According to Count Galeazzo Arconati, who gave other Leonardo manuscripts to the Ambrosiana Library in Milan, the drawings concerning nature, anatomy, and color, have been “in the hands of the King of England before 1640.” The collection has been recorded as being in the possession of Queen Mary II, in 1690, a year after she and her husband, William III, ascended the throne as joint monarchs. The collection comprises all the known anatomical drawings by Leonardo. Three hundred images of the human body by the great artist, made between about 1485 and 1510–15, are showcased in this magnificent volume. Based on the artist’s own anatomical dissections, they show his evolving understanding of physiology. The drawings demonstrate, as well, Leonardo’s progress from technical mastery of his subject to consummate draftsmanship.
The commentary on this astonishing body of work is by Professor Martin Kemp of Oxford University, a leading international authority of Leonardo da Vinci, who explains the uniqueness of the painter’s stroke and the refined figurative transposition. One of the most renowned Italian Anatomists, Professor Mario Rende of the University of Perugia, analyses the significance of these works from a medical-scientific angle, revealing the insights, the research methodology, and the experimental and analytical approach of the Genius of da Vinci. Moving between art and anatomy, between unsurpassed illustrative display and avant-garde Renaissance scientific research, the work thus provides an in-depth and comprehensive look at an indispensable aspect of the Great Master’s story.
Text in English and Italian.
The conceptual art practice of Cerith Wyn Evans encompasses installations, sculpture, film and text, translating ideas from philosophy, art history, film and literature into lyrical, often monumental, site-specific exhibitions. This publication provides valuable insight into Evans’ wide-ranging practice, as well as a document to the artist’s 2025–26 exhibition of the same name – Forms in Space…through Light (in Time) – at Lisbon’s MAAT – Museum of Art, Architecture and Technology. Featuring specially commissioned photographs of Evans’ complex, captivating works in situ, the catalogue includes an introduction by exhibition curator Sérgio Mah, who also conducts an interview with the artist, and an essay by Professor Michael Newman.
Dual Language English and Portuguese.
About the Weather accompanied Canan Tolon’s second solo exhibition at Dirimart (23 November–24 December 2023) with the same title. The bilingual publication gathers Tolon’s large-scale works in rust and acrylic on canvas, created in 2023, alongside earlier pieces in the same technique. Her abstract compositions emerge through a process that embraces chance: metal fragments placed on canvas interact with water, air, and weather, generating unpredictable rust forms shaped by conditions beyond the artist’s control—humidity, pollution, temperature shifts, or wind. These works register environmental processes, functioning as both material traces and invitations to free association, constantly renewed in dialog with the viewer. The volume also includes essays by art historian Berin Gölönü and curator Kevser Güler, who reflect on Tolon’s practice and the exhibition’s ironic title, which alludes to our tendency to avoid urgent concerns—such as the climate crisis—by resorting to “small talk” about the weather.
Text in English and Turkish.
Published on the occasion of Karin Kneffel’s exhibition Haymatlos at Dirimart (13 November 2020–17 January 2021), this trilingual catalogue explores themes of memory, displacement, and belonging. The 19 paintings on view establish a dialogue between Germany and Turkey through the notion of heimatlos—statelessness—probing how the past is recalled, altered, or transformed, leaving ambiguous traces in the present. Kneffel engages with the legacies of three exiled figures who lived in Istanbul: architect Bruno Taut, sculptor Rudolf Belling, and designer Margarete Schütte-Lihotzky. Their iconic works—the Bosphorus house designed by Taut, Belling’s İnönü sculpture and Skulptur 49, and Schütte-Lihotzky’s pioneering Frankfurter Küche—reappear under Kneffel’s painterly veil of drops, bubbles, and brushstrokes, questioning whether the world is ever truly familiar. Enriched with an essay by Julia Voss, along with studio and installation views, the catalogue situates Haymatlos within Kneffel’s broader practice and her celebrated retrospective STILL in Germany.
Text in English and Turkish and German.
Ian McKeever RA (b. 1946) began painting in 1969. His early work grew out of a conceptual interest in landscape, painting and photography, reflecting his journeys to Greenland, Papua New Guinea and Siberia. In the mid-1980s his art became more abstract, revealing his interest in the human body and architectural structures. McKeever has published many texts concerning his travels and the nature of painting, and this selection – ranging from Piero della Francesca to Joan Mitchell – brings these together in one volume for the first time.
With Toros y Toreros, Pablo Picasso presents a singular work, published by Éditions Cercle d’Art. This book is not merely about bullfighting; it represents a rare meeting between a painter and a matador, between an artist and a friend.
Throughout his life, Picasso knew how to intertwine friendship and creation, and it is this strong bond with Dominguín that nourishes his work. The paintings, drawings, and compositions produced in this context convey the power of modern art.
Malak Mattar grew up in occupied territory and has been creating art since her teenage years. She left Gaza just before the war broke out on 7 October 2023. She was the first artist from Gaza to have a solo exhibition at Central Saint Martins in London, where she studied a masters of fine art, and her work has since been exhibited in over 80 countries. Mattar’s paintings bear witness to resilience, femininity and hope, and stand as a defiant stance against war, injustice and inequality. No words … (for Gaza) is Mattar’s first monograph. Experts Louisa MacMillan, Dr Winnie Wong, Dr Vijay Prashad and Francesca Albanese, the United Nations Special Rapporteur on the situation of human rights in the Palestinian Territory occupied since 1967, shed light on the significance of her work, and her paintings enter into dialog with poems by the Palestinian authors of the collective We Are Not Numbers.
As a universal icon of modern art, Gustav Klimt is one of the most immediately recognizable and widely reproduced artists in the world. From The Kiss to the portraits of his Golden Period, his works have shaped a shared visual imagination far beyond museum walls. Written by Gérard-Georges Lemaire, an art historian and leading author in the field, this monograph offers a clear and rigorous reading of a foundational career, showing how Klimt, central figure of the Vienna Secession, helped pave the way for pictorial modernity.
This visually rich monograph explores the ceramic practice of Jane Yang D’Haene, whose work bridges memory, material, and identity through clay. Accompanied by immersive photography throughout, the book traces Yang D’Haene’s journey from architecture and interior design to ceramics, revealing an artistic language shaped by Korean heritage, diasporic experience, and deeply personal transformation.
Structured through a series of poetic and critical chapters—including reflections on moon jars, glaze, painting, transition, and studio practice—the book moves between intimate autobiography and broader cultural inquiry. Yang D’Haene writes with lyrical sensitivity about loss, displacement, ritual, and the search for balance between past and present. Her vessels emerge not simply as objects, but as emotional and psychological landscapes that hold both remembrance and reinvention.
Essays by Glenn Adamson and Hyeyoung Cho situate her work within contemporary ceramic discourse, abstraction, and the evolving condition of diasporic identity. Together, the texts illuminate a practice rooted equally in disciplined craftsmanship and conceptual openness.
More than a survey of ceramic works, this book is a meditation on endurance, material memory, and the quiet possibilities of making. Through clay, Yang D’Haene creates a space where Korea and America, grief and beauty, silence and expression coexist in delicate equilibrium.
Through more than one hundred works, the official catalog of the first major exhibition of M.C. Escher in Paris retraces the entire artistic journey of the Dutch engraver (1898–1972), from his early training and travels in Italy to the complex technical experiments that made him an artist admired even in scientific circles. The volume reconstructs the visual and conceptual universe of M.C. Escher: a space where nature, art, science, and mathematics intertwine in a fascinating and vertiginous balance. His works—true architectures of imagination—continue to influence our contemporary way of seeing and have entered the collective imagination through school textbooks, magazines, design, and popular culture. Trained as a graphic artist, he produced around 450 prints, each characterized by a distinctive style and extraordinary precision. His creations appeal not only to art lovers, but also to those passionate about geometry, mathematics, visual sciences, architecture, and graphic design. This catalog is much more than a simple exhibition companion: it is a comprehensive guide to the universe of M.C. Escher, where imagination meets geometry and reality bends to the laws of infinity.
Text in French.
“This exhaustive study will be an invaluable tool in identifying not only where a piece was made and when, but in understanding the processes of its manufacture” The Regional Furniture Society
“Cataloguers now have an impressive volume of new information to draw on when describing anything from a simple tea tray to those suites of papier mâché furniture which remain as impressive today as when they dazzled visitors at the great international exhibitions of the 19th century” Antiques Trade Gazette
As one of the few decorative arts about which little has been written, japanning is today fraught with misunderstandings. And yet, in its heyday, the japanning industry attracted important commissions from prestigious designers such as Robert Adam, and orders from fashionable society across Europe and beyond. This book is a long overdue history of the industry which centered on three towns in the English midlands: Birmingham, Wolverhampton and Bilston. It is as much about the workers, their skills, and the factories and workshops in which they labored, as it is about the goods they made. It tells of matters of taste and criticism, and of how an industry which continued to rely so heavily upon hand labor in the machine age reached its natural end in the 1880s with a few factories lingering into the late 1930s. Richly illustrated, it includes photographs of mostly marked, or well-documented, examples of japanned tin and papier mâché against which readers may compare – and perhaps identify – unmarked specimens. Japanned Papier Mâché and Tinware draws predominantly upon contemporary sources: printed, manuscript and typescript documents, and, for the period leading up to the closure of the last factories in the 1930s, the author was able to draw on verbal accounts of eyewitnesses. With a chapter on japanners in London, other European centers, and in the United States, together with a directory of japan artists and decorators, this closely researched and comprehensive book is the reference work for collectors, dealers and enthusiasts alike. Contents: From Imitation to Innovation; Enter the Dragon!; The Lion of the District; Japanning & Decorating; Not a Bed of Roses!; Clever Accidents?; Decline of the Midlands Japanning Industry; The Birmingham Japanners; The Wolverhampton Japanners; The Bilston Japanners; Japanners in London and Oxford; Products; Other Western Japanning Centres; Appendices.