39 Products

David Olusoga explores the role of art in the moments of first contact, interaction and conflict between different civilizations, first in the Age of Discovery when Europe’s early imperialists encountered the indigenous peoples and art of other continents: contacts that resulted in mutual curiosity as well as conquest. In Part Two, The Cult of Progress, Olusoga looks at artistic reaction to post-industrial modernization in the 19th and early 20th centuries, ending with Otto Dix’s great triptych, The War (1932).

Between 1890 and 1905, prints became extremely popular in Paris, and leading artists such as Bonnard, Gauguin and Toulouse-Lautrec embraced the medium. Published in conjunction with an exhibition at the Van Gogh Museum, Amsterdam, this catalogue reproduces more than 160 prints, posters, theatre programmes and book illustrations from the period. The accompanying essays examine how the fashion for printmaking developed, describe the various techniques and explore the numerous applications of this ‘new notion’ of art.

Popular Victorian paintings were often reproduced as engravings, but photographers also recreated the scenes with actors, to produce stereoscopic cards for commercial sale. Originally published to accompany the exhibition at the Tate Gallery, this slipcased volume explores the relationship between paintings, popular illustrations and cartoons (such as those published in Punch), and 3D stereo photographs. It also includes a stereoscope to view the examples, which are mainly drawn from the collection of Queen guitarist Brian May.

To mark its 80th anniversary in 2017, the Georgian Group organized an exhibition celebrating the craftspeople who maintain key buildings and landscapes. This catalogue presents the 115 exhibitors, all of whom employ time-honoured working methods, and examines the relationship between the national charity and traditional British craftsmanship.

Thomas Weaver (1774–1844) was an accomplished artist working during the late 18th century, when innovative methods of breeding produced bigger and better domestic animals. Weaver was among a small group of artists who pioneered the painting of owners’ and breeders’ prize sheep, cattle, hounds and thoroughbred stallions. Written by a descendant, with access to Weaver’s papers and diaries, this book tells the story and reproduces the paintings of a successful animal artist during the Agricultural Revolution.

In the 1880s, Suzanne Valadon was a model for Auguste Renoir and other Impressionists. She was also a painter of considerable talent – a fact that she initially kept secret. Born in poverty in rural France, she was acclaimed by Degas and Toulouse-Lautrec, and became the first female painter exhibited at the Société Nationale des Beaux-Arts. This biography traces the life and career of an exceptional woman who made her mark in a male-dominated world.

With reproductions of many unfamiliar works, this book takes a novel approach to artists’ and travellers’ experience of the eternal city between 1700 and 1870: it revisits the history of Rome in terms of the city’s environment and pervasive mal’aria.

Franz and Ferdinand Bauer were ground-breaking 18th- and early 19th-century natural history artists. Growing up in Austria, Franz went on to work at Kew Gardens, while Ferdinand travelled to Australia. This volume includes pioneering microscopical drawings depicting plant anatomy, and newly discovered animals, such as the platypus and koala.

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.

Portly squires and foppish dandies, Jane-Austenesque heroines and their grotesque chaperones, dashing young officers and corrupt politicians… Thomas Rowlandson (1757–1827) skewered the follies and vices of his age better than any satirist since Hogarth. This catalogue brings together 100 of his scabrous engravings, largely from the Royal Collections. Mercilessly lampooning King George III, his troublesome offspring, and politicians such as William Pitt, they form a rogues’ gallery of Georgian England, and remain an inspiration to cartoonists today.

Coming to life in just a few, seemingly effortless lines and the occasional wash of colour, Edward Lear’s nonsense birds have personality, attitude and, quite often, very human traits. Drawing on the British Library collections, this book presents birds from several of Lear’s original nonsense books, and includes stories, limericks, birds for learning colours and birds for learning the alphabet.

‘Thomas Gainsborough lived as if electricity shot through his sinews and crackled at his finger ends.’ A gentle, empathetic family man, he also had a volatile streak that could lead him to slash his paintings, and a loose way of talking that shocked society. This biography reveals how an easygoing Suffolk lad was propelled to the highest echelons of Georgian Bath and London by his vast natural talent, and explores the contradictions of this complex and charismatic painter.

From James Hardy senior (1801–1879), who painted portrait miniatures in the 1820s, the traditions and skills of painting were handed down through generations of the Hardy family, whose members included some of the leading genre and animal painters of the 19th and early 20th centuries. Drawing on a collection of unpublished letters, documents and photographs inherited from the artists’ descendants, Kimber Hardy presents the first comprehensive assessment of their work.

Poet, designer, printer and publisher, William Morris was a man of astonishing energy, range and depth. This illustrated volume surveys his varied achievements and the work of Morris & Company (‘the Firm’), with essays on stained glass; the decoration of houses; the art of the book; and Morris’s chosen artistic successor at the Firm, John Henry Dearle. Published to coincide with an exhibition at the Huntingdon Library in California, the book ends with a discussion of Morris’s influence in America.

The most famous man in Europe in the period immediately predating the invention of photography, Arthur Wellesley was the subject of painters, sculptors and miniaturists from the period of his first successes in Iberia in 1809 to his death in 1852 and beyond. This highly illustrated book examines the many portraits of the Duke of Wellington, places them in the context of key events in his life and also provides a catalogue of works by artist, from Goya to Wilkie.

Edwin Landseer (1802–73) is renowned for his majestic Monarch of the Glen and the Trafalgar Square lions; this book shows him ‘off-duty’ and presents over 100 of his sketches and drawings of friends, aristocratic patrons and Highland holidays. Slightly off-mint.

From the 1880s to around 1914, a group of young painters based in Glasgow challenged the traditional art of the Scottish Academy, favouring instead the naturalistic ideas of the Impressionists and Post-Impressionists, and en plein-air painting. The realism and freedom of their portraits, informal scenes and landscapes was to revolutionize Scottish art. This book introduces the Glasgow Boys – among them James Guthrie, John Lavery, Arthur Melville, George Henry and David Gauld – and presents over 85 reproductions of their work.

In eight illustrated essays, this book explores the artists’ complex created by George Frederic Watts (1817–1904) and his wife Mary (1849–1938) in the village of Compton in Surrey. Each chapter focuses on one of the Arts and Crafts-inspired buildings, its decoration and purpose: Limnerslease, the house designed by Sir Ernest George, the Compton Pottery and studio, the gallery and Mary Watts’s Art Nouveau chapel.

Sarah Acland was inspired to take up photography by her acquaintance with artistic luminaries such as John Ruskin and Dante Gabriel Rossetti. Following in the footsteps of Julia Margaret Cameron, whom she also knew, Acland became an important pioneer in the field of colour photography. This catalogue of her work includes the influential photographs she made using the Sanger Shepherd and Autochrome processes. Her subjects include Oxford scenes, architectural and nature studies, and portraits of people in her circle.

Now a major reference work on Scottish art, Hardie's book was the first comprehensive study devoted to Scottish painting. Revised and updated in this third edition, the book traces the history of painting in Scotland and discusses its major artists since 1837, with emphasis on the period from about 1860 to 1914 and three important groups: William McTaggart and his contemporaries; the Glasgow School and Charles Rennie Mackintosh; and JD Fergusson and the Scottish Colourists. With 150 colour reproductions.

This handsome volume reproduces more than 100 of Landseer's quick, often humorous pen-and-ink drawings of aristocratic friends and acquaintances, along with a history of the artist's life and times.

In this study of the hugely influential American-born artist James McNeill Whistler (1834-1903), Robin Spencer shows how profoundly the painter was influenced by the poetry and literature of his time. The famous libel trial with Ruskin is also discussed and, for the first time, many of the paintings are illustrated in the original frames created by Whistler himself.

A founding member of the Munich Secession, the Swiss-born artist Albert von Keller (1844–1920) was highly regarded in both Europe and America, a flamboyant figure known for his fascination with the occult. This handsome exhibition catalogue surveys his lifelong search for new techniques and visual forms to describe shifting, uncertain states of being. It covers the key works and themes of his career, in two long essays illustrated with full-page reproductions of these sometimes unsettling paintings.

Published to mark the opening of the 'Boudoir Cabinet', a new gallery devoted to miniatures and gold boxes, this catalogue presents reproductions and commentary on 70 of the finest of the Wallace Collection's small paintings in watercolour or enamel. Covering the period from the mid-16th to the late 19th centuries, the book has introductory essays on the history of miniature painting and on the Collection's outstanding examples of French 18th-century miniatures.

Reissued to coincide with the exhibition Painting History: Delaroche and Lady Jane Grey in 2011, Stephen Duffy's study of the French history and portrait painter Paul Delaroche discusses the twelve works in the Wallace Collection. The paintings, reproduced along with sketches and related works, include the famous Execution of Lady Jane Grey and The Princes in the Tower.

This exhibition catalogue focuses on the church decorations and memorials produced by Louis Comfort Tiffany and the Tiffany Studios for many of America's leading congregations – Protestant, Catholic and Jewish. In addition to the well-known stained-glass windows, Tiffany created entire interior designs including mosaics, floors, lighting, furniture, altarpieces, pulpits, candlesticks, headstones, vestments and jewellery. The lavishly produced catalogue includes preliminary designs, cartoons and sketches, as well as archive photographs of finished pieces, many never before published.

Turner was a young man when he arrived in Salisbury in 1795, but already he had started to produce acclaimed watercolour studies of cathedrals, many of them undergoing restoration by the architect James Wyatt. Accompanying an exhibition at Salisbury Museum that examined the important commissions that resulted from Turner's contact with the region, this volume contains many rarely seen Turner works on architectural projects including William Beckford's eccentric Fonthill Abbey, Stourhead, buildings on the South Coast and Stonehenge.

The Victorians were passionate about flowers, both in their gardens and in art, and the period saw some of the most superb botanical journals ever published. This volume reproduces hand-coloured lithographs from one of the finest from the 1860s, The Floral Magazine, a collaboration between the botanical illustrator James Andrews and the Rev HH Dombrain. Each of the 95 plants is shown in a full-page reproduction, with Dombrain's text revealing the preoccupations, joys and setbacks of Victorian flower growers.

This second volume in a three-part biographical series covers the years 1732 to 1750 in the life of English artist, satirist and social critic William Hogarth (1697-1764) when approached and defined. 96pp colour plates

'The more materialistic science becomes, the more I shall paint angels: their wings are my protest in favour of the immortality of the soul' - Edward Burne-Jones. After an introductory essay discussing angels in 19th-century art and culture and, in particular, their roles in Pre-Raphaelite and Symbolist art, Ruth Langenberg presents over 60 reproductions of paintings of angels, from Blake's monumental Angel of the Revelation to Chagall's Archangel Michael carrying Adam back down to Earth.