Rogier van der Weyden stands besides Jan van Eyck as the foremost painter of the fifteenth century. His success begins around 1453 when he leaves his native Tournai to settle in Brussels as official painter to the city. There, he became the most highly regarded and influential of all fifteenth century Northern-European artists. Van der Weyden's trademark, his controlled, emotional and sensual imagery, inspired countless contemporaries working in diverse artistic disciplines.
This magnificent book, published to coincide with an exhibition in Leuven - Belgium, explores the exceptional work of this great Early Netherlandish painter. It illustrates the masterpieces of Rogier van der Weyden and his contemporaries from major European and North American collections and offers a unique overview of the master's oeuvre.

This survey of Rembrandt's extraordinary achievement as a draughtsman fills in the gap in the otherwise enormous literature on Rembrandt. More than 150 drawings-mostly illustrated in colour-made during every phase of his activity, are divided by subject into sixteen chapters: self-portraits, the life of women and children, religious subjects, landscapes, animals, nudes, etc.
Rembrandt himself set the precedent for such a thematic arrangement. An exhaustive inventory that was made of the mature artist's effects tells us he kept many of his own drawings of different subjects in separate portfolios and books, and thereby clarifing his astonishing range as draughtsman.
Seymour Slive's profound knowledge of his subject enables him to guide the reader deftly through the wonders of this famously tricky terrain.

This beautifully illustrated publication is the accompanying scholary catalogue to a unique exhibition being shown at Museum Valkhof, Nijmegen (NL) in the autumn of 2009 and thereafter in New York.
"The Hours of Catherine of Cleves" is arguably the most beautiful and interesting manuscript ever to be produced in the Northern Netherlands. It was illuminated with spectacular miniatures and borders in glistening gold and sumptuous colours around 1440 for Catherine of Cleves, Duchess of Guelders, by an exceptionally gifted but anonymous artist.
The exhibiton is dedicated to this extraordinary Book of Hours, its patron and the illuminator who created it, and shows not only over a 100 leaves with miniatures and borders from this spectaular manuscript, but also presents a cross-section of the oeuvre of the artist, his sources of inspiration and work by contemporary artists.

This richly illustrated art historical publication accompanies the once-in-a-lifetime exhibition "The Hours of Catherine of Cleves; Devotion, Demons and Daily Life in the Fifteenth Century" which is on view in the autumn of 2009 at the Valkhof Museum in Nijmegen (NL) and thereafter, begining in January 2010, at the Morgan Library and Museum in New York.
Numerous illustrations and four accessibly written essays guide the reader into the world of the Book of Hours and the Master of Catherine of Cleves. In addition to these essays, this well designed publication contains a reconstruction of the original programme of decoration in "The Hours of Catherine of Cleves", as well as a series of colour plates, in which nearly 40 folios from the manuscript are represented in their original size, each accompanied by a detailed commentary.

There is also a Dutch & German language edition.

Andreas Schelfhout was ongetwijfeld de belangrijkste en meest succesvolle landschapschilder uit de periode van de Romantiek. Hij schiep een groot oeuvre en vervulde een belangrijke rol in het culturele leven van zijn tijd. Deze uitvoerig geannoteerde en fraai geïllustreerde biografie geeft een, vaak ontwapenend, beeld van de kunstenaar als echtgenoot, vader, vriend, leermeester, kunstbroeder en Hagenaar. Uiteraard wordt het levensverhaal van Schelfhout geplaatst in de context van het Nederlandse kunstleven in de negentiende eeuw. Het boek gaat bijvoorbeeld uitgebreid in op de betekenis van kunstverzamelaars en kunstgenootschappen voor Schelfhouts leven en werk. Aan de hand van eigentijds bronnenmateriaal laat Cyp Quarles van Ufford op overtuigende wijze zien dat Schelfhout meer was dan ‘een navolger van Hobbema en Ruisdaal’ of ‘een voorloper van de Haagse School’. Dit boek geeft Schelfhout zijn eigen welverdiende plaats in de Nederlandse kunstgeschiedenis terug.

Andreas Schelfhout (1787-1870) was without a doubt one of the most important and most successful landscape painters of the Dutch romantic period. This historically grounded and authorative publication places Schelfhout in his rightful place in the Netherlands art history.

This book present a fascinating insight into Dutch 19th century art, drawing on the Rijksmuseum's outstanding collections. One hundred carefully selected objects provide an eclectic and sometimes unexpected picture of the art of this periiod. They include work by celebrated and lesser-known artists adn sculptors like Adriaan de Lelie, Cornelis Kruseman, Jan Willem Pieneman, Louis Royer, Barend Koekkoek, Jacob Maris, Jozef Israëls, Vincent van Gogh and Piet Mondriaan. The book also examines the striking decorative arts of the century as expressed in furniture, silver, dress and porcelain. Photography, the new 19th century art form is also well represented.

There is also a Dutch language edition

An historic publication. The culmination of fifteen years of new research and superseding all previous editions in its ambition and up-to-date scholarship.

You can view the digital folder here.

The subscription price of € 325.00 is valid until December 31 2009; thereafter the price will be € 395.00

There is also a Dutch Language Edition

Gedurende vijftien jaar werkten het Van Gogh Museum in Amsterdam en het Huygens Instituut in Den Haag aan deze nieuwe wetenschappelijke teksteditie van de briefwisseling; een editie die beantwoordt aan de meest geavanceerde en kwalitatief hoogstaande eisen op het gebied van tekstedities. Het resultaat is een volledige, moderne uitgave van de correspondentie die de huidige stand van kennis weerspiegelt.

Het Brievenproject is het meest ambitieuze project dat ooit door het Van Gogh Museum is geïnitieerd.
Deze uitgave van de brieven is vernieuwend op de volgende punten:
- Een nieuwe, zo dicht mogelijk bij het origineel staande tekst volledige annotatie van de brieven.
- Afbeeldingen van alle kunstwerken die ter sprake komen
- Nieuwe dateringen van de brieven
- Een volledig geredigeerde Nederlandse vertaling van de Franse brieven

Voor de eerste keer worden bij de brieven alle werken waarmee Van Gogh naar verwijst: de werken waarmee hij bezig was alsook de kunstwerken die hij zag, waarover hij dacht en schreef. In totaal worden meer dan 2000 werken geïllustreerd waarvan meer dan 600 schilderijen en tekeningen van Van Gogh zelf. De overige werken zijn van kunstenaars die Van Gogh inspireerden, zoals de zeventiede-eeuwse meesters Rembrandt, Rubens en Frans Hals, en negentiende -eeuwse voorlopers en tijdgenoten als Millet, Daubigny, Corot, Gauguin, Signac en Pissarro.

Intekenprijs tot 3 januari 2010: € 325, daarna € 395,-
Eenmalige oplage

Jan Lievens (1607-1674) was among the most fascinating and enigmatic Dutch artists of the seventeenth century. Daringly innovative as a painter, printmaker, and draftsman, he created powerful character studies, formal portraits, religious and allegorical images, and landscapes that were highly esteemed by his contemporaries.
Influenced by the Utrecht Caravaggisti, particularly Gerrit van Honthorst, he soon formed a close, symbiotic relationship with his talented compatriot Rembrandt van Rijn. Lievens moved to London in 1632 to paint at the court of King Charles I, where he worked closely with Anthony van Dyck. He then moved to Antwerp in 1635 and to Amsterdam in 1644, each time adapting his style and subject matter to suit patrons that included the Catholic Church as well as private citizens from the highest social, political, cultural, and business circles.
This beautiful book covers the full range of Lievens' career, featuring fifty-five paintings - many of then newly discovered and a significant number from private collections - along with more than seventy-five prints and drawings. It provides a much deserved and needed reassessment of Lievens' place in the history of art.

Jacob van Ruisdael (1628/29-1682) is arguably the best known landscape artist of the Golden Age. Around 1650 a development occurred in his work which was to radically change the character of the Dutch landscape. Particularly in his paintings which depict the German castle of Bentheim, you notice that the artist has manipulated reality in a most brilliant fashion. Now in the exhibition Greetings from Bentheim, Jacob van Ruisdael at the Mauritshuis, The Hague, the painter’s finest scenes of Bentheim have been drawn together. This is the first time an exhibition has been devoted to this specific theme of Van Ruisdael’s oeuvre.

There is also a Dutch language edition

Amsterdam’s history is recorded in its extraordinarily rich artistic heritage. Wealthy citizens, civic guards and governors of the city’s institutions commissioned leading artists to paint their portraits; surgeons posed for artists in depictions of anatomy lessons.The city’s principal locations were captured in paint by the great Dutch masters.
Superb paintings were assembled in magnificent houses along the canals and by numerous civic institutions. Later, Amsterdam itself became one of the biggest collectors of art. Some of its citizens left their entire collections to the city.
Amsterdam’s paintings include around a thousand works dating from before1800, with numerous examples from the oeuvres of celebrated artists such as Rembrandt, De Hooch,Van der Helst, Flinck, Backer, Bol and Ruisdael.
Amsterdam’s Glory presents some of the finest works from the Amsterdam Historical Museum, described and illustrated in colour. Paintings that provide a unique insight into Amsterdam’s history and its citizens in a bygone age.

There is also a Dutch language edition

"The famous Frits Lugt collection, which is to be found in the Institut Néerlandais in Paris, comprises the almost complete graphic oeuvre of Rembrandt. This unique collection of etchings, assembled largely between 1920 and 1935 by the Rembrandt authority Frits Lugt, is characterised by early states and exceptional printings. Every item has been chosen with a profound sense for its pictorial quality. Research into the provenance shows that most of the prints come from famed collections.
Erik Hinterding is the author of this English-language catalogue covering the entire collection. Thanks to his years of research into the watermarks, copper plates and paper, a great deal has come to be known about the production and distribution of Rembrandt’s prints. Precise descriptions of the prints and his discoveries provide a new stimulus for further research.
The catalogue consists of a text and plate volume. The colour reproductions of the etchings in the plate volume are, with only a few exceptions, prepared directly from the originals. At the end of the text volume there are x-ray reproductions of around a hundred watermarks." (Publishers text)

This very well designed catalogue is unique in the history of publications about Rembrandt; all of the etchings have been newly lithographed from the originals and the scholarly research makes it a must for art-historians, collectors and interested amateurs.

"This book is the catalogue of the drawings by Vincent van Gogh that are currently (2007) in the care of the Kröller-Müller Museum. Starting in 1917 the drawings were catalogued a few times to a greater or lesser degree, first by Mr. & Mrs. Kröller Müller and later by the museum, but always in combination with the paintings that were part of their collection. Before the Second World War, H.P. Bremmer was involved in the cataloguing process, and after the war four members of the museum staff took responsiblity for four different (English) editions: Louis Gans for the 1959 edition, Franck Gribling for the edition of 1966, Ellen Joosten for that of 1970 and Paul Hefting for the last, which came out in 1980.
Now for the first time the drawings have been studied on their own. The information gathered here presents an overview of the present scholarship concerning these drawings and also incorporates the results of recent art historical research on the authenticity of the works, their dating, their provenance and the exhibitions in which they appeared.
This book differs in many ways from the last collection catalogue that was published 27 years ago." (From the Preface by Evert van Straaten, Director of the Kröller-Müller Museum.)

There is also a Dutch edition.

Portrait art of Holland’s Golden Age is one of the most fascinating phenomena in the history of Western art, distinguished by a powerful realism, an immense diversity and, above all, a high artistic level. The National Gallery in London and the Mauritshuis in The Hague have mounted a major exhibition on the subject in 2007. The main thread running the exhibition was the chronological development of the portrait, interwoven with several themes like the individual portrait, the double portrait, the family portrait, the group portrait, militia and regents portraits as well as children’s portraits. Within each theme a selection of works have been shown which offer imposing and also exciting juxtapositions.
This is the catalogue of an exhibition of Dutch portrait paintings from the "Golden Age" organized by the Mauritshuis in the Hague and the National Gallery in Londen. All of the exhibited paintings are illustrated in colour and have accompanying information. The texts are prefaced by three lavishly illustrated essays on the development of portraiture in the northern part of the Netherlands and the costumes worn in portraits.

There is also a Dutch language edition: Hollanders in Beeld

A remarkably versatile man, Jan van der Heyden (1637-1712) was the pre-eminent painter of cityscapes in the Netherlands and the first artist to capture all the beauty of the urban scene. Notwithstanding his achievements as an artist, Van der Heyden was even more famous in his own time as an inventor and engineer: he invented fire fighting equipment that set the standard throughout Europe for two centuries, and he perfected the street lamp. This is the first book in English devoted to Van der Heyden. It includes recent discoveries about his fascinating life and offers an introduction to his ravishing art.
The book includes a general discussion of Van der Heyden’s work, entries on 40 of his paintings, illustrations of about 100 of his paintings, as well as supplemental drawings and prints.

"This book about Jan van Huysum is a welcome acquisition for art and flower lovers alike. Not only is attention given to the painterly qualities and the art historical aspects of his work, but it includes charts identifying all the plants, flowers and animals depicted.
The Amsterdam artist Jan van Huysum (1682-1749) is one of the most important painters of fruit and flowers of all time. His work conveys unsurpassed craftsmanship, a deep attention for the subject matter as well as great refinement and subtlety. He was the best paid painter of the eighteenth century and was regarded as one of the pre-eminent artists of his time. He received commissions from many of Europe’s monarchs and aristocracy, received great acclaim during his lifetime and his work has also remained highly appreciated and expensive. His influence on European still-life art remained noticeable for at least a century after his death." (Publisher's text)

"Voor zowel kunst- als bloemenliefhebbers is deze publicatie over Jan van Huysum een aanwinst. Niet alleen wordt aandacht geschonken aan de schilderkwaliteiten en de kunsthistorische aspecten van zijn werk, maar ook zijn er schema’s opgenomen die de namen van alle afgebeelde planten, bloemen en dieren aangeven.
De Amsterdamse kunstschilder Jan van Huysum (1682-1749) is één van de belangrijkste bloemen- en vruchtenschilders van alle tijden. Zijn werk getuigt van een onovertroffen vakmanschap, van een diepe aandacht voor de objecten en van een grote verfijning en subtiliteit. Hij was de best betaalde schilder van de achttiende eeuw en werd gezien als één van de grootste schilders van zijn tijd. Hij ontving opdrachten van vele vorsten en aristocraten in Europa, verwierf grote roem tijdens zijn leven en zijn werk is ook altijd gewaardeerd en kostbaar gebleven. Zijn invloed op de Europese stillevenkunst bleef nog minstens een eeuw na zijn dood merkbaar." (Uitgevers tekst)

With the recent interest for Orientalism in art, the work of the Dutch painter Marius Bauer (1867-1932) is being rediscovered.
In 1888 he was given the opportunity to travel for the first time to Istanbul at the expense of the art dealer E.J. van Wisselingh. He returned with more than a hundred drawings and several full sketchbooks. It was the same story with his many subsequent travels. He visited, among other places, Cairo, Luxor, Jerusalem, Agra and Delhi: bustling street life, colourful local peoples and picturesque settings in what were then largely unknown destinations formed an inexhaustible source of inspiration for his spatial landscapes and exotic urban scenes. Bauer produced an extensive body of work that included paintings, water colours and etchings.
In this monograph by Bauer connoisseur André Kraayenga many new and unknown works are published that were discovered by the Bauer Documentation Foundation during a major study of the artist’s body of work.

Met de recente belangstelling voor het oriëntalisme in de kunst is ook het werk van de schilder Marius Bauer (1867-1932) herontdekt.
In 1888 kreeg hij de kans zijn eerste reis naar Istanbul te maken op kosten van kunsthandelaar E.J. van Wisselingh. Hij kwam terug met meer dan honderd tekeningen en een aantal volle schetsboekjes. Zo ging het ook met de vele reizen die volgden. Hij bezocht onder meer Caïro, Luxor, Jeruzalem, Agra en Delhi. Het drukke straatbeeld, de kleurrijke bevolking en de schilderachtige omgeving in de toen goeddeels onbekende oorden vormden een onuitputtelijke bron van inspiratie voor zijn ruimtelijke landschappen en exotische stedelijke taferelen. Bauer realiseerde een omvangrijk oeuvre van hoge kwaliteit dat schilderijen, aquarellen en etsen omvat.
In deze monografie van Bauer-kenner André Kraayenga wordt veel nieuw en onbekend werk gepubliceerd dat tijdens een groot onderzoek naar het oeuvre van Bauer door de Bauer Documentatie Stichting werd achterhaald.

"Rembrandt and the Female Nude is an important contribution to the scholarly interpretation of both the nude in general and Rembrandt’s nudes in particular. Sluijter sheds new light on art theoretical notions, attitudes towards competition, and approaches to the antique in the Dutch 17th-century.
Exploring Rembrandt’s intense dialogue with the works of predecessors and peers, the author demonstrates that, more than any other artist, it was Rembrandt’s purpose to incite the greatest possible empathy in the viewer. This had far-reaching consequences for the moral and erotic implications of the subjects Rembrandt chose to depict.
In this richly illustrated study the author presents an innovative approach to Rembrandt’s views on the art of painting, his attitude towards antiquity and Italian art of the Renaissance, his sustained rivalry with the works of other artists, his handling of the moral and erotic issues inherent in subjects with female nudes, and the nature of Rembrandt’s artistic choices." (Publishers text)

"Abraham Rademaker was the most important topographic artist of the first quarter of the eighteenth century. During his life he made thousands of drawings and prints, including a special series of drawings of Dutch castles, shown both in good condition and as ruins. About 350 of these castle drawings are from private collections and have never been published before. In this book, which is appearing to mark the Year of the Castle, these as yet unknown drawings are presented in combination with Rademaker’s other castle drawings in the same series, which now belong to many collections in the Netherlands and elsewhere. All in all there are about seven hundred drawings, depicting nearly five hundred different castles. Each page of drawings is discussed at length, and at the back of the book there is a short history of each castle with a bibliography.
This book, which will have an important function as a reference work for art and architecture historians, is primarily intended for everyone interested in drawing and/or castles."(Publisher's text)

"Abraham Rademaker was de belangrijkste topografische kunstenaar uit het eerste kwart van de achttiende eeuw. Tijdens zijn leven heeft hij duizenden tekeningen en prenten vervaardigd, waaronder een afzonderlijke reeks tekeningen van Nederlandse kastelen die zowel in welstand als in vervallen staat zijn afgebeeld. Zo'n 350 van deze kasteeltekeningen komen uit particulier bezit en zijn nooit eerder gepubliceerd. In dit boek, dat ter gelegenheid van het Jaar van het Kasteel is uitgebracht, worden deze nog onbekende tekeningen gepresenteerd en samengebracht met Rademakers overige kasteeltekeningen uit dezelfde serie, die zich inmiddels in vele binnen- en buitenlandse collecties bevinden. In totaal gaat het om zo'n zevenhonderd tekeningen, die bijna vijfhonderd verschillende kastelen in beeld brengen. Alle bladen met tekeningen worden uitvoerig besproken, terwijl achterin het boek van elk kasteel een korte biografie met literatuuropgave is opgenomen.
Dit boek, dat als naslagwerk een belangrijke functie zal hebben voor kunst- en architectuurhistorici is vooral bedoeld voor iedereen die in tekenkunst en/of kastelen is geïnteresseerd." (Uitgevers tekst)

"With more full-colour reproductions of Rembrandt’s work than any other collection, Rembrandt’s Universe is a definitive text – on Rembrandt, and on art. It is an eminently readable book, packed with information about the painter and interpretations of his work in a highly enjoyable treatment of scholarship to date. At the same time, the book addresses Rembrandt’s personal relationships; his finances; his artistic influences; his choice of subject matter; his techniques.
Celebrated in his own time as well as the present, Rembrandt’s output was prodigious, totalling around 600 paintings, 300 etchings and 2,000 drawings ranging from commissioned portraits to landscapes to religious allegories.
There has long been doubt over the precise number of works that can be absolutely attributed to the great master. Distilling centuries of debate into a single volume, Gary Schwartz provides a completely accessible overview of the central controversies and mysteries surrounding Rembrandt and his masterpieces." (Publishers text)

There is also a Dutch language edition of this book.

Until the early seventeenth century, the distribution of paintings and other art works was in the hands of the artists, but after that to an increasing extent it was taken on by specialists. The most important art dealers were active in Amsterdam, the art centre par excellence. Hendrick Uylenburgh and his son Gerrit Uylenburgh were leading figures among these dealers.
The Uylenburghs, father and son, ran an art business and at the same time headed a painters’ workshop where renowned artists worked. Rembrandt worked for this business from 1631 to 1635. He painted countless commissioned portraits and as well as historical paintings and ‘tronies’ also did grisailles and etchings. While working for this business he met Saskia Uylenburgh, a cousin of the art dealer, whom he married in 1634.
The book Uylenburgh & Son provides insight into the nature and significance of the Uylenburghs’ enterprise and also discusses their investors and customers. A great deal of new material has been found about the Uylenburgh family.
There is also a Dutch language edition.

"Rembrandt's J'accuse.
There is a conspiracy painted in Rembrandt's 'The Night Watch'. The sinister title of the painting alone suggests we should look for it. And we should listen to the sound-track of the painting. Amongst all the hullabaloo, the dogs barking, the drummer drumming, the clattering of thirteen pikes, the hallowing of Banning Cocq, the loudest sound is of a musket shot. You can see the flame of the firing, bursting forth behind the head of the foreground shining figure in yellow, who carries the head of his halberd where his prick should be, and whose belly is groped by the shadow of the hand of his companion. Where did the bullet go?" (Peter Greenaway)
This publication, which accompanied an installation at the Rijksmuseum in Amsterdam during the celebration of the 400th anniversary of Rembrandt's birth, is Greenaway's exiting story about what this world famous painting by Rembrandt van Rijn is all about and a fascinating tour in detail through what is probably the third most celebrated painting in the Western World.

"One of the most fascinating aspects of Rembrandt’s extraordinary artistic career is his suite of brooding half-length portraits of religious figures from the late 1650s and early 1660s. Painted during a difficult time in the artist’s life—when he no longer enjoyed a ready market for his works and may have turned to his deep religious convictions for solace—these images are among the most evocative Rembrandt created. For years scholars have debated whether these paintings were intended as a series. And now, seventeen of these powerful, wondrous paintings are illustrated in this book. Many have been identified as images of apostles and evangelists, but among them are also representations of Christ and the Virgin as well as saints and monks. Yet recent archival research has raised questions about attribution, the relationships among the paintings, and, in a broader sense, Rembrandt’s life and career—issues addressed by the contributors to this volume. With its lavish color images and most up-to-date research, Rembrandt’s Late Religious Portraits makes a profound contribution to the understanding of this unique and provocative body of work." (Publishers text)

"Painter, collector, diplomat, linguist, and scholar, Rubens was one of the most successful and influential artists of all time. International reknowned and revered in his day, his immensely varied output is all too often eclipsed by his reputation as the painter par excellence of the voluptuous nude. However, this master of Baroque theatricality was acclaimed for his powerful religious altarpieces and his large-scale commissions for the courts of Europe, and could also turn his hand to small, privately executed landscapes and intimate portraits of family and friends.
In this highly readable and superbly illustrated book, Susan Lawson shows how his powerfully emotive use of paint and in-depth knowledge of myth and allegory bring to life subjects both secular and religious. The enormous diversity of Rubens's oeuvre is explored in detail, from the Baroque altarpieces that made his name to his innovations in portrait and landscape, his impressive decorative commissions for the Medici cycle and the Whitehall Banqueting House and his late impassioned works in the name of peace." (Publisher's text)

"It is not widely known that many sixteenth-century Dutch and Flemish paintings were made by more than one artist. Often these are exceptionally fine works that form the highlights in the oeuvre of the individual masters. The joint paintings by the eminent Antwerp artists Jan Brueghel the Elder and Peter Paul Rubens are true masterpieces and belong to the best of what was created within the genre. For art lovers and collectors alike it was very appealing to acquire a painting that united the best qualities of these famous masters: Rubens painted the figures while Brueghel was responsible for the landscapes, flora and fauna. The extraordinary collaboration – Konstjuweelen, in kompagnie geordonnert en geschildert (Art Treasures Commissioned and Painted in Partnership) – were not made for the open market but for a select international group of connoisseurs.
Rubens & Brueghel – a working friendship draws together the most important collaborative paintings, including mythological landscapes, depictions of the Garden of Eden, allegories, and Madonna and Child with garlands of flowers and fruit. The paintings tell the remarkable story of the friendship between Rubens and Brueghel." (Publishers text)

Tjhere is also a Dutch language edition of this book.

This book offers a unique overview of Dutch 18th century art, drawing on the vast collections of the Rijksmuseum. The art production of this period is demonstrated through art works of both well-known and lesser-known artists including Cornelis Troost, Nicolaas Verkolje, Willem van Mieris, Jan Baptist Xavery, Jacob van Strij and many others. It also examines the flourishing artisan trade in the form of furniture, silver, sculptures and faïence from the factories in Delft and Weesp. This edition moreover provides information on the historical context, the world of the artist, the art collectors and the costumes of the 18th century.

Catalogue of an exhibition built around the collection of 17th.century Dutch paintings and drawings which was owned by the famous Dutch art historian Cornelis Hofstede de Groot, and which was left to the City of Groningen after his death in 1930. The collection contains paintings ascribed to Rembrandt and Carel Fabritius, as well as works from Ludolf de Jongh, Pieter Paul Rubens, & Jacob Jordaens. One of the most important aspects of the collection is a group of 117 excellent drawings many of which are from Rembrandt and his school.

Dirk (Thierry) Bouts (ca.1420-1475) Haarlem born Dutch painter who was mainly active in Leurven(Belgium), where he became official town painter in 1468. He was influenced by Rogier van der Weyden, Jan van Eyck and Petrus Christus and he had a large, very active workshop whose output in turn influenced many northern European artists. His most famous works, the Altarpiece of the Last Supper(1464-7) for the cathedral of St.Pierre and the Justice of Emperor Otto III(1470-5) for the Town Hall of Leurven belong to the most important large-scale religious & secular narrative works of the period in northern Europe.
This well documented and illustrated study contains a complete catalogue of his oeuvre and is the most significant book about him since Wolfgang Schöne's famous 1938 publication.

There is also a French edition

"Frans van Mieris the Elder, whose work was much loved during his lifetime, is one of the best-known Dutch 'fijn-schilders'(fine painters, who were prized for their smooth and meticulous style and their near-perfect rendering of materials). Like his teacher Gerrit Dou, Van Mieris was renowned at home and abroad, and his paintings fetched high prices while he was alive.
Although Van Mieris' paintings are first and foremost intended as astonishing displays of painting technique, a large part of his oeuvre is permeated with symbolic and anecdotal images that are typical of the seventeenth century. The attractiveness of his genre pieces is enhanced by the subtle interaction between the human figures he depicts.
This richly illustrated book, published to accompany the first retrospective exhibition of Van Mieris' work, provides an ideal opportunity to become acquainted with this versatile artist's qualities and his varied choice of subject matter." (Publishers cover text)

There is also a Dutch edition

About half of the work Rembrandt did in Leiden consisted of paintings, etchings and drawings showing older people. In these works an old woman is frequently portrayed who has traditionally been held to be Rembrandt’s mother, Neeltje Willemsdr. van Zuijdtbroeck. Whether Rembrandt really depicted her or whether this is a myth which has persisted for centuries is still not clear. This book discusses the creation of this myth, which although not firmly based on facts, has been an essential part of Rembrandt’s image for centuries.
The works for which Rembrandt’s mother was the model and which are reproduced in this book give an idea of the young artist’s iconographic interests. For instance, Rembrandt depicted her as a prophetess, attentively reading a book. Sometimes she plays an active role in religious or allegorical pictures. A similar model can also be recognized in paintings by Rembrandt’s friend Jan Lievens and his first pupil Gerrit Dou. By showing the paintings of these young masters, the book examines the artistic relationships between them. It offers a unique opportunity to compare early, closely related works and to gain a clearer picture of the collaboration among these artists.

There is also a Dutch edition.

The absolute highlight of medieval painting. This is how art historians and art lovers refer to miniatures of the Limbourg brothers. Even today their paintings determine our image of religious, noble and ordinary life in the Middle Ages. For the first time a retrospective is dedicated to the creators of 'Les Très Riches Heures' and 'Les Belles Heures' - world famous books of hours, made on commission for the mighty French duke Jean de Berry. The honour belongs to Museum Het Valkhof in Nijmegen, the town where the three brothers were born and received their education shortly before 1400. The ambitious exhibition 'The Limbourg Brothers; Nijmegen masters at the French court (1400-1416)' takes place from 30 August to 20 November 2005. This is the first and only time that so many original manuscripts illustrated by Paul, Herman and Johan Limbourg have been exhibited together.
For the purpose of this exhibition Museum Het Valkhof has managed to acquire about 100 loans from collections of top museums, but also from private owners, churches and monasteries across the whole world. The real treasures are the 17 original miniatures from Les Belles Heures, in addition to La Bible Moralisée de Philippe le Hardi, Les Petites Heures du Duc de Berry and the Valerius Maximus manuscript. Apart from these original book illuminations by the Limbourg brothers, one can also see manuscripts, panel paintings, sculptures and metalwork by their contemporaries and followers. These works originate from such collections as the Royal Collection of Her Majesty the Queen of England in Windsor Castle and the J. Paul Getty Museum in Los Angeles.

This profusely illustrated catalogue, containing many authoritive essays and contributions from the leading experts of this period, is a comprehensive study of one of the highpoints of European art history.

The Belgian artist Félicine Rops (1833-1898) is generally only known by a large public for his satrical drawings and engravings with an erotic and even sometimes ponographic character. The Félicine Rops Museum in Namen, Belgium has produced this extensive study of his life and work with the intention of increasing the knowledge and appreciation of his entire oeuvre which is much more extensive than only his illustrative work for nineteenth century galant and erotic literature for which he is best known.
This study by Bernadette Bonnier, conservator at the Museum, contains extensive illustrations of his paintings, drawings and engravings; there are also numerous essays regarding his life and work by leading international authorities.

This representative survey of over one hundred of Van Gogh's many drawings reveals the full extent of his remarkable talent as a draughtsman. The works have been brought together from public and private collections throughout the world with major loans from the J. Paul Getty Museum, the National Gallery of Art in Washington, the Staatliche Museen zu Berlin, the Kunsthaus Zürich and the Museum of Fine Arts in Budapest. The drawings are seldom displayed due to their sensitivity to light - some of them have not been shown in public for many years.
This catalogue, which accompanied the exhibition in the Van Gogh Museum from July to September 2005, is researched and written by Sjraar van Heugten, head conservator of the Van Gogh Museum in Amsterdam and one of the worlds leading authorities on the drawings and prints of Vincent van Gogh.
There will be an English edition of the catalogue published later this year.

Joos van Cleve (active 1505/08 - 1540/41), an accomplished and influential Netherlandish artist, and a superb technician and sensitive colourist, created some of the most attractive and endearing images in northern Renaissance painting.
This book, the first major study of Joos van Cleve in nearly eighty years, by one of the foremost authorities on his work provides a complete and up-to-date account of his life and works. John Hand discusses events in the artist's career, the increasing obscurity of his works in the centuries after his death, and their rediscovery in the nineteenth century. The author examines specific paintings, addressing a broad spectrum of topics concerning the artist's style, chronology, iconography, influences, and the wide range of his commissions.
The second part of the book is a catalogue raisonne of the paintings including workshop versions and copies, and works of problematic or doubtful attribution. Over 370 paintings are listed.

This innovative book presents a fresh view of fifteenth-century Netherlandish art and the significance of its contributions to contemporary Italian art, notably in such areas as oil painting, landscape and portraiture. Focusing on Florence, a prime centre of renaissance culture, the book explores for the first time the profound impact of Netherlandish works on Italian painters, including Leonardo, Botticelli, Filippino Lippi and Ghirlandaio.
Paula Nuttall discusses Italian ownership of Netherlandish paintings in the fifteenth century and the shared artistic concerns of Florentine and Netherlandish painters. With particular emphasis on the period 1460 to 1500, when the vogue for Netherlandish painting was at its height, the author shows that the consequences of Italian exposure to Netherlandish art were far more sweeping than has been previously understood.

"One of the finest Dutch painters of the seventeenth century, Gerard ter Borch(1617-1681) was a slightly older contemporary of Johannes Vermeer. Ter Borch's beautiful and evocative works were not only varied in subject but also unparalleled among his peers in capturing the elegance and grace of wealthy burghers, the shimmering surface of satin, the undulating rhythms of translucent lace cuffs, and the nuanced psychological interactions between figures in an interior scene". (From the cover-text)
With contributions by Alison McNeil Kettering, Arie Wallert and Marjorie Wieseman, all leading experts on Dutch art of the period, this book is the first major English language publication on Ter Borch's paintings. It presents a selection of some of the most outstanding works from each area of the artist's career and was published in association with the National Gallery in Washington and the American Federation of Arts in New York.

Carel Fabritius was one of the most talented artists of his time. His extraordinarily fluent brushwork made him Rembrandt's most brilliant pupil, and his bright palette and subtile treatment of light influenced Johannes Vermeer.
On October 12 1654 a gun-powder magazine exploded in the city of Delft. This explosion had disastrous consequences not only for the city and its inhabitants but also for the art of painting, for one of its victims was Fabritius. His studio, located a stone's throw from the powder magazine, was totally blown away, killing him and destroying an unspecified portion of his oeuvre. Nevertheless, his extant works, though small in number, are so high in quality and originality that they have earned Fabritius a place among the 'greats' of the Dutch Golden Age.
This publication, the first in many years, was published to coincide with an exhibition of his complete oeuvre at the Mauritshuis in the Hague.

"In this handsome catalogue, more than 230 painted portraits from the renowned collection of the Mauritshuis (The Hague) are reproduced and described. Besides portraits by the three great masters of seventeenth-century Dutch portraiture, Rembrandt, Hals and Vermeer - including world famous paintings such as 'The anatomy lesson of Dr.Nicolaes Tulp' and 'Girl with a pearl earring' - many other paintings from the fifteenth to eighteenth centuries are presented. They include masterpieces by Flemish masters such as Van Dyck and Rubens, and even some rare portraits by Holbein and Memling.
In the first part of this large and attractively designed catalogue, 60 portraits are discussed in great detail, while the second part contains concise entries of over 170 other paintings. The introductory essay by Rudi Ekkart discusses the genesis of this fascinating collection and points out relationships between a number of the portraits in contains." (From cover text)

This study of Albert Eckhout is a informative and well illustrated work which sheds much light on a relatively unknown painter, who together with the Dutch landscape painter Frans Post(1612-1680), worked in Brazil at the court of the Dutch Governor-General Johan Maurits van Nassau from 1636 to 1644.
Eckhout is especially known for his true-to-life depictions of the Brazilian native peoples, and their environment including local plants and animals. He is also the creator of a famous set of 12 still-lifes which have been in the possession of the Danish royal family since 1654, having been given to King Frederik III by Johan Maurits.

This comprehensive book explores the evolution of genre painting throughout the Dutch Golden Age, beginning in the early 1600s and continuing through the opening years of the 18th century. Wayne Franits, a well-known scholar of Dutch genre painting, offers a wealth of information about these works as well as about seventeenth-century Dutch culture, its predilections and its prejudices.
The author approaches genre paintings from a variety of perspectives, examining their reception among contemporary audiences and setting the works in their political, cultural, and economic contexts. Luxuriously illustrated and with a full representation of the major artists and the cities where genre painting flourished, this book is a welcome addition to the literature of the Dutch Golden Age and should delight students, scholars and the general public.

When Vincent van Gogh settled in The Hague at the start of 1882, The Hague School was at its peak. Thanks to local art dealers, painters such as Jozef Israëls, the Maris brothers, Albert Neuhuys, Bernard Blommers and Anton Mauve gained international acclaim. Van Gogh had worked in his uncle’s art dealer’s business in The Hague and, after a series of mishaps, was being hurriedly trained by Mauve (his cousin by marriage) in the lucrative trade of water-colourist. But Van Gogh had other ideas and, before long, found himself in the clinch with the artistic establishment in The Hague, because he wanted to paint arresting and vibrant scenes of people at work. When he added insult to injury by moving in with one of his models, he found himself cut off from the community.
De Haagse School en de jonge Van Gogh provides an overview of the drawings, water-colours and oil paintings that Van Gogh produced in The Hague, and works by Hague School masters that Van Gogh admired. Historical illustrations evoke artistic life in The Hague, but they also show us the city where Van Gogh and his friends and colleagues worked.

Isaac Israëls (1865-1934) is considered to be the Netherlands most important impressionist painter. The son of the cultivated and sophisticated painter Jozef Israels, Isaac Israels developed an interest in literature, travel and painting as a child. Between 1878 and 1880 he studied at the academy in The Hague. His special talent was obvious from an early age. In the early years of 1900 he became fascinated by the many dancers and actors who visited the Hague from the then 'Netherlands Indie'(todays Indonesia) and he started painting them in their traditional costumes. In 1922 he visited the 'colonies' traveling to Batavia, Bali and Surakarta.
This publication is the first to make a study of that period of Israëls work; the author J.P.Glerum is a well-known Dutch art auctioneer.

Jan Toorop (1858-1928), one of the best Dutch portrait painters of his time, was a highly versatile artist with a drawing technique which was very refined. He was born in Java but came to the Netherlands at a young age. During his artist's career he moved around Europe and the Netherlands working in Amsterdam, Paris, Brussels, Antwerpen, London, Domburg, and spent the last part of his life in the Hague having been one of the founders of the "Haagse Kunstkring'. His style, influenced by the symbolist movement, his Javaans' youth and a prominent aestheticism, was very unique and relied heavily on his graphic ability. His work is found in most all the major museums of the Netherlands.
This catalogue was produced to coincide with an exhibition held in Nijmegen (NL) in 2003.

Johan Barthold Jongkind (1819-1891) was a Dutch painter who chose France as his second home and is seen by many as a presursor of Impressionism on account of his response to light and atmosphere, particularly in his many seascapes. He was associated with the Barbizon school of painters but he worked in a lighter, more spontaneous manner than they, also making etchings in which delicate lines create a fine atmospheric effect. Manet considered him to be the father of the modern landscape, for Monet he was a teacher and the only good painter of seascapes, Zola was fascinated by his work and his personality and Signac saw in his work the birth of impressionism.
He met with great success during his lifetime and was widely collected with much of his work ending up in French and American collections.
This well made monograph was published to coincide with a major exhibition in 2003-2004 taking place in the Netherlands, Germany and France.

Jacob Maris (1837-1899) was the oldest of three brothers (Matthijs 1839-1917 & Willem 1844-1910) all of whom were painters and members of the informal 19th century Dutch group which became known as the Hague School. Jacob, who traveled extensively in his earlier life, spent 8 years in Paris before returning to the Hague in 1865 where he became one of the leading members of the school and one of the most valued landscape painters of his period. Many of his works left the Netherlands in his life-time being bought by international collectors.
This publication, a richly illustrated exposition catalogue, gathers together a large number of Maris' oeuvre from all over the world and is complemented with essays by leading experts dealing with his life, subject matter and technique.

Willem Witsen (1860-1923) belongs with Vincent van Gogh and George Hendrik Breitner to the most important Dutch artists of their generation. He held a key position among the painters and literary figures in what is generally known as the 'Beweging van Tachtig' (The Eighties Movement) which was extremely influential in the Netherlands at the end of the Nineteenth century. His early work concentrates on landscapes and scenes of the working class population but later he became more and more interested in still cityscapes which centered around Amsterdam, Dordrecht and London. He was also a avid photographer, portrait painter and above all an excellent etcher.
This richly illustrated catalogue describing his life and work, and also containing a catalogue raisonné of his etchings, has been produced in collaboration with the Amsterdam City Archives and the Municiple Museum in Dordrecht both of which have organized a major exhibition.

Rembrandt's Jews examines both the legend and the reality of Rembrandt's relationship to Jews and Judaism. In this elegantly written and engrossing tour of Jewish Amsterdam Nadler tells his reader stories of the artist's portraits of Jewish sitters, of his mundane and often contentious dealings with his neighbors in the Jewish quarter of Amsterdam, and of the tolerant setting that the city provided for Sephardic and Ashkenazic Jews fleeing persecution in other parts of Europe. As Nadler shows, Rembrandt was only one of a number of prominent seventeenth century Dutch painters and draftsmen who found inspiration in Jewish subjects. Looking at other artists, such as the landscape painter Jacob van Ruisdael and Emmanuel de Witte, a celebrated painter of architectural interiors, Nadler is able to build a deep and complex account of the remarkable relationship between Dutch and Jewish cultures in the period.

"This catalogue is devoted to the particular tradition within the seventeenth-century Dutch art, called Dutch Italianate painting. At its peak, around the mid 1660s, artists such as Jan Both, Jan Asselyn, Jan Baptist Weenix, Nicolaes Berchem and Adam Pynacker were producing distinctive visions of the Roman 'campagna' and of imaginary Mediterranean harbours. The majority of these scenes also contain antique ruins and contemporary baroque buildings set against receding hills and distant mountain peaks. These pictures were painted by Dutch artists who traveled to Italy where they stayed for up to a decade or more. Back in the north, with their drawings and memories of the brillant southern light and limpid blue skies, they continued to produce pictures which are clearly distinguisable from the 'native' landscapes of Jan van Goyen, Jacob van Ruisdael and Meindert Hobbema, artists more readily associated with the landscape painting of the Dutch Golden Age." (L.B.Haywood)

This comprehensive study is dedicated to the work of Robert Campin (1378-1444), the great Flemish artist first known as the Master of Flemalle, who, along with van Eyck, is considered to be the founder of the Netherlandish School of painting during the early Renaissance.
Thürlemann sheds new light on this important era of European painting, a period when the depiction of the supernatural shifted to everyday settings, the fascinating use of symbolic images first appeared, and the use of oils opened a new world of subtlety and differentiation in the artist's palette.

Hieronymus Bosch (1450-1516) is one of the most fascinating artists in the European cultural history. His fantastic imagery and bizarre representations, filled with strange symbols over which art historians have speculated and argued for years, have lead to various interpretations of both the person and the meaning of his work. This catalogue, produced to accompany the exhibition this year in Museum Boijmans van Beuningen in Rotterdam (NL) presents his entire known painting and drawing oeuvre in a culturally-historical perspective by several leading art historians.

In this collection of essays, twenty-three experts assess the life and work of a truly fascinating artist. From their various fields of expertise, and often based on years of research they look at Hieronymus Bosch from the perspectives of the historian, archaeologist, musicologist, curator, and social scientist.
Contributions by scholars such as Bernard Aikema, Erik de Bruyn, Lucas van Dijck, Hans van Gangelen, Lynn Jacobs, Suzanne Laemers, Pilar Silva Maroto, Rodger van Schouten, Paul Vandenbroeck, Kees Vellekoop, Renilde Vervoort, Annemarieke Willemsen a.o. form a survey of the current state of research on Bosch.

Aelbert Cuyp (1620-1691) was one of the foremost Dutch painters and draughtsmen of the 17th century. At the core of the book are forty-five of Cuyp's most distinguished paintings and sixty-four of his drawings, accompanied by more than one hundred additional illustrations in colour and black and white. The works are discussed in the context of Cuyp's time (the Dutch Golden Age), personal background, artistic development, patrons, use of costume and artistic techniques. Aelbert Cuyp infused his Arcadian subjects and river views with a sensitivity to light and a clarity of form that is firmly grounded in reality. Published to accompany a travelling exhibition: National Gallery of Art, Washington, National Gallery, London, and Rijksmuseum, Amsterdam.

Seventeenth-century Delft has traditionally been viewed as a quaint town whose artists painted scenes of domestic life. This important book revises that image, showing that the small but vibrant Dutch city produced fine examples of all the major arts, including luxury goods and sophisticated paintings for the court at The Hague and for the patrician collectors of Delft itself.
The book traces the history and culture of Delft from the 1200s through the lifetime of the city's most renowned painter, Johannes Vermeer. The authors discuss at length some ninety major paintings (seventeen by Vermeer), forty drawings, and a choice selection of decorative arts, all of which are reproduced in full colour. The volume concludes with an essay that takes the reader on a walk through 17th century Delft and is accompanied by maps of the city's neighbourhoods that indicate major monuments and the homes of patrons,art dealers and painters.

The book contains essays about the most important artists of the Delft School such as De Hooch, Bramer, Fabritius and of course Vermeer. Liedtke investigates many questions about shared elements in the work of artists working in Delft at that time. He subjects the painters of the Delft School to renewed research and offers many surprising insights about such facets as genre and architectural pieces.

An important part of the famous collection of Old Master Drawings in the Boijmans-van Beuningen Museum in Rotterdam are the approximately 250 drawings by Flemish 17th century masters. Among these, the drawings by the great Antwerp masters Peter Paul Rubens (1577-1640), Jacob Jordaens (1593-1678), and Anthony van Dyck (1599-1641) stand out as absolute highlights. This richly illustrated publication examines seventy of their most important drawings, not only the meaning of these works, but also their provenance, attribution, and dating.

Jacob van Ruisdael (1628-1682) was one of the most important landscape painters of the Dutch Golden Age. Renowned for his dune landscapes with cloudy skies and trees beaten by wind and weather, he was unparalleled at portraying the magnificence of nature. This catalogue of an exhibition held at the Frans Hals Museum assembles thirty-five of his landscapes and shows how Ruisdael broke with existing traditions in Haarlem between 1646 and 1655 to create his own unique style. The publication also shows examples of work from his predecessors and his contemporaries such as Salomon & Isaack van Ruysdael, Pieter de Molijn, Jan van Goyen, Cornelis Vroom, Allart van Everdingen, Jan van Kessel, Meindert Hobbema and Philips de Koninck.

Gerrit Dou (1613-1675) was one of the most highly esteemed Dutch painters of the 17th century. Rembrandt's first pupil, and founder of the Leiden school of "fijnschilders", or "fine painters", Dou was celebrated for the extraordinarily sensitive images he created with his delicate technique. He had an international clientele and was lauded by the theorist Philips Angel in his 1642 treatise Lof der Schilderkonst (In Praise of Painting) as an artist worthy of the honour accorded the ancients. This catalogue presents a wide range of his subjects, including portraiture, still life, and religious images, as well as scenes of daily life, such as images of mothers with children, painters in their studios, scholars, shopkeepers, schoolmasters, musicians, and astronomers. Many of these works incorporate symbolic elements that Dou used to reflect the complexity of life's moral and ethical dilemmas.

This richly detailed study reconceptualizes a striking but enigmatic moment in Rembrandt's art from the 1650s, one of his most prolific and creative periods. Michael Zell, identifying a significant theological shift in the artist's use of religious imagery, interprets it in light of the unique religious and social conditions of seventeenth-century Amsterdam.
Rembrandt's biblical art has generally been regarded as embodying a Protestant aesthetic. By looking more closely at the artist's relationship with his patron Rabbi Menasseh ben Irsael and the ideas of a group of "philosemitic" Protestants with whom the rabbi was engaged in a dialogue, Zell deepens and complicates our understanding of Rembrandt's sacred art from the period.

If Rembrandt's career had ended in 1631, before the 25-year-old artist moved from his native town of Leiden to the booming metropolis Amsterdam, how would history remember him? That is the theme of this book. Rembrandt's work in Leiden was already extraordinary creative and intensely dramatic. In the years 1629 to 1631, the artist struggled to master different genres and techniques. In these years, Rembrandt worked with Jan Lievens and took his first known pupil, Gerrit Dou. By the time he decided to seek his fortune in Amsterdam, his work had already achieved a unique profound sense of colour, light and human emotion. Exhibition in the Isabella Stewart Gardner Museum, Boston.

Van de Wetering, head of the Rembrandt Research Project, presents the reader his lifelong study of the artist's practical methods of working and intellectual approach to painting. Topics cover the scientific analysis of seemingly trivial subjects such as the availability and standard size of panels and canvasses to the art theoretical framework on which Rembrandt based his decisions regardering the rendering of reality and his stunning compositions.

Catalogue of the extensive exhibition of Alma-Tadema's work which was held at the Van Gogh Museum in Amsterdam and the Walker Art Gallery in Liverpool.

This volume deals with the Late Middle Ages and the Renaissance. In lavishly illustrated chapters, the original function and the realization of various works of art, the art market, the history of collecting and the historical context will be examined. Almost two hundred beautifully reproduced works of art - painting, sculptures, silverware, glass, furniture, prints, drawings etc. - are clarified in short essays. Works by well-known artists such as Adriaan van Wezel, Geertgen tot St.Jans, Lucas van Leyden, Jan van Scorel, Maarten van Heemskerck, Hendrick Goltzius and many others give a versatile picture of the art production of this period found in the collection of the museum.
This is first volume in a four volume series about Dutch art from the late Middle Ages to the 19th. century.
There is also a Dutch language edition.

This book provides an amazing cross-section of the productive variety in the Rijksmuseum Amsterdam in form of more than two hundred familiar and not so familiar works of art: paintings, sculptures, silver, glass, furniture, prints and drawings. Included are masterworks by a wide range of artists such as Frans Hals, Rembrandt, Jacob van Ruisdael, Jan Steen, Johannes Vermeer and many others. The applied arts and sculpture are also abundantly represented. This is the second in a series of four books; the first of these (1400-1600) was published in the Spring of 2000.