"This sumptuously illustrated book, which accompanied the exhibition at the Groeningemuseum in Bruges in 2007–08, is an important new study of the late-fourteenth-century Valenciennes-born sculptor André Beauneveu whose surviving works deserve to be more widely known." (Church Monuments journal) The full scope of his talent was exploited by the celebrated royal patron Jean de Berry, for whom he produced manuscript illuminations, made designs for stained glass and oversaw the construction of his château at Mehun-sur-Yevre. However, it is primarily his very great skill in the handling of stone which gives Beauneveu such particular significance in the history of late medieval art. More
Treasures of the Black Death
280 x 245 mm, paperback, 112 pages, 100 colour illustrations
ISBN: 978 0 900785 95 5
Edited by Christine Descatoire, with contributions by Marian Campbell, Christopher Cluse, Michel Dhénin, Timothy Husband, Johann M. Fritz, Oliver Meking, Jörg R. Müller, Mario Schlapke, Karin Sczech and Maria Stürzebecher
In the middle of the fourteenth century, Europe was devastated by an appalling epidemic which killed a third of its population. Accused of having spread the disease, Jewish communities faced terrible persecutions, which often led them to bury their most valuable goods. Two of these hoards, discovered at Colmar in 1863 and at Erfurt in 1998, are discussed and illustrated in this splendid catalogue, published to accompany an exhibition at the Wallace Collection London.
Comprising a great variety of jewelry, gold- and silversmiths’ work and coins, these two hoards constitute an exceptional source for the study of secular metalwork in the thirteenth and fourteenth centuries, very few examples of which have otherwise come down to us. They provide precious evidence of the economic activities and daily life of the medieval Jewish communities, but also of their precarious position within Christian Europe. In Erfurt over 1000 people were killed, the entire Jewish population. Some of the objects, because of their very personal character, are deeply poignant.
Accompanied an exhibition at The Wallace Collection, London, 19 February–10 May 2009
These works of museum quality, from an anonymous collection (one of the most important currently in private hands), were exhibited at the Victoria and Albert Museum in 2005. Many of the objects in the catalogue will be well known to those familiar with the specialist literature, even if they were unaware of their whereabouts. More
Medieval art has been collected for at least 200 years, yet there is a perception that if it is not locked away in a monastery it has found its home in a museum long ago. Nothing could be further from the truth. It is the richness and variety of what still lies unclaimed by history that makes this material so interesting. More
This is the catalogue to an outstanding collection of Medieval art from a private collection. Ranging from paintings and sculpture to stained glass, manuscripts and caskets, many of the objects presented here are of absolute rarity, some are previously unpublished and - until recently - unknown. More
In 1966 Mark Gambier-Parry bequeathed to the Courtauld the art collection formed by his grandfather Thomas Gambier Parry (who died in 1888). In addition to important paintings, Renaissance glass and ceramics and Islamic metalwork, this included twenty-eight ivories. Since 1967 about half of the ivories have been on permanent display at The Courtauld, yet they have remained largely unknown, even to experts. This catalogue is the first publication dedicated solely to the collection. There are examples of the highest quality of ivory carving, both secular and religious in content, and a number of the objects are of outstanding interest. More
The importance of Gombrich’s work on the history of taste has yet to be fully recognised, and when it comes to the application of developments in psychology to the visual arts he has remained largely, among art historians, on his own. These essays assess the nature of his empiricism, the degree to which his ideas have been adopted, overturned or developed, and his contribution to the dialogue of art and perception. More