Iris Origo was one of the twentieth century's most attractive and intriguing women, a brilliantly perceptive historian and biographer whose works remain widely admired. Iris grew up in Italy where she became part of the colourful and privileged Anglo-Florentine set that included Edith Wharton, Harold Acton and the Berensons. When Iris married Antonio Origo, they bought and revived La Foce, a derelict stretch of the beautiful Val d'Orcia valley in Tuscany and created an estate that thrives to this day. During World War II they sided firmly with the Allies, taking considerable risks in protecting children and sheltering partisans and Iris's diary from that time, War in Val d'Orcia, is now considered a modern classic. Caroline Moorehead has drawn on many previously unpublished letters, diaries, and papers to write the definitive biography of a very remarkable woman.

This richly illustrated book provides an overview of all known Dutch and Flemish artists up to the nineteenth century who painted or drew flower pieces, or else made prints of them. Unlike many mainstream art historical studies, the book takes a truly comprehensive approach, including cases where only a single example is known or even if nothing of the artist’s other work appears to have survived. Containing highly instructive lists identifying the names of flowers, as well as insects and other animals, the book also discusses the earliest depictions of flower still life and the distinctive characteristics behind the development of floral arrangements in different periods, including the variation of the flowers, the variety of techniques used by artists, as well as an exploration of the symbolism behind the numerous plant and animal species this form of art portrays. Composed in Dutch, the text was translated into English by Judith Deitch and edited by Philip Kelleway. Publication of this book was made possible thanks to generous support of: • Dr. med. Bettina Leysen • Rose-Marie and Eijk van Otterloo and the Center for Netherlandish Art at the Museum of Fine Arts, Boston With additional support of the M.A.O.C. Gravin van Bylandt Stichting. See inside the book.