Bøger udgivet af Paul Holberton Publishing Ltd

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.

For the first time in English, this lavishly illustrated catalogue presents the collection of fifteenth- to seventeenth-century French paintings in the worldfamous Hermitage Museum. Including many well-known works, notably those by Nicolas Poussin and Claude Lorrain, this catalogue represents the first full publication in English of the whole of the Hermitage Museum‿s collection of French seventeenth-century paintings, as well as seven paintings dating from the fifteenth and sixteenth centuries. Since the publication of the Russian edition in 2018 the text has been considerably reworkedand supplemented, with new photography and the addition of one further painting. It thus marks an important milestone in the history of the Hermitage Picture Gallery. The Hermitage collection of French painting is one of the largest and most significant outside France. All the leading artists of the seventeenth century are represented and there are key works by some less famous names (for instance, signedpaintings by Pierre Cauchy and Jean Daret). This catalogue also throws light on the history of collecting in France and Russia from the seventeenth to early twentieth century. Paintings that were once in the most famous collections in France made their way to Russia from the middle of the eighteenth century. Catherine the Great acquired French seventeenth-century works among her first purchase of pictures in 1764; more than thirty arrived with the Crozat de Thiers collection that she bought in 1772, and sixteen arrived with Sir Robert Walpole‿s collection from Houghton Hall in 1779. Four famous Claudes were bought by Catherine‿s grandson Alexander I from the estate of the late Empress Josephine at Malmaison in 1815. More than a third of the paintings arrived in the Hermitage after the Revolutions of 1917, some from the collections of noble families established in the eighteenth century (the Yusupovs and the Stroganovs), others from more recent collections formed by statesmen and the growing wealthy middle class (Myatlev and Oliv). Many of the works that arrived in the museum in the 1920s and 1930s had no establishedprovenance: as part of the research for this book, the author has worked with other scholars at the Hermitage to discover the collections from which the paintings derived.

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.

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

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.

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.

Drawing on works of art spanning four thousand years and from across the globe, this book explores the fundamental role of touch in human experience, and offers new ways of looking.

Coins are physically and visually intriguing. Explicitly designed to have monetary value, they can be used for their intended purpose. But coins have also frequently been repurposed to communicate private and public messages--from ad hoc scratchings and punch marks to complete re-engraving of surfaces. As carriers of messages, coins have the advantage of being unobtrusive: They can easily be carried around, and their exchange does not arouse suspicion. Tokens of Love, Loss and Disrespect gives insight into the many unofficial purposes coins served in the past. Drawing on the largest extant collection of defaced coins and tokens, Sarah Lloyd brings together the full range of expertise required to understand the phenomenon, with contributions from eleven scholars and collectors. Tokens of Love, Loss and Disrespect focuses on a period in British history when modification of coinage expressed political commentary, commercial activity, familial and emotional commitment, personal identity, and life history. It examines the coins and tokens themselves and looks at who modified them, where, why, and how. Defaced coins and tokens are often enigmatic objects, and this book offers a means of decoding and assessing them, while also drawing attention to their value as a distinctive source of historical evidence. Tokens of Love, Loss and Disrespect considers what these surviving coins reveal about the society in which they were produced and the light they shed on major historical developments of the period.

Philip de Laszlo, following a meteoric rise to recognition in his native Hungary, settled in Britain in 1907 and became the leading portrait-painter in the country.

The self-portrait of Baccio Bandinelli in the Isabella Stewart Gardner Museum, Boston, shows the scupltor pointing not to a work of marble or bronze, but to a drawing. Bandinelli was particularly proud of his skills as a draughtsman, and he was prolific in his production of works on paper.

"The artist should not only paint what he sees before him," claimed Caspar David Friedrich, "but also what he sees in himself." He should have "a dialogue with Nature". Friedrich's words encapsulate two central elements of the Romantic conception of landscape -- close observation of the natural world and the importance of the imagination.

The Hamburg bankers son Aby Warburg (18661929) was one of the most influential art historians and cultural theorists of the 20th century. His lifes work was devoted to tracing antique formulas of representation in the depiction of human passions in Renaissance art. For this epoch-spanning relationship, he developed the term pathos formula (Pathosformel). In a lecture given in 1905 in the Konzerthaus in Hamburg, focusing on the young Albrecht Drers Death of Orpheus, Warburg outlined his thoughts in front of the original drawing, which he had borrowed from the rich holdings of the Kunsthalle in order to better illustrate his idea. This drawing, pivotal in the young artists development as an ambitious response to classical antiquity, was displayed during the lecture alongside a group of engravings and woodcuts which included not only some of Drers own seminal later prints, such as Melencolia I, but also engravings by Andrea Mantegna which Drer copied in 1494, the same year he drew the Death of Orpheus.Warburgs pop-up exhibition of eleven works has here been reconstructed and analyzed, using his fascinating lecture notes, sketches and slide lists. First developed by the Hamburger Kunsthalle in 2011, subsequently on view in Cologne in the Wallraf-Richartz Museum and now at The Courtauld Gallery, each institution has interpreted the material slightly differently, while retaining the core Warburg group.Aby Warburg aimed at unlocking the meaning of an art work by excavating its roots in its cultural context. By restaging his legendary display of 1905 with Drers Death of Orpheus at its heart, the exhibition and accompanying book present some of the most skillful and ambitious works on paper ever produced and also seek to introduce into Warburgs rich intellectual universe to a

Detailed biographies describe the lives of twelve collectors of tribal art in Britain, active between 1770 and 1990. These men were rarely field collectors and only occasional travellers, but they were vigorous hunters, for whom the pursuit, handling and possession of such objects was what mattered.

The Thomson Collection contains examples of the highest quality of most types of medieval ivory carving, both secular and religious.

Isabella Stewart Gardner routinely went toe-to-toe with major museums and titans of industry to purchase masterpieces, created a museum unlike any other, and was famous for consistently flouting the social conventions that governed women of her time. This book shows another side of Isabella that readers may not expect: her love of dogs.

Accompanying an exhibition at the Staatliche Kunstsammlungen Dresden, this publication presents the glass swallow works Perched, created by the artist Feleksan Onar.

Seeks to revisit the art of Elijah Pierce and see it in its own right, not simply as 'naive'.

Recounts the exciting rediscovery of Giorgio Vasari's painting Allegory of Patience, painted in 1551-52 for the Bishop of Arezzo.

Published to accompany the exhibition held at the Foundling Museum, 24 January - 26 April 2020.

Divine People is the first major written study of McEvoy's life and work and aims to firmly place this long-neglected artist back into the canon of 20th-century British art.