Belleroche was an integral part of the Parisian art scene during the Belle Époque - he was a close friend of the artist John Singer Sargent with whom he shared studios in Paris and London; he was admired and collected by luminaires such as Degas and Renoir - anbdchampioned by the art critic Roger Marx. With Toulouse-Lautrec he shared the celebrated model Lily Grenier. And it is even said that Oscar Wilde's Picture of Dorian Gray was inspired by Belleroche. Belleroche was considered by his contemporaries to be an innovator. In the art of lithography he developed techniques that built on the experiments of Degas and other Impressionist, (with whom he shared a fascination for monotypes). Despite all these fascinating facets of his life and art, his story remains largely unknown.

Initial remote sensing survey at Tlachtga, Co. Meath in 2011–12 highlighted the presence of multiple, partially overlapping phases of enclosure at the site. Three subsequent seasons of excavation provided critical interpretive evidence, with over 15,000 fragments of animal bone, human remains, charred plant material, evidence of metalworking, and a hoard of Anglo-Saxon silver coins dating to the late 10th century AD. The main activity at the site spans four broad periods and two main phases of monumental construction: a late Bronze Age to early Iron Age ‘Hillfort Phase’ (1100–400 BC) and a late Iron Age to early medieval (AD 400–600) ringfort phase associated with a smaller foundation enclosure – the ‘Southern Enclosure’. This ringfort phase was remodelled later in the early medieval period (9th–10th century AD) and augmented by a phase of mound construction in the mid-10th century AD. This is contemporary with the deposition of the coin hoard east of the main complex in an apparent craft-working area. The final phase of the central mound indicates the construction of a timber stockade, most likely in the 12th century, again with significant craft activity.This volume represents the excavation of at least four loci within the broader monumental landscape of Tlachtga, charting its progression from Bronze Age hillfort to pre-Anglo Norman power display mound.The excavations at the Hill of Ward and this publication were made possible through funding by the National Monuments Service via the Royal Irish Academy archaeological research excavation grants, and by Meath County Council, with additional support by the Office of Public Works and the Heritage Council.

The monumental struggle fought against Imperial Japan in the Asia/Pacific theater during World War II is primarily viewed as an American affair. While the United States did play a dominant role, the British and Commonwealth forces also made major contributions – on land, at sea and in the air – eventually involving over a million men and vast armadas of ships and aircraft. It was a difficult and often desperate conflict fought against a skilled and ruthless enemy that initially saw the British suffer the worst series of defeats ever to befall their armed forces. Still, the British persevered and slowly turned the tables on their Japanese antagonists. Fighting over an immense area that stretched from India in the west to the Solomon Islands in the east and Australia in the south to the waters off Japan in the north, British and Commonwealth forces eventually scored a string of stirring victories that avenged their earlier defeats and helped facilitate the demise of the Japanese Empire.Often overlooked by history, this substantial war effort is fully explored in Forgotten War. Meticulously researched, the book provides a complete, balanced and detailed account of the role that British and Commonwealth forces played on land, sea and in the air during this crucial struggle. It also provides unique analysis regarding the effectiveness and relevance of this collective effort and the contributions it made to the overall Allied victory.

North Africa was one of the richest parts of the Roman Empire, the agricultural powerhouse of the Mediterranean. It was also home to some of the emperor’s biggest imperial estates, and prosperous cities of all kinds. Its loss to the Vandals in the first half of the 5th century AD was the mortal blow which precipitated the fall of the western empire, and set the eastern empire back for decades. Its reconquest then became an obsession with each new emperor in Constantinople. Time and again the eastern Romans failed in this goal, until Justinian I finally succeeded in the AD 530s. Although North Africa’s restoration to the world of Rome only lasted a short time, it has widely been regarded as a positive development.However, new research – published here for the first time – shows that post-Roman North Africa thrived under the Vandals. To them it was Vandal heaven, a place where they found a way as the new incumbent elite to live comfortably alongside the late Roman inhabitants, despite their different interpretations of Christianity. Together, the two cultures flourished. When the eastern Romans – now styled Byzantines – returned, they weren’t welcome. This is evidenced in the surviving built environments, namely chains of small forts along the frontier and interior, where the Byzantines used mounted troops to keep an unhappy local population under control. Dr Elliott presents a brand-new interpretation of post-Roman North Africa, providing a compelling argument for how the region today came to be part of the Arab world, in contrast to the regions along the northern Mediterranean freeboard which maintain their Roman-ness to this day.

Minami Kobayashi (b.1989) is a Japanese artist based in London. Covering a significant period of development in her practice as a painter, this publication coincides with her second major solo exhibition, The Song of Jujubes, at Frestonian Gallery, London. Kobayashi’s paintings depict familiar yet surreal scenes, created from an amalgamation of memories, places and ordinary people. In her dreamlike ambiguous narratives, nature, animals and humans are given equal status; her realms are symbiotic societies with multiple creatures. She captures transitory and fluctuating moments, depicting her protagonists in states of flux, vulnerability and openness. Rendered in a postImpressionist palette, her compositions are a potent mix of playfulness and deeper themes of human and natural life.Bringing together eleven new canvases, The Song of Jujubes takes its title from a song that the artist used to sing as a teenager in her hometown of Nagoya, Japan. It begins with a girl eating one jujube fruit every night, wondering what she will do when they are all gone. Imbued with a sense of nostalgia and loss, the works consider what ‘home’ means and the strong relationship between people and place.This publication documents Kobayashi’s paintings chronologically, from her early works of 2016 to 2024. In a foreword, the Directors of Frestonian Gallery, Matt Incledon and Rollo Campbell introduce the inner world of the artist and the themes of The Song of Jujubes. In an interview with Lisa Wainwright, Kobayashi discusses her time studying at the School of the Art Institute of Chicago, her unique painting technique and the symbolism in her scenes. She also expands upon her artistic influences, including Ukiyoe woodblock prints, the tenets of Buddhism, Tarot and the Nabi painters, such as Félix Vallotton, Édouard Vuillard and Pierre Bonnard. In her essay ‘Temperature of a Memory’, Laura Allsop analyses Kobayashi’s recent paintings in relation to memory and place, particularly the artist’s hometown of Nagoya.Edited by Incledon and designed by Joe Gilmore, the book is copublished by Frestonian Gallery and Anomie Publishing, London.

World War I witnessed unprecedented growth and innovation in aircraft design, construction, and as the war progressed - mass production. Each country generated its own innovations sometimes in surprising ways - Albatros Fokker, Pfalz, and Junkers in Germany and Nieuport, Spad, Sopwith and Bristol in France and Britain. This book focuses on the British approach to fighter design, construction, and mass production. Initially the French led the way in Allied fighter development with their Bleriot trainers then nimble Nieuport Scouts - culminating with the powerful, fast gun platforms as exemplified by the Spads. The Spads had a major drawback however, in that they were difficult and counter-intuitive to fix in the field. The British developed fighters in a very different way; Tommy Sopwith had a distinctive approach to fighter design that relied on lightly loaded wings and simple functional box-girder fuselages. His Camel was revolutionary as it combined all the weight well forward; enabling the Camel to turn very quickly - but also making it an unforgiving fighter for the inexperienced. The Royal Aircraft Factory's SE5a represented another leap forward with its comfortable cockpit, modern instrumentation, and inline engine - clearly influenced by both Spads and German aircraft. Each manufacturer and design team vied for the upper hand and deftly and quickly appropriated good ideas from other companies – be they friend or foe. Developments in tactics and deployment also influenced design - from the early reconnaissance planes, to turn fighters, finally planes that relied upon formation tactics, speed, and firepower. Advances were so great that the postwar industry seemed bland by comparison.

This volume brings together recent excavations at two sites in Pocklington, East Yorkshire. The main focus of the volume is examination of Iron Age burials, which included chariots, swords, and spears, along with inclusion of earlier Prehistoric and later Roman activity. The excavations have enabled further scientific evidence for migration and mobility in the Iron Age population and secure chronologies for artefacts. New evidence from osteological analysis gives support for Warrior Graves and burial rites. The volume also examines the Pocklington shield, which has been described as one of the most significant pieces of Iron Age art. The exceptional finds, including a dismantled chariot with horses and an upright chariot also with horses, captured the world’s media and the public imagination. The excavations at Pocklington in 2017 and 2018 were featured on BBC 4’s Digging for Britain series and was voted Current Archaeology Rescue Project of the Year 2018. Anglian elements will be included in an additional volume.