Harewood House

Harewood House is one of the greatest country houses in Britain. Situated in the heart of Yorkshire, the house was commissioned in the 18th century by Edwin Lascelles, 1st Earl of Harewood. He employed the finest artists and craftsmen of the time, including John Carr of York for the Palladian exterior, Robert Adam for the interiors and Lancelot 'Capability' Brown for the landscape. Exquisitely furnished, Harewood was Thomas Chippendale's largest single commission. Harewood displays an extraordinary collection of Renaissance masterpieces alongside fine works of 20th-century art, and was the first country house in England to have a designated space for contemporary art. All Saints' Church, on the Harewood Estate, contains one of the most magnificent collections of late medieval alabaster tombs in Britain. This exquisite album of photographs by Harry Cory Wright allows us to experience Harewood as if for the first time. With an introduction by David Lascelles, 8th Earl of Harewood, who shares with us his own experience of living in such a remarkable house, this book evokes an incredibly vivid sense of place.

Anyone fascinated with the genealogy or history of the family of George Washington should own this elegant publication. For in this profusely illustrated work originally published in 1944 and reprinted by arrangement with the Virginia Book Company, John Wayland, one of the giants of Virginia genealogy, recounts the Washington family history by taking us on a tour of the legendary homesteads they inhabited.

Developments in garden art cannot be isolated from the social changes upon which they either depend or have some bearing. Bourgeois and Aristocratic Cultural Encounters in Garden Art, 1550 - 1850 offers an unparalleled opportunity to discover how complex relationships between bourgeois and aristocrats have led to developments in garden art from the Renaissance into the Industrial Revolution, irrespective of stylistic differences. These essays show how garden creation has contributed to the blurring of social boundaries and to the ongoing redefinition of the bourgeoisie and the aristocracy. Also illustrated is the aggressive use of gardens by bourgeois in more-or-less successful attempts at subverting existing social hierarchies in renaissance Genoa and eighteenth-century Bristol, England; as well as the opposite, as demonstrated by the king of France, Louis XIV, who claimed to rule the arts, but imitated the curieux fleuristes, a group of amateurs from diverse strata of French society. Essays in this volume explore this complex framework of relationships in diverse settings in Britain, France, Biedermeier Vienna, and renaissance Genoa. The volume confirms that gardens were objects of conspicuous consumption, but also challenges the theories of consumption set forth by Thorstein Veblen and Pierre Bourdieu, and explores the contributions of gardens to major cultural changes like the rise of public opinion, gender and family relationships, and capitalism. Garden history, then, informs many of the debates of contemporary cultural history, ranging from rural management practices in early seventeenth-century France to the development of a sense of British pride at the expansive Vauxhall Gardens favored equally by the legendary Frederick, Prince of Wales, and by the teeming London masses. This volume amply demonstrates the varied and extensive contributions of garden creation to cultural exchange between 1550 and 1850. -- Publisher's description.

Decorative plasterwork was created by skilled craftsmen, and for over four hundred years it has been an essential part of the interior decoration of the British country house. In this detailed and comprehensive study, Geoffrey Beard has created a book that will delight the eye and inform the interested reader. For those who have sometimes been puzzled by the complexities of plaster decoration it will be a most useful work of reference on a fascinating art form, about which no book has been published for nearly fifty years. After discussing the part that patrons played in commissioning and financing these beautiful decorations, a useful chapter is devoted to materials and methods of work and here the author describes the ingredients of good plaster; he has studied the work of present-day English plasterers and Swiss stucco-restorers in order to establish precisely how the materials of plaster and stucco were composed and used.