Revolutionary artist Mary Rogers Williams (1857−1907), baker’s daughter from Hartford, Connecticut, biked and hiked from the Arctic Circle to Naples, exhibited from Paris to Indianapolis, trained at the Art Students League, chafed against art world rules that favored men, wrote thousands of pages about her travels and work, taught at Smith College for nearly two decades, but sadly ended up almost totally obscure. In 2012, her confessional letters and hundreds of her paintings and sketches turned up in storage at a Connecticut family’s home. Her first biography reveals her as feisty, funny, self-deprecating, caustically critical of mainstream art, and observant of everything from soldiers’ epaulettes to colorful produce layered on delivery trucks. She was determined to paint portraits and landscapes in her distinctive style. The book reproduces her unpublished artworks.

This lavishly illustrated book celebrates one of the most comprehensive and meticulously assembled private collections of Chinese export porcelain from the late Ming dynasty (1368-1644) made at Jingdezhen in Jiangxi province. The Lurie Collection, comprising about 170 porcelain pieces, contains examples that are exceptional not only for their aesthetic beauty and quality but also for their rarity or historical importance. This book makes a significant contribution to several fields of study, most notably those related to the production, design and trade of Jingdezhen export porcelain in the late 16th and early 17th centuries. An introduction places the diverse porcelains of the Lurie Collection in their historical context. It offers new insight into the European expansion to Asia in the late 16th and early 17th centuries, via both the Atlantic and Pacific oceans, which ultimately led to an unprecedented large-scale trade, transport and consumption of various types of Jingdezhen export porcelain throughout the world until the collapse of the Ming dynasty in 1644. The core of the book is the catalogue section, which is composed of 127 entries with comprehensive discussions and images of a selection of the Lurie porcelains. Whenever possible they are accompanied by images of excavated shards that originally formed part of similar porcelain pieces, establishing direct links to the Jingdezhen kilns where such pieces were produced. Multiple sources of evidence (textual, material and visual) shed light on the trading networks through which these Jingdezhen porcelains circulated, as well as the way in which they were acquired, used and appreciated by the different societies in Europe, the New World, Asia and the Middle East. Highlights include six kraak plates made during the Wanli reign (1573–1620) with the egret mark, which is found on a small number of pieces usually of very high quality, and the only known kraak armorial specifically ordered for the Spanish market in the 16th century. This finely potted plate, also dating to the Wanli reign, bears the impaled arms of García Hurtado de Mendoza, 4th Marquis of Cañete, and his wife, Teresa de Castro y de la Cueva. It was most probably ordered via Manila during the time Hurtado de Mendoza was Viceroy of Peru, between 1589 and 1596. This plate, together with a kraak plate bearing a pseudo-armorial, and a few pieces decorated in the so-called Transitional style and one other recovered from the Hatcher Junk (c.1643) made after European shapes, attest to the influence that the European merchants exerted on the porcelain production at Jingdezhen at the time.

Ambrose McEvoy was one of the most modern and daring English society portrait painters of the early 20th century. His quick, confident style of painting drew the attention of many leading society figures, from Winston Churchill to Lady Diana Cooper, and in particular subjects who craved something beyond a simple ‘likeness’ in paint. Despite his success, when McEvoy died unexpectedly at the peak of his career in 1927, his name was soon forgotten. Divine People is the first major written study of McEvoy’s life and work and aims to firmly place this long-neglected artist back into the canon of 20th-century British art. Ambrose McEvoy (1877–1927) was a household name by 1915, with prominent socialites and debutantes vying for sittings in his Grosvenor Road studio. His patrons – typically young, well-known beauties – were dazzled not only by his remarkable ability to capture their character, but also his working methods, which one spectator described as an ‘awe-inspiring sight’. McEvoy would illuminate his subject using electric lights, switching between different coloured bulbs until he reached the level and colour of light he desired. This ‘Hollywood’ look, with his glamourous subjects lit from below as if caught mid-speech on stage, is what he soon became best known for.McEvoy had studied at the Slade School of Fine Art on the recommendation of James Abbott McNeill Whistler, and soon after established himself as a talented painter of portraits and interior scenes. He exhibited his first work at the New English Art Club in 1901 and subsequently attracted the attention of wealthy patrons and collectors. His first major commission came in 1906, for two large religious pictures for the Long Tower Church in Londonderry, where they remain to this day. After a period spent in Dieppe with Walter Sickert in 1909 McEvoy’s style began to change and his handling became looser and more confident with bolder use of colour.In 1915 he firmly established his position as a portrait painter following the exhibition of his work Madame at the National Portrait Society. ‘[Madame] holds you spellbound from the moment you enter the gallery,’ wrote one critic. Two of his earliest admirers were Consuelo, Duchess of Marlborough and Lady Diana Cooper, who sat for their portraits in 1917 and 1918 respectively. In the early 1920s McEvoy also made several trips to New York, where the famous art dealer and tastemaker Joseph Duveen was busy promoting his work. It was during these years he painted some of his best-known works including remarkable watercolours of ‘wild-child’ Lois Sturt and a portrait of James Ramsay MacDonald. In 1927, at the very peak of his career, McEvoy was tragically struck down with pneumonia and died on 4 January. Many of McEvoy’s friends and contemporaries including Augustus and Gwen John, William Rothenstein and William Orpen have become familiar names to British art enthusiasts, but McEvoy has remained on the side-lines. This is partly due to the fact that many of his most accomplished works have remained tucked away in private collections or left languishing in museum stores, however, it is also due to the absence of any reliable literature on his life and work. This publication hopes to restore him to his rightful place.Written in the early 1970s by Erik Akers-Douglas, 3rd Viscount Chilston (1910–1986), the original manuscript – of which only one copy was produced – was lost soon after it was submitted to a publisher in 1975. After several years of legal wrangling, Chilston decided to type a second copy and it was resubmitted to his agent. Chilston died the following month and the manuscript was never published. It was recently rediscovered by Philip Mould& Company and edited by Lawrence Hendra.

George Stubbs: ‘all done from Nature’ presents the first significant overview of Stubbs’s work in Britain for more than 30 years and brings together 80 paintings, drawings and publications from the National Gallery’s Whistlejacket to pieces never previously seen in public. Stubbs produced exceptional images of animals and people throughout his career. These were a product of his keen scientific eye and uncommon sense of compassion. Rather than trust to history and the untested example of his precursors, he championed doing as a way of thinking and deployed picture-making in pursuit of reality. On the title page of The Anatomy of the Horse, his groundbreaking publication that rewrote our understanding of equine biology, Stubbs confirmed that everything that followed was ‘all done from Nature’ – meaning that it all derived from his own painstaking analysis of the subject in front of him. George Stubbs: ‘all done from Nature’ accompanies the major exhibition at MK Gallery in Milton Keynes and the Mauritshuis in The Hague and includes new writing on the artist by Nicholas Clee, Martin Myrone, Martin Postle, Roger Robinson, Jenny Uglow and Alison E. Wright.

Accompanying an exhibition at the Barber Institute of Fine Arts - only the second exhibition ever devoted to the artist - this noteworthy publication considers De Beer’s work and career, working methods, and traces the history of De Beer’s paintings in British collections. The Antwerp painter Jan de Beer (c.1475-1527/28) was highly esteemed in his lifetime and still famous a couple of generations after his death, but then fell into oblivion until the early twentieth century. Only recently have his achievements been fully recognized and documented. The artist’s known oeuvre consists of forty works, mainly devotional paintings and triptychs but also a dozen drawings and a stained glass window, after a lost design. De Beer’s stylish and elegant art appealed to patrons and collectors, churches abroad, and copyists. His work is typically associated with that of the Antwerp Mannerists, a prominent group of mostly anonymous painters active in the city during his lifetime. This publication will accompany an exhibition at the Barber Institute of Fine Arts, University of Birmingham (25 October 2019 to 19 January 2020) that focuses on one of its and De Beer’s acknowledged masterpieces: the double-sided Joseph and the Suitors/ The Nativity. This is the only surviving fragment from what must have been a major altarpiece. It will be accompanied by a half-dozen key loans of paintings and drawings by De Beer and his workshop including all the attributed paintings in UK collections. These will provide both an instructive context for the Barber painting and for De Beer’s art more generally, with the whole chronological range of his career represented. It will be only the second ever exhibition devoted to De Beer, and the first to show the broad range of his work. The fully-illustrated catalogue will feature extended entries for all the exhibited works and three essays exploring the core themes of the show, written by Robert Wenley, Head of Collections at the Barber Institute and the lead curator of the exhibition, and two leading De Beer specialists. Professor Dan Ewing (Barry University, Miami Shores, Florida) will consider De Beer’s work and career; while Peter van den Brink (Director, Suermondt-Aachen Museum) will explore De Beer’s working methods, in particular as revealed by the underdrawings of his pictures. Robert Wenley’s essay will survey the history of De Beer’s paintings in British collections.

A stunning collection, accumulated over many years, of paintings, drawings and calligraphy of the highest quality mostly created for albums from the Safavid, Uzbek, Ottoman and Mughal Empires from the 16th to early 19th century. Lavishly illustrated, this unusually exquisite and scholarly book is a noteworthy addition to its field. This publication presents a collection of over sixty paintings, drawings and calligraphic specimens mostly made in the Safavid, Uzbek, Ottoman and Mughal Empires in the period from the 16th through the early 19th century for inclusion in albums (muraqqa‘). The compilation of these albums, involving the collection and ordering of the works to be included as well as the design and execution of decorative borders, was an art form in itself and amounted to a broader cultural phenomenon that has increasingly become the focus of scholarly attention. This was the age of the master artist, whose work was eagerly sought by collectors, imitated by admirers and forgers, taken as loot by invaders, and exchanged as gifts that had value across political borders. The international currency of a master artist’s work is particularly apparent in the case of the calligrapher Mir ‘Ali of Herat (d. 1544), whose calligraphies were almost obsessively sought out by the Mughal rulers of India and provided a model for subsequent generations of calligraphers in India and Iran. In Iran, Shah ‘Abbas’ new capital of Isfahan was the breeding ground for a generation of artists specialized in single-page calligraphic compositions, paintings and drawings, often working in distinctive styles. These included calligraphers such as Mir ‘Imad al-Hasani and ‘Ali Riza ‘Abbasi, and painters like Riza ‘Abbasi, Muhammad Qasim and, later, Mu’in Musavvir. The processes of collection and compilation were complex, as albums were gifted and reassembled to suit the tastes and outlook of new owners. An eloquent example of this ongoing evolution is the famous St. Petersburg Album. Compiled and given decorative borders in Iran in the mid-18th century, the album contains a number of Mughal and Deccani paintings and drawings presumed to have been taken to Iran as plunder by Nadir Shah following the invasion of India in 1739. The end of this tradition is marked in the publication by a number of works from Mughal-style albums of calligraphy and painting acquired by officers and administrators of the British East India Company such as Warren Hastings and William Fraser.

Accompanying an exhibition of drawings by Guercino from the collection of the Morgan Library & Museum, Guercino: Virtuoso Draftsman offers an overview of the artist’s graphic work, ranging from his early genre studies and caricatures, to the dense and dynamic preparatory studies for his paintings, and on to highly finished chalk drawings and landscapes that were ends in themselves. Giovanni Francesco Barbieri, known as Guercino (1591-1666), was arguably the most interesting and diverse draftsman of the Italian Baroque era, a natural virtuoso who created brilliant drawings in a broad range of media. The Morgan owns more than twenty-five works by the artist, and these are the subject of a focused exhibition, supplemented by a handful of loans from public and private New York collections, to be held at the Morgan in the autumn of 2019. This volume accompanies that exhibition. It includes an introductory essay on Guercino’s work as a draftsman followed by entries on the Guercino drawings in the Morgan’s collection. These include sheets from all moments of the artist’s career. His early awareness of the work of the Carracci in Bologna is documented by figures drawn from everyday life as well as brilliant caricatures; two drawings for Guercino’s own drawing manual are further testament to his interest in questions of academic practice. Following his career, a range of preparatory drawings includes studies made in connection with his earliest altarpieces as well as his mature masterpieces, including multiple studies for several projects, allowing the visitor to see Guercino’s mind at work as he reconsidered his ideas. The Morgan’s holdings also include studies for engravings as well as highly finished landscape and figure drawings that were independent works. Guercino: Virtuoso Draftsman continues a series of exhibition catalogues focused on highlights from the Morgan’s collection. Previous volumes include Power and Grace: Drawings by Rubens, Van Dyck, and Jordaens and Thomas Gainsborough: Experiments in Drawing, also published by Paul Holberton. While some of the Morgan’s Guercino drawings are well known, they have never been exhibited or published as a group, and the selection includes a number of new acquisitions.

Recently discovered documents show that Giambologna, the great sculptor at the court of the Medici whose bronzes delighted all Europe, made six large garden sculptures for King Henri IV of France, otherwise unknown. This book describes the garden project and discusses three bronzes identified as from the project, in particular a hitherto unknown Venus. Ferdinando I de’ Medici, Grand Duke of Florence, built up his relationship with the French crown with numerous diplomatic gifts, including the creation of new gardens at St-German-en-Laye laid out for the King of France by the engineer and designer Tommaso Francini, who had designed and built Ferdinando’s own Pratolino gardens, and sculptures by Giambologna that would adorn them. This was in the years 1597–1600, and preparatory to the marriage of his daughter Maria to Henri IV in 1600 in the most spectacular wedding celebrations ever seen in Europe. Blanca Troyols describes the nature of Henri IV’s beauitiful gardens – in the latest Mannerist style, using a host of materials (stone, shell, crystal) and rare plants, the extravagant water features in which Francini was a specialist, and an array of statuary. She places this important garden in context and also discusses the diplomatic manoeuvring between the respectively larger and poorer and smaller and richer states of France and Tuscany. Alexander Rudigier examines the surviving works by Giambologna associated with the gardens, including a hitherto unknown Venus in a private collection that has been the object of some controversy. He compares this to the Mercury in the Louvre and the Triton in the Metropolitan Museum in New York also originally for the gardens, as well as with Giambologna’s work as a whole. He shows that probably Giambologna’s pupil Hans Reichle was his major assistant, and traces the career of the German founder, Gerhard Meyer, working in Florence, who signed the Venus. This leads to an important discussion of Gimabologna’s late work in general. Lars Olof Larson provides a technical report on the new Venus. The distinguished bronze specialist Bertrand Jestaz provides an introduction and overview.

This handsome catalogue is the second of a three-volume set exploring the McCarthy collection, arguably the largest and most important private collection of illuminated cuttings, miniatures, and leaves in the world. Volume I (published 2018) presented Italian and Byzantine entries; Volume III (forthcoming 2020) will be devoted to French entries. The present volume is dedicated to the holdings of single leaves and cuttings from Spanish, English, Flemish and Central European manuscripts from the 12th to late 15th centuries. Richly detailed with plentiful illustrations, it is a notable contribution to medieval scholarship.

Acknowledged as the journal of record in its field, American Furniture presents new research on furniture design, use, production, and appreciation. Begun in 1993, this award-winning annual provides a comprehensive forum on furniture history, technology, connoisseurship, and conservation by the foremost scholars in the field. It is the only interdisciplinary journal devoted exclusively to furniture made or used in the Americas from the seventeenth century to the present.

Behind rolling hills, overlooking the fjord and the islands of Southern Funen, you will find Faaborg Museum. With its boldly coloured walls and decorative tile floors made from local clay, the building has quite literally sprung from Funen soil in a symbiosis of local nature and culture. Inside, visitors will find art by the ‘Funen Painters’, created during the period 1880 to 1928 when Faaborg was home to one of Denmark’s pre-eminent artists’ colonies. With their paintings of rural Funen, farmworkers and domestic scenes, the artists Peter Hansen, Fritz and Anna Syberg, Jens Birkholm and Johannes Larsen introduced new subject matter and new methods of painting in Danish art. Faaborg Museum was founded in 1910 by Mads Rasmussen, art patron and manufacturer of tinned goods and preserves. The museum was intended as a celebration of the art created in and around Faaborg. Together with the artists, he commissioned the architect Carl Petersen to create a building to house the museum’s collection – a building that is now acclaimed as a masterpiece of neoclassical architecture and embodies a rare union of art, architecture and design. Faaborg Museum and the Artists’ Colony presents the history of Faaborg Museum, its architecture, collection and artists to international audiences for the first time. Lavishly illustrated, the book features architectural photographs and plans as well as dozens of reproductions of the museum’s art.

Published in commemoration of the 500th anniversary of Raphael’s death, this engrossing publication accompanies an exhibition the Isabella Stewart Gardner Museum. Raphael and the Pope’s Librarian brings together for the first time one of the most fascinating works in the museum’s collection – the Gardner Museum’s portrait of papal librarian Tommaso Inghirami – and a painting from the Vatican Museums depicting an episode in this life. This book tells the story of the first Raphael in America and explores Inghirami’s fascinating career. Nearly five centuries after his death in 1520, Raphael’s fame remains undiminished. Crowned “prince of painters” by Giorgio Vasari, he inspired both artists of his own time and others for centuries afterward. According to the celebrated writer Henry James, Raphael’s work was “semi-sacred.” Gilded Age American collectors swooned over his iconic religious images and masterly brushwork, and James’s contemporaries feverishly tried and failed to acquire Raphael’s rare paintings in a market flooded with copies, and the occasional forgery.Isabella Stewart Gardner took up the challenge, determined to buy a magnificent Madonna by Raphael. Following her gripping hunt, Gardner was the first collector to bring a work by Raphael to America, where its unexpected subject led to a mixed reception and generated surprising rumors in the years to follow. Despite any hesitations over the painting’s beauty, Gardner named an entire gallery of her new Boston museum after the Renaissance master and installed many of her most celebrated works of art around his portrait of the rotund cleric Tommaso Inghirami. Described by Erasmus as “the Cicero of our era”, Inghirami was a celebrity in the high Renaissance esteemed for his profound erudition and theatrical abilities. His unparalleled knowledge and understanding of classics made him the ideal choice for Vatican Librarian under Pope Julius II. Yet he achieved a lasting fame on stage, playing a leading role in the revival of ancient theatre and acquiring the nickname “Fedra” after starring as the lovesick Queen Athens in Seneca’s Greek tragedy Hippolytus (Phaedra). Inghirami’s friend Raphael offered him another role, recasting the Renaissance humanist as the congenial philosopher Epicurius in his legendary School of Athens fresco before memorializing him in the more worldly painted portrait at the center of this exhibition. Raphael and the Pope’s Librarian is the latest in the Close Up series of books accompanying a Gardner exhibition series, each installment of which sheds new light on an outstanding work of art in the permanent collection.

In past years, Miquel Barceló has been depicted in various and yet contrasting ways, including the new Picasso, the rebel, the genius, or the joker. This book’s primary goal is to situate the artist within contemporary critical debate, discussing his production during the Postmodern Era and analysing his affinity with Hypermodernity. Through the comparison of Barcelό’s writings, declarations, and works, the study examines the artist’s autofiction, creating a connection between his hyperindividualism (which is discussed in relation to the Hypermodern Era) and the oceanic feeling. The book presents numerous unpublished materials, mostly contained in the artist’s journals or gained during numerous meetings with the artist, providing the reader with a tool to understand Barceló’s art, and also hopefully, the times we are living in.

Telling the story of the flight of the Jews from Egypt based on the biblical book of Exodus, the Haggadah was – and still is – used during the Seder, the ritual meal of the first night of Passover. The text of this remarkable manuscript has been richly illustrated by many artists in different countries for over seven hundred years. With its seventy-fi ve illustrations, occupying the margins of almost every page, this manuscript expresses the elegant language of the Gothic International style in Lombardy. Directly related to the workshop of the renowned master builder, sculptor, and illuminator Giovannino de’ Grassi, who fl ourished under the patronage of the noble Visconti family in Milan, the present volume was probably commissioned by a wealthy individual. The presumed date of origin of the Lombard Haggadah corresponds with a period known for its wave of immigration into Lombardy of northern European Jews, who were especially welcomed by Duke Gian Galeazzo Visconti. Last on public exhibition in the Paris World’s Fair in 1900, when it belonged to a French family, the Lombard Haggadah was then sold in 1927 in London to the noted collector of Hebrew manuscripts Salman Schocken. Little known, the manuscript has remained in private hands ever since. It survives as the earliest stand-alone Italian Haggadah. Of the greatest rarity, it is one of three illustrated medieval Haggadahs still privately owned. Sharon Liberman Mintz, Curator of Jewish Art, The Jewish Theological Seminary, states “I have worked with Hebrew illuminated manuscripts all of my professional life, and this one stands out for its fresh, charming, and sometimes unique paintings as well as its historical importance”.

This volume discusses the reception of Leonardo’s artistic, theoretical and scientific work from the seventeenth to the twentieth century. It also examines the roles of collectors, intellectuals and artists in Britain in the transmission and transformation of his legacy. At stake is what role, or rather roles, Leonardo played in British art, aesthetics and scientific thought. Leonardo da Vinci’s legacy in Britain has remained largely overshadowed by that of other Italian artists. What was actually known of his work? Were particular aspects of his art and writings favoured? This volume investigates how Leonardo’s artistic, theoretical and scientific work has been received in Britain from the seventeenth century onwards. It offers new information concerning the provenance of certain key works and considers their significance for the formation of important British private and public collections. It also addresses the crucial issue of what was considered to be an original work by Leonardo, encompassing related discussions on the roles of versions and copies. In addition, it investigates the shaping of early academic discourse and the appearance of the first English editions of the ‘Treatise on Painting’, as well as considering the publication of English anthologies of his writings and methodological approaches to Leonardo studies. At the same that this volume focuses on the historical reception of Leonardo and his followers’ works in Britain, it makes a wider contribution to studies concerning cultural and intellectual exchanges between Italy and Britain.

The Dresden collection’s singular group of Rembrandt works – about 20 drawings attributed to the master today and the nearly complete oeuvre of etchings– will provide the basis for this remarkable publication. It will have a particular focus on Rembrandt’s narrative compositions, printed self-portraits, studies of his wife Saskia, and will include works from all periods of his oeuvre plus prints and drawings by artists from his workshop and followers. The list of artists who understood Rembrandt as a dynamic authority and source of inspiration is long, reaching from his immediate followers to masters of the 18th century, from Giovanni Benedetto Castiglione to Jonathan Richardson to the kindred spirit Francisco de Goya, into the 20th century and up to the present day. Examples include Edouard Manet, Henri Toulouse-Lautrec, Lovis Corinth, Käthe Kollwitz, MaxBeckmann, Pablo Picasso, as well as Marlene Dumas and William Kentridge and artists from the GDR such as A.R. Penck. By including works by these artists, the exhibtion and catalogue foreground Rembrandt as one of the most important ‘artists’ artist’ of all time. Select juxtapositions will help the reader better understand the fi reworks of creativity that Rembrandt not only lit in his own time but those he continues to ignite today. Rembrandt remains eternally captivating, not only because of his radical choices and unconventional interpretations of Christian and profane pictorial subjects, but also because of his joy in experimentation, especially in the use of printing and drawing techniques, and his refl ective, humorous intellect, complemented by his sensually direct approach to the world. With a light hand, he broke open the conventions of his era. The pictorial worlds that he created with his free, decisive mark convey his near inexhaustible interest in nature as creation, whether it be the human exterior or interior, and off er a wealth of connecting points and constellations for other artists as well as for the viewer.