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391 kr
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Ambrose McEvoy (1877–1927) was one of the most modern and daring English society portrait painters of the early twentieth century. He had a quick and confident style of painting and the rare ability to create a portrait that not only reflected the likeness of the subject but captured and reflected their character. By 1915 he was a household name. His work drew the attention of leading society figures like Winston Churchill and Lady Diana Cooper, and prominent socialites and debutantes were soon vying for sittings in his Grosvenor Road studio. Despite his success, McEvoy's name was quickly forgotten after he died unexpectedly at the peak of his career in 1927. This is due, in part, to the fact that many of his most accomplished works remain tucked away in private collections, and, in part, to the absence of any reliable literature on his life and work. Divine People, the first major written study of McEvoy's life and work, aims to return this long-neglected artist to the canon of twentieth-century British art.
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Stunning artwork and illustrated essays illuminate the modernist home and studio of artists Vanessa Bell and Duncan Grant. Accompanying an exhibition at Philip Mould & Company in London, this lavish catalog tells the story of Vanessa Bell and Duncan Grant's enduring attachment to their home at Charleston Farmhouse in East Sussex through the work of the artists produced between the two world wars. Members of the Bloomsbury Group, Bell and Grant's family home functioned as the collective's country retreat and became a venue for progressive social self-expression. Their fondness for their Charleston Farmhouse, its idyllic surroundings, and its constant flow of visitors can be witnessed through their art. Beginning with radical modern works influenced by European trends—from painted furniture to depictions of food preparation in the kitchen, from the barns to the pond, from people to the household cat—this catalog tells a story of more than thirty years of astonishing artistic output. Focusing on Vanessa and Duncan's most productive creative years, this volume illustrates how Charleston fed their artistic impulses and inspired a glorious canon of art.
295 kr
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Showcases the work of successful seventeenth-century British artist Mary Beale who ran her own studio practice. Accompanying a major exhibition at Philip Mould & Company, Fruit of Friendship: Portraits by Mary Beale presents the work of the remarkable seventeenth-century woman artist. Mary Beale (1633–1699) was Britain's first woman artist to run a successful studio practice. In an era when the arts in Britain were flourishing and portraitists were in high demand, Beale established a unique practice that set her apart from her competitors and brought her great acclaim. Friendship and family played a crucial role in Beale's success. She was the figurehead of her family and studio, while her husband dedicated himself to supporting the business, often preparing paints and canvasses. Beale's portraits, many of which are illustrated here for the first time, build a picture of a talented and multi-faceted woman—artist, writer, businesswoman, mother, and friend. The title of this publication and of the accompanying exhibition is drawn from Beale's own writings, and the materials presented span her entire career. Featuring essays by leading scholars, the book introduces a number of recently discovered portraits by Beale and showcases several important works that have never been publicly displayed before.
295 kr
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This beautiful book explores the art of Elizabethan and Jacobean portrait miniatures through the exceptional collection of Walter Samuel, 2nd Viscount BearstedPortrait miniatures, painted with exceptional detail on a small scale, capture the elegance and intrigue of the Elizabethan and Jacobean eras. England led this refined art form, particularly through the work of Nicholas Hilliard and Isaac Oliver. These exquisite portraits reflected the values and ambitions of their patrons, flourishing in a culture rich in symbolism, elaborate attire and hidden meanings. Versatile in function, they served both as intimate keepsakes – tucked into lockets or worn discreetly – and as bold displays of wealth and identity, often set into fine jewellery. For Hilliard, who was court limner to Elizabeth I and James VI & I, they also projected royal authority. Known for their technical mastery and symbolic depth, portrait miniatures have captivated collectors for generations. One notable collector, Walter Samuel, 2nd Viscount Bearsted, amassed a remarkable array of European art, including a rare group of early English miniatures. While most of his collection passed to the National Trust in 1948, this group of early English miniatures remained with the family and are now the centrepiece of this exhibition and catalogue.Exhibition schedulePhilip Mould & Company19th November to 19th December 2025