Set high on a ridge in historic parkland less than five miles from Trafalgar Square, Kenwood is London's favourite 'country house'. Remodelled by Robert Adam in the eighteenth century, in 1928 it became the home of the Iveagh Bequest, a superb collection of old master paintings that includes Rembrandt's most celebrated self-portrait, the only Vermeer in England outside the National Gallery and the Royal Collection, Gainsborough's Countess Howe, and classic works by Reynolds, Romney, Lawrence and Turner. The collection was formed between 1887 and 1891 by Edward Cecil Guinness, 1st Earl of Iveagh, Chairman of the world's leading brewery, who gave it to the nation with the house and estate. This book is published to mark the seventy-fifth anniversary of the opening of the Iveagh Bequest and is the first new catalogue of the collection to be produced in fifty years. It discusses each work, revealing the personalities behind the faces in the portraits, the social circumstances of each commission, and the way that art met the ambitions of artists, patrons, sitters and collectors. There are also two introductory essays that provide context for the house and discuss the ways in which Lord Iveagh was a pioneer collector. Beautifully produced, this catalogue of paintings is the essential book on Kenwood.

Kenwood: Catalogue of Paintings in the Iveagh Bequest

BRYANT, Julius

Arts & Photography

Yale University Press

With a career spanning more than sixty years, Anthony Caro (b. 1924) is one of Britain's most acclaimed and best-known sculptors. Caro: Close Up accompanies the first survey exhibition of his work in an American museum since his retrospective at the Museum of Modern Art in 1975. Although celebrated for his large, brightly painted abstract sculptures, Caro has also produced drawings and small-scale works of a more private nature throughout his career. The full range of his oeuvre includes works on paper, sculptures constructed in paper and cardboard, and abstract works of steel, bronze, and clay.
Featuring new photography of more than sixty works drawn almost entirely from Caro's studio and family collections, this publication examines the critical responses that Caro's work has elicited from the 1950s to the present and considers his role in current artistic practice. The authors explore the ways the sculptor has used the physical properties of his materials, while Caro himself discusses his exhibition and installation practices.

Caro: Close Up

Droth, Martina

History & Criticism

Trojan War: Sculptures by Anthony Caro

Spurling, John

Yorkshire Sculpture Park

Caro, Anthony

Iveagh Bequest, Kenwood (London, England)

Humanities Press/Lund Humphries Publishers Ltd.

From the Sir John Soane Gallery in London. A reference on the British sculptor Thomas Banks, this book covers his entire oeuvre, and is illustrated with photographs of his remarkably accomplished sculpture. It presents Banks in the round, and discusses the figure of the artist himself and his reputation in a period of significant transition, from the old regime.

Thomas Banks (1735-1805)

Sir John Soane"s Museum

Over the past two decades Anthony Caro has moved on from the steel sculptures with which he achieved international standing to explore the unknown ground where abstract, figurative and narrative art all meet. As this book reveals, this is not some reckless late style of an established artist determined to be provocative. Rather, these more recent works share many of the concerns of Caro's celebrated sculptures. In their human scale and physical range of reference, in their commitment to the power of expression and in their essential humanity, these sculptures provide a fresh perspective from which to recognise essential qualities of Caro's art as a whole. Published to mark his 85th birthday, this book reveals how Caro's figurative and narrative sculptures test the frontiers of abstraction.

Anthony Caro: Figurative and Narrative Sculpture

Lund Humphries

This is a boxed set of "Anthony Caro: Drawing in Space", "Anthony Caro: Interior and Exterior", "Anthony Caro: Figurative and Narrative Sculpture", "Anthony Caro: Small Sculptures", and "Anthony Caro: Presence". The box has been specially designed by Anthony Caro. Since the mid-1950s, when Anthony Caro first announced himself as a young sculptor to be reckoned with, he has restlessly explored an unpredictable range of sculptural possibilities, testing limits and positing new ideas about the nature of eloquent three-dimensional objects. Through his expansion and transformation of the legacy of construction in metal pioneered by Julio Gonzalez and Pablo Picasso, and further developed by David Smith in the USA, Caro has created a new, multivalent language of three-dimensional abstraction. The Caro pendulum has swung between extremes of linearity and robustness, abstractness and allusion. He has countered his mastery of line and transparency with investigations of our responses to mass and perceptions of interior and exterior, even experimenting with literally enterable sculptures. He has made rigorously abstract constructions that resemble nothing but themselves, intimate table-based pieces, monumental constructions like metaphorical architecture, and complex multi-part cycles of narrative works that pulse in and out of explicit illusionism. And more. The range and variety of Caro's sculpture notwithstanding, there are also common threads that run through all of his work, from the beginning of his career to the present. The five volumes in this set, each by a different critic, examine the various aspects of Caro's evolution individually, tracing the permutations of different themes - narrative, volume and mass, line and openness - throughout his work, over time. Each volume is independent and explores different territory, but cumulatively, by tracing these dominant themes, they provide new insight into the achievement of one of the undisputed giants of modernist art.

Anthony Caro: The Definitive Series on the Sculpture of Anthony Caro

Reid, Mary

The building of the Victoria and Albert Museum, begun in 1857, is the most elaborately designed and decorated museum in Britain. This book is the first to consider the V&amp;A as a work of art in itself, presenting drawings, watercolors and historic photographs relating to the Museum's 19th-century interiors. Much of this visual material is previously unpublished and is outside the canon of Victorian art and design. The V&amp;A's first Director, Henry Cole, conceived the Museum's building as a showcase for leading Victorian artists to design and decorate. This book reveals for the first time the ways in which Cole's expressed policy to 'assemble a splendid collection of objects representing the application of Fine Arts to manufacture' was applied to the fabric of the building, as he engaged leading painters such as Frederic Leighton, G.F. Watts and Edward Burne-Jones, as well as specialists in decoration such as Owen Jones and Morris and Company, to decorate and design for a building raised by engineers using innovatory materials and techniques. It represents a fascinating, untold chapter in the history of British 19th-century art, design, architecture and museums, and an essential backdrop to understanding the evolution of the Museum's early collections and identity.

Designing the V&A: The Museum as a Work of Art (1857-1909) (V&A 19th-Century Series)

Architecture

Creating the V&amp;A tells the definitive story of the formative years of London’s world renowned Victoria and Albert Museum and the gathering of its early collections in the decade between the Great Exhibition of 1851 and the death of Prince Albert in 1861. The story of the V&amp;A’s genesis is often centered on the first director and first curator (Henry Cole and J. C. Robinson), and their competing agendas for design reform and connoisseurship. And yet there is an untold story of how the young royal couple for whom it is named were highly instrumental in the establishment of the museum, as public supporters and large-scale lenders before a permanent collection was in place. The book is also full of fascinating and colorful stories of the strategies deployed to harvest treasures on the market as the young museum sought to fill its rapidly expanding buildings and compete with the British Museum and the Crystal Palace. For anyone interested in the history of collecting and curating, and for all fans of this legendary London museum, Creating the V&amp;A explains how the foundational collections established parameters which still inform the museum’s collecting policies, role, and identity today.

Creating the V&A: Victoria And Albert's Museum (1851–1861) (V&A 19th-Century Series)

By 1862, just a decade after its launch as a study collection for art and design, the Victoria and Albert Museum had become a reference resource for collectors, scholars, and art-market experts. Enriching the V&A, the final volume in a trilogy of books on the museum’s 19th-century history, describes how the young museum’s rapid growth in the following decades was driven more by collectors, agents, and dealers, through loans, gifts, and bequests than by the combined expertise, acquisitions policies, and buying power of its directors and curators. The V&A soon became a collection of collections, embodying a new age of collecting that benefitted from the break-up of historic institutions and ancestral collections across Europe. New collectors were touched by a moral imperative to collect for the home, however humble, and to share their specialist knowledge and enthusiasm by lending to the new public museums.

Enriching the V&A: A Collection of Collections (1862-1914) (V&A 19th-Century Series)

Collections, Catalogs & Exhibitions

Finest prospects: Three historic houses : a study in London topography

Iveagh Bequest, Kenwood

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