Bøger udgivet af Paul Holberton Publishing Ltd

A fully illustrated examination of the relationship between money, power, resistance, and dissent. Money's ubiquity makes it a powerful vehicle for disseminating the messages of the state to the public, but the symbolic and nationalistic iconography of currency can also be subverted in powerful acts of defiance, rebellion, and propaganda. Accompanying major exhibitions at The Fitzwilliam Museum in Cambridge and the Art Gallery of Ontario in Toronto, this volume explores the political and social tensions communicated through the production or defacement of money over the past two hundred years. Beginning in Britain in the wake of the American and French Revolutions, it contrasts the use of money by the radicals of the nineteenth and early twentieth century with the money produced by European empires as they scrambled for world domination. The currency histories of the two world wars highlight the role of money as a tool of occupation, imprisonment, resistance, and remembrance. The coins countermarked during the Troubles in Northern Ireland hint at the polarized nature of political discourse and sectarian violence. The work culminates with the work of contemporary artists and activists who use money to highlight the challenges of the modern world, both locally and globally--as a canvas, a raw material, or a powerful means of communication. From a unique coin commemorating the Peterloo Massacre of 1819 to a Syrian banknote refashioned to raise awareness of the refugee crisis, each object constitutes a witness statement to its time and its conflict, and each section has its own story to tell.

Lavish illustrations of the works of the Frick Collection's Eveillard Gift with comprehensive commentaries by noted scholars in their field. This beautiful publication presents for the first time the Eveillard Gift of drawings to the Frick Collection in New York, the most important gift of drawings and pastels in the museum's history. It accompanies an exhibition and includes a catalog of the works and commentaries by noted scholars. Twenty-six works of art promised to the Frick Collection by longtime supporters Elizabeth and Jean-Marie Eveillard dramatically advance the museum's commitment to the research and display of European drawings. Included in this transformative gift are exquisite drawings, pastels, and prints by François Boucher, Gustave Caillebotte, Edgar Degas, Eugène Delacroix, Jean-Honoré Fragonard, Thomas Lawrence, Francisco de Goya y Lucientes, John Singer Sargent, Elisabeth Vigée Le Brun, and Jean-Antoine Watteau, among others. The works include figurative sketches, independent studies, portraits, and landscape scenes, each either deepening the museum's celebrated holdings or bringing the work of an artist who is not--but should be--represented in the collection.

This catalogue accompanies the first exhibition devoted to a fascinating group of drawings by the Anglo-Swiss Henry Fuseli (1741-1825), one of eighteenth-century Europe's most idiosyncratic, original and controversial artists. Best known for his notoriously provocative painting The Nightmare, Fuseli energetically cultivated a reputation for eccentricity, with vividly stylised images of supernatural creatures, muscle-bound heroes, and damsels in distress. While these convinced some viewers of the greatness of his genius, others dismissed him as a charlatan, or as completely mad. Fuseli's contemporaries might have thought him even crazier had they been aware that in private he harboured an obsessive preoccupation with the figure of the modern woman, which he pursued almost exclusively in his drawings. Where one might have expected idealised bodies with the grace and proportions of classical statues, here instead we encounter figures whose anatomies have been shaped by stiff bodices, waistbands, puff ed sleeves, and pointed shoes, and whose heads are crowned by coiffures of the mostbizarre and complicated sort. Often based on the artist's wife Sophia Rawlins, the women who populate Fuseli's graphic work tend to adopt brazenly aggressive attitudes, either fixing their gaze directly on the viewer or ignoring our presence altogether. Usually theyappear on their own, in isolation on the page; sometimes they are grouped together to form disturbing narratives, erotic fantasies that may be mysterious, vaguely menacing, or overtly transgressive, but where women always play a dominant role. Among the many intriguing questions raised by these works is the extent to which his wife Sophia was actively involved in fashioning her appearance for her own pleasure, as well as for the benefit of her husband. By bringing together more than fi fty of these studies (roughly a third of the known total), The Courtauld Gallery will give audiences an unprecedented opportunity to see one of the finest Romantic-period draughtsmen at his most innovative and exciting. Visitors to the show and readers of the lavishly illustrated catalogue will further be invited to consider how Fuseli's drawings of women, as products of the turbulent aftermath of the American and French Revolutions, speak to concerns about gender and sexuality that have never been more relevant than they are today. The exhibition showcases drawings brought together from international collections, including the Kunsthaus in Zurich, the Auckland Art Gallery in New Zealand, and from other European and North American institutions.

This stunning book showcases the bold and original work of Royal Designer Tony Meeuwissen. The artist also writes about his life at the drawing board and the inspiration and ideas behind his imagery. From the foreword by Peter Marren:Welcome to this gallery of the work of a most individual and lovable artist. Many will have seen Tony Meeuwissen‿s work without knowing the artist, for it has appeared in so many decorative forms from books to playing cards, from magazine and sheet music coversto postage stamps. His work was described by the designer Mike Dempsey as ‿inventive, intensely detailed and full of wit and beauty‿. Penguin Books art director David Pelham praised him as an artist with the eye of an illustrator and the mind of a designer, one able to solve visual problems with ‿remarkable originality, skill and panache.‿ To my eye Tony‿s work is always affi rmative even in its darker moments. It is playful but not saccharine, clever but not conceited. It always wears a wry smile. Tony learned his craft in the market place of commercial art. He learned how to handle a wide range of media to develop graphic ideas while also discovering the beauty of typefaces. In the process he evolved his very distinctive artistic language, his own way of seeing the world: colourful, eye-catching, beautifully executed, his work is a product of his unique vision. He loves drawing animals, birds, insects and natural phenomena, but usually with a characteristic twist: shape-changing fantastical animals, a nuthatch hatching from a nut, a praying mantis in bishop‿s vestments saying grace over a butterfly. On the memorable Christmas stamps he designed for the Royal Mail in 1983, the Three Kings are represented by chimney pots and the continents of the world by melting snow slipping from an umbrella. His is a universe where nothing is quite what it seems, where proverbs morph into pictures and names turn out to have diff erent meanings. Words andrhymes increase this pleasurable sense of an alternate world with its own logic and rules. Tony Meeuwissen eschews computer-aided methods preferring his drawing board, his pencils and his paintbox. He has managed to inhabit the world of commercial art for more than half a century without ever becoming commercial himself. His work is always uncompromisingly his own: the product of a unique imagination coupled with the skills and standards of a perfectionist. Here for the fi rst time the full range of his work is presented. Like the door to the magical garden in Alice, turn the golden key and enter.

This handsome catalogue accompanies an exhibition celebrating the bicentenary of the 60-year reign of King George III. It presents one mezzotint portrait for each year of his reign. Mad about Mezzotint traces the history of mezzotint in the reign of King George III by looking at three aspects of the art form: the astonishing method of mezzotint, the absorbing history of the form in the late eighteenth century and Regency period and the endless fascination with London as a subject. Although the mezzotint originated in Germany as early as 1642, its golden age came in England in the eighteenth century. Its beauty lay in its ability to create the subtlety of tone found in an oil painting. Crowds marvelled at the new technique and seized upon the opportunity to popularize their work and disseminate their images more widely. Conditions in eighteenth-century London were ripe for this revolution in printing. England had a new king and queen on the throne, an ever-expanding court and flourishing commercial interests overseas. The city of London was expanding at an astonishing rate and money was pouring into the capital. This fully illustrated publication includes an introduction on the history of mezzotint and full catalogue of the works, as well as indexes of artists and persons depicted. Artists featured include Valentine Green, John Hoppner, John Jones, Joshua Reynolds, George Romney and Charles Turner. People depicted include King George, George, Prince of Wales, the Duke and Duchess of Marlborough, Admiral Horatio Nelson and Earl and Lady Spencer.

Published in conjunction with an exhibition at The Courtauld Gallery, London, June 16-September 18, 2011.

This beautifully illustrated catalogue presents a selection of exceptional seventeenth-century Dutch drawings from the Peck Collection in the Ackland Art Museum at the University of North Carolina at Chapel Hill. Featuring many previously unpublished and rarely exhibited works, the catalogue brings together examples by some of the best-known artists of the era such as Rembrandt, Jacques de Gheyn II, Samuel van Hoogstraten, and Frans van Mieris. The collection was donated to the museum in 2017 by the late Drs. Sheldon and Leena Peck. The transformative gift is comprised of over 130 largely seventeenth- and eighteenth-century Dutch and Flemish drawings, establishing the Ackland as one of a handful of university art museums in the United States where northern European drawings can be studied in depth. Drawn to Life presents around 70 works from this exceptional and diverse group of drawings amassed by the Pecks over four decades. Featuring new research and fresh insights into seventeenth-century drawing practice, the catalogue and accompanying exhibition celebrates the creativity and technical skills of Dutch artists who explored the beauty of the natural world and the multifaceted aspects of humanity. The catalogue features a broad selection of scenes of everyday life, landscapes, biblical and historical scenes, portraits, and preparatory studies, forming a dynamic and representative group of Dutch drawings made by some of the most outstanding artists of the period, including Abraham Bloemaert, Jacob van Ruisdael, Esaias van de Velde, Bartholomeus Breenbergh, Pieter Molijn, Aelbert Cuyp, Adriaen van Ostade, Ferdinand Bol, Nicolaes Maes, Jan Lievens, Gerard ter Borch, Adriaen van de Velde, Nicolaes Berchem, and Cornelis Dusart. Key sheets of remarkable quality by lesserknown artists such as Guillam Dubois, Herman Naiwincx, Willem Romeyn, and Jacobvan der Ulft, also comprise a core strength of the collection, and serve as a testament to the visual acuity of the Pecks as collectors. At the heart of the Peck Collection are several sheets by Rembrandt, including the sublime Noli me Tangere; a beautifully rendered late landscape, Canal and Boats with a Distant View of Amsterdam; and the superbly charming Studies of Women and Children, which was the last of Rembrandt's seventeen known drawings with an inscription in his own hand to reach a public collection. Meticulously researched and written by Robert Fucci, Ph.D., Drawn to Life introduces both scholars and drawings enthusiasts to the depth and beauty of the Peck Collection at the Ackland Art Museum.

A showcase of the Courtauld Gallery's outstanding Parmigianino collection. Accompanying an exhibition at London's Courtauld Gallery, this stunning catalog presents works by the Renaissance artist Girolamo Francesco Maria Mazzola, better known as Parmigianino (1503-1540). Fundamentally a draftsman at heart, Parmigianino drew relentlessly during his relatively short life, and around a thousand of his drawings have survived. The Courtauld's collection comprises twenty-four sheets. In preparation for the catalog, new photography and technical examinations have been carried out on all the works, revealing two new drawings that were previously unknown, hidden underneath their historic mounts. They have also helped to better identify connections between some of the drawings and the finished paintings for which they were conceived. This stunning illustrated catalog presents the whole Courtauld collection and sheds light on an artist who approached every technique with unprecedented freedom and produced innovative works that are still admired by artists and collectors today.

The memoirs of Anthony Speelman, the doyen of English art dealers specializing in Dutch Golden Age art. In this remarkable and handsomely illustrated memoir, Anthony Speelman offers fascinating insights into the often-secretive world of the Dutch masters, covering a lifetime of dealing in fine art at the very highest level. Throughout his long career, Speelman has sold paintings to many of the world's greatest collectors--including Norton Simon, Paul Mellon, Baron Thyssen, Harold Samuel, Charles Clore, and the Wrightsmans in New York--along with world-renowned museums such as the Getty, the Louvre, and the National Gallery, London, among many others. In intriguing tales that are sometimes shocking and always interesting, he shares stories of his encounters with these eminent bodies in a lighthearted style. Other chapters go beyond the world of fine art to detail Speelman's interest in gastronomy, his thrilling adventures in the world of horseracing, and his travels to California, New York, and Paris. Beautifully illustrated with examples of the many works that have passed through the author's hands, the wide range of illustrations is not limited to Dutch art and includes works by Canaletto, Stubbs, Raphael, Tiepolo, Melendez, and other Old Masters. Lighthearted and engaging, the book will appeal to dealers, collectors, and any would-be collectors eager for a glimpse behind the curtain.

A showcase of eighteen masterworks by one of the world's greatest modern artists. This important publication accompanies a major exhibition at the Courtauld Gallery, London, of paintings by Edvard Munch (1863-1944). The catalog and accompanying exhibition showcase eighteen major works from the collection of KODE Art Museums in Bergen, one of the most important collections of Munch paintings in the world. The works span the most significant part of Munch's artistic development and have never before been shown as a group outside of Scandinavia. This book explores this group of remarkable works in detail and considers the important role of its collector, Rasmus Meyer. The exhibition and publication include seminal paintings from Munch's early "realist" phase of the 1880s, such as Morning and Summer Night, pivotal works that show the artist's move towards the expressive and psychologically charged work for which he became famous. These paintings launched Munch's career and set the stage for his renowned, highly expressive paintings of the 1890s. Such works are a major feature of the exhibition that includes remarkable canvases from Munch's famous Frieze of Life series, which address profound themes of human existence, from love to death. Munch's powerful use of color and form marked him as one of the most radical painters at the turn of the twentieth century. This fully illustrated publication includes a catalog of the works, with contributions by leading experts in their field from KODE and the Courtauld.

A lavish showcase of the works of the skilled potters and pottery painters of the early modern period. Maiolica, the pottery of the Italian Renaissance, is one of the most revealing artistic expressions of the era, known for extraordinary colors that remain vivid centuries later. Italian potters absorbed techniques and shapes from the Islamic world and incorporated ornament and subject matter from the arts of ancient Rome. This new approach to pottery making, combined with the invention of printing, woodcut, and engraving, resulted in extraordinary painted ceramics, praised by Giorgio Vasari for "surpassing the ancient with its brilliance of glaze and variety of painting." The Courtauld Gallery's collection boasts a magnificent group of vessels made during the high Renaissance, the golden age of Italian maiolica. An introductory essay on the Victorian collector Thomas Gambier Parry sheds new light on the collection's development, illuminating links between Gambier Parry's artistic practice and revealing new insights into his taste as a collector. Each detailed entry uncovers a wealth of new information on the provenance of the pieces.

The life and work of Victorian landscape painter Alfred Augustus Glendening, illustrating his rapid rise from railway clerk to an acclaimed artist. Though critics often reviewed Alfred Augustus Glendening's exhibitions, very little has been written about the artist himself. Here, new and extensive research removes layers of mystery and misinformation about his life, family, and career, accurately placing him amid the British art world during much of the nineteenth and into the twentieth century. Glendening was a man from humble origins, working full-time as a railway clerk when he managed to make his London exhibition debut at the age of twenty--a feat that would have been almost impossible before the Victorian era ushered in new possibilities of social mobility. Although his paintings show a tranquil and unspoiled landscape, his environment was rapidly being transformed by social, scientific, and industrial developments, while advances in transport, photography, and other technical discoveries undoubtedly influenced him and his fellow painters. Celebrating his uniquely Victorian story, the book places Glendening within his proper historical context. Running alongside the main text is a timeline outlining significant landmarks, from political and social events to artistic and technical innovations. Thoroughly researched, the narrative explores why and for whom he painted, his artistic training, and his various inspirations. The book uncovers new information about the Victorian art world and embraces such aspects as Royal Academy prejudices, the popularity of Glendening's work at home and abroad, his use of photography, and the sourcing of his art materials.

This fascinating book tells the story of Thomas Hardy's Wessex. Accompanying a multi-venue exhibition, it explores Hardy's life and work. Internationally-acclaimed writer Thomas Hardy (1840-1928) is best known for his evocative depictions of the West Country landscape and its people, a region that he called 'Wessex'. What is less well-known is that this landscape also inspired him in many other aspects of his life, from campaigning for animal welfare to questioning the way society viewed women. This publication accompanies a blockbuster, multi-venue exhibition of the largest collection of Thomas Hardy memorabilia ever to be displayed at once.  Hardy was born in the West Country, a few years after Queen Victoria came to the throne, and spent most of the rest of his life among its landscapes and people. When he turned writer, these landscapes and people re-emerged as his 'partly-real, partlydream country' of Wessex, in novels like Tess of the d'Urbervilles, Far from the Madding Crowd and Jude the Obscure. Hardy's Wessex now conjures up a range of mental images: from raging seas on the coast to haunting ancient monuments, Victorian towns packed with life to peaceful hillsides grazed by sheep. However, through Hardy's 87-year life span, the West Country changed dramatically. Ideas of the role of women, humans' responsibility to animals, the realities of war, love and courtship, superstition, social structure, religion and how people related to the world around them altered fundamentally. Through his stories and campaigning, Hardy was keen to show not only the rural idyll, but also the tensions and difficulties that lay beneath these views. These dramatic landscapes were the lens through which Hardy presented his worldview to his readership. From the tragedy of a woman saying farewell to her sailorlover on the end of Portland Bill, to a shepherd losing his flock and facing ultimate ruin on the chalky hills. The landscapes shape his characters, whose stories in turn convey his messages of social change to his readers. This publication will explore the impact that Wessex had on Hardy's works, and how living there shaped his views on the often divisive social issues of the period. Uniting beautiful landscape imagery with a selection of personal items from Hardy's life, this book will show you the man behind the literature.

David Hockney is amongst the best known and most widely admired living painters in the world. This vibrant catalogue accompanies a major exhibition at the The Fitzwilliam Museum and the Heong Gallery in Cambridge, as well as the Teylers Museum in Haarlem, Netherlands.

Catalog of an exhibition of the same name held at the Courtauld Gallery, London, 3 February-8 May 2022.

Accompanying an exhibition at the Frist Art Museum, this lavishly illustrated catalogue is the first major study in English about manuscript illumination, painting, and sculpture in the northern Italian city of Bologna between the years 1200 and 1400.

Presents an outstanding group of modern drawings by European and American masters, assembled by the late Howard Karshan and his wife, Linda.

The fascinating story of the rhinoceros Miss Clara, the most famous animal of the eighteenth century.

A fresh perspective on the understanding of sacred imagery and its use through selected studies related to 17th century Roman visual culture.

This absorbing book explores the crown jewel of the Isabella Stewart Gardner Museum's collection of rare books and manuscripts.

This welcome catalogue presents exciting new scholarship on the work of Mexican and American artist Elizabeth Catlett (1915-2012).

Explores key sites visited by artist-travellers and investigates the artists.

Gives the first comprehensive examination of the painting's provenance, and reception throughout history.

Charts Diana Armfield's personal and artistic journey with over 200 beautiful reproductions of her work.

Examines a group of Bibiena drawings from the collection of Jules Fisher.

Accompanies the Gardner Museum exhibition Titian: Women, Myth, and Power, reuniting his poesie series in the United States for the first time.