraordinary number 14. The story of the house over the centuries features political revolutionaries, occult initiations, clandestine war meetings, and a decapitated head. It begins, however, as a museum of Roman sculpture, unrivalled outside Italy, designed for connoisseur and virtuoso Charles Townley (17371805). Townley embodied Enlightenment values perhaps more completely than any other figure in the art world of 18th-century Britain his portrait by Johann Zoff any (seen above) is one of the iconic paintings of the period yet remarkably he has never been the subject of a major publication.Written with a sparkle matching Townleys own enthusiasm, this beautiful and engaging publication tells the story of 14 Queen Annes Gate and examines the extraordinary life of Charles Townley and his remarkable collection of over 150 Roman marble statues (mostly now in the British Museum but captured in spectacular engravings of the period). It will be a revelation. The house was designed as a temple to the past, reviving in the modern city the occult practices of the ancient world. Here visitors in eighteenth century would have found an assembly of Roman sculpture unrivalled outside Italy, as well as a library and collection devoted to understanding a universal `generative sprit worshipped by early civilizations. That spirit may be found in the succession of major roles the house has continued to take through generations of dramatic change up to the present day.Charles Townley, for whom the house was built, was a fi gure both marginal and emblematic. Catholic and bisexual, he forged a life literally on the borders of the Protestant British establishment. He remains little understood or appreciated in his homeland and, remarkably, has never been the subject of a major exhibition or publication. The `emblematic side of Townleys life was dedicated to virtu, the term used for an appreciation of fi ne art pursued for its own sake. The `marginal side of Townley, by contrast, manifested itself in a fascination with the ancient occult, particularly the Bacchic mysteries. The house he made for himself was at once a temple to virtu and to Bacchus and contained an unprecedented programme of Bacchic iconography. Written with a sparkle matching Townleys own enthusiasm, this beautiful and engaging publication tells the story of 14 Queen Annes Gate and examines the extraordinary life of Charles Townley and his remarkable collection of over 150 Roman marble statues. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condition: new. Paperback. This catalogue accompanies the first exhibition devoted to a fascinating group of drawings by the Anglo-Swiss Henry Fuseli (1741-1825), one of eighteenth-century Europe's most idiosyncratic, original and controversial artists. Best known for his notoriously provocative painting The Nightmare, Fuseli energetically cultivated a reputation for eccentricity, with vividly stylised images of supernatural creatures, muscle-bound heroes, and damsels in distress. While these convinced some viewers of the greatness of his genius, others dismissed him as a charlatan, or as completely mad. Fuseli's contemporaries might have thought him even crazier had they been aware that in private he harboured an obsessive preoccupation with the figure of the modern woman, which he pursued almost exclusively in his drawings. Where one might have expected idealised bodies with the grace and proportions of classical statues, here instead we encounter figures whose anatomies have been shaped by stiff bodices, waistbands, puff ed sleeves, and pointed shoes, and whose heads are crowned by coiffures of the most bizarre and complicated sort. Often based on the artist's wife Sophia Rawlins, the women who populate Fuseli's graphic work tend to adopt brazenly aggressive attitudes, either fixing their gaze directly on the viewer or ignoring our presence altogether. Usually they appear on their own, in isolation on the page; sometimes they are grouped together to form disturbing narratives, erotic fantasies that may be mysterious, vaguely menacing, or overtly transgressive, but where women always play a dominant role. Among the many intriguing questions raised by these works is the extent to which his wife Sophia was actively involved in fashioning her appearance for her own pleasure, as well as for the benefit of her husband. By bringing together more than fi fty of these studies (roughly a third of the known total), The Courtauld Gallery will give audiences an unprecedented opportunity to see one of the finest Romantic-period draughtsmen at his most innovative and exciting. Visitors to the show and readers of the lavishly illustrated catalogue will further be invited to consider how Fuseli's drawings of women, as products of the turbulent aftermath of the American and French Revolutions, speak to concerns about gender and sexuality that have never been more relevant than they are today.The exhibition showcases drawings brought together from international collections, including the Kunsthaus in Zurich, the Auckland Art Gallery in New Zealand, and from other European and North American institutions. AUTHORS: David Solkin is Emeritus Professor at The Courtauld Institute of Art, London. Jonas Beyer is Curator of Drawings at the Kunsthaus, Zurich. Mechthild Fend is Professor of Art History at the Goethe University, Frankfurt am Main. Ketty Gottardo is Martin Halusa Curator of Drawings at The Courtauld Gallery, London. 75 illustrations Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover. Condition: new. Hardcover. A fully illustrated examination of the relationship between money, power, resistance, and dissent. Money's ubiquity makes it a powerful vehicle for disseminating the messages of the state to the public, but the symbolic and nationalistic iconography of currency can also be subverted in powerful acts of defiance, rebellion, and propaganda. Accompanying major exhibitions at The Fitzwilliam Museum in Cambridge and the Art Gallery of Ontario in Toronto, this volume explores the political and social tensions communicated through the production or defacement of money over the past two hundred years. Beginning in Britain in the wake of the American and French Revolutions, it contrasts the use of money by the radicals of the nineteenth and early twentieth century with the money produced by European empires as they scrambled for world domination. The currency histories of the two world wars highlight the role of money as a tool of occupation, imprisonment, resistance, and remembrance. The coins countermarked during the Troubles in Northern Ireland hint at the polarized nature of political discourse and sectarian violence. The work culminates with the work of contemporary artists and activists who use money to highlight the challenges of the modern world, both locally and globally--as a canvas, a raw material, or a powerful means of communication. From a unique coin commemorating the Peterloo Massacre of 1819 to a Syrian banknote refashioned to raise awareness of the refugee crisis, each object constitutes a witness statement to its time and its conflict, and each section has its own story to tell. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condition: new. Paperback. Published to accompany an exhibition at Salisbury Museum and Art Gallery,this volume explores the most significant works of art engaged with prehistoricmoments across Britain from the 18th century to the 21st. While some of theworks in the earlier period may be familiar to readers especially Turner andConstables famous watercolours of Stonehenge the varied responses to BritishAntiquity since 1900 are much less well known and have never been groupedtogether.The author aims to show the significance of antiquity for 20th-century artists,demonstrating how they responded to the observable features of prehistoricBritain and exploited their potential for imaginative re-interpretation. Theclassic phase of modernist interest in these sites and monuments was the1930s, but a number of artists working after WWII developed this legacy orwere stimulated to explore that landscape in new ways. Indeed, it continues tostimulate responses and the book concludes with an examination of works madewithin the last few years.An introductory essay looks at the changing artistic approach to Britishprehistoric remains over the last 250 years, emphasizing the artistic significanceof this body of work and examining the very different contexts that broughtit into being. The cultural intersections between the prehistoric landscape, itsrepresentation by fine artists and the emergence of its most famous sites asfamiliar locations in public consciousness will also be examined. For example,engraved topographical illustrations from the 18th and 19th centuries and Shelladvertising posters from the 20th century will be considered.Artists represented include: JMW Turner, John Constable, Thomas Hearne,William Blake, Samuel Prout, William Geller, Richard Tongue, Thomas Guest,John William Inchbold, George Shepherd, William Andrews Nesfield, CopleyFielding, Yoshijiro (Mokuchu) Urushibara, Alan Sorrell, Edward McKnightKauffer, Frank Dobson, Paul Nash, Eric Ravilious, John Piper, Henry Moore,Barbara Hepworth, Ithell Colquhoun, Gertrude Hermes, Norman Stevens,Norman Ackroyd, Bill Brandt, Derek Jarman, Richard Long, Joe Tilson, DavidInshaw and Jeremy Deller. Presenting the best and most imaginative creative responses by artists to the British prehistoric landscape over the last 250 years. This is the first significant publication to range over the entire field - from Stonehenge and the Merry Maidens to the White Horse and the Long Man of Wilmingon - by the likes of Turner, Constable, Blake, Nash, Ravi Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover. Condition: new. Hardcover. Accompanying a major exhibition of new and recent works by Peter Doig at The Courtauld, London, this publication will present an exciting new chapter in the career of one of the most celebrated and important painters working today. It will include paintings and etchings created since the artist's move from Trinidad to London in 2021. It includes a major group of large paintings made for this exhibition. Doig (born Edinburgh, 1959) is widely acknowledged as one of the world's leading artists. He secured his early reputation in the 1990s as a highly original figurative painter, producing large-scale, immersive landscape paintings that exist somewhere between actual places and the realms of the imagination. Layered into his paintings is a rich array of inspirations, such as scenes from films, album covers, and the art of the past. His works are often related to the places where he has lived and worked, including the UK, Canada and Trinidad. In 2021, Doig moved back to London where he has set up a new studio. This new studio has become the crucible for developing paintings started in Trinidad and New York and elsewhere, which are being worked up alongside completely fresh paintings, including a new London subject. The works produced for the exhibition at The Courtauld convey this particularly creative experience, as Doig explores a rich variety of places, people, memories and ways of painting that have accompanied him to his new London studio. For Doig, printmaking is an integral part of his artistic life: his prints and his paintings often work in dialogue with one another. The exhibition and catalogue will also showcase the artist's work as a printmaker by unveiling a new series of etchings that Doig has made in response to poems by his friend, the Nobel prize winning poet Derek Walcott (1930-2017). This will allow readers to consider the full span of Doig's creative process. Doig has long admired the collection of The Courtauld Gallery. The Impressionist and Post-Impressionist artists who are at its heart have been a touchstone for his own painting and printmaking over the course of his career. His works presented here will reflect his current artistic preoccupations and readers will be able to consider Doig's contemporary works in the light of paintings by earlier artists in The Courtauld's collection that are important for him, such as those by Cezanne, Gauguin, Manet, Monet, Pissarro and Van Gogh. The publication will explore how Doig recasts and reinvents traditions and practices of painting to create his own highly distinctive works. 50 illustrations Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condition: new. Paperback. This handsome catalogue accompanies an exhibition celebrating the bicentenary of the 60-year reign of King George III. It presents one mezzotint portrait for each year of his reign. Mad about Mezzotint traces the history of mezzotint in the reign of King George III by looking at three aspects of the art form: the astonishing method of mezzotint, the absorbing history of the form in the late eighteenth century and Regency period and the endless fascination with London as a subject. Although the mezzotint originated in Germany as early as 1642, its golden age came in England in the eighteenth century. Its beauty lay in its ability to create the subtlety of tone found in an oil painting. Crowds marvelled at the new technique and seized upon the opportunity to popularise their work and disseminate their images more widely. Conditions in eighteenth-century London were ripe for this revolution in printing. England had a new king and queen on the throne, an ever-expanding court and flourishing commercial interests overseas. The city of London was expanding at an astonishing rate and money was pouring into the capital. This fully illustrated publication includes an introduction on the history of mezzotint and full catalogue of the works, as well as indexes of artists and persons depicted. Artists featured include Valentine Green, John Hoppner, John Jones, Joshua Reynolds, George Romney and Charles Turner. People depicted include King George, George, Prince of Wales, the Duke and Duchess of Marlborough, Admiral Horatio Nelson and Earl and Lady Spencer. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condition: new. Paperback. This illuminating exhibition catalogue interrogates the entanglement of the Islamic world with European visual culture during the medieval period and Renaissance, from the 9th century to the end of the 17th. It traces and reveals this interconnectedness through works of art that reflect the intense environment of contact, influence and exchange which developed over centuries between the two cultures. It also explores the reception of the image of Islam in Europe, as highlighted by an important painting of the Supper at Emmaus, painted in the so-called Oriental Mode by the Venetian artist Giovanni Mansueti (c. 14651527) in the last decade of the 15th century. Islam in Europe presents a survey of artistic production in the medieval Islamic world and the many ways it altered the trajectory of European visual culture. Opening with earlymedieval objects produced by Muslim artisans and known to have been exported in large numbers to medieval Europe, the catalogue explores the crosscurrents of visual culture at the nexus of Islam and Christendom which were already well developed by the 10th century. It continues with artworks produced under the aegis of the Umayyads (7111031) and later Islamic dynasties which ruled large swathes of the Iberian Peninsula until 1492, and the influence of Islamic rule on the development of a distinctive visual culture in medieval Spain.A central group of objects traces the breathtaking force with which refined export wares from Mamluk Egypt and Syria, Central Asia and Anatolia flooded the Italian market during the 14th to 16th centuries, revolutionizing European aesthetics as well as the taste for (and very definition of) luxury goods. This section of the catalogue includes objects that chart the rise of European textiles, metalwork, ceramics and other arts specifically emulating Islamic designs.The catalogue concludes with a group of important early textiles spanning the 13th to 17th centuries. It explores how and why European artists started to incorporate lavish Ilkhanid silks into their imagery, and how Italian weavers began to imitate both these early imports, and later also Ottoman velvets flooding the market in the 15th century, with voracious appetite. One of the catalogues key foci is an important group of rare Anatolian carpets woven between the 15th and 17th centuries and richly imitated both by European painters including Titian and Holbein, and by local weavers vying for control of the market in luxury furnishings.The catalogue presents 60 works of art, which have taken a decade to bring together and are presented in this way for the first time. Together the works elucidate the complete integration of Islamic art and artisanal technology into European visual culture during a period of extraordinary efflorescence. A brief introductory essay explores questions of entanglement in the medieval world and proposes a new lens through which to examine the artistic production of the period. The catalogue closes with a new essay by Michael Franses analyzing the importance of the only firmly dateable Lotto Arabesque carpet still in existence, acquired by The David Collection, Copenhagen, in 2022. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.