Bøker utgitt av GLASGOW MUSEUMS PUBLISHING

Divided thematically by the theme - Ceremonial Silver, Domestic Silver, Silver Marks, Huguenot Silversmiths, and Silver Service - this book examines some of the most interesting pieces in the world-renowned Burrell Collection, Glasgow, Scotland; their origins, symbolism, and design. It also unpacks why Sir William acquired certain pieces and from whom.Lavishly illustrated in full colour, this book offers readers the latest research into some of the most intriguing pieces that Sir William Burrell purchased over his illustrious collecting career as well as serving as an introduction to British silver.

In 1992 Glasgow Museums was given a cast iron plaque which had `LASCARS ONLY¿ written on it in English and Bengali. For the last two years the Bangladesh Association Glasgow, Our Shared Cultural Heritage, and Glasgow Life Museums have been leading a research project to find out more about lascars ¿ South Asian seamen¿and their connections to Scotland. This book brings together contributions from many different perspectives,  investigating and commemorating the lives of these mariners.

Published to accompany the first major exhibition of John Byrne¿s work for over 20 years, the book provides an overview of Byrne''s eclectic career, and showcases his work as an artist, writer, playwright, screen writer and set and costume designer.

This book introduces the artist Joseph Crawhall, a remarkable and innovative animal watercolourist, who made decorative, sensitively observed and humorous studies of animals and birds. It reproduces in colour nearly 60 Crawhall artworks from the Burrell Collection, which holds the largest and most significant collection of artworks by Crawhall in the world. These artworks include dynamic and colourful mature works, technically experimental compositions, watercolours from Crawhall¿s travels and delightful comic sketches. Written in an accessible style, the book gives readers an overview of Crawhall¿s career and artistic output. It considers his friendship with the Glasgow Boys, the influence of French art, Whistler and Japanese prints, his flair for decorative design and, above all, Crawhall¿s unique skill in poetically distilling the essence of an animal or bird¿s character.

The world-famous Burrell Collection reopens to the world in the spring of 2021 after a multi-million pound refurbishment. This new guidebook functions as both a memento and a tool for visitors as they peruse the galleries, which house tapestries, stained glass, Chinese art, French paintings, medieval sculpture and much more. It contains key objects and gallery highlights, offering visitors who require it more in depth information about the fantastic collection Sir William Burrell gave to his home city, Glasgow, in 1944. The opening essays illuminate the background story to this huge collection of over 9,000 objects, and touch on the building¿s history and recent redevelopment. The guidebook reflects the scope of the new galleries, helping to orient visitors further.

Marianne Grant¿s story is a remarkable one of courage. She was an artist who managed to paint in the most extreme circumstances, and her works of art tell of her experiences of WWII and imprisonment in Theresienstadt, Auschwitz and Bergen-Belsen concentration camps. These unique and extraordinary works, painted at first hand, help us to better understand the impact of the Holocaust. Her work still resonates today, particularly in Glasgow, the city that became her home and a city which has a strong tradition of welcoming refugees. Marianne Grant (1921¿2007), was a remarkable woman, and a remarkable artist. Born in Prague in 1921 to Jewish parents, she loved to paint and draw. In 1942, she and her mother were deported to the Theresienstadt ghetto, and Marianne took watercolour paints, brushes and paper in the one suitcase she was allowed to bring. Her mother was later sent to Auschwitz, and Marianne jumped on the same train in order to stay with her. In the concentration camp Marianne came to the attention of Dr Mengele, who gave her an architect¿s drawing kit and got her to work with him, documenting his work. He would pace up and down as she worked, and Marianne knew that she was, literally, drawing for her life. In April 1945, Marianne and her mother were sent to Bergen-Belsen. Throughout the war Marianne painted and sketched the scenes she saw, showing compassion for her fellow inmates, but also using her art as a form of silent protest. She and her mother survived the war, and after the liberation of Bergen-Belsen went to Sweden on a Red Cross ship. There Marianne earned a living making Christmas decorations. In 1951 she married a German Jewish refugee living in Glasgow, Jack Grant (born Jaakov Horst Grodszinksy), with whom she had become pen pals, and came to live in Glasgow, where they raised their three children. In 2002, when Marianne was still alive, Glasgow Museums was fortunate to be able to work with her on projects relating to her work, and in 2004, with grant aid assistance from the Heritage Lottery Fund, The Art Fund, and the National Fund for Acquisitions, we were able to acquire 77 of her remarkable works. Every January, we rotate the display of her works in Kelvingrove Art Gallery and Museum.This is the first full catalogue of Marianne¿s works.

Sir William Burrell was one of the foremost collectors of his day. He gifted his collection to the city of Glasgow in 1944, and it has been admired by millions of visitors since. Although he never visited China, he had a passion for Chinese objects. Ceramics of the 1600s and 1700s, decorated in cobalt blue and enamels, were the fashion in 'Chinese art' in Britain during the early 1900s. Burrell's collection reflects this trend, although interestingly his taste extended to ancient bronzes and jade too. This publication showcases 60 masterpieces from the Burrell Collection.

In October 2018 Christine Borland unveils a new artwork at Kelvingrove Museum and Art Gallery, Glasgow, Scotland, as part of the 14-18 NOW World War I centenary commemorations. The artwork is co-commissioned by Glasgow Museums and 14-18 NOW and supported by the Art Fund. This highly illustrated book showcases the new, commissioned artwork and gives an insight into Borland's research and practice. It includes an interview with the artist and an essay by Professor Andrew Patrizio reflecting on Borland's career to date and placing the new work in context. The artist shares her research and personal response to the objects she selected from over 2,000 in Glasgow Museums' World War I collection, and which have variously informed the new artwork. The publication comprehensively documents Borland's artistic processes, the commission and the finished artwork installed in Kelvingrove Art Gallery and Museum, Glasgow, Scotland.