1 Quoted in Robert Home, City of Blood Revisited: A New Look at the Benin Expedition of 1897 (1982), p. 100.
2 Quoted in Tiffany Jenkins, Keeping Their Marbles: How the Treasures of the Past Ended Up in Museums –and Why They Should Stay There (2016), p. 141.
3 Hans-Joachim Koloss, Art of Central Africa: Masterpieces from the Berlin Museum für Völkerkunde (1990), p. 21.
4 Annie E. Coombes, Reinventing Africa: Museums, Material Culture, and Popular Imagination in Late Victorian and Edwardian England (1994), p. 46.
5 Ibid., p. 38.
6 Kate Ezra, Royal Art of Benin: The Perls Collection in the Metropolitan Museum of Art (1992), p. 117.
7 There may originally have been four masks of Queen Mother Idia.
1 Jerry Brotton, The Renaissance Bazaar: From the Silk Road to Michelangelo (2002), p. 168.
2 Juan Pimentel, The Rhinoceros and the Megatherium: An Essay in Natural History (2017), p. 88.
3 T. H. Clarke, The Rhinoceros from Dürer to Stubbs, 1515–1799 (1986), p. 20.
4 L. C. Rookmaaker and Marvin L. Jones, The Rhinoceros in Captivity: A list of 2439 Rhinoceroses Kept from Roman Times to 1994 (1998), p. 80.
5 Annemarie Jordan Gschwend and K. J. P. Lowe (eds.), The Global City: On the Streets of Renaissance Lisbon (2015), p. 61. Some estimates put this figure at 20 per cent.
6 T. F. Earle and K. J. P. Lowe (eds.), Black Africans in Renaissance Europe (2005).
7 Gschwend and Lowe, The Global City, p. 23.
8 Ibid., p. 73.
9 Ibid., p. 72.
10 Ibid., p. 164.
1 Michale W. Cole and Rebecca Zorach (eds.), The Idol in the Age of Art: Objects, Devotions and the Early Modern World (2009), p. 21.
2 The Nahua tribes of the Mexico Valley did not refer to themselves as the Aztec, but for ease I have used that term here to describe them and their civilisation.
3 Hugh Thomas, Rivers of Gold: The Rise of the Spanish Empire (2003), p. 417.
4 Susan E. Alcock et al (eds.), Empires: Perspectives from Archaeology and History (2001), p. 284.
5 Quoted in Donald R. Hopkins, The Greatest Killer: Smallpox in History (2002), p. 206.
6 Wolfgang Stechow (ed.), Northern Renaissance Art, 1400–1600: Sources and Documents (1966), p. 100.
7 Colin McEwan et al., Turquoise Mosaics from Mexico (2006), p. 58.
8 See Colin McEwan, Ancient American Art in Detail (2009).
9 Jonathan Israel, Race , Class and Politics in Colonial Mexico 1610–1670 (1975), p. 8.
10. Serge Gruzinski, Painting the Conquest: The Mexican Indians and the European Renaissance (1992), p. 24.
1 Olof G. Lidin, Tanegashima: The Arrival of Europe in Japan (2002), p. 1.
2 Sometimes spelled harquebuse.
3 Donald F. Lach, Asia in the Making of Europe, Volume I: The Century of Discovery (1965), p. 655.
4 Holden Furber, ‘Asia and the West as Partners before “Empire” and After’, in Journal of Asian Studies, Vol. 28, No. 4 (Aug 1969), pp. 711–21.
5 James L. McClain, Japan: A Modern History (2002), p. 44.
6 Ross E. Dunn, Laura J. Mitchell and Kerry Ward (eds.), The New World History: A Field Guide for Teachers and Researchers (2016), p. 508.
7 Kwame Anthony Appiah and Henry Louis Gates (eds.), Africana: The Encyclopedia of the African and African American Experience (2005), p. 497.
8 Kotaro Yamafune, Portuguese Ships on Japanese Namban Screens, unpublished MA thesis (Texas A&M University) (2012), p. 7.
9 Ibid., p. 96.
10 Charles Ralph Boxer, The Christian Century in Japan: 1549–1650 (1974), p. 29.
11 Ibid., p. 1.
12 McClain, Japan, p. 43.
13 Michael Sullivan, The Meeting of Eastern and Western Art: From the Sixteenth Century to the Present Day (1973), p. 14.
14 Adam Clulow, The Company and The Shogun: The Dutch Encounter with Tokugawa Japan (2014), p. 262.
15 Ibid., p. 260.
16 Timon Screech, The Lens within the Heart: The Western Scientific Gaze and Popular Imagery in Later Edo Japan (2002), p. 119.
1 Anthony Bailey, A View of Delft: Vermeer Then and Now (2001), p. 26.
2 The original seventeen provinces that rebelled in 1568 also included what are today Belgium and Luxembourg, as well as regions of northern France and western Germany. Only the seven northern provinces won their independence from Habsburg Spain.
3 Letter to Guez de Balzac, 5 May 1631, quoted in Fernand Braudel, Civilization and Capitalism, 15th–18th century, Vol. III: The Perspective of the World (1984), p. 30.
4 Timothy Brook, Vermeer’s Hat: The Seventeenth Century and the Dawn of the Global World (2010), p. 8.
5 Simon Schama, The Embarrassment of Riches: An Interpretation of Dutch Culture in the Golden Age (1987), p. 160.
6 For a description of Willem Kalf’s Still-Life with a Nautilus Cup (1644), see Norman Bryson, ‘Chardin and the Text of Still Life’, in Critical Inquiry, Vol. 15, No. 2 (Winter, 1989), pp. 227–35.
7 Quoted in Charles Ralph Boxer, The Dutch Seaborne Empire, 1600–1800 (1965), p. 42.
8 James C. Boyajian, Portuguese Trade in Asia under the Habsburgs, 1580–1640 (2008), p. 150.
9 Brook, Vermeer’s Hat, p. 42.
10 Ibid., p. 55.
11 J. L. Price, The Dutch Republic in the Seventeenth Century (1998), p. 5.
12 Londa Schiebinger, Plants and Empire: Colonial Bioprospecting in the Atlantic World (2004), p. 107.
1 Joseph Farington, The Farington Diary, Vol. 3, 15 December 1804 (1924), p. 34.
2 Kathrin Wagner, Jessica David and Matej Klemenčič (eds.), Artists and Migration 1400–1850: Britain, Europe and Beyond (2017), p. 150.
3 Toby Falk, ‘The Fraser Company Drawings’, RSA Journal, Vol. 137, No. 5389 (December 1988), pp. 27–37.
4 Durba Ghosh, Sex and the Family in Colonial India: The Making of Empire (2006), p. 40.
5 William Dalrymple, White Mughals: Love and Betrayal in Eighteenth-century India (2002), p. 32.
6 Griselda Pollock, ‘Cockfights and Other Parades: Gesture, Difference and the Staging of Meaning in Three Paintings by Zoffany, Pollock, and Krasner’, Oxford Art Journal, Vol. 26, No. 2 (2003), p. 155.
7 Maya Jasanoff, ‘A Passage through India: Zoffany in Calcutta and Lucknow’, in Johan Zoffany, RA: Society Observed, Martin Postle (ed.) (2011), p. 137.
8 Ibid., p. 137.
9 Dalrymple, White Mughals, p. 268.
10 Ghosh, Sex and the Family in Colonial India, p. 40.
11 Zareer Masani, Macaulay: Britain’s Liberal Imperialist (2013), p. 99.
1 Richard Wellesley landed in Calcutta on 17 May; the Toulon fleet embarked in the early hours of 9 May.
2 John Bagot Glubb, Soldiers of Fortune: The Story of the Mamlukes (1973), p. 480.
3 Darius A. Spieth, Napoleon’s Sorcerers: The Sophisians (2007), p. 41.
4 A phrase used by Professor Kwame Anthony Appiah in his 2016 BBC Reith Lectures.
5 Spieth, Napoleon’s Sorcerers (2007), p. 47.
6 Quoted in Juan Cole, Napoleon’s Egypt: Invading the Middle East (2007), p. 16.
7 Edward W. Said, Orientalism (1978), p. 81.
8 Paul Strathern, Napoleon in Egypt: ‘The Greatest Glory’ (2007), p. 258.
9 Said, Orientalism, p. 81.
10 Michael Curtis, Orientalism and Islam: European Thinkers on Oriental Despotism in the Middle East and India (2009), p. 12.
11 Darcy Grimaldo Grigsby, Extremities: Painting Empire in Post-Revolutionary France (2002), p. 66.
1 P. M. G. Harris The History of Human Populations, Vol 2: Migration, Urbanization, and Structural Change (2003), p. 226.
2 Ibid.
3 Quoted in Ann Bermingham, Landscape and Ideology: The English Rustic Tradition, 1740–1860 (1986), p. 80.
1 Alfred Russel Wallace, The Wonderful Century: Its Successes and Its Failures (1898), p. 338.
2 Quoted in Franny Moyle, The Extraordinary Life and Momentous Times of J. M. W. Turner (2016), pp. 631–2.
3 Charles Dickens, The Old Curiosity Shop (1841), p. 242.
4 John Ruskin, Notes by John Ruskin on His Drawings by J. M. W. Turner, R.A., Exhibited at the Fine Art Society’s Galleries, 1878 & 1900 (1900), p. 34.
5 John Lucas, The Literature of Change: Studies in the Nineteenth Century Provincial Novel (2016), p. 40.
6 Shirley Foster, Elizabeth Gaskell: A Literary Life (2002), p. 35.
7 Elizabeth Gaskell, Mary Barton: A Tale of Manchester Life (1848), vol. 1, p. 90.
1 While the works of the male painters are proudly on display in national and state galleries, the works of the female members of the school are largely forgotten, lost or in private collections. The paintings of Harriet Cany Peale, Mary Blood Mellen, Laura Woodward, Josephine Walter and Sarah Cole, Thomas’s sister, proved of little interest to their contemporaries.
2 Carrie Rebora Barratt in Art and the Empire City: New York, 1825–1861 (2000), pp. 60–61.
1 David Schuyler, Sanctified Landscape: Writers, Artists, and the Hudson River Valley, 1820–1909 (2012), p. 40.
2 Louis Legrand Noble, Elliot S. Vesell (eds.), The Life and Works of Thomas Cole (1997), p. xii.
3 John Hay, Post-apocalyptic Fantasies in Antebellum American Literature (2017), p. 103.
4 Schuyler, Sanctified Landscape, p. 39.
1 Stephanie Pratt and Joan Carpenter Troccoli, George Catlin: American Indian Portraits (2013), pp. 18–21.
2 H. Glenn Penny, Kindred by Choice: Germans and American Indians since 1800 (2013), pp. 49–50.
3 George Catlin, Letters and Nates on the Manners, Customs, and Conditions of the North American Indians (1841), p. 3.
1 Edward Markham, New Zealand, or Recollections of It (1963), p. 83.
2 Michael King, The Penguin History of New Zealand (2003), p. 272.
3 Ngahiraka Mason and Zara Stanhope (eds.), Gottfried Lindauer’s New Zealand: The Māori Portraits (2016), p. 41.
4 Ngahiraka Mason, Gottfried Lindauer’s New Zealand: The Māori Portraits (2016), p. 35.
5 Ibid, p. 33.
6 Dominique de Font-Réaulx, Painting and Photography: 1839–1914 (2012), pp. 157–8.
7 Robert L. Herbert Impressionism: Art, Leisure, and Parisian Society (1988), p. 28.
8 Elizabeth Anne Maxwell, Colonial Photography and Exhibitions: Representations of the Native and the Making of European Identities (2000), p. 1.
1 Some sources suggest it was a set of ornate mirrors that had failed to find their way to Café Volpini.
1 James Patrick Daughton, An Empire Divided: Religion, Republicanism, and the Making of French Colonialism, 1880–1914 (2008), p. 3.
1 Elizabeth Anne Maxwell, Colonial Photography and Exhibitions: Representations of the Native and the Making of European Identities (2000), p. 1.
2 It was also hoped that the colonial pavilions would encourage an increase in French emigration to the colonies.
3 By the 1880s the rise of forms of social Darwinian racism had added darker strands to French thinking about its empire and the futures of its colonial subjects.
4 Elazar Barka and Ronald Bush (eds.), Prehistories of the Future: The Primitivist Project and the Culture of Modernism (1996), p. 226.
5 Robert Wokler, Enlightenment and Modernity (1999), p. 11.
6 Quoted in Stephen F. Eisenman, Gauguin’s Skirt (1997), p. 201, and Ronnie Mather, ‘Narcissistic Personality Disorder and Creative Art – The Case of Paul Gauguin’, PSYART Journal (2007).
7 Elazar Barkan and Ronald Bush (eds.), Prehistories of the Future: The Primitivist Project and the Culture of Modernism (1996), p. 226.
8 Claire Moran, Staging the Artist: Performance and the Self-Portrait from Realism to Expressionism (2016), pp. 42–3.
9 Albert Boime, Revelation of Modernism: Responses to Cultural Crises in Fin-de-Siècle Painting (2008), p. 143.
10 Five such events were held in Paris between 1855 and 1900.
11 The collection has since moved again to the Musée du Quai Branly.
12 Wayne Andersen, Picasso’s Brothel (2002), p. 62.
1 Wayne Andersen, Picasso’s Brothel (2002), p. 62.
2 L. C. Knights, Selected Essays in Criticism (1981), p. 181.
3 Ibid, p. 181.
4 Dietmar Schloss, Culture and Criticism in Henry James (1992), p. 122.
1 Lionel Charles Knights, Selected Essays in Criticism (1981), p. 181.
2 Ibid., p.181.
3 Dietmar Schloss, Culture and Criticism in Henry James (1992), p. 122.
4 Chinua Achebe, An Image of Africa: Racism in Conrad's Heart of Darkness (1977), p. 3.
5 The sources are contradictory on this.
6 Otto Dix, interview, December 1963, quoted in Bernd-Rüdiger Hüppauf, War, Violence, and the Modern Condition (1997), p. 242.
7 Linda F. McGreevy, Bitter Witness: Otto Dix and the Great War (2001), p. 201.
8 See Ann Stieglitz, ‘The Reproduction of Agony: Toward a Reception-History of Grünewald’s Isenheim Altar after the First World War’, Oxford Art Journal, vol. 12, no. 2 (1989), p. 93.
9. Eva Karcher, Dix (1987), p. 1.