D Giles Limited

Reports of its death were exaggerated but persistent in the art world; in mid-twentieth century America, everyone seemed to agree that portraiture was finished as a progressive art form.

A groundbreaking reassessment of the reinvention of portraiture in America between 1945 and 1975—the period when the abstract expressionists reached international prominence—this new volume presents fifty-five innovative portrait paintings, drawings, prints, and sculptures. It features works by Joan Brown, Alice Neel, Elaine de Kooning, Larry Rivers, Marisol Escobar, Alex Katz, Romare Bearden, Fairfield Porter, Jamie Wyeth, and Andy Warhol, amongst others.

Features a poem by leading New York School poet John Ashbery specially commissioned for this book.

This is an indispensable publication on the life and work of the great Polish-Jewish-American artist-activist Arthur Szyk. A master of miniature painting and calligraphy, Szyk (1894-1951) brought his unmistakable style to subjects as diverse as biblical stories, literary classics, and political cartoons. This powerful, striking book is one for all art enthusiasts and collectors, students of World War II and Holocaust history, and the art world in general, as well as a vital tool for educators.

Irvin Ungar is the curator of The Arthur Szyk Society in Burlingame, CA.

Michael Berenbaum is director of the Sigi Ziering Institute at the American Jewish University in Los Angeles, CA.

Tom L. Freudenheim is an art historian.

Steven Heller is the author of The Daily Heller.

James Kettlewell is an art historian.

This is an indispensable publication on the life and work of the great Polish-Jewish-American artist-activist Arthur Szyk. A master of miniature painting and calligraphy, Szyk (1894-1951) brought his unmistakable style to subjects as diverse as biblical stories, literary classics, and political cartoons. This powerful, striking book is one for all art enthusiasts and collectors, students of World War II and Holocaust history, and the art world in general, as well as a vital tool for educators.

Irvin Ungar is the curator of The Arthur Szyk Society in Burlingame, CA.

Michael Berenbaum is director of the Sigi Ziering Institute at the American Jewish University in Los Angeles, CA.

Tom L. Freudenheim is an art historian.

Steven Heller is the author of The Daily Heller.

James Kettlewell is an art historian.

Pierre-Auguste Renoir's Luncheon of the Boating Party (1880-81) is the jewel of The Phillips Collection. This volume reveals the fascinating characters in the painting and explores Renoir's technique.

Eliza Rathbone is chief curator emerita at The Phillips Collection in Washington, DC.

Mary Morton is curator and head of the Department of French Paintings at the National Gallery of Art in Washington, DC.

Sylvie Patry is deputy director of Collections & Exhibitions and Gund Family Chief Curator at the Barnes Foundation in Philadelphia, PA.

Aileen Ribeiro is Professor Emeritus of the University of London.

Elizabeth Steele is head of conservation at The Phillips Collection in Washington, DC.

Sara Tas is a curator at the Jewish Historical Museum in Amsterdam.

Famous for his trademark use of unique materials and his creation of one-of-a-kind, "million dollar" shoes for Oscar nominees, American designer Stuart Weitzman's personal collection of antique shoes features a similarly eclectic range. Lavishly illustrated with one hundred color photographs from the Stuart Weitzman Collection, this new volume explores the impact of twentieth-century design and culture on the evolution of women's shoes from 1870-1980. It is a must-have for all shoe fans.

Edward Maeder is the founding director of the Bata Shoe Museum in Toronto.

Stuart A. Weitzman is the founder of the eponymous shoe company Stuart Weitzman.

John James Audubon's Viviparous Quadrupeds of North America is the largest and most significant color plate book produced in the United States in the nineteenth century, and a fitting monument to the genius of America's most famous ornithologist, naturalist, and painter. Measuring an impressive 27 3/4 x 21 1/4 inches, the Quadrupeds was published in 1845-48 as a three-volume elephant folio broadsheet edition, the artist's final great natural history work and the first single publication to document America's animals.

Audubon’s Last Wilderness Journey reproduces all one hundred and fifty original lithographic prints in color, with a timeline of Audubon's life and career. Essays by noted experts in art history, wildlife science, and ecology put this remarkable work in context, explaining its technical, artistic, and scientific importance and legacy. They consider the enduring zoological and ecological significance of the Quadrupeds folios, including their scientific value to issues such as classification, and how our relationship towards nature has changed since the 1840s.

The volume additionally includes transcripts from the journal kept by Edward Harris, cashier to the 1843 expedition, describing the everyday details of their journey and the animals they encountered, as well as a letter, written in 1851, from Audubon’s son Victor to Harris, detailing the circumstances of his father’s death.

This entire work is a remarkable record highlighting the wider importance of the North American wilderness and the significance and beauty of Audubon’s detailed illustrations.. This exceptional new volume will have serious appeal to the general public and to art historians, scientists, environmentalists, scholars, researchers, and academics alike.

Focusing on specific records to build into individual stories, this facinating book features over four hundred letters, diaries, photographs, maps, petitions, receipts, patents, amendments, and proclamations from the unparalleled holdings of the National Archives. It takes a fresh look at the war through little-known tales, seldom-seen documents, and unusual perspectives.

This new guidebook introduces readers to Buddhist art through the celebrated collections of the Smithsonian's museums of Asian art in Washington, DC. Paths to Perfection explores Buddhist art and its history across cultures. An intriguing look at artistic responses to one of the world's great religions.

Hans Holbein’s famous portrayal of Sir Thomas More is one of the artist’s greatest and most popular portraits. In the opening piece of this appealing new volume, “A Letter to Thomas More, Knight”, award-winning author Hilary Mantel vividly imagines the background to the creation of this extraordinary portrait, giving it both historical perspective and immediacy. An insightful, scholarly essay by Xavier Salomon grounds it in the art-historical world.

Hans Holbein (1497/98–1543) painted Sir Thomas More in 1527, having been a guest in More’s house when he first arrived in England. He brilliantly renders his sitter’s rich fabrics and unshaven face with sympathy and perception.

This beautiful book will become both a useful reference for all those interested in Tudor history and art history, and a perfect gift.

Each book in the new Frick Diptych Series pairs masterworks from the Frick with critical and literary essays. This is the first volume in the series.

This is a unique chance to see works from two remarkable private Swiss collections. It pays tribute to two pioneering supporters of modernism, Rudolf Staechelin (1881–1946) and Karl Im Obersteg (1883–1969), industrialists and businessmen, close friends, and enthusiastic champions of impressionist, post-impressionist, and school of Paris artists.

Gauguin to Picasso, Masterworks from Switzerland features over sixty celebrated paintings from their collections, created during the mid-nineteenth and early twentieth century by twenty-two world-famous artists. Masterpieces include Paul Gauguin's Nafea faa ipoipo (When will you Marry?) (1892), the most expensive work of art ever sold, Vincent van Gogh's Daubigny's Garden (1890), Pablo Picasso's double-sided canvas Femme dans la loge / Buveuse d'absinthe (1901), and Marc Chagall's three monumental Rabbi portraits. There are extraordinary paintings by artists of international stature including Swiss master Ferdinand Hodler, Russian expressionist painter Alexej Jawlensky, works by Edouard Manet, Pierre-Auguste Renoir, Paul Cézanne, Claude Monet, Amedeo Modigliani, Georges Rouault, and Wassily Kandinsky.

The volume also studies how Staechlin and Im Obersteg developed friendships with and influenced the work of artists, and how they came to create two of the most significant collections of modern art in Europe.

Dorothy Kosinski is the director of The Phillips Collection, Washington, DC.

Hans-Joachim Müller is an art critic at the German weekly paper Die Zeit and the culture editor at Basler Zeitung

Henriette Mentha is the Curator of the Im Obersteg Collection at the Kunstmuseum Basel.

Renée Maurer is assistant curator, The Phillips Collection.

Packed with fascinating facts, compelling images, and little-known nuggets of information, this new go-to illustrated guide to the history of the Library of Congress will appeal to history buffs and general readers alike. It distils over two hundred years of history into an engaging read that makes a Washington icon relevant today.

Mexican American artist Rufino Tamayo (1899-1991) is best known for his boldy-colored, semi-abstract paintings. This is the first volume to focus on Tamayo's work during his time in New York City, where he lived from the late 1920s to 1949, at a time of unparalleled transatlantic cross-cultural exchange.

Tamayo: The New York Years offers a unique opportunity to trace his artistic development through sixty works—from early woodcuts and bold canvasses, through paintings depicting the modern city, to his final dream-like, celestial-themed compositions.

E. Carmen Ramos is the curator of Latino art at the Smithsonian American Art Museum.

The first full study in the English language to give context to the extraordinary life and seminal work of the Nuremburg mathematician, cartographer and scientist Johannes Schöner (d. 1543). Schöner's collection of maps and notes offers an unprecedented insight into cartographic development during this critical period in the history of science and exploration.

A vividly illustrated book which offers a clear and engaging account of the full expanse of the Vietnam War—its causes, conduct, and consequences on the warfront and at home. Six short essays and nearly fifty chronological entries highlight the places, people, and key events and questions of the era.

The 1913 International Exhibition of Modern Art (or Armory Show) marked a turning point in the history of American art and culture. Organized by a small group of American artists and presented in the huge space of the 69th Regiment Armory in New York City, this ambitious exhibition of 1,400 works was the moment when the American public was introduced to European avant-garde art. This outstanding interdisciplinary volume re-examines the exhibition and its historical and cultural context. It includes over thirty essays by eminent scholars across diverse fields to evoke the wider social, political, and economic climate during the 1913 show.

Based on the seventh instalment of the biennial Renwick Invitational, this striking volume, presents the work of Steven Young Lee, Kristen Morgin, Jennifer Trask, and Norwood Viviano. The four selected artists work in a remarkable variety of media including porcelain, raw clay, bone, gold, glass, metal, found objects and mineral pigments. Their visual sensibilities draw on sources ranging from traditional Asian pottery to vintage Americana, and from the romance of the Victorian Era to the algorhythmic precision of the computer. Together, they engage a current fascination in American craft with change, transformation, ruin, and reinvention.

This, the fifth volume in the series Double Exposure, presents fifty images of African Americans in uniform, from the Civil War to the War in Iraq. The selection of photographs, which exemplify stories of patriotism, courage, and dignity, are enriched by the unique perspective of Frank Bolden, Jr., 12th Administrator of NASA and Gail Lumet Buckley, author of American Patriots. Photographers include Anthony Barboza, a staff photographer in the U.S. Navy, Henry Clay Anderson who studied photography at Southern University under the G.I. Bill, and Robert Scurlock whose famous photographs of the Tuskegee Airmen still live with us today.

This is the first comprehensive survey of the New York Historical Society's superb collection of early American silver. It features the full range of silver works, from masterpieces like the 1772 salver by New York City silversmith Lewis Fueter, to the teapot made by Albany silversmith Kiliaen Van Rensselaer in 1695—one of the earliest teapots made in New York.

John Singer Sargent's work in watercolor was unorthodox. He overturned traditional contemporary compositional standards and avoided the obviously picturesque, developing an audacious and sophisticated technique, an expression of his personal modern aesthetic. He ignored the celebrated panoramas of Venice and the traditional description of landscape; instead his watercolors challenged the viewer with unconventional angles, confrontational poses and geometric forms. This engaging volume takes a fresh look at Sargent's idiosyncratic view of the world through some of his most beguiling watercolors. These works are deeply personal and immensely appealing.

Limoges enamels, named for the town in which they were produced, are one of the most distinctive art forms of the French Renaissance. This stunning handbook—the first book dedicated to Henry Clay Frick’s important collection of forty-six Limoges enamels—reflects the jewel-like character of the objects it describes. These colorful, luminous, often personal treasures—plaques, caskets, dishes, ewers—have long been of interest to connoisseurs. Henry Clay Frick purchased John Pierpont Morgan’s collection in totality in 1916, adding his name to a centuries-long list of illustrious collectors of the medium.

A fascinating and wide-ranging introduction by Ian Wardropper sets the scene. Entries for each object, illustrated with new photography, and a glossary of terms reveal the intricacies of the collection, which itself constitutes a comprehensive survey of painted enamels at an outstanding level of quality.

The Stephen K. and Janie Woo Scher Collection of portrait medals is unparalleled among those in private hands. Noted for its comprehensiveness and outstanding quality, it includes medals dating from the fifteenth to the nineteenth centuries.

This new volume, the result of a the Schers’ gift of 450 medals to The Frick Collection in 2016, brings to life these masterpieces of small-scale sculpture, conveying the circumstances of their creation and their historic significance. Beginning in the Italian Renaissance, medals were made to commemorate individuals and to acknowledge specific events or milestones, such as marriages, deaths, coronations, and military victories. They were precious, portable, and popular among the wealthy and powerful. This book provides a concise, fascinating introduction to their artistry.

Fragile Legacies showcases the fascinating photographs of Chief Solomon Osagie Alonge (1911-1994), Nigeria's premier twentieth-century photographer and the first official photographer to the Royal Court of the Kingdom of Benin. Alonge's historic photographs document the rituals, pageantry, and regalia of the Benin Court for over a half-century, and provide rare insight into the history of Nigeria from an insider's perspective. With important contributions by leading Nigerian writers, this volume examines the transformations of colonialism in Africa, and more specifically Nigeria, within the context of global capitalism in the early to mid-twentieth century.

The Merriweather Post collection offers an enthralling glimpse into one of the most remarkable, and intact, collections of jewelry ever amassed.

Spectacular immerses the reader in jewelry history and design, weaving in seminal moments in Post’s life as one of the most passionate and confident collectors of jewelry of the twentieth century. There are exquisite pieces by Van Cleef and Arpels; numerous examples by Cartier; contemporary commissions from Harry Winston, George Headley, David Webb, and Fulco di Verdura, and historical pieces such as the Marie Louise Diadem, and the legendary earrings worn by Marie Antoinette on the eve of the French Revolution.

Spectacular provides a critical perspective on developments in changing jewelry styles in America and Europe through one woman’s unique collection. Fascinating essays highlight special details of the gems and jewels, as well as their sometimes scandalous history. Full of fabulous images and interesting facts this new volume will appeal to anybody who wants to know the story behind some of the most amazing jewels ever created.

Liana Paredes is director of Collections & chief curator at Hillwood Estate, Museum & Gardens.
Martin D. Fuller is the founder and president of Martin Fuller Appraisals, LLC.
Michael Hall is the curator of ceramics of the Capelain Collection in Jersey, Channel Islands.
Jennifer Levy is a curatorial assistant at Hillwood Estate, Museum & Gardens.
Jeffrey Post is the curator of the U.S. National Gem and Mineral Collection, and chairman of the Department of Mineral Sciences, Smithsonian Institution.
Dr. Wilfried Zeisler is the Hillwood Estate, Museum & Gardens’ curator of Russian and 19th-century Art.

This is the first-ever scholarly publication devoted to the art of Francesco de Mura (1696–1782), one of the greatest painters of the Golden Age of Naples.

De Mura's refined and elegant compositions, with their exquisite light and coloring, heralded the rococo, and his later style was a precursor of Neo-Classicism. His ceiling frescoes at Monte Cassino, destoyed in World War II, rivalled those of his celebrated Venetian contemporary, Giambattista Tiepolo (1696–1770). Yet today, he lacks his proper place in the history of art. This volume demonstrates why it is now time to reevaluate this once-celebrated artist.

In 1646, on a panel fewer than nine inches wide, Rembrandt van Rijn (1606–1669) produced one of his most captivating images. In private hands and publicly exhibited only a handful of times, this extraordinary painting, Abraham Entertaining the Angels, is among the artist’s lesser-known masterpieces and it is the inspiration for Divine Encounter. Rembrandt took an unusual and dramatic approach to Biblical subjects. He made use of the viewer’s knowledge of the subject whilst finding ways to bring the familiar to life, a challenge he took on throughout his career.

Abraham and the Angels is presented alongside a selection of Rembrandt’s treatments of other biblical episodes in which Abraham encounters God and his angels. These are examined as a group, compared with versions by Rembrandt’s contemporaries, and considered in relation to theological, philosophical and artistic debates of the period.

Isamu Noguchi, Archaic/Modern brings together more than eighty works, from six decades, which reveal how the ancient world shaped this inspirational artist’s vision for the future. Monolithic basalt sculptures and floating Akari ceiling lights are juxaposed with works that use stone, water, and light to call to mind elemental structures in civilization across time. Noguchi saw himself as equal parts artist and engineer and this volume devotes special attention to his patented designs, such as Radio Nurse—the first baby monitor, and also includes his designs for stage sets, playgrounds, and utilitarian articles, many of which are still being produced today.

There is something intrinsically fresh, immediate and approachable about van Gogh's sous-bois paintings, which are some of his most famous and finest works, and which beautifully capture the subtle and transient effects of light on foliage. Van Gogh: Into the Undergrowth examines the way in which van Gogh was part of the wider sous-bois tradition in nineteenth-century French painting, and explores how he used painting as a metaphor for the dynamism, vitality, and ever-changing face of nature, as presented under the forest canopy.

In addition to color plates of twenty-five artworks by van Gogh and other leading landscape painters such as Daubigny, Monet, and Gauguin, this volume presents extensive new research on van Gogh, nature, and sous-bois. There is a lead essay on van Gogh and nature by independent scholar Cornelia Homburg; Jenny Reynaerts looks at the sous-bois genre in the nineteenth century; whilst Simon Kelly examines van Gogh's relationship with the Barbizon and Impressionist schools. Laura Prins writes specifically on Cincinnati Art Museum's own late van Gogh painting, Undergrowth with Two Figures, which has recently been restored.

Laura Prins is curator of European Paintings at the Fine Arts Museums of San Francisco.
Simon Kelly is curator and head of department at the Saint Louis Art Museum.
Jenny Reynaerts is senior curator of Eigtheenth- and Nineteenth- Century paintings at the Rijksmuseum, Amsterdam.
Cornelia Homburg is curator of Washington University Gallery of Art, Saint Louis.

The Cleveland Museum of Art's medieval table fountain, c. 1320–40, is the only version of its kind to have survived in its complete form from the Middle Ages. A superb example of French Gothic goldsmithing, it is an exquisite metalwork structure and a unique example of courtly taste and princely fashion, which was designed not for any religious purpose but purely as an indulgence. Its uncertain provenance has added to its charm. This focus volume reassesses this extraordinary piece in the context of other similar luxury objects, analysing specifically the fountain's history, functionality, materials, and style.

The Charterhouse, a former Carthusian monastery in the City of London, has served as private mansion, a boys' school, and, since 1611, as an almshouse, which it remains to this day. This souvenir volume features illustrated essays on its archaeology, history, landscape, environment, and architecture.

With forty major loans, including paintings, engravings, lithographs, watercolors, sculpture, and decorative arts, this new volume studies the way in which the visual arts in Europe perceived, or imagined, the black figure during the "long" nineteenth century (ca.1750-1914).

This invaluable, fully illustrated, and compact guidebook features a short history, a timeline, and a guided tour of the Charterhouse, one of the great survivors from London’s medieval past. 2016 sees its reopening as a museum, celebrating over six hundred years of history.

Museum of Stones looks at the various ways artists from across the world, and from different civilizations and cultures, have used rock and stone in their work. This engrossing new volume is also an important contribution to the study of influential Japanese American artist Isamu Noguchi (1904-1988), whose revolutionary ideas and use of stone still resonate today. Much of his work aimed to restore to stone some of the liveliness, transience and impressionability it exhibits in nature. Noguchi believed that rock and stone have a lifecycle that they should be allowed to experience in full, but he also recognized that they are the raw materials of technology, and that they should be used for that purpose, an ambivalence that shaped his work throughout his career.

As well as sculptures by Noguchi there are over fifty works by thirty major international artists, including Mel Bochner, Dove Bradshaw, Bruce Conner, Jimmie Durham, Ian Hamilton Finlay, Jochen Gerz, Janine Antoni, Gabriel Orozco, Bosco Sodi, Keith Sonnier, Stephanie Syjuco, Toshiko Takaezu, Lawrence Weiner, and Tarek Zaki. There are stones from the ancient fortifications of Jerusalem, rocks used by mathematicians (the Latin word calculus means a small pebble used for counting) and fifteen Chinese rock-related objects on loan from the Metropolitan Museum of Art, including scroll paintings dating from the thirteenth to the twentieth centuries.

Dakin Hart is senior curator at the Noguchi Museum.

Matt Kirsch is associate curator at the Noguchi Museum.

Joseph Scheier-Dolhberg is assistant curator of Chinese Painting and Calligraphy at The Metropolitan Museum of Art.

Volume four in the Double Exposure series features a diverse selection of photographs of children: spontaneous records of intimate family moments, playtime, and communal activities, as well as posed portraits. Photographers include Henry Clay Anderson, Wayne F. Miller, Joe Schwartz, Jamel Shabazz, Milton Williams, and Ernest C. Withers.

This is a completely new guide to the Freer|Sackler Gallery collection of nineteenth- and twentieth-century photographs from Asia and the Middle East, which features some remarkable early photography as well as newly acquired works by leading modern and contemporary artists, photographers and film-makers. Highlights include extremely rare photonegative portraits of Cixi (1835–1908), the Qing empress dowager of China, photographed by the son of her senior lady-in-waiting, who may have been the only person ever permitted to photograph her. There is also a series of photos taken by Alice Roosevelt Longworth during the Taft Mission to Asia in 1905.

Celebrated for his dreamlike paintings of amorous aristocrats and melancholy actors, Antoine Watteau (1684–1721) also produced a number of captivating works with military subjects—paintings and drawings––early in his career. They were executed when France was engaged in the costly and ultimately disastrous War of the Spanish Succession (1701–1714), but they look past the turbulence of battle and the heroic deeds of generals and kings to depict the more prosaic aspects of war––marches, halts, encampments, and bivouacs. They focus on the quiet moments between the fighting, outside of military discipline, when soldiers could rest, daydream, smoke pipes, and play cards. Although they owe a debt to seventeenth-century Dutch and Flemish precedents, they put forward a new, thoroughly modern vision of war in which the soldier’s inner life, his experience of war, is brought to the fore.

Watteau’s Soldiers offers a new interpretation of Watteau’s military works. There is a catalogue raisonné of all Watteau works related to military subjects, and a lively and accessible essay by Aaron Wile that explores Watteau’s engagement with the cultural history of war, and the ordinary soldier’s experience of it. This visually appealing new volume is a welcome, thought-provoking study of a little-known aspect of this well-loved artist’s career.

Aaron Wile is the Anne L. Poulet Curatorial Fellow, The Frick Collection, New York, 2014–2016.

Monumental in scale and rich in exotic detail, Konstantin Makovsky’s stunning paintings epitomize the charm of Old Russia. His early career blossomed in St. Petersburg in the 1870s, where he became the darling of the Tsar’s court. His popularity soon spread far beyond Russia’s borders. He lived and worked in Paris and then America, becoming the premier ambassador of traditional Russian culture in the United States.

This beautifully illustrated book, the first full survey in English of Makovsky’s career, positions his work at the crossroads between late Imperial St. Petersburg, Belle-Epoque Paris, and America during the Gilded Age. Three great canvases celebrating Russia’s traditional wedding customs unify this survey: A Boyar Wedding Feast (1883), which launched Makovsky on a long career as a celebrity painter of historical genre scenes, Choosing the Bride (1887), and The Russian Bride’s Attire (1889). All are explored through outstanding photography, including close-up details, published here for the first time.

Four fascinating essays trace the career path of this Russian artist eager for international fame. Wendy Salmond begins by establishing the Russian milieu. Russell E. Martin highlights the historical sources, artifacts and costumes on which Makovsky relied for his scenes of seventeenth-century private life. Wilfried Zeisler reveals the artist’s little-known Paris period, exploring also his Orientalist paintings inspired by the Middle East and North Africa. Wendy Salmond investigates the American audience’s enthusiastic reception of Makovsky’s paintings. That Makovsky’s canvases acquired real celebrity status among a broad American public invites intriguing questions about the nature of the international art world and the place there of Russian artists in the late nineteenth century. A valuable bibliography brings together resources on the artist.

This new book offers a single, encompassing view of the development of landscape painting, photography, and land art in Britain from the eighteenth through to the late twentieth century. It reveals the strong continuity between British landscape art of today and that of over 250 years ago, with works by J.M.W. Turner, John Constable, Thomas Gainsborough, John Piper, David Nash, and Richard Long, amongst many others.

Tim Barringer is Paul Mellon Professor of the History of Art, Yale University.

Oliver Fairclough is Keeper of Art, National Museum of Wales.

Pierre Gouthière: Virtuoso Gilder at the French Court celebrates the life of Pierre Gouthière (1732-1813), considered to be one of the best Parisian bronze chasers and gilders of the eighteenth-century. Gouthière became gilder to Louis XV in 1767, and is credited with inventing a new type of gilding that left a matte finish—dorure au mat—one of the hallmarks of his work. Although incredibly successful in his day, Gouthière died in relative obscurity and poverty; unlike some of his contemporaries his works never regained popularity after the French Revolution.

The inclusion of detailed entries and plates of forty-nine works positively attributed to Gouthière, five essays by leading experts that examine Gouthière's life, career, clientele, and gilding techniques, as well as examples of his work from American, Polish, Portuguese, French, and British collections, ensure that this beautiful volume is an invaluable new resource on Gouthière. The only other volume on this master was published in 1912, and is now long out of print.

This lavishly illustrated volume is the first comprehensive study of the folk art collection purchased by the New-York Historical Society from Elie and Viola Nadelman in 1937. Exhibited by the couple from 1926 to 1937 in their pioneering Museum of Folk and Peasant Arts in Riverdale, New York, the nearly fifteen thousand works come from a collection spanning six centuries, thirteen countries, and a broad range of media. Authors Margaret K. Hofer and Roberta J.M. Olson explore a nucleus of some two hundred and sixteen highlights in eighty-seven catalog entries, as well as nine of Nadelman's own sculptures, and consider the possible interchanges between the Nadelman's collecting and his avant-garde art. Their research, employing new archival evidence from the Historical Society and the rich cache of Nadelman Papers, has resulted in exciting discoveries, among them Nadelman's active role in restoring some of his folk art objects.

Featuring seven provocative essays, Making It Modern breaks new ground not only on the Nadelmans and folk art, but also in the history of American art and taste during the fast-paced cultural revolutions of the early twentieth century.

Margaret K. Hofer is curator of decorative arts, New York Historical Society

Roberta J.M. Olson is curator of drawings, New York Historical Society

Elizabeth Stillinger is an independent scholar.

Kenneth L. Ames is professor at the Bard Graduate Center, New York City.

Cynthia Nadelman is an independent scholar and writer.

Barbara Haskell is the curator at the Whitney Museum of American Art.

Dulwich Picture Gallery in London holds one of the most remarkable permanent collections of Dutch and Flemish art in the world. It contains key paintings by some of the most renowned artists of the period  including Rembrandt van Rijn, Anthony van Dyck’s, Peter Paul Rubens, Jacob van Ruisdael, Aelbert Cuyp, Gerrit Dou and Meindart Hobbema. 

This major new volume is the first time this remarkable collection has been presented in a comprehensive publication.  It brings to light new technical analysis, conservation work, provenance and historical significance, combined with rigorous authorship by leading art historians, the late Michiel Jonker and Ellinoor Bergvelt.

The mighty Persian warrior Rustam; the Israelite prophets Joseph, Moses, and Elijah; the Christian Messiah; the Mughal emperors Babur, Humayun, and Akbar; and the women of the harem; Mughal paintings tell the stories of these figures from epic poetry, holy texts, and the real-life history of the Mughals, one of the greatest empires of the early modern period. Captured in this unique art form, Mughal paintings blend Persian and Indian themes and styles, along with Central Asian and European elements. The results are works of great beauty: intense, delicate, detailed, luxurious, and unique.

This, the third volume in a series dedicated to the Cleveland Museum's light-sensitive treasures, casts new light on these stunning paintings—splendid works of wisdom and delight. The provenance, publication history, and technical information of each manuscript painting is also accompanied by full transcriptions of Persian and Arabic calligraphy.

Sonya Quintanilla is the George P. Bickford Curator of Indian and Southeast Asian Art at the Cleveland Museum of Art.
Catherine Glynn Benkaim is a former curator of Indian Art at the Los Angeles County Museum of Art.
Pedro Moura Carvalho is chief curator of the Asian Civilizations Museum in Singapore.
Marcus Fraser is an independent Islamic art consultant and specialist in Islamic calligraphy.
Mohsen Ashtiany is an associate research scholar at Columbia University.
Ruby Lal is professor of South Asian Studies in the Department of Middle Eastern and South Asian Studies at Emory University, Atlanta.