In this exuberant celebration of the world's museums, great and small, revered writers like Ann Patchett, Julian Barnes, Ali Smith, and more tell us about their favorite museums, including the Lower East Side Tenement Museum in New York, the Mus'e Rodin in Paris, and the Prado in Madrid. These essays, collected from the pages of The Economist's Intelligent Life magazine, reveal the special hold that some museums have over us all. Acclaimed novelist William Boyd visits the Leopold Museum in Vienna -- a shrine to his favorite artist, Egon Schiele, whom Boyd first discovered on a postcard as a University student. In front of her favorite Rodins, Allison Pearson recalls a traumatic episode she suffered at the hands of a schoolteacher following a trip to the Mus'e in Paris. Neil Gaiman admires the fantastic world depicted in British outsider artist Richard Dadd's "The Fairy Feller's Master-Stroke," a tiny painting that also decorated the foldout cover of a Queen album, housed in the Victorian room of Tate Britain's Pre-Raphaelite collection. Ann Patchett fondly revisits Harvard University's Museum of Natural History -- which she discovered at 19, while in the throes of summer romance with a biology student named Jack. Treasure Palaces is a treasure trove of wonders, a tribute to the diversity and power of the museums, the safe-keepers of our world's most extraordinary artifacts, and an intimate look into the deeply personal reveries we fall into when before great art.

The Nationalmuseum, Stockholm, holds the most extensive collection of Dutch master drawings in Sweden. It comprises important works by Rembrandt and his pupils, as well as drawings by Abraham Bloemart, Jan van Goyen, Herman Saftleven, Willem van de Velde and many other artists. Although trade contacts between the Netherlands and Sweden were lively in the seventeenth century, they account for only a small part of the collection. The bulk of the drawings was acquired by Swedish collectors in the eighteenth and nineteenth centuries. Foremost among them was Count Carl Gustaf Tessin, whose acquisitions at the 1741 Paris sale of the financier Pierre Crozat make up the core of the collection.This catalogue, the result of a long-term research project, includes almost 600 drawings, of which approximately 130 are previously unpublished. Besides the Nationalmuseum, it draws on the collections of the Royal Academy of Fine Arts in Stockholm, The Gothenburg Museum of Art, the Uppsala University Library and other institutions.

The Wall Street Journal called him “a living legend.” The London Times dubbed him “the most famous art detective in the world.” In Priceless, Robert K. Wittman, the founder of the FBI’s Art Crime Team, pulls back the curtain on his remarkable career for the first time, offering a real-life international thriller to rival The Thomas Crown Affair. Rising from humble roots as the son of an antique dealer, Wittman built a twenty-year career that was nothing short of extraordinary. He went undercover, usually unarmed, to catch art thieves, scammers, and black market traders in Paris and Philadelphia, Rio and Santa Fe, Miami and Madrid. In this page-turning memoir, Wittman fascinates with the stories behind his recoveries of priceless art and antiquities: The golden armor of an ancient Peruvian warrior king. The Rodin sculpture that inspired the Impressionist movement. The headdress Geronimo wore at his final Pow-Wow. The rare Civil War battle flag carried into battle by one of the nation’s first African-American regiments. The breadth of Wittman’s exploits is unmatched: He traveled the world to rescue paintings by Rockwell and Rembrandt, Pissarro, Monet and Picasso, often working undercover overseas at the whim of foreign governments. Closer to home, he recovered an original copy of the Bill of Rights and cracked the scam that rocked the PBS series Antiques Roadshow. By the FBI’s accounting, Wittman saved hundreds of millions of dollars worth of art and antiquities. He says the statistic isn’t important. After all, who’s to say what is worth more --a Rembrandt self-portrait or an American flag carried into battle? They're both priceless. The art thieves and scammers Wittman caught run the gamut from rich to poor, smart to foolish, organized criminals to desperate loners. The smuggler who brought him a looted 6th-century treasure turned out to be a high-ranking diplomat. The appraiser who stole countless heirlooms from war heroes’ descendants was a slick, aristocratic con man. The museum janitor who made off with locks of George Washington's hair just wanted to make a few extra bucks, figuring no one would miss what he’d filched. In his final case, Wittman called on every bit of knowledge and experience in his arsenal to take on his greatest challenge: working undercover to track the vicious criminals behind what might be the most audacious art theft of all.

New edition of Greenfield's pioneering study about the legal, political and historical aspects of cultural restitution.

A cache of over 100 gold, silver and other items, the richest collection of rare and unique Viking-age objects ever found in Britain or Ireland, was unearthed by a metal detectorist in 2014. A large fundraising campaign ensured that what has come to be known as 'the Galloway Hoard' was saved for the nation. Having lain undiscovered since the beginning of the 10th century, it now provides an extremely rare opportunity to research and reveal many lost aspects of the Viking Age. There is a chance to see the treasure at the National Museum of Scotland 18 February - 18 October 21. The exhibition will subsequently go on tour to Kirkcudbright, Aberdeen and Dundee.The accompanying book places the hoard in a wider historical context and showcases the conservation and research work currently being undertaken to understand the hoard and its secrets. Exhibition: National Museum of Scotland, Edinburgh, UK (29.05.-12.09.2021) / Kirkcudbright Galleries, UK (10.2021) / Aberdeen Archives, UK (2022).

Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.