Catalogue of the Wallace Collection of eighteenth-century French furniture. Covers the materials, construction and decoration of each piece, with an account of its history and a commentary on its dating, style and maker.
The Wallace Collection is both a national museum and the finest private collection of art ever assembled by one family. It was bequeathed to the nation in 1897 by Lady Wallace, widow of Sir Richard Wallace, the illegitimate son of the fourth Marquess of
* An insightful introduction to The Wallace Collection's abundant treasures and the fascinating history of its Founders, the first four Marquesses of Hertford and Sir Richard Wallace* The seminal collection encompasses paintings by artists such as Titian, Rembrandt, Hals (The Laughing Cavalier) and Velázquez* Beautifully illustrated in full color throughoutThe Wallace Collection owns one of the finest collections of fine and decorative arts in the world. This splendid book provides a marvelous introduction to the museum's treasures and the fascinating history of its Founders, the first four Marquesses of Hertford and Sir Richard Wallace. The Collection is best known for its paintings by artists such as Titian, Rembrandt, Hals (The Laughing Cavalier) and Velázquez and for its outstanding collection of eighteenth-century French paintings, porcelain, furniture and gold boxes, probably the best to be found anywhere outside of France. But visitors can also enjoy superb medieval and Renaissance objects, including Limoges enamels, maiolica, glass and bronzes, as well as the finest array of princely arms and armor in Britain, comprising both European and Oriental objects. With commentaries on more than 400 works of art, all of them beautifully illustrated, this book highlights every aspect of this great museum's extraordinary riches, providing both an excellent overview of the Collection and an enduring reference to many key themes in European art.
As the East India Company extended its sway across India in the late eighteenth century, many remarkable artworks were commissioned by Company officials from Indian painters who had previously worked for the Mughals. Published to coincide with the first UK exhibition of these masterworks at The Wallace Collection, this book celebrates the work of a series of extraordinary Indian artists, each with their own style and tastes and agency, all of whom worked for British patrons between the 1770s and the bloody end of the Mughal rule in 1857. Edited by writer and historian William Dalrymple, these hybrid paintings explore both the beauty of the Indian natural world and the social realities of the time in one hundred masterpieces, often of astonishing brilliance and originality. They shed light on a forgotten moment in Anglo-Indian history during which Indian artists responded to European influences while keeping intact their own artistic visions and styles. These artists represent the last phase of Indian artistic genius before the onset of the twin assaults - photography and the influence of western colonial art schools - ended an unbroken tradition of painting going back two thousand years. As these masterworks show, the greatest of these painters deserve to be remembered as among the most remarkable Indian artists of all time.
This is the first fundamentally new work to come out in half a century on one of the world's most famous Islamic archaeological sites: Samarra, in Iraq. This capital of the Abbasid caliphs in the 9th century is not only one of the largest urban sites worldwide, but also gives us the essence of what the physical appearance of the caliphate was like, for early Baghdad is long lost. Northedge sets out to explain the history and development of this enormous site, 45 km long, using both archaeological and textual sources to weave a new interpretation of how the city worked: its four caliphal palaces, four Friday mosques, cantonments for the military and for the palace servants, houses for the men of state and generals.
Until now, Camillo Palladini's manuscript for his discourse on fencing was housed in the De Walden Library at the Wallace Collection in London. Hitherto unpublished and largely unknown, it is of central importance to a modern understanding of Italian rapier play in the sixteenth century. This stunning book, a joint endeavour between the Royal Armouries and the Wallace Collection, reproduces the forty-six red chalk illustrations in the manuscript--only three of which have ever been seen in print--together with a transcription and translation of the original Italian text. Perfect for students of fencing, lovers of Italian art, sixteenth-century researchers, and historical reenactors and interpreters, The Art of Fencing: The Forgotten Discourse of Camillo Palladini showcases a striking example of Renaissance swordsmanship.