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Описание:
William Morris and his Palace of Art is a comprehensive new study of Red House, Bexleyheath; the only house commissioned by William Morris and the first independent architectural work of his close friend, Philip Webb. Morris moved in to Red House as an ebullient young man of 26, with an independent income and a head brimming with ideas and the persistent question of how best to live? Red House, together with its Pre-Raphaelite garden, stands as the physical embodiment of his exuberant spirit, youthful ambition, passionate medievalism, creativity and great sense of possibility. For five intense years from 1860-5, it was a place of halcyon days - happy family life, loyal friendship, good humoured competition, and the jovial campaign of decorating; furnishing the house and designing the garden. Drawing on a wealth of new physical evidence, this book argues that Red House constitutes an ambitious and critical chapter in his design history. It will re-consider the inspiration it provided for the founding of "the Firm" of Morris, Marshall, Faulkner & Co. (later Morris & Co.), in 1861, and the vital collaboration of Webb, Burne-Jones, Rossetti and their intimate circle in realising Morris's dream for his house.

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One of the world s finest assemblages of rings and gemstones, the Guy Ladriere Collection in Paris is of major importance both to the collector and the art historian. This handsome volume, written and compiled by three of the foremost experts on gems and semi-precious stones, is the first to catalogue, illustrate and describe all the pieces in the Collection. Comprising some three hundred items, and including a rich and varied mixture of cameos and intaglios, the Collection ranges from ancient artefacts originating in the Minoan period to gemstones and rings of the nineteenth century. It also boasts many medieval pieces, Christian crystal plaques and Lombardic stones with inscriptions. Of special interest are the prize pieces in the Collection. These include the famous rhinoceros, most probably depicting an identifiable animal (the celebrated Madrid rhinoceros, also known as the Marvel of Lisbon and taken from Portugal to Spain in 1583); Queen Elizabeth I crowned with the mythological lionskin of Hercules, and presented as the power to tame the forces of evil; and some remarkable and varied pairs of heads.

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George Lance (1802-1864), a pupil of B.R. Haydon, a titanic figure in the Regency art world, brought new vibrancy to still life painting in the early Victorian period. In his seminal work Victorian Painting (1966) Graham Reynolds stated that the revival of still life painting, as an artist's main preoccupation, was effected almost single-handedly by Lance. Over one hundred years earlier J.M.W. Turner had expressed the view that Lance was one of the three greatest colourists of his era. Lavishly illustrated with Lance's works and detailing other aspects of his life, this book gives a rounded picture of the man, not just the artist and will serve as the definitive record of the life of a much under-appreciated painter.

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The catalogue of an exhibition organised jointly with the British Museum in the New Japanese Galleries, 6th July to 4th November 1990. 372 objects are described and illustrated, almost all in color. 17 figures accompany the text.

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Presented here is a comprehensive list of Van Gogh's paintings executed between 1886 and 1890 in Paris, Arles, Saint-Remy and Auvers-sur-Oise. The works are reproduced in full colour and appear in related scale to their original size. All owners are registered, beginning with Theo van Gogh or receivers of gifts, and ending with the present owners, if known and willing to be mentioned. For the first time the paintings recorded in early documents like the "Andries Bonger Inventory List" of 1890 and the 1905 Amsterdam Exhibition are completely identified. The book is a contribution to a future catalogue raisonne of Vincent van Gogh's work and includes a wealth of new information of crucial importance to collectors, dealers, art historians and public institutions.

Описание:
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 it's 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 it's 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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The Chippendale cabinet-making firm, founded by Thomas Chippendale senior in about 1750 became famous partly through the succesful publication of his The Gentleman and Cabinet-Maker's Director (1754, re-published 1755 and 1762), and partly through the fine furniture supplied to a number of illustrious clients. Chippendale senior ran the workshop for just over twenty years. His eldest son Thomas Chippendale junior continued the business for over forty, the first two decades in partnership with Thomas Haig. Chippendale senior's work has been well documents. Chippendale junior's work has never, until now, been thoroughly researched. The Life and Work of Thomas Chippendale Junior repairs the 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. 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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In the first of two volumes Kandinsky's temperas, gouaches and watercolours from the Munich years and the Russian period are definitively catalogued and discussed in chronological order (including those known only from documentary evidence). Many previously unknown pictures are published for the first time. The artist's earlier works, his bold abstractations from 1911 to 1914, and his little-known watercolours painted in Russia from 1915 to 1921 are fully documented and illustrated. Vivian Barnett also provides complete provenance, exhibition history and reference for more than 500 watercolours and gouaches, plus an addendum to the Catalogue of Oil Paintings (1982, 1984). The original essays, complete list of exhibitions, selective biography and extensive colour illustrations make this volume essential for collectors and scholars.

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Giorgio Morandi is often defined within the traditions of still life and landscape painting, and is known for the domestic source of his subject matter. However, the radical nature of his work addresses themes that have become central within contemporary artistic practice. An exploration of the influence of Morandi's work on generations of British artists, this fascinating book juxtaposes paintings and drawings by Morandi with signature works by artists, such as David Hockney, Tony Cragg, Patrick Caulfield, Euan Uglow and Ben Nicholson. Each of these artists is represented by a work or works that betray the influence of Morandi and are juxtaposed with pertinent examples by him to illustrate the fact.

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Michelangelo (1475-1564) is one of the most important and influential artists in the history of art. Documented as a sculptor who worked in a variety of media, his production in bronze has, until recently, proved elusive. However, in 2015 an international team of experts proposed that a pair of stunning male nude figures astride ferocious felines, known as the Rothschild bronzes, should be ascribed to Michelangelo and dated to the early 1500s. These enigmatic and visually-striking bronze masterpieces are the focal point of this multi-authored, interdisciplinary volume, which seeks to reassess Michelangelo's work in bronze and contextualise it within the rest of his output. It contains ground-breaking contributions by leading international experts in the field of art history, anatomy, conservation science and bronze-casting.

Описание:
The Fitzwilliam Museum 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 1850s and 1860s, the ground-breaking work of British Arts & Crafts designers, sinuous curves influenced by the European Art Nouveau movement and the structural modernity of the 1930s. Arranged chronologically by designer - Alessandro Castellani, John Brogden, William Burges, Henry Wilson, C.R. Ashbee and Omar Ramsden to name some - this beautifully illustrated volume reproduces over 50 of the Museum's most important pieces from this highly popular and fruitful period, many previously unpublished.