Originally published in 1897, this book was written to provide both archaeologists and visitors with an accessible guide to Greek vases in the Fitzwilliam Museum: 'to publish and make accessible to archaeologists a record of the vases it contains, and to assist the visitor, and more especially the student in observing the history and technique of Greek vase-painting'. The text contains illustrations of every vase in the collection, except those that reproduce well-known and common types; these illustrations replace lengthy description and allow for easy identification of subject and style. This is a beautifully presented book that will be of value to anyone with an interest in the collections of the Fitzwilliam Museum, archaeology and Greek vases.

The Many Lives of Erik Kessels presents the highly anticipated first illustrated survey of this pioneering and influential curator, editor, and artist whose varied experiments with photography and photographic archives have allowed us to reconsider the medium's vernacular and narrative possibilities in today's inundated image landscape. "People consume photographs," says Kessels, "they don't look at them anymore." This volume is a primer on how to look-and how to better understand the hybrid practice of this artist who defies categorization. Including more than twenty of the artist's series and features essays by Simon Baker, Hans Aarsman, and curator Francesco Zanot, The Many Lives of Erik Kessels is published in conjunction with a major mid- career retrospective at Camera: Italian Centre for Photography in Turin, Italy.

Presenting unique and in-depth collaborations and editions with leading contemporary artists, Parkett has been the foremost international journal on contemporary art for nearly two decades. Issue #63 features collaborations with Tracey Emin (Great Britain), William Kentridge (South Africa), and Gregor Schneider (Germany), three artists whose highly personal works affect viewers in an evocative manner, yet through strikingly different means. Emin bares her soul from the inside out, in her confessional multimedia photographs, drawings, videos, and installations. Kentridge's highly-charged films, drawings, sculptures, and theatrical productions analyze the history of his native South Africa and the implications and legacy of apartheid. And finally, Schneider's inside-out abodes turn the seemingly cozy and reassuring context of home into a haunting maze of opened and closed rooms, claustrophobic corridors and tunnels, and impenetrable windows and doors. Each of these artists draws us into their private worlds, diminishing the boundaries between artist and audience.

The Schulhofs were unique among American collectors, as they sought art with a truly international dimension; Milan, Rome, Paris, Dusseldorf, Basel, London, Kassel, Venice, Pittsburgh, and New York were just a few of the many destinations for the late Hannelore and Rudolph Schulhof in over fifty years of collecting art. Starting in the early 1950s, together they built a collection that continues to inspire and educate future generations-from the powerful elegance of Richard Serra's Schulhof's Curve to Eduardo Chilida's exquisite ironworks and works on paper by artists such as Robert Smithson, Mark Rothko, and Cy Twombly. The collectors' interest in minimalism is reflected in works by Ellsworth Kelly, Robert Mangold, Agnes Martin, and Robert Ryman. This handsome volume showcases the thoughtful and highly personal texture of the Schulhof Collection.

The cheap, colourful plastic designs from East Germany pitted against the cool functionalism of West German design: The publication German Design 1949 - 1989: Two Countries, One History does away with such cliches. More than 30 years after German reunification, it presents a comprehensive overview of German design history of the post-war period for the first time ever. With over 380 illustrations and numerous examples from the fields of design-fashion, furniture, graphics, automobile, industrial, and interiors-the book shows how design featured in daily life on both sides of the Wall, the important part it played in the reconstruction process and how it served as a propaganda tool during the Cold War. Key objects and protagonists-from Dieter Rams or Otl Aicher in the West to Rudolf Horn or Renate Muller in the East-are presented alongside formative factors such as the Bauhaus legacy and important institutions. The exceptional case of the division of Germany allows a unique comparative perspective on the role design played in promoting socialism and capitalism. While in the Federal Republic to the West, it became a generator of the export economy and the "Made in Germany" brand, in the East it was intended to fuel the socialist planned economy and affordability for broad sections of the population was key. While the book highlights the different realities of East and West, the many cross references that connected design in both are also examined. It impressively illustrates the many facets of German design history in the post-war period. With contributions by Paul Betts, Greg Castillo, Petra Eisele, Siegfried Gronert, Jana Scholze, Katharina Pfutzner, Eli Rubin, Katrin Schreiter, Oliver Sukrow, Carsten Wolff, among others; interviews with Prem Krishnamurthy, Renate Muller and Dieter Rams.

Known as the master of French Romanticism for his energetic paintings, Eugene Delacroix (1798-1863) was also a consummate draftsman. This handsome book, one of the few to explore this topic in depth, provides new insight into Delacroix's drawing practice, paying particular attention to his materials and techniques and the ways in which the artist pushed the boundaries of the medium. The remarkable group of nearly 130 drawings featured here, many of which have been rarely seen, include academic and anatomical studies, sketches from nature, and preparatory drawings related to many of Delacroix's most renowned canvases, among them The Massacre at Chios and Liberty Leading the People.

To celebrate the Neue Galerie's twentieth-anniversary year, an exhibition will be presented of selections from the collection of its co-founder. The accompanying book continues with the theme of the tenth anniversary exhibition. Whereas the earlier show and publication focused on pieces from the third century BC to the twentieth century AD from Austria, France, and Germany, this exhibition and book will represent various centuries and media, highlighting Greek and Roman works, and Italian thirteenth- and fourteenth-century gold-ground paintings. Essays by distinguished art historians and curators will reflect on the breadth of these special fields, providing a background for various works, and their incorporation into the collection of the Neue Galerie's co-founder.

Alfred C. Haddon began his study of these native fabrics and garments with the collection in the Sarawak museum, Kuching, of which many of the patterns had been identified. His own collection, supplemented by one purchased for him from Dr Charles Hose, is now in the Cambridge Museum of Archaeology and Ethnology. These sources, together with an examination of the cloths in the British Museum, formed the basis of this memoir, which was originally published by Cambridge University Press in 1936. This was the first time that the beautiful and intimate patterns of Iban textiles had been investigated and illustrated. Laura E. Start contributed a full technical description of the manufacture of the fabrics and provided all the drawings.

The Mahy family of Ghent (Belgium) possess one of the largest collections of vintage and classic cars in the world. The 250 most notable cars in the collection are installed at Autoworld in the centre of Brussels, which is the third most attended museum in Belgium. But this represents only part of the collection. This full-colour book of photographs features, for the first time, the "reserve": 600 authentic, unrestored classic cars, which are not normally accessible to the public. Fifty of these cars were photographed separately in a specially built studio. A fantastic visual resource for car aficionados, car fanatics, and vintage car collectors.

When considering the term “icon”, how can the idea of cultic worship be connected with the concept of the transcendental today? The qualities of the traditional icon continue to have an effect, particularly in the spiritual presence and auratic power of many modern and contemporary artworks. This volume presents masterpieces which expressesaspects of spirituality and reverence in a variety of individual ways.

The works extend from Russian icons via Caspar David Friedrich, Wassily Kandinsky, Kazimir Malevich, Piet Mondrian, Mark Rothko and Yves Klein to Andy Warhol, Niki de Saint Phalle, Isa Genzken and Andreas Gursky.

Everyday icons from the world of brands and pop culture complete the range of images. The choice of works and the essays by selected authors contrast the interpretation of the traditional concept of the icon in art with the phenomenon of the creation of icons in our day-to-day environment. The publication aims to demonstrate the spiritual power of art and invites the reader to contemplation.

George Stubbs (1724-1806), now recognized as one of the greatest and most original artists of the eighteenth century, stands out from other practitioners in the field of animal painting. His most frequent commissions were for paintings of horses, dogs, and wild animals, and his images invariably arrest attention and frequently strike a deeply poetic note. Stubbs did not emerge as a painter until he was in his mid-thirties, but then his genius flowered astonishingly. He steadily celebrates English sporting and country life and reveals himself-in his "incidental" portraits of jockeys and grooms, for example-as a perceptive observer of different levels of social behavior. Among his many experiments with technique were his chemical experiments with painting in enamels, first on copper and later on earthenware "tablets," manufactured for him in Wedgwood's potteries. This is the first full catalogue of Stubbs's paintings and drawings. Along with the full catalogue entries, the book offers a lengthy study of Stubbs's art and career. Published for the Paul Mellon Centre for Studies in British Art

A study of two exhibitions that took place five years apart in the same building in Brussels city-centre Full House explores two exhibitions that took place five years apart in the same building in Brussels and featured over 300 contemporary art works from the renowned collection of Frederic de Goldschmidt. The first show, Not Really Really, was organized in 2016 in a building that had only been vacated a few months before by a mental health clinic. The works were mostly sculptures made with everyday objects and played with the ambiguity of what the last occupants could have left and what the artists purposefully created. The building then underwent a long renovation, with photos included illustrating this process. The second show, Inaspettatamente (Unexpectedly), then engaged with themes such as order and disorder, time, classification, the artist's process or his/her position in world conflicts using the prism of the famous Arte Povera artist Alighiero Boetti. Curatorial texts and images of the works both in context and in studio allow the reader to discover and appreciate both exhibitions. Distributed for Mercatorfonds Exhibition Schedule: Cloud Seven , Quai du commerce 7 (November 11, 2021-January 30, 2022)

Art collector Anil Relia had always admired the miniature paintings of the Nathdwara school, which grew out of the religious devotation of the Pushti Marg (Path of Grace). On one of his trips to this pilgrimage town, he encountered 'manorath' paintings, whose unusual visual elements attracted his attention immediately. Originally part of the Pushti Marg popular culture, manorath paintings were often commissioned by devout followers as an indelible record of a pilgrimage trip to Nathdwara. Manorath ("mind's vehicle") paintings are a visual representation of the pilgrim's wish to enter into mutual communication with a divine Pushti Marg icon. The popular manoraths in this collection, which employ mixed media and photo-realism techniques, illustrate worshippers in the presence of Shrinathji. These images had a deep emotional resonance for worshippers because they embodied both the corporeal pilgrimage to Nathdwara and also the inner devotional experience itself. As author Isabella Nardi demonstrates, the paintings in this collection are not merely souvenirs of a pilgrimage trip; they represent the worshipper's journey to Nathdwara for a 'darshan' with their beloved and revered deity. With pilgrims as patrons, these manoraths are truly portraits of devotion.