Taking its lead from W.H. Hunt's watercolour The Head Gardener, c. 1825, that is part of The Courtauld Gallery's permanent collection, this focused display will be first to investigate Hunt's depiction of rural figures in his work of the 1820s and 1830s. Consisting of twenty drawings borrowed from collections across the United Kingdom, William Henry Hunt: Country People will bring together watercolours depicting country people in their working or living environments, from farmer and gamekeeper to stonebreaker and gleaner. The representation of these country men, women and children, closely observed, raises questions about their status and way of life at a time of rapid agricultural and social change. These profound changes are also reflected in the literature of the period. William Henry Hunt was one of the most admired watercolourists of the 19th century. Better known as `Bird's Nest Hunt' for his intricate still lives of flowers, fruit and birds' eggs, he exhibited prolifically at the Old Water Colour Society. His works were sought after by collectors, notably John Ruskin, a serious champion of his work.' William Henry Hunt: Country People is the latest in a series of books accompanying critically acclaimed Courtauld displays, which showcase aspects of the gallery's outstanding permanent collection.

"Herzog is headed into provocative territory."-Christopher Knight "At the nexus of critical information theory, disjunctive librarianship, and gender and technology studies, ... Herzog's work is a cybernetic handle for us to use, like Palinurus' rudder, to cut through information landscapes across time and space."-Amelia Acker "In our computer age, after the impact of mechanical reproduction has been absorbed into our bodies and psyches, Herzog manufactures unique paintings that communicate with each other and with the Other of technology. These pieces address the power of words and information to be things that physically affect us. Replicating / doubling /embodying / one-step-furthuring that power, she makes them into things, with the effect that the viewer is put into the position of both experiencing the thing and becoming enlightened as to the process of how the information becomes a thing."-Andrew Choate Katie Herzog's cross-disciplinary practice addresses information economies utilizing painting as a mode of representing, producing, and deconstructing knowledge in the public sphere. For her solo exhibition, Object-Oriented Programing, at the Palo Alto Research Center in 2012 (PARC, a Xerox company), Herzog exhibited over fifty paintings in the hallways and lobbies of one of the most storied institutions in the history of information technology. Object-oriented programming is a computer programming paradigm that was introduced by PARC in the early 1970's. This new language used "objects" as the basis for computation (capable of receiving messages, processing data, and sending messages to other objects), as opposed to the conventional programming model, in which a program is seen as a list of tasks. Herzog's exhibition utilizes this concept as a conceptual and epistemic basis for how her paintings function as a language to develop meaning, where "programming" in the exhibition title connotes both contextualized computer programming as well as public programming. Works in the show provide expressive, symbolic, and conceptual narratives of an information era, including "If I Die My Email Password Is," "Documents (Heads You Lose)," and "Information Overload Syndrome," among others. Herzog's practice embodies a unique visionary approach to painting, knowledge production, and artistic research, through a multifaceted engagement of civil service, disjunctive librarianship, and animal-assisted literacy. Katie Herzog received a Bachelor of Fine Arts at the Rhode Island School of Design, a Master of Fine Arts at UC San Diego, and studied Library and Information Science at San Jose State University. She currently serves as Director of the Molesworth Institute and is based in Los Angeles, California. This exhibition was made possible by a grant from the Center for Cultural Innovation.

The National Trust looks after one of the largest and most significant holdings of fine-art and heritage objects in the world. As well as internationally famous works of art, the collections also contain many remarkable but far less familiar objects with fascinating stories to tell. This celebration of curiosities and inventions features forgotten gadgets, unusual works of art, humorous gifts and peculiar personal treasures. From dodos and dioramas to witch bottles and wooden pets, every object provides unexpected insights into the lives of those who made, owned or used it. Selected by National Trust curators, the featured objects are accompanied by easy-to-read captions. The book concludes with a list of National Trust places where these intriguing collections can be found.

The Gift captures the Singapore segment of the curatorial project Collecting Entanglements and Embodied Histories. Focusing on ideas of inter-relation and exchange manifest in history, geography and identity, this catalogue features the works of 15 artists in an examination of how the act of giving is performed, remembered and entangles. Collecting Entanglements and Embodied Histories is a dialogue between the collections of Galeri Nasional Indonesia, MAIIAM Contemporary Art Museum, Nationalgalerie Staatliche Museen zu Berlin and Singapore Art Museum, initiated by the Goethe-Institut. The exhibitions are curated by Anna-Catharina Gebbers, Grace Samboh, Gridthiya Gaweewong and June Yap. 52 colour, 1 b/w illustrations

Patron Saints: Collecting Stanley Spencer is a revealing new exhibition at the renowned Stanley Spencer Gallery in Cookham - Spencer's spiritual home and major source of inspiration. The exhibition draws together a spectacular collection of loans, including The Centurion's Servant (Tate); Love on the Moor (Fitzwilliam); John Donne Arriving in Heaven, (Fitzwilliam) and one work not seen in the public domain in over 50 years. The exhibition and catalogue examine the often complex relationships between Spencer and his patrons and what drove them to collect his work. Spencer was a single-minded genius, but the influence of his patrons on his painting is far greater than has hitherto been realised. At the turn of the century, collecting art was no longer the preserve of the aristocracy and the upper classes, but Spencer's art appealed to a broad spectrum of art lovers, fellow artists, businessmen and politicians. Many of his patrons lived in Cookham, where he lived and found artistic inspiration, and many of his paintings were influenced by his spiritual feelings for that place. His idiosyncratic and deeply personal approach gave him a wide and enduring appeal, and he was patronised by some of the most important cultural figures and taste-makers of that time. Curator Amanda Bradley comments, "Behind Stanley Spencer, one of the greatest Modern British artists, were a group of individuals who enabled his very existence - both artistically and emotionally. They were not wildly rich, but they were powerful, cultivated, intellectual and artistic. Some bought on spec, others were true patrons, giving him the freedom to fulfil his artistic genius. Most fostered long-lived relationships with the artist, influencing his life and work more than has hitherto been realised. These were the patron saints." Patron Saints: Collecting Stanley Spencer explores the emergence of Spencer as an artistic personality, looking at those who helped him and why he - and his popularity - was a product of the zeitgeist (first half of the twentieth century) characterised by social and economic anxiety.

The Hamburg banker's son Aby Warburg (1866-1929) was one of the most influential art historians and cultural theorists of the 20th century. His life's work was devoted to tracing antique formulas of representation in the depiction of human passions in Renaissance art. For this epoch-spanning relationship, he developed the term 'pathos formula' (Pathosformel). In a lecture given in 1905 in the Konzerthaus in Hamburg, focusing on the young Albrecht Durer's Death of Orpheus, Warburg outlined his thoughts in front of the original drawing, which he had borrowed from the rich holdings of the Kunsthalle in order to better illustrate his idea. This drawing, pivotal in the young artist's development as an ambitious response to classical antiquity, was displayed during the lecture alongside a group of engravings and woodcuts which included not only some of Durer's own seminal later prints, such as Melencolia I, but also engravings by Andrea Mantegna which Durer copied in 1494, the same year he drew the Death of Orpheus. Warburg's 'pop-up exhibition' of eleven works has here been reconstructed and analyzed, using his fascinating lecture notes, sketches and slide lists. First developed by the Hamburger Kunsthalle in 2011, subsequently on view in Cologne in the Wallraf-Richartz Museum and now at The Courtauld Gallery, each institution has interpreted the material slightly differently, while retaining the core Warburg group. Aby Warburg aimed at unlocking the meaning of an art work by excavating its roots in its cultural context. By restaging his legendary display of 1905 with Durer's Death of Orpheus at its heart, the exhibition and accompanying book present some of the most skillful and ambitious works on paper ever produced and also seek to introduce into Warburg's rich intellectual universe to a broader public, hoping thereby to offer both sheer enjoyment and food for thought.

Presented in a beautiful gift format, this engaging book aims to introduce to a general audience the National Trust's vast collection of paintings through a selection of 100 important examples from the 14th to the 20th centuries. Paintings displayed in properties now cared for by the National Trust across England, Wales and Northern Ireland amount to one of the finest collections of historic fine art in the world. Indeed, many National Trust houses should perhaps be considered miniature 'National Galleries' for their counties as they display works by some of the most renowned European artists of all time including Titian, El Greco, Holbein, Rubens, van Dyck, Rembrandt, Velazquez, Gainsborough, Reynolds, Canaletto, Hogarth, Stubbs, Angelica Kauffman, Edward Burne-Jones, James Tissot, Max Ernst, Vanessa Bell, Barbara Hepworth and Stanley Spencer, to name but a few. Selected by National Trust curators from over 13,000 works, the 100 paintings showcased in this book are arranged chronologically, each accompanied by an illuminating, easy-to-read caption. The book ends with a handy glossary of terms and a list of National Trust properties that house important paintings.

This book pays tribute to the sacrifices and achievements of seven individuals who made difficult and controversial choices to insure that black Americans shared in the evolution of the nation's cultural heritage. Transcriptions and analyses of never-before published uncensored conversations with Lorenzo Tucker, Lillian Gish, King Vidor, Clarence Muse, Woody Strode, Charles Gordone, and Frederick Douglass O'Neal reveal many of the reasons and rationalizations behind a racist screen imagery in the first three-quarters of the twentieth century. This primary source, replete with pictures, documentation, and extensive annotations, recounts through the words of important participants what happened to many film pioneers when a new generation of African-Americans rebelled against the nation's stereotyped film imagery. "A unique historical resource, this book is a fitting tribute to these artists, reminding us of their courage, integrity, and perseverance to succeed against great odds. The thorough, meticulous annotations make it an indispensable addition to collections in film studies and African American studies." -Denise Youngblood, Professor of History, University of Vermont, author of Russian War Films. "The author has taken a unique approach and may have even created a new genre of writing: the interview embellished with scholarly commentary. It is a fascinating experiment. . . This book belongs in every research library and in all public libraries from mid-size to large cities. It fills in lacunae between existing studies." -Peter C. Rollins, Editor-in-Chief of Film & History.

The publication of the great eighteenth-century collection of William Hunter in Glasgow University marks an important stage in the British SNG project. This catalogue of the first half of the Hunterian's Roman Provincial coins illustrates the 2428 coins produced in the West, and East as far as Commagene. 'Greek Imperial' coins have perhaps still to be fully appreciated in the context of the Roman Empire. From the death of Caesar to the reign of Diocletian, almost a thousand cities in the provinces issued coins with types and inscriptions that symbolize their cultural identity. The coins published in this substantial volume offer a wealth of information about many aspects of local life in that period, including religion, architecture and administration.

The 90s are back! In a richly illustrated volume, which accompanied her first ever curated exhibition, Claudia Schiffer brings together legendary fashion photographers, designers and supermodels, whose visions captivated and shaped the decade. The book draws from a diverse panorama of various aspects, characters, and places, the interplay of which made fashion become a kind of 'total artwork' during the 90s. Major photographic works by legendary photographers are balanced with unseen material from Schiffer's private archive. Readers gain insights into a diverse world of images: the extravaganza of Arthur Elgort's oeuvre is shown next to Corinne Day's intimate and immediate style. Ellen von Unwerth's sense of humour and exuberant play with sexiness, meet the sculptural and perfectly composed works by Herb Ritts. The provocative photos by Juergen Teller contrast with Karl Lagerfeld's elegant and timeless images. Many more iconic photographers are featured in the volume. The accompanying essays by leading heads of the fashion industry shed light on a decade which strongly shapes the culture of the present.

Eileen Cooper OBE RA has been consistently successful across her 50-year career, the influence of her art seen in the range and depth of her work as well as in her contribution to art education. Cooper's artistic experiences - which, in the words of Linsey Young, disrupt the neat patriarchal understandings of women - are brought together in this thoughtfully designed and elegant hardback. Early works are illustrated alongside previously unseen drawings, paintings, prints, ceramics and portraits, many of which will surprise readers. The authors also consider Cooper's work in relation to the collections of Leicester Museum & Art Gallery, including works by Peter Doig, Paula Rego, Pablo Picasso, Dame Laura Knight and Lotte Laserstein.