Paul Holberton Publishing Ltd – förlag

This beautifully illustrated and scholarly book presents the Frelinghuysen collection of Chinese and Japanese export porcelain. It is the first major publication to consider Chinese and Japanese blue and white together.This extraordinary collection, assembled carefully over fifty years, features an exceptionally wide array of Asian blue and white porcelain – that most ubiquitous and influential of all ceramics. Ranging from Chinese pieces specially made for Portuguese traders in the 16th century to late 19th century commissions for the Thai royal court, the collection also includes numerous Chinese classics from theera of the European trading companies and a notable selection of Japanese export porcelain. In its vast scope it speaks of the diverse impulses and historical forces that propelled the trade in Asian porcelain and provides a lens through which to view the interaction of East and West from the early modern age to the dawn of the 20th century.More than 300 pieces from the collection are illustrated and discussed in full and another 250 are illustrated in a compendium, all divided into thematic chapters that reflect the many ways Chinese and Japanese porcelain has been traded, collected and lived with around the world. Essays by William R. Sargent, former Curator of Asian Export Art at the Peabody Essex Museum, and noted armorial porcelain authorityAngela Howard, precede the thirteen chapters, which include Faith, Identity, For the Table, To European Design and Made in Japan. Great rarities are featured alongside small, amusing pieces and the many export porcelains made to elevate the practices of daily life.With its strict adherence to blue and white porcelain, the collection intensifies our focus on forms, patterns and designs, gathering together wares that are often considered only separately for study while also covering areas of little recent scholarship, such as the Thai market material. The specialized reader will find references to the latest research while the more general reader will appreciate a comprehensive overview of Asian export porcelain. There has not been a significant survey of either Chinese or Japanese blue and white since the 1990s, and they have never been considered together in a major publication.

Focusing on the British virtuoso Rex Whistler (1905–1944), who was linked to many of the most illustrious figures of the inter-war period, this book explores an exceptional case of artistic patronage in the twentieth century. In weaving together social and art history, this beautifully illustrated volume will be as much about the artist as it is about his patrons. It accompanies a major exhibition at the Salisbury Museum, which holds the Rex Whistler Archive. Whistler’s cast of patrons reads like the Who’s Who of his time: the art collector and poet Edward James, the avid diarist and socialite Sir Henry ‘Chips’ Channon, Lord and Lady Louis Mountbatten, Cecil Beaton, Duff and Diana Cooper, author and poet Lady Dorothy Wellesley and many others for whom Whistler worked on a diverse range of commissions, from murals, portraits and bookplates to architectural improvements and even book illustrations. The exchange with his patrons, the book argues, gave Whistler an opportunity to explore a rich variety of subjects, materials and techniques. The artworks discussed in the volume range from a recently re-discovered painting for Sir Malcolm Bullock, a substantial history painting unique in Whistler’s oeuvre, to the magnificent murals at Port Lympne and Trent Park designed for Sir Philip Sassoon, one of the greatest hosts of the age, to Plas Newydd, where Whistler created one of the largest private mural schemes in the inter-war period for the 6th Marquess and Marchioness of Anglesey. It culminates with Maud Russell’s mansion at Mottisfont, where in 1938–39 the artist was painting one of his fi nest works in trompe l’oeil as war loomed over Europe, the war in which Whistler gave his life for his country. Whistler’s commissioning circle were both diverse and privileged, with many embracing the sexual fluidity of the time, and the book deepens our understanding of how the elite were protected by their wealth and position from the strict societal mores of the 1920s and 30s. The artist understood the importance of creating beautiful private spaces for all his clients; but, for some, at a time when homosexuality was still illegal, he was painting murals in houses that were acknowledged havens where sexual preferences could be expressed without fear of discrimination. Dr Nikki Frater, an expert on Whistler’s work, draws on extensive archival research and newly available material to present a fresh interpretation of the relationship between the artist and his milieu. Frater’s behind-the-scenes approach illuminates Whistler’s creative methods and techniques and includes many previously unseen drawings and sketches. The book speaks not only of his patrons, but also paints a nuanced portrait of his oeuvre and the artist himself, as he tried to combine his challenging career with a complicated romantic life. This is a timely re-examination, given the recent controversy surrounding his mural at the Tate Gallery Restaurant, and offers an opportunity to understand fully Whistler’s place in and contribution to the arts and culture of his time.

This groundbreaking study interrogates a rich and diverse repertoire of images from all over the world to answer the fundamental question: How are the meanings of images conveyed, recognized and accepted?Combining art history, anthropology, philosophy and linguistics, this book expands the field of traditional iconography, which explains what images mean, by introducing new, useful categories that enable us to understand how images mean (meta-iconography). In his study of iconography from a century ago, Erwin Panofsky famously discussed what an “Australian bushman” might make of Leonardo’s Last Supper: though unaware of the religious story, the Aboriginal viewer would have known it was a picture of humans eating a meal together. Paul Taylor’s book argues that this gets the question the wrong way around. We know the painting depicts people at supper only if we know it represents a supper. It is through knowing the cultural context that we can interpret the contents of an image. Universal in scope and profoundly topical at a time when artificial intelligence is redefining our visual horizon, this book represents a resource for scholars in a variety of fields and a thought-provoking read for all those interested in art.Published by Paul Holberton Publishing

This ambitious new catalogue highlights the erotic and playful sculpture of Louise Bourgeois, Eva Hesse, and Alice Adams, foregrounding their shared commitment to using abstract form to ask important questions about fluid sexuality, bodies, and humour.In 1966, the groundbreaking exhibition Eccentric Abstraction, held at the Fischbach Gallery in New York, launched the careers of Bourgeois, Hesse, and Adams. It would profoundly shape the language and legacy of postwar American sculpture. This book returns us to that pivotal moment and, in bringing together these three important artists for the first time since 1966, explores the emergence of a new form of “abstract erotic” sculpture.  In this book, internationally recognised scholars of the three artists present new insights into their practice and its wider relevance to the art of the 1960s until now. By putting the work of Alice Adams in conversation with the work of established figures Bourgeois and Hesse, it aims to bring her work to the attention of a wider public.  Published by Paul Holberton Publishing  Exhibition Schedule:  The Courtauld Gallery, London(20 June–14 September 2025)

Madame Vuillard is a particular focus of the work produced during the initial decade of Édouard Vuillard’s (1868 - 1940) career, the 1890s, when Vuillard was a member of the Nabis and forging an artistic identity as part of the Parisian avant-garde. During this period Vuillard and his widowed mother shared a series of modest rented apartments in central Paris in which the artist sustained a works-on-paper and (from 1897) amateur photographic practice out of his ‘studio-bedroom’, whilst in the dining room Madame Vuillard ran the corsetry business employing a handful of seamstresses including Vuillard’s sister. In these apartments Vuillard and Madame Vuillard operated mutually supportive, parallel working practices, to the extent that Vuillard put his mother and the fabric of her atelier ‘in the picture’ whilst she posed for his pencil and camera or developed his photographs in the kitchen. Their Parisian co-habitation, and Vuillard’s portrayal of his mother across a range of pictorial media, lasted until Madame Vuillard’s death as an elderly woman in 1928. This mutuality of working and living practice will constitute one of the themes of this unique loan exhibition, drawn from UK and Parisian collections and featuring paintings, lithographs and other works on paper as well as photographs. It will also explore the diverse domestic roles and responsibilities of a petit-bourgeois widow at the turn of the century in works that portray Madame Vuillard as seamstress; resting after dinner; imparting maternal advice and care to her daughter; as a woman at her toilette; and as the apartment’s cook and cleaner. The exhibition will also foreground Vuillard’s practice as modernist artist by focusing on the maternal fi gure in relation to the specifi c formal properties of his work. These include, in the 1890s at least, the paintings’ diminutive size; their shallow, simplifi ed compositional structure worked over with dense webs or matt patches of pigment; and the omission of spaces between fi gures and things. It was the intimacy (sometimes serious or witty, often banal) of their maternal motifs, the intimate formal relation between fi gure and ground and the intimateviewing conditions these small works required of their viewers that caught the attention of Vuillard’s earliest critics, who in the 1890s fi rst labeled him an ‘intimiste’ artist. This exhibition and accompanying illustrated catalogue will locate Madame Vuillard as muse, as motif andas everyday practical support at the core of Vuillard’s developing Intimism; an artistic corpus spanning 40 years. The exhibition catalogue will feature an essay on Madame Vuillard’s role in her son’s practice by the exhibition’s curator, Dr Francesca Berry, and an essay on Vuillard and photography by Mathias Chivot of the Archives Vuillard-Archives Roussel, Paris.

In London in 1770 Georg Christoph Lichtenberg (1742–1799) remarked, ‘What a work could be written on Shakespeare, Hogarth and Garrick! There is something similar in the genius of all three.’ Two-and-a-half centuries on, Robin Simon’s highly original and illuminating book takes up the challenge.William Hogarth (1697–1764) and David Garrick (1717–1779) closely associated themselves with Shakespeare, embodying a relationship between plays, painting and performance that had been understood since Antiquity and which shaped the rules for history painting drawn up by the Académie royale in Paris in the seventeenth century.History painting was considered the highest form of art: a picture illustrating a moment drawn from just a few lines in a revered text. Hogarth’s David Garrick as Richard III (1745) transformed those ideas because, although it looked like a history painting, it was also a portrait of an actor in performance. With it, Hogarth established the genre of theatrical portraiture, a new and distinctively British kind ofhistory painting.This book offers a fresh examination of theatrical portraits through close analysis of the pictures and of the texts used in performance. It also examines the central role of the theatre in British culture, while highlighting the significance of Shakespeare, Hogarth and Garrick in the European Enlightenment and the rise of Romanticism. In this context another trio of genius features prominently: Lichtenberg, GottholdEphraim Lessing and Denis Diderot.Familiar paintings and performances are seen in an entirely new light, while unfamiliar pictures are also introduced, including major paintings and drawings that have never been published.The final chapter shows that the inter-relationship between plays, painting and performance survived into the age of cinema, revealing the pictorial sources of Laurence Olivier’s legendary film Richard III.

This bold catalogue brings together the work of two cultural icons for the very firsttime: Beryl Cook (1926–2008) and Tom of Finland (1920–1991). It was inspired by the2024 exhibition Beryl Cook / Tom of Finland at Studio Voltaire in London.Beryl Cook was a painter renowned for her exuberant style and descriptions of everydaylife. Her work captures the social milieu of the areas she lived in and visited, notablyPlymouth. Her most enduring images are of larger-than-life women carousing innightclubs, eating in cafés or enjoying ribald hen parties, rendered in graphic andcolourful forms. Cook’s work came to prominence in the mid-1970s and she quicklybecame known as one of Britain’s best-loved artists, highly recognised for her distinctiveworks, which are both celebratory and provocative.Tom of Finland’s pioneering depictions of homosexual machismo in his images ofbikers, soldiers, cowboys, sailors and labourers broadly represent queer, leather andmuscle communities. A master draughtsman, he used his works to give form to animaginative universe that, in turn, helped fuel real-world liberation movements and hadsignificant influence on a wide range of cultural figures including the Village People,Freddie Mercury, Jean Paul Gaultier and Robert Mapplethorpe.Beryl Cook / Tom of Finland puts their work into conversation for the first time. Thepairing is perhaps unexpected, yet immediate and compelling relationships betweentheir practices are evident. Fundamentally, both artists employed a sustained andcoherent way of hyper-realising the body in images that celebrate pleasure and denyshame. Together, their works reveal interconnected ideas surrounding sexuality, gender,taste and class.Artist and writer Huw Lemmey has contributed an incisive new essay exploringthe queer contexts inherent to Tom of Finland’s work, but that also finds latentresonance in Cook’s paintings of gay bars and shapely women. He further considersthe commercial forms of distribution that made their complex bodies of works highlyaccessible.Spanning five decades of paintings, drawings and archival materials, this companioncatalogue contributes to new readings of the artists’ practices and their enduring impacton popular culture.

This catalogue charts the evolution of the radical and distinctive style of French artist Georges Seurat through the recurring motif of the seaSeurat and the Sea is a scholarly and visually rich catalogue accompanying a landmark exhibition at The Courtauld, London, the first exhibition devoted to Seurat’s seascapes. Georges Seurat (1859–1891), known for pioneering the Neo-Impressionist technique of using small dots of pure colour, developed a luminous and atmospheric style that evolved notably through his repeated engagement with maritime themes.The book brings together paintings, oil sketches, and drawings produced during five summers spent on France’s northern coast between 1885 and 1890, in towns such as Honfleur, Port-en-Bessin, and Gravelines. These works, featuring seascapes, regattas, and harbour scenes, contrast with Seurat’s better-known Parisian imagery and reflect his desire to escape studio confines and depict the clarity of natural light.The catalogue highlights how these works deepened Seurat’s exploration of colour and form and played a vital role in expanding his influence. Drawn from global collections, the works reaffirm Seurat’s lasting artistic significance.Exhibition Schedule:The Courtauld Gallery, London(13 February–17 May 2026)Published by Paul Holberton Publishing/Distributed by Yale University Press

In this celebration of collecting, in 34 essays, renowned curators and art historians discuss the acquisition of works of art, medieval to modern, by museums in Europe and the United States – acquisitions that have made a difference, crucial acquisitions from a more distant but also the recent past. There was a time when museums might have been regarded as rather forbidding and austere centers of learning, but today they are more likely to position themselves firmly within the tourism and leisure industry with all manner of food, fun and family entertainment on offer. A high-profile museum brand often relies on a fast-changing menu of temporary exhibitions with an attractive program of activities, cleverly marketed to ever-growing numbers of visitors. Many of these changes have been positive and beneficial but they have not been without risk to the central purpose of museums as repositories for collections that are looked after, researched and displayed with knowledge and sensitivity. The permanent collection should be the heart and soul of any museum. Nurtured and developed with intelligence, a collection can be an endless source of surprise and delight as well as a focus of local and national pride. The museum in this view is a setting for sustained encounters with objects and works of art, somewhere to be visited and revisited over the course of a lifetime, a place that helps to bind communities, with collections that are cared for and shared as a reminder of the past and a source of inspiration for the present. The process of acquiring works for public collections is rarely easy in any setting. In the face of escalating prices on the art market and diminishing public funds it is all too easy for complacency and apathy to settle upon the museum community. But the task of building collections of national or local importance is never finished. It should not be about casual ‘shopping’ or satisfying the whims of museum directors or sponsors. It is about building a heritage that is richer, more complete and more relevant for future generations; with every successful acquisition, a museum’s collection gains in strength and character. The volume is dedicated to Peter Hecht, the great champion of public art collections, who throughout his career has worked to show us why museums matter and how their collections, large or small, national or local, can make a profound difference to the lives of those who use them. We hope that it will bring people the world over to realize the importance of collecting for the public, locally, nationally and internationally, and to acknowledge and encourage the role of private individuals, associations and institutions, as well as public bodies, in this vital endeavor.

Unveiling the treasures of the Schroder Collection, one of the finest collections of Renaissance silver, paintings, works on paper, bronzes, maiolica and gems in private handsThe highlights of this lavishly illustrated catalogue include magnificent Renaissance goldsmith work; paintings by artists such as Lucas Cranach the Elder, Hans Holbein the Elder and Hans Burgkmair, and masterpieces of Italian maiolica and bronze sculpture by masters including Giambologna. Acquired by the Schroder banking family mainly between the second half of the nineteenth and the early twentieth century, several of these masterpieces have never been seen by the public and have remained unpublished until now. This diverse group of objects, made of both familiar and exotic materials and spanning a wide range of styles, subjects and techniques, embodies the characteristics of the Renaissance and its global nature. Jerry Brotton’s innovative and thought-provoking overview of the period reveals the crosscultural fertilization of materials, ideas and motifs both across Europe (especially from north to south) and the East, including first Byzantine then Ottoman dominions, as well as the Far East. This sets the scene for a survey of sixteenth-century art forms, including luxury goldsmith work, German prints and books, Northern Renaissance painting, Italian bronze and maiolica, and antique engraved gems and cameos. Each section is introduced by a leading expert in the field and includes in-depth essays on selected highlights from the collection. The publication celebrates the launch of the new Renaissance Gallery in the Holburne Museum in Bath, which draws inspiration from the grand treasury displays of the past and makes the collection accessible to a wider audience.Published by Paul Holberton PublishingExhibition Schedule:The Holburne Museum(June 2025)

Self-taught and influential in the advocacy of photography as an art form, Mayne was passionate about representing human life as he found it – most famously, in his street images of low-income communities in West London. Capturing children at play and the emerging phenomenon of the ‘swaggering teenager’, Mayne discovered in the young a defining energy that perfectly embodied both the scars and the vitality of post-war Britain.The exhibition of more than sixty photographs brings together a selection of Mayne’s iconic London scenes with later, almost entirely unknown intimate portraitsof his own family in rural Dorset. While these two strands have a different tenor, they share Mayne’s radical empathy and his evident desire to create images with lasting impact, sensitivity and artistic integrity. With those pictured from the 1950s now in their senior years and a new generation of young people faced with myriad crises, Mayne’s images of childhood, adolescence and family feel especially poignant and timely.The catalogue is richly illustrated and includes an original essay by Jane Alison and an interview with Mayne’s daughter, Katkin Tremayne.

Accompanying a major exhibition at the Courtauld Gallery that focuses upon one of Chaim Soutine’s most important series of portraits – of cooks, waiters and bellboys – this is the first time that this outstanding group of masterpieces has ever been brought together. Chaim Soutine (1893–1943) produced some of the most powerful and expressive portraits of modern times. His ability to capture in paint the character, humanity and emotion of his sitters is the hallmark of Soutine’s greatest work. The major exhibition at the Courtauld Gallery, London, focuses upon one of his most important series of portraits; his paintings of cooks, waiters and bellboys who sat for him in Paris and the South of France during the 1920s. These works helped to establish Soutine’s reputation as a major avant-garde painter, seen by many as the twentieth century heir to van Gogh. This will be the first time that this outstanding group of masterpieces has ever been brought together and it will be the first exhibition of Soutine’s work in London for over thirty years. Soutine arrived in Paris as an émigré from Russia in 1913 and began a precarious existence as a penniless artist in Montparnasse living among fellow painters, such as Marc Chagall and Amedeo Modigliani. As part of this avant-garde coterie of artists, Soutine developed a highly original style that combined an expressive handling of paint with deep reverence for the Old Masters that he studied in the Louvre. His portraits often appear both timeless and vividly modern. These qualities are exemplified by the series of paintings of cooks, waiters and bellhops that he produced during the 1920s. These lowly and often-overlooked figures from Paris’s fashionable hotels and restaurants, including the famous Maxim’s, appealed to Soutine’s sense that profound emotion and a deep sense of humanity could be found in such humble sitters. The contrast between their working uniforms and the individuality of their faces adds to the emotional charge of these extraordinary portraits. Soutine strived to achieve the most powerful effects of color from the bold whites, reds and blues of their different uniforms. When he started the series, Soutine was living in near-poverty as a struggling artist. These portraits helped to lift him out of these desperate circumstances as they were soon admired by friends and become prized by collectors. Today, they are considered among his greatest achievements. This publication will bring together the most comprehensive group of these portraits. It will be a unique opportunity to experience the power and profound emotion of Soutine’s art.

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

This book sheds new light on one of the most important artworks of the early Italian Renaissance, Ambrogio Lorenzetti’s fresco cycle of Good and Bad Government in the Palazzo Pubblico in Siena. By connecting the images with the Hymn to Justice inscribed on the walls and highlighting Ambrogio’s ingenuity and personal approach to the subject the volume presents a fresh reading of its rich artistic message. In 1338 Ambrogio Lorenzetti painted three huge frescoes, known today as Good and Bad Government, on the walls of the Sala dei Nove, the Room of the Nine, in the Palazzo Pubblico in Siena, where the city’s nine executive magistrates presided over the destiny of this famous commune. The frescoes were meant to be strong visual reminders of the Nove’s duties and an admonishment of the nefarious effects of bad government. Boasting the largest artist’s signature of all time, the frescoes are testament to the extremely high esteem in which Ambrogio’s art was held by his fellow citizens. Nowadays Good and Bad Government has become one of the most widely reproduced works of the early Renaissance and is recognized for its many innovations, including the first European panorama of a cityscape and countryside. But what sort of visual journey was Ambrogio asking the Nove to make through this expanse? In pursuit of an elusive answer, the murals have become one of art’s great puzzles, challenging scholars and public alike. Scant attention, however, has been paid to the images themselves. They have been studied merely as symbols and allegories of abstract political concepts in which good and bad government are starkly juxtaposed. Despite his enormous signature, Ambrogio has been treated more as a servile illustrator than a creative artist, disregarding his highly personal approach to painting and the way his visual ingenuity, from composition to brushwork, shaped a far more complex and fascinating message. This book attempts finally to illuminate Ambrogio’s pictorial strategy by reading it in light of the Hymn to Justice inscribed upon the walls. The frescoes enrich the poet’s message, subtly changing and even subverting it. Instead of a pictorial lecture straightforwardly contrasting a utopia with a dystopia, Ambrogio blurs the binaries and invites the viewer to look beneath the idyllic surface of Sienese civic life.

The distinguished private collection, known as the Griffin Collection, comprises in its entirety examples of every category of ring – signet, devotional, memorial, decorative – dating from antiquity to modern times. This catalogue focuses on about one hundred special rings, chosen as highlights of this extensive collection with the aim to offer the reader a real history of the art of the ring across the ages.Covering as they do so many facets of civilization, rings tell us more about the hopes, aspirations, taste and sentiments of our ancestors than any other jewels surviving from the past. Moreover, the examples from the Griffin Collection, which have been assembled with taste and discernment over several decades, are not only rare but also of unusually high quality and intrinsic value. As well as being aesthetically attractive, these rings offer us a glimpse into the lives of their owners, as becomes evident in the vivid account offered by Diana Scarisbrick, one of the world’s leading jewellery historians.The collection illustrates the many uses of rings—as seals needed for business, in expressing religious belief, political loyalties and personal interests such as theatre going, hunting, classical art and astrology. Some demonstrate high rank and commemorate great historical occasions; others dating from the Middle Ages to Victorian England mark the major events of human existence – love, marriage and death – with rings bearing symbols and inscriptions. Often connected with historical figures, monarchs, notably Charles II and William IV or Isabella Zápolya, Queen of Hungary, but also with popes or artists, such as the Romantic poet Lord Byron. Each ring reveals personal information about the people who wore them and the societies in which they lived. An unusually high proportion of the rings have distinguished later provenance, coming from celebrated collectors: George Spencer 4th Duke of Marlborough, Constantine Ionides, Ernest Guilhou, Ralph Harari and Maurice de Rothschild.

Adam Elsheimer is first recorded in 1600 and by 1610 he was dead. But, rather like Giorgione, who had died young in Venice 100 years earlier, Elsheimer was influential on the coming century to a degree out of all proportion to his brief career and small oeuvre. He developed a wonderful mastery of light, a dramatic chiaroscuro that gave new depth to his subject-matter, and a rather less definable poetic feeling that gives a very special savor to all his painting. “What is remarkable about this volume is the number of quality reproductions of the artist's work that can be seen together for the first time. This collection of paintings demonstrates more comprehensively than ever before Elsheimer's extraordinary intuition for light and atmosphere” (Antiques Magazine).

Introduces an unpublished and unfinished painting by Jusepe de Ribera depicting a half-length Apostle holding a staffThis handsome book is devoted to the scholarly study of an unpublished and unfinished painting by Jusepe de Ribera depicting a half-length Apostle holding a staff, datable to the artist’s mature Neapolitan period, around 1630. The work, preserved in a private collection and previously unknown to scholarship, is here presented and examined for the first time through a combination of stylistic, iconographic, historical and technical analysis. The book brings together contributions by leading specialists in Ribera studies, including an introduction by Nicola Spinosa and an extensive iconographic enquiry by Francisco Camacho Herrera, as well as visual comparison and documentary evidence and a detailed technical analysis.By presenting a rigorously documented case study of an unpublished work, this volume contributes significantly to ongoing debates surrounding Ribera’s artistic development, workshop organization, and the boundaries between finished and unfinished painting. It offers scholars a new point of reference within Ribera’s oeuvre and a broader reflection on naturalism, seriality, and artistic identity in seventeenth-century Neapolitan painting.

Cornelius Johnson (1593–1661) was a sympathetic and expressive painter, and it is surprising that he has not previously been the subject of a focused study. The quality and diversity of this currently little-known artist’s work will be a revelation. He worked on every scale – from the miniature to the full-length and big group portrait. His works, while always recognizably by him, reveal his exceptional flexibility and underline his response to successive influences. Johnson’s career coincided with one of the most dramatically and politically intense periods of British and Dutch history, as this book will explore, and he portrayed some of the most important figures of the era. In 1632 he was appointed as “his Majesty’s servant in the quality of Picture drawer” by Charles I. His royal portraits include Charles I as well as exquisite small images of Charles II and James II as children, and he collaborated with Gerard Houckgeest on a portrait of Charles I’s wife, Queen Henrietta Maria. Johnson's work is particularly appreciated by historians of dress, because he tends not only to depict clothing in greater detail but also to date his portraits – making it possible to trace developments of fashion accurately. Works by this prolific artist are found in almost every British museum and country-house collection and in many public collections in North America, Australia and New Zealand, and The Netherlands. Research for this book has uncovered much new information about his life in the Netherlands, to which he migrated at the age of 50 and where he continued to work successfully for the rest of his life, in Middelburg, Amsterdam and finally in Utrecht, where he died a wealthy man.

Tibetan Manuscripts spaning the thirteenth to the nineteenth centuries and includes a set of 42 painted tsakalis, or ritual cards. Accompanying an exhibition held at Sam Fogg Ltd., London, in 2001.

Stained glass was unknown in antiquity. Invented around AD 1000, it soon achieved a dominant position in the arts of the Middle Ages, not only in churches but also in secular contexts. Its innovation can be compared with that of television - and like television it involves passing light through a transparent layer, using the light of sun instead of light generated by electricity, so that in a real sense the stained glass image is in constant motion, as the light passing through it changes.Stained glass was linked to all the graphic arts and the most skilled artisans made the drawings for the glassmaker. Even single heads can be masterpieces of draughtsmanship. This book presents a brilliant selection of stained glass now detached from its original location, featuring work related to some of the finest masters of the late Middle Ages, such as the Housebook Master or Domenico Ghirlandaio. All works are fully documented and their provenance traced where possible in an illustrated appendix.

John Carr of York (1723 – 1807) was one of the most prolific and significant architects of the eighteenth century, with an output of over 400 designs, most of which were executed. His designs vary from simple gateways through to the grandest schemes, such as that for the palatial hospital at Oporto in Portugal, Harewood House and village in Yorkshire, and Basildon Park in Berkshire.

As a result of generous loans of over one hundred outstanding works of art, the Courtauld Gallery has been able to extend its collection further into the twentieth century. In 2002, for the first time the Gallery was able to show historically coherent groups of works representing key developments in the art history of the early 20th century. This is the catalogue to the new display, which includes important paintings by Derain, Matisse, Gaugin, Vlamnicks, Van Gogh, Cézanne, Kandinsky, Münter and Jawlensky, and sculptures by Degas, Rodin, Matisse, Renoir, Moore and Hepworth.

Dominique Paini was chief curator of the Cocteau exhibition at the Centre Pompidou. This English edition makes available to English readers its important essays by seventeen French authors, including several who knew Cocteau personally.

Jean Helion (1904–1987) is a fascinating artist from many points of view. An architectural draftsman soon converted to abstract painting, he became a leading member of the international Abstraction-Creation group in the early 1930's. After the death of his close friend Theo van Doesburg, he took abstraction to New York, where he lived on and off from 1932 to 1946, and to Britain, especially in the years 1933–37 when many avant-garde artists took refuge there.

When Oskar Reinhart (1885–1965) bequeathed a significant part of his remarkable art collection – chiefly French 19th-century painting but also a number of outstanding Old Masters – to Switzerland, he did so on condition that the works of art would never be loaned. This volume, with full entries on the entire collection of 207 works by 45 leading international scholars and superb plates, makes these works available to the world. Artists represented by several works in the collection that Reinhart made his monument include: Cezanne (11), Chardin (4), Corot (9), Courbet (10), Daumier (20), Delacroix (9), Gericault (2), Van Gogh (5), Maillol (8), Manet (4), Picasso (4), Pissarro (2), Renoir (15), and Sisley (2). A well illustrated introduction explains the ideas and context behind Reinhart's collecting and affords insights into his character. Mariantonia Reinhard-Felice is curator of the Oskar Reinhart Collection "Am Romerholz," Winterthur.

There can be few examples of more intensive fashioning and self-fashioning of a Renaissance figure than that of Prince Henry (1594-1612). This collection of essays re-examines the extraordinary artistic and cultural response to Prince Henry and presents many new findings in the context of recent scholarship. The investment of great hope in Prince Henry, and the extreme importance attached to the creation of a fitting image for him extending even to its posthumous development, indicate that early modern society regarded its leaders very differently than we do now. Essays illuminate the cultural program to which Prince Henry was subjected, an impossibly demanding role requiring such strenuous efforts that he became exhausted, took ill, and died young. His younger brother who survived him went on to become Charles I of England.Timothy Wilks is a member of the Faculty of Arts and Media, Southampton Solent University. Other contributors include Malcolm R. Smuts, Aysha Pollnitz, Michelle O'Callaghan, John A. Buchtel, Gilles Bertheau, Alexander Marr, Gail C. Weigl, Greogory McNamara, Elizabeth Goldring, Michael Ullyot, and David Trim.

This catalogue accompanied an exhibition at the Groeninge Museum, Bruges, which celebrated one of the greatest European artists of the late fourteenth century, André Beauneveu, apparently born in Valenciennes c. 1335. Active throughout the Southern Netherlands, his reputation grew swiftly and in 1364 he was commissioned by the King of France, Charles V, to create a group of royal tombs at St Denis. In the 1370s he oversaw another ambitious funerary project, for Louis de Mâle, Count of Flanders, at Courtrai, whilst continuing to undertake major civic commissions at Ypres, Mechelen and his home town of Valenciennes. Beauneveu spent the last years of his career in Bourges working for the most celebrated royal patron of all, Jean, Duc de Berry.The extraordinary scope of Beauneveu's talent was fully exploited by Jean de Berry, for whom he produced manuscript illuminations, made designs for stained glass and oversaw the construction of his château at Mehun-sur-Yevre. However, it is primarily his unrivalled skill in the handling of stone which gives Beauneveu such significance, not only in the context of Northern sculpture but also for the arts of Europe as a whole.The known sculptural oeuvre of Beauneveu, however, is not substantial. The reappearance of the Virgin and Child once in the collection of Eduoard Aynard at the Abbey of Fontenay and its new attribution to this sculptor "who had no better nor equal in any land" dramatically increases our knowledge of his work and must entail a rethink of many histories of French and Flemish art in the fourteenth century, for we now have not two but three life-sized figures from which our view of his style and achievements can be formed.

The best known of the Official War Artists sent to France, Orpen was the only one to publish an extensive memoir of his experiences and observations. He was a talented writer, and his accounts of the last two years of the Great War and the Peace Conference that followed it are vivid, lucid and shrewd. This compelling book was first published in 1921.

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.