Collage is one of the most popular and pervasive of all art-forms, yet this is the first historical survey book ever published on the subject. Featuring over 200 works, ranging from the 1500s to the present day, it offers an entirely new approach. Hitherto, collage has been presented as a twentieth-century phenomenon, linked in particular to Pablo Picasso and Cubism in the years just before the First World War. In Cut and Paste: 400 Years of Collage, we trace its origins back to books and prints of the 1500s, through to the boom in popularity of scrapbooks and do-it-yourself collage during the Victorian period, and then through Cubism, Futurism, Dada and Surrealism. Collage became the technique of choice in the 1960s and 1970s for anti-establishment protest, and in the present day is used by millions of us through digital devices. The definition of collage employed here is a broad one, encompassing cut-and-pasted paper, photography, patchwork, film and digital technology and ranging from work by professionals to unknown makers, amateurs and children. Published to accompany an exhibition at the National Gallery of Scotland, June-October 2019.

Simon Moretti is known for his enigmatic exhibition works, presenting displays that engage with questions of agency, temporality, automatism, desire and masculinity. Incorporating appropriated images and archives as well as curatorial and publishing projects, often made in collaboration with other artists, his work addresses the role of 'curating as practice'. Presented as a non-chronological visual essay, this publication surveys 10 years of collage works by Moretti. It includes text contributions from writer Craig Burnett, curator and art historian Yuval Etgar, novelists Deborah Levy and Chloe Aridjis, and a conversation with Andrew Durbin, editor-in-chief of frieze magazine.

Published in association with Luxembourg + Co. on the occasion of their 2019 exhibition Reconstructing Cezanne, this catalogue features in-depth analyses of Cezanne's works on paper by Fabienne Ruppen, based on DNA examination of the papers he used for his watercolours and drawings, as well as extensive commentary on new horizons in Cezanne scholarship by expert Walter Feilchenfeldt, co-author of the artist's online catalogue raisonne. At the core of this exploration are two watercolours that Cezanne produced from a large sheet of paper, which he divided into two sections for the purpose of capturing different landscapes: the Courtauld Gallery's renowned La Montagne Sainte-Victoire, from 1885-87, and a Paysage Provencal in private ownership. Reconstructing Cezanne reunites these two works for the first time. This publication follows the decision of the Societe Paul Cezanne and the family of the artist to spell the artist's name without an acute accent.