EDITORIAL

Michelangelos lost and found

It may seem extraordinary that works by an artist as famous as Michelangelo should reappear after vanishing for centuries but no fewer than three claimed to be by him will be going on public view this year.

CONTEMPORARY ART

New York: Summertime

The rise of the curator is an inescapable theme linking Manhattan's major shows this season.

ARCHITECTURE

Museum piece

A new book on Sir John Soane's museum highlights the changes that have been made to this strange shrine to an extraordinary architect.

Art Business

Auction houses’ decision to cut staff numbers is making them re-examine the idea of live online auctions.

Around the Galleries

This year’s Edinburgh Art Festival offers an enticing mix of established and emerging artists.

Collectors' Focus

Despite scarce material – and a number of fakes – Russia’s new collectors are driving a market that is still being discovered by the West, writes Isabel Andrews.

Market Preview

Treasures from the Barbara Piasecka Johnson collection are highlights of the July sales in London.

Market Review

A jade found wrapped in newspaper and forgotten in a bank vault caused a sensation at a sale in Salisbury.

Collectors & Collecting

George and Ilone Kremer have formed a major collection of Dutch and Flemish Old Master paintings in just 15 years. As they explain to Louise Nicholson, they take great pleasure in sharing their remarkable achievement with the public. Portraits by John Angerson.

The Three to See

Are you planning to take a holiday in the Bavarian countryside, a German spa or on the Belgian coast? If so, an art fair awaits you. Annie Blinkhorn previews fairs in Bamberg, Knokke and Baden-Baden.

The Private World of Frank Cohen

Frank Cohen is one of Britain’s most celebrated collectors of contemporary art. But he also has a little-known passion for 20th-century British art, as he reveals to Louise Nicholson at his home in Cheshire. Photographs by Daniel Kennedy.

Tradition with a Twist

The Earl of Pembroke was just 25 when he inherited responsibility for Wilton House in Wiltshire, its estate and art collections in 2003. To mark Apollo’s special issue on Wilton, he talks to Michael Hall about his plans for this great house. Portrait by Derry Moore.

Regency Revival

In the early 19th century Catherine Woronzow, the Russian wife of the 11th Earl of Pembroke, refurnished Wilton House with early-18th-century furniture sold from Wanstead House, Essex. The scheme is so appropriate, writes John Martin Robinson, that until recently it was believed to have been created a century earlier.

A Collection Transformed

The 8th Earl of Pembroke was a voracious collector of paintings, driven by a determination to collect a work by each of the leading Old Masters and modern Italian painters. As Francis Russell explains, he was unique among English collectors of his period in hanging his paintings at Wilton according to national schools.

Ceremonies of the Ancients

Among the treasures of the collection of classical sculpture at Wilton acquired by the 8th Earl of Pembroke in the 17th and 18th centuries are four marble Roman sarcophagi. As Elizabeth Angelicoussis explains, they embody the Earl’s intellectual curiosity as well as his aesthetic discrimination.

Art of Light

Renzo Piano’s newly unveiled Modern Wing at the Art Institute of Chicago is both ingenious and practical, as well as an elegant addition to America’s second-largest art museum, writes Louise Nicholson.

Rivals in Venice

An ambitious attempt to chart the way that the careers of Titian, Tintoretto and Veronese intertwined presents all three artists in a novel – and not always flattering – light, writes Jonathan Lopez.

King of Carving

An exhibition in his native Belluno amply confirms the stature of the baroque carver Andrea Brustolon as – in Balzac’s words – ‘the Michelangelo of wood’, writes Andrew Hopkins.

Throned in Platinum

Politically they were a disaster but a spectacular exhibition in Madrid makes plain that Carlos IV and Queen Maria Luisa were superb patrons of art, writes Christopher Rowell.

Intimate Womanhood

The sculptures of women that Jules Dalou produced during his exile in England in the 1870s quietly reveal his political ideals, writes Nancy Ireson.

A Radical Conservative

How could Muirhead Bone have been so committed to tradition in his own art while also being a patron of the extreme avantgarde, asks Peyton Skipwith?

The self-importance of being earnest

Tate has collaborated with Yale to publish a three-volume history of British art. For all its many good qualities, writes Robin Simon, it suffers from Tate’s familar biases.

Uses for a sponge

Mary Beard enjoyably punctures myths about Pompeii but is in danger of creating a few of her own, writes Peter Howell.

The epic of common life

Andrew Wilton welcomes a powerful analysis of the rise of genre painting in British art.

A family stripped down

Alexander Waugh’s ambitious account of the Wittgenstein family has surprisingly little to say about the importance of art and architecture in their lives, writes Richard Calvocoressi.