paul holberton publishing ltd london (176 results)

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 Newboulds iconic wartime recruitment posters of 194244 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. 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. 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. Children have always fascinated artists and Painting Childhood will explore some of the most iconic paintings of children produced over the past 500 years. Featuring stunning portraits, amusing genre scenes and touching fancy pictures, the book will examine both the creative process and the specifi c challenges posed by painting children: from how to capture the fleeting moments of youth to how to encourage young subjects to sit still. Accompanying the exhibitions Painting Childhood: From Holbein to Freud and Childhood Now, the book will discuss a wealth of masterpieces from British collections by artists including Hans Holbein the Younger, Anthony van Dyck, Jan Steen, Bartolome Esteban Murillo, William Hogarth, Joshua Reynolds, Thomas Gainsborough, Johan Zoff any and John Everett Millais. These iconic paintings will be considered alongside the preparatory sketches that were made for them and the works that were made after them in an exploration of the creative process and the artistic conversations that occurred throughout the centuries. Painting Childhood will also explore intimate portraits artists portrayals of their own children. Paintings, sketches and sculptures by Stanley Spencer, Louise Bourgeois, Jacob Epstein and Lucian Freud, among others, present highly personal insights into the place of family within an artists life, and the ongoing dialogue between biography and creativity. This theme extends to the present day, and the work of three contemporary figurative painters - Chantal Joffe, Mark Fairnington and Matthew Krishanu. Drawn to children as subjects, each of these London-based artists depict childhood in very diff erent ways. Together, they provide fresh perspectives on what constitutes childhood today and reaffirm the place of painting as a diverse and powerful artistic practice. 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: Very Good. This beautifully designed and illustrated publication is the first comprehensive biography of the portrait painter Johan Zoffany (17331810), one of the leading figures of eighteenth-century British art. The German-born artist shot to fame with his charming conversation pieces and portraits of London celebrities, including actor David Garrick. He soon became the painter of choice of King George III, depicting the royal family with rare informality, and subsequently a founder-member of the Royal Academy of Arts. His pictures have earned him the right to stand alongside Hogarth, Gainsborough and Reynolds as one of the most important founding artists of the British School. 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. Henry Spencer Moore (18981986) was one of the most influential British artists of the twentieth century. This catalogue considers Moore's celebrated Shelter drawings as the point of departure for a new reading of the artist's fascination with images of walls, during and immediately after World War II. It accompanies a focused exhibition at the Courtauld Gallery. After the destruction of his London studio early in World War II, Henry Moore began drawing figures sheltering from bomb raids in the London Underground. This catalogue and exhibition consider Moore's celebrated series as the point of departure for a new reading of the artist's fascination with images of walls, during and immediately after World War II. In the London Underground, where Moore drew these figures, the walls of these sheltered spaces came to absorb his attention in an altogether new way, becoming scene-setters, and key components of his drawings. This fascination with the bricks and the presence of walls, their texture, mass and volume, became especially important after his project to illustrate the wartime radio play The Rescue, based on Homer's Odyssey. Henry Moore: Shadows on the Wall, a collaboration with the Henry Moore Foundation, suggests for the first time that the walls in his drawings offer a new way to understand some of his most individual and monumental Post-War sculpture projects. 50 illustrations Henry Spencer Moore (18981986) was one of the most influential British artists of the twentieth century. This catalogue considers Moores celebrated Shelter drawings as the point of departure for a new reading of the artists fascination with images of walls, during and immediately after World War II. 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.

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. A beautiful presentation of exquisite ancient bronzes from the Wadsworth Atheneum, accompanying a special exhibition at Bowdoin College. With a discerning eye and discriminating taste, J. Pierpont Morgan spent years acquiring superb works of art. Specifically, Morgan's Greek and Roman bronze collection captures his shrewdness, including pieces of males and females, gods and mortals, humans and animals, and even furniture embellishments. This gorgeously illustrated work presents highlights of Morgan's bronze collection, which is currently held in the Wadsworth Atheneum. Ancient Bronzes and its twin exhibition are the first to consider these pieces as a group. With high-resolution photography allowing readers to appreciate their intricate details, Ancient Bronzes also discusses research on these exceptional objects to help readers better understand how they were made and what they represented in an ancient context. AUTHORS: Lisa Brody is Associate Curator of Ancient Art at the Yale University Art Gallery. A specialist in Greek and Roman art and archaeology, she is particularly interested in the interaction of cultures in the ancient world. James Higginbotham is Associate Professor of Classics on the Henry Johnson Professorship Fund, Curator for the Ancient Collection, and Chair of the Department of Classics at Bowdoin Colleg Edwards is Lecturer in Art History and Visual Cultures at the University of Exeter. 60 colour illustrations 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. Accompanying an exhibition at the Fitzwilliam Museum, Cambridge, this book explores island identities in the ancient Mediterranean, questioning how 'insularity' being of an island affected and shaped art production and creativity, architectural evolution, migrations and movement of people. It extends beyond the ancient, incorporating current discourses on island versus mainland cultural identities, in contemporary Art and other disciplines. Throughout history, islands have been treated as distinct places, unlike mainland and continental masses. In geographic terms, islands are merely pieces of land surrounded by water, but the perception of island life has never been neutral. Rather, the term 'insularity' belonging to/being of an island has been romanticized and associated with otherness. Islands have often been deemed to have different histories from the mainland and with more readily isolated socio-political, cultural and economic characteristics. Yet connectivity has also been an important feature of island life as the sea can be a linking rather than just a dividing body, motivating and maintaining informal and formal connections. Fifty unique archaeological objects most never displayed before outside Cyprus, Crete and Sardinia tell exceptional stories of insular identity, over a period of 4000 years. The movement of people and episodes of migration between islands and their surrounding mainlands is also explored, through architecture, material culture, crafts and technologies present in the Mediterranean islands. Islanders has a broad diachronic scope and applies integrative analytical approach, bringing together research findings from scientific fields within archaeology, as well as a multi-scalar approach to past human interaction within continental and island environments. AUTHOR: Anastasia Christophilopolou is the Senior Curator of the Ancient Mediterranean of the Fitzwilliam Museum. She is responsible for research and exhibition projects and permanent displays in the fields of Greek, Cypriot and Roman Collections. 60 illustrations Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condition: Very Good. The city of Venice holds a special place in the global imagination. This book explores the creation of one of its largest surviving depictions, which has remained almost unknown to the wider public since its creation exactly four centuries ago. 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. 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: 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. The myth of Van Gogh today is linked as much to his extraordinary life as it is to his stunning paintings. His biography has often shaped the way that his self-portraits have been (mis)understood. Van Gogh. Self-Portraits reconsiders this aspect of his production and places the artist's self-representation in context to reveal the role it plays in his oeuvre. It also explores the power and profound emotion of these highly personal paintings. Van Gogh. Self-Portraits is the first time this theme has been exclusively addressed. Self-portraits painted during Van Gogh's time in Paris (February 1886 - February 1888) have been the subject of two exhibitions (in 1960 at Marlborough Fine Arts in London and in 1995 at the Kunsthalle in Hamburg) but never has the full chronological range been explored. The exhibition at The Courtauld Gallery features paintings from both the Parisian and Provencal periods. It brings together half of Van Gogh's thirty-five known self-portraits to examine the ways the artist approached this particular subject-matter. On a practical level, painting himself provided Van Gogh with the cheapest and most patient of models and represented an important conduit for stylistic experimentation. He also used self-portraiture as an homage to his illustrious Dutch predecessor Rembrandt, as well as a way of fashioning his own identity and presenting himself to the outside world. Of particular interest is the striking way the evolution of Van Gogh's self-representation over the short years of his artistic activity can be seen as a microcosm of his development as a painter. In addition to the world-famous Self-Portrait with Bandaged Ear in The Courtauld's collection, the exhibition showcases a group of major masterpieces brought together from international collections, including the Van Gogh Museum in Amsterdam, the Muse d'Orsay in Paris, the Art Institute of Chicago and the National Gallery of Art in Washington, D.C. among others. This beautifully illustrated catalogue includes detailed entries on each work, an appendix illustrating all of Van Gogh's self-portraits and three insightful essays on the theme. AUTHORS: Louis van Tilborgh is Senior Research at the Van Gogh Museum and Professor of Art History at the University of Amsterdam Martin Bailey is a Van Gogh expert and journalist at The Art Newspaper. Karen Serres is Curator of Paintings at The Courtauld Gallery, London. 65 colour illustrations This beautifully-produced publication accompanies the first ever exhibition devoted to Vincent van Gogh's self-portraits spanning his entire career. It features world-famous and lesser known works from the great artist. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

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: Very Good. The Courtauld Gallery holds the most important collection of works in the United Kingdom by the Post-impressionist master Paul Gauguin (18411903). Assembled by the pioneering collector Samuel Courtauld (18761947), 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 artists 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 (18611943) 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 Courtaulds 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: Fine.

Paperback. Condition: Very Good. "The artist should not only paint what he sees before him," claimed Caspar David Friedrich, "but also what he sees in himself." He should have "a dialogue with Nature". Friedrich's words encapsulate two central elements of the Romantic conception of landscape -- close observation of the natural world and the importance of the imagination. Exploring aspects of Romanticn landscape drawing in Britain and Germany from its origins in the 1760s to its final flowering in the 1840s, this exhibition catalogue consiers 26 major drawings, watercolours and oil sketches from The Courtauld Gallery, London, and the Morgan Library and Museum, New York, by artists such as J.M.W. Turner, Samuel Palmer, Caspar David Friedrich and Karl Friedrich Lessing. It draws upon the complementary strengthsy of both collections -- the Morgan's exceptional group of German drawings and The Courtauld's wide-ranging holdings of British works. A Dialogue with Nature offers the oppotunity to consider points of commonality as well as divergence between two distinctive schools. 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 publication is the only available English-language monograph to date on sixteenth-century sculptor Pier Jacopo Alari Bonacolsi (c. 14551528), who earned the nickname 'Antico' with his highly refined reductions of Greco-Roman antiquities. His bronzes many of which were produced at the brilliant court of Isabella d'Este at Mantua were remarkable for being meticulously cast and finely cleaned and finished, designed for close appreciation in the privacy of a courtly studio. His black patination and exquisite detailing, such as gilded hair and silver-inlaid eyes, are characteristic. Given Antico's importance for the history of sculpture, this book is a much needed resource in the field, presenting new scientific research and the results of technical studies undertaken at the National Gallery of Art, Washington. A series of essays places Antico's life, work and technique in a contextual framework useful for understanding his body of work. In addition to providing an overview of the artist's career, the catalogue will address key topics from his workmanship and craft to his relationship with the court of Mantua. Eleonora Luciano, associate curator of sculpture at the National Gallery of Art, provides a biography of the artist; Claudia Kryza-Gersch, curator of Italian sculpture at the Kunsthistorisches Museum, Vienna, discusses Antico as a pioneer of Renaissance sculpture; Stephen Campbell, professor and chair of the department of the history of art at John Hopkins University, writes about 'Antico and Humanism at the Court of Mantua'; Davide Gasparotto, curator at the Galleria Nazionale di Parma, considers Antico's portraiture; Denise Allen, curator at the Frick Collection, New York, writes about 'Materials, Workmanship and Meaning' in the artist's work. Two appendices present new scientific work: Dylan Smith and Shelley Sturman, both conservators at the National Gallery of Art, explore the technology of Antico's bronzes, and Richard Stone, conservator emeritus at the Metropolitan Museum of Art, New York, examines Antico's patinas. Exhibition held at National Gallery of Art, Washington. 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. Diana Armfield RA Hon RWS NEAC has a highly personal attachment to subject and a subtly distinctive affinity with the rhythms of form and tone. These qualities make her an important, influential figure in modern British art - and a very popular one. Flower paintings have brought her wide acclaim, but this book - created to mark her 100th birthday - also richly represents Diana's feeling for landscape and place. Including an inspiring number of more recent works, it brings her fascinating artistic and life story up to date. 'I think I was born making things', Diana comments to Andrew Lambirth, whose absorbing interview with her forms the narrative thread of Diana Armfi eld: A Lyrical Eye. Diana's was a creative childhood steeped in experiments with drawing, pottery and embroidery, played out against the backdrop of a picture-fi lled house, a lovely garden and an artistic family. She studied at Bournemouth, Slade and Central art schools, starting out as a talented textile designer - a legacy that lent her a unique approach to the geometry, cadences and colour qualities of a painting. After organising cultural activities for workers and troops in World War II, Diana became one half of a successful partnership designing textiles and wallpaper, whose work featured in the Festival of Britain in 1951. The 1960s brought a turn to painting and from 1966 Diana has been a regular exhibitor at the prestigious Royal Academy Summer Exhibition. She has continued to paint and draw throughout her life and, as this book clearly demonstrates, always thinks afresh about each subject she tackles in order to respond to it with a close, warm sincerity. Diana Armfi eld: A Lyrical Eye charts Diana's personal and artistic journey with over 200 beautiful reproductions of her work, tracing favourite subjects and events - from a Welsh landscape to an informal fl ower display or the much-loved location of a painting trip in Italy or France. Andrew Lambirth's interview also explores the unique bond with her husband, painter Bernard Dunstan, who died in 2017, looking at how two leading artists interwove their personal and creative lives over a marriage of almost 70 years. As well as this interview, Andrew has contributed an essay on Diana's work to the book. Diana's standing and popularity have led to regular exhibitions, especially at prominent London gallery Browse& Darby. Her work is held in private and public collections worldwide, from London's V&Ato the Yale Center for British Art. 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. 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 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.

Paperback. Condition: new. Paperback. Explores the rich history of Japanese printmaking passed down through the Yoshida family. This catalogue, the first of its kind in the UK, accompanying the 2024 exhibition at Dulwich Picture Gallery, explores the important contribution to Japanese woodblock printing of the Yoshida family, from patriarch Hiroshi down to the current generation, led by Yoshida Ayomi. The story of the Yoshida family has been woven into the story of Japanese printmaking across two centuries, with each generation infusing this traditional art form with their sensitivity and imagination. Trained as a painter and watercolourist, Yoshida Hiroshi (18761950) was a pioneer of the shin hanga artistic movement, which revived the traditional ukiyo-e prints ('pictures of the floating world') focusing on beautiful landscapes and landmarks and combined them with Western influences. His incredible corpus of woodblock prints, inspired by his travels across Japan but also in Europe, Southeast Asia, Africa and North America, greatly contributed to the popularity of Japanese prints in the West. A rare instance in the early twentieth-century Japanese art world, the Yoshida legacy relies also on the important contribution of its women: first Fujio (18871987), Hiroshi's wife, a watercolourist, painter and printmaker, who was the first Japanese woman artist to gain international acclaim. Her style developed over time from naturalism towards greater stylization and organic abstraction, with her late still lifes strikingly balancing boldness and sensuality. Toshi (19111995) and Hodaka (19261995), Hiroshi and Fujio's sons, represent the second generation of this artistic dynasty; Toshi introduced post-war abstraction to the Japanese printmaking process, while Hodaka pushed these modernist instances further, achieving a unique personal style inspired by the sosaku hanga movement of artistic self-expression. His wife Chizuko (19242017) co-founded the first group of female printmakers in Japan, the Women's Print Association. Her works sapiently connect popular art movements like Abstract Expressionism with Japanese printmaking. The youngest member of the Yoshida family is Ayomi (b. 1958), daughter of Hodaka and Chizuko, whose practice bridges the gap between ukyio-e and contemporary art thanks also to the exploration of organic materials. She has been exhibited at major international institutions and will contribute an original installation to the Dulwich show. AUTHOR: Monika Hinkel is a specialist on Japanese prints and a lecturer in the arts of Japan and East Asia at SOAS, University of London. 60 illustrations Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover. Condition: new. Hardcover. Accompanying an exhibition at the Courtauld Gallery, London, Frank Auerbach: The Charcoal Heads presents a remarkable series of hauntingly beautiful largescale drawings by the artist. The catalogue includes a new piece of writing on one of the drawings from critically acclaimed novelist Colm Toibin. This catalogue explores one of Frank Auerbachs most remarkable bodies of work a series of large-scale portrait heads made in charcoal, produced during his early years as a young artist in postwar London. Auerbach (b. 1931) spent months on each drawing, working and reworking them during numerous sessions with his sitters. This prolonged and vigorous process of creation is evident in the finished drawings, which are richly textured and layered. Auerbach would sometimes even break through the paper and patch it up before carrying on. His heads thus emerge from the darkness of the charcoal with burning vitality, born of an artistic as well as a physical struggle with the medium. The process of repeated creation and destruction, of which these images bear the visible scars, speaks profoundly of their times, as people rebuilt their lives after the ruination and upending of the war.The exhibition will be the first time Auerbachs extraordinary drawings, made in the 1950s and early 1960s, have been brought together as a comprehensive group. They will be shown together with a selection of paintings he made of the same sitters; for the artist, painting and drawing have always been deeply entwined. The accompanying catalogue by Deputy Head of The Courtauld Gallery, Barnaby Wright, and with an essay by one of the greatest contemporary voices in the English language, Colm Toibin is the first publication to explore in depth this magnificent series. Toibin spent several hours one afternoon in front of Auerbachs Self-Portrait (1958), which features on the front cover of the book, looking closely and taking notes. His essay is an account of his experience and offers new insights into the work and the nature of self-portaiture. Accompanying an exhibition at the Courtauld Gallery, London, Frank Auerbach: The Charcoal Heads presents a remarkable series of hauntingly beautiful largescale drawings by the artist. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover. Condition: new. Hardcover. A stunning showcase of the bold and original work of artist Tony Meeuwissen. Tony Meeuwissen's lively and engaging artwork has appeared in many decorative forms, from books and playing cards to magazine covers and postage stamps. Born in London in 1938, Tony Meeuwissen began his career at sixteen in a commercial art studio. By the age of thirty, he was a successful freelancer with commissions from Penguin Books, Radio Times, the Royal Mail, and many more. In 2013 he earned the prestigious Royal Designer for Industry designation from the Royal Society of Arts in London-a title which only two hundred designers can hold at any one time. In this absorbing memoir, the artist writes about his life at the drawing board and delves into the inspiration and ideas behind his imagery. AUTHOR: Born in Croydon in 1938, Tony Meeuwissen began his career at 16 in a commercial art studio. He became freelance at 29 with commissions from Penguin Books, Radio Times, Royal Mail etc. Winner of 7 national and international awards, including 3 books, he was made a Royal Designer in 2015. He lives near Stroud in the Cotswolds with his wife Marie. 300 colour illustrations Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover. Condition: new. Hardcover. The memoirs of Anthony Speelman, the doyen of English art dealers specialising in Dutch Golden Age art. Anthony Speelman is the doyen of English art dealers specialising in Dutch Golden Age art. Vividly written and handsomely illustrated, his memoirs offer fascinating insight into the sometimes secretive world of Old Masters. This book will appeal not only to dealers, collectors and others in the fine art world, but also to would-be collectors eager for a glimpse behind the curtain. These memoirs cover a lifetime of dealing in Old Masters at the very highest level. Speelman's career started under the guidance of his father Edward, whose own biography has much to tell. Over the years, Speelman has sold paintings to many of the world's greatest collectors, including Norton Simon, Paul Mellon, Baron Thyssen, Harold Samuel, Charles Clore and the Wrightsmans in New York, along with world renowned museums such as the Getty, the Louvre and the National Gallery, London, among many others. He writes about his encounters with these eminent bodies in a light-hearted style, sometimes amusing, always extremely interesting including an anecdote about a recent meeting with a Chinese billionaire with a penchant for fine wine. The two monkeys in the title refer to two paintings of a monkey holding a peach by George Stubbs, the outstanding English animal painter. Anthony describes how he discovered one of these masterpieces as a 'sleeper' in a Sotheby's sale. Early in his career Anthony's rooms in Piccadilly were broken into and a number of paintings stolen, including a George Stubbs painting of a spaniel. An intriguing tale follows, ending with the paintings recovered some eighteen months later after a failed blackmail attempt on the part of the thieves. Amongst his accomplishments, Speelman was for many years chairman of the vetting committee at the annual Maastricht art fair. He describes the working of the committees which ensure that all works exhibited are correctly described. Still active in the art world, he is currently chairman of the vetting committee of the prestigious annual Masterpiece art fair in London. Other chapters detail Speelman's travels to California, New York and Paris, his interest in gastronomy and his thrilling adventures in the world of horseracing. The book is beautifully illustrated with examples of works that have passed through the author's hands. The wide range of illustrations is not limited to Dutch art and includes works by Canaletto, Stubbs, Raphael, Tiepolo, Melendez and other Old Masters. 72 illustrations Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condition: new. Paperback. What is a family? And how is family experienced? These questions, explored through artists' eyes, are at the heart of the exhibition, Real Families: Stories of Change, a collaboration between the Fitzwilliam Museum and the University of Cambridge Centre for Family Research. The book provides a catalogue of the exhibition in four sections, containing twelve illuminating essays that discuss the concept of the family. Real Families: Stories of Change focuses on art produced in the past 50 years, a period of significant change in how families are created and structured, with historical works woven into the exhibition to examine what is genuinely new, and what has remained the same, about the family. The catalogue includes reproductions of paintings, photography and sculpture. In the first section, 'What is a Family?', artists portray new forms of family, including families formed by assisted reproduction and families with LGBTQ+ parents, as well as families affected by divorce, adoption and infertility. The works prompt viewers to consider stereotyped beliefs about what makes a family and society's prejudice against childlessness. Second, 'Family Transitions' starts with artists' representations of motherhood, followed by an examination of the positive role that fathers play. Works on siblings speak to the dynamic and intense relationships that exist between siblings, and those on grandparents and grandchildren highlight the benefit of having each other in their lives. Artists also convey their complex feelings about their ageing parents. 'Family Dynamics' explores positive and negative relationships between couples, parents and children, and extended family, with works that foreground affection and rejection, comfort and conflict, enmeshment, estrangement and not fitting in. The works also examine the wider social, cultural and political influences on family relationships. Finally, 'Family Legacies' highlights the importance to many people of a sense of connection and belonging. This section explores the transmission of family from one generation to the next through genetic inheritance, social and cultural practices, language and objects, which can forge emotional connections and give rise to family memories. AUTHORS: Susan Golombok, Professor Emerita of Family Research, is former Director of the Centre for Family Research at the University of Cambridge and author of We Are Family: What Really Matters for Parents and Children. Luke Syson is Director of the Fitzwilliam Museum, Cambridge. From 201219 he oversaw the USA's largest collection of European applied arts and sculpture at the Metropolitan Museum of Art. Formerly the Curator of Italian Painting before 1500 and Head of Research at the National Gallery, London, he began his career at the British Museum and the V&A. 100 illustrations Shipping may be from multiple locations in the US or from the UK, depending on stock availability.