Huon Mallalieu reports on an extraordinary — and record-breaking — auction of a chest roughly the size of a small loaf of bread which generated a huge sale for Lyon & Turnbull.
Peter Sheppard, The Norfolk Churches Trust, chooses a Venice 'snapshot' that still captures the character of the city more than 500 years after it was painted.
The philanthropist Finlay Scott chooses an unusual portrait of Whistler which captures some of the great man's spirit.
Huon Mallalieu celebrates the bicentenary of John Croome, the enigmatic and oft-overlooked founder of the Norwich School of painting.
Tate Director Maria Balshaw picks a powerful work by Lubaina Himid, whose major solo exhibition will open at Tate Modern in November.
Our columnist Joe Gibbs has been sitting for a portrait, despite a few misgivings. Here's what he's learned.
Mark Dowie of the RNLI makes an appropriately nautical choice: Cochrane’s Compensation by John Chancellor.
Once regarded as a rival to Bewick and Audubon, but now largely forgotten, ornithological artist Jemima Blackburn (1823–1909) was a formative influence on the young Beatrix Potter. Ian Morton takes a closer look.
A chance encounter united our columnist Jason Goodwin with a portrait of his mother that he never knew existed.
Ahead of David Hockney’s forthcoming exhibition at the Royal Academy, Martin Gayford considers the octogenarian’s fresh and lyrical iPad evocations of spring in the French countryside.
Baroness Lola Young chooses a picture by Sonia Boyce thats' 'about the invisibility of black women who neither had a place in feminism nor black liberation movements'.
Quentin Blake chooses his favourite painting for Country Life.
They may look as delicate and organic as the real thing, but Ben Russell’s sculptures of fungi, cacti and roots will outlast us all, believes Natasha Goodfellow.
Known for his bold and thoughtful pictures, as well as a fondness for magenta, Ford Madox Brown was one of the most flamboyantly gifted Pre-Raphaelites, even if he was never a member of the sacred brotherhood.
Retired army office Sir Simon Mayall explains his love of a 'vibrant tableau summons up the exotic allure of India'.
Once practised by Michelangelo, Raphael and da Vinci, the art of fresco creation has changed little in 1,000 years. Marsha O’Mahony meets the artists following in their footsteps.
The chef and writer Skye McAlpine chooses The San Zaccaria Altarpiece by Giovanni Bellini.
Anna Stickland has woven a new career as a basket-maker; she spoke to Nick Hammond.
Lord Mendoza, provost of Oriel College, chooses 'The Painter and his Pug' by William Hogarth.
