This publication is the result of a project of technical examination on metalpoint drawings which was undertaken in preparation for the exhibition Drawing in Silver and Gold: Leonardo to Jasper Johns. In this volume we report the results of the examination of thirty metalpoint drawings in the British Museum’s collection from Germany and the Low Countries dating from the 15th to 17th centuries. This research builds on the work done for an earlier project, published in Italian Renaissance Drawings: Technical Examination and Analysis. The research methodology used combines techniques of visual examination, technical imaging and chemical analysis in order to understand drawing techniques and the use of materials. In some cases curators had particular questions that might be further investigated through this research. The results are fully documented here and it is hoped that this will form a useful reference in the future, as comparative information to the examination of drawings in other collections.

A portrait of an eminent jewelry artist and her unique creations!

Inspired by the Arte Povera movement, the Italian jewelry artist Annamaria Zanella (b. 1966) uses base materials, which only gain meaning through their context. Corroded metal or found objects convey statements that can be both political and personal in nature. Zanella wants to bring the soul of the material to light through the work of her own hands.

The color used is intended to evoke feelings and reactions. To this end Zanella studied the history of colors and their production, especially that of her unmistakable blue. She produced a blue pigment according to a recipe from the fourteenth century, invoking in its modern use pioneering artists such as Giotto, Wassily Kandinsky and Yves Klein.

Annamaria Zanella is represented in numerous museums, including Musée des Arts Décoratifs, Paris (FR); Kunstgewerbemuseum Berlin (DE); Die Neue Sammlung The Design Museum, Munich (DE); Museum of Arts and Design, New York (US); Schmuckmuseum Pforzheim (DE); Museo degli Argenti, Florence (IT); Victoria and Albert Museum, London (GB); Palazzo Fortuny, Venice (IT); Cooper Hewitt, Smithsonian Design Museum, New York (US); Swiss National Museum, Zurich (CH).

Text in English and Italian.

Artisans of Israel is a very special book on crafts. Author Lynn Holstein is in search of a national identity in the artisanry of the still young country – and she finds it in the unifying pursuit for innovation. Forty artists, including Jews, Muslims and Christians, tell their stories and show in five different trades how emancipation can be promoted through creativity. Working with one’s hands stands unfailingly at the centre of this reflection. From the hybrid of cultural and religious backgrounds emerges a unique compilation that brings together the fields of metalwork and jewellery, ceramics, textiles, paper and wood. This compilation portrays a sensitive and inspiring portrait of Israel and its inhabitants. This book accompanies an exhibition at The Open Museum, Tefen (IL), in January 2018.

Text in English, Hebrew and Arabic.

Petra Zimmermann occupies a unique position among emerging contemporary jewelry artists: she shares their exciting approach to the subject of jewelry and the quotable adoption of the pop culture label for defining the auteur jewelry concept in which she succeeds, this time through historical reference. The artist draws on past encounters with costume jewelry from the previous century for her rings, bracelets and brooches. Comprised of bright, colorful synthetic forms, these objects receive a framework in which their artificial appearance contrasts to the dusty splendour of the historic costume jewelry. Beguiling pieces of jewelry emerge, which combine the present fascination for glamour with an element of progression, thus referencing the costume jewelry as an essential component in the production and construction of glamour in the portrait photography of the Hollywood diva. In her latest series of works, the artist uses mass media images of models, floral motifs, architecture and design objects which broaden her scope of cultural and social interpretations. Thus behind the visual opulence of her work, she succeeds in handling relevant aesthetic and social themes in her pieces; relevant for a generation that no longer struggles against traditional conventions, but that negotiates much more in an increasingly complex environment in the search for personal and historical coherence.

Petra Zimmermann is one of the most ambitious artists in contemporary jewelry. This book provides the first overview of her fascinating and exciting creative jewelry works with sumptuous images and scholarly articles.

Custodians brings together for the first time, in this beautifully compiled collection, images of many of Oxford’s most prestigious buildings along with some rarely seen, but wonderful venues and their ‘Custodians’. Photographer Joanna Vestey set out to explore the extraordinary colleges and buildings of Oxford, behind the closed doors, often beyond the reach of the 9.5 million visitors a year who come here, and to meet the ‘Custodians’ playing a pivotal role in perpetuating these world renowned institutions. Rarely do we get to catch a glimpse behind the closed facades of these iconic structures and to see the spaces that lie within. All the images have been captured in the University City of Oxford, known as the “City of Dreaming Spires” and show its extraordinary breadth of architecture since the arrival of the Saxons. It includes venues such as the 17th Century Divinity School, the mid-18th century Radcliffe Camera continuing through to the most recent award winning RIBA nominated chapel at Ripon College completed last year. Venues such as the Sheldonian Theatre and Christchurch College sit alongside perhaps lesser known venues such as The Real Tennis Courts or the John Martyr Pawsons cricket pavilion portraying the breadth and diversity constituting the city. The ‘Custodians’ and their surroundings enjoy equal status in Joanna’s formal compositions; they seem to belong together, yet do not fuse into one, thereby asking us to question how we are all largely shaped and influenced by the structures around us – how defined we are by them and how much they form us. Full of unexpected venues beautifully photographed, this book will appeal to the his-torian, city visitor, people interested in architecture and interiors as well as to the extensive alumni network of the colleges themselves. It will also appeal to an audience interested in contemporary photography.

The collection of drawings in the Ashmolean is one of the greatest treasures of the University of Oxford. It began spectacularly in 1843 when a group of drawings by Raphael and Michelangelo that had previously belonged to the portrait painter, Sir Thomas Lawrence, was bought by subscription. Lawrence’s collection was one of the greatest collections of Old Master drawings ever assembled and its dispersal was much regretted. The Raphaels and Michelangelos, however, were the jewels in its crown. Following their arrival in Oxford, their fame attracted a number of gifts and bequests of drawings and watercolors by Dürer, Claude Lorraine, Brueghel, J. M. W Turner and many others.

This is a story not only of Old Masters but of benefactors – Francis Douce, Chambers Hall, John Ruskin and their successors – whose different tastes account for the variety of the drawings in the modern Print Room. It is a story also of the curators who bought them. In particular, it is the story of Sir Karl Parker who arrived at the museum in 1934 and left a collection when he retired in 1962 that comprehensively covered the history of the art of drawing in Europe from its origins to the present day. The exhibition, Master Drawings: Michelangelo to Moore, celebrates this history. It includes many of the finest drawings in Oxford, representing the work of many different artists: Raphael and Michelangelo; Dürer and the artists of the Northern Renaissance; Guercino and Rubens; Boucher and Tiepolo; German Romantics; J. M. W. Turner; Degas and Pissarro; the artists of the Ballets Russes; British twentieth-century artists from Gwen John to Hockney; and much else.

The Ashmolean Museum holds a world-class collection of over 200 prints made by Rembrandt Harmensz van Rijn (1606-1669). Widely hailed as the greatest painter of the Dutch Golden Age, Rembrandt was also one of the most innovative and experimental printmakers of the seventeenth century. Rembrandt was extraordinary in creating prints not merely as multiples to be distributed but also as artistic expressions by using the etching printmaking technique for the sketchy compositions so typical of him. Almost drawing-like in appearance, these images were created by combining spontaneous lines with his remarkable sense for detail.

Rembrandt was a keen observer and this clearly shows in his choice of subjects for his etchings: intense self-portraits with their penetrating gaze; atmospheric views of the Dutch countryside; lifelike beggars seen in the streets of his native Leiden; intimate family portraits as well as portrayals of his wealthy friends in Amsterdam; and biblical stories illustrated with numerous figures. This book presents Rembrandt as an unrivalled storyteller through a selection of over 70 prints from the Ashmolean collection through a variety of subjects ranging from 1630 until the late 1650s.

During the day, painter and graphic artist Fred Bervoets (1942) works almost routinely at his large format etchings. At night, he lets his imagination run wild. The hundreds of drawings, sketches, doodles and paintings done in the margin today fill almost the entire ground floor of his studio home. The one thing they have in common, apart from their maker, is their modest A4 format.
The spontaneity of these small works on paper forms the heart of this book, which also includes Bervoets’ more monumental etchings since 2013. This one-of-its kind “print room” offers an impressive kaleidoscopic self-portrait of an absolutely unique artist.

Text in English and Dutch.

A large selection of Letizia Battaglia’s iconic black and white images are presented in this catalog, guiding the reader along a journey into one of post-war Italy’s darkest periods. Drawing from Battaglia’s personal archive, the book also includes some of the photographer’s more recent projects. It offers a unique approach to her genre-defining work (often likened to that of American ‘crime’ photographer Weegee) and a chance to reflect on the role of photography as an individual and collective means for taking action, bearing witness, providing evidence and documenting history. The Daily Beast wrote that Battaglia’s pictures capture “Mafia judges and police officers, many dead in their cars with blood so fresh it glimmers like water.” Yet some present daily Sicilian life with “young girls playing on the cobbled streets and wealthy women in fur collars sipping champagne.” The breadth of Battaglia’s ouevre paints a portrait of Sicily across the turning point of the centuries.

Many of Gauguin’s portraits of Breton and Polynesian sitters, as well as his self-portraits, include inanimate objects. Intriguing as these are, the works in Paul Gauguin’s portrait gallery have never really been the subject of a thorough study. This book, first published in English in 2005, fills a gap in the scholarly literature on Gauguin, one of the leading figures in post-Impressionist art, with an in-depth, well-illustrated examination of his portraits. An array of experts on Gauguin’s art reflect on the symbolic attributes his models were endowed with, and the meaning behind the evocative settings he chose for them. The authors explore the many aspects of the artist’s portraits, often in light of the remarks he made about his models, and focus on their importance in relation to his larger oeuvre. This book, which is intended as a standard text in this field, includes essays written by experts in Gauguin’s work, all established scholars and researchers.

Text in French.

An impressively tattooed but unnamed Easter Island (Rapa Nui) man appears often in the pages of Pacific Island histories and museum catalogs. The Swedish ethnographer Dr. Knut Hjalmar Stolpe knew him only as Tepano, the Tahitian version of the Christian name Stephen. But what was his real Rapanui identity, and what can his life story tell us about the history of Easter Island?

This book reveals his identity, who illustrated him, and how he transcended the tragic events of 19th-century Rapa Nui to become one of the most iconic faces of the Polynesian past. The authors summarize the history of tattoo as practiced by Rapanui artisans, link that history to island geography, and present rare barkcloth sculptures as a visual record of tattoo patterns.

This title is the first in a new series on Polynesian Arts & Culture by Mana Press, in partnership with Floating World Editions.

For a list of future titles, visit: www.FloatingWorldEditions.com. For more on Rapa Nui, the Mana Gallery and Mana Books, visit: www.eisp.org.

First to translate two of the oldest accounts of Musashi’s career – the Bushû denraiki and the Bukôden – William de Lange presents a full biography of the most famous yet enigmatic of swordsmen. In doing so, he draws extensively on a wealth of additional and often neglected sources to reconstruct the meandering course of Musashi’s eventful life: his dramatic encounter with Sasaki Kojirô on Ganryû island, his multiple bouts with the famed Yoshioka brothers, and the remarkable gestation of his life’s influential work: The Book of Five Rings. In the course of this highly readable account, many of the convenient myths that have arisen around Musashi are debunked. The more controversial incidents of the warrior’s life that have been left hidden, perhaps deliberately, are uncovered: his troubled relationship with his father, his whereabouts during the battle of Sekigahara, the siege of Osaka castle, and the birth and death of an illegitimate child, which was an event that deeply influenced his art. The biography reveals how Musashi’s path through life was shaped by strong personal traits: his reckless valor in the face of danger, his sensitive intelligence in the fields of art and architecture, his generosity toward peers and pupils, and his defiant stubbornness in old age. The complex yet human portrait that arises is a far cry from the accepted one-dimensional caricature of this medieval swordsman.

Miyamoto Musashi (c. 1584-1645) is the most revered and celebrated swordsman in Japanese history; in Japan alone close to a thousand works have taken the ancient warrior as its subject. Unfortunately, our modern portrait of this folk hero is derived mainly from popular books, comics, and film, with little heed paid to the early denki, chronicles recorded by men who, though they had not known Musashi in his lifetime, faithfully recorded what was passed down by those who had. The Bushû Denraiki is the earliest such record still in existence. Completed in 1727 by Tachibana Minehide, the fifth generation master of Musashi’s Niten Ichi school of fencing, it is the most reliable record of Musashi’s life and exploits outside those from the hand of the master swordsman himself. Now, after three centuries, Minehide’s insight into this enigmatic and solitary swordsman are available to the English reader. His text throws a new and refreshing light on many aspects of especially Musashi’s early life-his troubled relations with his father, his first battle experience during Japan’s period of unification, the sad death of his illegitimate child, and of course his legendary duel on Ganryû island.

This is the book that accompanies a landmark exhibition organized jointly by the Sainsbury Centre for Visual Arts, Norwich, and the State Hermitage Museum, St Petersburg, to bring together works by Francis Bacon alongside masterpieces from the Hermitage collection. The book and exhibition focus on Bacon’s known influences and inspirations, and explore his fascination with artists such as Rembrandt, Velasquez, Titian, Michelangelo, Rodin, Van Gogh, Picasso, Cezanne and Degas. The thirteen paintings by Bacon in the Robert and Lisa Sainsbury Collection form the core group by the artist, alongside paintings, sculptures and artefacts from the Hermitage that exemplify the theme of the project. Photographs from the Hugh Lane archive in Dublin further explore the artist’s working methods. With text by leading Bacon experts, and designed by John Morgan Studio, London, it is a book that will offer intriguing new insights into the life and work of one of the twentieth century’s most famous artists. Contents: An Introduction: Thierry Morel; Bacon, Michelangelo and the Classical Tradition: Paul Joannides; Francis Bacon’s Studio: Margarita Cappock; Bacon’s Paintings in the Sainsbury Collection: Amanda Geitner. Also available Bacon Moore ISBN 9781851497478

Margaret Mercer Elphinstone (1788-1867), with her powerful mind and independent spirit, was never daunted by adversity as she sought to realize her ambitions for her family against the background of intellectual upheaval and social and political change which followed the French Revolution and the end of the ancien régime. The turning-point in her life was her controversial marriage in 1817 with the general Charles de Flahaut (1785-1870), which, contrary to all expectations, resulted in one of the most successful partnerships in the ‘auld alliance’ between France and Scotland.

Whereas the life of her husband, the dashing Napoleonic general and diplomat Charles de Flahaut, is well known, Margaret has remained in the shadows. Yet this biographical study, based on unpublished correspondence in the Archives Nationales, Paris, reveals her to have been the more interesting of the two. It shows how much he depended on her brains, political judgment and artistic taste as well as her fortune to guide him in his career. Her lively, observant but wicked pen takes us with her on visits to Talleyrand, to the marquis de Lafayette, to the duchesse de Praslin, to house parties in stately homes of England and Scotland. Acknowledged a superb hostess, her descriptions of the menus, and entertainments organized in her homes in Scotland, London and Paris, and at the Flahaut embassies in Vienna and in London capture the flavor of those cosmopolitan gatherings. A lifelong liberal in politics and an upholder of Whig principles, her politicomanie inspires sharp comments on the opponents of Reform in England and on the self-seeking ministers of Louis-Philippe in France.

A new photographic exploration of Chicago, a city which attracts the visitor with its profoundly American character. The book presents over 100 photographs shot in Chicago between 2006 and 2011, mainly in black and white. Several aspect of this diverse city are shown. Starting from the most celebrated downtown areas, where so many movies have been shot making them familiar to the entire world, to the suburbs and outskirts of the city, each with its own personality and charm. Page after page, empty streets mix with the most solemn of buildings and the waterfronts; people who work and live here meet other people who come from the Mid-West to check out unexpected urban landscapes. And then there are a number of photographs dedicated to the world of Blues, from the many clubs where the Blues are played and lived each night, to the Chicago Blues Festival, the great late Spring event attended by an extraordinary and multifarious public, who are as much a part of the scene as the artists on stage.

Lawyer and forensic auditor Flip de Mey has for years studied the files on the assassination of President John F. Kennedy. His research, based on the original documents, led to a startling and ground-breaking theory, which he described in Cold Case Kennedy. In a follow-up to that bestseller, The Lee Harvey Oswald Files, de Mey investigates exactly what part Oswald played in the Kennedy assassination. With the same attention to detail that enabled him to prove Kennedy was the victim of a conspiracy, he examines the files and presents new information derived from unique photographs of Oswald’s rifle and contact with two of Oswald’s friends. De Mey’s conclusion is unambiguous: Oswald could not have killed Kennedy. So who did, and why? Flip de Mey’s answers to these questions are shrewd and supported by a multiplicity of arguments. Also available: Cold Case Kennedy ISBN 9789401413961

A Guide to Rubens’ Antwerp highlights the life and work of Peter Paul Rubens (1577-1640) in a comprehensive and accessible way. The Antwerp museums and churches contain about a hundred paintings, drawings, designs and sketches by Rubens. A large part of those are public. Antwerp is the only city in the world that is so deeply rooted with Peter Paul Rubens and his baroque heritage. A Guide to Rubens’ Antwerp allows you to experience Rubens and the Baroque in an intense way. This multifaceted acquaintance with Rubens goes hand in hand with a dive into the glorious past of the vibrant city of culture, where the master’s life largely took place. A mapped walk takes you to the various places in Antwerp where Rubens’ work can be seen. You can visit his house with the studio, where so many masterpieces came about. You also visit the homes of his friends Balthasar Moretus and Nicolaas Rockox, and you can admire paintings of him in the historic churches in the rooms for which they were made.

Text in German.

“All people need to be seen.” – Bruce Davidson. “America is still out there – You just have to look for it.” – Larry Niehues. “I’m proud to say I’m from the USA because I’ve really seen it with my own eyes – all the beauty and the destruction, the tradition and the innovation, the loud cities and the quiet little spaces.” – Dan Auerbach (The Black Keys). Larry Niehues, a French-born photographer who lives in the United States, traveled around the country for 5 years photographing modern day America while seeking out the continuing presence of a timeless post-war ‘old America’. Photographed using 35mm film, his portraits of people and iconic small town life (motels, diners, gas stations, cars), evoke mid-century American life in a way that is both authentic and powerful in the tradition of William Eggleston, Dennis Hopper, Bruce Davidson, and Robert Frank.

Ganesh Pyne (1937-2013) traced his early influences to his grandmother’s folk tales and Abanindranath Tagore’s stories and illustrations for children. The gruesome violence which attended the Partition of India, including The Great Calcutta Killing of 1946, left a permanent effect on Pyne’s creative personality, revealing itself in the premonitions of death and destruction visible on his canvas. Pyne was a multi-faceted artist, always honing his skill in standardized art practice as well as adapting technology for his personal idiom. He dabbled in animation and print media, not just to make a living but also to widen his horizon of the visual study of art.

This illustrated volume presents a rich, expansive study of Pyne’s creative career, including previously unseen work made while the artist was a young man. Through sensitive essays, the author also brings to fore the shy reticence of the artist himself, who nevertheless took a great interest in Calcutta’s artistic milieu, becoming a member of the Society of Contemporary Artists. This volume hopes to reveal the intensity of Pyne’s engagement with the world around him and his urgent voice capturing the apprehensions and ideals of a country on the brink of both disaster and freedom. Published in association with Lalit Kala Akademi, New Delhi, and Akar Prakar, Kolkata.

This publication emanates from an exhibition by the same title, displayed for the first time at the Alliance Française de Delhi. It is an attempt to trace the development of photography and the other allied visual arts in Pondicherry spanning the late 19th and early 20th centuries. Drawn exclusively from The Alkazi Collection of Photography, at the core of this initiative is the unpublished album by renowned photographer Henri Cartier-Bresson, co-founder of Magnum Photos, who visited the Sri Aurobindo Ashram in April 1950. He took the last pictures of Sri Aurobindo Ghose in the company of his spiritual companion, the Mother. In addition, he meticulously penned his observations almost daily, creating a meta-text around the images, which presents a biographical and anecdotal supplement for his photographic endeavour. The visual material is further enhanced by some extraordinary images of Indian photographers from the same period such as Tara Jauhar and Venkatesh Shirodkar at Aurobindo Ashram, published here for the first time.

In this catalogue a conscious effort has been made to bring out a non-linear, yet credible history of how Pondicherry has been witness to the development of a unique visual trajectory. The use of images as evidence and document create a subtle interplay between cultural context and artistic intent, a conceptual linking of mannerisms and tropes those of landscape, architectural and portrait photography.

Modern Indian Painting presents a survey of Indian painting from the late 19th century to the present day, drawn from the private collection of Jane and Kito de Boer remarkable for its broad historical scope and wide range of artists. The book clearly delineates major developments over a long period of time, while contextualizing them with previously unpublished examples by major artists. The first part of the book features the de Boers talking about their passion for India and Indian art. The second part presents a history of modern Indian painting, with essays on the Bengal School, the so-called ‘Dutch Bengal’ artists, the Calcutta naturalists, the portrait painters of the Bombay School in the early 20th century, the Progressive Artists Group and the post-Independence artists of Bengal. The de Boer collection also contains strong representations of a few individual artists, such as Chittaprosad, Ganesh Pyne, Ramachandran and Broota, whose works are explored through essays and interviews. The fact that many of these chapters draw almost exclusively on the de Boer collection is a testament to its incredible size and breadth. In this volume, we hope to show how the collection takes a dispassionate view of the global status of Indian art, while at the same time revealing a commitment and long-term engagement with the country and its creativity. With contributions from Partha Mitter, Giles Tillotson, Yashodhara Dalmia, Sona Datta, Sanjay Kumar Mallik and Rob Dean.