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A beautifully illustrated art historical reference book which explores in depth the central role of the Book of Psalms in the Middle Ages from the sixth to the sixteenth centuries.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

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.