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A beautifully illustrated art historical reference book which explores in depth the central role of the Book of Psalms in the Middle Ages from the sixth to the sixteenth centuries.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

John Singer Sargent (1856-1925) was one of the greatest portrait artists of his time. While he is best known for his powerful paintings, he largely ceased painting portraits in 1907 and turned instead to charcoal drawings to satisfy portrait commissions. These drawn portraits represent a substantial, yet often overlooked, part of his practice, and they demonstrate the same sense of immediacy, psychological sensitivity, and mastery of chiaroscuro that animate Sargent’s sitters on canvas. This volume presents over sixty superb portrait drawings, showcasing sitters famous for their roles in politics, society, and the arts. It also explores the friendships and the networks of patronage that underpinned Sargent’s practice as a portrait draftsman in Edwardian Britain and Progressive Era America.