An irresistible romp through the history of magic, from alchemy to unicorns, ancient witchcraft to Harry's Hogwarts - packed with unseen sketches and manuscript pages from J.K. Rowling, magical illustrations from Jim Kay and weird, wonderful and inspiring artefacts that have been magically released from the archives at the British Library.

This spellbinding book takes readers on a journey through the Hogwarts curriculum, including Herbology, Defence Against the Dark Arts, Astronomy, Divination and more. Discover the truth behind making the Philosopher's Stone, create your very own potion and uncover the secret of invisible ink. Learn all about the history of mandrake roots and dragons, discover what witches really used their brooms for, pore over incredible images of actual mermaids and read about real-life potions, astronomers and alchemists. The perfect gift for aspiring witches and wizards and any Harry Potter fan.

Celebrating twenty years of Harry Potter magic, and produced in association with the British Library to support their major exhibition, Harry Potter: A History of Magic.

This stunning catalogue presents for the first time an outstanding group of modern drawings by European and American masters, assembled by the late Howard Karshan and his wife, Linda, who recently presented the works to The Courtauld. Accompanying their exhibition at The Courtauld Gallery, the catalogue features drawings by renowned artists including Paul Cezanne, Wassily Kandinsky, Paul Klee, Willem de Kooning, Philip Guston, Sam Francis, Cy Twombly, Gerhard Richter and Georg Baselitz. The Karshan gift is a significant addition to The Courtauld's collection. The works demonstrate Howard and Linda Karshan's sensibility for the expressive power and rich variety of drawing as an art form. The drawings are characterised by innovative mark-making and distinctive use of line. Examples range from radical watercolours by Cezanne and highly expressive finger drawings in ink by Louis Soutter, to abstract compositions made by Henri Michaux whilst experimenting with Mescalin to explore the subconscious, and on to works by Twombly that further broadened the possibilities of draughtsmanship. The 25 drawings of the Karshan gift will be shown at The Courtauld Gallery when it reopens in late 2021, following a major transformation project. This catalogue will include an interview with Linda Karshan, two essays and a fully illustrated catalogue with detailed entries on each work.

This stunning catalogue presents The Courtauld's outstanding collection of works by Renaissance artist Girolamo Francesco Maria Mazzola, better known as Parmigianino (1503-1540). This catalogue accompanies a display of works by Parmigianino at The Courtauld, including his famous and enigmatic painting of the Virgin and Child, as well as drawn studies for his most ambitious projects such as the Madonna of the Long Neck and the frescoes of the church of Santa Maria della Steccata in Parma. The latter was the last and most important commission of his life and would have been his triumphal homecoming. Instead, Parmigianino became entangled in his experimental processes and failed to complete it, leading to his brief imprisonment for breach of contract. Fundamentally a draftsman at heart, Parmigianino drew relentlessly during his relatively short life, and around a thousand of his drawings have survived. The Courtauld's collection comprises twenty-four sheets. In preparation for the catalogue, new photography and technical examinations have been carried out on all the works revealing two new drawings that were previously unknown, hidden underneath their historic mounts. They have also helped to better identify connections between some of the drawings and the finished paintings for which they were conceived. The catalogue illustrates the whole Courtauld collection, which also includes two paintings and more than ten prints. As a printmaker, Parmigianino is considered to have been the first to experiment with etching in Italy and was a pioneer of the chiaroscuro woodcut technique. His refined and graceful compositions were much appreciated by his contemporaries and exalted by the artist and biographer Giorgio Vasari (1511-74). This catalogue and display have been curated by Gottardo and Rebecchini in collaboration with former and current research students at The Courtauld, and technical research has been conducted by members of The Courtauld Conservation Institute. A truly collaborative project, the catalogue sheds light on an artist who approached every technique with unprecedented freedom and produced innovative works which were studied and admired by artists and collectors for many years to come.

This beautiful publication presents for the first time the Eveillard Gift of drawings to The Frick Collection, the most important gift of drawings and pastels in its history. It accompanies an exhibition at the Frick and includes a catalogue of the works and commentaries by noted scholars. Twenty-six works of art promised to The Frick Collection by Elizabeth and Jean-Marie Eveillard dramatically advance the museum's commitment to the research and display of European drawings. Included in this transformative gift from two longtime supporters of the Frick are exquisite drawings, pastels, prints, and one oil sketch by Francois Boucher, Gustave Caillebotte, Edgar Degas, Eugene Delacroix, Jean-Honore Fragonard, Thomas Lawrence, Francisco de Goya y Lucientes, John Singer Sargent, Elisabeth Vigee Le Brun, and Jean-Antoine Watteau, among others. The works include figurative sketches, independent studies, portraits, and landscape scenes, each either deepening the museum's celebrated holdings or bringing the work of an artist who is not face=Calibri>- but should be - represented in the collection. This lavishly illustrated publication, which accompanies an exhibition at the Frick, includes a catalogue of the works, as well as comprehensive commentaries on each of promised gifts written by noted scholars in their field.

This catalogue will be published to accompany the fi rst ever exhibition of Golden Age Dutch pictures in the collection of the National Trust, which will be shown at the Mauritshuis in The Hague, the Holburne Museum in Bath and at Petworth House in West Sussex (2018-19). Celebrating the enduring British taste for collecting Dutch paintings from the long seventeenth century, the publication will explore why and how this particular type of art was desired, commissioned and displayed through the consideration of masterpieces from a number of National Trust houses. It will feature portraits, still lifes, religious pictures, maritime paintings, landscapes, genre paintings and history pictures, painted by celebrated artists such as Rembrandt, Lievens, Hobbema, Cuyp, Hondecoeter, De Heem, Ter Borch and Metsu, as well as less well-known artists such as De Baen and Van Diest. With over 350 heritage properties in the UK, the National Trust cares for one of the world's largest and most signifi cant holdings of art and its collection of Dutch Old Masters is particularly impressive. The catalogue will include essays by Quentin Buvelot (chief curator at the Mauritshuis) and David Taylor (curator of pictures and s culpture at the National Trust). The authors will also discuss other aspects of the infl uence of Dutch culture in British country houses (using National Trust examples) - on furniture, garden design and print and ceramics collecting.

Continuing its distinguished tradition of focusing on central political, sociological, and cultural issues of Jewish life in the last century, Volume XXVI of the annual Studies in Contemporary Jewry examines the visual revolution that has overtaken Jewish cultural life in the twentieth century onwards, with special attention given to the evolution of Jewish museums. Bringing together leading curators and scholars, Visualizing and Exhibiting Jewish Space and History treats various forms of Jewish representation in museums in Europe and the United States before the Second World War and inquires into the nature and proliferation of Jewish museums following the Holocaust and the fall of Communism in Western and Eastern Europe. In addition, a pair of essays dedicated to six exhibitions that took place in Israel in 2008 to mark six decades of Israeli art raises significant issues on the relationship between art and gender, and art and politics. An introductory essay highlights the dramatic transformation in the appreciation of the visual in Jewish culture. The scope of the symposium offers one of the first scholarly attempts to treat this theme in several countries.
Also featured in this volume are a provocative essay on the nature of antisemitism in twentieth-century English society; review essays on Jewish fundamentalism and recent works on the subject of the Holocaust in occupied Soviet territories; and reviews of new titles in Jewish Studies..

Glasgow Museums has the finest collection of Italian paintings of any civic museums service in the UK. It includes some 150 paintings ranging from the late 14th century to the late 19th century. This catalogue begins with an historical introduction to the collection and its donors, and includes 192 colour reproductions.

Ireland and the Irish identity have been shaped by migration. People left and still leave the island for many reasons, some pushed by circumstances at home, others pulled by opportunities abroad. No two stories are the same, but many emigrants are linked by common motivations and shared experiences. Today these emigrants and their descendants number over 70 million people. They can be found in all four corners of the globe. Published with EPIC The Irish Emigration Museum, this book tells their stories.

Siapa Nama Kamu? weaves together a rich and captivating narrative of artworks in a broadly chronological sequence, covering Singapore's art history from the 19th century to the present. This handy little guide presents an overview of the exhibition through 100 key works. Beautifully reproduced and accompanied by curatorial texts, it tells the story of nearly two centuries of art in Singapore- one of diverse influences, shared impulses and ceaseless flux.

"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.

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.

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.

This beautiful publication presents a collection of exquisite ancient bronzes from the Wadsworth Atheneum that were collected by John Pierpont Morgan. It accompanies a special exhibition of the bronzes at Bowdoin College. This fully illustrated catalogue presents highlights of the ancient bronzes that were collected by J. Pierpont Morgan and are currently in the collection of the Wadsworth Atheneum. Purchased between 1904 and 1916, the bronzes were given to the museum by Morgan’s son in 1917. Morgan was a passionate collector and spent years of his life acquiring exquisite works of art. He had a discerning eye and discriminating taste, and his driving motivation was to find works of quality and beauty. His Greek and Roman bronzes include a range of figure and vessel types: males and females, gods and mortals, humans and animals and hybrid mythological creatures, free-standing statuettes, and furniture embellishments. This is the first exhibition and publication to consider the bronzes as a group. Morgan chose each work of art for its exquisite craftsmanship, its quality of composition and execution, and its preservation. These objects represent the very best of ancient Mediterranean bronze sculpture, with carefully rendered clothing, hair, and fur, and adorned with inlays of silver and other luxury materials. Showcasing different types of objects and figures that were made in bronze in the ancient world, this exhibition and book demonstrate the high level of quality that these works of art could achieve. The bronzes are important not only for their provenance and place in America’s ‘Gilded Age’, but also as highly significant individual works of art that represent the best of ancient bronzeworking. New high-resolution photography of each work of art will allow readers to appreciate their intricate details of craftsmanship, including copper and silver inlay. This focused publication will also present current research on these exceptional objects to help readers better understand how they were made and what they represented in an ancient context.

This catalogue accompanies the first exhibition devoted to a fascinating group of drawings by the Anglo-Swiss Henry Fuseli (1741-1825), one of eighteenth-century Europe's most idiosyncratic, original and controversial artists. Best known for his notoriously provocative painting The Nightmare, Fuseli energetically cultivated a reputation for eccentricity, with vividly stylised images of supernatural creatures, muscle-bound heroes, and damsels in distress. While these convinced some viewers of the greatness of his genius, others dismissed him as a charlatan, or as completely mad. Fuseli's contemporaries might have thought him even crazier had they been aware that in private he harboured an obsessive preoccupation with the figure of the modern woman, which he pursued almost exclusively in his drawings. Where one might have expected idealised bodies with the grace and proportions of classical statues, here instead we encounter figures whose anatomies have been shaped by stiff bodices, waistbands, puff ed sleeves, and pointed shoes, and whose heads are crowned by coiffures of the most bizarre and complicated sort. Often based on the artist's wife Sophia Rawlins, the women who populate Fuseli's graphic work tend to adopt brazenly aggressive attitudes, either fixing their gaze directly on the viewer or ignoring our presence altogether. Usually they appear on their own, in isolation on the page; sometimes they are grouped together to form disturbing narratives, erotic fantasies that may be mysterious, vaguely menacing, or overtly transgressive, but where women always play a dominant role. Among the many intriguing questions raised by these works is the extent to which his wife Sophia was actively involved in fashioning her appearance for her own pleasure, as well as for the benefit of her husband. By bringing together more than fi fty of these studies (roughly a third of the known total), The Courtauld Gallery will give audiences an unprecedented opportunity to see one of the finest Romantic-period draughtsmen at his most innovative and exciting. Visitors to the show and readers of the lavishly illustrated catalogue will further be invited to consider how Fuseli's drawings of women, as products of the turbulent aftermath of the American and French Revolutions, speak to concerns about gender and sexuality that have never been more relevant than they are today. The exhibition showcases drawings brought together from international collections, including the Kunsthaus in Zurich, the Auckland Art Gallery in New Zealand, and from other European and North American institutions.

At dusk, when the pace of daily life comes to a halt, Barcelona's shops lower their shutters. From this simple gesture, a spectacular outdoor art exhibition is born, filling the night with stories full of colour and imagination. Filled with stunning full-colour photography, Barcelona Urban Art takes readers on a visual journey around the city's most vibrant and exciting street art hotspots, highlighting the work of some of Europe's most creative street artists.

The Royal Lazienki in Warsaw was transformed in the 18th century into the summer residence of Stanislaw August Poniatowski. Throughout his 30-year reign, Stanislaw August, the last king of Poland, amassed a collection of paintings, sculptures, and prints, as well as coins and medals, made by both European and Polish artists. With time, the Royal Lazienki became the first modern museum in Poland open to the public. Today, the Royal Lazienki is known as 'the most beautiful place in Warsaw'. Each year, the gardens are visited by more than 2 million people. The royal residence is also one of the most prestigious places in the capital city. It hosts many cultural events including the Chopin concerts, Festival of Baroque Opera, Zone of Silence Festival, Festival of Lights, Winter Musical Salons and Poetry Salons.