This is the second and concluding volume in the SCBI series devoted to the collection of Anglo-Saxon and Norman coins in the Grosvenor Museum, Chester. The Grosvenor Museum's holdings in this field derive partly from the matchless collection of coins of the Chester mint formed during the first half of the twentieth century by Dr Willoughby Gardner (1860-1953), and partly from a succession of major hoards of tenth-century date discovered in the city of Chester at intervals since the 1850s. As a result, the Grosvenor Museum collection is of national importance for the study of tenth-century Anglo-Saxon coinage, and the present volume describes and illustrates hundreds of previously unpublished coins of this period. The volume also contains an introductory essay discussing the history of the Chester mint between its foundation in the early years of the tenth century and the major reform of the English coinage carried out in the closing years of the reign of King Edgar (959-75). It explains how to distinguish coins struck at Chester from comparable coins struck at neighbouring mints including Derby, Stafford and Tamworth, and puts on record the fact that during Chester's mid-tenth-century heyday its moneyers were more numerous and probably more productive than those at such other major English cities as London and Winchester.

"I draw first, and then I paint like Jean-Michel. I think the paintings we make together are better when we don't know who has done what" - Andy Warhol. Between 1984 and 1985, Jean-Michel Basquiat (1960-1988) and Andy Warhol (1928-1987) created around 160 paintings together in tandem, a quatre mains, including some of the most remarkable works produced during their respective careers. Keith Haring (1958-1990), who witnessed their friendship and collaboration production, would go on to speak of a "conversation occurring through painting, instead of words," and of two minds merging to create a "third distinctive and unique mind." Accompanying an exhibition at Fondation Louis Vuitton, this book illustrates more than 100 paintings jointly signed by the two artists.

When and why did large-scale exhibitions of Old Master paintings begin, and how have they evolved through the centuries? In this book an eminent art historian examines the intriguing history and significance of these international art exhibitions. Francis Haskell begins by discussing the first 'Old Master' exhibitions in Rome and Florence in the seventeenth century and then moves to eighteenth-century France and the efforts to organize exhibitions of contemporary art that would be an alternative to the official ones held by the Salon. He next describes the role of the British Institution in London and the series of remarkable loan exhibitions of Old Master paintings there. He traces the emergence of such nationalist exhibitions as the Rembrandt exhibition held in Amsterdam in 1898 - the first modern 'blockbuster' show. Demonstrating how the international loan exhibition was a vehicle of foreign and cultural policy after the First World War, he gives a fascinating account of several of these, notably the Italian art exhibition held at Burlington House in London in 1930. He describes the initial reluctance of major museums to send pictures on potentially damaging journeys and explains how this feeling gave way to cautious enthusiasm. Finally, in a polemical chapter, he explores the types of publication associated with exhibitions and the criticism and scholarship that have centred upon them. Francis Haskell, who died in January 2000, was one of the most original and influential art historians of the twentieth century. His books included 'Patrons and Painters: A Study in the Relations between Italian Art and Society in the Age of the Baroque' (revised edition, 1980), 'Past and Present in Art and Taste' (1987), 'History and Its Images: Art and the Interpretation of the Past' (1993) and, with Nicholas Penny, 'Taste and the Antique' (1982), all published by Yale University Press. He retired as Professor of the History of Art at Oxford University in 1995.

English Gothic Misericord Carvings: History from the Bottom Up by Betsy Chunko-Dominguez is the first book to move beyond textual dependence and traditional iconographic analysis when examining misericords. It likewise builds the most thorough discussion to date of the relationship between the misericord's several potential audiences - including patron, craftsman, occupant of the seat, and modern viewer. Beyond the bounds of misericord studies, there are implications here for study of the relationship between center and margin in late medieval art; and, indeed, what constitutes 'center' and 'margin' as conceptual realms. Ultimately, this book attempts both to re-integrate the study of misericords into the study of Gothic art in general, and to re-center them in relation to our understanding of late medieval culture.

This beautifully illustrated catalogue presents a selection of exceptional seventeenth-century Dutch drawings from the Peck Collection in the Ackland Art Museum at the University of North Carolina at Chapel Hill. Featuring many previously unpublished and rarely exhibited works, the catalogue brings together examples by some of the best-known artists of the era such as Rembrandt, Jacques de Gheyn II, Samuel van Hoogstraten, and Frans van Mieris. The collection was donated to the museum in 2017 by the late Drs. Sheldon and Leena Peck. The transformative gift is comprised of over 130 largely seventeenth- and eighteenth-century Dutch and Flemish drawings, establishing the Ackland as one of a handful of university art museums in the United States where northern European drawings can be studied in depth. Drawn to Life presents around 70 works from this exceptional and diverse group of drawings amassed by the Pecks over four decades. Featuring new research and fresh insights into seventeenth-century drawing practice, the catalogue and accompanying exhibition celebrates the creativity and technical skills of Dutch artists who explored the beauty of the natural world and the multifaceted aspects of humanity. The catalogue features a broad selection of scenes of everyday life, landscapes, biblical and historical scenes, portraits, and preparatory studies, forming a dynamic and representative group of Dutch drawings made by some of the most outstanding artists of the period, including Abraham Bloemaert, Jacob van Ruisdael, Esaias van de Velde, Bartholomeus Breenbergh, Pieter Molijn, Aelbert Cuyp, Adriaen van Ostade, Ferdinand Bol, Nicolaes Maes, Jan Lievens, Gerard ter Borch, Adriaen van de Velde, Nicolaes Berchem, and Cornelis Dusart. Key sheets of remarkable quality by lesserknown artists such as Guillam Dubois, Herman Naiwincx, Willem Romeyn, and Jacob van der Ulft, also comprise a core strength of the collection, and serve as a testament to the visual acuity of the Pecks as collectors. At the heart of the Peck Collection are several sheets by Rembrandt, including the sublime Noli me Tangere; a beautifully rendered late landscape, Canal and Boats with a Distant View of Amsterdam; and the superbly charming Studies of Women and Children, which was the last of Rembrandt's seventeen known drawings with an inscription in his own hand to reach a public collection. Meticulously researched and written by Robert Fucci, Ph.D., Drawn to Life introduces both scholars and drawings enthusiasts to the depth and beauty of the Peck Collection at the Ackland Art Museum.

Some words about SCART 2000. SCART stands for science and art. SCART meetings are organized in a loose time sequence by an international group of scientists, most of them fluid-dynamicists. The first meeting was held in Hong-Kong, the second one in Berlin, and the third, and latest, one in Zurich. SCART meetings include a scientific conference and a number of art events. The intention is to restart a dialogue between scientists and artists which was so productive in the past. To achieve this goal several lectures given by scientists at the conference are intended for a broader public. In the proceedings they are denoted as SCART lectures. The artists in tum address the main theme of the conference with their contributions. The lectures at SCART 2000 covered the entire field of fluiddynamics, from laminar flows in biological systems to astrophysical events, such as the explosion of a neutron star. The main exhibition by Dutch and Swiss artists showed video and related art under the title 'Walking on Air'. Experimental music was performed in two concerts.

The 4th Marquess of Hertford and Sir Richard Wallace were both passionate collectors of miniatures, exquisite small paintings in watercolor or enamel, generally made for private contemplation and one of the most popular mediums of portraiture in an age before the advent of photography. This book features over seventy of the finest miniatures in the Wallace Collection, all of them reproduced in color, most for the first time. The volume spans the period from the mid-16th to the late-19th centuries. The entries include much new information on the miniatures and are accompanied by images of related works in the Wallace Collection and elsewhere. There are introductory essays on the history of the collection and on French eighteenth-century miniatures, a particular highlight of the collection.

Exceptional among English-language publications in its focus on French miniatures, this book offers a fascinating and tantalizing glimpse into the magical world of the miniature.

This beautiful publication accompanies an exhibition at the Morgan Library & Museum of the work of Giovanni Battista Piranesi (1720–1778). It is the most important study of Piranesi’s drawings to appear in more than a generation. In a letter written near the end of his life, Giovanni Battista Piranesi explained to his sister that he had lived away from his native Venice because he could find no patrons there willing to support “the sublimity of my ideas.” He resided instead in Rome, where he became internationally famous working as a printmaker, designer, architect, archaeologist, theorist, dealer, and polemicist. While Piranesi’s lasting fame is based above all on his etchings, he was also an intense, accomplished, and versatile draftsman, and much of his work was first developed in vigorous drawings. The Morgan Library& Museum holds what is arguably the largest and most important collection of these works, more than 100 drawings that include early architectural caprices, studies for prints, measured design drawings, sketches for a range of decorative objects, a variety of figural drawings, and views of Rome and Pompeii. These works form the core of the book, which will be published on the occasion of the Morgan’s Spring 2023 exhibition of Piranesi drawings. More than merely an exhibition catalogue or a study of the Morgan’s Piranesi holdings, however, this publication is a monograph that offers a complete survey of Piranesi’s work as a draftsman. It includes discussion of Piranesi’s drawings in public and private collections worldwide, with particular attention paid to the large surviving groups of drawings in New York, Berlin, Hamburg, and London; it also puts the large newly discovered cache of Piranesi material in Karlsruhe in context. The most comprehensive study of Piranesi’s drawings to appear in more than a generation, the book includes more than 200 illustrations, and while focused on the drawings it offers insights on Piranesi’s print publications, his church of Santa Maria del Priorato, and his work as a designer and dealer. In sum, the present work offers a new account of Piranesi’s life and work, based on the evidence of his drawings.

This book accompanies the first exhibition entirely of Jamaican art to take place in the north-west of the UK. The exhibition, Jamaica Making: The Theresa Roberts Art Collection, is sited at the Victoria Gallery and Museum, Liverpool in 2022, and is a comprehensive presentation of the best of Jamaican art since the 1960s. The Theresa Roberts Art Collection is the private collection of Theresa Roberts, a Jamaican-born businesswoman and philanthropist, who has made the UK her home. This collection offers an important insight into the development of Jamaican art since the country gained independence in 1962. Indeed, the exhibition also acts to commemorate the 60th anniversary of Jamaican independence in 2022. Included in the book are the following: an official welcome from the Prime Minister of Jamaica; an essay by the collector, exhibition donor and philanthropist, Theresa Roberts; an introduction by eminent British-Jamaican art historian, Edward Lucie-Smith; essays by Emma Roberts, the exhibition curator (Liverpool John Moores University), Davinia Gregory-Kameka, writer, educator and researcher (Columbia University, USA) and Sireita Mullings, arts practitioner and visual sociologist (University of Bedfordshire). The final section of the book is the full visual catalogue of the Jamaica Making exhibition - a unique record of this historic exhibition. An Open Access edition of this book is available on the Liverpool University Press website and the OAPEN library.

As the art world eagerly embraces a journalistic approach, Aesthetic Journalism explores why contemporary art exhibitions often consist of interviews, documentaries and reportage. This new mode of journalism is grasping more and more space in modern culture and Cramerotti probes the current merge of art with the sphere of investigative journalism. The attempt to map this field, here defined as 'Aesthetic Journalism', challenges, with clear language, the definitions of both art and journalism, and addresses a new mode of information from the point of view of the reader and viewer. The book explores how the production of truth has shifted from the domain of the news media to that of art and aestheticism. With examples and theories from within the contemporary art and journalistic-scape, the book questions the very foundations of journalism. Aesthethic Journalism suggests future developments of this new relationship between art and documentary journalism, offering itself as a useful tool to audiences, scholars, producers and critics alike.