This book explores the relationship between collecting Chinese ceramics, interior design and display in Britain through the eyes of collectors, designers and tastemakers during the years leading to, during and following the Second World War. The Ionides Collection of European style Chinese export porcelain forms the nucleus of this study - defined by its design hybridity - offering insights into the agency of Chinese porcelain in diverse contexts, from seventeenth-century Batavia to twentieth-century Britain, raising questions about notions of Chineseness, Britishness, and identity politics across time and space. Through the biographies of the collectors, this book highlights the role of collecting Chinese art objects, particularly porcelain, in the construction of individual and group identities. Social networks linking the Ionides to agents and dealers, auctioneers, and museum specialists bring into focus the dynamics of collecting during this period, the taste of the Ionides and their self-fashioning as collectors. The book will be of interest to scholars working in the fields of art history, history of collections, interior design, Chinese studies, and material culture studies.

The Sculpture of William Edmondson: Tombstones, Garden Ornaments, and Stonework is the first large-scale museum examination of the artist's career in over twenty years. Organized by Cheekwood Curator of Sculpture, Dr. Marin R. Sullivan, the exhibition draws upon new scholarship and methodologies to contextualize Edmondson's sculpture, both within the histories of Nashville during the Interwar years and the art histories of modern art in the United States. Edmonson has largely been confined to narratives that focus on his artistic discovery by white patrons in the 1930s, his work's formal resonance with so-called primitivism and direct carving techniques, and his place in the traditions of African American ""outsider"" art. This exhibition revisits Edmonson's work within these frameworks, but also seeks to reevaluate his sculpture on its own terms and as part of a comprehensive practice that included the creation of commercial objects rather than strictly fine art. The exhibition's title references the sign that hung on the outside of Edmondson's studio, advertising what was for sale and on view to the public in his yard, including tombstones, birdbaths, and statuary meant to be used and intended for outdoor rather than gallery display. This catalog expands upon the exhibition, including photos of Edmondson's grave markers and his yard art.

"This year, the Fondation Vuitton strikes again with an exhibition of the Morozov Collection, about 200 French and Russian works bought by two other textile magnates, the brothers Mikhail and Ivan Morozov, who also made multiple Paris shopping trips" - New York Times The Morozov brothers, wealthy Moscow textile merchants Mikhail (1870-1903) and Ivan (1871-1921), played a key role in bringing Impressionist and Post-Impressionist art to Russia in the first decades of the 20th century. Along with Sergei Shchukin, a fellow industrialist and art collector, they created an international audience for French art and had a transformative effect on Russian cultural life. Between the years 1903 and 1914, Ivan Morozov spent more money than any other collector of his time, amassing a stunning collection of works by Matisse, Monet, Picasso, Bonnard, Sisley, Renoir, Signac, Vuillard, Gauguin, Van Gogh, Degas, Pissarro, and, most especially, Cezanne (17 paintings, all of which will be on display). On his bi-annual trips to Paris, he bought from the most discerning dealers, including Paul Durand-Ruel, Ambroise Vollard, and Daniel-Henri Kahnweiler, as well as directly from the artists themselves. His collection comprises 278 paintings, not including 300 paintings by Russian artists (Chagall, Malevich, Serov, Vrubel, Levitan, Larionov, Goncharova) and 28 sculptures. The Morozov collection was nationalised after the October 1917 Revolution, and after World War II it was divided among the Hermitage Museum, the Pushkin State Museum of Fine Arts, and the Tretyakov State Museum. This stunning catalogue has been published for a show of 100 highlights from the Morozov Collection that will run from 22 September 2021 - 22 February 2022 at the Louis Vuitton Foundation in Paris. It is the first time that works from the collection will travel abroad since they were acquired. This landmark exhibition will be the only stop for the show outside of Russia.

An expanded edition of the definitive book on Ruth Asawa's fascinating life and her lasting contributions to American art. The work of American artist Ruth Asawa (1926-2013) is brought into brilliant focus in this definitive book, originally published to accompany the first complete retrospective of Asawa's career, organized by the Fine Arts Museums of San Francisco in 2006. This new edition features an expanded collection of essays and a detailed illustrated chronology that explore Asawa's fascinating life and her lasting contributions to American art. Beginning with her earliest works-drawings and paintings created in the 1940s while she was studying at Black Mountain College-this beautiful volume traces Asawa's flourishing career in San Francisco and her trajectory as a pioneering modernist sculptor who is recognized internationally for her innovative wire sculptures, public commissions, and activism on behalf of public arts education. Through her lifelong experimentations with wire, especially its capacity to balance open and closed forms, Asawa invented a powerful vocabulary that contributed a unique perspective to the field of twentieth-century abstract sculpture. Working in a variety of nontraditional media, Asawa performed a series of remarkable metamorphoses, leading viewers into a deeper awareness of natural forms by revealing their structural properties. Through her art, Asawa transfigured the commonplace into metaphors for life processes themselves. The Sculpture of Ruth Asawa establishes the importance of Asawa's work within a larger cultural context of artists who redefined art as a way of thinking and acting in the world, rather than as merely a stylistic practice. This updated edition includes a new introduction and more than fifty new images, as well as original essays that reflect on the impact of American political history on Asawa's artistic vision, her experience with printmaking, and her friendship with photographer Imogen Cunningham. Contributors include Susan Ehrens, Mary Emma Harris, Karin Higa, Jacqueline Hoefer, Emily K. Doman Jennings, Paul J. Karlstrom, John Kreidler, Susan Stauter, Colleen Terry, and Sally B. Woodbridge. Published in association with the Fine Arts Museums of San Francisco (FAMSF).

In the Spirit of the Ancestors celebrates the vitality of contemporary Pacific Northwest Coast art by showcasing a selection of objects from the Burke Museum's collection of more than 2,400 late-twentieth- and early-twenty-first-century Native American works. Essays focus on contemporary art while exploring the important historical precedents on which so many artists rely for training and inspiration. Margaret Blackman reflects on building one of the largest collections of Northwest Coast serigraphs, and Joe David reminisces about his artistic journey through mask-making. Shaun Peterson, Lisa Telford, and Evelyn Vanderhoop discuss the historical precedents for working in styles that were kept alive only by a few critical artists and are now making a comeback. Robin K. Wright explores the history of box drums and their revival. Emily Moore discusses the repatriation of two stolen house posts and proposes a new concept of "propatriation" to describe the resulting commissioning of contemporary posts to take their place. Kathryn Bunn-Marcuse explores the power of adornment and how clothing, jewelry, and personal adornments like tattooing express tribal and personal identity in ways both connected to the past and grounded in the present. The diversity of approaches presented by these contributors speaks to artists, collectors, academics, tribal communities, and all those interested in Pacific Northwest Coast art. Splendid color photographs of works never before published will delight everyone. Watch the trailer: http://www.youtube.com/watch?v=E15hbqvHo4w&list=UUge4MONgLFncQ1w1C_BnHcw&index=7&feature=plcp

Like hardly any other artist, Pierre-Auguste Renoir has shaped our understanding of the atmospheric figure paintings of Impressionism. His painting La fin du dejeuner, which has been in the Stadel Museum in Frankfurt since 1910, is now the starting point for a far-reaching examination of an important source of inspiration that accompanied him throughout his life: the Rococo. Considered frivolous and immoral after the French Revolution, this style of painting experienced a renaissance in the 19th century and was widely celebrated during Renoir's lifetime. Published on the occasion of the Stadel Museum's major exhibition, this comprehensive volume explores Renoir's multifaceted connection to tradition through illuminating juxtapositions of his art with 18th-century works and contemporaries.

The art of Samuel Palmer is essentially a discovery of the 20th century. Although he exhibited widely during his lifetime, and found buyers for some of his watercolours and etchings, it was not until the retrospective exhibition held at the Victoria and Albert Museum in 1926 that the general public were able to enter the uniquely personal world of Palmer's early years at Shoreham. Since then, his influence on a generation of English painters including Nash, Sutherland, John Piper, and F.L. Griggs, the publications of Geoffrey Grigson, Raymond Lister and others, have made him one of the most popular of English artists. The collection of paintings, drawings, watercolours, and etchings by Samuel Palmer in the Ashmolean Museum is the most important in the world. It is especially rich in the early works of the Shoreham period, from c. 1824 to 1835, notably the haunting self portrait and the unique group of six sepia drawings of 1825, which represent the 'visionary landscape' at its most intense.

Looking Again is as much about photography as it is about the specific photographs reproduced within it. It is designed to provide the reader with a glimpse into both the collection at the New Orleans Museum of Art and into photography's complexity. Through 132 objects and essays, Russell Lord explores the many histories of photography, addressing long-held beliefs and offering new ways of thinking about, and looking at, photographs. As the world moves increasingly toward an image-dependent style of communication, there has never been a better time to seriously examine our belief in or apprehension toward the photographic image. Standing on the threshold of what might be a turning point in humanity's relationship to the photograph, this volume encourages the reader to dig deeply into photography: to look, and then look again. This book is published on the centennial of the first photography exhibition presented at the New Orleans Museum of Art, in 1918.

Originally published in 1949, this book contains a catalogue of the Islamic metalwork that was in the collection of the British Museum at the time of publication. The text is accompanied by a number of photographic reproductions of key pieces and line drawings of some of the intricate designs featured on the artefacts. Basil Gray, in the introduction, argues that 'metalwork provides the most continuous and best-documented material for the history of Islamic art', and as a record of one of the country's most important collections of such art this book will be of value to anyone with an interest in Islamic art.

Rituals shape our social relations and are highly significant in all cultures. They define communities and make transformation possible by conveying security and support. In this exhibition catalogue, three up and coming artists - Baptiste Brossard, Helen Dowling, and Sara-Lena Maierhofer - explore rituals in their various contemporary forms. Based on predominantly time-based media such as photography and video, their works exemplify the ephemeral and performative character of ritual acts. This book accompanies an exhibition of the same name at Galerie Stadt Sindelfingen (Germany), and imparts a critical perspective on this elementary social force. It illustrates that rituals are necessarily subject to change yet can also strengthen personal and societal resilience in the present day. Text in English, German and French.

Originally published in 1912, this book contains the first half of the catalogue of the sculptures held in the collection of the Acropolis Museum in Athens. In this volume, Dickins lists the museum's assortment of archaic sculptures, thought to have been made before the razing of the Acropolis in 480 BC. The detailed text is illustrated with drawings of many of the sculptures listed, including the famous Peplos Kore, Kore 675 and the 'Mourning Athena' relief. This well-presented and thoroughly researched book will be of value to anyone with an interest in ancient Greek art, particularly art in the archaic style.

Originally published in 1921, this book contains the second half of the catalogue of the sculptures held in the collection of the Acropolis Museum in Athens. In this volume, Casson lists the sculptural and architectural fragments in the museum dating from after 480 BC. The detailed text is accompanied with drawings and photographs of many of the sculptures listed, including sculptures from the Temple of Athena Nike and several sections of the Parthenon Frieze. A special section at the end by Dorothy Brooke is devoted to the terracotta finds from the Acropolis. This well-presented and thoroughly researched book will be of value to anyone with an interest in ancient Greek art.

Originally published in 1933, this book presents a detailed description of the collections of silver, portraits and other paintings at King's College, Cambridge. A list of the early donors of silver is also provided. This book will be of value to anyone with an interest in King's College and its collections.

A professional author of art and literary criticism as well as travel writing, Anna Jameson (1794 1860) journeyed widely in Europe and North America, and moved in the literary circles which included the Brownings and Harriet Martineau. Many of her other works are also reissued in the Cambridge Library Collection. In 1844, she published this book on the great private art collections of London. She begins with an essay on the formation of the collections, from the seventeenth-century earl of Arundel onwards, and then describes in turn the Queen's Gallery, the Bridgewater, Sutherland, Grosvenor and Lansdowne galleries, and the collections of Sir Robert Peel and of the poet Samuel Rogers. For each collection there is an introductory essay, a catalogue raisonnee and a note of the most important items in the collection. This work is a fascinating and valuable guide to mid-nineteenth-century taste and fashion in art."

In 1646, on a panel fewer than nine inches wide, Rembrandt van Rijn (1606-1669) produced one of his most captivating images. In private hands and publicly exhibited only a handful of times, this extraordinary painting, Abraham Entertaining the Angels, is among the artist's lesser-known masterpieces and it is the inspiration for Divine Encounter. Rembrandt took an unusual and dramatic approach to Biblical subjects. He made use of the viewer's knowledge of the subject whilst finding ways to bring the familiar to life, a challenge he took on throughout his career. Abraham and the Angels is presented alongside a selection of Rembrandt's treatments of other biblical episodes in which Abraham encounters God and his angels. These are examined as a group, compared with versions by Rembrandt's contemporaries, and considered in relation to theological, philosophical and artistic debates of the period.

This illustrated three-volume catalogue of the works of painter and engraver William Hogarth (1697-1764) was the result of 'Hogarthomania', the enthusiasm for all his productions which arose soon after his death. The publisher and author John Nichols (1745-1826), assisted by the collector and literary critic George Steevens, published a life of Hogarth and a list of his works in 1781, and as disputes increasingly arose over the genuineness of some of the prints attributed to him, enlarged versions appeared in 1782 and 1785. This work, published between 1808 and 1817, is the last in the sequence of Nichols' works on Hogarth, and remains a useful source for art historians and anyone interested in the cultural life of the eighteenth century. Volume 2 contains a catalogue of his works, an appendix of anecdotes about some of Hogarth's subjects, and his essay The Analysis of Beauty.

The German artist Johann David Passavant (1787 1861) visited Britain in 1831 in order to examine works by Raphael in private and public galleries for a book he was preparing. He had not been able to find any helpful German accounts of British collections, and so decided to publish a narrative of his own travels and observations. The British writer and art critic Elizabeth Rigby (later Lady Eastlake) produced a two-volume translation in 1836, believing that English readers would benefit from Passavant's descriptions of little-known collections in their own country, as well as from his practitioner's response to the works themselves. Volume 1 covers the National Gallery, the Royal Academy and the royal collections at Buckingham and Kensington Palaces, Windsor Castle and Hampton Court, as well as the private galleries of aristocrats and wealthy commoners in London and the home counties, ending with the colleges of Oxford."

The German artist Johann David Passavant (1787 1861) visited Britain in 1831 in order to examine works by Raphael in private and public galleries for a book he was preparing. He had not been able to find any helpful German accounts of British collections, and so decided to publish a narrative of his own travels and observations. The British writer and art critic Elizabeth Rigby (later Lady Eastlake) produced a two-volume translation in 1836, believing that English readers would benefit from Passavant's descriptions of little-known collections in their own country, as well as from his practitioner's response to the works themselves. Volume 2 begins with the duke of Marlborough's collection at Blenheim, and continues to cover Chatsworth, Althorpe, Holkham, and other 'country seats', finishing in Cambridge. Passavant also provides a catalogue of drawings at Buckingham Palace, a list of the pictures discussed, and an overview of collections not visited."

This illustrated three-volume catalogue of the works of painter and engraver William Hogarth (1697-1764) was the result of 'Hogarthomania', the enthusiasm for all his productions which arose soon after his death. The publisher and author John Nichols (1745-1826), assisted by the collector and literary critic George Steevens, published a life of Hogarth and a list of his works in 1781, and as disputes increasingly arose over the genuineness of some of the prints attributed to him, enlarged versions appeared in 1782 and 1785. This work, published between 1808 and 1817, is the last in the sequence of Nichols' works on Hogarth, and remains a useful source for art historians and anyone interested in the cultural life of the eighteenth century. Volume 1 contains a biography of Hogarth and a short account of the continuing issues of his prints after his death.

This illustrated three-volume catalogue of the works of painter and engraver William Hogarth (1697-1764) was the result of 'Hogarthomania', the enthusiasm for all his productions which arose soon after his death. The publisher and author John Nichols (1745-1826), assisted by the collector and literary critic George Steevens, published a life of Hogarth and a list of his works in 1781, and as disputes increasingly arose over the genuineness of some of the prints attributed to him, enlarged versions appeared in 1782 and 1785. This work, published between 1808 and 1817, is the last in the sequence of Nichols' works on Hogarth, and remains a useful source for art historians and anyone interested in the cultural life of the eighteenth century. Volume 3, published seven years after Volume 2, contains further plates, critical essays, and a 'key' to the scenes in Hogarth's prints allegedly derived from classical sources.