Elizabeth Goldring

This illustrated biography follows Nicholas Hilliard’s long and remarkable life (c. 1547–1619) from the West Country to the heart of the Elizabethan and Jacobean courts. It showcases new archival research and stunning images, many reproduced in color for the first time. Hilliard’s portraits—some no larger than a watch-face—have decisively shaped perceptions of the appearances and personalities of many key figures in one of the most exciting, if volatile, periods in British history. His sitters included Elizabeth I, James I, and Mary, Queen of Scots; explorers Sir Francis Drake and Sir Walter Raleigh; and members of the emerging middle class from which he himself hailed. Hilliard counted the Medici, the Valois, the Habsburgs, and the Bourbons among his Continental European patrons and admirers. Published to mark the 400th anniversary of Hilliard’s death, this is the definitive biography of one of Britain’s most notable artists.Published in association with the Paul Mellon Centre for Studies in British Art

This beautiful book explores the art of Elizabethan and Jacobean portrait miniatures through the exceptional collection of Walter Samuel, 2nd Viscount Bearsted Portrait miniatures, painted with exceptional detail on a small scale, capture the elegance and intrigue of the Elizabethan and Jacobean eras. England led this refined art form, particularly through the work of Nicholas Hilliard and Isaac Oliver. These exquisite portraits reflected the values and ambitions of their patrons, flourishing in a culture rich in symbolism, elaborate attire and hidden meanings. Versatile in function, they served both as intimate keepsakes – tucked into lockets or worn discreetly – and as bold displays of wealth and identity, often set into fine jewellery. For Hilliard, who was court limner to Elizabeth I and James VI & I, they also projected royal authority. Known for their technical mastery and symbolic depth, portrait miniatures have captivated collectors for generations. One notable collector, Walter Samuel, 2nd Viscount Bearsted, amassed a remarkable array of European art, including a rare group of early English miniatures. While most of his collection passed to the National Trust in 1948, this group of early English miniatures remained with the family and are now the centrepiece of this exhibition and catalogue. Exhibition schedule Philip Mould & Company 19th November to 19th December 2025

A definitive biography of the artist who, more than any other, has shaped our image of the Tudor court This landmark scholarly biography of Hans Holbein the Younger (c. 1497–1543), court painter to Henry VIII, is the first in more than a century. From his early days in Augsburg and Basel to his lasting impact on British art and culture, this definitive account breathes new life into Holbein’s story, shedding light on the artist whose paintings would shape perceptions of the Tudor court for five hundred years. Written in accessible, engaging prose, the book explores Holbein’s famous portraits of Tudor figures—Henry VIII, his queens, would-be wives, and leading courtiers such as Thomas More and Thomas Cromwell—and examines iconic works, including The Ambassadors. Beyond biography, it situates Holbein’s art within the broader context of Tudor Britain, tracing the birth of collecting, connoisseurship, and art history itself. Beautifully illustrated, with rarely seen paintings from private collections, this volume weaves the latest research—including new archival discoveries and scientific analysis—into a fresh examination of Holbein’s life and work. Distributed for the Paul Mellon Centre for Studies in British Art

Still Blue collects Goldring's key work across the decades in poetry and images. As a poet and visual artist who is legally blind, Goldring explores different ways of seeing--through the concision of poetic syntax, through her innovative experiments with the scanning laser ophthalmoscope as an MIT researcher, and through poems that consider vision, its loss, disability more broadly, human mortality, natural beauty, and the poet's response to war. The stunning visual images of the human retina offer bold statements of color, montage, and technological exploration.

The first comprehensive history of MIT's Center for Advanced Visual Studies (CAVS), told through personal accounts and groundbreaking artwork.In 1967, in a time of student unrest, the Massachusetts Institute of Technology did the unexpected: it established the first academic center for research and collaboration in art, science, and technology. The Center for Advanced Visual Studies (CAVS) brought artists to the MIT campus with radical expressions of a rapidly evolving technological era.The brainchild of founding director Gyorgy Kepes, CAVS sought to repair the distance between practitioners of art and engineering within the halls of MIT. "The scientist may be an extra brain to the artist, and the engineer may be an extra arm to the artist, whereas the artist can be an extra eye to the scientist and engineer," said long-time director Otto Piene in Centerbeam, a 1978 film about a CAVS collaboration. As a breeder of new art forms and future-oriented artistic education, CAVS became a pioneering model for the art, technology and media labs that proliferated worldwide.This first comprehensive history of CAVS presents an inside view, told through personal accounts, exhibit documentation, and groundbreaking artwork, and and includes a new text on the genome of art and technology by Peter Weibel. The book chronicles, in vivid visual narrative and testimony by those who were there, the birth and flowering of a unique research node dedicated to multiple interactions of art, science, technology and environment.Copublished with ZKM | Center for Art and Media, Karlsruhe