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The value of inventories in charting how houses were arranged, furnished and used is now widely appreciated. Typically, the listings and valuations were occasioned by the death of an owner and the consequent need to deal with testamentary dispositions. That was not always so. The inventory for Castlecomer House, Co. Kilkenny, for example, was drawn up to make a claim following the house’s devastation in the 1798 uprising.

Mostly hitherto unpublished, the inventories chosen give new-found insights into the lifestyle and taste of some of the foremost families of the day.

A comprehensive index facilitates access to the myriad items within the inventories, while the books listed at three of the houses are tentatively identified in separate appendices. A foreword, together with preambles to the inventories, sets the households in their historical context. The book will appeal to historians of interiors, patronage, collecting and material culture, as well as to scholars, curators, collectors, creative designers, film directors, bibliographers, lexicographers and historical novelists.

“This book takes in his introduction to wine – at the age of three! – through his continued travels and championing of New World wines when they were less fashionable.” – Matthew Nugent, The Irish Sun

“You can feel Oz Clarke’s expansive, chatty presence in every sentence” – Telegraph

“Reading Clarke may be the closest we’ll come to sharing a glass of sack with the Bard himself.” —David McIntyre, Washington Post
“Frankly, it’s the best and most entertaining wine read I’ve had in years.” —Tom Doorley, The Irish Mail

“You can never have too much of his captivating enthusiasm and rich knowledge and this is him at his best.” — Waitrose magazine

“A rollicking good read.” — Sommelier India

There have never been so many delicious and original wines in the world, and to discover them, all you need is a glass in your hand and Oz Clarke – the ideal wine companion. With his inimitable sense of adventure and fun, Oz explains how his fascination with flavor led him to abandon a promising acting career and follow his heart from Chablis to ‘the lost Himalayan valleys of Yunnan’ in pursuit new taste experiences and wine thrills. He found them! Oz Clarke On Wine takes us on a fast-paced, witty romp around the grape varieties key to the world’s major wine styles, then explores the vineyards and regions where a vast trove of wine treasure lies waiting for discovery. Oz’s passion for sharing, his deep wine knowledge, and his ability to conjure up the wine world’s most beautiful landscapes, make this book the most unputdownable wine read this century.

Includes:

In 2019 Ali Kazim, one of the most exciting contemporary artists working in Pakistan today, became the first South Asian artist-in-residence at the Ashmolean Museum. Drawing inspiration from the objects in the Eastern Art collections, and their contextual history, he saw his time in the Museum as an opportunity to reimagine the objects in his own work and practise. Thus, the exhibition and accompanying catalogue will focus mainly on Kazim’s engagement with the Ashmolean collections and the works created between 2019 and 2021. Widely exhibited and collected internationally (including the British Museum, V&A, Metropolitan Museum, Queensland Art Gallery, etc.), Kazim lives and works in Pakistan. The exhibition and book provide the Museum an opportunity to engage wider diverse audiences, while also presenting the works of a contemporary multidisciplinary artist who reflects and draws strength from the Ashmolean collections.

The Caravane Earth Foundation presents The Majlis book, a rich and colourful documentation of the creation of the “Majlis” exhibition, a multi-layered nomadic project at the 17th annual Biennale di Venezia. The book tracks the multifaceted nature of the exhibition itself, which comprised an architectural object, an exhibition, and a garden, all three hosted by the Abbazia di San Giorgio Maggiore in Venice, Italy. Additionally, the book tells the broader story of Caravane Earth, chronicling research conducted by the foundation and the key ideas that form its philosophy and agenda. The Majlis highlights the main elements of the project in Venice while giving an introduction to key members of Caravane’s community of experts.  

With a narrative structure broken into four sections – Exhibition, Architecture, Craft, and Earth – The Majlis book features interviews with important figures and institutions from these fields, stunning visual documentation of the creation process and featured artefacts, and critical writings on permaculture, architecture, and craft. Featuring discussions with the Smithsonian Foundation, landscape architect Todd Longstaffe-Gowan, The International Network for Traditional Building, Architecture & Urbanism (INTBAU), director and curators of the Sheikh Faisal Museum, and many more, the collection provides a deep look and education into the many causes championed by Caravane Earth.

The Classicist is an annual journal dedicated to the classical tradition in architecture and the allied arts. Focused on the United States’ Washington Mid-Atlantic region, the Classicist No. 18 explores the city’s rich architectural history as well as contemporary examples of classical design through professional and student portfolios as well as academic articles authored by leaders within the field. Contributors include Guest Editor W. Barksdale Maynard, architectural author; Witold Rybczynski, Martin and Margy Meerson Professor Emeritus of Urbanism at the University of Pennsylvania; David Frazer Lewis, Associate Professor of Architectural History at the University of Oxford; and Bryan Clark Green, Director of Historic Preservation for Commonwealth Architects in Richmond. 

Crete was famous in Greek myth as the location of the labyrinth in which the Minotaur was confined in a palace at somewhere called ‘Knossos’. From the Middle Ages travelers searched unsuccessfully for the Labyrinth. A handful of clues that survived, such as a coin with a labyrinth design and numerous small bronze age items. The name Knossos had survived – but it was nothing but a sprinkling of houses and farmland so they looked elsewhere. Finally, in 1878, a Cretan archeologist, Minos Kalokairinos discovered evidence of a Bronze Age palace. British Archaeologist and then Keeper of the Ashmolean Arthur Evans came out to visit and was fascinated by the site. Between 1900 and 1931 Evans uncovered the remains of the huge palace which he felt must be the that of King Minos, and he adopted the name ‘Minoans’ for its occupants. He employed a team of archeologists, architects and artists, and together they built up a picture of the Bronze Age community that had occupied the elaborate building. They imagined a sophisticated, nature-loving people, whose civilization peaked, and then disintegrated. Evans’s interpretations of his finds were accurate in some places, but deeply flawed in others. The Evans Archive, held by the Ashmolean, records his finds, theories and (often contentious) reconstructions. 

Humayun, the son of Babur and the second Mughal ruler, reigned in Agra from 1530 to 1540 and then in Delhi from 1555 to 1556. Until now, his numerous achievements, including winning back the throne of Hindustan, have not been well recorded. The Planetary King follows Humayun’s travels and campaigns during the political and social disturbances of the early 16th century. It delves into Humayun’s extraordinary social and intellectual life; demystifies his magico-scientific world view, draws attention to his deep involvement with literature, poetry, painting, architecture, mathematics, astronomy, astrology, occultism and extraordinary inventions, and offers a new analysis of Humayun’s mausoleum as the posthumous sum of his visions and dreams.

The book accompanies the new site museum at Humayun’s tomb created by the Aga Khan Trust for Culture upon the culmination of two decades of conservation work on the World Heritage Site.

Co-published with Aga Khan Trust for Culture, New Delhi. 

In celebration of the 200th anniversary of the birth of one of Victorian Britain’s greatest thinkers, the art critic and social reformer John Ruskin, the distinguished Ruskinian Robert Hewison introduces Ruskin’s ideas and values through revelatory studies of the people and issues that shaped his thought, and the ideas and values that in turn were shaped by his writings and personality. Beginning with an exploration of the rich tradition of European art that stimulated his imagination, and to which he responded in his own skilful drawings, Ruskin and his Contemporaries follows the uniquely visual dimension of his thinking from the aesthetic, religious and political foundations laid by his parents to his difficult personal and critical relationship with Turner, and his encounters with the art and architecture of Venice. Victor Hugo makes a surprising appearance as Ruskin develops his ideas on the relationship between art and society. Ruskin’s role as a contemporary art critic is explored in two chapters on Holman Hunt, one focussing on the Pre-Raphaelite’s The Awakening Conscience, one examining his later Triumph of the Innocents. The development of Ruskin’s role as a social critic is traced through his teaching at the London Workingmen’s College and his foundation of the Guild of St George, a reforming society that continues to this day. Oscar Wilde came under his personal influence, as did Octavia Hill, a founder of the National Trust. The evolutionary theories of Charles Darwin are shown to have been deeply unsettling to Ruskin’s worldview. The book concludes with a demonstration of the profound influence of the Paradise Myth on all of Ruskin’s writings, followed by an exploration of the concept of cultural value that shows why Ruskin’s ruling principle: ‘There is no wealth but Life’ is as relevant to the 21st century as it was to the 19th.

In celebration of the 200th anniversary of the birth of one of Victorian Britain’s greatest thinkers, the art critic and social reformer John Ruskin, the distinguished Ruskinian Robert Hewison introduces Ruskin’s ideas and values through revelatory studies of the people and issues that shaped his thought, and the ideas and values that in turn were shaped by his writings and personality. Beginning with an exploration of the rich tradition of European art that stimulated his imagination, and to which he responded in his own skilful drawings, Ruskin and his Contemporaries follows the uniquely visual dimension of his thinking from the aesthetic, religious and political foundations laid by his parents to his difficult personal and critical relationship with Turner, and his encounters with the art and architecture of Venice. Victor Hugo makes a surprising appearance as Ruskin develops his ideas on the relationship between art and society. Ruskin’s role as a contemporary art critic is explored in two chapters on Holman Hunt, one focussing on the Pre-Raphaelite’s The Awakening Conscience, one examining his later Triumph of the Innocents. The development of Ruskin’s role as a social critic is traced through his teaching at the London Workingmen’s College and his foundation of the Guild of St George, a reforming society that continues to this day. Oscar Wilde came under his personal influence, as did Octavia Hill, a founder of the National Trust. The evolutionary theories of Charles Darwin are shown to have been deeply unsettling to Ruskin’s worldview. The book concludes with a demonstration of the profound influence of the Paradise Myth on all of Ruskin’s writings, followed by an exploration of the concept of cultural value that shows why Ruskin’s ruling principle: `There is no wealth but Life’ is as relevant to the 21st century as it was to the 19th.

The robin was hardly understood when David Lack – Britain’s most influential ornithologist – started his scientific observations. This book is a landmark in natural history, not just for its discoveries, but because of the approachable style, sharpened with an acute wit. It reads as fascinatingly today as when it was written.

‘One of the very few necessary and inevitable utterances of the century.’ William Morris, in the Preface. The Nature of Gothic started life as a chapter in Ruskin’s masterwork, The Stones of Venice. Ruskin came to lament the ‘Frankenstein monsters’ of Victorian buildings with added Gothic which ‘The Stones’ inspired; but despite his misgivings the original moral purpose of his writing had not fallen on stony ground. The Nature of Gothic, the last chapter of the second volume, had marked his progression from art critic to social critic; in it he found the true seam of his thought, and it was quickly recognised for the revolutionary writing it was. As Morris himself put it, The Nature of Gothic ‘pointed out a new road on which the world should travel’; and in its indictment of meaningless modern labour and its celebration of medieval architecture it could be called the foundation stone of Morris’s aesthetic and purpose in life. 40 years after he first read it, Morris chose Ruskin’s text for one of the first books to be published at his Kelmscott Press, using his own Golden type. It is one of the summits of his career, and one of the most beautiful books ever published.

Few books can so completely sum up an era. The Kelmscott Nature of Gothic encapsulates the meeting of two remarkable minds and embodies their influence in word, image and design. But more than that, Ruskin’s words are increasingly relevant for our times. In this facsimile edition, the first ever made of this rare book, the reader can fully appreciate their importance and their legacy, as understood by one of the most potent visual imaginations to have worked in Britain.

In this enlarged edition, essays by leading scholars, Robert Hewison (who was one of Ruskin’s successors as Slade Professor of Fine Art at Oxford University), Tony Pinkney (Senior Lecturer at Lancaster University) and Robert Brownell (lecturer, stained glass maker and author of Marriage of Inconvenience) explain the importance of this book for Ruskin, for Morris and for us today.

Contrary to the monochrome vision of Queen Victoria’s mourning dresses and the coal-polluted streets of Charles Dickens’ London, Victorian Britain was, in fact, a period of new and vivid colors. The Industrial Revolution had transformed the Victorians’ perception of color and, over the course of the second half of the 19th century, it became the key signifier of modern life. Colour Revolution: Victorian Art, Fashion & Design charts the Victorians’ new attitudes to color through a multi-disciplinary exploration of culture, technology, art and literature. The catalogue explores key ‘chromatic’ moments that inspired Victorian artists and writers to think anew about the materiality of color. Rebelling against the bleakness of the industrial present, these figures learned from the sacred colors of the past, the sumptuous colors of the Middle East and Japan and looked forward towards the decadent colors that defined the end of the century. 

For most of us the Gita evokes an image of Krishna addressing Arjuna who is dutifully kneeling before him with folded hands, with a chariot and the battlefield as a backdrop. We have seen versions of this image on wall calendars, diaries, amateur paintings, and on walls of religious spaces. Year after year, our exposure to the Gita remains limited to these fleeting visual engagements as they become part of our muscle memory as we go about our chores.

This book, as the title suggests, decodes life lessons from each section of the Gita, looking at this ancient text through a 21st century prism. Far from being a mere compilation of selected didactic verses, this narrative skillfully strings together 251 verses of the Gita. It deciphers each of them, and presents the takeaways as tools to face situations of modern-day distress, dilemma and inner conflict. 

Written from the perspective of a non-ritualistic individual, the book connects the teachings of the Gita with current concepts of life skills. It also reiterates the relevance of a text written thousands of years ago, and showcases its contemporary value by drawing parallels with our day-to-day existence today. 

Few, if any, cities have a literary history as rich as that of London. Writers have written about it; and lived, loved, stayed and died there. Here are 111 stories to be revealed. Among them are the lives of writers and their characters, and the plots and venue. Where can you see the first printed book in the western world, or visit the library with no books? Where did two poets marry secretly and then flee to Italy; and what happened when Sigmund Freud met Salvador Dalí? What is the mystery of the signed copy of Mein Kampf?

This is a guide to the capital unlike any other – not only enlightening to residents who may have thought that they knew their city (and their books), but the visitor, too. These are sights you shouldn’t miss – but which you’re unlikely to find without this book.

Between the twilight years of the Tokugawa shogunate (1603–1867) and the end of the Meiji Era (1868–1912) that followed it, photography offered a unique insight into the rapid transformation of Japan from an isolated, feudal society to a modern, industrialized state. In the four decades that followed the opening of the country in 1853, the camera evolved from an imported novelty to a familiar witness of Japanese daily life. Operating from the Treaty Ports of Yokohama and elsewhere, early practitioners of photography plied an often precarious trade in images of Japan and laid the foundations of what would soon become a highly competitive industry with a global reach. Whether cherished as souvenirs of an exotic land of fond imagination or curated as visual documents of a fast-changing society, these images by foreign and Japanese photographers, often packaged in exquisitely produced albums, enjoyed a wide circulation abroad and played an important role in influencing perceptions of Japan in the West well into the early 20th century.
Drawing from an extensive private collection assembled over many years, this book presents a unique selection of 19th century photographs of Japan, many of which are published here for the first time.

Living Tradition: The Architecture and Urbanism of Hugh Petter celebrates the exceptional professional achievement of one of the world’s leading traditional architects. It showcases recent highlights from Hugh’s award-winning portfolio, including handsome new country houses; major alterations and refurbishment of historic buildings; a significant new building for Trinity College in Oxford; and commercial development at all scales with landed estates across the UK and beyond. His pioneering work as master-planner for the Duchy of Cornwall is regularly cited as an exemplar of a community that reflects local identity.

Written by Clive Aslet, with a foreword by The Former Prince of Wales, this book reveals how a series of iconic buildings came to be. Richly illustrated with newly commissioned photography by Dylan Thomas, one of Britain’s foremost photographers of architecture and interiors, this book reveals the working process of the architect.

Common to all the buildings in this book – whether a new or historic private house, a public building, or a masterwork of urban design – is a loving attention to detail and materials, and an architect who cares deeply for his craft.

In 1851 John Ruskin came to the defence of the young artists of the Pre-Raphaelite Brotherhood by writing two letters to The Times, refuting widespread criticism of their paintings. Soon afterwards he published a pamphlet entitled Pre-Raphaelitism, beginning almost a decade of public support for the work of William Holman Hunt, John Everett Millais and their associates.
Already established as one of the leading writers on art, he took a personal risk in defending the Pre- Raphaelite cause, but saw a parallel in the hostile reaction to the paintings of his artistic idol J. M. W. Turner. In Millais especially, Ruskin hoped to nurture a worthy successor in landscape painting, arguing that the Pre-Raphaelites’ attention to truth and detail offered the opportunity to establish a “new and noble school” of British art.
This is the first compilation of all of Ruskin’s published writings relating to the Pre-Raphaelites, beginning with the celebrated passage in the first volume of Modern Painters (1843) exhorting young artists to “go to nature in all …. rejecting nothing, selecting nothing and scorning nothing,” later claimed by Hunt to have been an inspiration. As well as Pre- Raphaelitism (1851), rarely reprinted since, and the fourth of the 1853 Edinburgh lectures, it includes all the comments on paintings in the annual Academy Notes (1855-9) which pertain to Pre-Raphaelitism, underlining Ruskin’s significant contribution to the movement’s popular success and the widespread acceptance of its principles. From the period after 1860, when Ruskin was concentrating more on social issues, come the the little-known articles published in the Nineteenth Century magazine under the title The Three Colours of Pre-Raphaelitism (1878), and a number of lectures, including the last of his Slade Lectures, The Art of England (1883), delivered just a few years before his mental faculties failed.
Edited with a commentary and preface by Stephen Wildman, Director of the Ruskin Library and Research Centre, University of Lancaster, and with an introduction by Robert Hewison, one of Ruskin’s successors as Slade Professor of Art at the University of Oxford.

October 21, 1982. Three singers stand on the steps of the High Court with large cheques and broken dreams. The women are Annie (Annabel Leventon, the book’s author), GB (Gaye Brown), and Di-Di (Diane Langton). Their dream was of a British three-woman rock band, unique and different from anything that had gone before. They called themselves Rock Bottom. They were raunchy, rude and hilarious – the contemporary media described them as ‘a cross between the female Rolling Stones and the female Marx Brothers’ – and they nearly made it.

Until Thames Television stole everything and made a major award-winning series called Rock Follies, about them, based on them, but without them. It made stars of the three lookalikes playing them. And they lost everything.

A common enough tale of showbiz betrayal. Except that they fought back. At the offset of the Court trial, the Head of Drama at Thames TV sarcastically quipped, ‘three little actresses against the might of EMI?’ Forget it, the three ladies were told. Move on. They didn’t. They took the case to the High Court and won. Breach of Confidence is now on the Statute Books and it has become one of the defining cases in Intellectual Property.

The Real Rock Follies is a real-life story of youthful trust betrayed, dreams of stardom dashed and cruel lessons learnt. The three girls, then in their late twenties, learned too late that in the harsh showbiz world you can hardly trust anyone, not even your friends. However, despite everything, they got the last laugh. Their promising career couldn’t be returned to them but they enjoyed the huge satisfaction (both emotional and financial) that the ruling confirmed that the creative concept behind Rock Follies was fully theirs.

Between the second half of the 15th century and the 20th century, many painters added a fly to both their sacred and profane compositions. It was painted so convincingly that it seemed real. André Chastel, art historian, reconstructed in this book the history of the fly in painting, here reviewed and updated by Sylvia Ferino-Pagden. At least at the beginning, the fly was introduced as an odd masterpiece, an affirmation of the artist’s skill and convictions. A joke for illusionists, which however contains more complex meanings. The fly in painting then evolved. The insect, as we know it, is not well-loved and goes from simply being a nuisance to being the sign of death itself. And over time, la burla di Giotto, Giotto’s joke, generated a series of symbols where the artist wanted to represent the transience and precariousness of life, of earthly joys. The book chases the flies in picture after picture and recounts how the pictures are strewn with even minuscule signals, plots, and traps which, from time to time, take the form of a flower, an insect, a gem. It is a question of knowing how to interpret them to delve into a story that is also an adventure of the human spirit.

Text in English and Italian.

Once brewed throughout Asia, sake has come to be inextricably linked with Japanese culture, tradition and society. In Sake and the Wines of Japan, Anthony Rose argues that, after decades in the doldrums, sake is well on its way to becoming the next big thing. Neither a wine nor a spirit, sake’s purity, centuries-old brewing methods and umami taste have gained it fans among the sort of younger drinkers who sparked the revolution in craft beers and artisan spirits. A return to quality, plus the modern outlook of today’s generation of sake makers is opening up sake, particularly premium sake, to the world. Exports have increased and sake breweries, some artisan, some offshoots of big Japanese names, have sprung up in destinations as far flung as Oregon and Australia, not forgetting England.

To demonstrate how deeply woven into Japanese society this drink is, Rose first takes us through the history of sake production, from offerings to the gods made from rice chewed by priestesses, to the heyday of sake, when master craftsmen – tōjis – were instrumental in a brewery’s success or failure, to sake’s new wave, epitomized by Berlin techno DJ Richie Hawtin, founder of ENTER.Sake. Rose then details sake types, demystifies polishing ratios, explores the issues around ageing sake and discusses how best to enjoy sake. The four basic ingredients – rice, kōji (rice mould), yeast and water – are introduced ahead of a thorough explanation of the brewing process. Rose profiles a personal selection of sake producers and ends the sake section with a chapter on sake producers outside Japan.

Japan’s wine industry is small and young but improving rapidly; here some of the best exponents are profiled alongside a history of wine production in Japan and details of grape varieties used. Sake and the wines of Japan ends with a guide to Japan, making it an essential tool for all those seeking a way into this enigmatic and enticing culture.

Eastern Europe is the last undiscovered gem of the wine world. Over the last thirty years three countries, Bulgaria, Romania and Moldova have been working hard to escape the legacy of communism. For all three the regimes that took hold after the Second World War affected their wine industries profoundly, with state farms favoring mechanization and mass production over care and quality. Recent decades have seen a huge switch in attitudes following privatization, with more focus on quality and reconnecting people with the land to rebuild these historic wine industries for today’s wine drinkers.

Bulgarian wine’s fall in sales in the West due to the rising popularity of New World wines, Moldova’s economic crisis at the hands of a Russian ban on Moldovan wine and Romania’s need to counter imports from foreign producers as tastes in wine change have forced wineries to rethink their approaches to viticulture and winemaking. Instead of production lines of anonymous wines, makers now focus on creating authentic regional wines using local and international varieties and modern techniques.

In The wines of Bulgaria, Romania and Moldova, Eastern European wine expert Caroline Gilby MW presents the wine stories of these three connected but distinct countries as one who has witnessed the vast changes as they happened. The cultures of the three countries, their complex and troubled histories and their roads to recovery are profiled here along with details of the geography, climate, grapes grown and, most importantly, the producers working to revive and reinvent their respective wine industries.

For those who seek something new beyond the traditional wines of Western Europe or who find New World wines losing their thrill The Wines of Bulgaria, Romania and Moldova is an inspirational introduction to a wine world waiting to be explored.

Great Britain is a premium wine-producing region, with around 650 vineyards in England and Wales covering some 2,750 hectares and producing sparkling and still wines. English and Welsh wines have won many prestigious awards recently and Stephen Skelton is the leading authority on the wines of the UK.

The Wines of Great Britain is a comprehensive survey of the history of UK wines, as well as of the current state of the wine industry and its future prospects. After a short introduction showing where UK wine is in 2019 and where it might go in the future Skelton considers the history of winemaking in the UK from King Alfred in the fifth century, through the medieval period to recent developments in the twentieth and twenty-first centuries. The Wines of Great Britain then takes us on a tour of contemporary viticulture and winemaking, examining trends in plantings and vineyard layout, varieties, rootstocks and clones, vineyard sizes, modern wineries and styles of wine. Skelton considers regional identities as well as the branding of UK sparkling wines and their market position.

A substantial part of this important book is the 21 detailed biographies of the most important, exciting and innovative producers and the wines they create. Wine businesses profiled in detail include Breaky Bottom, Chapel Down, Nyetimber, Oxney Organic Estate, Sixteen Ridges Vineyard and Yorkshire Heart Vineyard. Shorter entries on other significant or up and coming producers also feature.

Wines are generally defined in one of three ways: by their country or region of origin, by their color (red, white, pink) or by their style (still, sparkling, fortified). Only recently have wines begun to be defined by how their grapes have been grown and the wine made, with a clear distinction between modern ‘chemical’ wine-growing on one hand, and the chemical-free organic or natural approach on the other. Now the world’s most respected wine producers, from Bordeaux to the Barossa, and Chablis to California, increasingly see biodynamics as the method of choice for blue-chip winemaking. Biodynamic Wine explains concisely and clearly the theory behind biodynamics, how biodynamics differs from organics, and how the world’s winemakers – from high-end Bordeaux chateaux to under-the-radar family estates – use biodynamics in practice, often with significant and captivating variations according to wine style, local terroir, weather and even lunar cycles. Biodynamic wine is a comprehensive and absorbing guide to the most argued-about green winemaking phenomenon of recent years. It is both an ideal how-to manual for growers and a fascinating guide for wine professionals and wine enthusiasts.

Sparkling wine has delighted humanity for nearly 500 years. It has become essential at celebratory meals, a toast to new marriages, new babies, new jobs, and is even used to launch ships, but there’s more to it than the fizzy and festive. In Fizz!, Anthony Rose takes an in-depth look at sparkling wines around the world, exploring how and where they are made, and why they are such a joy to drink.

The first part of Fizz! delves into the history of sparkling wine, including early accidents and experiments in sparkling winemaking, its nineteenth-century surge in popularity (and associated debauchery) and the breakthroughs in vineyard and cellar that ensured Champagne’s place among the great wines of the world. Rose then goes on to detail fizz-making techniques, from the traditional method to pet nat, and explores the terroirs and grapes suited to producing the wines, from the Champagne trio of Chardonnay, Pinot Noir and Meunier to the native varieties producing compelling effervescence worldwide.

Following a look at the science behind the bubbles, Rose begins his global quest in search of sparkling wines. Traveling Europe, from Portugal to Moldova, he samples Cava from Spain, proves there’s more to France than Champagne, finds out why southern England makes some of the world’s best bubbles, discovers Sekt secrets of the Germans and explores Italy beyond the Prosecco that began the new fashion for fizz. Journeying further afield, Rose recommends the best fizz from California, Canada, Australia and New Zealand, tastes some of South Africa’s Cap Classique and even finds sparklers of note in Japan and China.

This comprehensive celebration of sparkling wine is rounded off with thorough appendices, making it essential reading for wine lovers and students of wine.