From the Golden Age to Goya. This is the first study wholly devoted to reception of Spanish art in Britain and Ireland. Examining the extent and sources of knowledge of Spanish art in the British Isles during an age of increasing contact, particularly in theaftermath of the Peninsular War, it contains contributions by leading scholars, including reprints of three essays by Enriqueta Harris Frankfort, to whose memory this book is dedicated. Focusing on Spanish art from the Golden Age to Goya, these studies chart the growth in understanding and appreciation of the Spanish School, and its punctuation by controversies and continuing distrust of religious images in Protestant Britain, as well as by the successive `discoveries' of individual artists - Murillo, Velazquez, Ribera, Zurbaran, El Greco and Goya. The book publishes important new research on art importation, collecting and dealing, and discusses the increase in access to andscholarship on works of art, including their reproduction through both traditional prints and copies and the newly invented photographic methods. It also considers for the first time the role of women in reflecting taste for thearts of Spain. It is richly illustrated with 17 colour and 54 black and white illustrations. NIGEL GLENDINNING is Emeritus Professor of Spanish and Fellow of Queen Mary University of London. HILARY MACARTNEY isHonorary Research Fellow of the Institute for Art History, University of Glasgow. Contributors: NIGEL GLENDINNING, HILARY MACARTNEY, JEREMY ROE, SARAH SYMMONS, MARJORIE TRUSTED, ENRIQUETA HARRIS FRANKFORT

First opened in 1873, the Victoria and Albert Museum's Cast Courts were purpose built to house copies of architecture and sculpture from around the world. They contain some of the Museum's largest objects, including casts of Trajan's Column (shown in two halves) and the twelfth century Portico de la Gloria from the cathedral at Santiago de Compostela. Among the Museum's most popular galleries, the Cast Courts are an extraordinary expression of Victorian taste, ambition and public spirit. Published to celebrate the opening of the refurbished Cast Courts at the V&A, this book presents a fresh perspective on the Museum's diverse collection of reproductions including plaster casts, electrotypes and photographs.

Over 500 baroque and later ivories from the V&A's outstanding collection are illustrated and discussed in this scholarly catalogue. This publication includes every ivory sculpture made after 1550 from a collection comprising German, Austrian, Netherlandish, British, French, Italian, Scandinavian, Russian and Spanish pieces, as well as examples from the Philippines, Goa, Sri Lanka and South America. The range of objects is extensive: statuettes, reliefs, tankards, boxes, cabinets, snuff rasps and cutlery handles are all represented. These small-scale sculptures might render dramatic scenes from mythology, present exquisitely carved portrait likenesses on a small scale, or depict religious narratives. The high quality of the V&A's holdings is readily apparent; leading ivory sculptors to be found here include Francis van Bossuit, Benjamin Cheverton, Balthasar Griessmann, Joachim Henne, Johann Christoph Ludwig Lucke, David Le Marchand and Balthasar Permoser. In addition to detailed entries on each piece, the Introduction summarises the history and techniques of baroque and later ivory carving, while indexes of subjects and artists, in addition to a comprehensive bibliography, provide a full scholarly apparatus.

The Victoria Memorial in front of Buckingham Palace is a national icon, yet few have heard of its sculptor, Thomas Brock. He left school at 12 to be an apprentice at the Worcester Royal Porcelain Works, then joined the London studio of John Henry Foley. He completed the figure of the Prince Consort for the Albert Memorial after Foley's death. One of the young sculptors encouraged by Sir Frederic Leighton, he became famous for his lifelike portrait statues of Queen Victoria, Edward VII, Gladstone, Millais and other public figures. Chosen in 1901 as sole sculptor of the Victoria Memorial, he was knighted by King George V at its unveiling in 1911. Brock's remarkable story is told by his son Frederick in this entertaining biography, written in the 1920s and now published by permission of the Victoria and Albert Museum. "A highly readable and intriguing perspective on a sculptor's life in the late 19th and early 20th century, one which reveals as much about the art world of his time as about the individual whose life forms its subject. ... John Sankey has worked extensively on Brock and his edition of these memoirs is exemplary." Dr Marjorie Trusted (Senior Curator of Sculpture, Victoria & Albert Museum) 'An astonishingly thorough record of the life of a sculptor who, a hundred years back, distilled from European traditions an idiom which now seems to be the appropriate - indeed almost the only imaginable - backdrop to royal ceremonial. ... In bringing this record to a wider readership, John Sankey reveals some of the less well-known facets of Brock's extensive sculptural oeuvre, disseminated around the globe from Copenhagen to Wellington (NZ)' Philip Ward-Jackson (formerly Conway Librarian, Courtauld Institute of Art)