English Silver before the Civil War
The David Little Collection
A small, yet exceptional collection of Tudor and Stuart silver, that includes an early apostle spoon, a tankard engraved with arms of Archbishop Frewin and two of the so-called ‘Armada’ dishes, forms the focus of this richly illustrated introduction to English silver of the period. Chapters on banqueting plate, the place of silver in aristocratic households, church plate and the silver trade are followed by a detailed catalogue of the 25 pieces in the David Little collection.
Dutch & Flemish Seventeenth-century Paintings
The Harold Samuel Collection
Bequeathed to the Corporation of London, this private collection of some 80 works was hung in Mansion House until the building’s refurbishment prompted the exhibition tour that brought them to the wider public. This accompanying catalogue reproduces landscapes, still lifes and genre paintings by Brueghel the Elder, Hals, Ruisdael and Tenier the Younger, among others. The text charts the history of the collection, the origins and provenance of each painting, and introduces each artist.
Pictures and Readers in Early Modern Rome
The Life and Miracles of St Benedict, the seven books published by Camillo Agrippa between 1553 and 1598, Pietro Paolo Magni’s Manual for Barber-Surgeons and Magino Gabrielli’s Dialogues on Silk: the illustrations, authors and varied subject matter of these 16th-century Italian books are discussed in detail in this study of ‘treatises that engaged their readers through the purposeful use of printed pictures’.
Prints & Drawings: Europe 1500–1900
From the Art Gallery of New South Wales
With excellent reproductions of 90 etchings, woodcuts, lithographs and drawings from the collection of European works on paper in the Art Gallery of New South Wales, this volume presents the work of more than 70 artists, from the Renaissance master Andrea Mantegna to Edgar Degas in the late 19th century. The book includes works by many of the great European masters, among them Dürer’s Melencolia (1512) and Little Devil’s Bridge (1809) by Turner, with substantial commentaries on every artist.
The Perfect House
A Journey with the Renaissance Master Andrea Palladio
Few architects have been as influential as Andrea Palladio, whose ideas are embodied in stately buildings across Europe and America. In this fusion of travelogue, architectural guide and historical biography, the acclaimed architectural commentator Witold Rybczynski journeys along the Brenta River in northern Italy to visit Palladio’s surviving villas, and discovers how a rustic stonemason became the most sophisticated architect of the Renaissance.
1395–1455 Masters of Italian Art
Fra Giovanni da Fiesole, or Fra Angelico (c.1395–1455), was a Dominican friar who remained pious and true to his order despite his fame as a painter and the patronage of Popes. Gabriele Bartz presents a detailed and lavishly illustrated commentary on his work as it evolved from the innovations of the early Renaissance, to late projects such as the Cappella Nicolina frescos in the Vatican.
The Romantic Poets and their Circle
The popular ideal of the 'inspired' artist - beautiful, brooding and damned - owes its origins to the poets, writers and artists of the Romantic period. In this volume from the National Portrait Gallery's Insight series, Richard Holmes explores the portraits and the lives of the Romantics in a series of more than 28 subtly interwoven biographies, ranging from William Blake to JMW Turner, and including Byron, Shelley, Keats and the circle that formed around Coleridge and Wordsworth.
Masterpieces of Art
The early Netherlandish artist Hieronymus Bosch (c.1450/55–1516) is renowned for his fantastical, often grotesque images of material and spiritual life. After an overview of what little is known of Bosch's life and a discussion of his work, this volume presents reproductions of all his paintings, triptychs and drawings, and details some of the extraordinary scenes contained within the compositions.
The Counter-Arts Conspiracy
Art and Industry in the Age of Blake
William Blake thought that the art establishment of Georgian England was controlled by 'a gang of cunning hired knaves' conspiring to suppress genuine originality and creativity. This ground-breaking study examines the reasons for his belief, and sets it against the political, commercial, religious and technological conditions of the day. Extensively illustrated with contemporary prints, the study also casts light on the crisis that affected English painting at the time, and on Blake's unique response to the birth of mass communication.