Accompanying an exhibition at Les Enluminures, New York, this lavish catalogue presents an extraordinary collection of diamonds from the king of gems, Benjamin Zucker, one of New York’s leading dealers in diamonds and precious stones. Benjamin Zucker’s remarkable story unfolds over three generations of diamond dealers. Arriving in New York in 1941, he had the benefit of the training of his grandfather, a leading expert in uncut diamonds in Antwerp, and his uncle, one of the foremost dealers of diamonds in the Far East. Some of the world’s most famous diamonds, such as the Wittelsbach Diamond, passed through the hands of the Zucker family. Armed with the family “know-how”, Benjamin Zucker formed a collection that “has taken a lifetime of patience, money, and unquenchable enthusiasm”, according to Diana Scarisbrick. As Mr. Zucker himself says “diamonds will always be a magical window facing the invisible world”. Put together over more than forty-five years, this truly rare and immensely valuable collection includes thirty-five precious jewels mostly made for European patrons – rings, brooches, hairpins, earrings. It tells the story of the Indian diamond over a period of nearly 600 years, ending before the discovery of mines in Brazil, a source that displaced India and inaugurated a new age of diamonds. Starting with the octahedral diamond, the collection includes outstanding examples of world-class importance showing how jewelers gradually captured more and more of the allure of these indomitable gems, evolving from point to table to rose to brilliant cuts. The success of the brilliant cut (close to our cuts today) eclipsed the earlier shapes, many of which were recut to “modernize” them, with the result that the earlier cuts of “old mine” diamonds included here are exceedingly rare. Most of these jewels are published. Many of them have been exhibited in prestigious museums such as the Walters Art Museum, the Yale Peabody Museum of Natural History, the Museum of Fine Arts, Houston, and most recently the Metropolitan Museum of Art. As assembled in the present collection they have never been displayed together and have never been offered for sale. This lavish publication by the leading scholar in the field accompanies the exhibition. It is written by Diana Scarisbrick, celebrated jewelry historian and author of Diamond Jewelry: Seven Hundred Years of Glory and Glamour (September 2019).

Diamonds: the Collection of Benjamin Zucker

Arts & Photography

SCARISBRICK, Diana

Collections, Catalogs & Exhibitions

Paul Holberton Publishing

Jacopo Tintoretto (1518–1594) was among the most distinctive artists of the Italian Renaissance. Yet, although his bold paintings are immediately recognizable, his drawings remain unfamiliar even to many scholars. Drawing in Tintoretto’s Venice offers a complete overview of Tintoretto as a draftsman. It begins with a look at drawings by Tintoretto’s precedents and contemporaries, a discussion intended to illuminate Tintoretto’s sources as well as his originality, and also to explore the historiographical and critical questions that have framed all previous discussion of Tintoretto’s graphic work. Subsequent chapters explore Tintoretto’s evolution as a draftsman and the role that drawings played in his artistic practice―both preparatory drawings for his paintings and the many studies after sculptures by Michelangelo and others―thus examining the use of drawings within the studio as well as teaching practices in the workshop. Later chapters focus on the changes to Tintoretto’s style as he undertook ever larger commissions and accordingly began to manage a growing number of assistants, with special attention paid to Domenico Tintoretto, Palma Giovane, and other artists whose drawing style was influenced by their time working with the master. The book is published in conjunction with the exhibition Drawing in Tintoretto’s Venice, opening at the Morgan Library &amp; Museum, New York, in 2018 and travelling to the National Gallery of Art, Washington, in early 2019. All of the drawings in the exhibition are discussed and illustrated, and a checklist of the exhibition is also included in the volume, but the book is a far more widely ranging account of Tintoretto’s drawings and a comprehensive account of his work as a draftsman.

Drawing in Tintoretto’s Venice

Marciari, John

History & Criticism

This catalogue describes, in detail, 151 paintings and 60 drawings of the British, German, Italian and Spanish schools. It includes works by Gainsborough, Lawrence, Reynolds, Canaletto, Guardi, Andrea del Sarto, Titian, Murillo and Velazquez, along with 10 oils and 25 watercolors by Bonington.

Wallace Collection. Volume 1: Catalog of Pictures

Ingamells, John

This second volume in the catalogue describes 134 paintings and 57 watercolors by French artists, representative of the taste of the official Salon between 1820 and 1860. The artists represented are Decamps, Delaroche, Meissonier, Vernet, Delacroix, Dupre, Gericault and Theodore Rousseau. The subjects include Eastern scenes, the Napoleonic legend and themes from the great romantic writers, such as Scott and Byron. An illustrated introductory essay examines the attitude to contemporary French painting of the 4th Marquess of Hertford, the chief collector of the works represented.

Wallace Collection. Volume 2: Catalog of Pictures

This third volume in the catalogue features 144 paintings and 8 drawings and watercolors, 140 of which date from the 18th century. The collection includes 19 paintings by Boucher, eight by Fragonard and 7 by Watteau. There are also works by Poussin, Claude and Philippe de Champaigne. An introductory essay describes the circumstances in which the 4th Marquess of Hertford, the chief collector of the works represented, collected his French 18th-century paintings.See:

Wallace Collection. Volume 3: Catalog of Pictures

The fourth volume of this catalogue focuses mainly on Dutch and Flemish oeuvres of the 17th century and includes 219 paintings and two drawings. of which 173 are Dutch and 48 are Flemish. They include pictures by Rembrandt, Rubens, van Dyck, ter Borch and Ruisdael. There is also an introductory essay, which explores 19th-century taste as it is reflected in the selection of Dutch and Flemish pictures in the Wallace Collection.

Wallace Collection. Volume 4: Catalog of Pictures

This book discusses each of these and illustrates all of them in color for the first time. It also provides a valuable biographical introduction with illustrations of related paintings and drawings by Bonington and his contemporaries. It will appeal not only to those who enjoy the work of this delightful artist but to anyone interested in British painting during one of its greatest eras.

Anatole Demidoff: Prince of San Donato (Collectors of the Wallace Collection)

Duffy, Stephen

HASKELL, Francis

Wenley, Robert

Edge, David

Accompanying a major international exhibition at the Wallace Collection, London (17 May – 16 September 2012), this catalogue celebrates this artistic and cultural importance of the sword, as a symbol of power and prestige, as a flamboyant fashion statement and as an icon in the Age of Discovery. It will feature weapons and related works of art from the Wallace Collection as well as other great collections of arms and armor; never-before-seen works on fencing drawn from the library of the 8th Lord Howard de Walden; and portraits, prints and drawings that will help place the Renaissance civilian sword in its social and artistic context. It will also help explore the ancient origins since the first Olympiad of the modern era of 1896, revealing a place in history where art and sport converged.

The Noble Art of the Sword: Fashion and Fencing in Renaissance Europe 1520–1630

Capwell, Tobias

This analysis of "A Dance to the Music of Time" contains information on the meaning of the painting, the evolution of its composition, its visual sources and its critical content. There is also an examination of the nature of Giulio Rospigliosi's patronage and Poussin's importance in the eyes of British art collectors. The painting has often been taken as a statement of Poussin's own philosophy, but this text argues that his contribution was rather that of a painter, giving pictorial expression to the poetic and philosophical ideas of his patron.

Dance to the Music of Time: By Nicholas Poussin

Poussin, Nicholas

Bresford, Richard

Painting

The outstanding collection of European bronze sculptures formed by acclaimed architect Peter Marino, which focuses especially on French and Italian bronzes of the High Baroque, includes masterpieces by some of the greatest sculptors of their age, among them Ferdinando Tacca, Giovanni Battista Foggini, Robert Le Lorrain and Corneille van Clève. This volume of contributions to the symposium held in June 2010 testifying to the importance of the Marino Collection includes nine essays by distinguished scholars of sculpture. Charles Avery, author of major monographs on Giambologna and Bernini, discusses the impetus behind one of the most exciting models in the Marino Collection, a Hercules and Anteaus, after Maderno. Geneviève Bresc-Bautier, Director of the Louvre Sculpture Department, examines the discovery of a large number of small pieces of terracotta sculpture, thought to be from the workshop of Andrés-Charles Boulle, which was destroyed in 1720. Anthea Brook, who has published extensively on Ferdinando Tacca, considers the attribution of a pair of small Florentine bronze hunting gropus in the Marino Collection, making the case for Damiano Cappelli – a bronze-casting specialist in the workshop of Tacca – to be considered as a sculptor capable of creating his own designs. Rosario Coppel investigates the impressive collection of small bronzes of the 3rd Duke of Alcalá (1583–1637), who was Philips IV’s extraordinary ambassador to Pope Urban VIII and later Viceroy and Captain General in Naples. Philippe Malgouyres, Curator of Bronzes, Ivories and Metals at the Louvre, discusses the bronze casts after Bernini sculpture, a little-studied subject in the wide field of Bernini studies. Jennifer Montagu, Senior Fellow of the Warburg Institute, attempts to put together and define the oeuvre of the unknown sculptor of the magnificient 15-figure group ofbronze hunters, their hounds and a bull, in the Suermondt Ludwig Museum in Aachen. Independent scholar Regina Seelig Teuwen extols Guillaume Berthelot as a sculptor of small bronzes, while Jeremy Warren, Collections and Academic Director at the Wallace Collection, discusses the challenges of cataloguing the Peter Marino Collection for the critically acclaimed 2010 exhibition.

Renaissance and Baroque Bronzes: In and Around the Peter Marino Collection (Wallace Collection)

See the best price to sell, buy or rent books by the Paul Holberton Publishing publisher. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by Paul Holberton Publishing