This work, covering the years 1811-1815, makes the contents of some of the tens of thousands of sales catalogues published during the 19th century accessible to scholars. Each volume is organized in four main sections: a chronological index of sales; an alphabetical index of paintings by artists; an alphabetical index of owners; and an alphabetical index of previous owners. Information provided includes sales dates and lot numbers, prices and names of buyers and sellers, and locations of auctions.

This work, covering the years 1806-1810, makes the contents of some of the tens of thousands of sales catalogues published during the 19th century accessible to scholars. Information provided includes sales dates and lot numbers, prices and names of buyers and sellers, and locations of auctions.

Anglo-Italian cultural connections in the eighteenth and nineteenth centuries have been the subject of numerous studies in recent decades. Within that wider body of literature, there has been a growing emphasis on appreciation of the history and culture of Renaissance Italy, especially in nineteenth-century Britain. In 1954 J.R. Hale's England and the Italian Renaissance was a pioneering account of the subject, followed in 1992 by Hilary Fraser's monograph The Victorians and Renaissance Italy and in 2005 by Victorian and Edwardian Responses to the Italian Renaissance, edited by John E. Law and Lene Østermark-Johansen. There is, however, an obvious gap in the literature concerning the pivotal figure of William Roscoe (1753-1831), the first English-language biographer of Lorenzo de' Medici and of Pope Leo X. The Life of Lorenzo de' Medici called the Magnificent proved to be so popular as to prompt the claim that Roscoe effectively invented the Italian Renaissance as it has become understood by subsequent generations of readers in the English-speaking world. This collection of ten essays redresses the balance by examining Roscoe as biographer, as a connoisseur of Italian literature and as a collector of Italian works of art.

This work, covering the years 1811-1815, makes the contents of some of the tens of thousands of sales catalogues published during the 19th century accessible to scholars. Each volume is organized in four main sections: a chronological index of sales; an alphabetical index of paintings by artists; an alphabetical index of owners; and an alphabetical index of previous owners. Information provided includes sales dates and lot numbers, prices and names of buyers and sellers, and locations of auctions.

"Within a span of seven or eight years in the 1550s, the Italian painter Sofonisba Anguissola produced more self-portraits than any known painter before her had in a lifetime. She was the first known artist in history to take her parents and siblings as primary subject matter, and may have painted the first group portrait featuring only women. Cole examines Sofonisba's paintings as expressions of her relationships and networks, looking at why Sofonisba was able to become a great woman artist: at her father, who decided to allow her to be educated as a painter; at her teacher, Bernardino Campi; and at her relationships with her students, sisters, and patrons, who included the Queen of Spain. Cole demonstrates that Sofonisba made teaching and education a central theme of her painting. The book also provides the first complete catalogue of all of Sofonisba's known works"--

How the practice of titling paintings has shaped their reception throughout modern history A picture's title is often our first guide to understanding the image. Yet paintings didn’t always have titles, and many canvases acquired their names from curators, dealers, and printmakers—not the artists. Taking an original, historical look at how Western paintings were named, Picture Titles shows how the practice developed in response to the conditions of the modern art world and how titles have shaped the reception of artwork from the time of Bruegel and Rembrandt to the present. Ruth Bernard Yeazell begins the story with the decline of patronage and the rise of the art market in the seventeenth and eighteenth centuries, as the increasing circulation of pictures and the democratization of the viewing public generated the need for a shorthand by which to identify works at a far remove from their creation. The spread of literacy both encouraged the practice of titling pictures and aroused new anxieties about relations between word and image, including fears that reading was taking the place of looking. Yeazell demonstrates that most titles composed before the nineteenth century were the work of middlemen, and even today many artists rely on others to name their pictures. A painter who wants a title to stick, Yeazell argues, must engage in an act of aggressive authorship. She investigates prominent cases, such as David’s Oath of the Horatii and works by Turner, Courbet, Whistler, Magritte, and Jasper Johns. Examining Western painting from the Renaissance to the present day, Picture Titles sheds new light on the ways that we interpret and appreciate visual art.