Herry Perry (1897-1962) is an important, but neglected, artist of the 1920s-50s. The book brings together all aspects of her art for the first time. She studied at the Central School of Arts and Crafts (now Central Saint Martins) from 1924-7 and was taught wood engraving there by Noel Rooke. Her first love was wood engraving but she quickly moved on to use the wide range of other skills she acquired at the Central. Her best known work is the posters she designed for Frank Pick at London Transport from 1927-38. She produced some sixty witty and inventive posters during this time. Some of these included birds-eye view maps of areas of London. She was also commissioned to paint murals, most famously two on R.M.S. Queen Mary in 1936, and also a map mural for Rothamsted Research Station in 1932 (which can still be seen there). She also illustrated various books, some of which were written by her. The text and illustrations often show her sense of humour. The Second World War and the death of Frank Pick in 1941 put an end to her poster work. After the War she painted a large number of pub signs for various London and Kent breweries.

The painter, Romi Behrens, lived in West Cornwall for nearly sixty years, voraciously painting the subjects around her every day. Her artistic career was as long as it was broad and spanned many genres, including still life, portraiture and landscape painting. This is the first monograph to pay homage to the extent of her career, providing a selected but characteristically-diverse range of visual and written material from the artist’s oeuvre and archives, starting with Romi's earliest paintings of her family, friends and the streets of Penzance and extending to religious themes done later in her life. Rachel Rose Smith gives chronological shape to the span of Romi’s work, analysing the varying relationships throughout between the person and her work, as it reflected the many identities she held, including painter, woman, wife and mother. The author also explores rich connections embedded within her ways of seeing to formative examples from the history of painting, including Rembrandt, Van Gogh, Matisse, Cezanne and Picasso, with whom she arguably worked in dialogue. Romi’s works, however, are very much her own throughout, with those forms of expression and attention learnt from precedents mingling with her own humour, flair and surrounding life. Romi’s Christian faith and the loving focus she gave to her many subjects, whether friends or inanimate objects, are similarly explored, revealing a body of work which is both tender and vibrant, as well as persistent and constantly on the move.

The 2023 volume of Ceramics in America is filled with content of interest to students of American ceramics history. The articles cover a wide range of topics and regions, including ceramics made in Louisiana, South Carolina, and Virginia. Of particular importance is the analysis of a small porcelain snuff box from the so-called “A”-marked group of porcelains made in London ca. 1745 from china clay obtained in America’s Cherokee Territory. A featured essay on the remarkable ceramics of John Wesley Carpenter offers for the first time an in-depth look at this nineteenth-century potter, who worked in the back country of North Carolina and Virginia. Several articles present thematic discussions about historic ceramics made and used to promote the abolition of slavery in both America and England. The use of ceramics to effect social change continues to this day, as is illustrated in the words and works of ceramic artist David Mack of Baltimore, Maryland.

Iceland is best known for its stunning scenery and majestic landscapes. When photographer Nancy Libson first visited Iceland for a hiking trip some twenty years ago, she immediately fell in love with the country and its dramatic landscape. She vowed to return again, camera in hand. Beginning in 2015, Libson did just that, revisiting Iceland for four additional summers to photograph the land and its people.When Libson began her project, she chose to get to know the Icelandic people in rural areas. As she continued to experience this remote and beautiful land, she developed an awareness of the unique qualities of childhood in Iceland, and so her emphasis shifted from people of all ages to children at home and at play. Libson noticed that Icelandic children were granted an unusual level of freedom while living securely in close-knit families and supportive communities. She was further inspired to capture Iceland’s remoteness and beauty and its impact on the children who live there.As portrayed in Children in Iceland, Libson’s photographs provide an intimate and evocative view of the lives of the children surrounded by Iceland’s natural landscape. By photographing Iceland’s children, Libson began to better understand not only the children, but through them the culture and spirit of growing up in this remarkable country. The book is further enhanced by an afterword by Kristín Helga Gunnarsdóttir, the well-known Icelandic children’s author, who shares her thoughts about the freedom that Icelandic children feel from living with and close to nature.

This new series will enchant seasoned country house visitors and amaze people new to art and architecture as they read about surprising snippets of history that occurred at, or because of, a country house in England, Scotland, or Wales. Three volumes in total, the first covering the letters A through H, each book will contain fascinating content and beautiful illustrations.Curt DiCamillo’s series of three high quality hardback books use the alphabet to frame an astonishing variety of material as a backdrop to endless, beguiling stories. Curt’s series of crisp, zesty entries dive into fascinating moments of British cultural history—from tea to bananas, from Canaletto to Agatha Christie, from porcelain to ghosts. The text is an exhilarating whistle-stop tour—perfectly pitched for pleasurable sampling that will enchant both newcomers and seasoned visitors to country houses.

Ray Atkins (b.1937) is one of the least well known major painters of his generation. He studied at Bromley College of Art in Kent before gaining a post graduate place at the Slade despite having failed the National Diploma in Design in 1961. His first teaching post was at Reading University in 1965 where he lived and recorded in paint the huge upheavals that the town was undergoing, leading to a one person exhibition at the Whitechapel Gallery, London in 1974.A teaching post at Falmouth Art School in 1974 led to a thirty four year stay in Cornwall where he painted the extraordinary landscape of the china clay country around St Austell with its collossal pits and mounds of micae.The desolation left over by the demise of the tin mining industry was also a major theme, The more intimate subjects of children, gardens, family life and inevitably the sea were also part of the oevre. The nineties also saw a long series of works on the theme of dance.To celebrate the uncelebrated was his dictum.Peter Davies follows Atkins’ journey from the dark but creative London period to the high spots in the eighties with a retrospective at the Royal West of England Academy and with work selected for the John Moores in Liverpool, a room at a Serpentine summer Show, and representation in shows at the Hayward gallery.The book also follows the tensions and problems arising from Atkins’ insistence on working direct from his subjects and places the artist’s career in the wider context of the twists and turns of events in the art world in the UK, Europe and beyond.In addition, David Stoker gives a personal account of his discovery of Atkins in France, leading to a growing friendship and a deep understanding and respect for the work.

Winner, 2018 SAH Alice Davis Hitchcock Award Mexico City became one of the centers of architectural modernism in the Americas in the first half of the twentieth century. Invigorated by insights drawn from the first published histories of Mexican colonial architecture, which suggested that Mexico possessed a distinctive architecture and culture, beginning in the 1920s a new generation of architects created profoundly visual modern buildings intended to convey Mexico’s unique cultural character. By midcentury these architects and their students had rewritten the country’s architectural history and transformed the capital into a metropolis where new buildings that evoked pre-conquest, colonial, and International Style architecture coexisted. Through an exploration of schools, a university campus, a government ministry, a workers’ park, and houses for Diego Rivera and Luis Barragán, Kathryn O’Rourke offers a new interpretation of modern architecture in the Mexican capital, showing close links between design, evolving understandings of national architectural history, folk art, and social reform. This book demonstrates why creating a distinctively Mexican architecture captivated architects whose work was formally dissimilar, and how that concern became central to the profession.

"The stories and testimonies in this book are not only photographs. They are beautiful, brutal, present, and personal – photographic adjectives, filled with content that is deeper and more relevant than most news photography can ever hope to be. But, perhaps most importantly, they are historical documents, visual evidence to be presented in a future where the fog of war has cleared. And just ice once again prevails." Swedish Photojournalist Paul Hansen wrote in the foreword for the book. In it, he emphasises the relevance of the images, the depth these testimonies bring to the reader, and how they initiate a deeper conversation about the impact of military violence on Ukraine.Ukrainian Warchive published its first book 13 Stories of War to mark the second year full-scale Russian invasion.The book features individual visual essays accompanied by text created by 13 Ukrainian photographers and artists, members of the Ukrainian warchive. Their photographic testimonies are beyond conventional narratives and together with text they give readers a nuanced and personal perspective that goes beyond typical media coverage. The essays delve into themes of resistance, loss and hope and provide a vivid account of the human experience in the midst of war."Despite the backdrop of ongoing military violence, these documentary photographers and artists have been courageously living, working, and sharing the realities of Ukraine with the world since the Russian Invasion. As the photo editor, curating these powerful photo stories represents the photographers’ resilience and resistance to me. Each essay varies in approach, style, and subject matter. We chose to pair each essay with personal texts to convey awareness and immediacy." - says Emine Ziyatdinova, co-editor of the book and director of the Ukrainian Warchive.The book has been supported by the Institute for Human Sciences in Vienna (Institut für die wissenschatten vom Menschen, I M) within the Documenting Ukraine program, the Hasselblad Foundation, and the Swedish Institute.

For the first time, National Museums Scotland’s important collection of Renaissance jewellery from Scotland is considered together in this fully illustrated volume alongside significant items from the Royal Collection. The book was inspired by the acquisition by NMS of the extraordinary Fettercairn Jewel: the fine iconography of this exquisitely enamelled locket held coded messages for its sixteenth century owners, and continues to intrigue its viewers today. Renaissance jewellery like this in Scotland is particularly notable given the rare survival of such jewels from the sixteenth century. Some of these owe their survival thanks to their association with Mary, Queen of Scots.Elite Renaissance men and women commissioned, wore and gifted intricate and valuable pieces of jewellery. For most, this was not simply adornment, but used to communicate messages and display status. These were intimate personal possessions and suggest the meanings invested in them by their owners, that resonate with audiences today. Such jewels are evocative objects.This lavishly illustrated book brings together expert voices from the key Scottish collections (National Museums Scotland, National Galleries of Scotland, Royal Collection Trust) to explore the making, meaning and function of such jewellery in sixteenth century Scotland, and features an interpretation of the Fettercairn Jewel by the jewellery expert Geoffrey Munn. It reveals hitherto underappreciated evidence of goldsmithing in Scotland while considering significant continental influences in the design and production of jewellery. Given the ephemeral nature, and rare survival of Renaissance jewellery, its authors also suggest alternative ways of tracing the gems that have gone, in the portraits and inventories of Scottish men and women.

George Lucas is an innovative and talented director, producer, screenwriter, and filmmaker whose prolific career spans decades. While he is best known as the creative mind behind the Star Wars franchise, Lucas first gained notoriety with his 1973 film American Graffiti, which received five Academy Award nominations, including Best Director and Best Picture. When Star Wars (1977) was released, the groundbreaking motion picture won six Academy Awards, became the highest grossing film at the time, and started a cultural revolution that continues to inspire generations of fans. Three decades and countless successes later, Lucas announced semiretirement in 2012 and sold his highly successful production company, Lucasfilm, to Disney. His achievements have earned him the Academy's Irving G. Thalberg Award, the American Film Institute's Life Achievement Award, induction into the Science Fiction Hall of Fame and the California Hall of Fame, and a National Medal of Arts presented by President Barack Obama. Lucas: His Hollywood Legacy is the first collection to bring a sustained scholarly perspective to the iconic filmmaker and his legacy beyond the Star Wars films. Edited by Richard Ravalli, this volume analyzes Lucas's overall contribution and importance to the film industry, diving deep into his use and development of modern special effects technologies, the history of his Skywalker Ranch production facilities, and more. With clearly written and enlightening critiques by experts consulting rare collections and archival materials, this book is an original and robust project that sets the standard for historical and cultural studies of Lucas.

For more than fifty years, George Kenney has dedicated himself to the study of European art, demonstrating a profound passion for works on paper, including etchings, drypoints, and lithographs. George authored a Catalogue Raisonné titled 'The Illustrated Bartsch, Vol. 51' for Abaris Books in 2017. This comprehensive work explores the etchings of Ferdinand Bol, a prominent 17th-century artist and student of Rembrandt. In 1990, George embarked on a 35-year journey, passionately studying and cataloging Belleroche's captivating lithographs, many of which were unpublished. In 2001, he collaborated with Steven Kern, curator of European art, to facilitate a significant exhibition of Belleroche’s lithographs at the San Diego Museum of Art, where he concurrently held a position as a Trustee. Additionally, George has a keen interest in 17th century English clocks and has contributed articles to Antiquarian Horology on Daniel Quare, a renowned clockmaker of that era. George attributes his early love for art to his mother, Marguerite Shirley Kenney, who took him to many museums during his childhood. Now residing in San Diego, California, George's entrepreneurial spirit has driven him through diverse careers, including roles as an engineer, inventor, venture capitalist, and business coach. Alongside his wife, Olga, he actively participates in the Small Group and Marriage Ministries at Saddleback Church.

For over thirty years, celebrated painter Callum Innes (b. 1962, Scotland) has created his lushly painted and subtly nuanced abstractions in a rectilinear format. In 2022, he added a striking new element to his repertoire: the tondo. To do so required mastering an entirely new set of technical and aesthetic challenges, confronting a form with abundant, historical resonances. This striking volume, richly illustrated with carefully selected images of Innes’s Tondos, and installation views of key exhibitions, explores how Innes has challenged traditional perceptions of shape and form to create dynamic and immersive visual experiences. A pivotal essay by art historian Éric de Chassey traces the artist’s encounters with this form and its progenitors in the history of art, firmly cementing Innes’s breakthrough in the pantheon of significant works rendered in this distinctive formation.Callum Innes was born in Edinburgh in 1962. He lives and works in Edinburgh, Scotland, and Oslo, Norway. He studied drawing and painting at Gray’s School of Art from 1980–84 and completed a post-graduate degree at Edinburgh College of Art in 1985. In 1992, Innes had major exhibitions at the ICA London, and the Scottish National Gallery of Modern Art, Edinburgh. In 1995, he was shortlisted for the Turner Prize and was awarded the NatWest Prize in 1998 and the Jerwood Prize for Painting in 2002. His critically acclaimed museum exhibition, From Memory, travelled throughout Europe and Australia from 2006–08. In 2012, Innes was commissioned by the Edinburgh Arts Festival to transform the Scottish capital’s Regent Bridge with a changing sequence of coloured light, and in 2016, he was the subject of a major retrospective survey exhibition and accompanying monograph, I’ll Close My Eyes, at the De Pont Museum in Tilburg, the Netherlands. In 2018, his first major solo exhibition in France, In Position, took place at Chateau la Coste in Provence, with an accompanying publication. Innes debuted his new series of Tondo paintings at Sean Kelly Gallery, New York, in 2022; this was followed by exhibitions of the Tondo series at Frith Street Gallery, London; Parra & Romero, Ibiza; Galerie Tschudi, Zurich; and Kerlin Gallery, Dublin in 2023. He will have exhibitions at Sean Kelly, Los Angeles, and Kode – Lysverket Museum, Bergen, Norway, in 2024.

Adam Bruce Thomson (1885-1976) was one of the most quietly impactful artists of his generation. Born in Edinburgh, he was among the earliest intake of students to train at the newly established Edinburgh College of Art. He went on to have a long-running teaching career at the College, supporting and encouraging successive cohorts. In his own practice, Thomson worked across a range of media, producing etchings, drawings, watercolours and oil paintings. A committed member of several artist-led societies, he exhibited widely and was well-respected by his peers. To date, however, his contribution to twentieth-century Scottish art remains largely unexplored.Adam Bruce Thomson: The Quiet Path celebrates the achievements of this talented yet modest figure. It provides an in-depth account of his life and career, charting his creative development and examining his role as a teacher, mentor and friend to other artists. The book is fully illustrated, and draws from previously unseen archival material. It accompanies a major exhibition at Edinburgh’s City Art Centre in 2024.

Augustus John & the First Crisis of Brilliance tells the story of a remarkable generation and its artistic achievements. Accompanying Piano Nobile’s exhibition of the same title, the publication explores the artistic networks around Augustus John before the First World War. John was closely acquainted with many of his highly talented contemporaries and this publication considers his relationship to Jacob Epstein, James Dickson Innes, Gwen John, Henry Lamb, Derwent Lees, Wyndham Lewis and William Orpen. The publication includes an introductory essay by Dr David Boyd Haycock discussing Augustus John and the notion of genius. A selection of over forty paintings, drawings and sculptures illuminates some of the key themes at play in John’s milieu, and each work is accompanied by thoroughly researched catalogue entries by Dr Haycock. Themes and subjects include friendship and family portraits, the muses Dorelia McNeill and Euphemia Lamb, and the landscapes of Wales, Provence and Ireland.

Gravestones are colonial America's earliest sculpture and they provide a unique physical link to the European people who settled here. Carved in Stone book is an elegant collection of over 80 fine duotone photographs, each a personal meditation on an old stone carving, and on New England's past, where these stones tell stories about death at sea, epidemics such as small pox, the loss of children, and a grim view of the afterlife. The essay is a graceful narrative that explores a long personal involvement with the stones and their placement in New England landscape, and attempts to trace the curious and imperfectly documented story of carvers. Brief quotes from early New England writers accompany the images, and captions provide basic information about each stone. These meditative portraits present an intimate view of figures from New England graveyards and will be enjoyed by anyone with an interest in early Americana and fine art photography.

Harold Harvey, a true ‘son of Cornwall’, has been one of the most under-rated and least written about members of the Newlyn ‘School’ of artists which flourished from 1880 to 1930. The son of a bank manager, he grew up in Penance, and after studying under Norman Garstin and a spell in Paris, he settled to a quiet life in Newlyn with fellow-artist Gertrude, painting The Cornwall he knowS from the inside.In his introductory essay, Professor Kenneth McConkey sets Harvey in the context of the art moments of the time, and shows how his early ‘genre’ paintings of rustic and marine life, so characteristic of the early Newlyn artists, gradually gave way to more sophisticated subject matter – Harvey was noted for his sumptuous interiors – and a flatter and more decorative style of painting. His early work might be compared with that of Stanhope Forbes, while his later paintings show clear affinities with those of fellow painters such as Laura Knight and Dod Procter.Professor McConkey’s essay complements the first significant ‘life’ of Harold Harvey, researched and written by Peter Risdon and Pauline Sheppard, which is in turn illuminated by Peter Risdon’s painstakingly compiled catalogue raisonne of over 600 paintings.Harvey’s painting output was prodigious, and this book includes approximately 100 illustrations of his favoured subjects: the Cornish at work, children at play, and intimate interior scenes and conversation pieces. Many of his contemporaries in Newlyn were visiting ‘observers’, but for Harold Harvey, who rarely went outside the county even though a regular exhibitor at the Royal Academy, painting the Cornish world ‘because it was there’ was his whole life.