A draughtsman of remarkable ability, matching even his mentor Augustus John, Henry Lamb (1883-1960) was a founder-member of the Camden Town Group, exhibiting at their inaugural exhibition in 1911. He was a powerful and original War artist, and an engaging and sensitive portrait painter, whose group portraits in particular are as successful as those by any British painter of the age. To date unfairly eclipsed by the glamorous and culturally infl uential circle around him, Lamb is now probably best known through these fi gures and his many compelling portraits of them, amongst them Lady Ottoline Morrell, Evelyn Waugh and Lytton Strachey, whose monumental full-length portrait by Lamb in Tate Britain is probably the artist's best-known work. Lamb abandoned a promising medical career in Manchester to pursue his training as an artist at the London art school run by William Orpen and Augustus John. He found inspiration in the rural simplicity of Brittany, and a later visit to Ireland inspired his great genre painting Fisherfolk, Gola Island of 1913 - not seen in public since the last major retrospective in 1984. Following active service during the First World War as an army medical offi cer (for which he was awarded a Military Cross), he contributed two of the greatest artworks to the proposed National Hall of Remembrance a year after armistice in 1919. Following a productive period in Poole after the War, where he produced some evocative townscapes of its streets and skylines, he eventually settled in Coombs Bissett near Salisbury. Here he established a reputation as a sought-after portrait painter, executing a constant stream of landscapes, still lives, genre pictures and fi ne domestic subjects. Accompanying an exhibition at Salisbury Museum in 2018 and Poole Museum in 2019, Henry Lamb: Out of the Shadows will focus on over 50 works by the artist from across his career. As well as loans from major national collections, the group will include signifi cant works from private collections, including a substantial archive from the artist's family and a number of re-discovered masterpieces. The catalogue will also feature an introductory essay by Lamb's cousin, the writer Thomas Pakenham who knew the artist well.

Although recently more studies have been devoted to the representations of Biblical heroines in modern European art, less is known about the contribution to the portrayals of Biblical women by modern Jewish artists. This monograph explores why and how heroines of the Scripture: Judith, Esther and the Shulamite received a particular meaning for acculturated Jewish artists originating from the Polish lands in the last decades of the nineteenth century and the first two decades of the twentieth century. It convincingly proves that artworks by Maurycy Gottlieb, Wilhem Wachtel, Ephraim Moses Lilien, Maurycy Minkowski, Samuel Hirszenberg and Boris Schatz significantly differed from renderings of contemporary non-Jewish artists, adopting a "Jewish perspective", creating complex and psychological portrayals of the heroines inspired by Jewish literature and as well as by historical and cultural phenomena of Jewish revival and the cultural Zionism movement.

"The Singapore House is not just a building; it is a cultural phenomenon. Culture means ordinary everyday values-attitudes, beliefs, ideas and heritage. These apply to the cultural landscape of which the house forms a part and is particularly applicable to a fast growing metropolis like Singapore that has changed immeasurably in recent years."Setting the scene for this newly presented edition of The Singapore House &Residential Life 1819-1939, Edwards addresses the house's unique naturein the context of its colonial past. Architecture, the house plan, landscape,societal norms, recreation and more are all presented in a book where thepast resonates on every page. Thirty years on, the book still provides aninvaluable introduction to the history of architecture in the city-state.

This is an accessibly written, illustrated biography of Venetian painter Rosalba Carriera (1673-1757), one of the most famous women artists in 18th-century Europe. It presents an overview of her life and work, considering Carriera's miniatures alongside her better-known, larger-scale works. Focusing on interpretation of her paintings in the historical context of her life as a single woman in Venice, the book offers an easy guide through Carrieras life, the people she met, her clients and her artistic approach. The author's new iconographic analysis of some of Carriera's works reveals that she was an erudite painter, drawing on antiquity as well as the work of Renaissance virtuosos such as Leonardo da Vinci and Paolo Veronese.