Search results for ""Philip Wilson Publishers Ltd""

In this long-awaited reprint - first published in 1967 - the late George Daniels, a master watchmaker of the twentieth century, documents the important contribution made by England and America in the development of the pocket watch from the earliest times to late 1960s America. Daniels tells of the sequence of technical developments that led to the production of electric and electronic watches. It is a fascinating story for all who appreciate not only a watch's technical niceties but also the intrinsic beauty with which devoted craftsmen endowed it. Mr Daniels' concise, learned account, which places each phase of the story in its true perspective, will be found indispensable both by collectors and by those new to the history of watchmaking. Over a hundred photographs together with a series of clear line drawings, emphasise the watchmakers' achievement in marrying pure function and beauty, and at the same time illustrate the changes in movements that accompanied progress in external a

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Through exquisite artworks, glittering jewellery and weaponry discover how Ranjit Singh, one of the greatest figures in the history of India, established a hugely influential Sikh Empire at the beginning of the 19th century.Through a stunning selection of over one hundred key objects from the Sikh Empire drawn from major private and public collections, explore how a voracious warrior-king named Ranjit Singh brought about a golden age in Punjab where trade boomed, the arts flourished and a formidable army was developed along European lines to keep any British, Afghan, Persian or Russian threat at bay. Backed by the tactical support of a guileful mother-in-law and a holy man with a penchant for warfare, Ranjit Singh would emerge as the region''s undisputed ''maharaja'' or Great King at the beginning of the nineteenth century. His meteoric rise to power ushered in a short-lived but hugely influential Sikh Empire that would inextricably impact on the fortun

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Published to accompany an exhibition at MK Gallery, this is the first major survey of the work of contemporary British artist and photographer Ingrid Pollard, nominated for the Turner Prize 2022. This publication provides the first overview of works by British artist and photographer Ingrid Pollard. Pollard is renowned for using portrait and landscape photography to question our relationship with the natural world and to interrogate social constructs such as Britishness, race, sexuality and identity. Working across a variety of techniques from photography, printmaking, drawing and installation to artists’ books, video and audio, Pollard combines meticulous research and experimental processes to make art that is at once deeply personal and socially resonant. ‘Ingrid Pollard’s practice has long been focused on the human body, astro-physics and geology, and in particular geology in the formation of the stars and planets. The title of this publication – Carbon Slowly Turning – invites us to reflect on geological time in relation to human time. On the one hand, the millennia in which carbon, rock and other natural materials are made, and on the other, the brevity of human existence by comparison and the affecting nature of geology on the human form. A number of Pollard’s works reflect on the cyclical nature of history and human experience, where everything is subject to change, sometimes over hundreds or thousands of years, at other times in the blink of an eye.’ — Gilane Tawadros, Curator, writer and CEO, DACS ‘Ingrid Pollard’s work slows down our looking to create space to consider alternative formations of history and landscape. Across four decades she has re-scripted Britishness, looking back in order that we might move forward differently. This is a profound and timely exploration of this vital British artist.’ — Maria Balshaw, Director, Tate This book accompanies an exhibition at MK Gallery and Turner Contemporary, curated by Gilane Tawadros, with the artist, and supported by the Freelands Award 2020. Edited by Fay Blanchard and Anthony Spira. Essays by Anna Arabindan-Kesson, Cheryl Finley, Paul Gilroy, Mason Leaver-Yap and Gilane Tawadros.

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The first comprehensive study of William Ince and John Mayhew’s famous eighteenth-century cabinetmaking partnership, complemented by high-quality photographs of their work. The partnership of William Ince (1737–1804) and John Mayhew (1736–1811) ran from 1758 to 1804, and was one of the most enduring and well-connected collaborations in Georgian London’s tight-knit cabinetmaking community. The partners’ clientele was probably larger, and their work was arguably more influential over a longer period, than most other leading metropolitan makers – perhaps even than that of their older contemporary, the celebrated Thomas Chippendale. Despite their considerable output and an impressive tally of clients and commissions, much of Ince and Mayhew’s work has remained unidentified until recent times. The authors’ substantial research in private family archives, county record offices and bank archives has allowed them to uncover much new evidence about the business and its influence within cabinetmaking circles. In Industry and Ingenuity, the results of these new investigations are presented alongside an impressive selection of more than 500 colourful, vibrant photographs of Ince and Mayhew’s works, many previously unpublished, which together emphasise the partnership’s proper position in the pantheon of great eighteenth-century cabinetmakers.

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Coinciding with the major exhibition of the same name, Henry Moore: The Helmet Heads traces the footsteps of the artist through the armouries of the Wallace Collection, where he encountered ‘objects of power’ that profoundly influenced his work for the rest of his career. ‘The idea of one form inside another form may owe some of its incipient beginnings to my interest at one stage when I discovered armour. I spent many hours in the Wallace Collection, in London, looking at armour.’ - Henry Moore, 1980. Captivated by helmets in particular, Moore saw in them a fundamental form idea – an outer shell which could protect something vulnerable inside. Tobias Capwell identifies the specific helmets which inspired the artist and examines these alongside Moore’s sculptures for the very first time. The reasons for his fascination with armour and the implications it had on his art are explored by Hannah Higham and set in the context of Moore’s life and work – one punctuated by global conflicts and artistic experiment. Richly illustrated, this catalogue reveals the origins of some of Henry Moore’s most innovative works and examines in depth for the first time this largely unknown aspect of his career.

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An informed and beautifully illustrated new history of the Silk Road camel in Chinese jade. For hundreds of years, the Bactrian camel ploughed a lonely furrow across the vast wilderness of Asia. This bizarre-looking, temperamental yet hardy creature here came into its own as the core goods vehicle. This animal would resolutely and reliably transport to China – over huge and unforgiving distances – fine things from the West while taking treasures out of the Middle Kingdom in return. Where the chariot, wagon and other wheeled conveyances proved useless amidst the shifting desert dunes, the surefooted progress of the camel – the archetypal ‘ship of the Silk Road’ – now reigned supreme. The Bactrian camel was a subject that appealed particularly to Chinese artists because of its association with the exotic trade to mysterious Western lands. But the camel enjoyed cachet and status as more than just the chief conduit of thriving intercontinental commerce. After Buddhism arrived in China from India in the third century AD, via the Gandharan civilisation on the boarders of what is now Pakistan and Afghanistan, this new and vital religion stimulated the peaceful insemination of foreign ideas and culture as well as products. The camel was thus the harbinger not just of new things, but of entirely new ways of thinking. In his lavishly illustrated volume, Angus Forsyth explores diverse jade pieces depicting this iconic beast of burden. Almost one hundred separate objects are included, many of which have not been seen in print before. The author also offers the full historical background to his subject, presenting a strong appeal to collectors and art historians alike.

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This richly illustrated publication explores the diversity and innovation of a legendary dynasty of Flemish painters over four generations. From the peasant festivals and proverb pictures of Pieter Bruegel the Elder and his son Pieter Brueghel the Younger, to the exquisite flower paintings and paradise landscapes of Jan ‘Velvet’ Brueghel, to the captivating cabinet pictures of Jan van Kessel the Elder, the Bruegel family played a fundamental role in many of the key artistic developments of the sixteenth and seventeenth centuries. The book investigates themes common throughout the generations, such as an enduring interest in the natural world and the role of close observation from life. Its new research findings also unravel practical mysteries, exploring how Bruegel’s sons were able to produce multiple versions of compositions inspired by their father’s model. Nearly five hundred years have passed since the birth of Pieter Bruegel the Elder, but the energy, influence and inventiveness of his unique family remain unrivalled in the history of art. This illuminating book redefines our appreciation of its artistic legacy and is an essential read for scholars and non-specialists alike. This book accompanied the first ever exhibition devoted to the Bruegel dynasty in the UK, presented in February 2017 by the Holburne Museum.

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Vasily Kandinsky was born in Moscow in 1866 and, at the age of thirty, decided to study painting in Munich. Although he travelled extensively, Kandinsky lived primarily in Germany until 1914 and again from 1922-1933, when he taught at the Bauhaus. He moved to Paris in 1934 and continued to draw and paint until his death in 1944. The two-volume catalogue raisonne of Kandinsky's drawings publishes many drawings for the first time and presents new insights into the artist's creative process. This second volume is devoted to Kandinsky's thirty-eight sketchbooks that have remained intact. Intended as a companion to Volume One, it illustrates and documents all the sketchbook pages with drawings. The sketchbooks belong primarily to the Stadtische Galerie im Lenbachhaus in Munich and to the Musee National d'Art Moderne at the Centre Georges Pompidou in Paris. Many of the drawings, which date from 1889 to 1943, have never been published before. Ms. Barnett contributes a text on Kandinsky's sketchbooks, an aspect of his work that has not been previously studied. In addition there is an appendix of rare wood sculptures and decorative objects that Kandinsky created as well as an appendix with new information and color reproductions of paintings and watercolours included, but not illustrated, in previous volumes. The two volumes on the drawings complete the series of catalogues raisonnes of Kandinsky's work. Indispensable for scholars, collectors and art lovers, they follow the same format and high standard as the previous volumes on the oil-paintings and the watercolours.

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The fruits of sixteen years of discriminating acquisition on the international art market, Robert Smith's is one of the most important collections of European bronzes in private hands today. The collection embraces the Renaissance in Italy and northern Europe in such a way that its components complement and enhance the appreciation of each other. Central to the collection is a group of thirteen pieces that illustrate the legacy of Giambologna in Florence. Also assembled are pieces by independent contemporaries: Alessandro Vittoria and Francesco Segala in the Veneto, and the younger Genoese-born Niccolo Roccatagliata, whose surviving work is of the utmost rarity. A selection of fine early North Italian bronzes serves as an introduction to the collection; the Netherlands and France are also well represented. Many pieces have distinguished provenances, and all have been exhaustively researched. The book comprises not just a catalogue but an important and original contribution to scholarship in its own right. This new and extended version of the first edition retains the entries written by Anthony Radcliffe with a few additions or corrections, and an entry that he drafted on the miniature cannon signed by Orazio Antonio Alberghetti has also been incorporated. New entries have been supplied by Marietta Cambareri, currently Curator of Sculpture in the 'Arts of Europe' section of the Museum of Fine Arts, Boston, by Fabio Barry, Mellon intern for 2004 in the Department of Sculpture at the National Gallery of Art, Washington D.C., and by Nicholas Penny.

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Maritime prints, drawings and watercolours a re discussed, and a historical survey of the development of marine art is given, by a former Head of Painting at the Nat ional Maritime Museum in Greenwich. '

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This is the first book to concentrate on Dutch Golden Age painter Frans Hals’s highly innovative approach to male portraiture. Frans Hals is one of the greatest portrait painters of all time and, together with Rembrandt, is one of the most eminent seventeenth-century Dutch artists. Published to coincide with the Wallace Collection’s exhibition of the same name, Frans Hals: The Male Portrait explores the artist’s highly innovative approach to male portraiture, from the beginning of his career in the 1610s until the end of his life in 1666. Through pose, expression and virtuosic painterly technique, Hals revolutionised the male portrait into something entirely new and fresh, capturing and revealing his sitters’ characters like no one else before him. This book includes the first in-depth study of Hals’s great masterpiece, The Laughing Cavalier, from 1624. The extravagantly dressed young man, confidently posed with his left arm akimbo in the extreme foreground of the picture and seemingly penetrating into the viewer’s space, has been charming audiences for over a century. Richly illustrated, Frans Hals: The Male Portrait situates The Laughing Cavalier within the artist’s larger oeuvre and demonstrates how, at a relatively early point in his career, Hals was able to achieve this great masterpiece.

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A fascinating record of how London and Londoners were shaped by nearly 700 years of public executions. More frequent in London than in any other city or town in Britain, these morbid spectacles often attracted tens of thousands of onlookers at locations across the capital and were a major part of Londoners' lives for centuries. From Smithfield to Kennington, Tyburn to Newgate Prison, public executions became embedded in London’s landscape and people’s lives. Even today, hints of this dark chapter in London’s history can still be seen across the city. Featuring the lives and legacies of those who died or who witnessed public executions first hand from 1196 to 1868, this book tells the rarely told and often tragic human stories behind these events. It includes a range of fascinating objects, paintings and documents, many from the Museum of London’s collections, such as the vest said to have been worn by King Charles I when he was executed, portraits of ‘celebrity criminals’, and last letters of the condemned. From the sites of execution to the thriving ‘gallows’ economy, the book reveals the role that Londoners played as both spectators and participants in this most public demonstration of state power over the life and death of its citizens.

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This first major monograph on cabinetmaker Jean-Henri Riesener traces his life and career, bringing new insights into his business practice, designs and construction techniques. Jean-Henri Riesener (1734–1806) was one of the greatest French cabinetmakers of all time. From humble beginnings as a German immigrant in Paris, he found fame through the delivery of a magnificent roll-top desk to Louis XV in 1769. He went on to become Marie-Antoinette’s favourite cabinetmaker, supplying the queen and the court of Louis XVI with sumptuous furniture of superb quality. Renowned for his exquisite marquetry and refined designs, his pieces were ornamented with spectacular gilt-bronze mounts made by some of the greatest metalworkers in Paris. In the nineteenth century, Riesener’s name became associated with the very best of Louis XVI-period French furniture. His pieces continue to be highly sought after and are found in major museums worldwide. Based on the extensive collections of Riesener furniture in the Wallace Collection, Waddesdon Manor and the Royal Collection, the authors examine the objects and their history, and highlight the changing tastes of the nineteenth-century collectors who acquired so many former French royal pieces. The new illustrations and visual glossary add another important resource for art historians, decorative arts enthusiasts and furniture lovers.

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This comprehensive survey of the career of Edward Bawden (1903-89) accompanies a major exhibition at Dulwich Picture Gallery and brings together his most significant work in watercolour, printmaking, design and illustration. Bawden began his career in the 1920s as a precociously talented designer and illustrator, and he successfully reinvented himself time and again as the decades passed while always retaining a distinctive freshness, humour and humanity in his work. The book explores in depth the most significant creative periods of Bawden’s life and is fully illustrated throughout.

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A celebration of the best of the National Trust's exquisite ceramic collection. This publication introduces the rich and varied ceramics in the National Trust's vast and encyclopaedic collection. This collection numbers approximately 75,000 artefacts, housed in 250 historic properties in England, Wales and Northern Ireland. One hundred key pieces have been selected from this rich treasure trove, each contributing to our knowledge of ceramic patronage and history, revealing the very personal stories of ownership, display, taste and consumption. The selection includes the following Continental wares: 'Red-figure' wares; Italian armorial tableware; Dutch Delft from the Greek A factory, owned by Adrianus Kocx; Chinese Kraak ware; Dehua ware; Japanese Kakiemon-style and Imari-style tableware and garnitures; Meissen table sculpture by Johann Joachim Kandler; tableware attributed to Adam Friedrich von Lowenfinck; Castelli faience from the Grue workshop. It also includes wares from the following porcelain manufactories: Doccia; Vienna; Vincennes; Sèvres; Dihl and Feulliet. English pottery and porcelain includes delftware; salt-glazed stoneware; creamware; Wedgwood Black Basalt and Etruscan ware; Chelsea, Bow, Worcester and Derby porcelain; Minton China; De Morgan, and Martin ware. From the Americas, the selection includes Pueblo ware. Many are published for the first time, sometimes illustrated in their original interiors. Collectively, the selection surveys patterns of ceramic collecting by the British aristocracy and gentry over a four hundred year period.

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The first proper overview of Fred Farrell's vivid drawings from the First World War. Beautifully illustrated in full colour, insightful essays and catalogue entries explain the genesis, execution and reception of these poignant works. Frederick Arthur Farrell (1882-1935) came from a distinguished Glasgow family. He initially studied civil engineering, and as an artist was self-taught, although he owes a debt to the advice and example of Muirhead Bone. By the outbreak of World War I, he was developing a reputation as an up-and-coming etcher and watercolourist of portraits and topographical subjects. He enlisted as a sapper, or military engineer, with the Royal Engineers Railway Troops Depot but was discharged from the Army due to ill health. In December 1916, Farrell returned to the Front as a war artist, attached for three weeks to the 15th, 16th and 17th Highland Light Infantry in Flanders. In November 1917 he was in France, attached for two months to the staff of the 51st (Highland) Division. In between, authorized by the Minister of Munitions and Admiralty, and supported by Glasgow's Lord Provost, Farrell drew the heroic home effort of women in Glasgow's munitions factories, shipyards and engineering works. As a former soldier, Farrell's sketches and watercolours of the Front powerfully offer a landscape filtered through personal experience and emotion. Battle scenes and strategic deliberations are reconstructed, informed by first-hand accounts. Many include portraits of actual soldiers. There are poignant images of graves, devastated landscapes and destroyed churches. However, there are also scenes of reconstruction and renewed activity amid the desolation. He is at his most dynamic in his drawings of the munitions factories which are full of noise, light and movement. In these there is a sense of joy and energy in industry and machinery, in patterning and design. The commission Farrell received from the Corporation of Glasgow to produce 50 drawings of the front line and munitions factories in the city to record the war for posterity was extraordinary. He was unique in being the only war artist to be commissioned by a city rather than by the government, Imperial War Museum or armed forces. Glasgow was one of the first cities to recognize the importance of creating such a memorial, rather than just creating images for propaganda purposes.

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Extensively illustrated, this is the first accessible publication on the history of tapestry in over two decades. Woven with dazzling images from history, mythology and the natural world, and breath-taking in their craftsmanship, tapestries were among the most valuable and high-status works of art available in Europe from the medieval period to the end of the eighteenth century. Over 600 historic examples hang in National Trust properties in England and Wales – the largest collection in the UK. This beautifully illustrated study by tapestry expert Helen Wyld, in association with the National Trust, offers new insights into these works, from the complex themes embedded in their imagery, to long-forgotten practices of sacred significance and ritual use. The range of historical, mythological and pastoral themes that recur across the centuries is explored, while the importance of the ‘revival’ of tapestry from the late nineteenth century is considered in detail for the first time. Although focussed on the National Trust’s collection, this book offers a fresh perspective on the history of tapestry across Europe. Both the tapestry specialist and the keen art-history enthusiast can find a wealth of information here about woven wall hangings and furnishings, including methods of production, purchase and distribution, evolving techniques and technologies, the changing trends of subject matter across time, and how tapestries have been collected, used and displayed in British country houses across the centuries.

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Discover the extraordinary stories of the Jewish people who designed, made and sold fashion in twentieth-century London, revealing their vital role in making it an iconic fashion city. While Jewish people have long been associated with making clothes, the full extent of the contributions they made to London’s growing reputation as a global fashion capital and the democratisation of fashion through the development of ready-to-wear clothes in the twentieth century have been widely forgotten. Spanning all sectors of the fashion industry – from homeworking to haute couture – the book draws stories from generations of Jewish Londoners and is richly illustrated with images from across the city and the Museum of London’s collections. Fashion City takes you on a journey across London, from the busy clothing factories of the East End to the swinging boutiques of Carnaby Street and the manicured squares of Mayfair. Along the way it introduces you to the intriguing stories of the key figures behind London fashion, such as Frederick Starke, a boy from the East End whose ability to tell a creative story changed the way the world saw British ready-to-wear fashion; Otto Lucas, a gay Jewish German hat maker who became the most financially successful milliner in the world; Mr Fish, the rule-defying tailor who dressed Mick Jagger and Muhammed Ali; and Netty Spiegel, who escaped the Nazis on the Kindertransport and became a London wedding dress designer of choice under her ‘Neymar’ label. Bringing together a wealth of new research and presenting a novel perspective of London fashion, this book gives a voice to the city’s overlooked and often forgotten Jewish fashion makers.

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The long-awaited reprint of an important illustrated reference work on the general history of the watch from 1500 to 1980. When Watches was first published in 1965 it quickly gained for itself a reputation as the foremost general history of the subject and, following the expanded edition in 1979 which covered recent years past 1830, this has remained unchallenged in horological history. In this long-awaited reprinted edition, collectors and horological students can again make use of the reference illustrations and history in this work as approached by the leading horology historians and clockmakers of the twentieth century. Clutton and Daniels write expertly on the vast history of watches, through the changing tastes and styles of collectors and makers, as well as imparting their own knowledge on various technical aspects within the watches. The expansive historical section encompasses both decorative and mechanical aspects of mid-sixteenth to late twentieth century watches, including those by George Daniels himself, detailing the rich history behind more modern designs and fascinations. These later years include a variety of semi-experimental escapements, as well as covering the development of the precision watch and work leading to it by Ferdinand Berthoud and Pierre Le Roy, discussed alongside John Arnold in England, to satisfy the technical-minded collector. Horology and collecting have grown with the changing technologies, and watches continue to be produced to an exceptional technological standard. Precision watches from the 1730-1930 period are covered in detail, as well as high standard Swiss and American watches of the last hundred years; these highly complicated watches benefit greatly from having both colour and mono illustrations to clarify the details. For a truly comprehensive understanding of escapements, photographs of these have been included alongside a critical approach to this essential mechanism. Since its first publication, Watches has provided an essential work of reference and history behind some of the most renowned minds and creations. Now reprinted for a new generation of collectors and students, and featuring over 600 illustrations, the technical and decorative elements of historical watches can be studied and enjoyed once more.

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Accompanying an exhibition at the Wallace Collection, Inspiring Walt Disney explores the influences of the art and architecture of France on Walt Disney and his studio artists, highlighting in particular the Disney classics of hand-drawn animation, Cinderella (1950) and Beauty and the Beast (1991). Pairing preparatory material from these films – including concept art for talking furniture and fairy-tale castles – with masterpieces from the eighteenth century reveals hidden sources of inspiration and allows us to appreciate the extraordinary talents behind Disney animated films and French decorative arts. Just as the dynamic, twisting movements of the Rococo sought to breathe life into what was essentially inanimate – silver, porcelain, furniture – so too did Disney animators seek to create the illusion of movement, action and emotion. Illustrated with innovative works by artists such as Mary Blair, Hans Bacher and Peter J. Hall, and the animated and anthropomorphic furniture, Sèvres porcelain and gilt bronze of rococo designers, the catalogue explores the shared creative roots of these two seemingly disparate artistic realms and looks to revitalise the feelings of excitement, awe and marvel, which both eighteenth-century craftsmen and Disney animators sought to spark in their audiences.

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This beautifully illustrated book is the first full-length critical study to focus on the watercolours of multitalented British artist and designer Eric Ravilious (1903–1942). Adopting the wide-ranging approach familiar to readers of his previous books on the artist, author James Russell explores the evolution of a remarkable talent. An introductory section offers an intimate portrait of Ravilious, an artist for whom personal relationships, particularly with women, were paramount. It goes on to describe the extraordinary achievements of an all-too-brief career, drawing on new research to seek out artistic influences and examine Ravilious’s relationships with fellow-artists, as well as the development of his mark making. There follows the most comprehensive display of Ravilious watercolours yet assembled. Some have never been published, while others are familiar and well loved. Many are explored in short accompanying essays, some with full-bleed images that show details of paintings at full size. These texts are designed to entertain and enlighten, looking at composition, technique, influence and inspiration, or discussing the significance of particular subjects and the people behind the scenes. This is the definitive guide to the luminous, evocative and timeless watercolours of Eric Ravilious, an artist now regarded as one of the finest of the twentieth century.

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A beautifully illustrated study of the works by Edgar Degas in the Burrell Collection, Glasgow.In 1874 the first Impressionist exhibition opened in Paris, shocking the art world with a radical new style of painting. Capturing contemporary subjects and everyday life, the ''Impressionist'' artists were fascinated by the way light, colour and shape constantly change. But frequent rejection by the Paris Salon jury led some, including Edgar Degas, to look to Britain for a more receptive audience. This richly illustrated book explores the influence of London-based dealers such as Ernest Gambart and Charles Deschamps, and Glasgow-based dealer Alex Reid, who saw the market for French art in Britain, encouraging an early following among British collectors for artists such as Monet, Pissarro, Manet and Degas. William Burrell''s first opportunity to see Degas''s work on public display in Scotland was at the 1888 International Exhibition in Glasgow. Over a 40-year

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A unique picture of Rembrandt's mastery of light and visual storytelling. Rembrandt’s Light brings together 35 carefully selected paintings, concentrating on his greatest years from 1639-1658, when he lived in his ideal house at Breestraat in the heart of Amsterdam (today the Museum Het Rembrandthuis). Its striking, light-infused studio was the site for the creation of Rembrandt’s most exceptional paintings, prints and drawings including ‘The Denial of St Peter’ and ‘The Artist’s Studio’. Arranged thematically, the book traces Rembrandt’s innovation: from evoking a meditative mood, to lighting people, to creating impact and drama. Highlights will include three of Rembrandt’s most famous images of women: ‘A Woman Bathing in a Stream’, ‘A Woman in Bed’ and the inimitable ‘Girl at a Window’. Published to coincide with an exhibition at Dulwich Picture Gallery in 2019, with celebrations taking place throughout Europe to mark 350 years since the artist’s death (1669), this publication aims to refresh the way we look at works by this incomparable Dutch Master.

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Silver for Entertaining is a comprehensive, well-illustrated guide to one of the most important collections of 18th-century silver in Europe. The guide extends to nearly a thousand individual pieces of the highest quality, style and exuberance of form. These pieces have survived virtually intact, along with extensive and previously untapped archival evidence of their commissioning and use. The book also provides new information on the diplomatic, political and court appointments of its principal patron, George William Hervey, 2nd Earl of Bristol (1721-75). The finest London makers of the time are represented, including Paul de Lamerie, Paul Crespin and, in particular, Frederick Kandler. It also contains a significant quantity of continental pieces, commissioned contemporaneously whilst Lord Bristol was in Turin. The Earl's silver, of the latest French fashions and of opulent extent, was a critical tool in his armoury. It was in part by maintaining a sufficient state of 'magnificence' there, and in Madrid, that he could hold the diplomatic ground for Britain during the Seven Years War. The book analyses the silver from stylistic and technical perspectives and uses them to illuminate the patronage, fashion and social history of the period, casting new light on the Herveys, one of England's most famous and eccentric aristocratic families.

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A beautifully illustrated book that explores William Blake''s relationship with Europe against a backdrop of political turmoil.Responding to revolution and war in Europe, enslavement and exploitation in European colonies, and repression and reaction at home in Britain, William Blake (17571827) produced an astonishing body of work that combined criticism of the contemporary world with a vision for universal redemption. Blake has always been seen as a distinctly English figure but, in reality, his art at all periods of his career is profoundly involved with Europe, as a source of his images and as a vision of the past, present and future of humanity. This richly illustrated book, published alongside an exhibition at the Fitzwilliam Museum, explores the vital ingredients of Blake''s work and draws parallels with the ambitions of his artist contemporaries in Europe, most notably the German artist Philipp Otto Runge. In doing so the editors and contributors show th

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The Art of Breguet is the complete, illustrated history of the work of Abraham Louis Breguet by the late George Daniels, who has provided a detailed study of Breguet’s horological philosophy that explains so many of the misunderstood aspects of his work. During the five hundred years that horology has been accepted as a separate art only a dozen or so men have made a positive contribution to its progress. Included in this little group of masters is the illustrious name of Abraham Louis Breguet (1747–1823), the arch-mécanicien in an age of mechanics. His contribution was as brilliant as it was original and, during a period when horological fashion was the slave of science, he lifted the watchmaker’s art to a new dimension of visual and technical excellence. In doing so, he radically changed the whole concept of horology and transformed it into an art form that won him the adulation of Europe. The unceasing search for perfection in the performance of his products led Breguet to the invention of mechanical principles that even today, are used in the design of the watch. His influence on the appearance and style of the watch was dramatic and his most complicated examples maintained the slim, elegant appearance that was to revolutionise watchmaking. Breguet’s extraordinary ability in all branches of horology achieved for him the reputation of a genius, the patronage of kings and – rarest of all – the respect of the horological world. His products have never lost favour and many, in constant use, have been handed down through generations to their present owners. The passing of the years, with their many changes of fashion, have not diminished the beauty of the proportions and appearance of Breguet’s work. Daniels describes in detail the complexity of Breguet’s art and, by so doing, supplants the mystique that has surrounded it with a clearer understanding of its function. Over one hundred line drawings illustrate the progress of technical development and each is accompanied by an analysis of the mechanism and its intended purpose. The history of the development of the internal and external appearance of the vast range of Breguet’s products is illustrated in a separate section, arranged in the order of manufacture to reveal the pattern of change in appearance. Each item is accompanied by a description of its external characteristics, mechanism, period of manufacture and, where possible, the date of sale. This reprinted edition, with a foreword by Emmanuel Breguet, has been long awaited and is addressed equally to the student and to the collector of Breguet’s work.

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A vividly illustrated catalogue of linocuts by the Modern British printmakers of the Grosvenor School of Art. The Grosvenor School of Modern Art was founded by the influential teacher, painter and wood-engraver Iain McNab in 1925. Situated in London’s Pimlico district, the school played a key role in the story of modern British printmaking between the World Wars. The Grosvenor School artists received critical acclaim in their time that continued until the late 1930s under the influence of Claude Flight who pioneered a revolutionary method of making the simple linocut to dynamic and colourful effect. Cyril Power, a lecturer in architecture at the school, and Sybil Andrews, the School Secretary, were two of Flight’s star students. Whilst incorporating the avant-garde values of Cubism, Futurism and Vorticism, the Grosvenor School printmakers brought their own unique interpretation of the contemporary world to the medium of linocut in images that are strikingly familiar to this day. They are included in the print collections of the world’s major museums, including the British Museum, the MoMA in New York and the Australian National Gallery. Cutting Edge, which accompanied an exhibition at Dulwich Picture Gallery, illustrates over 120 linocuts, drawings and posters by Grosvenor School artists; its thematic layout focuses on the key components which made up their dynamic and rhythmic visual imagery. For the first time, three Australian printmakers, Dorrit Black, Ethel Spowers and Eveline Syme - who played a major part in the Grosvenor School story - are included in a major museum exhibition outside of Australia.

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A glittering display of the Fitzwilliam Museum’s finest pieces of jewellery and metalwork. The Fitzwilliam Museum, University of Cambridge, holds stunning examples of jewellery and metalwork from the late nineteenth and early twentieth centuries. This exceptional period of design covers the neo-Gothic and historicist designs of the mid- to late nineteenth century, the groundbreaking work of British Arts and Crafts designers, sinuous curves influenced by the European Art Nouveau movement and the structural modernity of the 1930s. The collection contains jewellery by some of the finest historicist designers, including the Castellani and Giuliano families and John Brogden, as well as a spectacular decanter by William Burges. There are important pieces of jewellery and silver by the most famous of Arts and Crafts designers, including C.R. Ashbee, Henry Wilson, Gilbert Marks and John Paul Cooper. Unique pieces designed by the artist Charles Ricketts hold a special place in the history of queer art in Britain, having been designed for his friends Katherine Bradley and Edith Cooper, a couple known collectively as Michael Field. Modernist silver is represented by leaders of the field Omar Ramsden and H.G. Murphy. This beautifully illustrated volume reproduces 70 of the Museum’s most important pieces from this period, many previously unpublished, with comparative illustrations of some of the original designs. Importantly, the book is arranged chronologically by designer and includes biographies, a description of their work and how it changed over time, as well as commentary about the specific works in the Museum’s collection. The book brings together for the first time the Fitzwilliam’s exceptionally fine holdings of jewellery and metalwork from this highly popular and fruitful period of design.

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The first comprehensive interdisciplinary account of Michelangelo’s work as a sculptor in bronze. This book is the outcome of extensive original research undertaken over several years by academics at the University of Cambridge together with a team of international experts, directed by Dr Victoria Avery, a leading authority on the history, art and technology of bronze casting in Renaissance Italy. The catalyst for this innovative project was the attribution to Michelangelo of the Rothschild bronzes – two extraordinary bronze groups of nude men on fantastical panthers – prior to their display at the Fitzwilliam Museum in 2015. First proposed by the distinguished Michelangelo scholar Professor Paul Joannides and validated by the wide-ranging research published here, the attribution to Michelangelo has now gained widespread acceptance. As part of this pioneering project, Professor Peter Abrahams, the eminent clinical anatomist specialising in dissection, has carried out the first ever in-depth scientific analysis of the anatomy of Michelangelo’s nude figures. Abrahams’ findings have uncovered hitherto unrecognised features of Michelangelo’s unparalleled mastery of the structure and workings of the human body that give the gesture and the motion of his figures their unique expressive force. Enigmatic and visually-striking masterpieces, the Rothschild bronzes are the focus of this multi-authored, interdisciplinary volume that contains ground-breaking contributions by leading experts in the fields of art history, anatomy, conservation science, bronze casting and the history of collecting.

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Liberation of Colour explores the whole career of Winifred Nicholson with a special emphasis on her theories of colour. Throughout her life, Winifred Nicholson was interested in prisms and rainbows. When she was given some prisms by a physicist friend in the mid-1970s, her painting took on a new direction. Looking through a prism, she saw objects with a rim of prismatic colour. She explored and developed these ideas, often painting pictures that verged on the abstract. Using specific paintings to examine her ideas and writings about colour, the book includes her late 'prismatic' pictures which have never been properly explained. These pictures were a culmination of her life's search to find "form's secret and rhythmic law". She painted them in Greece in 1979, at her home in Cumbria, and during her last painting trip to the Island of Eigg in the Hebrides in 1980, where she had an inspired period of painting and made some of her best-loved pictures. Published on the occasion of the exhibition Liberation of Colour at the Middlesbrough Institute of Modern Art, the book illustrates many previously unseen paintings from private collections, as well as some of Nicholson's best known works. It also draws on new research, including previously unseen archival material.

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A stunning display of the vibrant and wide-ranging talent of Vanessa Bell in the first catalogue devoted to the artist. Vanessa Bell (1879–1961) has been known as the still, quiet centre around which the Bloomsbury Group revolved,. She was renowned for her beauty, her complex romantic entanglements and, later, her domestic gravitas – and as the sister of Virginia Woolf. But Bell was also one of the most advanced British artists of her time, with her own distinctive vision, boldly interpreting new ideas about art which were brewing in France and beyond. This publication beautifully showcases Bell’s pioneering oil paintings, photographs, ceramics, fabrics, decorative screens and works on paper in a revelatory affirmation of her vibrant and wide-ranging talent. Including more than 180 colour plates, Vanessa Bell is a definitive record of Bell’s accomplishments. The book is enhanced with photography of Charleston, the Sussex farmhouse that she occupied with creative flair alongside Duncan Grant and the rest of her unconventional family. With sections devoted to portraiture, landscape, still life, design, domestic scenes and female subjects, the book gathers together a rich chorus of voices – from renowned Bloomsbury scholars to emerging experts – delivering a fresh view of an intrepid modern artist seen clearly on her own terms at last.

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Many years after its first publication, the best-selling Watchmaking continues to inspire and encourage the art of watchmaking, especially among new generations of enthusiasts. As a supreme master of his art, George Daniels' advice is constantly sought by both students and watch repairers, his understanding of the problems that can beset the would-be watchmaker, especially in an age of mass production, and his expert knowledge of the history of watchmaking being second to none. Here, the making of the precision timekeeper is described step by step and illustrated at each stage with line drawings and brief explanatory captions. The text is easy to follow and care has been taken to avoid complicated technical descriptions. As Daniels is particularly interested in the development of the escapement - many are described in this book, several of his own design - the reader is encouraged to explore this aspect of watchmaking in even greater detail. This classic handbook still remains indispensable to generations of watchmakers and repairers, and also provides a fascinating insight to the enthusiast and watch-collector who, until its publication, had rarely been able to admire the superb craftsmanship of a fine watch without understanding how it works.

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The remarkable story of George Daniels, the master craftsman who was born into poverty but raised himself to become the greatest watchmaker of the twentieth century. George Daniels (1926-2011) stands alone in modern times as the inventor of the revolutionary co-axial escapement, the first substantial advance in portable mechanical timekeeping over the lever escapement, which has dominated ever since its invention in 1759. Daniels's love of mechanics embraced not only the minute, however - he was also a passionate collector and driver of historic motorcars. This revised and expanded edition of his autobiography also contains a new section that illustrates and discusses over thirty of the pocket and wrist-watches Daniels himself made over the years. Witness here the triumph of intelligence, ingenuity, matchless skill and singularity of purpose over the most unpromising of beginnings.

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LONGLISTED FOR THE WILLIAM MB BERGER PRIZE FOR BRITISH ART HISTORY 2022 A major survey of Dame Laura Knight, first female Royal Academician and popular British artist of the 20th century. Laura Knight (1877–1970) was one of the most famous and popular English artists of the twentieth century. She was the first woman to have a solo exhibition at the Royal Academy of Arts, in 1965. In the following decades, her realist style of painting fell out of fashion and her work become largely overlooked. Anew generation has rediscovered her work, finding a contemporary resonance in her depictions of women at work, of people from marginalized communities and her contributions as a war artist. This beautifully illustrated book, which accompanied a major exhibition at MK Gallery, provides an overview of Knight’s illustrious career: from her training at Nottingham Art School at the age of 13 and her time in North Yorkshire and Cornwall, to her visits to traveller communities and a segregated American hospital. It also features her circus, ballet and theatre scenes, paintings of women during the war and her late paintings of nature. The selection of over 160 works combines celebrated paintings with less known graphic and design works, including ceramics, jewellery and costumes that reflect the artist’s enduring interest in the everyday activities of people from all walks of life.

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A richly illustrated exploration of the impact of South Asian Miniature painting on contemporary art. This book tells the dynamic story of contemporary art’s engagement with the miniature painting traditions of South Asia from the sixteenth century onwards, and the role of Britain in these developments. This is the first publication to address this remarkable painting tradition on a transhistorical and transnational scale. Readers are invited to admire the formal, technical and conceptual innovations of some of the most exciting historic and contemporary artists from South Asia, while reflecting on questions of culture and power in the entangled histories of empire and globalization. Many of the greatest collections of South Asian paintings are held in Britain, and some of the pivotal encounters that shaped this story happened in London. The process of these acquisitions and their central role within British and South Asian art histories are explored in this book. The book also demonstrates how the traditions of South Asian miniature painting have been reclaimed and reinvented by modern and contemporary artists, exploding beyond the pages of illuminated manuscripts to experimental forms that include installation, sculpture and film. While miniature painting represented a strand of cultural resistance to colonial rule in the early twentieth century, artists continue to find contemporary relevance in the possibilities offered by this tradition. Beyond the Page is richly illustrated with historic works from the Victoria & Albert Museum, the British Library, the British Museum, the Ashmolean, the Bodleian Library and the Royal Collection Trust. It also features work by artists from different generations working in dialogue with the miniature tradition, including Hamra Abbas, David Alesworth, Nandalal Bose, Noor Ali Chagani, Lubna Chowdhary, Adbur Rahman Chughtai, Samuel Fyzee-Rahamin, N.S. Harsha, Howard Hodgkin, Ali Kazim, Bhupen Khakhar, Jess MacNeil, Imran Qureshi, Nusra Latif Qureshi, Mohan Samant, Nilima Sheikh, the Singh Twins, Shahzia Sikander and Abanindranath Tagore.

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Based on new research, this profusely illustrated book draws together for the first time a group of works from public and private collections to examine the relationship that Thomas Gainsborough had with the theatrical world and the most celebrated stage artists of his day. Thomas Gainsborough (1727–88) was linked with the stage through personal friendships with James Quin, David Garrick and Sarah Siddons, the most renowned actors of the eighteenth century. He painted notable portraits of these and twenty others, including dramatists, dancers and composers. Not long after Gainsborough moved from Bath to London in 1774, the management of the Drury Lane theatre passed to the artist's friends Richard Brinsley and Thomas Linley. At this time, London's theatres were undergoing regular refurbishment to take account of technical innovations in lighting and stage machinery. At the King's Theatre in Haymarket in 1778, the 'elegant improvements' included frontispiece figures emblematic of Music and Dancing, and were painted in monochrome by Gainsborough. This publication firmly establishes the artist’s place within the theatrical worlds of Bath and London and shows why the art of ballet, and in particular Gainsborough’s sitters Gaetan Vestris, Auguste Vestris and Giovanna Baccelli, rose to prominence in 1780. It examines parallels between Gainsborough’s much admired painterly naturalism and the theatrical naturalism of David Garrick and Mrs Siddons, with whom he had personal friendships.

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Lavishly illustrated, this book presents comprehensive entries for each of the tapestries in the Burrell CollectionNew research by an international team of experts details how, where, when and why these tapestries were made. By analysing their raw materials and identifying the quirks of their weavers' techniques, by exploring their subject matter and design sources, occasionally linking them with named designers and weavers, and by discussing their original patrons and owners, each of the entries unveils the unique treasures within the Burrell's tapestry collection.This is an informative survey of medieval, Renaissance and early modern European tapestries, including key examples from all the major production centres, celebrating the medium's significance and appeal for its original audiences. The collection's remarkable survival, remaining together as a group, also provides an unparalleled opportunity to enjoy the tastes, and the opportunities, available to an enlightened early

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The UK Winner of the Entertaining category of the Gourmand World Cookbook Awards 2020, Feast and Fast explores our evolving relationship with food with treasures from the Fitzwilliam Museum. Food defines us as individuals, communities, and nations — we are what we eat and, equally, what we don’t eat. When, where, why, how and with whom we eat are crucial to our identity. This title presents novel approaches to understanding the history and culture of food and eating in early modern Europe. This richly illustrated book will showcase hidden and newly-conserved treasures from the Fitzwilliam Museum and other collections in and around Cambridge. It will tease out many contemporary and controversial issues — such as the origins of food and food security, overconsumption in times of austerity, and our relationship with animals and nature – through short research-led entries by some of the world’s leading cultural and food historians. This book explores food-related objects, images, and texts from the past in innovative ways and encourages us to rethink our evolving relationship with food.

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This survey of Lawrence’s first twenty-five years tells the story of an exceptional artist growing up at the end of the century as Britain created its own unique artistic voice. Like his Renaissance predecessors Raphael, Michelangelo and Dürer, the young Thomas Lawrence (1769-1830) was considered to be a boy genius. He first came to public attention when he was cited in a scientific paper on ‘early genius in children’; shortly afterwards his family moved to Bath where the eleven-year-old was kept busy making likenesses of the spa town’s fashionable visitors. By 1790, Lawrence's spectacular portraits were the most applauded works in the Royal Academy’s annual exhibition, which opened days before his twenty-first birthday. The book considers the young artist’s self-image as a prodigy, the impact of Bath’s rich cultural life on his formation, the rapid development of his painting technique following his move to London, and his use of celebrity, print media and the Royal Academy to grow his reputation. Particular attention is given to Lawrence’s perceptive depictions of old age and bold celebrations of youthful energy. His portraits from this time present a fascinating glimpse of British high society at the turn of a memorable century: they include celebrities such as the Duchess of Devonshire, Emma Hamilton and actresses Sarah Siddons and Elizabeth Farren, as well as political leaders, members of the Bluestocking circle and the Royal Family. The book accompanied a major exhibition at the Holburne Museum in Bath and includes previously unpublished works as well as some of Lawrence’s most brilliant masterpieces.

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Chinese wallpaper has been an important element of western interior decoration for three hundred years. As trade between Europe and China flourished in the seventeenth century, Europeans developed a strong taste for Chinese art and design. The stunningly beautiful wall coverings now known as `Chinese wallpaper’ were developed by Chinese painting workshops in response to western demand. In spite of their spectacular beauty, Chinese wallpapers have not been studied in any depth until relatively recently. This book provides an overview of some of the most significant Chinese wallpapers surviving in the British Isles. Sumptuously illustrated, it shows how these wallpapers became a staple ingredient of high-end interiors while always retaining a touch of the exotic.

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A beautifully illustrated catalogue bringing cabinet-maker Thomas Chippendale Junior out of the shadow of his father. The Chippendale cabinet-making firm, founded by Thomas Chippendale Senior in about 1750, became famous partly through the successful publication of The Gentleman and Cabinet-Maker's Director (1754, re-published 1755 and 1762), but also through the fine furniture supplied to a number of illustrious clients. Chippendale Senior ran the workshop for just over twenty years and his eldest son, Thomas Chippendale Junior, continued the business for over forty years; the first two decades in partnership with Thomas Haig. Chippendale Senior's work has been well-documented but Chippendale Junior's work has never, until now, been thoroughly researched. The Life and Work of Thomas Chippendale Junior repairs this omission. His patrons included members of the Royal Family, aristocrats, landed gentry and antiquarians; he was adept at satisfying their demands, whether they required lavish gilt or simpler, often mahogany, pieces. Where family archives and original settings survive, as at Harewood House, Paxton House and Stourhead, they reveal the variety and quality of Chippendale's output. An analysis of client's invoices, even when the furniture can no longer be traced, for the first time provides a colourful view of what customers chose and what prices they paid.

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A superb classical painter and draughtsman, Armstrong also undertook much work in film, theatre, and ballet, as well as being a successful designer of ceramics and murals. As a painter he has often been associated with the surrealists, especially after becoming a member of Unit One, a group formed by his contemporary Paul Nash in 1933 to promote modern art, architecture, and design, although his work resists any easy categorization. Armstrong was also a committed supporter of the Labour party, contributing designs to its election leaflets in 1945, and an active political campaigner. The first major study of Armstrong's work, the book draws on new and unpublished research that puts into context the highly original vision of a strongly independent and imaginative artist waiting to be rediscovered.

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This is a comprehensive catalogue of the important collection of Indian art in the Virginia Museum of Fine Arts and a celebration of the diverse cultures that coexist in India. An introductory essay is followed by the art objects presented in four sections according to the traditional forms of Indian art: sculpture, painting, decorative arts and textiles. The sections on sculpture and painting are further subdivided chronologically according to stylistic periods; the decorative arts and textiles, most of which date from around 1650 to 1900, are grouped by medium (make, metalwork, wool, cotton etc).

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An important illustrated history of the relationship between Cambridge and the Black Atlantic. Between 1400 and 1900, European powers, not least Britain, colonised the Americas and transported over 12.5 million people from sub-Saharan Africa as slaves. The contested space, formed by the interactions of multiple people and cultures, both Black and white, we now call the Black Atlantic. Cambridge and Cambridgeshire played a key role in this international narrative – a story of commerce, profit and colonialism, of opinion-forming, and of struggle. Through the lens of historic artworks, artefacts and natural history specimens, this book and the exhibition it accompanies analyse the rise and growth of enslavement, the profits made by Dutch and British traders and plantation-owners, the power of images, the knowledge produced by enslaved people, histories of resistance movements and the consequences of these events today. Works by contemporary makers challenge long-held assumptions, address erasures, and create alternative narratives of repair, freedom and justice.

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A handsomely illustrated monograph that examines in depth Rubens’s two greatest landscape paintings: A View of Het Steen in the Early Morning and The Rainbow Landscape. Painted as pendants, the pair of paintings have been in London since 1803. This book presents an updated and almost complete history of the provenance of the two works, describing their passage through eminent collections from the time of Rubens’s death until they reached their respective collections. Separated by less than a mile, the former eventually entered the collection of the National Gallery and the latter the Wallace Collection. The book puts the creation of these two landscapes into the full context of Rubens’s later life and his semi-retirement. It demonstrates how they are the zenith of his achievements as a landscape painter and explores how he drew skilfully on Flemish influences, including Bruegel, in creating two highly original compositions. Written to engage and appeal to the non-specialist reader and academic alike, the book makes an important contribution to scholarship in the field, including original technical research and new photography that show how these complex compositions evolved iteratively as the panels onto which they were painted were expanded.

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Published to coincide with the first UK exhibition of these masterworks at The Wallace Collection, Forgotten Masters celebrates the work of a series of extraordinary Indian artists. As the East India Company extended its sway across India in the late eighteenth century, many remarkable artworks were commissioned by Company officials from Indian painters who had previously worked for the Mughals. Each had their own style, tastes and agency, and all of them worked for British patrons between the 1770s and the bloody end of the Mughal rule in 1857. Edited by writer and historian William Dalrymple, these hybrid paintings explore both the beauty of the Indian natural world and the social realities of the time in one hundred masterpieces, often of astonishing brilliance and originality. They shed light on a forgotten moment in Anglo-Indian history during which Indian artists responded to European influences while keeping intact their own artistic visions and styles. These artists represent the last phase of Indian artistic genius before the onset of the twin assaults - photography and the influence of western colonial art schools - ended an unbroken tradition of painting going back two thousand years. As these masterworks show, the greatest of these painters deserve to be remembered as among the most remarkable Indian artists of all time.

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A beautifully illustrated exploration of the impact of Chinese and Japanese material culture on the historic houses and gardens of Britain and Ireland. The art and ornament of China and Japan have had a deep impact in the British Isles. From the seventeenth century onwards, the design and decoration of interiors and gardens in Britain and Ireland was profoundly influenced by the importation of Chinese and Japanese luxury goods, while domestic designers and artisans created their own fanciful interpretations of ‘oriental’ art. Those hybrid styles and tastes have traditionally been known as chinoiserie and japonisme, but they can also be seen as elements of the wider and still very relevant phenomenon of orientalism, or the way the West sees the East. Illustrated with a wealth of new photography and published in association with the National Trust, Borrowed Landscapes is an engaging survey of orientalism in the Trust's historic houses and gardens across England, Wales and Northern Ireland. Drawing on new research, Emile de Bruijn demonstrates how elements of Chinese and Japanese culture were simultaneously desired and misunderstood, dismembered and treasured, idealised and caricatured.

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