Issue Index

Left portrait: Isaac Oliver, Ludovick Stuart, 2nd Duke of Lennox, later Duke of Richmond, ca. 1605, watercolour on vellum, laid onto table-book leaf, 5.7 x 4.4 cm. Collection of National Portrait Gallery, London (NPG 3063); Right portrait: Isaac Oliver, Ludovick Stuart, 2nd Duke of Lennox, later Duke of Richmond, ca. 1603, watercolour on vellum, laid on card, 4.9 x 4 cm. Collection of Fitzwilliam Museum, Cambridge (FM 3869).

Digital image courtesy of National Portrait Gallery, London (All rights reserved); Fitzwilliam Museum, Cambridge (All rights reserved).

Bill Brandt, Stonehenge (recto), 1946, photographic print.

Digital image courtesy of Bill Brandt and the Bill Brandt Archive Ltd. Photography by Richard Caspole and Robert Hixon.

Laura Grace Ford, Alpha, Isis, Eden, installation photograph, 1 February – 18 March 2017, multi-media installation made in collaboration with sound engineer Jack Latham.

Digital image courtesy of Laura Grace Ford.

James Richards, on the side of the disease and not the cure, 2019.

Digital image courtesy of James Richards.

Ada Hao, Still from "like a flower paddle my teeth" (7:50), 2019.

Digital image courtesy of Ada Hao.

Avinash Chandra, Drawing 3 (detail), 1963, watercolour, 57.1 x 66 cm. Collection of Museums Sheffield (VIS.3419).

Digital image courtesy of the estate of Avinash Chandra. Photo courtesy of Museums Sheffield (All rights reserved).

Film still, The Ballet of the Nations, 2018.

Digital image courtesy of Impermanence.

David Alesworth, Unter den Linden, 2010, horticultural intervention, public art project, terminalia arjuna seeds (sterilized) yellow paint.

Digital image courtesy of David Alesworth.

Jonathan Law, The Boy-Narcissus, still from film, 2018.

Digital image courtesy of Paul Mellon Centre for Studies in British Art with support from the staff of Leighton House Museum, The Royal Borough of Kensington and Chelsea.

Mairi Chisholm, “Dunkie and Gros Gris”, Pervyse, undated.

Digital image courtesy of National Library of Scotland.

Clare Twomey, Made in China, ceramic vessels, 2016. Installed at the Yale Center for British Art, New Haven, 2017.

Digital image courtesy of Yale Center for British Art | Photo: Richard Caspole

Unknown maker, Ivory Staff Terminal from Alcester, 11th Century, ivory, 14 x 5 cm. Collection of the British Museum (1903,0323.1).

Digital image courtesy of Trustees of the British Museum

Francis Alexander Skidmore and Sir George Gilbert Scott, The Hereford Screen (detail), 1862, painted wrought and cast iron, brass, copper, timber, mosaics, and hardstones. Collection of the Victoria & Albert Museum, London, Given by Herbert Art Gallery and Museum, Coventry (M.251:1 to 316-1984).

Digital image courtesy of Justin Underhill

Martin Parr, New Brighton, England, UK, from 'The Last Resort', 1983–85

Digital image courtesy of Martin Parr / © Martin Parr / Magnum Photos (LON6977)

Simon Starling, Infestation Piece (Musselled Moore), 2006–8, steel and mussels, 162.6 x 76.2 x 76.2 cm

Digital image courtesy of the artist

David Lewis, Fan, 2016

Mikhail Karikis, Children of Unquiet (video still), 2013–14

Digital image courtesy of the artist