Accompanying an exhibition at the Wallace Collection, Inspiring Walt Disney explores the influences of the art and architecture of France on Walt Disney and his studio artists, highlighting in particular the Disney classics of hand-drawn animation, Cinderella (1950) and Beauty and the Beast (1991). Pairing preparatory material from these films - including concept art for talking furniture and fairy-tale castles - with masterpieces from the eighteenth century reveals hidden sources of inspiration and allows us to appreciate the extraordinary talents behind Disney animated films and French decorative arts. Just as the dynamic, twisting movements of the Rococo sought to breathe life into what was essentially inanimate - silver, porcelain, furniture - so too did Disney animators seek to create the illusion of movement, action and emotion. Illustrated with innovative works by artists such as Mary Blair, Hans Bacher and Peter J. Hall, and the animated and anthropomorphic furniture, Sevres porcelain and gilt bronze of rococo designers, the catalogue explores the shared creative roots of these two seemingly disparate artistic realms and looks to revitalise the feelings of excitement, awe and marvel, which both eighteenth-century craftsmen and Disney animators sought to spark in their audiences.

Jean-Henri Riesener (1734-1806) was one of the greatest French cabinetmakers of all time. From humble beginnings as a German immigrant in Paris, he found fame through the delivery of a magnificent roll-top desk to Louis XV in 1769 and went on to become Marie-Antoinette's favourite cabinetmaker, supplying the queen and the court of Louis XVI with sumptuous furniture of superb quality. Renowned for his exquisite marquetry and refined designs, his pieces were ornamented with spectacular gilt-bronze mounts made by some of the greatest metalworkers in Paris. In the nineteenth century, Riesener's name became associated with the very best of Louis XVI-period French furniture; his pieces continue to be highly sought after and are found in major museums worldwide. This first major monograph on Riesener traces his life and career, bringing new insights into his business practice, his designs and construction techniques. Based on the extensive collections of Riesener furniture in the Wallace Collection, Waddesdon Manor and the Royal Collection, the authors examine the objects and their history, and highlight the changing tastes of the nineteenth-century collectors who acquired so many former French royal pieces. The new illustrations and visual glossary add another important resource for art historians, decorative arts enthusiasts and furniture lovers.

Luxury and Power examines the material world of English ambassadors at the end of the seventeenth century, and illustrates the way in which architecture and the arts played an important role in diplomatic life. It positions luxury consumption firmly in the political domain and demonstrates the significance of diplomats as cultural intermediaries, highlighting the importance of the material world to politicians and the role that diplomats played in the evolution of artistic appreciation in England.
Split into two parts, the first half covers the life of diplomats abroad: where they lived, what they took with them, and the style in which they lived when away from home. It investigates the ambassadorial household and the role of wives in embassy life, and positions women at the centre of the diplomatic world. Within the wider context of artistic patronage, not just fine art, Helen Jacobsen assesses their impact as conduits for the arts, examining their own collecting and the acquisitions they made for their friends and patrons back home.
Through case studies, part two examines how cultural politics drove the luxury consumption in which so many diplomats indulged. Such expenditure was not random, but was informed by diplomatic activity and was affected by the evolution in European diplomacy during these years. Importantly, it reveals that far from being the magpies satirised by eighteenth-century commentators, many of these patrons displayed a knowledge and understanding of many areas of artistic endeavour that made them indubitable connoisseurs of architecture, painting, furniture, textiles, silver, and coaches. Helen Jacobsen re-evaluates the reputation for artistic patronage of the later Stuart years and finds that the contribution by English diplomats has been sorely neglected.