The letters of the Impressionist painter Camille Pissarro are well known. Here, with the replies of his painter son Lucien, the world of post-William Morris London appears to complement Camille's Paris. Lucien Pissarro was principally engaged after 1890 with his Eragny Press productions in London. His letters to Camille include technical discussions for the translation of drawings, sometimes by his father, to woodblocks engraved by Lucien, together with Lucien's reactions to his father's comments on work, art trends, personalities, and his own struggles for recognition and financial...

The Oriental Obsession begins in the early sixteenth century with Cardinal Wolsey waiting two years for the delivery of sixty rare Turkey carpets from Venice, and ends in the age of the great exhibitions and emporia on both sides of the Atlantic, before and after 1900, when Islamic objects were seen, appreciated, and bought by millions of the public. The book is concerned with a subject which has not been treated before - the history over four centuries of Islamic artistic traditions and European ideas of Islam as they affected the visual arts of the west and particularly the English-speaking...

The Grosvenor Gallery was the most progressive exhibition space of the Victorian age. The paintings and works of art shown there - by Burne-Jones, Watts, Whistler and a host of other figures associated with the aesthetic movement - challenged artistic convention and were the cause of virulent debate about the means and purpose of modern art while the very existence of a gallery which attracted so much fashionable attention and which lent such great prestige to the artists who exhibited there served to overthrow the stultifying influence of the contemporary Royal Academy. Christopher Newall's...