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Exploring the relationship with painted portraits, conventions, settings, sitting, making and multiple production, this book argues that the new centrality and aesthetic ambition of the sculptural portrait were informed by Enlightenment notions of perception and selfhood.

Reveals the fascinating history of the cabinet of curiosities belonging to the Cobbe family, who created it around 1750 at Newbridge House and developed it over the following century. In this book, the enormous range of surviving objects and specimens is illustrated by photographs and has been catalogued by scholars in the respective fields.