D Giles Limited

Celebrate The Frick Collection with a profusion of beautiful flower sculptures.

In conjunction with its reopening, following its 2020–25 renovation, The Frick Collection commissioned porcelain flowers from Ukrainian sculptor Vladimir Kanevsky. Some twenty arrangements evoke the fresh flowers displayed throughout the museum when it first opened to the public, in 1935. Kanevsky’s lifelike porcelain flowers have been exhibited in museums around the world, including the State Hermitage Museum in Saint Petersburg, Russia, and Hillwood Estate, Museum & Gardens in Washington, DC. With an essay by Xavier F. Salomon and exquisite photography, this book documenting Kanevsky’s twenty extraordinary creations is a lasting souvenir of a unique installation at the Frick.

A significant addition to the fascinating study of rare and intriguing late 18th- and early 19th-century eye miniatures.

Until the early 2000s, little had been written about eye miniatures or “Lover's Eyes”, and their short-lived popularity at the end of the eighteenth- and early nineteenth-centuries, when hand-painted portraits of single human eyes were set in jewelry, or created to memorialize a deceased loved one. This volume examines their role in the broader context of Georgian and early Victorian portrait miniatures; and looks in detail at the creation, and appeal, of these extraordinary objects. 

Dr and Mrs. David A. Skier’s collection of eye miniatures is one of the most complete collections of this genre of miniature painting in existence. This volume features over 130 pieces from the Skier Collection, with 36 extraordinary newly acquired pieces, including two of the three known existing “Lover's Lips”, and six examples of a delightful sub-category known as “Flower Eyes”. There are illustrated essays on forgeries and fakes of lovers’ eyes, on “Flower Eyes”, on the persistence of the eye image which continues the tradition of lovers’ eyes, and an essay on the eye miniatures created by Richard Cosway.

A beautifully illustrated art historical reference book which explores in depth the central role of the Book of Psalms in the Middle Ages from the sixth to the sixteenth centuries.

Traditionally ascribed to King David, the Hebrew Book of Psalms is a varied collection of sacred poems that constitute the longest and most popular book of the Bible. Offering inspiration, hope, and comfort to people for thousands of years, these verses include expressions of lament and loss, petitions and confessions, as well as exclamations of joy and thanksgiving—universal themes that speak to what it means to be human.

Sing a New Song: The Psalms in Medieval Art and Life traces the impact of the psalms on men and women of medieval Europe from the sixth to the sixteenth century. It encompasses daily practices and performance, as well as the creation of Psalters (Books of Psalms), some of the most richly ornamented manuscripts ever made. Life, liturgy, and art in the Middle Ages and Renaissance were suffused by psalms. They were present at the beginning of one’s life and at the end: children learned to read from psalms, and the dying were comforted by their recitation. Exploring the integration of the psalms in medieval life, this stunningly illustrated and comprehensive publication charts the ubiquitous presence of this poetry in people’s lives for over a millennium.

Published to accompany an exhibition at the Morgan Library & Museum, New York through January 11, 2026.

Features works from the Morgan Library & Museum; Walters Art Museum; Indiana University; Coptic Museum, Cairo; Corpus Christi College and Trinity College, Cambridge; Harvard University; Musée Condé, Chantilly; University of Chicago; Dombibliothek, Cologne; Kongelige Bibliotek, Copenhagen; National Museum of Ireland; Dombibliothek, Hildesheim; Israel Museum; Universitaire Bibliotheken, Leiden; Lincoln Cathedral; British Library; J. Paul Getty Museum; Biblioteca Nacional de España, Madrid; Bayerische Staatsbibliothek, Munich; Yale University; New York Public Library; Bodleian Library and Exeter College, Oxford; Bibliothèque nationale de France, Paris; Biblioteca Palatina, Parma; Free Library of Philadelphia; Stiftsbibliothek, St. Paul im Lavanttal; Universiteitsbibliotheek, Utrecht; Biblioteca Nazionale Marciana, Venice; Österreichische Nationalbibliothek, Vienna; Museum of the Bible, Washington DC.

A new survey of the life, creative spirit, and career of Robert W. Ebendorf, one of America's most important artists in the field of found-object jewelry and metalwork.

Robert Ebendorf (b. 1938) has been one of the most influential artists in the studio jewelry movement from its beginning in the 1960s to today. His work combines exceptional craftsmanship, acquired through traditional training in gold- and silversmithing, with the inventive use of found objects and other alternative materials such as acrylic and ColorCore. Objects of Affection traces his development from the Scandinavian modernism of his early work to his first use of found objects such as tintype photographs in the 1960s; juxtapositions of colored acrylic and precious metals in the 1970s; use of found newspaper and other textual elements in the 1980s; his pivotal incorporation of animal parts in the 1990s; and the remixing and further development of many of these approaches in the twenty-first century.

Unique features of this highly collectable volume are its special focus on Ebendorf’s work of the last two decades, his friendship with collectors Ron Porter and Joe Price, and his activities during his time in North Carolina. Also of note are the inclusion of selected works by graduates and faculty of East Carolina University (ECU) jewelry program that Ebendorf led from 1997 to 2016; preparatory sketches by Ebendorf; and collages included by him in many of the letters and postcards he has written over the course of his career. Many of these letters feature printed ephemera, in addition to sketches. And it is this ephemeral and archival aspect of the PorterˑPrice Collection which sets it apart from other publications on Ebendorf’s work.

A timely look at the economic revolution that took place in the late Middle Ages and early Renaissance.

The rise of the monetary economy transformed every aspect of medieval Europe, including its values and culture. Medieval Money explores the ways art reflected and reinforced the complex ethical discussions that developed from the widespread role of money in everyday life in the Middle Ages. It traces the origins of global money, and surveys economic history, focusing on the environment, the plague, Jews, and institutions, using a wealth of imagery including illuminated manuscripts, coins, artworks, money chests, and account books.

The iconography, minting, and foreign exchange of coins are examined, and the choice that Christians faced is investigated: should they save their money or their soul? The authors explore images of Avarice, the greedy punished in hell, and immoral ways to earn and spend money, and analyze representations of charity and voluntary poverty. Final chapters examine the material culture of the monetary economy (from an illuminated oath for minters to purses and lockboxes) and images of medieval money management.

This bilingual volume explores Cree Canadian artist Kent Monkman’s five-part reimagining of Vermeer’s Officer and Laughing Girl through Monkman’s Two Spirit alter ego, Miss Chief Eagle Testickle.

Monkman is frequently inspired by museum collections, re-envisioning iconic works through a contemporary Indigenous lens, exploring themes of colonization, sexuality, loss, resilience—the complexities of historic and contemporary Indigenous experiences—across painting, film/video, performance, and installation. His gender-fluid alter ego, Miss Chief Eagle Testickle, often appears in his work as a time-traveling, shapeshifting, supernatural being who reverses the colonial gaze to challenge received notions of history and Indigenous peoples.

In this English / Canadian French volume, Monkman, as Miss Chief, is seated across from a male figure in a room similar to the one in Vermeer’s iconic painting. Five paintings depict Miss Chief joined by a seventeenth-century Dutch officer, an eighteenth-century French explorer, a nineteenth-century American soldier, a twentieth-century Catholic priest, and a twenty-first tech executive, respectively.

Monkman’s artworks are held in the permanent collections of numerous institutions including the Metropolitan Museum of Art; the Denver Art Museum; the Hirshhorn Museum; the Hood Museum of Art; the Heard Museum; and in Canada, Musée des beaux-arts de Montréal; the Glenbow Museum; the Art Gallery of Ontario; and macLYON in France. Private collections that house his works include Art Bridges; the Horseman Foundation; the Tia Collection, the Carl & Marilynn Thoma Foundation; Forge Project; the Gochman Family Collection; the Sobey Art Foundation; and the Rob & Monique Sobey Foundation.

This volume is the first in over fifty years to focus on the work, life, and career of nineteenth-century genre painter John Quidor (1801-1881), introducing new audiences to the offbeat, frenzied, and often comically macabre paintings of a visionary but overlooked artist whose eccentric style became formative to American Romanticism.

Born and raised in the small town of Tappan, along the Hudson River, Quidor later lived and worked in the notorious Five Points district of New York City. There, he skirted the margins of the New York art world, splitting his career between painting engine panels for the city’s rough and ribald fire brigades and producing literary genre scenes—the majority based on the tales of Washington Irving and steeped in the Netherlandish lore of the Hudson River Valley—for exhibition at the National Academy of Design and the American Academy of Fine Arts. Uniting these two facets of production was the artist’s abiding penchant for overturning convention and upending the exalted stature of history to present the past not as fact but rather as a complex and elusive matter bound to invention, imagination, and selective storytelling. During an age that prized reason and honored the past, Quidor questioned the very reliability of history. His work upends both history and history painting, and this catalogue explores his critical approach to a past that can never fully be known.

This new book interweaves some of Quidor's best known literary paintings—scenes from Irving’s A History of New-York and Tales of a Traveller, as well as the short stories “Rip Van Winkle” and “The Legend of Sleepy Hollow”—with new objects including a plaster bas-relief representing the second only known likeness of the artist, his sole surviving engine painting for New York City’s early firefighting companies, and a newly rediscovered student copy after Quidor’s lost original for Columbian Fire Engine No. 14.

The catalogue features works from The New York Historical, as well as the National Gallery of Art, Washington, DC; Newark Museum of Art; Museum of Fine Arts, Boston; Historic Hudson Valley; Yale University Art Gallery; and Brooklyn Museum.

Published on the occasion of the exhibition John Quidor: New York Stories on display at The New York Historical from October 30, 2026 through April 4, 2027.

Harper’s iconic depictions of animals have long enjoyed robust appreciation among nature lovers and aficionados of mid-century modern furnishings, which they exquisitely complement. A longtime resident of Cincinnati, Harper developed his “minimal realism,” as he referred to his style, in the 1940s and 50s, stripping down nature to its essential characteristics in elegant, engaging, vividly coloured designs that breathe life and personality. Harper was an indefatigable worker who transformed an array of drawings, collages, and paintings into his beloved screen prints, book illustrations, and posters. An ardent advocate of wildlife conservation and climate activism, Harper has been the favorite artist of nature organizations across the United States, including the National Park Service and the Audubon Society for whom he designed eye-catching illustrations and posters.

A revelatory exploration of the work of the American photographer widely known for her pathbreaking 1977 photobook, IOWA.

The first major study of Nancy Rexroth (b. 1946), Secrets of My Power furnishes a missing account of her life, work, and career as she established her artistic voice in the experimental 1970s and challenged prevailing approaches to photographic image-making. This book locates Rexroth’s practice in a period often associated with those of Diane Arbus, Francesca Woodman, and the early work of Sally Mann.

Tracing Rexroth’s career from her first photographs to her discovery of the Diana camera and through her exploration of digital tools in the early 2000s, Secrets of My Power presents numerous works which have never previously been made public. These include experimental stills on film, a 53-image carousel slide show, and a corpus of self-portraiture. Together with rigorous analysis of her previously known work, these new discoveries help to distinguish and connect Rexroth to key artistic formations of the American photography world in the 1960s, 70s and 80s, including contested social and creative terrain around feminism and gender, technical experimentation, engagement with language, artistic networks, and photography’s emergence in universities, museums, and the art market.

Many prestigious institutional collections within and beyond the United States have holdings of Rexroth’s work, including The Museum of Modern Art, New York; National Gallery, Washington, D.C.; Bibliothèque Nationale, Paris, France; Library of Congress, Washington, D.C.; Museum of Fine Arts, Houston, Texas; Amon Carter Museum of American Art, Fort Worth, Texas; Baltimore Museum of Art; Baltimore, Maryland; Minneapolis Arts Institute, Minneapolis, Minnesota; and Cleveland Museum of Art, Cleveland, Ohio.

This new publication offers a comprehensive exploration of every Black American artist represented in the Birmingham Museum of Art, Alabama's preeminent collection of art, spanning the early nineteenth century to the present day.

The volume features over 250 artworks across various media, paintings, prints, photographs, sculpture, quilts, and mixed-media works, by artists living and working both in Alabama, and across the wider United States, including David Driskell, Jacob Lawrence, Romare Bearden, Robert S. Duncanson, Meta Vaux Warrick Fuller, Sister Gertrude Morgan, Jimmy Lee Sudduth, Mary Frances Whitfield, Trena Banks, Purvis Young, Glenn Ligon, Edmonia Lewis, Lorna Simpson, Chakaia Booker, Sam Gilliam, Kerry James Marshall, Joshua Johnson, Nick Cave, Elizabeth Catlett, Amalia Amaki, and Carrie Mae Weems.

I slutningen af 1800-tallet oplevede Paris en sand eksplosion i antallet af både caféer, brasserier og restauranter samt andre forlystelsesog spillesteder.

Her samledes en bred vifte af kunstnere, forfattere, intellektuelle, politiske aktivister og scenekunstnere Blandt de mest kendte mødesteder var Café Guerbois på Avenue de Clichy, hvor Édouard Manet og Edgar Degas færdedes, Café des Ambassadeurs på Champs-Élysées, der var et yndet tilholdssted for Jean Béraud, og det uformelle kabaretsted Le Lapin Agile på Montmartre, hvor man blandt andre kunne finde den unge, eksperimenterende Pablo Picasso.

Denne rigt illustrerede publikationpræsenterer mere end 65 værker af markante franske, skandinaviske og amerikanske kunstnere med base i Paris og undersøger caféernes skiftende rolle som samlingssteder for et nyt urbant publikum.

Norman Rockwell: At Home in Vermont explores how America’s beloved illustrator Norman Rockwell (1894–1978) crafted an idealized vision of Vermont—nostalgic, resilient, and mythic—during his most prolific years in Arlington (1939–1953).

In these works, Rockwell offered a nation battered by the Great Depression and World War II a reassuring image of American life: orderly, self-reliant, and picturesque. Through paintings and illustrations, Rockwell captured not simply scenes of New England life, but a deeply rooted ethos—one in which democratic community, moral clarity, and quiet individualism flourished.

This book, and the accompanying exhibition, situates Rockwell’s Vermont years within a broader creative milieu, highlighting the Arlington artist circle that included Mead Schaeffer (1898–1980), John Atherton (1900–1952), and Gene Pelham (1909–2004)— all informally enticed to Arlington, Vermont. Together, they helped define a cultural moment in which Vermont was mythologized as democracy’s granite-strong refuge. Even Rockwell’s orchestrated friendship with Anna Mary “Grandma” Moses (1860–1961) was part of a wider crafting of New England as both authentic and marketable—where artists and audiences alike found a form of moral anchorage.

Featuring two newly acquired Rockwell paintings to Shelburne Museum celebrating Vermont’s granite industry—long regarded as the state’s “backbone”—Norman Rockwell: At Home in Vermont examines not only the imagery but the careful mythmaking that made Vermont central to Rockwell’s enduring vision of America. Today, Rockwell’s work is housed in major museums across the country, a testament to his profound influence as an  artist. This book features works from the Brooklyn Museum, NY; Fleming Museum of Art, VT; Norman Rockwell Museum, MA; Lucas Museum of Narrative Art, CA; Wadsworth Athenaeum Museum of Art; Crystal Bridges Museum of American Art; The Metropolitan Museum of Art; Lyman Orton Collection; Bennington Museum; Whitney Museum of Art.

Published on the occasion of a major new career retrospective, Marcia Marcus: I Paint What I Like provides a much-needed, extensive monographic exploration of the art of Marcia Marcus (1928-2025), a strikingly original artist whose contributions have been overlooked.

“My favorite goddess has always been Athena, both because of her virtues and the implied independence that is a result of her power.”—Marcia Marcus

Eye-poppingly modern” commented the New York Times of Marcia Marcus’s art in her obituary, published in April 2025. Days later, a long-scheduled exhibition at New York’s Lévy Gorvy Dayan gallery presented Marcus’s work alongside contemporaries Alice Neel and Sylvia Sleigh—a testament to her place among postwar American figurative painters. Over several decades, Marcus’s fiercely original paintings challenged the common understanding of postwar American art. In the 1950s, she rejected abstraction in favor of poised figurative paintings of people, landscapes, and still lifes, suffused with her signature suspenseful quality. A vivid presence in Manhattan’s downtown art scene and in Provincetown, she was one of the first women to stage a Happening. Prescient, she painted subjects that peers rarely explored—motherhood; male nudes; female role play—years before such topics gained wider currency. While her work later fell into obscurity, its recent reemergence has revealed Marcus to be an artist working way ahead of her time.

This new volume establishes her multifaceted significance: innovative “downtown” artist, creator of unapologetically assertive self-portraits, and essential forerunner of figurative painting today.

This major new volume explores the origins of tarot in Renaissance Italy and its contemporary relevance as an enduring source of inspiration for modern artists.

Published with Morgan Library & Museum.

This beautiful book presents valuable new information and context about how tarot has developed, evolved, and been reimagined by artists, mystics, and writers over the centuries, from its origins as a fifteenth-century card game in Renaissance Italy to its profound transformations into tools for divination, artistic creation, and storytelling. This new volume fills a very real – and timely – gap in the currently available published material on the history and artistic development of tarot, its symbolism, and its source of inspiration for contemporary artists.

An illustrated introduction plus six other richly illustrated essays explore the extensive history of tarot, the origins of the cards, their iconography, the idea of individual engagement in fortune and divination, as well as the highly personal aspects in much of the imagery. A main plates section features twenty-two spreads of tarot cards, comparing the same character or virtue cards across three Renaissance decks as well as the extraordinary range of imaginative tarot imagery.

Published to accompany an exhibition at the Morgan Library & Museum, June 26 – October 4, 2026.

This new volume in the Frick Diptych features an essay by associate curator Marie-Laure Buku Pongo paired with a contribution by sculptor Arlene Shechet.

Despite its name suggesting otherwise, the Vase Japon is an interpretation of a Chinese bronze. Its design and decoration derive from a woodblock print of a Yu (or Hu) vase from the Han Dynasty (206 BCE–220 CE). The print was published in a 40-volume catalogue of the vast Chinese imperial collections compiled between 1749 and 1751 at the behest of the Qianlong emperor. Around 1767, a copy of this catalogue was sent to Henri Bertin, France’s secretary of state and commissaire du roi at the Sèvres factory. The Vase Japon was made in 1774 along with two other vases of the same size, shape, and decoration. Each bears the mark of the gilder-painter Jean-Armand Fallot (act. 1764−90). Of the three only this example is adorned with a silver-gilt handle and chain, which, like its shape and surface pattern, are directly inspired by the Chinese model. The mounts bear the mark of Charles Ouizille, who, in 1784, became the official jeweller of Louis XVI.

Mary Sims: A Retrospective celebrates this distinctive late-twentieth century Southern US artist whose works express a very contemporary form of retro cool.

A painter and printmaker, Sims (1940-2004) was an exceptional colorist whose meticulously constructed compositions are at once both whimsical and off-beat, displaying an idiosyncratic viewpoint and sly sense of humor.

This volume spans her entire career, from her elegant intaglio prints made in the late 1950s, through spare, optically flat portraits of isolated figures on monochrome backgrounds from the 1960s and 1970s, monumental religious paintings that draw on Old Testament stories and mythology to riotous, maximalist still lifes from the 1980s and 1990s.

Although based for most of her active career in Arkansas, Sims maintained connections to a variety of art-making centres across the South and Midwest USA. Born in Jackson, Tennessee, she spent her childhood and youth in Memphis where she took classes at the Memphis Academy of Arts (later Memphis College of Art). After finishing a BFA at the University of Iowa, she continued her studies in Rome, then completed an MFA at Tulane University in New Orleans. Returning to Memphis in 1968, she got a job teaching painting and printmaking at Southwestern at Memphis (now Rhodes College). In 1977 Sims and her family moved to Eureka Springs, Arkansas, an artistic and cultural town in the Ozarks where she lived and painted until her death.

Featuring 64 works, this publication also includes an illustrated biographical essay by art historian Marina Pacini, and a checklist of the accompanying exhibition.

This brand-new publication explores the life and career of one of America’s most experimental and forward-looking twentieth-century fashion designers, Elizabeth Hawes.

"The World, showing what American designers could do, . . . has enabled me to help decide what you will wear today—and tomorrow!"—Elizabeth Hawes

Elizabeth Hawes opened her couture salon in New York City in 1928. Working through the 1930s she not only created elegant clothing but wrote several books including her best seller Fashion is Spinach in 1938. She was a marketing trailblazer, a union activist during WWII, and anticipated fashion trends that would not become a reality until the 1960s and beyond.

This new publication, and accompanying exhibition at the Cincinnati Art Museum, highlights Hawes’s work, her influences, and her role in promoting a new generation of female designers like Claire McCardell, Bonnie Cashin, and Vera Maxwell. The authors look variously at Hawes’ importance and influence on future female designers, her life, the women she dressed, her menswear and ready-to-wear lines, her work in the context of other American designers, her choice of colors, fabrics and construction techniques, and her politics, illustrated throughout with color plates of pieces, ensembles and accoutrements, plus additional archival materials, including working sketches, information on her politics and prolific writing output.

The Cincinnati Art Museum’s fashion collection includes over thirty examples of her work, most of which were worn by one of her most devoted clients, Cincinnati socialite Dorette Kruse Fleischmann.

A fascinating, beautifully illustrated narrative of a neglected group of Italian decorative and scenic artists and their impact on American visual culture in the nineteenth century.

Written by former Victoria Mansion curator Arlene Palmer, this volume is the result of many years of research of Giuseppe Guidicini, the previously unknown Bolognese artist who in 1860 was responsible for the design and decoration of the extraordinary wall and ceiling paintings that fill Victoria Mansion in Portland, Maine. Palmer’s meticulous pursuit of Guidicini’s history, from his training in Italy to his accomplishments in such cities as New York, Cincinnati, and Richmond, led to the discovery of a small but highly influential network of Italian immigrant decorative painters and scenic artists who made exceptional contributions to the artistic, architectural, and theatrical heritage of the United States between 1820 and 1880.

Guidicini and his compatriots brought Italian traditions to theatrical scenery and introduced an opulent style of painted ornamentation into American interiors that was inspired by classical antiquity and the Italian Renaissance. Their spectacular “fresco painting” of opera houses and theatres resulted in commissions to decorate commercial structures, churches, and private homes from Maine to Louisiana to California—and even to Cuba and Brazil.

New volume in the Frick Diptych series features an illuminating essay by Peter Jay Sharp Chief Curator Aimee Ng paired with a contribution by fashion designer Isaac Mizrahi.

Innumerable pearls line the blue satin dress of the Honorable Frances Duncombe, who wears a bright red jewel on her chest, possibly a ruby or garnet. Frances was raised by her stepmother in the house of the Earl of Radnor and was betrothed to the earl’s eldest son. However, her engagement was broken off when the family discovered her affair with a John Bowater, whom she married in 1778. Exactly when and why this monumental portrait was commissioned from Gainsborough is unknown. After spending some years living in Germany (rumored to have had an affair with Archduke Maximilian Franz, brother of the French queen, Marie Antoinette), Frances returned to England and lived with this portrait in her family home, Old Dalby Hall, in Leicestershire, until her death, in 1827.

Mizrahi’s creative contribution adds greatly to this book about this iconic painting of a fashionable lady. He mentions the moment of first catching a glimpse of the work when seeing it unframed. "I gasp. Frances Duncombe looks every bit as gorgeous unframed, if not even more so for the vulnerability."

Une étude inédite sur la manière dont, à la fin du XIXe siècle, le quartier de Montmartre fut le berceau d’une communauté d’artistes dynamique, innovante et unique qui a révolutionné l'art occidental.

Après la Commune de Paris de 1871, Montmartre est au coeur d’une révolution artistique ; sa situation géographique, politique et sociale est unique en son genre, attirant artistes, écrivains et musiciens qui développent leur esprit bohème et révolutionnaire. Ses cabarets, cafés, cirques, dancings et théâtres ont fait de Montmartre un centre culturel populaire.

S'appuyant sur d'importantes œuvres de la Weisman & Michel Collection et du musée de Montmartre, à Paris, ainsi que sur une riche collection de photographies d'archives, de cartes et de gravures illustrant son texte, ce volume présente jusqu'à 180 magnifiques illustrations en couleur, incluant des oeuvres d'Auguste Renoir, Pablo Picasso, Suzanne Valadon, Henri Matisse, et Henri de Toulouse-Lautrec, et met en lumière des figures centrales oubliées de l'histoire comme Louis Anquetin et Henri-Gabriel Ibels.

Un plan de Montmartre indiquant l'emplacement des ateliers, résidences et cabarets, ainsi qu'une bibliographie sélective constituent d'importantes sources d'informations inédites. Ce livre est une invitation à plonger dans ce monde et à explorer l’intensité créatrice de ses personnalités, qui ont tant contributé à la naissance de l’art moderne.

The vast holdings of the New-York Historical reflect and reveal the full breadth of the American experience. But how can we articulate that experience with things? What makes an experience uniquely “American” and what makes a moment from the past a unique “experience”? The objects featured in this book encapsulate stories of achievement, faith, and strength as well as anger, despair, and loss.

Countless objects vying for attention include Jupiter Hammon, An evening thought, (1760) the first poem published by an African American in North America; Clara Driscoll’s Dragonfly table lamp (ca. 1900-1906); George Washington’s camp bed (ca. 1775-1777) and the complete archive of Robert A Caro’s writings.

In keeping with the artist’s eclectic style, this lavishly illustrated catalogue features a mix of poetic, narrative, and scholarly perspectives on Nick Cave’s Mammoth.

Accompanying a landmark exhibition, this publication is a creative excavation of shared and personal memory. Contributions from Sarah Newman, Cherise Smith, Gwendolyn DuBois Shaw, and J. Drew Lanham engage themes of identity, environmental crisis, and institutional critique. The catalogue also features a sketchbook-style exploration of Cave’s studio and mind, including in-process photography, artist sketches, and handwritten notes.

This wide-ranging book represents a significant contribution to scholarship on the artist, and will be a lasting resource for artists, art historians, and general readers.

Accompanies the exhibition Nick Cave: Mammoth at the Smithsonian American Art Museum, February 13, 2026–January 3, 2027.

A wonderful volume which captures the central role of Parisian cafés as a source of inspiration in the development of modern art.

Presenting over fifty-five works by a broad cross-section of major and lesser-known names in French and expatriate American art, the volume looks at the changing role of cafés as gathering places for a new type of urban bourgeois clientele, that increasingly dominated life in central Paris in the late nineteenth century.

The redeveloped city centre saw a massive explosion in cafés, brasseries, and restaurants, as well as a host of music and performing establishments, that became social gathering spots for a wide range of artists, writers, intellectuals, political activists, and hangers-on, as well as a growing number of often exploited cabaret performers. These cafés included Café Guerbois in Avenue de Clichy, frequented by Manet and Degas; Café-concert des Ambassadeurs in the Jardins des Champs Elysees, a favourite haunt of Jean Beraud, and Le Lapin Agile the informal cabaret in Montmartre, closely associated with the struggling modernist artist Picasso. 

These establishments ranging from formal restaurants and brasseries, to cabarets, small cafés, and table d’hôtes attracted French – and international – artists, drawn to places where different social classes of men and women could freely mingle, and providing the kind of hedonistic sensory experience that became the subjects of these artists’ work.

This catalog accompanies a traveling exhibition with venues at the Ordrupgaard Museum, Charlottenlund, Denmark; Dixon Gallery and Gardens, Memphis, TN; and Joslyn Art Museum, Omaha, NE.

This brand-new bi-lingual Spanish/English volume celebrates the art and career of the Bronx-born (b. 1956), Nuyorican artist, Manny Vega.

Manny Vega’s art can be found in the form of mosaics and murals adorning street walls, subway stations, cultural centres, and business facades throughout New York’s East Harlem. This lushly illustrated volume covers the full range of Vega’s artistic output, from carefully crafted mosaics, including female figures and stylized album covers, to prints and works on paper. This bi-lingual Spanish/English study also incorporates essays that explore Vega’s relationship with New York, murals as a medium, and the links between his work and music. Throughout the volume, Vega’s focus on the Puerto- Rican experience in New York shines through and highlights the influence of the city’s cultural mix on his unique art.

A dynamic, bold, exploration of the breadth of the Kuba design aesthetic and its lasting impact on early twentieth-century modernism through to the present day.

The textiles of the historic, multi-ethnic Kuba kingdom, (now the Democratic Republic of the Congo), represent the most intact and cohesive tradition in the region, and are exceptional for their artistic caliber, graphic sophistication, and complexity of style. The written story of Kuba cloth begins with encounters in the early sixteenth century between the coastal Congo kingdoms and European explorers who were impressed by the elegance and intricacy of Congo weaving. In the early twentieth century the Kuba improvisational abstract aesthetic captivated the Western avant-garde, influencing fashion, fabric design, and the decorative arts.

In addition to presenting full colour plates of up to fifty pieces, Designing Dynamism features illustrations of modern European textiles, contemporary woven Wesley Mancini fabrics and an illustrated introduction to Kuba textiles. The volume also includes an essay on Kuba design and its influence on modern and contemporary designers, and an essay by the only African American to have won the Smithsonian Cooper-Hewitt National Design Award in Product Design. A brief illustrated section focuses on the embroidery techniques of prestige cloths.

Accompanies an exhibition at The Mint Museum, NC.

This new volume in the Frick Diptych series features an illuminating essay by former Frick deputy director and Peter Jay Sharp Chief Curator Xavier F. Salomon paired with a images of a new work created for the occasion by Flora Yukhnovich, along with a short text by the artist.

François Boucher (1703–1770) made the four paintings known as the Four Seasons in 1755 for Madame De Pompadour, King Louis XV’s long-term official mistress. Their original location is unknown, but their unusual shape suggests that they were used as overdoors, no doubt in one of Pompadour’s many properties in France.

In place of the labors that traditionally illustrate the theme of the four seasons, Boucher depicts delightful amorous encounters in joyous colors. In Spring, a youth, set in an enchanting pastoral setting, adorns his lover’s hair with flowers. A group of voluptuous bathing nudes represents Summer. In Autumn, a young man offers a bunch of grapes to his fashionable beloved. Perhaps the most beguiling of all is Winter, which reflects the eighteenth-century European fascination with Russia. A Tartar in pseudo-Russian dress pushes the heroine on an elaborate sleigh. This combination of luxury and seduction—all treated in a fanciful, even humorous manner—is typical of Boucher.

This ground-breaking volume increases our understanding of the dynamism and richness of American art, featuring works that span a century from artist across the United States.

Out of Many: Reframing an American Art Collection offers a re-examination of select works from The Phillips Collection, the Howard University Gallery of Art and The David C. Driskell Center for the Study of the Visual Arts and Culture of African Americans and the African Diaspora. This volume, and its accompanying exhibition, features 75 works of art in various media: paintings, prints, photographs, sculpture, and mixed-media by a variety of artists, including William H Johnson, Doris Lee, Elisabeth Poe, David Driskell, Ralston Crawford, William Christenberry, Jacob Lawrence, and Romare Bearden to name a few.

Arranged into five thematic sections—People, Places, Spaces, Things, and Chronicles—the authors consider why artists have been omitted from our current narratives; and how do we properly contextualize the work of marginalized artists.

Publication accompanies the exhibition at The Phillips Collection, Washington, DC.

Contributions by Camille Brown, Adrienne L. Childs, Kathryn Coney-Ali, Gwendolyn DuBois Shaw, Abby R. Eron, Raul Moarquech Ferrera-Balanquet, Melanee C. Harvey, Tie Jojima, Renée Maurer and Rebecca Shipman.

This new volume in the Frick Diptych series features an essay by Frick curator Marie-Laure Buku Pongo paired with a contribution by world-renowned conductor and keyboardist William Christie.

These two cabinets, stamped BVRB, may well be the last pieces of furniture made by the celebrated Parisian cabinetmaker Bernard van Risenburgh II just before he retired in 1764 and sold his workshop to his son, Bernard van Risenburgh III, who finished them. The cabinets feature panels of black-and-gold Japanese lacquer of exceptionally high quality taken from a seventeenth-century Japanese cabinet, chest, or screen. Beginning in the 1730s, the older van Risenburgh worked almost exclusively with the influential marchands-merciers or merchants of luxury goods, who provided the cabinetmaker with the rare and costly Oriental lacquers and sometimes with the design for the furniture on which to mount them.

An entirely new retrospective survey of the work of Israeli artist Orna Ben-Ami, including her monumental public works, from the early 1990s to the present day.

Orna Ben-Ami sculpts by cutting and welding iron. She also creates unique artworks by attaching her iron sculptures to flat photographic prints. The artist first started to learn gold and silversmithing at the Jerusalem Technological Centre, before studying sculpture at the Corcoran School of Art in Washington, DC between 1990 and 1992. She became fully engaged in sculpture in 1994, using iron as the principal raw material both for her artistic expression and for the preservation of private and collective memories, particularly the memories of transient and displaced people.

This retrospective volume presents 195 key artworks covering the major influences Ben-Ami has drawn upon since the early 1990s. These include Jews in Europe that were forced to leave to the Ghetto during WWII, Syrian and African refugees from the last 30 years, the destruction of life and houses in the Israeli villages around the Gaza Strip during and post October 7, 2023, and Palestinian child refugees within the Gaza Strip.

Accompanies the opening of a major exhibition of Ben-Ami’s work at the American University Museum at the Katzen Arts Center, in Washington DC.

Marking the centennial of Robert Rauschenberg’s birth, this long over-due publication examines the central importance of photography to the artist.

Robert Rauschenberg (1925-2008) was a quintessential artist of post-war New York and one of the most influential creators of twentieth-century America, best known as a painter and graphic artist who paved the way for Pop Art. Robert Rauschenberg’s New York takes a deep dive into the artist’s engagement with photographs, focusing on his relationship with New York City. Seminal early photographs set the stage for the entire volume, examining the artist’s early life and career and the New York arts scene of the 1950s and early 1960s. Later on, the career-defining photographs made by Rauschenberg in New York City between 1979 and 1981 are presented alongside a small selection of his paintings and prints that reproduce and repurpose the photographs in new ways. Here photographic imagery is seen in a new context, as source material for further artistic creativity and improvisation.

Publication accompanies the exhibition at the Museum of the City of New York.

Jamestown, Rhode Island, set in the shimmering waters at the entrance to Narragansett Bay, is marked by cliffs and fields looking out to the sea- a vision of paradise, a place of natural abundance and scenic beauty. For centuries, builders devised architecture that seamlessly rose from and merged back into stony coast and rolling meadows. This island is home to a timeless landscape of pastoral richness and picturesque views; its buildings a testament to those who sought their fortunes and fulfilled their fantasies, within sight of the mainland, but a world apart. In each case, there is a remarkable relationship between the island’s topography and its architecture. Through maps, paintings, poetry and prose, this book illustrates the vibrant heritage of Jamestown, its role as a place of refuge and retreat through the ages, a paradise shaped by the visions and labors of its inhabitants.

An entirely fresh study of how, at the end of the nineteenth century, the neighborhood of Montmartre nurtured a vital, innovative and unique community of artists who revolutionized Western art.

After the 1871 Paris Commune, Montmartre played a significant artistic role; its unique geographical, political and social situation attracted independent artists, writers and musicians and allowed them fully to develop their bohemian and revolutionary spirit. Its cabarets, cafés, circus, dancehalls and theatres made Montmartre a popular cultural centre. Drawing on important artworks from the Weisman & Michel Collection and the Musée de Montmartre, Paris, as well as a wealth of archival photography, maps and prints to illustrate its narrative text, this volume presents up to 180 stunning colour illustrations. It includes works by Auguste Renoir, Pablo Picasso, Suzanne Valadon, Henri Matisse and Henri de Toulouse-Lautrec, and sheds light on central figures that were forgotten by history such as Louis Anquetin and Henri-Gabriel Ibels.

A timeline of key moments and events in Montmartre from 1870-1910, a map of Montmartre showing the locations of studio spaces, residences and cabarets, and a selected bibliography provide important sources of new information for scholars. This book is an invitation to readers to enter that world and begin to explore the intensity and enduring expression of the creative energies of its personalities, who contributed so significantly to the beginnings of modern art.

A celebration of the art and career of Walter Osborne (1859–1903), one of Ireland’s leading landscape and portrait painters.

Published to coincide with the artist’s first monographic exhibition organized in the United States, Homecoming: Walter Osborne’s Portraits of Dublin, 1880–1900 explores the art of this leading Irish painter. This vital catalogue of Osborne’s work depicts Dublin as a vibrant city of commerce, social interaction, and artistic potential in the late nineteenth century.

This lavishly illustrated catalogue charts the course of the artist’s student days, his travels to Belgium, France, and England—which informed so much of his subsequent painting—and finally his return to his native Dublin. Curators and scholars contributing to the catalogue cast his work as a reflection on Ireland’s capital—its citizens, architecture, and green spaces but, more importantly, its status as a city approaching modernization and political transformation. Iconic works from the National Gallery of Ireland, Hugh Lane Gallery, Hunt Museum in Limerick, Crawford Art Gallery in Cork, and private collectors further elaborate those narratives. The result is a rich tapestry of life and art in Ireland at the close of the nineteenth century.

This publication accompanies an exhibition at Raclin Murphy Museum of Art, University of Notre Dame, opening in August 2025.

"Her extravagant insistence on quality and quality only has not been equaled."—Billy Baldwin, An Autobiography

The “Grande Dame of Palm Beach Decorators” comes to life in this new book about renowned interior designer Polly Jessup (1899 – 1988).

Pauline Daniel "Polly" Jessup is known for her graceful and sophisticated interior décor for society’s biggest names—du Pont, Ford, Whitney, Mellon, Reed, and countless other socialites. During her prolific six-decade career Jessup, given her nickname in a 1987 New York Times editorial, oversaw many significant commissions, and her work persevered through the economic downtowns of the Great Depression and well after the post war boom. This new volume weaves social history and a fascinating cast of characters into the fabric of her story, using images of her work and recollections from clients and colleagues to document, for the first time, Jessup’s history and contributions to the design canon.

Author and curatorial historian Maggie Lidz, formerly a research consultant to the Edsel & Eleanor Ford House in Grosse Pointe, Michigan, where she first learned of Jessup, Inc., has written the volume’s three principal chapters, which look variously at the life and career of Polly Jessup, Jessup’s notable clients and their “Jessup Rooms”, and key employees of her company, Jessup Inc. Each of these chapters is heavily illustrated with a wealth of color shots of surviving interiors, archival photographs, and ephemera from the collections at the Preservation Foundation of Palm Beach, The Society of the Four Arts, The Edsel and Ethel Ford House, and the Detroit Institute of Arts.

Important new publication brings together a selection of forty significant works by American Abstract Expressionist artist Grace Hartigan.

Grace Hartigan: The Gift of Attention explores the significant impact mid-century American poets and poetry had on painter Grace Hartigan’s early career during the 1950s and 1960s. Through a compelling introduction and three illuminating essays, the authors explore how key literary figures—supporters that included Daisy Aldan, Barbara Guest, James Merrill, Frank O’Hara, and James Schuyler—sparked Hartigan’s creativity, providing a fuller examination of the art she created during this time. This book not only spotlights Hartigan within the renowned circle of New York School painters and poets but also highlights the influence of several queer writers whose daring work and lifestyles profoundly shaped Hartigan’s outlook on art and life.

The volume accompanies an exhibition of the same name opening at North Carolina Museum of Art, NC in 2025, before traveling to various venues through 2026.

Hartigan's works can be found in the Art Institute of Chicago, Baltimore Museum of Art, Brooklyn Museum, Buffalo AKG Art Museum, Carnegie Museum of Art, Detroit Institute of Arts, Figge Art Museum, McNay Art Museum, Metropolitan Museum of Art, Minneapolis Institute of Art, MOMA New York, The Nelson-Atkins Museum of Art, National Gallery of Art, North Carolina Museum of Art, Philadelphia Museum of Art, Rhode Island School of Design Museum, Saint Louis Art Museum, Smithsonian American Art Museum, Solomon R. Guggenheim Museum, Whitney Museum of American Art, University of Arizona Museum of Art and Worcester Art Museum.

A major new survey of an internationally significant collection of Japanese woodblock prints.

This wide-ranging volume brings together over seventy five significant woodblock prints from the collection of Worcester Art Museum, MA, spanning three hundred years, from the seventeenth century through the twentieth. Organized chronologically, it begins with rare, and in some cases unique, examples of Edo-period (1603–1868) woodblock ukiyo-e prints, many of which were sourced from the museum's seminal John Chandler Bancroft collection, donated in 1901. Encompassing a diverse range of sizes, materials, and subjects, among the renowned artists represented are Katsushika Hokusai, Utagawa Kunisada, Utagawa Hiroshige.

This volume then surveys later periods and artists associated with Japanese print output during the late nineteenth- and early twentieth-century Meiji (1868–1912) and Taishō (1912–1926) periods including many produced by artists working as part of the Shin-hanga "new prints" and Sōsaku-hanga "creative print" movements. The works from this time period include designs by such influential artists as Tsukioka Yoshitoshi, Kamisaka Sekka, Hashiguchi Goyo, Yoshida Hiroshi, Kōshirō Onchi and Ito Shinsui.

Finally, later post-war prints featured in the catalogue, dated to the 1950's onwards, manifest the influence of international art movements including Cubism, Surrealism and Popart.

A dazzling testament to Southern Asian silver’s role in the transformation and consumption of once rarified goods to those taken for granted daily around the world.

Silver elevates use, not only for the diverse religious rituals of Southern Asia, but also consumption of and access to then-new items: photographs, colored prints, mirrors, railways, and automobiles; newly invented or trans-planted foods including teas and coffees, Indian pale ale, punch, antipodean wines, milk products, relishes, mustards, fruits, and specialty seasonings (like pepper, salt, and sugar). Many of these items originated in Southern Asia and were among the first tinned or bottled items to circulate in global markets. Five scholarly essays and two interviews discuss the artistry and functionality of Southern Asian silver. A spectacular array of 130 suites of silver and twenty-two design drawings, devotedly collected by Mr. Harish K. Patel, showcases Southern Asia’s cultural and economic soft power through silver.

A long overdue volume which re-establishes Vivian Browne as an important and dynamic American artist with an expressive hand and expansive world view.

Vivian Browne’s (1929-1993) varied career spanned more than three decades, from her early portraits and landscapes in the late 1950s and early ‘60s, her Little Men series of 1966-69, through her final San Joaquin and King’s Canyon paintings of the very early 1990s, completed just before her death in 1993. This highly active career was framed by Browne’s lasting political engagement and activism, that included being an initial director of the Black Emergency Cultural Coalition (BECC), born out of a response to the Metropolitan Museum’s failure to include a single Black Harlem-based artist in its 1969 exhibition, Harlem on My Mind, and her active memberships of Where We At (WWA), the Women’s Caucus for Art (WCA), and the feminist art collective Heresies, from the early 1970s through her death in 1993.

This volume presents about 62 paintings, prints, and works on paper across several major bodies of work, alongside ephemera highlighting Browne’s enduring activism and teaching work. Drawing upon previously unknown works and archives that have recently become available, this is a significant contribution to the history of twentieth century American art. It accompanies a major exhibition at the Contemporary Art Center, Cincinnati, OH, and at The Phillips Collection, Washington, DC, in 2025.

The illustrated story of the life and times of architect Richard Morris Hunt, his forty-year career, and his impact on American culture after the Civil War.

Winner of the Victorian Society in America 2025 Book Award.

Celebrated internationally in the nineteenth century as America’s premier architect, Richard Morris Hunt (1827–1895) is best known for his opulent Gilded Age Vanderbilt mansions, including Biltmore, the Breakers, Marble House, and other landmark works. Yet Hunt’s impact on American culture after the Civil War ranges far beyond his lavish palaces. In The Gilded Life of Richard Morris Hunt, historian Sam Watters reveals Hunt’s remarkable influence in creating the institutions and their conventions that transformed Old World traditions into his generation’s idea of an American civilization, through architecture, interior design, sculpture, painting, and the ardent advocacy of artisan trades.

Watters repositions Hunt and his forty-year career in light of new discoveries and connections made through his meticulous study of the Richard Morris Hunt Collection at the Library of Congress. Featuring 200 illustrations, including Hunt’s drawings, images he collected, portraits of his privileged New York and Newport inner circle, and new photographs and plans, this dynamic biography follows the contours of American thought that shaped Hunt’s life and work among the ruling one percent.

This new book tells the intriguing story of the search for, and discovery of, wonderful, rare silver-gilt religious vessels thought lost for centuries.

In 1767 and 1768, a number of objects made by renowned eighteenth-century Roman goldsmith Luigi Valadier (1726–1785) were sent from Rome to an unnamed “principal church in Mexico,” among them a monstrance (a vessel in which the consecrated Host is shown). All were thought to be lost. During the course of The Frick Collection's 2018 exhibition Luigi Valadier: Splendor in Eighteenth-Century Rome, Xavier F. Salomon kept asking himself whether the lost treasure might be found. The odds were slim because objects made of gold, silver, and precious stones have so often been melted for cash or recycling. But after an extensive search, Salomon located the monstrance in the Cathedral of León in Nicaragua, along with approximately twenty-five other "lost" objects—chandeliers, reliquaries, a chalice, and candlesticks—all works by Valadier, and many of them still in daily use in the cathedral.

For more than 250 years this sacred treasure, (the largest surviving Valadier collection in the world), has been known only to worshippers in León its origin a mystery, until now.

A major new volume celebrating the lithographs of George Wesley Bellows, regarded as one of America's greatest artists.

George Bellows (1882–1925) was a painter, illustrator, and printmaker. His career established, in late 1915 he turned to lithography. Over the next nine years he almost single-handedly elevated lithography in America to a fine art. The inherent flexibility of the process, its potential for drawing in vigorous strokes and its richness of tone were well suited to his style. The subjects that fascinated him range from intimate studies of his family and friends to snap shots of American life, the atrocities of World War I, and what first caught the public’s attention, Boxing. All were new and undeniably American. George Bellows; American Life in Print features two essays: “Bellows, Advocate for Lithography” with in depth examination of sixty-six lithographs and drawings. A second essay explores the artist’s rise to fame in “Bellows and the ‘Art Palace of the West,’” focusing on his long term relationship with the Cincinnati Art Museum and it's “Annual Exhibition of American Art.”

This illuminating and richly illustrated volume celebrates the Custodia di Terra Sancta (Custody of the Holy Land), its history, its legacy, and its precious treasures.

The Custodia di Terra Sancta is a branch of the Franciscan order, established by the pope in 1342 to safeguard the church of the Holy Sepulcher and other holy sites in the Middle East. Today, the Custodia oversees eighty-two such religious sites and, in order to house its remarkable collection, is building the Terra Sancta Museum which is scheduled to open in Jerusalem in 2026.

Over the course of centuries Christian heads of state from across the Western world sent symbolic gifts to the Holy Sepulcher and other holy sites via the Franciscans of the Custodia. The objects, which range in date from the late Middle Ages through the nineteenth and twentieth centuries, represent an extraordinary survival of the kinds of precious and valuable objects that were typically destroyed and melted down. Highlights include more than 60 pieces of gold- and silversmith work and textiles that date from the sixteenth to the eighteenth centuries. Among these are chalices and candlesticks in gold and silver and opulent liturgical vestments that were gifts from the Catholic kings of Europe.

The first major monographic publication in English on the work of Blanche Hoschedé-Monet (1865-1947), the step-daughter, and later, daughter-in-law, of Claude Monet.

Accompanying an eponymous exhibition, Blanche Hoschedé-Monet in the Light is the first volume to introduce this important woman artist, whose life and work were shaped by the artistic community she helped build at Giverny, and is the result of a long-term collaboration between French and American scholars. Across four essays, the authors approach Hoschedé-Monet’s art and life through a variety of viewpoints. Drawing on previously unpublished sources, including Blanche’s sketchbook, and new photography of Hoschedé-Monet’s largely unknown artworks, this new book constitutes a definitive account of her life and art.

The volume brings together approximately forty-six paintings from both French and American public and private collections, the vast majority of which have never been on seen in the United States. Three paintings by Claude Monet— Le Bassin d’Argenteuil (1874), Cliff Walk at Pourville (1882), and Morning on the Seine, Giverny (1897) illustrate points of comparison and divergence between Claude Monet and Blanche Hoschedé, the only one of the Hoschedé or Monet children to pursue painting.

A dynamic, personal, and poignant collection of over 90 works from Eric Key’s extensive collection of art by American artists of African descent, spanning the Harlem Renaissance to the twenty-first century.

Since he started collecting in the 1990s, Eric Key’s intent has always been to help preserve America’s Black experience in the arts, and to benefit the many communities of which he has been a part—opening gateways for artists, African Americans, and conversations about race, identity, and America. Featured in the volume are selected works by some of the most recognizable contemporary African American artists, including Sam Gilliam, Jacob Lawrence, Elizabeth Catlett, William Artis, Samella Lewis, and Renee Stout. Together, these artists work to dispel the many stereotypes and misunderstandings about African American art and people, but also remain a form of personal narrative. As Eric Key states, the works in his collection are an extension of himself, a Black man in a still mostly white art world; they are an extension of the country in which he lives and an extension of the artists who created them.

Bold, stately, and elegant furniture is revealed in this entirely new survey of design, regional varieties and workshop collaborations in the American East Coast in the early nineteenth century.

Kelly C. and Randall A. Schrimsher began collecting American Classical decorative art in the mid-1980s. Their notable collection comprises hundreds of pieces of furniture by some of the most celebrated cabinetmakers from the key centers of Classical furniture production in the United States: Boston, New York, Philadelphia, and Baltimore. Past literature on American Classical furniture has studied the production centers in relative isolation; however, this catalogue's approach explores the rich artistic exchanges and rivalries that existed between the four cities including a selection of works by foremost cabinetmakers Duncan Phyfe, Charles-Honoré Lannuier, Isaac Vose, William Hancock, John and Hugh Finlay, Anthony Quervelle, and Joseph Barry. A lively export trade introduced Classical wares from these major centers of production to key ports across the United States such as Washington, D.C., Charleston, New Orleans, and beyond.

Wonderful examples by esteemed cabinetmakers and their workshops illustrate regional varieties, collaborations, and points of departure. In addition to the 85 full-page color illustrations of furniture, the book features over 150 additional comparative illustrations of pattern books, architectural designs, historical views, and detailed photos of carving, gilding, and painted surfaces.

The list of authors includes the Decorative Arts Trust's Executive Director and current and past members of its Board of Governors: Alexandra Alevizatos Kirtley, Christine Thomson, Clark Pearce, Gregory R. Weidman, Kimberly E. Schrimsher, Matthew A. Thurlow, Peter M. Kenny, and Wendy A. Cooper.

All proceeds benefit the Decorative Arts Trust's Publishing Grants program.

An entirely new exploration of the life and career of the expat American artist Julius LeBlanc Stewart (1855-1919), who spent nearly all his life in Paris, and whose oil paintings feature in private collections and those of many major museums on both sides of the Atlantic.

Stewart’s paintings are highly engaging and attractive, covering a broad cross-section of later nineteenth- and early twentieth-century American Expat Parisian high society, its genteel past-times, and travel, in a style of painting that was uniquely his own, and that was lauded in both Europe and America. This new volume presents over seventy major paintings, pastels and drawings across thematic sections, with a new introduction to Stewart’s life, career, and world through essays by major specialists on nineteenth and early twentieth century American art and history.

The authors look variously at Stewart’s early career and training at the École des Beaux-Arts, his later tutelage under French and Spanish masters, Eduardo Zamacoïs, Jean-Léon Gérôme, and Raimundo Madrazo, his family's involvement in the production of sugar; then the world of the American Expat society in which Stewart circulated, and the evolution Stewart's later style, in the mid 1880s towards multi-figured, narrative scenes of his family, friends and meticulous depictions of their costumes; then for a brief period later the sensuous Arcadian nudes bathed in sunlight, celebrating the attributes of Diana and the Bachenates. Collectively these provide the first major exploration of Stewart's world and work with, new contribution to our understanding of the importance and legacy of his art, and his advocation for his community of fellow American artists in France.

New volume in the Frick Diptych series features an illuminating essay by Frick deputy director and Peter Jay Sharp Chief Curator Xavier F. Salomon paired with a text by award-winning author Hisham Matar.

Francisco de Goya y Lucientes (1746–1828) is among the most important Spanish artists of the late 18th and early 19th centuries. A late masterpiece, his Forge derives from the mythological theme of the forge of Vulcan, the metalworker of the Olympian gods. The figures in Goya’s monumental, haunting painting are instead muscular laborers at work around a blacksmith’s anvil. Salomon’s deeply researched text is complemented by a poetic piece by Matar.

Designed to foster critical engagement and interest specialist and non-specialist alike, each book in the Frick Diptych series illuminates a single work in the Frick’s rich collection with an essay by a Frick curator paired with a contribution from a contemporary artist or writer.

This ground-breaking volume is the first book devoted to the life and work of Hayward Oubre, and brings together important examples of Oubre’s sculptures, paintings, and prints to explore his career, creative process, and legacy.

Best known for his wire sculptures, Hayward L. Oubre, Jr. (1916–2006), was an important Black American artist and educator, who has until now received little attention from scholars and museums. He created sculptures, paintings, and prints that tested the bounds of each of these mediums. These works share a previously untold history of American modernism rooted in the South. Academically-trained, Oubre worked with an everyday material—wire coat hangers—that led some early critics to associate his sculpture with folk art, despite wire rising to prominence as a material for modernist sculptors in this period. While making his art he also trained a subsequent generation of artists through his teaching, first at Alabama State College (now Alabama State University), from 1949 to 1965, and then at Winston-Salem State University, from 1965 to 1981, both Historically Black Colleges and Universities. Within Oubre’s story is a history of Alabama art shaping American art that has never been written. This new volume, and its accompanying exhibition, will begin to tell this story, laying the foundation for future projects on the work of Black artists in Alabama and the South.

New volume in the Frick Diptych series features an illuminating essay by curator Anna-Claire Stinebring paired with a contribution by artist Salman Toor.

One of the greatest Netherlandish painters of the sixteenth century, Pieter Bruegel the Elder (ca. 1525−1569) is best known for his landscapes and peasant scenes. One of only three signed works by Bruegel in the United States, The Three Soldiers was once in the celebrated collection of Charles I of England. The small panel in grisaille (shades of gray) represents a trio of Landsknechte, the mercenary foot soldiers whose flamboyant costumes and poses were a popular subject for printmakers of the period. This volume considers the artistic and political environment of the time and investigates how a colorful subject is transformed by its translation into monochrome.

Designed to foster critical engagement and interest specialist and non-specialist alike, each book in this series illuminates a single work in the Frick’s rich collection with an essay by an art historian paired with a contribution from a contemporary artist or writer.

An English/French bilingual volume that traces the enduring legacy of geometric abstraction through the last six decades of electronic art and culture.

One of the most popular artistic styles of the twentieth century, Op art transformed European geometric abstraction into a global phenomenon in the mid-1960s. Its disorienting patterns and illusions, rendered with machine-like precision, became icons of the futuristic Space Age. As the 1960s faded, Op became a short-lived fad, dismissed by art historians and critics as visual kitsch. Over the last 15 years, however, many museums have re-introduced Op to audiences who enthusiastically embrace it as a reflection of contemporary life. Emerging at precisely the same time as mainstream video technologies and the modern digital computer, Op helped shape the aesthetics of electronic media, becoming the first artistic movement of the Information Age.

Juxtaposing plates of approximately 123 artworks by 88 international artists and collectives from the 1960s to the present (including Victor Vasarely, Vera Molnar, Lillian Schwartz, JODI, Ryoji Ikeda, and Cory Arcangel), Electric Op offers a scholarly re-evaluation of the legacy of abstraction and the surprisingly intertwined histories of contemporary and digital art. It is also a blockbuster of dazzling works that appeal to all ages, including iconic masterpieces alongside rarely-seen gems. Outstanding works from the collections of the Buffalo AKG Art Museum and the Musée d'arts de Nantes are supplemented with key loans from other major museums, private collections, and artists.

An enthralling study of a founding American dynasty –the Peirces and the Princes--in an interwoven story of family heritage that extends from the earliest settlements to the mid-twentieth century.

From Pilgrims to Robber Barons, martyred witches to Confederate officers, artists to statesmen, founders of towns, states, and industries, from journalists to pirates, or pioneers to war heroes, each person in the narrative has an individual destiny and a distinct story. Yet each individual character occupies a place and a moment in the larger story of the United States, was shaped by and helped to shape that moment in time. Each person is linked to the others in a kind of golden braid of DNA and family heritage that extends from the earliest settlements to the present.

Chasing Chance is richly illustrated with one hundred images, portraits, and photographs drawn from Prince family archives and museums and historical societies elsewhere. In addition, each chapter includes “mini-genealogies” which focus specifically on the characters in that chapter and their relationship to one another and the modern family.

A fresh look at the groundbreaking artistic collaborations of the Ballets Russes, illuminated by a rich trove of visual material including music manuscripts, dance notations, stage and costume designs, and photographs of performers.

This book celebrates one of the world’s finest private gathering of music manuscripts, held on deposit at the Morgan Library. Robert Owen Lehman’s superb collection of French and Russian ballet scores, including Firebird, Petrushka, Afternoon of a Faun, Bolero, and many more, are shown here for the first time alongside the vivid stage designs and rarely seen choreographic notations for these ballets. Together they offer a fresh view into Serge Diaghilev’s famed Ballets Russes troupe and its revitalization of ballet that roiled Paris in the first decades of the twentieth century. These influential ballets and their creators—composers Igor Stravinsky, Claude Debussy, and Maurice Ravel, choreographers Michel Fokine, Vaslav Nijinsky, and Bronislava Nijinska, and artists Léon Bakst, Alexandre Benois, and Natalia Goncharova—set a new agenda for European art. As the 1930s began, a new international era of modern ballet was underway.

This brand-new, lavishly illustrated, publication features over 90 works by Woo Chong Yung, (Wu Zhongxiong), most of which have never been published or publicly displayed.

Woo Chong Yung, (Wu Zhongxiong), (1898–1989), also known in the USA as C. Y. Woo, was a highly accomplished painter, calligrapher, and poet from Shanghai. During the 1920s to 1940s, Woo was at the center of China’s cultural world, feted in art circles in both Shanghai and Beijing. However, faced with political persecution in the 1960s, he migrated to Ohio before the onset of the Cultural Revolution. Once in the United States, he became an active presence in the local community, teaching classes in Chinese painting and martial arts, exhibiting and lecturing in local colleges, and contributing his talents to local arts councils and ethnic festivals in Columbus and central Ohio. His lifetime works were collected almost exclusively by Cincinnati Art Museum and the Frank Museum of Art at Otterbein University which, until now, have gone unseen by the public.

This ground-breaking catalog illustrates Woo’s unique position in Chinese painting history. His remarkable experience of emigrating from China in the face of political persecution in the 1960s and becoming an American utterly transformed and reshaped both his life and painting.

A rich cultural overview of Virginia which immerses readers in the landscapes, foodways, industries, and people that make up this diverse state.

A sense of place has deeply shaped Virginia’s history and culture. Over time, a wide range of communities have formed that help to define the distinctive characteristics of their regions and the state. Their evolution reveals stories as varied as the landscape itself.

Our Commonwealth provides an in-depth journey across the five geographical regions of Virginia—Tidewater Virginia, Northern Virginia, Central Virginia, Shenandoah Valley, and Southwest Virginia—and showcases the experiences of its diverse people.

Mined from collections across the Commonwealth, the objects, letters, diaries, and archival photographs, from each region are arranged thematically in this beautifully illustrated narrative that provides a stirring, and often personal story about the people and the place they call home, shining a fresh light on what makes Virginia, Virginia.

Presenting over fifty works by a broad cross-section of major artists, this new volume captures the huge and lasting impact of the railroad on America through the eyes of the artists who witnessed its expansion.

Such industrial expansion is captured in the dramatic views of Pittsburgh and mid-west industry in paintings by Otto Kuhler, George Luks, and Charles Sheeler. And finally, there are a raft of artists for whom the railroad was both at the heart of a great new machine age, celebrated in paintings by Georgia O’Keeffe, John Marin, Joseph Stella, and Charles Goeller, but also the creator of a more lonely and alienated urban industrial world, most strongly captured in Edward Hopper’s railroad landscapes.

New publication celebrates the dynamic tradition of narrative art among Native nations of the American Great Plains.

Unbound shows the full expression of Plains narrative art, from historical hides, muslins, and ledger books to contemporary works. Illustrating everything from war deeds and ceremonial events to family life, Indigenous identity, and pop culture, the artworks are as diverse as the individuals who created them.

Early narrative warrior-artists recorded their battle exploits on buffalo-hide shirts, and robes. In the late nineteenth century, as trade broadened, artists painted elaborate scenes of battles and ceremonies on large muslin tipi liners. When ledger books became available, artists filled their pages with narrative drawings. Native artists began reviving “ledger art” in the 1970s, creating a vibrant form that takes on contemporary topics, uses a variety of media, and is widely collected.

Reunites two masterpieces of the Venetian Renaissance after more than four centuries apart.

The Three Philosophers by Giorgione (Italian, 1477–1510) in the Kunsthistorisches Museum in Vienna and St. Francis in the Desert by Giovanni Bellini (ca. 1424/35–1516) in The Frick Collection, New York, are two of the most celebrated paintings of the Venetian Renaissance. Between at least 1525 and 1556 the two paintings were displayed together in the same house in Venice, the palazzo of Taddeo Contarini (ca. 1466–1540), a member of one of Venice’s wealthiest patrician families. For the first time in more than four hundred years, these two masterpieces will be reunited. Accompanying their display at the Frick, this book explores the origins of the paintings and re-evaluates their shared histories in the collection of Taddeo Contarini.

New volume in the Frick Diptych series features a contribution by acclaimed figurative painter Nicolas Party paired with an illuminating essay by Frick chief curator Xavier F. Salomon.

This pastel belongs to a small number of works of art at the Frick by a female artist. Rosalba Carriera (Italian, 1673–1757) spent most of her life in Venice, then a popular destination for young aristocrats from all over Europe undertaking the Grand Tour—a tour of the continent that served as an educational rite of passage into adulthood. Many of these travelers would go to Rosalba’s studio to have a portrait painted, and Rosalba, who began her career as a miniaturist painter in Venice, became internationally acclaimed. Rosalba’s pastels are technically innovative, remarkable for their soft edges and sumptuous effects. By binding colored chalk into sticks, she obtained a much wider range of prepared colors, which ultimately expanded the visual possibilities of this medium.

Little is known about this portrait, painted about 1730. Despite the fragility of the medium—pastel—it is in pristine condition. The portrayal of the man as a pilgrim, with a black cape and holding a staff, may indicate that he was a member of the Pellegrini family—pellegrini being the Italian word for pilgrims—or that he is someone who traveled on a pilgrimage. More likely, however, his attire is simply a costume related to the Venetian Carnival.

Designed to foster critical engagement and interest specialist and non-specialist alike, each book in the Frick Diptych series illuminates a single work in the Frick’s rich collection with an essay by a Frick curator paired with a contribution from a contemporary artist or writer.

A new and stimulating way of looking at Old Master paintings with a foreword by Hanya Yanagihara, contributions by Jonathan Anderson, Jessica Bell Brown, Christopher Lew, Jason Reynolds, Legacy Russell, and Russell Tovey, and works by Jenna Gribbon, Doron Langberg, Toyin Ojih Odutola, Salman Toor.

Living Histories: Queer Views and Old Masters is an exciting volume featuring the work of four New York–based artists, each presenting a single new work in conversation with celebrated paintings in The Frick Collection, with particular emphasis on issues of gender and queer identity typically excluded from narratives of early modern European art. The idea of commissioning four works to display at Frick Madison emerged when four masterpieces by Vermeer, Holbein, and Rembrandt were loaned to exhibitions. Works by Jenna Gribbon, Doron Langberg, Toyin Ojih Odutola and Salman Toor were commissioned to replace them, alongside other works by these artists.

This book is the result of the four New York artists' responses to the Frick's collection, and the conversations their work engendered. Written contributions are provided by Jonathan Anderson, Jessica Bell Brown, Christopher Lew, Jason Reynolds, Legacy Russell, and Russell Tovey.

A stunning survey of a wide-ranging and highly personal collection of major works in glass and clay by international artists.

Craft Across Continents presents 50 objects in two-parts: the first 22 plates focus on works by Japanese makers; the second section of 21 plates on works by American and European practitioners. Marking the mid-way point of the volume is a special section, printed on a different uncoated paper, featuring large-scale, full-page images, including a portrait of the collectors and views of the glass, ceramics, bamboo and other objects as seen in the domestic setting of the collectors’ private home.

The wide-ranging and highly personal collection includes masterworks of twenty-first-century Japanese wood-fired ceramics, as well as works in porcelain by Satoshi Kino and Machiko Ogawa. Moreover, an additional 20-plus objects were gifted to the Mint in 2021 including further Japanese ceramics, a fine collection of Japanese bamboo sculptures by several generations of makers—a unique feature of the Collection—as well as an indigo resist-dyed wall hanging by Rowland Ricketts, an artist and farmer based in Bloomington, Indiana, using natural dyes and historical Japanese processes to create contemporary textiles. From Europe and the United States, there are major glass sculptures, a seminal installation by Danish maker Tobias Møhl, a mobile by Polish-trained artist Anna Skibska, and fine examples of cast blown, and lamp-worked glass. One of the most spectacular large glazed ceramic vessels in the collection is by the British maker, Gareth Mason.

The Triumph of Nature returns us vividly to an entrancing time in European decorative arts, from its beginnings in the Arts and Crafts movement and Japonisme, through to its evolution into Art Deco style.

An exuberant, radical style, Art Nouveau blithely trampled many of the Victorian Age’s orthodoxies of art and design. Exploding age-old strictures with its fanciful approach to furniture, graphic arts, jewelry, architecture and more, Art Nouveau also embraced new technologies and incorporated foreign stylistic flourishes. Designing for a range of clients and settings including domestic interiors, innovative artists such as de Feure, Majorelle, and Gallé fashioned their eclectic works to play off each other in harmonious visual arrangements, conceiving of Art Nouveau as an enveloping style.

This stunningly illustrated comprehensive volume gathers a profusion of Art Nouveau works and accessories—furniture, paintings, sculpture, mosaics, books, posters, prints, lamps, glass, and other stunning objets d’art—all of them originally designed and coordinated to complement each other in elaborate ensembles.

An introduction to sixty unknown treasures, wonderful objets d'art made by world-renowned jeweler André Chervin, founder of the premiere New York atelier, Carvin French.

André Chervin (b. 1927) is a world-renowned jeweler and founder of the premiere New York atelier, Carvin French. Recognized today as masters of fine jewelry-making whose dazzling creations have been sold by top retail houses such as Tiffany, Van Cleef & Arpels, Verdura, Cartier, and Bulgari, Chervin and his firm enjoy a stellar reputation among the clients who wear their refined jewelry. Unbeknownst to his many fans, Chervin also created a collection of precious objets d’art, dating from 1957 through 2013. Expressive of his artistic imagination, passion for raw materials and bygone techniques, and inimitable sense of style, these captivating treasures have never been shown to the public. Until now.

Enchanting Imagination: The Objets d’Art of André Chervin and Carvin French Jewelers introduces Chervin’s miniature masterpieces—one-of-a-kind lamps, clocks, boxes, personal accessories, and table decorations fashioned from gold, silver, gems, and minerals, like rubies, diamonds, sapphires, jade, lapis lazuli, amethyst, and quartz. Conceived by Chervin and fabricated under his watchful eye, each object evolved over the course of many years, taking five, ten, even twenty-five years, to complete to perfection.

This volume, the first to explore this major artist's experiments in watercolor and his interesting and beautiful forays into ceramic decoration, features a brief note by Françoise Marquet-Zao.

Zao Wou-Ki (1920–2013) was the first artist of the Chinese diaspora to achieve international recognition and was one of France’s most important painters of the post-war era and beyond. His large abstract canvases were in step with those of New York School artists of the late 1940s and 50s and emerged from the growing international impulse for non-objective painting. Zao married western vanguard painting with Chinese traditions of calligraphy and ink-drawing and in doing so created a powerful personal aesthetic that was uniquely his own.

Drawn largely from European private collections, the works of art in this catalog have almost never been exhibited before and were deeply personal to the artist. Zao worked in watercolor throughout his long life and this catalog features examples from as early as 1960. But during his last years, the artist rediscovered the medium with newfound enthusiasm and turned increasingly to nature as the source of inspiration. In 2008, he gave up oil-painting entirely, and for the next two years, watercolor was his primary form of expression.

The ceramics consist of two main groups – plates produced in the late 1970s in association with Sèvres, bearing designs created by Zao expressly for this purpose, and later designs from the 2000s painted directly on vases, bowls and plates that were subsequently editioned by Maison Bernardaud in Limoges.

This English/Spanish bilingual volume explores Cuban and U.S. landscape painters largely active from 1850 to 1910 whose portrayals of Cuba reflect political, social, and ideological changes in both countries.

In the Mind’s Eye tells many stories about Cuba that reflect the island’s significance, both as the place from which Cubans fled, and a destination to which Americans flocked. While the dynamics of the Revolution in 1959 frame many conversations about Cuba, this volume seeks a longer historical trajectory by focusing on the 19th century—with visual interpretations and commentary by 21st-century artists. American artists William Glackens, Childe Hassam, Winslow Homer, and Willard Metcalf are featured alongside contemporary artists including Juan Carlos Alom, María Magdalena Campos-Pons, and Juana Valdés. Two new interviews with artists Juana Valdés and Carlos Martiel conducted by Donette Francis and Elvia Rosa Castro highlight the importance of contemporary Cuban art.

A ground-breaking exploration of the Cuban landscape in the imagination of American and Cuban artists, In the Mind’s Eye opens new avenues of inquiry about the Caribbean island which has played an outsized role in global politics, economics, and culture. For centuries an Edenic image of fantasy and escapism has been projected onto Cuba by observers from North America and Europe. Until recent times, the harsh historical and contemporary realities of servitude, racial strife, and environmental degradation rarely colored artists portrayal of the country, presenting a skewed perspective on this nation.

New volume in the Frick Diptych series focuses on an enigmatic Renaissance portrait, pairing an essay by Frick curator Aimee Ng with a contribution by bestselling author Daniel Mendelsohn.

Painted about 1550–50 by Agnolo Bronzino (Italian, 1503–1572), this remarkable portrait depicts the young Florentine aristocrat Lodovico Capponi (b. 1534), an associate of the Medici court. Capponi wears black and white, his family’s armorial colors. His right index finger partially conceals the medal he holds, revealing the legend SORTE (fate or fortune)—evoking the young man’s future. In the mid-1550s, Lodovico fell in love with Maddalena Vettori, whom Duke Cosimo de Medici had intended as a wife for one of his cousins. After years of opposition, the duke relented, and Lodovico and Maddalena were married with lavish celebrations.

The DeMell Jacobsen Collection of paintings and sculpture—an assemblage rich in American cultural heritage—parallels the development of art in the United States. American Made features some of the country’s most recognized artists: Thomas Cole, John Kensett, Asher B. Durand, and William Trost Richards, while works by Theodore Robinson, Childe Hassam, Willard Leroy Metcalf, and William Merritt Chase represent the Grand Tour and concepts gained abroad. Wonderful still lifes appear throughout the collection, including paintings by Severin Roesen, William Harnett, and a late work by William Bailey. Portraiture is represented in stellar examples by members of the Peale family, Thomas Sully, Mary Cassatt, John Singer Sargent, and Edmund Charles Tarbell. Classically-inspired marble works from Hiram Powers and Randolph Rogers, bronze pieces from Paul Manship and Augustus Saint-Gaudens, and a modern copper and bronze example from Harry Bertoia are highlights of the sculpture collection. Early modernist and interwar works by Marsden Hartley, John Marin, Emil Bisttram, Paul Cadmus, and Joseph Stella explore colour, form, and abstraction. Highlights of contemporary art include Frank Stella’s 1988 The Try-Works (Moby Dick Series), Louise Nevelson’s 1977-79 Maquette for Sky Landscape, and a recently acquired painting by Alexis Rockman that delves into the theme of climate change.

Fully illustrated—with several paintings including profiles of their appropriate period frames—each work of art features an extended entry with full specifications, information on style and stylistic influences, significance and social context, as well as notes.

New volume in the Frick Diptych series focuses on an exquisite Renaissance portrait, pairing an essay by Frick curator Giulio Dalvit with a rich contribution from contemporary artist Elizabeth Peyton.

Various identities for the richly dressed, contemplative young man in this portrait have been proposed but none with any certainty. The mood of the subject and the diffused, gentle play of light over the broadly painted surfaces are strongly reminiscent of Titian’s Venetian contemporary Giorgione. In many ways, the Frick portrait epitomizes a new tendency in Italian Renaissance portraiture in which the depiction is intended less as a description of the sitter than as an encounter with them.

A rich contribution by artist Elizabeth Peyton accompanies an illuminating essay by Giulio Dalvit which addresses the many questions of provenance, chronology, attribution and of who this mysterious young man might be.

Bob Jones Jr. founded the collection as an educational effort and opened it on the campus of the university named after his father in Greenville, South Carolina, in 1951. Those first 25 paintings included works by Bicci di Lorenzo, Luca Giordano, El Greco, and Tintoretto, and today the collection comprises over 400 paintings, as well as a wide range of sculpture, decorative arts, and antiquities. It is widely recognized among scholars as one of the finest collections of Renaissance and Baroque paintings in America, and a document of the revival of the taste for Baroque pictures in the mid-20th century.

Erin Jones’s introduction provides an overview of the history of the various iterations of the Museum & Gallery, even as it looks forward to a new home in the center of its community. Richard P. Townsend’s essay presents the most in-depth examination to date of Bob Jones Jr. as a collector, extensively using letters, invoices, and photographs to paint a picture of Jones hitherto not available. At the heart of the volume is the presentation of 55 paintings, featuring works by great European masters including Botticelli, Bouts, Cranach, Guercino, Jordaens, Preti, Reni, Ribera, Rubens, Tiepolo, and Zurbarán.

An essential reference guide for learning where Arthur Szyk’s public works reside

During his lifetime, Arthur Szyk (1894–1951)—the prolific Polish-Jewish artist celebrated for his exquisite miniature paintings, book illustrations, and scathing political cartoons—created several thousand works spanning two continents. Now, for the first time, all of Szyk’s original works held by institutional collections are documented in one definitive volume, empowering a new generation of scholars and art lovers to locate individual works and to survey the artist’s career with ease.

Brimming with new research and fresh insight from the world’s foremost Szyk expert, Irvin Ungar, the compendium Arthur Szyk Preserved testifies to the depth, breadth, and unmatched brilliance of the twentieth century’s outstanding artist-activist.

This major new title builds out of Musical Crossroads, one of the 12 permanent exhibitions at the National Museum of African American History and Culture, to present a vibrantly illustrated exploration of 400 years of African American musical culture.

Music is the great equalizer around the world. No matter where it originates or what form it takes, it has had a profound role in shaping the human experience and preserving the history of that experience for centuries. African American music originated out of a heritage shaped by the Transatlantic Slave Trade and forced enslavement. The music born out of this shared identity was a means of survival, a treatise on the struggle for freedom, and an agent of social change, and generated a vast array of musical styles and performance traditions that have defined American music. Musical Crossroads explores how objects can expand our understanding of the ways African American music-making continues to shape and influence society.

Five thematic chapters are introduced with an essay by Dwandalyn R. Reece, and accompanied by shorter features written by museum staff. Striking images include Johnny Mathis on stage; Bo Diddley’s Gretsch Guitar; Nina Simone recording "Don't Let Me Be Misunderstood" to name just a few. Featured objects include Radio Raheem’s original boombox used in Spike Lee’s 1989 film, Do the Right Thing; the original Public Enemy logo necklace alongside a story from rapper Chuck D about where the group’s name comes from; and photos of Queen Latifah taken by Hip-hop photographer Al Pereira while she was filming the music video for “Fly Girl”. Numerous illustrated profiles and stories relating to a host of DJs, producers, Black-owned record labels, Black music press, and artists, include magazines like Defender, Blacks Stars, and Vibe; record labels like Vee-Jay, Stax, Motown and Sussex Records; promoters and producers including Berry Gordy Jr, Isaac Hayes, and Ernie Freeman; as well as artists Otis Redding, Nina Simone, Luther Vandross, Little Richard, Bill Withers, Billie Holiday, Whitney Houston, and Janet Jackson, to name a few – they’re all here.

New volume in the Frick Diptych series features an essay by Susan Grace Galassi, curator emerita at The Frick Collection, paired with a contribution from renowned artist Olafur Eliasson

Claude Monet’s Vétheuil in Winter (1878-79), painted during the artist’s first winter in the village, depicts his new home on the Seine, seen from the opposite bank of the river. Monet’s two and a half years in Vétheuil, a small farming community northwest of Paris, saw two severe winters, the inspiration for this masterpiece. The Frick’s painting is a key work by Monet, in the new “impressionist” style, painted only 4 years after the first Impressionist show in Paris; it was Monet’s painting called Impression, Sunrise that led to the term impressionism being coined.

Susan Grace Galassi has written an insightful and engaging essay about Monet’s difficult but productive time in Vétheuil, which saw the death of his wife Camille. The Frick's Monet painting, the only work by the artist in the collection, is the basis for other significant canvases made during his stay in the village in both winter and summer. Galassi's essay is accompanied by a text and intriguing new work—Colour experiment no. 109—by the artist Olafur Eliasson, created in response to the Monet painting. Eliasson’s work will be shown at the Frick next to the painting that inspired it.

A celebration of the first works in porcelain Penone has created, among the largest pieces of porcelain ever produced at Sèvres

A major figure in the Arte Povera movement of the late 1960s, the renowned Italian artist Giuseppe Penone (b. 1947) is known for his exploration of the relationship between art and the natural world in a body of work that includes sculpture, performance, works on paper, and even garden design. His first works in porcelain, the exquisite disks presented here, draw attention to the moment of touch—the convergence of surface and skin—that underpins so much of his work.

Published to accompany a special exhibition of works by Penone organised by New York’s Frick Collection, this new volume comprises eleven porcelain disks that the artist made during his 2013 collaboration with the Manufacture Nationale de Sèvres, the influential porcelain factory founded in the 18th century. A continuation of his Propagazioni (Propagations) series, begun in 1995, which includes various media, each disk bears the imprint of one of the artist’s fingertips. One of them is in gold, its imprint a variation on the artist’s index finger. Never before presented to the public, the disks are installed in a gallery adjacent to a porcelain at the Frick's temporary home on Madison Avenue, kindling a rich artistic dialogue which is further explored in this volume.

A vibrant study of the history and production of the Bryce glass company, one of the most successful designers and producers of pattern glass tableware, novelties and lamps in the nineteenth century.

Scottish immigrant James Bryce (1812–1893) began his glassmaking career at the age of ten as a child laborer on the floor of a Pittsburgh glasshouse working for $1.25 a week. In 1850 he founded his own glassware company just as pressed glass was increasing in popularity. Pressed glass transformed the lives of everyday people by making beautiful tableware widely available to those who could not afford the expensive blown and cut crystal enjoyed by their wealthy neighbors. Bryce became one of the largest producers of pattern glass in America and by 1871 was shipping its products all over the world. The company continued operations for 113 years, guided by second and then third generation family members.

This volume celebrates the beauty and artistry of the naturalistic designs, colorful tableware, and whimsical novelties Bryce produced between 1850 and 1891. At its heart, this book is a highly-illustrated work with 190 newly commissioned color plates beautifully photographed by leading decorative arts photographer Gavin Ashworth. It concludes with a compendium of authenticated Bryce products illustrated primarily with period line drawings that will be a valuable tool for both sophisticated glass scholars and casual collectors alike.

The comprehensive history from European settlement to the present day is illustrated by a treasure trove of rare period maps, paintings and photographs by prominent artists, and drawings and sketches by leading designers. The book serves as a critical resource guide encompassing landscape architecture, fine art, tree and plant propagation, and the conservation of natural sites. A rich story of art, design and horticulture awaits readers among the gardens, gazebos and trees of Newport.

This volume is a survey of the remarkable quality and range of the Cleveland Museum of Art’s collection of French drawings, one of the best such collections in the United States

Nineteenth-Century French Drawings explores the history of this medium, and chronicles the remarkable part it has played throughout the past decades at the Cleveland Museum of Art. There are works by such iconic artists as Honoré Daumier, Berthe Morisot and Auguste Renoir, a luminous coloured pencil study by symbolist artist Alexandre Séon and a group of “noir” drawings—named for their use of varied black drawing media—by Henri Fantin-Latour, Albert-Charles Lebourg and Adolphe Appian, among others. Entries illuminate the role of drawing within 41 artists’ works and five essays by leading scholars shed new light on the making and collecting of drawings in France during this extraordinary period.

In nineteenth-century France, drawing expanded from a means of artistic training to an independent medium with rich potential for experimentation. A variety of new materials became available to artists, encouraging figures ranging from Jean-Auguste-Dominique Ingres to Paul Cezanne to reconsider drawing’s place within their practice. Public and private exhibition venues increasingly began to display their works, building an audience attracted by the intimacy of drawings and their unique techniques and subjects.

A lavishly illustrated publication which explores an exceptionally diverse array of work by self-taught artists with wide-ranging backgrounds and motivations.

Creating Connections features over 70 paintings, sculptures, drawings, and watercolors from the Rosenthal Collection of work by self-taught artists. This richly illustrated publication explores the mysterious connections we have with works of art and examines the journey into the meaning of art for its creators. It looks at the historic approaches to the creations of self-taught artists and the problems inherent in their interpretation. It also considers where we should go to achieve a more equitable and inclusive art history.

The Rosenthal Collection comprises a significant and notably varied grouping. Not only does it cover a broad mix of American names including Earl Cunningham, Henry Darger, Thornton Dial, Bill Traylor, Sister Gertrude Morgan, Ralph Fasanella, Martín Ramírez, and Janet Sobel, it also includes non-US artists Carlo Zinelli, Hiroyuki Doi, Adolf Wölfli, Donald Pass, and Nek Chand among others. Jean Dubuffet, the French painter who famously promoted their study, is also featured.

An illustrated interview by Julie Aronson with Richard Rosenthal provides special insight into the collector who has brought together this exceptionally diverse array of work. Essays by Olivia Sagan and Charles Russell look at the need for a more nuanced approach to these artists and their work, at the history of its appreciation (including terminology such as “Outsider Art”), and examine the work in the context of autobiography, trauma, connection, and remembering.

A fascinating, profusely illustrated, study of the impact of Austrian-born architect and designer Joseph Urban (1872–1933), on the development and acceptance of American Modernism through the story of one of his last commissions.

Designed in 1929 and completed in 1930, this rare, bespoke bedroom, created for the seventeen-year-old Elaine Wormser, embodies the skillful blend of Viennese artistic influences, sleek modern finishes, daring color and pattern that marked all of the artist’s greatest achievements. The interior, whose elements are held by the Cincinnati Art Museum, has never been fully researched, published or displayed before now. Five essays, accompanied by nearly 90 full-color illustrations, unlock the narratives and significance of this important historic interior.

Joseph Urban arrived in Boston in 1911; he lived and worked in the United States for the rest of his life. Over the next twenty-two years, he would become one of the nation’s most important and celebrated designers, at the forefront of American modernism, doing as much as anyone to shape its distinctive face. His iconic designs include the Tulip Room, Central Park Casino, New York, 1929; Park Avenue Restaurant, 128 East 58th Street, New York, 1931; and the bedroom for Nedenia Hutton, daughter of E. F. Hutton and Marjorie Merriweather Post , Mar-a-Lago Palm Beach, Florida, 1926. When Urban arrived in the United States, the new architecture and design were just beginning to make their appearance; by the time he died in 1933, they were already starting to assert their dominance

Top 10 Title, Art/Architecture/Photography, Publishers Weekly Spring 2021 Announcement Issue

The Phillips Collection—America’s first museum of modern art—was founded in Washington, DC, in 1921 by Duncan Phillips as a memorial to his father, Duncan Clinch Phillips, and his brother, James, who died in the 1918 Spanish flu epidemic. Recognizing the healing power of art, Phillips sought to inspire others to “see beautifully as true artists see.” This ground-breaking volume, planned in conjunction with the museum’s centennial, offers an unprecedented breadth of insights and inclusive narratives on the Phillips’s growing art collection from a range of voices, including artists, curators, and critics, who shed light on the museum’s acquisitions since 2000.

Seeing Differently features diverse artistic expressions across wide-ranging media by renowned artists from the 19th to the 21st centuries, including John Akomfrah, Benny Andrews, Esther Bubley, Edgar Degas, Anselm Kiefer, Simone Leigh, and Aimé Mpane. This richly illustrated book includes an opening essay by Phillips director Dorothy Kosinski, artist conversations with John Edmonds, Whitfield Lovell, Alyson Shotz, and the late David C. Driskell, and 11 thematic essays by scholars and practitioners across disciplines. Its over 200 plates feature paintings, sculptures, videos, quilts, prints, and photographs, many with object responses by notable contributors, including artists Anthony Gormley, Sean Scully, Renée Stout, and Jennifer Wen Ma, among others.

A fascinating look at the unexpected juxtapositions between twenty-first-century fashion design and historical garments.

Fashion Reimagined features fifty outstanding examples of fashionable dress drawn entirely from the superb collection of the Mint Museum, Charlotte, NC. Organized to commemorate the fiftieth anniversary of the founding of the Mint’s costume collection in 1972, the checklist includes men’s and women’s fashions from 1760 to 2022. The book is divided into three sections that reflect three aspects of historicism: Minimalism, Pattern and Decoration, and The Body Reimagined. Each catalogue entry addresses a theme and provides information and insights about the individual designers, fabric and construction details, and globalization that is embedded in both the textiles and fashions 1760 to the present.

The Mint’s fashion collection features a wide range of historical garments, together with significant pieces by major contemporary designers, including Oscar de la Renta, Gianni Versace, and Miuccia Prada. Ranging from court suits to street wear, highlights include an English eighteenth-century sack back dress, two English men’s court suits, early nineteenth-century printed cotton dresses, wedding dresses from the mid and last quarter of the nineteenth century, as well as a rare 1920s wedding ensemble by Roman fashion artist Maria Monaci Gallenga, a very rare early twentieth-century Ispahan mantle by Paul Poiret, an unusual mid twentieth century Black Narcissus dress by American designer James Galanos, several examples of 1960s and 70s mod and hippie chic style, and innovative contemporary fashions by Giorgio Armani, Romeo Gigli, Zandra Rhodes, Anna Sui, Yoji Yamamoto, Walé Oyéjidé for Ikiré Jones, Anamika Khanna, and Iris van Herpen, among others. 

A compelling account of the early period of expeditionary archaeology and photography told through the words and works of six pioneers

Exposing the Maya focuses on the works of Désiré Charnay, Alice and Augustus Le Plongeon, Teobert Maler, Alfred Maudslay and Adela Breton, all of whom were masters of their craft and travelled extensively to sites in Mexico and Central America. The over 100 selected images in this volume, together with nearly 40 additional contextual images featuring sketches from travel journals, hand-colored drawings, prints, and maps, are combined with the photographers’ own words found in their published writings, journals and letters to provide insight into their methods, context for their images, and to capture the realities of field work in Mesoamerica.

Accessible and highly illustrated, Exposing the Maya is a wonderful account of this period of expeditionary photography, an age that witnessed the evolution of photographic techniques and brought to life the long-faded murals and decoration of these ruins. This is a compelling story of incredible journeys, and the challenging conditions under which these pioneering photographers produced their images, and how they perceived the remnants of these ancient indigenous cultures in modern-day Mexico, Guatemala, and Honduras.

Our love affair with the baseball jersey continues in this major new book on the evolution of the iconic shirt as sportswear, streetwear, cultural icon, and fashion must-have.

New volume in the Frick Diptych series focuses on a remarkable Renaissance lamp, pairing an essay by Frick director Ian Wardropper with a new poem by James Fenton.

The form of this extraordinary bronze lamp, the most elaborate of several produced by Riccio (Andrea Briosco), is based on a Roman sandal, and its surface is covered with intricate reliefs modelled with a goldsmith's refinement and crisp detail. The subjects evoke the populace of classical art and poetry, including a Nereid and Triton, Pan, harpies and innumerable putti, along with goats, musical instruments, shells, masks and garlands. Inspired by the Roman half-boot, the lamp is designed as a bizarre shoe balanced on a pyramidal base, and, as Ian Wardropper discusses in his essay, it would have provided its owner with much pleasure and intellectual stimulation. Early in its history, the lamp is known to have belonged to a series of distinguished Paduan collectors. Paired with Wardropper's essay is a beautiful poem by James Fenton.

A fascinating survey of exceptional American chair design from the early nineteenth century to the present day.

Designed for function, each chair has a story to tell about the history and evolution of American design, art and craftmanship. At the heart of the catalogue is the presentation of 57 chairs from the Jacobsen Collection of American Art covered in 49 essays, all showing beauty and historical context, as well as important social, economic, political and cultural influences. Highlights include designs by John Henry Belter, George Hunzinger, Herter Brothers, Stickley Brothers, Frank Lloyd Wright, Charles and Ray Eames, Eero Saarinen, Isamu Noguchi, and Frank Gehry, among others. There are good examples of historically significant chairs, such as the House of Representatives Chamber Arm Chair (1857), and a photograph of this chair being sat in by Abraham Lincoln, plus an Appalachian Bent Willow Armchair, which is shown in a 1901 photo being sat in by President McKinley on the porch of his summer home. Key icons from post-war American history include Charles Eames’ 1946 moulded plywood Low/Lounge Wood Chair, and the Contour Bar Stool designed by Frank Gehry in 1972.

The chairs are arranged across four main, broadly chronological sections, from the early 1800s to the Civil War; from Reconstruction through the Gilded Age to the dawn of the 20th century; from Art Nouveau to post-war Modernism; and finally, from the post-war Space Age to the Digital Age and the contemporary focus on space saving and sustainability. Each section opens with a brief introduction to its key themes.

A major new illustrated survey on two internationally significant Imperial Roman portrait busts.

Imperial Colors focuses on the paired busts of Emperor Septimius Severus (r. 193-211) and his wife, Empress Julia Domna in the Eskenazi Museum of Art, two of the finest known examples of later Roman portrait sculpture. This book presents innovative multidisciplinary research that is accessible both to specialists and generalists. In addition to contextualizing these portraits in the visual art and culture of the wider Roman empire, this publication will provide the first detailed and secure evidence for their original appearances. Highlights of this include the recently discovered vestiges of colorful paint, fresh insights into masterful marble polishes, and fascinating possibilities regarding their production and display in antiquity. These sculptures are also carefully constructed images, designed to promote political ideas. They represent continuity with older Imperial models but were updated to create a distinctive visual language for the new Imperial house.

Looking Up explores Noguchi’s work on the themes of space, charting our place in the universe, and ‘skyviewing’; examines the changing artistic climate during his long career; and places him in context with a younger generation of artists, including Robert Smithson, Nancy Holt, James Turrell, and Charles Ross. The book includes essays by leading specialists, as well as a plate section and contemporary photos of the creation, transportation and installation of Skyviewing Sculpture .

Over 50 works, arranged by theme, are drawn from major British collections, including the Royal Collection, the V & A, Tate Britain, the British Museum, and a wealth of regional museums and private collections. In addition memorabilia and souvenirs-bronzes, photos, brooches, and Faberge works, many relating to the British royals, especially Queen Victoria and her children- all evoke the sense of a cabinet of curiosities. This is a must-have for dog lovers.

This Present Moment: Crafting a Better World showcases American craft like never before. Accompanying a 2022 exhibition of the same name, it features artists’ stories of resilience, methods of activism, and highlights craft’s ability to spark essential conversations about race, gender, and representation.

This book marks the fiftieth anniversary of the Smithsonian American Art Museum’s Renwick Gallery, the nation’s preeminent center for the enjoyment of American craft. It honors the history of the American studio craft movement while also introducing progressive contemporary narratives.

This Present Moment highlights the often-overlooked histories and contributions of women, people of color, and other marginalized communities. The volume features many of the more than two hundred recently acquired artworks to the Smithsonian American Art Museum’s collection.

Named after Alicia Eggert’s 2019–20 neon artwork, This Present Moment looks at American craft “in the whirlwind of now,” revealing possibilities for contemporary makers to show us a more empathetic future.

Featured artists include Tanya Aguiñiga, Nick Cave, David Chatt, Sonya Clark, Cristina Córdova, Cindy Drozda, Alicia Eggert, J. Paul Fennell, Aram Han Sifuentes, Carla Hemlock (Kanienkeháka), Sharon Kerry-Harlan, Ron Ho, Katie Hudnall, Pat Kramer, Stephen Young Lee, Linda Lopez, Roberto Lugo, Wendy Maruyama, Myra Mimlitsch-Gray, Tom Loeser, John Mascoll, Connie Mississippi, George Nakashima, L. J. Roberts, Judith Schaechter, Preston Singletary, Polly Adams Sutton, Toshiko Takaezu, Gail Tremblay (Mi’kmaq and Onondaga), Nancy Worden, Consuelo Jiménez Underwood, and many more.

The cover of this volume is printed in 50 color variations; a purchased copy may be different from the image pictured.

An essay by Xavier F. Salomon paired with a contribution by award-winning novelist Alan Hollinghurst bring to life Jean-Honoré Fragonard’s (1732–1806) Progress of Love, a series of fourteen paintings considered by many to be the artist’s masterpiece. The paintings were commissioned in 1771 for the comtesse du Barry, to be installed in 1772 in Louveciennes, the pavilion outside Paris built for her by her lover, Louis XV. By 1773 the canvases, The Pursuit, The Meeting, The Lover Crowned, and Love Letters, had been rejected by Du Barry and returned to the artist. In 1790 Fragonard moved the canvases to his cousin’s house, the Villa Maubert, in Grasse, and over the course of the year painted ten additional panels: two large-scale works,

Love Triumphant and Reverie; four narrow “strips” depicting hollyhocks, and four overdoors of putti. Sold by the Maubert estate to the dealer Agnew’s in 1898, the works were later purchased in February 1915 by the industrialist Henry Clay Frick. By May 1916 the panels were installed at Frick’s new mansion in New York in the present-day Fragonard Room in The Frick Collection.