Sue Clyne is emerging as the UK's leading fantasy artist. She grew up in the Norfolk countryside of rolling hills and woodlands. Her school books were littered with doodles and sketches in margins and on pages. She remains an intuitive artist. She has taken her lead from a varied selection of great artists including Josephine Wall, the late Susan Seddon Boulet and Salavador Dali.

If you are the sort of person who has ever had a spare moment at work (and let's face it who isn't) then this is the book for you. A neat little pocket format means you will never be without access to its stress-relieving pages. Finish the doodles, create your own and generally have fun at work with the Bored at Work Pocket Doodle Book! Creative, fun, partly finished doodles and other ideas adorn every page of this hilarious book. Sharpen your pencil to scribble in the spaces, colour in the shapes and add your own works of art.

W. Heath Robinson is best known for his hilarious drawings of zany contraptions, though his work ranged across a wide variety of topics covering many aspects of British life in the decades following the First World War. Starting out as a watercolour artist, he quickly turned to the more lucrative field of book illustration and developed his forte in satirical drawings and cartoons. He was regularly commissioned by the editors of Tatler and The Sketch and in great demand from advertising companies. Collections of his drawings were subsequently published in many different editions and became so successful as to transform Heath Robinson into a household name, celebrated for his eccentric brand of British humour. Presenting such innovations as the 'Zip-Opening Bonnet', the 'Duo-car for the Incompatible' and the handy 'New Rear Wheel Gear for Turning the Car in One Movement', this volume of Heath Robinson illustrations with commentary by K.R.G. Browne will appeal to 'everybody who is ever likely to drive, be driven in, or get run over by a mechanically propelled vehicle'.

Jonathan Richardson (1667-1745) was one of 18th-century England's most significant cultural figures. A leading portrait painter and influential art theorist, he also amassed one of the period's greatest collections of drawings. But there was another, highly unusual dimension to his pursuits. In 1728, at the age of 61 and shortly before his retirement from professional life, Richardson began to create a remarkable series of self-portrait drawings. Not intended for public display, these works were unguarded explorations of his own character. In one of the most astonishing projects of self-examination ever undertaken by an artist, for over a decade Richardson repeatedly drew his own face. His self-portrait drawings are usually dated precisely, and they document, from month to month, his changing state of mind as much as his appearance. Many were drawn in chalks on large sheets of blue paper, from his reflection in the mirror. Some of these are bold and psychologically penetrating, while others, in which he regards his ageing features with gentle but unflinching scrutiny, are deeply touching. A further group of self-portraits is drawn with graphite on small sheets of fine vellum, and in these Richardson often presents himself in inventive and humorous ways, such as in profile, all'antica, as though on the face of a coin or medal; or crowned with bays, like a celebrated poet. Sometimes, too, he copies his image from oil paintings made decades earlier, in order to recall his appearance as a younger man. In this extraordinary series of self-portraits, Richardson offers a candid insight into his mind and personality. Together, these drawings create nothing less than a unique and compelling visual autobiography. This publication - which accompanies the first ever exhibition devoted to Richardson's self-portrait drawings, held in the new Gilbert and Ildiko Butler Drawings Gallery at the Courtauld - tells the story of these remarkable works Jonathan Richardson (1667-1745) was one of 18th-century England's most significant cultural figures. A leading portrait painter and influential art theorist, he also amassed one of the period's greatest collections of drawings. But there was another, highly unusual dimension to his pursuits. In 1728, at the age of 61 and shortly before his retirement from professional life, Richardson began to create a remarkable series of self-portrait drawings. Not intended for public display, these works were unguarded explorations of his own character. In one of the most astonishing projects of self-examination ever undertaken by an artist, for over a decade Richardson repeatedly drew his own face. His self-portrait drawings are usually dated precisely, and they document, from month to month, his changing state of mind as much as his appearance. Many were drawn in chalks on large sheets of blue paper, from his reflection in the mirror. Some of these are bold and psychologically penetrating, while others, in which he regards his ageing features with gentle but unflinching scrutiny, are deeply touching. A further group of self-portraits is drawn with graphite on small sheets of fine vellum, and in these Richardson often presents himself in inventive and humorous ways, such as in profile, all'antica, as though on the face of a coin or medal; or crowned with bays, like a celebrated poet. Sometimes, too, he copies his image from oil paintings made decades earlier, in order to recall his appearance as a younger man. In this extraordinary series of self-portraits, Richardson offers a candid insight into his mind and personality. Together, these drawings create nothing less than a unique and compelling visual autobiography. This publication - which accompanies the first ever exhibition devoted to Richardson's self-portrait drawings, held in the new Gilbert and Ildiko Butler Drawings Gallery at the Courtauld - tells the story of these remarkable works and puts them into the context of his other activities at this period of his life - in particular the self-searching poems he wrote during the same years and often on the same days as he made the drawings. An introductory essay is followed by focused discussions of each work in the exhibition. This part of the book explores the materials and techniques Richardson used, whether working in chalks on a large scale or creating exquisitely refined drawings on vellum. It will also reveal how Richardson modeled some of his portraits on old master prints and drawings, including works in his own collection by Rembrandt and Bernini. The publication brings together the Courtauld Gallery's fine collection of Richardson's drawings with key works in the British Museum, the National Portrait Gallery and the Fitzwilliam Museum.

"It stood out for me for a number of reasons. The first, and by far the most important to me, being that the composition is absolutely gorgeous." - Tim Clinch, Amateur Photographer "Packed with compelling visuals and important discussions around some of the planet's biggest issues, it's an excellent compendium of some of the world's best photographers working today." - Amateur Photographer "As compelling in its visuals as it is in its messaging, Fire is an unforgettable document." - Jonathan McIntosh, Royal Photographic Society Journal Fire is the fourth element. It destroys and creates something new. In its heat, colours, and magnitude, it provides a terrifying spectacle as much as an existential threat. Today, it speaks as much to the fragility of human structures as to the damage wrought on nature: the fire at Notre Dame Cathedral in Paris, forest fires from the Amazon to Australia, and infernos in California so colossal that the sky turned red. Reason enough for the Prix Pictet, the world's leading award for photography and sustainability, to dedicate this year's photo book to the many facets of fire. Selected by photography experts from around the world, this impressive publication features 100 images from the Prix Pictet shortlist and beyond. As compelling in its visuals as it is in its messaging, this is an unforgettable document of an elemental force, and of the increasing extremes of climate change.

The paintings are grouped under various headings to take the reader through specific visual experiences beginning with some of the artist's tools, colour palettes and showing the development of texture. Seascapes and shorelines are the first stop, going through to the moors,hills and beyond.

The work of counterculture artists Tim Noble and Sue Webster, whose art is a complex punk-rock take on modern consumer culture. Enormous neon signs, intricate silhouette portraits constructed of trash heaps, and a work titled Instant Gratification: British artists Tim Noble and Sue Webster thrive on the thrills of illumination, love, language, shadows, garbage, and cash. "British Rubbish" showcases their work in all its splashy glory. Their art evokes both gaudy Vegas culture and down-and-dirty punk rock: a combination of cynical extravagance and a defiant, rebellious sensibility. Extravagant, irreverent, sometimes coarse, and always sharply clever, "British Rubbish" is both a paean to and sly denunciation of conspicuous consumption.

Fostoria was a most remarkable glassd company and George Sakier(1897-1988) was a most remarkable designer of Fostoria glass. For over fifty years, through the Great Depression, Sakier sent classic and modern designs to Moundsville, West Virginia, where millions of delightful glass objects were produced. They appear here in profusion. The book includes a throughly researched text about the man and his art(paintings, industrial designs and glass), as well as hundreds of brilliant color photographs of thousands of Fostoria glass items of many patterns and Sakier's fascinating oil painting landscapes. Sakier's Fostoria glass is American Art Deco design and the book is a fine resource for glass collectors.

In this fiercely fun technique book, renowned zendoodle artist Kass Hall shows the reader how to express herself loud and proud, creating art journal pages full of visual punch! Through clear step-by-step techniques, the reader will simultaneously play and learn as she discovers ways create her own collage papers (using the Gelli Plate, stencils, paint, stamps and more), develop visually grabbing handwritten fonts, create expressive faces, add fine details in colored pencil, pen work and more, including graphic processes for working in black and white and color all over!

An illustrated biography, this book is the life story of Rachel Cassels Brown, children's illustrator and etcher.

Relax your spirit and reconnect to your authentic voice. Discover the simple magic and mystery that awaits you when you express yourself within the safe space of a circle. In Creating Personal Mandalas, you'll see how this most basic of shapes can open your heart and always leads you back to your center. In each of the 10 chapters, you'll explore two soul-expressing mandala exercises, facts and history on featured symbols, insights for using the confines of the circle for personal and visual storytelling, as well as inspiring art and reflections from contributing guest artists. * 20 exploratory step-by-step mandala exercises--each an opportunity for new self-exploration, beginning with tips on establishing the right mindset * Interesting facts about symbols and sacred geometry, including suggestions for using them in your mandala projects * Practical art-making direction on the elements of design, watercolor tips, composition prompts, seeing color as a storytelling element and more Use Creating Personal Mandalas to start expressing your life stories with the infinite possibilities of the circle.

Includes french flaps

This book investigates the important antiquities collection formed by Henry Blundell of Ince Blundell Hall outside Liverpool in the late eighteenth century. Consisting of more than 500 ancient marbles-the UK's largest collection of Roman sculptures after that of the British Museum-the collection was assembled primarily in Italy during Blundell's various "Grand Tour" visits. As ancient statues were the pre-eminent souvenir of the Grand Tour, Blundell had strong competition from other collectors, both British nobility and European aristocrats, monarchs, and the Pope. His statues represent a typical cross-section of sculptures that would have decorated ancient Roman houses, villas, public spaces, and even tombs, although their precise origins are largely unknown. Most are likely to have come from Rome and at least one was found at Hadrian's Villa at Tivoli. Although most of the works are likely to have been broken when found, in keeping with the taste of the period they were almost all restored. Because of their extensive reworking, the statues are today not simply archaeological specimens but rather, artistic palimpsests that are as much a product of the 18th century as of antiquity. Through them we can learn what antiquarians and collectors of the 18th century-a key period in the development of scientific archaeology as a discipline-thought about antiquity. Steeped in the work of such writers as Alexander Pope, an educated Englishman like Blundell sought a visual expression of a lost past. Restoration played a major role in creating that visual expression, and I pay close attention to the aims and methods by which the Ince restorations advanced an 18th century vision of the "classical." The image of antiquity formed at this time has continued to exert a profound effect on how we see these pieces today. The book will be the first to examine the ideal sculpture of Ince Blundell Hall in nearly a century. In so doing it aims to rehabilitate the reputations of a collector and collection that have largely been ignored by both art-lovers and scholars in post-war Britain.

There was a time when museums might have been regarded as rather forbidding and austere centres of learning, but today they are more likely to position themselves firmly within the tourism and leisure industry with all manner of food, fun and family entertainment on offer. A high-profile museum brand often relies on a fast-changing menu of temporary exhibitions with an attractive programme of activities, cleverly marketed to ever-growing numbers of visitors. Many of these changes have been positive and beneficial but they have not been without risk to the central purpose of museums as repositories for collections that are looked after, researched and displayed with knowledge and sensitivity. The permanent collection should be the heart and soul of any museum. Nurtured and developed with intelligence, a collection can be an endless source of surprise and delight as well as a focus of local and national pride. The museum in this view is a setting for sustained encounters with objects and works of art, somewhere to be visited and revisited over the course of a lifetime, a place that helps to bind communities, with collections that are cared for and shared as a reminder of the past and a source of inspiration for the present. The process of acquiring works for public collections is rarely easy in any setting. In the face of escalating prices on the art market and diminishing public funds it is all too easy for complacency and apathy to settle upon the museum community. But the task of building collections of national or local importance is never finished. It should not be about casual 'shopping' or satisfying the whims of museum directors or sponsors. It is about building a heritage that is richer, more complete and more relevant for future generations; with every successful acquisition, a museum's collection gains in strength and character. The volume is dedicated to Peter Hecht, the great champion of public art collections, who throughout his career has worked to show us why museums matter and how their collections, large or small, national or local, can make a profound difference to the lives of those who use them. We hope that it will bring people the world over to realise the importance of collecting for the public, locally, nationally and internationally, and to acknowledge and encourage the role of private individuals, associations and institutions, as well as public bodies, in this vital endeavour.

As negentienjarige ryloper in Spanje beland Frank Westerman toevallig in die dorpie Banyoles, waar ’n opgestopte “Kalahari-Boesman”, slegs bekend as El Negro, uitgestal word. Sy indrukke bly hom by – en wanneer hy dekades later weer van El Negro lees, die keer in ’n Franse koerant, is dit die begin van ’n ondersoeksreis wat belangrike vrae oor rasopvattings en die Westerse beskawing na vore bring. Wie was hierdie naamlose man? Wat se sy opgestopte “museumteenwoordigheid” oor Europese denke oor slawerny, rassisme en kolonialisme – en bied hy slegs ’n spieel op ’n vergange tyd, of ook op die hede?

Through stunning digital photography, Roger Camp creates glorious collages of color to present five hundred of the world's most beautiful flowers. A feast for the eye, this is a fine art photographer's rendition of the natural world.

Details of the five hundred flowers displayed are included in an informative index.

Presenting for the first time the Alexis Gregory Gift to The Frick Collection, this exquisite publication provides illuminating insights into Gregory's magnificently eclectic collection, cataloging his fine and decorative works of art in detail. Twenty-eight works of art bequeathed to the Frick by Alexis Gregory range from Limoges enamels to Saint-Porchaire ware to pastels by the Venetian painter Rosalba Carriera. This remarkable gift has introduced new types of objects to the Frick: works in ivory and rhinoceros horn are the first of their kind to be held in the collection. Gregory's gift includes fifteen Limoges enamels, one of them produced in the workshop of Suzanne de Court, the only woman known to have led an enamel workshop in Limoges. Also part of the gift are a gilt-bronze sculpture, an ivory hilt, a pomander, ewers, saltcellars, and two clocks. Many of Gregory's objects came from such prestigious owners as the French royal collections and the Rothschilds. Included in the publication are commentaries on each gift. This lavishly illustrated publication accompanies an exhibition that will be on view at The Frick Collection February 16 through May 14, 2023.