Presents a diachronic investigation providing a rich case study as well as an approach tracing the contours of a category of Roman material culture defined by the Roman period technique of openwork carving. This work shows how openwork vessels are a reflection of a wide-reaching Roman cultural aesthetic.

An extraordinary achievement in terms of its artistic rendering of the human body, its masterful carving of details, and its profound philosophical meaning, Balthasar Griessmann's large ivory goblet in the J. Paul Getty Museum celebrates wine and explores the benefits and risks of its consumption. Culminating with an allegory of youth, it challenges the viewer to think about the degree to which pleasure and duty play their parts in our making life choices. This handsome gift book is illustrated with stunning photographic details and includes an essay that traces the visual and literary sources that inspired Griessmann's designs. Although long considered a master of German Baroque ivory carving, Griessmann was identified by name only fifteen years ago. This photo essay and analysis is the first overview of Griessmann in the English language.

This volume catalogues more than 400 decorative objects in the Robert Lehman Collection at The Metropolitan Museum of Art, including painted enamels, snuffboxes, porcelain, pottery, ceramics, jewellery, furniture, cast metal, and textiles from throughout Europe and Asia, with the majority dating from the late seventh century to the 20th century.

This book examines British collectors of so-called Persian art (a broad umbrella term then covering a large portion of Islamic art) in the late 19th century, including ceramics, metalwork, carpets, textiles and woodwork. Based on a foundational event, the very first exhibition of “Persian and Arab Art” held by a London Gentlemen’s Club in 1885, this book follows one generation of men, retracing the subtle shades of difference among “amateurs,” “connoisseurs,” “experts” and “collectors,” and exploring all the mechanisms of the construction of a collective fascination for the Orient. Isabelle Gadoin uncovers some of the first “scientific” analyses of Islamic objects and of the first private notebooks or exhibition catalogues, to provide an in-depth study of the way Westerners talked about Islamic objects and began to define what would become Islamic art history. All the while, Gadoin unravels the skein of Western prejudice, Romantic fancy, sincere admiration and ruthless appropriation, in art collecting, to write a new chapter of Orientalist history. The book will be of interest to scholars working in art history, history of collecting, colonialism and postcolonialism, and Orientalism.