John Carr of York (1723 – 1807) was one of the most prolific and significant architects of the eighteenth century, with an output of over 400 designs, most of which were executed. His designs vary from simple gateways through to the grandest schemes, such as that for the palatial hospital at Oporto in Portugal, Harewood House and village in Yorkshire, and Basildon Park in Berkshire.

Gideon Rubin (b. 1973, Israel) is an artist who lives and works in London. Exploring identity, history and the inheritance of trauma in his enigmatic paintings, Rubin’s subject matter draws on myriad references such as film, popular culture, art history and literature, creating and investigating mythologies from the recent past. Haunting and subtly theatrical, the paintings often feature faceless yet familiar figures. Underlying each work is Rubin’s expressive mark-making, muted palette and understated use of negative space and raw canvas. Look Again is Gideon Rubin’s second major trade monograph and showcases his substantial body of work since 2015, including studies of people in nature and scenes of solitude and intimacy. Author and art critic Jennifer Higgie discusses the evolution of his artistic style and his many influences—Balthus, De Kooning, Guston and Diebenkorn to name a few. Dr Matthew Holman’s expansive essay touches on Rubin’s cinematic characters, source material, his use of artistic conventions and engagement with sexuality. Holman investigates the meaning of redaction in Rubin’s work, both in his faceless portraits and in Black Book—a work in which Rubin used black paint to erase the contents of a 1938 English translation of Mein Kampf.Exhibited at the Freud Museum in London in 2018, Black Book is an exploration of what is left out of history, as much as what is remembered.Painting is essential to Rubin, as both a creative and therapeutic act; ‘a log keeping him afloat in the middle of the sea’, as he puts it. In conversation with fellow artist Varda Caivano, Rubin analyses his motivations, processes and doubts, and explains his surprising route to painting. Despite coming from a lineage of painters on his father’s side, it was largely his mother’s academic love of art that galvanised his artistic career, as well as a transformational experience in South America that opened him up to painting. An emotive poem by South Korean author Park Joon sheds further light on Rubin’s imagination.Rubin studied at the School of Visual Arts in New York and then at the Slade School of Fine Arts in London. He has had numerous international one-man shows and his works are included in a number of international private and public collections. Recent exhibitions include 13, Galleria Monica De Cardenas, Milan (2023), Dark Noise, The Kupferman House Collection, Israel (2023), Portrait without a Face, Fox Jensen Gallery, Tokyo (2023), a solo show at CASSIUS&Co., London (2023) and Living Memory, a two-person show with Louise Bourgeois in a Grade II listed chapel in London (2023). Rubin’s work has been featured in publications such as Artribune, San Francisco Examiner, Vestoj, Koln Kultur, Galerie Magazine, Südostschweiz Newspaper and Elephant among others. The publication has been supported by Galerie Karsten Greve, who represent Rubin’s work in Paris, Cologne and St. Moritz.

This fascinating book presents the first biography of Helen Coombe, a woman admired not only for her artistic skill, but also for her intellect, personality and wit. It reveals her family background and education, her place in the Arts and Crafts Movement and her outstanding artistic output.

This illuminating exhibition catalogue interrogates the entanglement of the Islamic world with European visual culture during the medieval period and Renaissance, from the 9th century to the end of the 17th. It traces and reveals this interconnectedness through works of art that reflect the intense environment of contact, influence and exchange which developed over centuries between the two cultures. It also explores the reception of the image of ‘Islam’ in Europe, as highlighted by an important painting of the Supper at Emmaus, painted in the so-called ‘Oriental Mode’ by the Venetian artist Giovanni Mansueti (c. 1465–1527) in the last decade of the 15th century. Islam in Europe presents a survey of artistic production in the medieval Islamic world and the many ways it altered the trajectory of European visual culture. Opening with earlymedieval objects produced by Muslim artisans and known to have been exported in large numbers to medieval Europe, the catalogue explores the crosscurrents of visual culture at the nexus of Islam and Christendom which were already well developed by the 10th century. It continues with artworks produced under the aegis of the Umayyads (711–1031) and later Islamic dynasties which ruled large swathes of the Iberian Peninsula until 1492, and the influence of Islamic rule on the development of a distinctive visual culture in medieval Spain.A central group of objects traces the breathtaking force with which refined export wares from Mamluk Egypt and Syria, Central Asia and Anatolia flooded the Italian market during the 14th to 16th centuries, revolutionizing European aesthetics as well as the taste for (and very definition of) luxury goods. This section of the catalogue includes objects that chart the rise of European textiles, metalwork, ceramics and other arts specifically emulating Islamic designs.The catalogue concludes with a group of important early textiles spanning the 13th to 17th centuries. It explores how and why European artists started to incorporate lavish Ilkhanid silks into their imagery, and how Italian weavers began to imitate both these early imports, and later also Ottoman velvets flooding the market in the 15th century, with voracious appetite. One of the catalogue’s key foci is an important group of rare Anatolian carpets woven between the 15th and 17th centuries and richly imitated both by European painters including Titian and Holbein, and by local weavers vying for control of the market in luxury furnishings.The catalogue presents 60 works of art, which have taken a decade to bring together and are presented in this way for the first time. Together the works elucidate the complete integration of Islamic art and artisanal technology into European visual culture during a period of extraordinary efflorescence. A brief introductory essay explores questions of entanglement in the medieval world and proposes a new lens through which to examine the artistic production of the period. The catalogue closes with a new essay by Michael Franses analyzing the importance of the only firmly dateable ‘Lotto’ Arabesque carpet still in existence, acquired by The David Collection, Copenhagen, in 2022.

A fully illustrated biography of London artist;Francophile and Western Australia colonial settler John de Mansfield Absolon painted superb ship-board scenes in an impressionistic style reminiscent of Edouard Manet's.

Original fine-art prints inspired by the classical architecture of Florence.

This beautifully illustrated and scholarly book presents the Frelinghuysen collection of Chinese and Japanese export porcelain. It is the first major publication to consider Chinese and Japanese blue and white together. This extraordinary collection, assembled carefully over fifty years, features an exceptionally wide array of Asian blue and white porcelain – that most ubiquitous and influential of all ceramics. Ranging from Chinese pieces specially made for Portuguese traders in the 16th century to late 19th century commissions for the Thai royal court, the collection also includes numerous Chinese classics from theera of the European trading companies and a notable selection of Japanese export porcelain. In its vast scope it speaks of the diverse impulses and historical forces that propelled the trade in Asian porcelain and provides a lens through which to view the interaction of East and West from the early modern age to the dawn of the 20th century. More than 300 pieces from the collection are illustrated and discussed in full and another 250 are illustrated in a compendium, all divided into thematic chapters that reflect the many ways Chinese and Japanese porcelain has been traded, collected and lived with around the world. Essays by William R. Sargent, former Curator of Asian Export Art at the Peabody Essex Museum, and noted armorial porcelain authorityAngela Howard, precede the thirteen chapters, which include Faith, Identity, For the Table, To European Design and Made in Japan. Great rarities are featured alongside small, amusing pieces and the many export porcelains made to elevate the practices of daily life. With its strict adherence to blue and white porcelain, the collection intensifies our focus on forms, patterns and designs, gathering together wares that are often considered only separately for study while also covering areas of little recent scholarship, such as the Thai market material. The specialized reader will find references to the latest research while the more general reader will appreciate a comprehensive overview of Asian export porcelain. There has not been a significant survey of either Chinese or Japanese blue and white since the 1990s, and they have never been considered together in a major publication.

What is a family? And how is family experienced? These questions, explored through artists’ eyes, are at the heart of the exhibition, Real Families: Stories of Change, a collaboration between the Fitzwilliam Museum and the University of Cambridge Centre for Family Research. The book provides a catalogue of the exhibition in four sections, containing twelve illuminating essays that discuss the concept of the family.Real Families: Stories of Change focuses on art produced in the past 50 years, a period of significant change in how families are created and structured, with historical works woven into the exhibition to examine what is genuinely new, and what has remained the same, about the family. The catalogue includes reproductions of paintings, photography and sculpture.In the first section, ‘What is a Family?’, artists portray new forms of family, including families formed by assisted reproduction and families with LGBTQ+ parents, as well as families affected by divorce, adoption and infertility. The works prompt viewers to consider stereotyped beliefs about what makes a family and society’s prejudice against childlessness.Second, ‘Family Transitions’ starts with artists’ representations of motherhood, followed by an examination of the positive role that fathers play. Works on siblings speak to the dynamic and intense relationships that exist between siblings, and those on grandparents and grandchildren highlight the benefit of having each other in their lives. Artists also convey their complex feelings about their ageing parents.‘Family Dynamics’ explores positive and negative relationships between couples, parents and children, and extended family, with works that foreground affection and rejection, comfort and conflict, enmeshment, estrangement and not fitting in. The works also examine the wider social, cultural and political influences on family relationships. Finally, ‘Family Legacies’ highlights the importance to many people of a sense of connection and belonging. This section explores the transmission of family from one generation to the next through genetic inheritance, social and cultural practices, language and objects, which can forge emotional connections and give rise to family memories.

Uncertain Swimmer is the second monograph on the work of British artist Jonathan Wateridge (b. 1972, Lusaka, Zambia), presenting around eighty paintings and works on paper made between 2019 and 2022. Following on from the bodies of work Enclave and Expatria (2016–18), Uncertain Swimmer develops the artist’s interest in modes of representation and the legacies of twentieth-century modernist painting through a visual and social exploration of the motif of the pool, depicting swimmers and sunbathers, often by night. Far from being an escapist environment of aspiration and privilege, Wateridge imbues the pool with a disquieting atmosphere, creating a cumulative feeling of unease and ennui among those present, now seemingly unsure of their world. The publication charts a marked evolution in the artist’s style from the realism of his earlier paintings with complex multi-figure compositions to more solitary, gestural and expressive works. His masterly application of paint takes new forms in the beautiful, curious and often haunting paintings and works on paper showcased here. Art historian and curator Marco Livingstone’s essay considers the change from Wateridge’s naturalistic paintings to the flattened, reduced shapes, forms and lines of the modernism- and abstraction-infused pieces he is making today. Francis Bacon, Edvard Munch and Paul Cézanne are among numerous art historical influences cited by Livingstone, who ruminates on the identity of the people in Wateridge’s portraits and the mercurial spaces they occupy, examining how Wateridge’s current critical preoccupations have transitioned from the autobiographical to more formal concerns.In the featured conversation between Wateridge and fellow painter Caroline Walker, the two artists discuss their overlapping experiences studying painting at Glasgow, as well as Wateridge’s fourteen-year break from painting until 2005. He eventually returned to the medium when he realised it excited him more than anything else. Wateridge elaborates on his fascinating painting process, staging shoots in studios with hired actors and using elements from the photographs in the paintings, often over a period of years. On his canvases, he will scrape back the paint and reapply it, frequently taking pictures of the paintings in their various stages; he will then print the photographs and draw over them to continue working out what he will do with the final paintings. For Wateridge, a painting works when it stops failing, and he embraces unforeseen conclusions.Jonathan Wateridge has recently exhibited with the Hayward Gallery, London; Nino Mier Gallery, Los Angeles, New York and Brussels; TJ Boulting, London; Galerie Haas, Zurich; Pace Gallery and HENI, London. Wateridge's art is in the collections of institutions worldwide, including Aïshti Foundation, Lebanon; Pinault Foundation, Venice; the Saatchi Collection, London; the Rennie Collection, Vancouver; and Simmons & Simmons, London. He has been featured in publications such as The Sunday Times, The Independent, Fad Magazine, Artforum and Artnet. Wateridge is represented by Nino Mier Gallery.

Andrew Cranston (b.1969, Hawick, Scotland; lives and works in Glasgow) is a painter-storyteller, a way of working that is enhanced by his often painting on the linen-bound covers of old books. His stories coalesce in the process of making – the paintings emerging gradually through the manipulation of his materials: layering, lacquering, bleaching, collaging and constantly re-working his way into images that seem to shift backwards and forwards in time. He once described a work as ‘a painting that came out of my brush one day’, a statement that sums up his approach. They are resolutely contemporary in spirit and yet connected by a strong thread to painters of the past, especially perhaps to the intimism of Vuillard and Bonnard, or to Matisse or Munch. These are narrative paintings, drawn from the artist’s memory and observations of life and liberally sprinkled with references to cinema, literature and art history.This publication presents a selection of the book cover paintings for which Cranston has become so well known in recent years. The cover image is a detail of Cat and cheeseboard (2018) in which a cat sits on the upholstered arm of a sofa surveying what the artist describes as ‘a selection of bries and camemberts, as mousetraps’. Other animals pop up from time to time – a horse, some fish, a leopard; the skeleton of an elk. There are still lifes with fruit, flowers and/or pottery, and lots of landscapes, from the bleak to the fantastical. There are peopled and unpeopled interiors, portraits of family members and celebrities (occasionally curious hybrids thereof), and childhood memories from school classrooms and classical music-filled assemblies to holidays in Switzerland and visits to granny’s flat. And there are quite a few watering cans too.Each featured painting is accompanied by a text based on notes made by the artist before, during or after making a work. Mostly private thoughts, memories and anecdotes, these fragments jotted down on scraps of paper or tapped into his mobile phone were never intended to be published, but the resulting texts offer personal observations and reflections that Cranston considers ‘something like album sleeve notes where a musical artist might give some background to each song’. The texts are at times amusing, at others melancholic and moving, offering illuminating insights into the mind and life of the artist and the subjects, references and influences that feed into his painting practice. There are notes about technique and colour, about family and friends, about particular places at certain moments in time. For Cranston, writing has become ‘another way of engaging with painting and of activating the interesting afterlife that a work can have when it leaves the studio and goes out into the world.’Andrew Cranston – Never a Joiner has been produced by Ingleby, Edinburgh, and co-published with Anomie Publishing, London. It has been published to coincide with an exhibition of the same name at Ingleby, Edinburgh, and launched as part of the Edinburgh Art Festival 2023.Andrew Cranston was born in Hawick in the Scottish Borders in 1969 and currently lives and works in Glasgow. He studied at Gray’s School of Art in Aberdeen and at the Royal College of Art in London. Cranston has exhibited widely in the UK and USA and his work is housed in many museums and institutions across the world.Edited by Richard and Florence Ingleby, and designed by Jo Deans, IdentityA foil-stamped, linen-covered hardback book with dust jacket, printed and bound in Antwerp Co-published in 2023 by Ingleby, Edinburgh, and Anomie Publishing, LondonLaunched as part of the Edinburgh Art Festival 2023

Tom de Freston (born 1983) is a British artist and writer, living and working in Oxford. He graduated from Cambridge University in 2007. De Freston’s multimedia art tackles themes of trauma, humanity and intimacy across paintings, films and performance. He builds rich visual narratives, drawing on literature, art history and social issues. A prolific author, Granta published de Freston’s debut non-fiction book, Wreck, in 2022 and his second will be released in 2024. Julia and the Shark (Hachette, 2021), created with his wife Kiran Millwood Hargrave, won the Waterstones Children’s Gift of the Year and was shortlisted for the Wainwright Prize for Children’s Writing on Nature and Conservation. De Freston was chosen to illustrate the twenty-fifth-anniversary edition of David Almond’s Skellig, published in 2023.I Saw This was born out of a collaboration between de Freston, filmmaker Mark Jones and Dr Ali Souleman after de Freston was introduced to the academic in 2017. The paintings and mixed-media works that resulted from the project are an exploration into Souleman’s experiences of terrorism, displacement and war in Syria and ruminate on how art can attempt to represent suffering and terror. In 1996, a bomb explosion in Damascus on New Year’s Eve nearly killed Souleman and left him blind. A sensitive and highly-charged topic, Souleman explained to de Freston the importance of engaging with what is happening in Syria. Disembodied mouths, hands and feet appear frequently in the works. Circles recur as a motif, which bear an uncomfortable resemblance to eyes and eye sockets. In the Mirror paintings which stand upright in black boxes, de Freston embeds ash, screws, thick glue, dirt and bits of wood into the canvas. They are corporeal and volcanic, visceral and abstract. The sense of molten heat in the paintings was compounded by a fire in de Freston’s studio in 2020, which was simultaneously destructive while giving the artist and the collaboration new momentum. The collaborative process involves de Freston describing the paintings to Souleman through words and touch. Souleman brings fresh meaning to the works, grounding them in his psychological landscape. Mark Jones captures these interactions in striking photographs and film footage.Habda Rashid, Senior Curator of Modern and Contemporary Art at Kettle’s Yard and the Fitzwilliam Museum, introduces I Saw This and considers the challenges of incorporating elements from real life. Journalist Yasmina Floyer’s contribution describes her reaction to de Freston’s work at his 2022 exhibition From Darkness at No 20 Arts, London, where she found that the sooty-black feet stencils and inky circles depicted resonated with her own experience of child loss. The moving text shows how de Freston’s art carries both specific and universal meanings. Editor Matt Price focuses on de Freston’s paintings, structuring his essay with fascinating quotes from Abu al-Ala al-Ma’arri, the eleventh-century blinded Arab philosopher. Crucially, de Freston, Jones and Souleman’s voices are presentin the book, with each shedding light on their part in the project. De Freston’s art is rooted in empathy and I Saw This is a culmination of this, translating Souleman’s world of memory and metaphor.

R.B. Kitaj: London to Los Angeles explores the relationship between Kitaj’s art and the places where he lived. This is the first significant publication about the artist in over a decade and provides a chronological overview of Kitaj’s career. Published to accompany Piano Nobile’s exhibition of the same title, it includes 43 paintings and drawings with catalogue entries containing original research, in many cases presenting new information about Kitaj's sources and sitters for the first time.The book contains three essays, which describe the artist's lives in London and Los Angeles. Andrew Dempsey recounts Kitaj’s relationship with artists, institutions and art critics during his thirty-eight-year period in London. Colin Wiggins, who worked with Kitaj on his National Gallery exhibition in 2001, writes about the artist’s last decade in Los Angeles. Marco Livingstone in his essay remembers the long correspondence he shared with Kitaj. A further section includes extended excerpts from Kitaj’s letters to Livingstone, which are now held by the Tate Archive and are published here for the first time.

This beautiful book, of paintings by Alice Mumford and poems by Sue Leigh, brings together exciting new work from the two makers. Collaboration is perhaps not the right word for a project in which paintings and poems sit side by side, each illuminating the other. Onlooker and reader are offered another glimpse, another view which may change the experience of looking and reading. The book includes conversations between painter and poet in which they discuss their experience of working in their different media and consider the limitations and possibilities of each. They talk about their sources of inspiration, how they might choose a subject (or does it choose them?), and the process that surrounds the making of their work. What do they share in their creative lives and how do they differ? The work of these two contemporary artists celebrates the intimacy and beauty that can be found in our everyday lives.

This catalogue accompanies a major exhibition of work by British artist Claudette Johnson (b. 1959) at The Courtauld Gallery. A founding member of the Black British Arts Movement, Johnson is considered one of the most significant figurative artists of her generation. For over 40 years she has created large-scale drawings of Black women and men that are at once intimate and powerful.

One of the oldest and most recognizable studios in Hollywood, Warner Bros. is considered a juggernaut of the entertainment industry. Since its formation in the early twentieth century, the studio has been a constant presence in cinema history, responsible for the creation of acclaimed films, blockbuster brands, and iconic superstars. These days, the studio is best known as a media conglomerate with a broad range of intellectual property, spanning movies, TV shows, and streaming content. Despite popular interest in the origins of this empire, the core of the Warner Bros. saga cannot be found in its commercial successes. It is the story of four brothers - Harry, Albert, Sam, and Jack - whose vision for Hollywood helped shape the world of entertainment as we know it.In The Warner Brothers, Chris Yogerst follows the siblings from their family's humble origins in Poland, through their young adulthood in the American Midwest, to the height of fame and fortune in Hollywood. With unwavering resolve, the brothers soldiered on against the backdrop of an America reeling from the aftereffects of domestic and global conflict. The Great Depression would not sink the brothers, who churned out competitive films that engaged audiences and kept their operations afloat - and even expanding. During World War II, they used their platform to push beyond the limits of the Production Code and create important films about real-world issues, openly criticizing radicalism and the evils of the Nazi regime. At every major cultural turning point in their lifetime, the Warners held a front-row seat.Paying close attention to the brothers' identities as cultural and economic outsiders, Yogerst chronicles how the Warners built a global filmmaking powerhouse. Equal parts family history and cinematic journey, The Warner Brothers is an empowering story of the American dream and the legacy four brothers left behind for generations of filmmakers and film lovers to come.

This book provides a comprehensive guide with detailed explanations, illustrations and photographs of late-7th century to 11th century Anglo-Saxon Churches and stone sculpture. It is divided into four parts.The first part includes an extensive glossary explaining the terms likely to be encountered, it explains Celtic and Roman Church practices and the Synod of Whitby, how Anglo-Saxon churches were established and their plans, and also provides a summary to the settlements of the Anglo-Saxons, Vikings and Hiberno-Norse in England. The second part provides a comprehensive description of the construction and architectural features of extant Anglo-Saxon Churches including their walling, plinths and quoining, archways, doorways, windows and belfry-openings of whatever shape or format or wherever their location. It also explains features such as string-courses, pilaster-strips, pilaster-buttresses, hood-moulding and strip-work. Also included are extant Anglo-Saxon stairways and crypts. Explanations are included on porticus, galleries, the use of rooms in towers, roofs, church seating and other furnishing, balusters and baluster-shafts.The third part provides a comprehensive description of Anglo-Saxon and Anglo-Scandinavian Decoration on stonework. It details all the designs and patterns involved including those which also have scenes depicting creatures, beasts, birds, serpents and humans, figures, and scenes from Christianity and Norse Mythology. It explains and provides examples of the stonework on which these designs and patterns appear namely standing crosses, cross-heads, cross-shafts and cross-bases; grave-markers, grave-covers, grave-slabs and grave-memorials and crosses; sarcophagi and shrine chests; wall friezes and wall panels; fonts; and sundials. The fourth part provides an alphabetical list of 183 recommended churches and museums with summarised information on their individual architectural features, and/or stone sculpture. Many of the churches are further expanded in detail in the text in the second and third parts. Also provided is a page and photographic index of all the churches and museums where they are referred to in the text. All the places referred to in the text have been personally visited by the author.