Autumn & Winter - Brepols Publishers

Autumn & Winter

2017 HARVEY MILLER PUBLISHERS

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Table of Contents Harvey Miller Studies in Cultural History

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Studies in Medieval and Early Renaissance Art History

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Studies in Baroque Art

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The Medici Archive Project

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Corpus Rubenianum Ludwig Burchard

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Felsina pittrice. The Lives of the Bolognese Painters

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The Paper Museum of Cassiano dal Pozzo

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Illuminated Manuscripts and Incunabula in Cambridge

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Manuscripts in the Making 29 Renovatio Artium

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Studies in English Medieval Embroidery

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Distinguished Contributions to the Study of the Arts in the Burgundian Netherlands

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Collectors & Dealers

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The Inventory of King Henry VIII

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An Index of Images in English Manuscripts from Chaucer to Henry VIII

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Tributes 39 Published Outside a Series

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Order Form

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Websites www.brepols.net - www.harveymillerpublishers.com E-Newsletter Subscribe to our free E-Newsletter: [email protected] Please specify your field(s) of interest. Social Media

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Cover Image: Study of Two Heads, Pieter Paul Rubens The Metropolitan Museum of Art, New York

NEW TITLES

Autumn & Winter 2017

Harvey Miller Publishers An imprint of Brepols Publishers

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NEW SERIES

Harvey Miller Studies in Cultural History

Editio princeps A History of the Gutenberg Bible Eric White

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he Gutenberg Bible is widely recognized as Europe’s first printed book, a book that forever changed the world. However, despite its initial impact, fame was fleeting: for the better part of three centuries the Bible was virtually forgotten; only after two centuries of tenacious and contentious scholarship did it attain its iconic status as a monument of human invention. Editio princeps: A History of the Gutenberg Bible is the first book to tell the whole story of Europe’s first printed edition, describing its creation at Mainz circa 1455, its impact on fifteenth-century life and religion, its fall into oblivion during the sixteenth and seventeenth centuries, and its rediscovery and rise to worldwide fame during the centuries thereafter.

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his comprehensive study examines the forty-nine surviving Gutenberg Bibles, and fragments of at least fourteen others, in the chronological order in which they came to light. Combining close analysis of material clues within the Bibles

themselves with fresh documentary discoveries, the book reconstructs the history of each copy in unprecedented depth, from its earliest known context through every change of ownership up to the present day. Along the way it introduces the colorful cast of proud possessors, crafty booksellers, observant travelers, and scholarly librarians who shaped our understanding of Europe’s first printed book. Bringing the ‘biographies’ of all the Gutenberg Bibles together for the first time, this richly illustrated study contextualizes both the historic cultural impact of the editio princeps and its transformation into a world treasure. Eric Marshall White, PhD, became Curator of Rare Books at Princeton University Library in 2015 after eighteen years as Curator of Special Collections at Southern Methodist University's Bridwell Library. A specialist in early European printing, he has published numerous articles and exhibition catalogues on rare books.

approx. 456 p., 14 b/w ills, 103 col. ills, 225 x 300 mm, 2017, ISBN 978-1-909400-84-9 Hardback: approx. € 125 Series: Harvey Miller Studies in Cultural History In Preparation

HARVEY MILLER STUDIES IN CULTURAL HISTORY

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St. George, main portal, 1432-35, Nanni di Bartolo San Nicola, Tolentino

Studies in Medieval and Early Renaissance Art History

The History of Venetian Renaissance Sculpture (ca. 1410-1530) Anne Schulz

As the first comprehensive treatment of Venetian sculpture of the early Renaissance in nearly a century, this book examines the documents, literary sources, and oeuvre of all Venetian sculptors in stone, bronze, and wood between the decoration of the crowning of San Marco at the beginning of the fifteenth century and the artistic revolution wrought by Jacopo Sansovino from ca. 1530 on.

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ts text pays particular attention to the style of individual works, to their physical and artistic context, their sources and their influence, and synthesizes forty-five years of attentive looking, of research in archives and libraries of the Veneto, and hundreds of photographic campaigns throughout Italy and as far afield as Croatia and Poland – many from specially mounted scaffolds. The introduction treats general questions of material, purpose, patronage, the origin of sculptors, their workshop practices and the structure of guilds, while the conclusion considers ways in which Venetian sculpture was unique. There is no aspect of the subject to which the author has not contributed major discoveries and her book, with its 800

illustrations, should constitute a work of reference long into the future. Educated in the History of Art at Radcliffe College, Harvard University, and the Institute of Fine Arts, NYU, Anne Schulz has taught at the University of Illinois at Chicago Circle, Brown University, and the Università Federico II at Naples. Her research on Italian Renaissance sculpture has resulted in dozens of articles published in America, England, France, Germany and Italy as well as eight books, including monographs on Bernardo Rossellino, Antonio Rizzo, Giambattista and Lorenzo Bregno, Nanni di Bartolo, and Giammaria Mosca. She is currently a Visiting Scholar at Brown University in Providence, RI.

2 vols, approx. 1255 p., 877 b/w ills, 225 x 300 mm, 2017, ISBN 978-1-909400-73-3 Hardback: approx. € 250 Series: Studies in Medieval and Early Renaissance Art History In Preparation

STUDIES IN MEDIEVAL AND EARLY RENAISSANCE ART HISTORY The Medici Archive Project

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Sublime Truth and the Senses Titian's Poesie for King Philip II of Spain Marie Tanner In this fascinating study Marie Tanner examines the ways in which Titian incorporates new concepts of sensuality and spirituality in the mythological paintings of King Philip II of Spain, whose originality and ravishing beauty belie their actual their didactic content.

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itian's mythological paintings for Philip II, known as the Poesie, are among the most frequently discussed works of art that address a favored Renaissance theme, the influence of the pagan gods on human actions. The commission is traceable to 1549, when Emperor Charles V summoned the artist to Augsburg following Prince Philip’s triumphal parade through the empire as his father’s heir apparent. The cycle that took shape comprises Danae and Venus and Adonis (Madrid, Prado); Diana and Actaeon and Diana and Callisto (Edinburgh, National Gallery of Scotland); Perseus and Andromeda (London, Wallace Collection) and Europa (Boston, Isabella Stewart Gardner Museum). These masterpieces of the artist’s mature period can be considered the most important Renaissance grouping of mythological paintings executed by a single artist.

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he author proposes that Philip’s expected elevation prompted the commission and that the subjects form a cohesive program of Hapsburg ethical views and political concerns, and that Titian created new visual idioms to represent the complex issues which the subjects address in part by engaging

themes with a significant prior history in family patronage. While Titian's Poesie for Philip II are well known monuments of western culture, they have never before been investigated with this focus.

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he dispersal of the pictures' in the seventeenth century resulted in a scholarly focus on the single pictures and a concentration on their sensual aspects. In Aretino, a Venetian dialogue on painting, Titian’s friend and apologist Lodovico Dolce is a spokesman for art that following poetry, entices through beauty, while hiding important truths beneath the veil of allegory. This study analyzes the ways in which Titian incorporates new concepts of sensuality and spirituality in a Venetian vernacular to create masterpieces whose originality and ravishing beauty belie their didactic content.

Marie Tanner an expert on Renaissance art an architecture, is the author of the prize winning study The Last Descendant of Aeneas: The Hapsburgs and the Mythic Image of the Emperors (Yale, 1993). Her most recent book is Jerusalem on the Hill: Rome and the Vision of St. Peter's in the Renaissance (Harvey Miller, 2010).

approx. 350 p., 121 b/w ills, 50 col. ills, 220 x 280 mm, 2017, ISBN 978-1-909400-27-6 Hardback: approx. € 125 Series: Studies in Medieval and Early Renaissance Art History In Preparation

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STUDIES IN MEDIEVAL AND EARLY RENAISSANCE ART HISTORY

Sephardic Book Artth of the 15 Century Luís U. Afonso, Tiago Moita (eds)

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he current volume presents ten different studies dealing with the final stages of Hebrew book art production in medieval Iberia. Ranging from the Farhi Codex, copied and illuminated in the late 14th century, to the Philadelphia Bible, copied and illuminated in Lisbon in 1496, this volume discusses a wide scope of topics related with the production, consumption and circulation of medieval decorated Hebrew manuscripts. Among the issues discussed in this volume we highlight the role played by three distinct artistic languages (Mudéjar, Late Gothic and Renaissance) in the shaping of 15th century Sephardic illumination,

the codicological specificity of some solutions in terms of layout and the relation between the layout of these manuscripts and Hebrew incunabula, the use of geometric decoration in scientific diagrams, or the afterlife of these manuscripts in Europe and Asia following the expulsion of the Jews from Iberia. Luís U. Afonso is Professor of Art History at the University of Lisbon. He is author of several studies on Portuguese Late Medieval and Renaissance art. Tiago Moita is concluding his Ph.D. at the University of Lisbon on 15th century Portuguese Hebrew illuminations.

approx. 300 p., 52 b/w ills, 50 col. ills, 220 x 280 mm, 2017, ISBN 978-1-909400-59-7 Hardback: approx. € 125 Series: Studies in Medieval and Early Renaissance Art History In Preparation

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Netherlandish Art and Luxury Goods in Renaissance Spain Daan van Heesch, Robrecht Janssen, Jan Van der Stock (eds) This fascinating collection of essays explores the diverse ways in which Netherlandish art and luxury goods shaped and transformed the artistic landscape of Renaissance Spain.

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overing a broad range of approaches and perspectives, the book includes essays on alabaster sculpture, painting, tapestry, architectural design, carved altarpieces, prints and mathematical instruments. Through the lens of both Netherlandish and Spanish actors (artists, patrons, collectors, merchants and other intermediaries), special attention is paid to local cultures of collecting and display. Together, the contributors provide a fascinating and multifaceted view of the reciprocal relationships between the Low Countries and Spain in the fifteenth, sixteenth and early seventeenth centuries. With contributions by Maite Barrio Olano, Ion Berasain Salvarredi, Iain Buchanan, Krista De Jonge, Raymond Fagel, Noelia García Pérez, Dirk Imhof, Nicola Jennings, Ethan Matt Kavaler, Jesús Muñiz Petralanda, Eduardo Lamas-Delgado,

Abigail Newman, Stephanie Porras, Antonia Putzger, Koenraad Van Cleempoel, Paul Vandenbroeck and Elena Vázquez Dueñas. Daan van Heesch is a PhD Fellow in Art History at the Research Foundation - Flanders (FWO) and affiliated with Illuminare - Centre for the Study of Medieval Art (KU Leuven). His PhD research focuses on the transnational reception of Hieronymus Bosch in the early modern period. Robrecht Janssen works at the Royal Institute for Cultural Heritage (KIK-IRPA) in Brussels. He is also a PhD candidate at KU Leuven with a project on the writings on art of the Bruges poet and painter Dominicus Lampsonius (1532-1599). Jan Van der Stock is a full professor at KU Leuven with research interests in the history of the printed image in the Low Countries and the socio-economic aspects of art history. He is the director of Illuminare – Centre for the Study of Medieval Art (KU Leuven).

approx. 375 p., 10 b/w ills, 126 col. ills, 220 x 280 mm, 2018, ISBN 978-1-909400-82-5 Hardback: approx. € 125 Series: Studies in Medieval and Early Renaissance Art History In Preparation

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STUDIES IN MEDIEVAL AND EARLY RENAISSANCE ART HISTORY

Saints Michael and Francis, Juan de Flandes The Metropolitan Museum, New York

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Art Moves The Material Culture of Processions in Renaissance Perugia Pascale Rihouet

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rt Moves reconstructs the appearance and conditions of use of processional artifacts, whether they were worn (uniforms and liveries), held by individuals, (maces, flags, and candles), or carried communally (canopy, reliquaries, banners, or statues). This is the first book on the material culture of processions as a performative, multi-media, apparatus. It investigates how objects were charged with meaning from medium and fabrication to market value to size and weight. Ritual settings gave them a symbolic force that was heightened through their mobility. In the public events studied here - religious and civic celebrations, elite funerals, papal entries, city-wide penance, and relic transfers - ‘moving’ [pun intended] objects became the meaningful vehicles of ritual efficacy, shaping ideology, group solidarity, and social cohesion. Despite the liturgical framework, processional paraphernalia foregrounded the laity, notably secular authorities and confraternities. Art Moves also raises the issue of conflict that material ephemera could invite or even spark. Renaissance Perugia, a middling-sized city, presents a wealth

of textual, visual, and material evidence, not to mention its medieval and renaissance topography. In Perugia more than anywhere else perhaps, several banners played a key role in crisis processions, becoming cult objects revered into the nineteenth century. This study also revisits artistic representations of corteges, questioning the extent of their documentary value. The approach intertwines the disciplines of art history, social history, material culture, religious studies, and anthropology. This publication offers a new way of looking at the dynamics of urban processions while revivifying the sensory experience of public life in Italy, ca. 1350-1600. Pascale Rihouet, PhD Brown University (Providence, USA) / Ecole des Hautes Etudes en Sciences Sociales (Paris), is adjunct faculty at the Rhode Island School of Design since 2008. She teaches a variety of art history courses. She has published many articles on art and ritual, material culture, and group identity in academic journals. Art Moves is her first book, based on her revised dissertation thesis and new research.

approx. 220 p., 29 b/w ills, 43 col. ills, 220 x 280 mm, 2017, ISBN 978-1-909400-83-2 Hardback: € 100 Series: Studies in Medieval and Early Renaissance Art History In Preparation

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STUDIES IN MEDIEVAL AND EARLY RENAISSANCE ART HISTORY

The Medieval World at our Fingertips Manuscript Illuminations from the Collection of Sandra Hindman Christopher de Hamel

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o manuscript is an island. We may consider medieval illumination as a single characteristic of the whole Middle Ages, but every manuscript is part of the evolving history of European art and culture, and every one belongs to a place and period. The Sandra Hindman Collection is a remarkable journey through time and location. Every illuminated cutting described here is a microcosm of a larger history. A sublime initial from a twelfth-century Bible from France is part of a setting which includes Chartres Cathedral, the Crusades and Abelard; two late thirteenth-century narrative miniatures of saints from northern Italy have stepped from in a world inhabited by Giotto and Dante and the basilica of Santa Croce in

Florence; a miniature by the Berlin Master of Mary of Burgundy belongs in age of Rogier van der Weyden and Hans Memling; a painting from a choir book by the “Master B.F.” can hold its place with Leonardo da Vinci and Palestrina. Manuscripts were always at the heart of intellectual and visual culture. For thirty years Sandra Hindman has been selecting and refining a collection of perfect medieval miniatures which are the quintessence of their time. Each is a window which illuminates a world. The history of stained glass, architecture, fresco painting, tapestries and wood carving, as well as medieval literature, religion, music and romance, are all made slightly clearer and more focused by looking at the illuminated miniatures chosen for exhibition here.

approx. 320 p., 1 b/w ill., 200 col. ills, 220 x 280 mm, 2017, ISBN 978-1-909400-88-7 Hardback: approx. € 75 Series: Studies in Medieval and Early Renaissance Art History In Preparation

STUDIES IN MEDIEVAL AND EARLY RENAISSANCE ART HISTORY

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Stag, Wenceslaus Hollar The Metropolitan Museum, New York

STUDIES IN BAROQUE ART

Perspectives on the Art of Wenceslaus Hollar (1607-77) Andrea Bubenik, Anne Thackray (eds) This collection of essays offers critical perspectives on the creation and reception of prints and drawings by Wenceslaus Hollar (1607-77), and seeks to contribute to a new appreciation of an undervalued and excitingly interdisciplinary artist.

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enceslaus Hollar (1607 Prague – 1677 London) was one of the most important artists of the 17th century. His international career, affluent patrons, and insatiable curiosity enabled him to create a diverse range of prints and drawings, remarkable for their varied subject matter and exceptional technical qualities. Hollar’s oeuvre includes cities and fortifications, portraits, religious subjects, politics, mythology, architecture, heraldry and numismatics, antiquarian relics, costume, maps, sports, classical literature, landscape views, ‘Old Master’ drawings and paintings, and natural history. His work invokes his close observation of, and engagement with, the natural world, as much as the society of his times.

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nfortunately, Hollar has received less attention than many of his contemporaries. He has all too often been undervalued as being primarily a ‘reproductive printmaker’ – one who reproduces in print the designs of others, or simply copies paintings into print. This volume seeks to revise how Hollar has formerly been characterized, through

an exploration of hitherto unexamined drawings, as well as the more innovative qualities of his printmaking. It includes new research on Hollar’s biography and his patrons, fresh perspectives on Hollar’s portraits and urban scenes, and insights into Hollar’s forays into the natural world. Partly the outcome of a 2010 symposium held at the Thomas Fisher Rare Books Library at the University of Toronto (repository of third largest collection of Hollar prints), this book comprises contributions from nine international print scholars, from Australia, Canada, Czech Republic, Germany, England, and The Netherlands. Their work on Hollar reaffirms his importance not only to the history of printmaking, but also to the art, science and culture of his times. Andrea Bubenik, Ph.D., is Lecturer in Art History at the University of Queensland in Australia. Anne Thackray, worked in the curatorial departments of the National Gallery and National Portrait Gallery, London, and taught art history at the Open University and the University of Edinburgh.

approx. iv + 242 p., 6 b/w ills, 101 col. ills, 220 x 280 mm, 2017, ISBN 978-1-909400-42-9 Hardback: € 120 Series: Studies in Baroque Art, vol. 7 In Preparation

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Drawing and the Senses An Early Modern History Caroline Fowler A study of drawing and philosophy in artistic practice, important not only for art history but also for literature studies, intellectual history, religious history, history of the book, and history of science.

Ribera (1591-1652), Guercino (1591J usepe 1666), Stefano della Bella (1610-1664),

Abraham Bloemaert (1566-1651), and Peter Paul Rubens (1577-1640) all created printed drawing lessons dedicated to the practice and theory of drawing. These artists composed wordless compositions on a page of eyes, ears, hands, mouths and noses, configurations that were ostensibly meant to teach the practice of drawing. Yet as this book argues, these were not only pedagogical treatises on practice but also theoretical works on draftsmanship made by the most influential European draftsmen. This book is the first theoretical consideration of these major works. Reading these treatises in the context of an early modern intellectual history of the senses, this book examines how artists visually theorized the process of

producing knowledge through making lines on a page. Beginning with the pedagogical treatises of Albrecht Dürer and progressing through the pedagogical writings, drawings, and printed drawing books of early-modern draftsmen, this book traces a history of the senses and drawing, demonstrating how shifting concepts of the body, divinity and god changed the processes by which artists conceived of drawing the world, themselves and others. Caroline O. Fowler is the A.W. Mellon Postdoctoral Fellow in the Department of the History of Art at Yale University. She received her Ph.D. from Princeton University and has held fellowships at the Center for Advanced Study in the Visual Arts and the Getty Research Institute. She studies intersections between works on paper and intellectual history.

vi + 178 p., 119 col. ills, 220 x 280 mm, 2017, ISBN 978-1-909400-39-9 Hardback: € 70 Series: Studies in Baroque Art, vol. 6 Available

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STUDIES IN BAROQUE ART

Mochi’s Edge and Bernini’s Baroque Estelle Lingo

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his book takes the extraordinary art of the Tuscan sculptor Francesco Mochi (15801654) as the entry point for an inquiry into the historical and cultural forces reshaping sculpture at the beginning of the seventeenth century. Mochi has long been understood as an early innovator of the “baroque” style whose career was eclipsed by the rise of his younger contemporary Gianlorenzo Bernini. But for his sole seventeenth-century biographer, what distinguished Mochi’s sculpture was his determination to adhere to “the Florentine manner.” This study argues that the post-Tridentine religious climate and the demands of consolidating absolutist regimes posed specific challenges for sculpture, particularly as the medium had been assertively developed during the first half of the sixteenth century by Florentine sculptors, most famously Michelangelo. As analyzed here, Mochi’s highly distinctive sculptural style stemmed directly from his attempt to carry forward a Florentine and Michelangelesque tradition of sculpture –

above all its commitments to the representation of the body, the materiality of sculpture, and the agency of the artist – and to reconcile that tradition with imperatives of his own day. Mochi’s ambitious undertaking produced an extreme tension in his art that resulted in some of the century’s most breathtaking sculptures, though ultimately fracturing his career. The book offers wholly new interpretations of Mochi’s monumental works and a new, historically engaged account of the origins of “baroque” sculpture and the rise to dominance of Bernini’s mature sculptural style. The volume is enriched by specially commissioned color photographs of Mochi’s sculptures. Estelle Lingo, is Associate Professor of Early Modern European Art and Donald E. Petersen Endowed Professor at the University of Washington in Seattle. She is the 2016-18 Andrew W. Mellon Professor at the Center for Advanced Study in the Visual Arts at the National Gallery of Art inWashington, DC.

328 p., 6 b/w ills, 244 col. ills, 225 x 300 mm, 2017, ISBN 978-1-909400-80-1 Hardback: € 100 Series: Studies in Baroque Art, vol. 8 IAnvailable PreParatIon

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The Medici Archive Project

Artemisia Gentileschi in a Changing Light Sheila Barker (ed.) New findings on the painter's life and oeuvre, studied through wide-ranging methodologies.

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aised to the status of an international luminary by her contemporaries and now revered as one of the defining talents of the seventeenth century, Artemisia Gentileschi poses urgent questions for today’s scholars. The recent outpouring of new attributions and archival discoveries has profoundly enriched our knowledge of the artist, but it has also complicated, and sometimes contradicted, the former storyline. If she was illiterate and unschooled, how did she befriend Galileo and court playwright Jacopo Cicognini?  If she could not pay her bills, why did she continue to spend lavishly? How can we define her authorship if we admit workshop productions to her oeuvre? In these essays, an international cast of scholars and experts grapples with these problems, opening new paths of inquiry and laying bare their methodologies in fields as diverse as laboratory analysis, archival research, cultural history, literary analysis, and feminist art history. Among these approaches, connoisseurship takes center stage. By reconstructing  the chronology and rationale of Artemisia’s artistic iter, connoisseurship

reveals the richness of her visual dialogues, including those with prominent contemporaries such as Caravaggio, Annibale Carracci, Vouet, Cristofano Allori, and Stanzione; with past artistic giants like Donatello and Michelangelo; and with the various hands who passed through her workshop as collaborators and assistants. These essays infuse our understanding of Artemisia with complexity and nuance, yet they also trace her characteristic mix of intelligence and verve in her art, her correspondence, and her deft social maneuvering, running like a thread through all stages of her life.  Sheila Barker, Ph.D. (Columbia University, 2002) is the founding director of the Jane Fortune Resarch Program on Women Artists, based at Medici Archive Project in Florence. Her previous publications include "Artiste nel chiostro" (Nerbini, 2016) and "Women Artists in Early Modern Italy: Careers, Fame, and Collectors" (Harvey Miller / Brepols, 2016).

Table of Contents: www.brepols.net

approx. 320 p., 190 col. ills, 220 x 280 mm, 2017, ISBN 978-1-909400-89-4 Hardback: approx. € 120 Series: The Medici Archive Project, vol. 4 In Preparation

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THE MEDICI ARCHIVE PROJECT

Esther before Ahasuerus, Artemisia Gentileschi The Metropolitan Museum, New York

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A Medici Pilgrimage The Devotional Journey of Cosimo III to Santiago de Compostela (1669) Miguel Taín Guzmán

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he Grand Tour of Cosimo di Ferdinando de' Medici, prince of Tuscany, between 1668 and 1669, included many of the great states of Europe - Spain, Portugal, England, Holland and France in a carefully prepared itinerary chosen to help educate and prepare the 26-year old prince to one day become Grand Duke of Tuscany. All the places chosen to visit were selected to impart cultural, economic, or political advantage to the prince, and none more so than his longest visit: Spain. Lasting more than five months, he visited the cities of Barcelona, Martorell, Montserrat, Igualada, Lleida, Zaragoza, Daroca, Guadelajara, Alcalá de Henares, Madrid, Toledo, Mora, Consuegra, Villanueva de los Infantes, Andújar, El Carpio, Córdoba, Castro del Río, Granada, Ecija, Carmona, Sevilla, Zafra, Badajoz, and briefly, Lisbon. In March 1669, he reached Santiago de Compostela, arguably the highlight of the trip, where he made a pilgrimage to the tomb of St. James the Apostle in the city's cathedral. The travel diaries of five members of his retinue describe the visit in great

detail, providing a rare account of the city and the pilgrim's rites and rituals. Another member of the prince's entourage, the Florentine artist, Pier Maria Baldi, painted a large-scale panorama of Compostela, the most valuable cityscape from the 1600s known to date. Using hitherto unknown source material, this volume charts a journey to one of the most important pilgrimage sites in the world, then held as an equal to Rome and Jerusalem, that stimulated the piety of the man who would become Cosimo III de' Medici, Grand Duke of Tuscany. Miguel Taín Guzmán received his prize-winning doctorate in art history from the Universidad de Santiago de Compostela in 1997, where, since 2001, he has taught art history as Associate Professor. Dr. Taín Guzmán has held fellowships at the Kunsthistorisches Institut in Florence, at Harvard'sVilla I Tatti, and at the Brandenburg Research Academy. His current research focus is the art and architecture of travel and pilgrimage in seventeenth- and eighteenth-century Spain.

approx. 320 p., 22 b/w ills, 130 col. ills, 300 x 240 mm, 2018, ISBN 978-1-909400-93-1 Hardback: approx. € 120 Series: The Medici Archive Project, vol. 5 In Preparation

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THE MEDICI ARCHIVE PROJECT

Also Available in this Series

The Grand Ducal Medici and their Archive (1537-1743) Alessio Assonitis, Brian Sandberg (eds) iv + 222 p., 41 b/w ills, 5 col. ills, 220 x 280 mm, 2016, ISBN 978-1-909400-34-4 Hardback: € 85 Series: The Medici Archive Project, vol. 1 Available

Women Artists in Early Modern Italy Careers, Fame, and Collectors Sheila Barker (ed.) iv + 181 p., 22 b/w ills, 51 col. ills, 220 x 280 mm, 2016, ISBN 978-1-909400-35-1 Hardback: € 85 Series: The Medici Archive Project, vol. 2 Available

The Grand Ducal Medici and the Levant Marta Caroscio, Maurizio Arfaioli (eds) iv + 186 p., 42 b/w ills, 25 col. ills, 220 x 280 mm, 2016, ISBN 978-1-909400-36-8 Hardback: € 95 Series: The Medici Archive Project, vol. 3 Available

THE MEDICI ARCHIVE PROJECT

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The Triumph of Henry IV, Pieter Paul Rubens The Metropolitan Museum, New York

CORPUS RUBENIANUM LUDWIG BURCHARD

The Henry IV Series Alexis Merle du Bourg

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n 26 January 1622, in Paris, Rubens entered into a contractual agreement to execute two series of monumental paintings, ‘in his own hand’, intended to decorate the two parallel galleries of the Parisian palace – the so-called Luxembourg Palace – of Maria de Medici, widow of Henry IV and mother of Louis XIII. Completed in 1625, the 24 paintings of the West gallery exalting the life of the queen mother form a universally admired ensemble, on display at the Louvre for two centuries. However, the second part of this grand project, envisioned for the East gallery of the palace of the queen mother, was abandoned in 1630. The suspension of the project, definitively terminated after the queen mother’s exile in July 1631, has deprived us of a work absolutely unique both in its magnitude and in the artistic means deployed by the artist

for the glorification of the royal couple. The Galerie Henri IV, the aim of which was the celebration of the military victories of the king and the exaltation of his triumphs ‘in the manner of the triumphs of the Romans’ (according to the terms of the contract) remains a puzzle whose missing pieces are more numerous than those that have been preserved. The object and aim of the present volume, notably through the study of about fifteen preparatory sketches and paintings, more or less completed, that have come down to us, are to better understand the place, the immediate meaning and the political significance of the Galerie Henri IV, which remains, to our great frustration (no less than that of Rubens), an extraordinary encomiastic baroque ‘machine’, and undoubtedly the unfinished masterpiece of the artist.

approx. 580 p., 100 b/w ills, 20 col. ills, 180 x 265 mm, 2017, ISBN 978-1-909400-96-2 Hardback: approx. € 200 Series: Corpus Rubenianum Ludwig Burchard, vol. 14.2 In Preparation

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Architecture and Architectural Sculpture The Jesuit Church Ria Fabri, Piet Lombaerde

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y the time of its completion in 1621, the former Jesuit church in Antwerp was one of the most brilliant achievements in the Southern Netherlands, particularly due to the ceiling paintings after Rubens’ designs and his two altarpieces. Nevertheless, from the seventeenth century to the present day, the precise extent of Rubens’ involvement in the architecture and the architectural sculpture of the church has been a point of discussion. Rubens was in close contact with the Jesuit François de Aguilón, designer of the ground plan of the Antwerp Jesuit church, and with lay brother Pieter Huyssens who made most of the drawings for the church. Known to be by Rubens’ hand are a limited number of drawings and a sketch in oil for architectural ornaments

and sculptures that relate both to the exterior and to the interior of the structure. Despite its numerous restorations, the iconographic scheme of the church is even today visibly influenced by Rubens’ jaunty visual language which goes back to examples of ancient antiquity and its Christian interpretations in early Baroque churches in Rome. Some of the church’s decorative designs were also modelled after works by contemporary Italian artists such as Cherubino Alberti. In this critical catalogue, the design drawings and oil sketches attributed to Rubens, a number of which later served as models for religious as well as profane architectural decoration, including that of Cardinal-Infant Ferdinand's Pompa Introïtus in 1635, are extensively discussed.

approx. 360 p., 118 b/w ills, 31 col. ills, 180 x 265 mm, 2017, ISBN 978-1-909400-97-9 Hardback: approx. € 150 Series: Corpus Rubenianum Ludwig Burchard, vol. 22.3 In Preparation

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CORPUS RUBENIANUM LUDWIG BURCHARD

The Life of Christ before the Passion The Ministry of Christ Koen Bulckens The works discussed, span the entirety of Rubens’s career and attest to the complexity of the iconographic division in which the depictions of Jesus Christ’s public life were thought and created.

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he present volume of the Corpus Rubenianum catalogues Rubens’s exploration and representation of the theme of the public life of Christ. The period in Christ’s life during which he spread his message by wandering and preaching with the apostles in the Holy Land, offered a particularly poignant and important part of religious discourse within the context of the Counter-Reformation period in the Netherlands. In order to rebut the Calvinists and their call for the stripping of imagery and lavish decoration from churches, and the destruction of furniture and altarpieces that followed, the Roman Catholic Church sought to establish an innovative and powerful visual rhetoric with renewed urgency. The scenes from the ministry of Christ could serve as potent reminders

of the core values of Roman Catholic spirituality. Rubens, as a devout Catholic, created a number of impressive paintings to express this, although most of the works he produced seem to have been intended for the open market. The works discussed span the entirety of Rubens’s career and attest to the complexity of the iconographic division in which the depictions of Jesus Christ’s public life were thought and created. Review “(...) It is hard to imagine any study of his work that will not begin with the Corpus Rubenianum Ludwig Burchard” Theodore K. Rabb in: The Art Newspaper, Spring 2017

360 p., 149 b/w ills, 46 col. ills, 180 x 265 mm, 2017, ISBN 978-1-909400-86-3 Hardback: € 150 Series: Corpus Rubenianum Ludwig Burchard, vol. 5.2 Available

CORPUS RUBENIANUM LUDWIG BURCHARD

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CARLO CESARE MALVASIA’S FELSINA PITTRICE The Lives of the Bolognese Painters

Life of Marcantonio Raimondi and Critical Catalogue of Prints by or after Bolognese Masters Elizabeth Cropper, Lorenzo Pericolo

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alvasia’s life of Marcantonio Raimondi includes Malvasia’s critical catalogue of prints by or after Bolognese artists, from Giulio Bonasone to Giovan Battista Pasqualini. A great connoisseur and avid collector of prints, Malvasia recognizes the intelligence and novelty inherent in Giorgio Vasari’s life of Marcantonio with its list of prints produced by the Bolognese engraver. In republishing Vasari’s life, Malvasia not only adds valuable new information, but also completes Vasari’s list by cataloguing all the prints unnoticed by his Florentine predecessor. Aware of the interest of amateurs and collectors in identifying old and new prints, establishing their states, and building up an exhaustive collection, Malvasia undertakes the groundbreaking task of describing, one by one or by coherent series, the whole corpus of prints executed by or after Bolognese masters as far as he could determine. He describes the subjects of these works accurately, transcribes their inscriptions, specifies their techniques (whether engraving, etching, or woodcut), supplying their measurements in Bolognese once. In listing the works of Bonasone, the Carracci,

Giovan Luigi Valesio, Guido Reni, and Simone Cantarini, among others, Malvasia often comments on their technical and aesthetic qualities, resorting to a refined and complex terminology that reveals his profound knowledge of printmaking. In her introductory essay, Naoko Takahatake explains the historical significance of Malvasia’s innovative production of the first extensive print catalogue, shedding new light on the unique context of Bolognese printmaking in the sixteenth and seventeenth centuries. In her notes, Takahatake identifies over eight hundred prints mentioned by Malvasia, almost all of which are reproduced in color in a separate volume. Underscoring the importance of Malvasia’s critical catalogue for amateurs and collectors, Carlo Alberto Girotto offers a critical edition of the annotations made by the French art theorist Roger de Piles to his own copy of the Felsina pittrice (now in the library of the Institut National d’Histoire de l’Art, Paris). At the end of the translation and notes, Lorenzo Pericolo publishes the sections of Malvasia’s Scritti originali (Ms. B16, Biblioteca Comunale dell’Archiginnasio, Bologna) relating to Bonasone.

2 vols, 844 p., 33 b/w ills, 877 col. ills, 220 x 280 mm, 2017, ISBN 978-1-909400-66-5 Hardback: approx. € 250 Series: Felsina Pittrice: The Lives of the Bolognese Painters, vol. 2 Available

24

CARLO CESARE MALVASIA’S FELSINA PITTRICE

The Paper Museum of Cassiano dal Pozzo

Egyptian and Roman Antiquities, and Renaissance Decorative Arts Elena Vaiani, Simonetta Prosperi Valenti Rodinò, Helen Whitehouse

T

his catalogue includes almost 400 drawings of mainly small antiquities such as vases, lamps, mirrors, tripods, bells, armour, weights, measures, musical instruments, mirrors, brooches and jewellery, as well as designs for Renaissance and seventeenth-century vases, candelabra, princely gold and silver tableware. Amongst the antiquities are

a distinct group of Egyptian artefacts and some of the earliest known records of Greek vases, together with countless objects of everyday life. Amongst the modern designs are works by sixteenth- and seventeenth-century Italian artists such as Luzio Luzzi, Giovanni Battista Montano, Giovanni Angelo Canini, Lelio Orsi and others.

2 vols, approx. 864 p., 437 col. ills, 220 x 285 mm, 2018, ISBN 978-1-909400-92-4 Hardback: approx. € 200 Series: The Paper Museum of Cassiano dal Pozzo. Series A: Antiquities and Architecture, vol. 8 In Preparation

THE PAPER MUSEUM OF CASSIANO DAL POZZO

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Ceremonies, Costumes, Portraits and Genre Mark McDonald

C

assiano dal Pozzo’s print collection was unique in its scope and organisation. Some 3,000 prints are known, in nine albums and many loose impressions mainly divided between the British Library and the Royal Library at Windsor Castle. Cassiano (1588–1657) and his younger brother Carlo Antonio dal Pozzo (1606–89) did not commission printmakers to engrave plates (as they did drawings), buying instead what was available from the flourishing printmaking industry of the time. The material they collected was essentially documentary, and they organised the collection by subject matter: costumes, religious processions and ceremonies, tombs and catafalques, the history of St Peter’s, architecture, topography, maps and military engagements, portraits, social and humorous subjects, and so on. This first part of the catalogue presents ceremonies, costumes, portrait and genre prints.

A

remarkable proportion of the prints are not to be found in the existing literature, and many constitute additions to the known works of major

printmakers. Indeed Cassiano’s collection has been described as ‘so far outside the common range of print collectors both in the seventeenth century and today that a very high proportion of its contents is excessively rare and will only with great difficulty be found elsewhere’.

T

his ground-breaking catalogue will be an essential resource not only for students of prints, but for all those studying European visual culture in the seventeenth century. Mark McDonald is curator at the Metropolitan Museum of Art, New York, responsible for Italian, Spanish, Mexican and early French prints and illustrated books. He joined the Museum in 2014 after working at the British Museum as curator of Old Master prints and Spanish drawings. His interests embrace European graphic art and Latin American printmaking, and he has published widely on these subjects. Mark McDonald has curated exhibitions at the British Museum and the Museo del Prado among others.

3 vols, 1024 p., 1676 b/w ills, 220 x 285 mm, 2017, ISBN 978-1-909400-78-8 Hardback: € 220 Series: The Paper Museum of Cassiano dal Pozzo. Series C: Prints, vol. 1 Available

26

THE PAPER MUSEUM OF CASSIANO DAL POZZO

A Spanish soldier turned to the left, Claude Goyrand British Library/Royal Collection Trust, London

27

ILLUMINATED MANUSCRIPTS AND INCUNABULA IN CAMBRIDGE

Books Printed in Italy before 1501 Azzurra Elena Andriolo, Suzanne Reynolds This is the first part of a two-volume catalogue of incunabula (books printed up to 1500) with illumination added by hand, in the Fitzwilliam Museum and the College Libraries of Cambridge.

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ncunabula research is flourishing in the twenty-first century. Since the turn of the millennium, printed catalogues of globally important collections have been published and online cataloguing projects have transformed knowledge and access. Nevertheless, the c. 2,000 incunabula in Cambridge outside the University Library remain comparatively unknown. A part of the Cambridge Illuminations Research Project, this catalogue examines books at the Fitzwilliam Museum, and the Cambridge Colleges books that were printed in Italy up to 1500 and have illumination and decoration added by hand. Over the two catalogue volumes, the College material constitutes approximately 75% of the coverage of over 400 individual incunabula in total. These collections are extraordinarily rich, and have been built up over the last 500 years through the patronage of late medieval benefactors and scholars, such as Roger Bower (d. 1507) and Thomas Rotherham (1423–1500), as well as that of classical scholars, and through the bequests of eminent British

book collectors and bibliophiles from Archbishops Matthew Parker (1504-1575) and William Sancroft (1617-93), to Samuel Pepys (1633-1703), and John Maynard Keynes (1883-1946).

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he catalogue focuses on books with decoration intended to ornament rather than to rubricate the text, that include one or more of the following elements: miniatures, woodcuts with contemporary colour added by hand, historiated initials and borders, other types of ornamental initials with or without borders, pen-flourished initials, and a variety of drawings or sketches. In bringing to bear on early printed books the same level of attention to the individual features of particular copies, the editors hope to further erode the artificial barriers between those working on illumination in manuscripts and in printed books, and to offer striking evidence of the inter-meshed worlds of manuscript and print in the second half of the fifteenth century.

288 p., 330 col. ills, 230 x 330 mm, 2017, ISBN 978-1-909400-85-6 Hardback: € 175 Series: Illuminated Manuscripts and Incunabula in Cambridge, vol. 5.1 Available

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ILLUMINATED MANUSCRIPTS ANDArtium INCUNABULA IN CAMBRIDGE Renovatio

Manuscripts in the Making

NEW SERIES

Art and Science Stella Panayotova, Paola Ricciardi

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his ground-breaking publication presents the papers delivered at the international Conference held in Cambridge in December 2016 to mark the end of the Fitzwilliam Museum’s acclaimed bicentenary exhibition Colour: The Art and Science of Illuminated Manuscripts. It is the first of two volumes in which medievalists and scientists share the results of their research, and combine here to elucidate both the materials and techniques of production of illuminated manuscripts, as well as the artists’ collaboration and their aesthetic objectives.

Of the 34 papers given at the proceedings, 17 are included in the present volume covering scientific analyses of West European, Byzantine and Islamic manuscripts, Colour and Pigment Studies, Painting Techniques and Workshop Practices, as well as details of the latest scientific techniques and instruments employed for these non-invasive and non-destructive investigations into the delicate manuscripts. The texts are accompanied by over 200 illustrations as well as explanatory Tables and Diagrams.

Table of Contents: www.brepols.net

320 p., 200 col. ills, 220 x 280 mm, 2017, ISBN 978-1-909400-10-8 Hardback: approx. € 125 Series: Manuscripts in the Making, vol. 1 In Preparation

MANUSCRIPTS IN THE MAKING

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RENOVATIO ARTIUM

Images of Discord Poetics and Politics of the Sacred Image in 15th Century Spain Felipe Pereda

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elipe Pereda reconstructs the history of religious art in Spain between two crucial dates in the “politics of the image” enforced by the “Reyes Católicos”: 1478 and 1501. By focusing first on Seville, then on Granada Pereda evokes the first moments of the institution of the “Santo Oficio” and its later developments. In both cities, the local authorities had established the obligation for citizens to keep religious images within their houses. In Seville, the authorities in particular targeted the “marranos” (Jewish converts); in Granada, the new “moriscos” (converted Muslims). In both

cases, the edicts emanated from the confessor of Queen Isabella of Castile, Fray Hernando de Talavera, himself of “converso” origin.

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t the intersection of social history and intellectual history, Images of Discord shows in which ways religious and social conflicts determined the status and development of sacred art in late fifteenth- and early sixteenth-century Castile and Andalusia and, more broadly, the history of Spanish art in the early modern period.

approx. 300 p., 18 b/w ills, 44 col. ills, 220 x 280 mm, 2017, ISBN 978-1-909400-33-7 Hardback: approx. € 110 Series: Renovatio Artium, vol. 2 In Preparation

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RENOVATIO ARTIUM

STUDIES IN ENGLISH MEDIEVAL EMBROIDERY

The Age of Opus Anglicanum Michael A. Michael (ed.) This book attempts to re-assess the importance of English medieval embroidery as a unique cultural phenomenon.

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his volume, the first to appear in a series of Studies in English Medieval Embroidery, contains the papers delivered at a Symposium held at the Victoria and Albert Museum in London in February 2013, which was designed to re-vitalize research and public awareness of a significant medium of medieval art.

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uring the period which has become known as the great age of Opus Anglicanum between c.1200 and 1400, kings, popes and high ranking prelates all over Europe vied with each other in their desire to own English medieval embroidery. Such vestments were first mentioned as ‘English Work’ (Opus Anglicanum) in the papal archives because of their distinctive style rather than their technique – although most also display skilful use of gold embroidery in what is known as ‘underside couching’, a method of embroidering silver-gilt thread so that it is both pliable and displays the maximum amount of thread on the surface of the garment. The imagery achieved in this special medium is comparable with the luxurious illuminated manuscripts produced in England during

the Middle Ages and forms a repository of some unique iconography. The essays included here break new ground in the understanding of both liturgical and secular embroidery, covering topics such as interesting iconographic aspects found in Opus Anglicanum; hitherto unpublished data from the royal accounts of Edward III related to commissions and payments to embroiderers and embroideresses; and a detailed study of late medieval English palls accompanied by a Handlist of the major extant examples. Of particular importance is the inclusion of the Evelyn Thomas Collection of pre-digital images of Opus Anglicanum work, now digitized in its entirety at the Princeton Index of Christian Art.

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he wealth of illustrations in this volume – over 200 images and comparative material from other forms of medieval art – are all in full colour. Dr M.A. Michael is a professorial Fellow of the University of Glasgow and Academic Director at Christie's Education. He has published widely on English medieval manuscripts, stained glass and panel painting.

240 p., 5 b/w ills, 185 col. ills, 225 x 300 mm, 2016, ISBN 978-1-909400-41-2 Hardback: € 110 Series: Studies in English Medieval Embroidery, vol. 1 Available

STUDIES IN ENGLISH MEDIEVAL EMBROIDERY

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DISTINGUISHED CONTRIBUTIONS TO THE STUDY OF THE ARTS IN THE BURGUNDIAN NETHERLANDS

Cut in Alabaster A Material of Sculpture 1330-1530 Kim Woods Cut in Alabaster is the first comprehensive study of alabaster sculpture in Western Europe during the late Middle Ages and Renaissance.

W

hile marble is associated with Renaissance Italy, alabaster was the material commonly used elsewhere in Europe and has its own properties, traditions and meanings. It enjoyed particular popularity as a sculptural material during the two centuries 1330-1530, when alabaster sculpture was produced both for indigenous consumption and for export. Focussing especially on England, the Burgundian Netherlands and Spain, three territories closely linked through trade routes, diplomacy and cultural exchange, this book explores and compares the material practice and visual culture of alabaster sculpture in late medieval Europe.

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ut in Alabaster charts sculpture from quarry to contexts of use, exploring practitioners, markets and functions as well as issues of consumption, display and material meanings.

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t provides detailed examination of tombs, altarpieces and both elite and popular sculpture, ranging from high status bespoke commissions to small, low-cost carvings produced commercially for a more popular clientele. Kim Woods is a senior lecturer in Art History at the Open University, and a specialist in northern European late Gothic sculpture. She combines an object-based approach with an interest in materials and cultural exchange.

approx. 350 p., 2 b/w ills, 170 col. ills, 220 x 280 mm, 2017, ISBN 978-1-909400-26-9 Hardback: approx. € 125 Series: Distinguished Contributions to the Study of the Arts in the Burgundian Netherlands, vol. 3 In Preparation

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DISTINGUISHED CONTRIBUTIONS TO THE STUDY OF THE ARTS IN THE BURGUNDIAN NETHERLANDS

Collectors & Dealers

The Journal of a Transatlantic Art Dealer René Gimpel (1918-1939) Diana Kostyrko

T

he transatlantic art dealer, René Gimpel (1881-1945), maintained an interwar journal for twenty-one years until, like many Jews in France, he was overtaken by radical political events. In this book, Diana Kostyrko explores why Gimpel's journal should be taken seriously as a sociohistorical document. In contextualising the journal, including its reception since first published in 1963, she intercuts art history with material culture and a sociology of modernity. Firstly setting the art dealer in context, the author examines the dominant themes which thread through the journal, ranging from the escalation in power and status of European dealers catering to but also rivalling wealthy private collectors, to the irresistible pressure of twentieth-century modernity on collecting practices. For all those who are concerned with the European formulation of taste in the fine and decorative arts in the early twentieth century, the trend for

eighteenth-century revivalism in France and North America, the acculturation of American museums, and the rise to stardom of the modern art market on the back of the auction house will find much of value here. Overall the author undertakes to distil what René Gimpel's legacy might be. Finally, she asks: was the Paris art dealer incongruously but ultimately a prophet concerned with the over-materiality of modern society, and a cultural pessimist to boot: or did he merely reflect a range of common perceptions abroad at the time? Diana J. Kostyrko is an art historian and provenance researcher, and a visiting fellow in cultural history with the School of Literature, Languages and Linguistics at the Australian National University.

Table of Contents: www.brepols.net

approx. 220 p., 45 b/w ills, 3 col. ills, 220 x 280 mm, 2017, ISBN 978-1-909400-51-1 Hardback: € 100 Series: Collectors and Dealers, vol. 2 In Preparation

COLLECTORS & DEALERS Renovatio Artium

33

34

Apollo and Aurora, Gerard de Lairesse The Metropolitan Museum, New York

Auction Prices and the Evolution of Taste in Dutch and Flemish Golden Age Painting (1642–2008) The Value of Taste Peter Carpreau

T

aste is a well known but largely underestimated phenomenon. Yet it is one of the factors that has shaped our knowledge and view of art. Why is Rembrandt van Rijn today considered to be one of the greatest painters in European art while Gerard de Lairesse, Rembrandt’s younger contemporary and one of the best-selling painters of his day, is now forgotten?

T

his book is a systematic and quantitative study of taste. More specifically it focuses on the painters of the seventeenth-century Low Countries and follows the changes in consumer evaluation of them from the seventeenth century up to 2008. Proceeding from the same starting point as Gerald Reitlinger in his monumental The Economics of Taste, it uses the prices paintings have fetched at auction as a basis for tracing trends in the taste of the art-buying public.

W

hereas Reitlinger’s approach was rather intuitive, this study develops a sound methodological basis for researching taste and auction prices. It is not only quantitative methods and properties of auction prices that require a specific approach: in historical research quantitative data and analyses are only reliable when they can also be tested against qualitative or historical sources. Based on a statistical analysis, various ‘universal’ painters, such as Rubens and Rembrandt, are defined. In addition, however, specific genres such as landscape, portrait, history painting, and so on are analysed. In the case of eighty-three painters there is sufficient information to allow the profiling of individual price trends. But other quantitative data drawn from the examination of collections or catalogues raisonnés prove an additional source of information when compared with auction prices. This book shows what big data and statistics can mean to our understanding of art. Peter Carpreau studied Art History at the University of Leuven and the Sorbonne Paris IV. Today he is Head of the Old Masters Departement of the M Museum in Leuven.

approx. 296 p., 82 b/w tables, 220 x 280 mm, 2017, ISBN 978-1-909400-48-1 Hardback: approx. € 110 Series: Collectors and Dealers, vol. 3 In Preparation

COLLECTORS & DEALERS

35

The Inventory Of King Henry VIII

Arms, Armour and Ordnance Maria Hayward, Philip Ward (eds)

T

he Inventory is not only a catalogue of magnificence but also a key text for evaluating the successes and failures of the Tudor monarchy. Henry VIII had extravagant ideas of image and authority and loved his possessions, amongst which where over 2,000 pieces of tapestry, 2,028 items of gold and silver plate and 41 growns. Although he left the country with heavy debts and an empty exchequer, he was far from bankrupting the monarchy as some scholars have suggested. Indeed the Inventory allows us to calculate that at the time of his death the contents of his palaces and wardrobes

were worth about £300,000 and the military and naval stores a further £300,000. Most of what the King owned has unfortunately since disappeared. Yet the Inventory tells us what once existed, enables us to identify surviving objects and also helps once belonged to hem. The transcription of the inventory is accompanied by a historical introduction, a glossary of technical terms, and an exhaustive Index which is a major tool of scholarship in its own right. The essays will be accompanied by an introduction, full bibliography and index.

xxviii + 512 p., 230 x 280 mm, 2017, ISBN 978-1-905375-43-1 Hardback: approx. € 150 Series: The Inventory of King Henry VIII In Preparation

36

THE INVENTORY OF KING HENRY VIII

Field Armor of King Henry VIII of England, Unknown Artist The Metropolitan Museum, New York

37

An Index Of Images In English Manuscripts From Chaucer To Henry VIII

Oxford College Libraries Fascicle I: All Souls - Lincoln Lynda Dennison

T

his is the eighth volume in a continuing series of publications listing and identifying all illustrations contained in English manuscripts from the time of Chaucer to Henry VIII. The present fascicle is the first of two which catalogues manuscripts of the College libraries of the University of Oxford. It includes entries for 310 manuscripts for eleven of the colleges. It is the first such study to be undertaken describing all decorative aspects of English manuscripts in Oxford college libraries in the period and it includes 176 manuscripts not recorded by Alexander and Temple and many not previously researched from the viewpoint of pictorial information. Scribes working in pen and ink, rather than pictorial decorators with colours and gold, were responsible for

much of the inventive imagery which equals that in miniatures in pigment. Pen and wash drawings are also represented as well as fully-painted miniatures which are mostly confined to devotional books in this Index. The entries in the catalogue note the subject-matter of every illustration in each manuscript, from full-page miniatures and historiated initials to marginalia, added drawings and nota bene signs. A comprehensive index of pictorial subjects provides readers with complete references to the pictorial content with thematic groupings. The volume includes a users’ manual, an extensive glossary of subjects and terms and indexes of authors / texts and manuscripts with coats of arms. There are forty-four black and white illustrations.

210 x 270 mm, 2017, ISBN 978-1-872501-43-7 Paperback: € 70 Series: An Index of Images in English Manuscripts from Chaucer to Henry VIII, vol. 8 In Preparation

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AN INDEX OF IMAGES IN ENGLISH MANUSCRIPTS FROM CHAUCER TO HENRY VIII

Tributes

Tributes to Adelaide Bennett Hagens Manuscripts, Iconography, and the Late Medieval Viewer Pamela A. Patton, Judith K. Golden (eds)

H

onoring the fifty-year career of Adelaide Bennett Hagens at the Index of Christian Art, this volume gathers essays by leading specialists in the field of Gothic manuscripts and related art forms. Centered on the reciprocity between medieval pictures and their viewers, the collection sheds new light on what the seminal art historian Michael Camille memorably described as the “image explosion” of the later Middle Ages. Contributors include François Avril, Paul Binski, Brendan Cassidy, Laura Cochrane, Stephen Cooper, Christiopher De Hamel, Lynda Dennison, Libby Escobedo, Paula Gerson, Judith Golden, Gerald Guest, Michael Michael, Nigel Morgan,

Judith Oliver, Beatrice Radden-Keefe, Alexa Sand, Lucy Freeman Sandler, Jessica Savage, Elizabeth Sears, Alison Stones, Leslie Bussis Tait, Elizabeth Valdez del Álamo, and William Voelkle. Pamela A. Patton is Director of the Index of Medieval Art and a specialist in the visual culture of later medieval Iberia. Judith K. Golden is an Art History Specialist at the Index of Medieval Art, with a specialization in French and English manuscripts of the thirteenth and fourteenth centuries.

Table of Contents: www.brepols.net

vi + 376 p., 15 b/w ills, 224 col. ills, 220 x 280 mm, 2017, ISBN 978-1-909400-79-5 Hardback: € 125 Series: Tributes, vol. 9 Available

TRIBUTES

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PUBLISHED OUTSIDE A SERIES

Africans in English Caricature 1769–1819 Black Jokes White Humour Temi Odumosu

B

etween 1769 and 1819 London experienced an unprecedented growth in the proliferation of texts and images in the popular sphere, engaging learned citizens in discussion and commentary on the most pressing social and political issues of the day. From the repeal of the Stamp Act to the French revolution, the local Westminster election or the abolition of the slave trade, these prints, political pamphlets, plays, novels and periodicals collaborated (sometimes intentionally) in critique, praise and assessment of the country’s changing socio-economic climate.

A

frican people were a critical aspect of this world of images, and their presence conveyed much about the implications of travel, colonialism and slavery on the collective psyche. Whether encountered on the streets of the city, in opulent stately homes, or in tracts describing the horrors of the slave trade, the British paid attention to Africans (consciously or not), and developed a

means of expressing the impact of these encounters through images.

S

cholarship has begun to interrogate the presence of Africans in British art of this period, but very little has been written about their place in visual and literary humour created in a metropolitan context. This book fills this scholarly lacuna, exploring how and why satirical artists both mocked and utilized these characters as subversive comic weaponry. Dr. Temi Odumosu is an art historian, educator, and cultural strategist focussed on diversifying and transforming communications practices. Her international research and curatorial interventions have been concerned with identity politics, Black aesthetics, and the psychosocial consequences of distorted representations.Working in the spaces between archives, memory and the creative imagination, she also uses technology as a tool for activating and bringing to life history and culture in the present.

224 p., 49 b/w ills, 88 col. ills, 220 x 280 mm, 2017, ISBN 978-1-909400-50-4 Hardback: € 100 Available

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PUBLISHED OUTSIDE A SERIES

The Prints of Paul Sandby (1731-1809) A Catalogue Raisonné Ann V. Gunn

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orn in Nottingham, Paul Sandby (17311809) is best known as a founder member of the Royal Academy and a prominent figure in the development of British watercolour painting. However, he was also one of the most prolific and inventive printmakers in eighteenth-century Britain. From his early years as a draughtsman for the military survey of Scotland, and later from his extensive tours throughout England and Wales, he depicted the people, towns, castles and landscapes of the nation. He provided the public with images of their country which contributed to the emerging appreciation of native landscape, to antiquarian interests, and to the development of picturesque tours within the British Isles.

A

lthough he never travelled abroad, he reproduced the work of fellow artists who had,

tapping into the Grand Tour market with prints of Ionian antiquities, Neapolitan landscapes and the Roman carnival. But his work encompassed more than landscape; he could move from the pastoral humour of illustrations to Allan Ramsay’s poem The Gentle Shepherd, through the urban realism of his Cries of London to the merciless satire of his attacks on William Hogarth.

F

rom the 1740s to the 1780s he made over 380 prints: engravings, etchings, soft ground etchings and finally aquatints, a medium in which he was a pioneer. Aquatint enabled printmakers to reproduce the effects of watercolour paintings; Sandby gave the process its name and developed varied techniques which allowed the exact reproduction of the artist’s brush strokes, producing some of the most beautiful prints ever made in this medium.

iv + 339 p., 84 b/w ills, 444 col. ills, 300 x 240 mm, 2016, ISBN 978-1-909400-16-0 Hardback: € 150 Available

PUBLISHED OUTSIDE A SERIES

41

SELECTED TITLES previously published by Harvey Miller

THE EPIPHANY OF HIERONYMUS BOSCH Imagining Antichrist and Others from the Middle Ages to the Reformation

JAN VAN KESSEL I (1626-1679) Crafting a Natural History of Art in Early Modern Antwerp

A SURVEY OF MANUSCRIPTS ILLUMINATED IN FRANCE Renaissance Manuscripts The Sixteenth Century

ISBN 978-1-909400-23-8

2 vols, ISBN 978-1-872501-30-7

THE PAPER MUSEUM OF CASSIANO DAL POZZO Birds, Other Animals and Natural Curiosities

CORPUS RUBENIANUM LUDWIG BURCHARD Portraits After Existing Prototypes

2 vols, ISBN 978-1-909400-60-3

ISBN 978-1-909400-58-0

PICTURING LUDWIG BURCHARD (1886-1960) A Rubens Scholar in Art-Historiographical Perspective

THE BARGELLO PALACE The Invention of Civic Architecture in Florence

EARLY NETHERLANDISH PAINTING IN BUDAPEST

ISBN 978-1-909400-31-3

Vol. II: 978-1-909400-29-0

ISBN 978-1-909400-55-9

42

Vol. I: 978-1-909400-09-2

ISBN 978-1-909400-20-7

TRIBUTES TO JEAN MICHEL MASSING Towards a Global Art History 978-1-909400-38-2

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