Salvator Rosa was one of the boldest and most powerfully inventive artists and personalities of the Italian 17th century. In Britain he is now best known for his wild landscapes, those scenes of which Horace Walpole so memorably wrote: “Precipices, mountains, torrents, wolves, rumblings – Salvator Rosa”. But Rosa was far more than this... More
Accompanying a unique exhibition at Dulwich Picture Gallery, London, of the work of Nicolas Poussin and Cy Twombly, who sadly died on 5 July this year, this book is "so unusual and its theme so enduringly relevant, especially now, that it truly should not be missed" (The Spectator). More
Toward an Art History of Medieval Rings gives a full survey of Merovingian, Byzantine, Medieval and Renaissance rings, building on the basis of a private collection of 35 rings assembled over nearly two decades. These rings range in date from around 300 to 1600 AD and are fine examples of most of the major types of ring created during this period. They include marriage rings, seal rings, stirrup rings, tart mould rings, iconographic rings, merchant rings and gemstone rings and are arranged chronologically. More
There has never been a display like it. This is the catalogue to an ambitious exhibition at the Goldsmiths’ Hall, London, which will comprise 250 gold and silver objects and sets of objects spanning the history of the Church from the earliest possible times to the present day. More
Few realise that gold can be found in Great Britain, and that attempts to exploit native sources have drawn prospectors from ancient Rome to Elizabethan adventurers and current commercial projects in Ireland, Scotland and Wales. In Gold: Power and Allure, 11 essays by distinguished specialists tell of the rich and previously untold story of Britain and its relationship with gold, demonstrating the country's unique golden heritage. More
"This sumptuously illustrated book, which accompanied the exhibition at the Groeningemuseum in Bruges in 2007–8, is an important new study of the late-fourteenth-century Valenciennes-born sculptor André Beauneveu whose surviving works deserve to be more widely known." (Church Monuments journal) The full scope of his talent was exploited by the celebrated royal patron Jean de Berry, for whom he produced manuscript illuminations, made designs for stained glass and oversaw the construction of his château at Mehun-sur-Yevre. However, it is primarily his very great skill in the handling of stone which gives Beauneveu such particular significance in the history of late medieval art. More
Almost 200 years ago, William Hunter (1718–1783), founder of the Hunterian Museum, Glasgow, was one of a small number of British art collectors to acquire works by his contemporary Jean-Siméon Chardin. Among these, Woman taking Tea (1735) has become something of an iconic image of French art from this period. It has a pair in a near contemporary painting Madame Boucher (1743) by François Boucher in the Frick Collection, New York. Accompanying an exhibition at the Wallace Collection, this catalogue will seek to examine relationships between these two works and their creation... More
Celebrating the 250th anniversary of the opening of the Hunterian Museum in Glasgow in 2007, this book provides a full study both of William Hunter - the many-faceted surgeon/connoisseur - and of his collection of art, which not only contains a number of outstanding masterpieces, such as a Rembrandt, but also provides a revealing snapshot of the taste of the period. While illuminating this crucial transitional period in British art, the book is at the same time a catalogue of the Hunterian collection. More
Philip IV of Spain (ruled 1621-1665) was known as the 'Planet King', shining brightly in the universe of the arts even if the Golden Age of Spanish painting coincided with imperial decline. The Buen Retiro Palace surpassed any palace ever built in Europe for the collection of paintings it contained - Velázquez, Zurbarán, Rubens, Claude, Poussin.< More
Originally painted for the Town Hall in Antwerp in 1609, Rubens's Adoration of the Magi subsequently passed to the King of Spain, and was rediscovered in Madrid by the artist in 1628. He repainted and extended it, in a dialogue with his younger self which this book studies. More