The late Frantsa Belsky, who was born in Brno in what was then Czechoslovakia, modelled four generations of the Royal Family. His first link with the Royal Family was a model of Queen Elizabeth the Queen Mother in 1962, and he created a bronze head of the Queen in 1981 for the National Portrait Gallery.His other works include the Shell Fountain on the South Bank in London and the Triga in Knightsbridge. He completed a series of sculptures of mothers with children, one of which, The Lesson, stands at Bethnal Green.Belsky was selected by a government panel to create a memorial to Lord Mountbatten of Burma in 1982, three years after he was killed by the IRA. The 9ft statue depicted Mountbatten, the Queen's cousin, in naval uniform as though on the bridge of a ship.Belsky had also already produced sculptures or portraits of the Duke of Edinburgh and Sir Winston Churchill. His statues of Churchill and President Truman stand in Missouri in the United States.

Franta Belksy: Sculpture

Arts & Photography

Belsky, Franta

History & Criticism

Philip Wilson Publishers

At the heart of this pioneering study - the result of exhaustive comparative research in Russian, European and American collections - is an illustrated catalogue which provides detailed descriptions of each work in the context of the artist's career and the broader artistic developments of the age. The condition, provenance, and previous location of the works are also detailed. The catalogue is introduced by three essays: The Russian Avant-Garde, the Hungarian Avant-Garde, and the history of the collecting of Russian Avant-Garde art. The volume concludes with artists' biographies, bibliographical information, a glossary and index. A catalogue of 59 works, written by two of the most eminent scholars in the field.

Twentieth-Century Russian and East European Painting: The Thyssen-Bornemisza Collection

Misler, Nicoletta

Bowlt, Johne E.

A fully illustrated publication on a significant artist who was a central figure of the Neo-classical movement.

Anton Raphael Mengs 1728-79 and his British Patrons

Roettgen, Steffi

This publication lists over 5,000 scientific instrument makers and retailers working in the British Isles, together with a further 10,000 names of apprentices and associates. The directory transforms our understanding of the history of the scientific instrument-making trades in Britain.Each entry includes estimated working dates, specific trades, addresses, training, apprentices, types of instruments made and brief biographical details. As such this volume not only provides essential information for collectors, dealers, museum curators and scholars, but it will also have much to offer economic, social and family historians, with its evidence about master-apprentice links, trade connections and family relationships.

Directory of British Scientific Instrument Makers 1550-1851

Science & Math

The fruit of sixteen years of discriminating acquisition on the international art market, Robert Smith's is one of the most important collections of European bronzes in private hands today. Consisting of thirty pieces, all of the highest quality, it embraces the Renaissance in Italy and northern Europe in such a way that its components complement and enhance the appreciation of each other. Central to the collection is a group of thirteen pieces that illustrate the legacy of Giambologna in Florence, including the superb Nessus and Deianira by his pupil Antonio Susini, and the Hercules and Lichas, a unique record in bronze of a lost silver group by Giambologna himself. Around this are assembled pieces by independent contemporaries: Alessandro Vittoria and Francesco Segala in the Veneto, and the younger Genoese-born Niccolo Roccatagliata, whose surviving work is of the utmost rarity. A selection of fine early North Italian bronzes serves as an introduction to the collection, and the Netherlands and France are well represented - the former by Willem van Tetrode (who briefly worked with Cellini in Florence) and Jan Gregor van der Schardt; the latter by Barthelemy Prieur, official sculptor to Henry IV.

Bronzes 1500-1650: The Robert H. Smith Collection

Radcliffe, Anthony

Collections, Catalogs & Exhibitions

Between 1850 and 1900 fashion in Paris became an art form in itself, its designers inspired to creations of ever greater elegance and exoticism by the examples of the Old Masters and the popular painters of the day. But as art inspired fashion, so fashion served as a muse for art: painters from Courbet to Whistler, from Manet to Vuillard borrowed the poses of their models from the fashion plates of the day, and embraced the intimate scene - a walk in the garden, a visit from a friend - so typical of the genre. The dialogue between fashion and art is illustrated here by some 120 paintings - works by Ingres, Tissot, Renoir, Manet, Monet, Seurat and Degas among them - and a clutch of hitherto unpublished photographs from the recently discovered archive of Disderi.

Fashion in Art: The Second Empire and Impressionism

Simon, Marie

The authoritative and comprehensive text features countries not previously covered in other books, a new chapter on limited editions, and a chapter on materials from 1833 to the present day which defines processes such as lacquering, guilloche engraving and plastic identification. The development of design and logos is illustrated by specially produced line drawings. The text is complimented by many period advertisements. Fountain Pens of the World provides more information on pens and illustrates more pens than any other book on the subject.

Fountain Pens of the World

Lambrou, Andreas

The Ottocento (literally ""eight hundred""), or the nineteenth century, witnessed the creation of a united Italy. This century, which was the age of nationalism throughout Europe, gave birth to modern Italy as a definable political entity after a long period of regional fragmentation and foreign domination. The political struggle for unification was known as the Risorgimento, meaning to rise up again (evoking similar powerful alliterative like renaissance and resurrection). The term was chosen because Italians hoped that their land might overcome internal political divisions and regionalism to regain the prominent place in Western Civilization it had enjoyed during the Roman and Renaissance times, when the Italic peninsula had been a rich and vital center. The Ottocento was an epoch of major upheavels and drastic changes, or revolutions, in the fabric of Italian thought and society, not least in the area of the arts, especially painting. One of the major themes of this exhibition is that the art of the epoch reveals a national consciousness long before Italy's actual political unification in 1870. A second them is that Italian artists were not as isolated as formerly thought (as a perusal of the biographies of the artists included in the exhibition as well as those of other Ottocento artists reveals). They participated in broader European crosscurrents, though always painted with a decidedly Italian timbre. When they adopted overly Italianate subjects and styles, it was frequently as an intentional regional and/or nationalistic statement. Sometimes to avoid censureship they employed Italian historical subjects as a guise for contemporary political issues. A third theme of the exhibition is that the entire century, and thus the risorgimiento itself, was motivated vy a romantic spirit. A seminal factor was the city of Rome, a cosmopolitan centre from the mid-eighteenth through the mid-nineteenth centuries for native and foreign artists alike. Even in the second half of the nineteenth century, when artists also visited Paris, then preeminent in the art world, and travelled extensively throughout Europe, Rome remained an artistic mecca and an eloquent muse.

Ottocento: Romanticism and Revolution in 19th Century Italian Painting

Olsen, Roberto J.M.

Art at Auction: The Year at Sotheby Parke Bernet

GILL, Brenda et al. (edit by Diana de Froment)

Caslon Old Face Roman and Italic cast entirely from matrices produced from the original punches engraved in the early part of the eightennth century in Chiswell Street London by William Caslon

William Caslon

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