The story of the illustrated book from the earliest printed books to the present day, told through the collections of the V&A's National Art Library. Throughout history, images have been used to reflect the meaning of words and to enhance our understanding of texts. With the invention of mechanized printing in Germany in the 15th century, illustrated books were no longer the preserve of the elite and became a source of knowledge, instruction and pleasure for a wider audience. Traditional accounts of the illustrated book survey its history in terms of technological advances, from illumination to hand-drawn illustrations and photography. This study offers a new approach, grouping books by subject - from natural history and travel to art, architecture and fashion. Gathered here are some of the most influential and compelling examples of the illustrated book, all chosen from the collections of the National Art Library at the Victoria and Albert Museum, London. Each chapter starts with a general introduction to the subject, followed by key examples accompanied by narrative captions. The commentaries range beyond the illustrations to consider the whole book, the design, typeface, binding, inks and papers. Many of the books are not on display to the public and have been specially photographed for this volume. Most examples have been chosen for their significance, being innovative and beautiful. But humble books, often overlooked in histories, have also been selected, when particularly effective in their field, or simply memorable. From beautiful printed Psalters and Books of Hours, to striking natural history books such as Audubon's Birds of America, La Fontaine's Fables illustrated by Marc Chagall, Serlio's treatise on architecture and Owen Jones's Grammar of Ornament, this book gives a fascinating overview of some of the finest illustrated books ever created. In the face of recent pronouncements about the death of the printed book, this volume demonstrates the enduring appeal of the illustrated book.

The building of the Victoria and Albert Museum, begun in 1857, is the most elaborately designed and decorated museum in Britain. This book is the first to consider the V&A as a work of art in itself, presenting drawings, watercolours and historic photographs relating to the Museum's 19th-century interiors. Much of this visual material is previously unpublished and is outside the canon of Victorian art and design. The V&A's first Director, Henry Cole, conceived the Museum's building as a showcase for leading Victorian artists to design and decorate. This book reveals for the first time the ways in which Cole's expressed policy to 'assemble a splendid collection of objects representing the application of Fine Arts to manufacture' was applied to the fabric of the building, as he engaged leading painters such as Frederic Leighton , G.F. Watts and Edward Burne-Jones, as well as specialists in decoration such as Owen Jones and Morris and Company, to decorate and design for a building raised by engineers using innovatory materials and techniques.It represents a fascinating, untold chapter in the history of British 19th-century art, design, architecture and museums, and an essential backdrop to understanding the evolution of the Museum's early collections and identity.

Chevening stands in a magnifi cent park below the wooded escarpment of the North Downs in Kent. It has a history dating back around 800 years, but the house we see today is almost entirely the creation of seven generations of the Stanhope family, building on the original Inigo Jones house of 1630. For 250 years the Stanhopes served their country as soldiers and statesmen, and at Chevening as patrons of architecture and art. This new guide highlights the contributions of the Earls and Countesses Stanhope to the building, furniture, pictures, gardens and landscape of Chevening. It also gives a short account of the family in the wider world in order to set their creations in context. The decoration and architectural features of each of the rooms - from the Entrance Hall with its spectacular swirling staircase of c. 1721 to the sumptuous Tapestry Room with its rare Berlin tapestries woven by Huguenot craftsmen in 1708 - are described and illustrated, and signifi cant and unusual works of art highlighted, such as important portraits by Allan Ramsay, Thomas Gainsborough, and Sir Thomas Lawrence. The Estate consists of some 3,000 acres, and the gardens include a lake, maze, parterre and a double hexagonal walled kitchen garden. The history of the garden is explored, from the extensive landscaping in the formal style by the 1st and 2nd Earls in the early 18th century, to the naturalistic style created in 1775-78 - much of the character of which survives today - to the re-formalizing in the 19th century, with the creation of the 'Italian' gardens, a maze and hedged allees. The wonderful restoration of recent decades and the replanting to the designs of Elizabeth Banks is celebrated with new photography. Published to coincide with the 50th anniversary of the Chevening Act coming into eff ect with the death of the last Earl Stanhop and the 300th anniversary of his family's acquisition of Chevening Estate.

The first comprehensive study of the most important ceramic innovation of the 19th century Colorful, wildly imaginative, and technically innovative, majolica was functional and aesthetic ceramic ware. Its subject matter reflects a range of 19th-century preoccupations, from botany and zoology to popular humor and the macabre. Majolica Mania examines the medium's considerable impact, from wares used in domestic settings to monumental pieces at the World's Fairs. Essays by international experts address the extensive output of the originators and manufacturers in England-including Minton, Wedgwood, and George Jones-and the migration of English craftsmen to the U.S. New research including information on important American makers in New York, Baltimore, and Philadelphia is also featured. Fully illustrated, the book is enlivened by new photography of pieces from major museums and private collections in the U.S. and Great Britain.

Creating the V&A tells the definitive story of the formative years of London's world-renowned Victoria and Albert Museum and the gathering of its early collections in the decade between the Great Exhibition of 1851 and the death of Prince Albert in 1861. The story of the V&A's genesis is often centred on the first director and first curator (Henry Cole and J. C. Robinson), and their competing agendas for design reform and connoisseurship. And yet there is an untold story of how the young royal couple for whom it is named were highly instrumental in the establishment of the museum, as public supporters and large-scale lenders before a permanent collection was in place. The book is also full of fascinating and colourful stories of the strategies deployed to harvest treasures on the market as the young museum sought to fill its rapidly expanding buildings and compete with the British Museum and the Crystal Palace. For anyone interested in the history of collecting and curating, and for all fans of this legendary London museum, Creating the V&A explains how the foundational collections established parameters which still inform the museum's collecting policies, role and identity today.

By 1862, just a decade after its launch as a study collection for art and design, the Victoria and Albert Museum had become a reference resource for collectors, scholars and art-market experts. Enriching the V&A, the final volume in a trilogy of books on the museum's 19th-century history, describes how the young museum's rapid growth in the following decades was driven more by collectors, agents and dealers, through loans, gifts and bequests, than by the combined expertise, acquisitions policies and buying power of its directors and curators. The V&A soon became a collection of collections, embodying a new age of collecting that benefitted from the break-up of historic institutions and ancestral collections across Europe, and imperial expeditions in Asia and Africa. The industrial revolution had created a new social class with the resources to buy from the expanding art market, especially in the decorative arts. Many were touched by a new moral imperative to collect for the home, however humble, and to share their specialist knowledge and enthusiasm by lending to the new public museums. Enriching the V&A explores the formative influence on the museum, and on pioneering fields of scholarship, of the V&A's leading Victorian and Edwardian benefactors. It also shares uncomfortable truths about the sources of some objects from the age of empires and shows how the meanings of things can change through the transformation of private property into public museum collections.

This unique history brings together more than 150 spectacular objects from the National Art Library's collection of literature, prints, drawings and photographs. Housed within the V&A, the library was, from the beginning, an integral part of the Museum, formed by, and for, artists and designers as an essential element of the educational and museological project of Prince Albert and Henry Cole after the Great Exhibition of 1851. Word & Image shows how the distinct character of the NAL was formed, and how its collections created a new kind of bibliographical resource. From a fifteenth-century book of hours to William Morris's specimen pages for Jean Froissart's The Chronicles of Fraunce, Inglande, and Other Places Adjoynynge; from George Cruikshank's studies of Fagin for Oliver Twist to an Yves Saint Laurent design for the House of Dior; and from Bill Brandt's photographs to the Book of Nails by Floating Concrete Octopus, Word & Image explores some of the finest examples of 'book art' in existence.

This is a boxed set of Anthony Caro: Drawing in Space, Anthony Caro: Interior and Exterior, Anthony Caro: Figurative and Narrative Sculpture, Anthony Caro: Small Sculptures and Anthony Caro: Presence. The box has been specially designed by Anthony Caro. Anthony Caro restlessly explored an unpredictable range of sculptural possibilities, testing limits and positing new ideas about the nature of eloquent three-dimensional objects. Through his expansion and transformation of the legacy of construction in metal pioneered by Julio Gonzalez and Pablo Picasso, and further developed by David Smith in the USA, Caro created a new, multivalent language of three-dimensional abstraction. The Caro pendulum swung between extremes of linearity and robustness, abstractness and allusion. He countered his mastery of line and transparency with investigations of our responses to mass and perceptions of interior and exterior, even experimenting with literally enterable sculptures. He made rigorously abstract constructions that resemble nothing but themselves, intimate table-based pieces, monumental constructions like metaphorical architecture, and complex multi-part cycles of narrative works that pulse in and out of explicit illusionism. And more. The range and variety of Caro's sculpture notwithstanding, there are also common threads that run through all of his work. The five volumes in this set, each by a different critic, examine the various aspects of Caro's evolution individually, tracing the permutations of different themes - narrative, volume and mass, line and openness - throughout his work, over time. Each volume is independent and explores different territory, but cumulatively, by tracing these dominant themes, they provide new insight into the achievement of one of the undisputed giants of Modernist art.

John Lockwood Kipling (1837-1911) started his career as an architectural sculptor at the South Kensington Museum (today the Victoria and Albert Museum). Much of his life, however, was spent in British India, where his son Rudyard was born. He taught at the Bombay School of Art and later was appointed principal of the new Mayo School of Art (today Pakistan's National College of Art and Design) as well as curator of its museum in Lahore. Over several years, Kipling toured the northern provinces of India, documenting the processes of local craftsmen, a cultural preservation project that provides a unique record of 19th-century Indian craft customs. This is the first book to explore the full spectrum of artistic, pedagogical, and archival achievements of this fascinating man of letters, demonstrating the sincerity of his work as an artist, teacher, administrator, and activist. Published in association with Bard Graduate Center Exhibition Schedule: Victoria and Albert Museum, London (01/14/17-04/02/17) Bard Graduate Center, New York (09/15/17-01/07/18)

As treasure troves of creativity, the homes of artists reflect the intellectual worlds of their creators. Starting with the Villa Stuck in Munich-the aesthetic, conceptual cosmos and life's work of the aristocratic artist Franz von Stuck-this unique volume integrates the artist's house as a category into the international context and is the first to assign these buildings the status of major works. About twenty examples bring to life the fascination that these artistic fantasies hold for art lovers, including both existing projects and some which, although they have been lost, were of unique importance in their day and still retain their charisma. Along with paintings, sculptures, and photographs closely related to the houses, plans and models convey the correlation between art and life as well as the kind of harmony of the arts expressed in Richard Wagner's historical concept of the total work of art. Houses featured (selection): Sir John Soane's Museum, London; William Morris Red House, Bexleyheath; Louis Comfort Tiffany's Tiffany House, New York City; Mortimer Menpes's flat, London; the Fernand Khnopff Villa, Brussels; Jacques Majorelle's villa and garden, Marrakesh; Kurt Schwitters' MERZbau, Hannover; Max Ernst's house, Arizona

With a career spanning more than sixty years, Anthony Caro (b. 1924) is one of Britain's most acclaimed and best-known sculptors. Caro: Close Up accompanies the first survey exhibition of his work in an American museum since his retrospective at the Museum of Modern Art in 1975. Although celebrated for his large, brightly painted abstract sculptures, Caro has also produced drawings and small-scale works of a more private nature throughout his career. The full range of his oeuvre includes works on paper, sculptures constructed in paper and cardboard, and abstract works of steel, bronze, and clay. Featuring new photography of more than sixty works drawn almost entirely from Caro's studio and family collections, this publication examines the critical responses that Caro's work has elicited from the 1950s to the present and considers his role in current artistic practice. The authors explore the ways the sculptor has used the physical properties of his materials, while Caro himself discusses his exhibition and installation practices. Published for the Yale Center for British Art Exhibition Schedule: Yale Center for British Art(10/18/12-12/30/12)