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Harvey Miller

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A CORPUS OF DRAWINGS IN MIDWESTERN COLLECTIONS, SIXTEENTH-CENTURY. NORTHERN EUROPEAN DRAWINGS. Edited by: Burton L. Dunbar, Robert Munman, and Edward J. Olszewski. With the Assistance of Dawn E. Sanders.


London-Turnhout, Harvey Miller, 2012. Cm. 28x22, pp. xxiv-253, tavv. a col. e figg. in nero n. t., cart. e sovrac.

This book catalogues 137 drawings by nearly 100 artists active in the Netherlands, Germany, France, Switzerland, and Spain from the very end of the fifteenth century through 1600. Compiled by a team of 22 scholars, the book fully documents each of the drawings from 24 museums, outside of Chicago, with detailed scholarly entries and photographs of every work.

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Andrea del Castagno and The Limits of Painting.

Turnhout, 2015. Cm. 29x23, pp. 187, ill. 79 a col. e in nero n. t., tela e sovrac.
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Benedetto da Maiano. A Florentine Sculptor at the Threshold of the High Renaissance. Vol. I: Text Vol. II: Illustrations.

Turnhout, Brepols, 2006. 2 voll. cm. 30x23, pp. 539, 308, ill. 282 in nero n. t., tela e sovrac.
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Catalogue of Italian Sculpture in the Detroit Institute of Arts. Volume one: Eight to Sixteenth Century. Volume two: Seventeenth to Twentieth Century. Medals, Plaquettes, Heraldry.


London-Turnhout, Harvey Miller, 2002. 2 voll. in-8¡, pp. 272 290, tavv. 27 a col. f. t. e figg. 127 in nero n. t., cart. e sovrac.

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Catalogue of Paintings in the Collection of the Society of Antiquaries of London.

London, Harvey Miller, 2015. Cm. 29x22, pp. xix-483, figg. a col. n. t., tela e sovrac.

Drawing and the Senses. An Early Modern History


London, Harvey Miller, 2016. Cm. 28x23, pagg. 178, figg. 118 a colori n.t., tela e sovracop.

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Felsina pittrice. Lives of the Bolognese Painters. A critical Edition and Annotated Translation. Volume I: Early Bolognese Painting. Introduction and Translation by Elizabeth Cropper, Critical Edition by Lorenzo Pericolo.


Turnhout, 2012. Cm. 28x21, pp. xxv-536, figg. 129 a col. n. t., cart. e sovrac.

In this new critical edition by Lorenzo Pericolo, careful analysis of many literary and archival sources will make it possible to reevaluate Malvasia's status as an historian, and provide new information about the construction of the Felsina Pittrice as a book. The goal of the project is to produce a translation that is useful to the general reader while remaining faithful to the complexities of the original. Individual volumes will be published in order of completion. Each of the fifteen volumes proposed will include one of two introductory essays in addition to the critical edition and translation. The series will be extended to include a sixteenth volume with a critical edition and translation of Malvasia's Il Claustro di San Michele in Bosco (1694), accompanied by an essay and historical notes.

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Felsina pittrice. Lives of the Bolognese Painters. A Critical Edition and Annotated Translation. Volume thirteen: Lives of Domenichino and Francesco Gessi. Critical edition by Lorenzo Pericolo. With an essay by Elizabeth Cropper. Historical notes by: Anne Summerscale, Alexandra Hoare, Lorenzo Pericolo, and Elizabeth Cropper.

Turnhout, 2013. Cm. 29x22, pp. xxiii-414, figg. 151 a col. e figg. 2 in nero n. t., tela e sovrac.

Richly illustrated, this critical edition and English translation of Malvasia’s lives of Domenichino and Francesco Gessi from his Felsina pittrice offer access to the life and work of two great masters of seventeenth-century Bologna. Domenichino’s life plays a seminal role in Malvasia’s definition of the "fourth age" of painting in Italy. From the very beginning, Malvasia pits against each other Guido Reni and Domenichino, the two champions of the vanguard style that emerged from the Carracci reform of painting. If Guido becomes the idol of the Lombard and Bolognese school, "more attuned to tenderness and audacity," Domenichino embodies an ideal of perfection more in keeping with the Florentine and Roman school, "fond of finish and diligence. Malvasia reports that he did not know Domenichino, and his reconstruction of the career of the master as he moved among Rome, Naples, and Bologna stands in stark contrast to Giovan Pietro Bellori’s more sympathetic account, published in 1672. If, to redeem the supremacy of the Bolognese school, Malvasia downplays the problem of Domenichino’s "erudition" and "fertility" of invention, he does so with hesitation and among unresolvable contradictions. His assimilation of Domenichino’s art to the Roman and Tuscan canon is, then, profoundly polemical. In this light, Malvasia’s life of Domenichino can be defined as the most tormented and ultimately unsuccessful eulogy in the Felsina pittrice: a great piece of art-historical criticism about an artist whose greatness Malvasia could not deny. Malvasia’s assessment of the artistic personality of Francesco Gessi turns upon the painter’s rivalry with his master, Guido Reni, whose perfection in painting nevertheless remains unmatchable. In relating how Domenichino snatched away the highly talented Giovan Battista Ruggeri from his previous master, Francesco Gessi, Malvasia turns the conflicts inherent in Domenichino’s life into a generational struggle between artistic factions. In the process, Malvasia provides important biographical information about Giovan Giacomo Sementi, another of Guido’s disciples and Gessi’s lifelong rival.

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Gothic Manuscripts 1260-1320. Part two. Volume one: Catalogue and illustrations. Volume two: Comparative Tables & Illustrations.

Turnhout, Harvey Miller, 2014. 2 voll. cm. 34x23, pp. 287; 581, tavv. 108 e ill. 605 in nero f. t.; tavv. 65 a col. e ill. 490 in nero n. t., tela e sovrac.

Jan van Kessel I (1626-79). Crafting a Natural History of Art in Early Modern Antwerp.


Turnhout, 2016. Cm. 29x23, pp. 208, figg. 102 a col. e in nero n. t., tela e sovrac.

The Antwerp artist Jan van Kessel the Elder (1626-1679) was esteemed throughout Europe for producing finely-wrought, miniature paintings on copper that depict a wide range of flora and fauna, exotic landscapes, and objects of natural artistry (e.g. shells, coral, precious stones). The ‘natural’ world presented in Van Kessel’s art was not a transparent window onto nature, however, but instead was ambitiously crafted through the artist's reappropriation of Antwerp's artistic traditions, material culture, and artisanal knowledge practices. Through a combination of wit, technical virtuosity, self-referentiality, and allusions to local art-historical lineage, Van Kessel’s paintings encourage viewers to simultaneously think about art, in terms of collecting, connoisseurship, citation, and media, and think anew about nature. This study uses Van Kessel’s art as a distinctive lens through which to examine the relationship between craft, curiosity, and the pursuit of natural knowledge in the early modern period. Each chapter situates Van Kessel within a particular context where art and natural history intersected in late seventeenth-century Antwerp. Taken together, these investigations reveal how his production responded to a unique convergence of circumstances in that city which included the growth of a popular, commercial strand of natural history, a thriving culture of art collecting and connoisseurship focused on local artists, and a burgeoning luxury industry. Van Kessel’s material and conceptual interventions into the representation of nature, such as his innovative, painted “cabinets without drawers” and witty signatures formed from insects and snakes, enabled him to redefine the scope of natural historical illustration and negotiate the value and status of the small-format cabinet picture.

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Ludovico Carracci and the Art of Drawing.

Turnhout, 2004. Cm. 28x21, pp. 642, ill. in nero n. t., tela e sovrac.

The primary goal of Ludovico Carracci and the Art of Drawing is to provide a ground-breaking model for a new kind of book on Italian drawings. In addition to covering the traditional scholarly terrain of chronology, style, and connoisseurship, this book utilizes up-to-date art historical methods, including considerations of the historical context of Bologna, its impact on Ludovico's art, and a new portrayal of the role of women and women artists in the city.
"Bologna is perhaps the last great artistic capital in Europe that...still offers the specialist the possibility for ground breaking studies." This quotation from a recent exhibition at the Metropolitan Museum testifies to the rich possibilities for research in this field. In 1983, Sydney Freedberg wrote a book on the three pivotal innovators in Italian painting at the turn of the seventeenth century: Caravaggio, Annibale Carracci, and the latter's cousin Ludovico Carracci (1555-1619). The dramatic intensity of Ludovico's paintings exerted a seminal influence on the direction of Italian Baroque painting. His highly individual renditions of his subjects make him one of the great interpreters of Italian art. Working in Bologna, the second city of the papal states, during the period of the Counter Reformation, Ludovico was well positioned to reshape religious painting during a period that demanded change.
Ludovico was a prolific draftsman who produced over 300 extant drawings. His drawings offer the key to his artistic personality, because he conceived his original subjects and planned his dramatic compositions in these sheets. Like most Italian artists of the early modern period, Ludovico developed his ideas in drawings and began painting only after his conceptions had been finalized. Thus his drawings reveal how he thought, how his ideas changed, and which features of a composition were most important or challenging to his creative imagination. Such drawings as these have tremendous appeal to modern audiences, who are attracted by the excitement of watching the creative process in progress, rather than seeing only the painting that represents the end of that process.
The Carracci have always been considered some of the most important draftsmen in Italian art, for their revival of drawing the human figure from life in the course of designing paintings. But Ludovico's drawings were not only preparatory studies for pictures. He was also an innovator in developing finished compositional drawings that were produced as works of art in their own right, made for sale to a new audience of private collectors in Bologna.
This book will be indispensable for university libraries, museum libraries, and the private libraries of all scholars, dealers, and collectors with a serious interest in Italian art. As a study of a major artist that breaks new methodological ground, the book will bring together fresh insights on the artist and his culture with a useful compendium of illustrations and will provide a model for future studies of draftsmen from the early modern period.


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Michiel Coxcie (1499-1592) and the Giants of his Age. Edited by Koenraad Jonckheere.


London, 2013. Cm. 28x22, pp. 207, ill. 256 compl. a col. n. t., tela e sovrac.

Catalogo della mostra tenutasi a Lovanio nel 2013-2014.

Michiel Coxcie lived to the age of 93 and witnessed all the important political, religious, economic and artistic upheavals of the sixteenth century. He was born just before Gerard David raised the art of the Flemish Primitives to its final pinnacle and did not die until the young Rubens had returned to Antwerp from Cologne. He must have known Quinten Metsijs, Joos van Cleve and Pieter Coecke van Aelst. Willem Key and Frans Floris were younger contemporaries, and Bruegel was of the next generation. He outlived them all. During his time in Italy in the 1530s he knew Michelangelo, and was said to be a friend of Giorgio Vasari. Titian, the Venetian prodigy, sent him pigments to help him finish his copy of Jan van Eyck’s Adoration of the Mystic Lamb, and he even painted frescoes in the old Basilica of St Peter in Rome. Few people have led such a fascinating life as Michiel Coxcie. He was a celebrated painter, inundated with prestigious commissions from important clients. He had spent some ten years in Rome where he studied classical antiquity and the art of Renaissance masters like Raphael, Michelangelo and Da Vinci. Back in his the low Countries, Coxcie designed altarpieces, stained-glass windows and tapestries for clients in Brussels, Antwerp and Mechelen. The pinnacle of his career was his appointment as court painter to Emperor Charles V and Philip I.



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Nicola and Giovanni Pisano. The Pulpits.


London-Turnhout, 2006. Cm. 28x22, pp. 362, tavv. 8 a col. e ill. 177 in nero n. t., tela e sovrac.

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Renaissance Artists and Antique Sculpture. A Handbook of Sources. With contributions by Susan Woodford.


London, 2010. Cm. 27x19,  pp.581, ill.500 in nero n.t., tela e sovrac.

New, Revised and Updated Edition.

The publication offers a new, revised edition of a work that was hailed, when it first appeared (1991), as "the most useful art-historical reference book to have been  published in recent decades". It is a Handbook of Sources, documenting and illustrating the most significant antique works of art known to Renaissance artists. More than 500 illustrations show Greek and Roman statues, mythological and historical reliefs as well as triumphal arches together with Renaissance drawings, engravings, bronzes and paintings to demonstrate  how and where these classical monuments were discovered and recorded, and how they were copied, adapted, combined and transformed into the style and iconography we now recognize as Renaissance art. The authors arranged their illustrative material and their encyclopaedia catalogue thematically, giving full descriptions and history of each antique work, listing Renaissance representations and adaptations and citing relevant literature. In addition, the myths and legends featured in the clasical words are retold briefly in each case to help the reader follow the narrative particularly in the many sarcophagus reliefs reproduced. In addition to Phyllis Bober's introductory essay, which considers the cultural impact of classical antiquity on Renaissance masters, the handbook also includes two important Appendices: an annotated Index of Renaissance Artsists and Sketchbooks, and a descriptive and illustrated Index of Renaissance Collections.

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STAGING THE COURT OF BURGUNDY. PROCEEDINGS OF THE CONFERENCE THE SPLENDOUR OF BURGUNDY. Editors of this volume: Wim Blockmans, Till-Holger Borchert, Nele Gabriels, Johan Oosterman, Anne van Oosterwijk. Editorial supervision: Anne van Oosterwijk.


Turnhout, Brepols, 2013. Cm. 28x22, pp. 394, ill. 65 a col. e 118 in nero n. t., tela e sovrac.

In the course of the fifteenth century, the reputation of the Burgundian court rose to an unprecedented level, catapulted forward by ever growing territorial ambitions and accumulation of wealth. This reached a climax during the reign of Charles the Bold (1433-1477), the living embodiment of the pomp and pageantry of the Burgundian court and a generous patron of the fine arts. Rather than focusing on a single domain, this volume aims to shed light on Burgundian court culture as an organic whole, between the start of the reign of Philip the Good (1419) and the death of Mary of Burgundy (1482). It is intended to provide a forum for new research from the fields of History, History of Art, Literature and Musicology.

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The Bargello Palace. The Invention of Civic Architecture in Florence.

London, Harvey Miller, 2015. Cm. 25x25, pag.267, fig. in nero, cart e sovrac.

The Beauties of the City of Florence. A Guidebook of 1591. Introduced, Translated and Annotated by Thomas Frangenberg and Robert Williams.


London-Turnhout, 2006. Cm. 28x21, pp. 282, tavv. 11 a col. f. t. e figg. 116 in nero n. t., tela e sovrac.

The text presented here, Francesco Bocchi's Le Bellezze della città di Fiorenza (The Beauties of the City of Florence), originally published in 1591, is one of the most remarkable of Renaissance writings on art and thus an especially valuable document of the culture within which and for which Renaissance art was made. It is not exactly the first guidebook, nor is it entirely an art guidebook in the modern sense of the word, but it marks an important step in the history of guidebook literature, perhaps the definitive step in the formation of the modern genre. It seeks to direct people's attention to outstanding objects, but also to offer instruction in how to look, what to think, and what to say. Scholars find it useful for purely archaeological reasons, as a record of numerous minor works of art and their locations, for instance, but its deepest source of interest is the lively discursive engagement with art to which it attests, and the passionate and eloquent way in which it makes the case that such engagement is a matter of the greatest urgency and importance. For this reason, the book has much to offer the non-specialist - anyone who visits Florence and gives any thought at all to what it means to look at art - and the desire to reach this kind of reader has been the real motivation behind the preparation of this translation.
Enough of the city remains as Bocchi saw it to permit the book still to be used as a guide, held in the hand as one walks from place to place and read before the objects described. The notes and illustrations provided here are designed to facilitate that process. What Bocchi emphasises and what he ignores will sometimes surprise the modern reader, and what he says about individual works may occasionally prompt bewilderment or disagreement. His values and habits of thought are close enough to ours to seem familiar yet are not exactly our own; his way of looking, of thinking, and of speaking are foreign enough to remind us of the distance that separates us from the Renaissance, of the singularity of historical moments and individual points of view. In reading Bocchi, one begins to understand something of how his contemporaries thought about what they saw; one learns to see the works differently and, as a result, to develop a sharper sense of the presuppositions we bring to our encounters with art, to see our own way of looking and thinking more objectively. This translation is thus an invitation to enter into a dialogue with history; its deeper purpose is to stimulate modern visitors to Florence to objectify their own processes of looking, thinking, and speaking, and in so doing to develop a new degree of self-consciousness, a new, historical perspective on themselves.

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The Epiphany of Hieronymus Bosch. Imagining Antichrist and Others from the Middle Ages to the Reformation.


Turnhout, 2016. Cm. 30x22, pp. 301, tavv. 33 a col. e figg. 104 a col. e in nero n. t., tela e sovrac.

This study examines medieval Christian views of non-Christians and their changing political and theological significance as revealed in late-medieval and early-modern visual culture. Taking as her point of departure Hieronymus Bosch’s famous Epiphany triptych housed in the Prado Museum in Madrid, the author analyzes how representations of Jews, Saracens (later Turks), ‘Ethiopians’, and Mongols for centuries shaped western Christian attitudes towards salvation history, contemporary political conflicts, and the declining status of the Roman Church. She argues that Bosch’s innovative pictorial warning of the coming of Antichrist and the threat posed by non-Christians gained its power and authority through intervisual references to the medieval past. Before and after Bosch, imaginative constructions that identified Jews and Turks with Gog and Magog, or the Pope with Antichrist, drew upon a long-established range of artistic and rhetorical strategies that artists and authors reconfigured as changing political circumstances demanded. Painted at a pivotal moment on the eve of the Reformation, the Prado Epiphany is a compelling lens through which to look backwards to the Middle Ages, and forwards to Martin Luther and the ideological significance of escalating Christian/non-Christian conflicts in the formation of the new Protestant church.


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The Grand Ducal Medici and the Levant. Material Culture, Diplomacy, and Imagery in the Early Modern Mediterranean.


London, Harvey Miller, 2016. Cm. 28x22, pagg. 186, numerose ill. in nero e a col. n.t., tela e sovracop. (The Medici Archive Project Series).


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The Grand Ducal Medici and their Archive (1537-1743).


London, Harvey Miller, 2016. Cm. 28x22, pagg. 222, alcune ill. in nero n.t., tela e sovracop. (The Medici Archive Project Series).

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The Mermaids of Venice.


London, 2010. Cm. 28x21, pp. vii-273, ill. 44 a col. f. t. e figg. 234 in nero n. t., tela e sovrac.

Hybrid sea creatures, while not unique to Venice, had obvious relevance for a city whose wealth, power, and physical character depended on the sea. This book focuses on the conceptions of artists who made marine hybrids some of the most engaging inventions of the Renaissance in Venice and its subject city Padua. The chapters deal with five functional contexts in which sea-hybrid imagery spread through Venetian intellectual, religious, political and domestic life.

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The Neptune Fountain in Bologna. Bronze, Marble, and Water in the Making of a Papal City. Edited and revised by Nadja Aksamija and Francesco Ceccarelli. With a foreword by Michael W. Cole and afterword by Bruce Boucher.


Turnhout, 2015. Cm. 29x22, pp. 248, tavv. e ill. a col. n. t., tela e sovrac.

As a gateway to the central Piazza Maggiore and a work of singular beauty and elegance, the Neptune Fountain is one of Bologna’s most prized artistic gems, recognized by all but understood by very few. Richard Tuttle’s monograph represents the first comprehensive study of this iconic monument, executed between 1563 and 1567 by the Flemish artist Giambologna and the Sicilian architect Tomaso Laureti, that considers all of the complex aspects of its commission, planning, execution, iconography, and urban impact. Working with an extraordinary body of documentary and visual materials, Richard Tuttle (1941-2009)—one of the world’s foremost authorities on Renaissance Bologna—reveals how the fountain was created collaboratively by papal administrators and artists, how it depended on contemporary hydraulic technology, communicated political messages, and became an instrument of urban renewal. The book’s broad appeal, scholarly rigor, and eloquent writing promise to make it an indispensable source on Italian sixteenth-century sculpture, architecture and urban planning, as well as a definitive text on this remarkable Renaissance fountain.

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