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French-born Marie-Claude Deffarge (1924-1984) and Luxembourgian Gordian Troeller (1917-2003) collaborated as freelance journalists from the 1950s until Deffarange’s premature death. Initially, they reported mainly from the Middle East, later from all over the world. In the 1960s, the German weekly news magazine stern commissioned them with major features on foreign countries. At the same time, they began their first joint film projects; from the 1970s onwards, film documentaries became the focus of their work. Troeller / Deffarage were renowned for their well-researched reportages. They rarely reported in neutral manner, but remained deterred by criticism of their critical analyses of prevailing power structures or the role of the church.

This first comprehensive book on the work Deffarge and Troeller focuses on the stern features and the film work. It is lavishly illustrated with photos, entire features and film previews, dummies for books, contact sheets, film stills and scripts as well as various documents. The supplementing essays explores the duo’s entire work and approach, and its reception. Thus, the volume highlights what makes Troeller / Deffarge’s journalism an essential contribution to a better understanding of world events, even in the present day.

Text in English and German.

To Reach the Source: The Stepwells of India is a photography book about a unique and magnificent architectural form that remains unknown to most people outside (and even within) India.

More than just a shaft dug into the earth to fetch water, these are entire buildings that descend several stories below ground; they are spaces to be entered and occupied, serving functional, social, and ritual purposes. Often, they are as monumental and ornate as a church, and this is intentional.

They are a source of water, a gathering space, and a temple all at once, but instead of rising into the sky, they descend below the surface. They create a spatial experience unlike any other, in which one is below ground but remains connected to the sun and sky. Today they lie largely abandoned and overlooked, in various states of preservation or, more often, disrepair.

The photographs seek to recreate the striking ambiance that they elicit. The brief text that follows the images (interspersed with a few architectural drawings) provides a necessary minimum of context, ultimately to reinforce the primarily visual nature of the reader’s experience, one in which the photographs have priority. The photographs seek to give readers some sense of the meditative process of descending into these beautiful structures, of going away from the surface on which we live, but not being cut off from it, instead directed towards the very source of life.

Whilst many books have been published about war, the role of the prisoner of war has been largely ignored or paid scant attention. This book, along with the author’s other title – A History of Napoleonic and American Prisoners of War 1756-1816: Hulk, Depot and Parole – aims to correct this imbalance, and is the result of his quest over thirty years into this almost-forgotten field of history.

Illustrated here is an extensive selection of items from museums around the world and the author’s own collection – one of the largest private collections of prisoner of war artefacts in existence – revealing the incredible skills of these imprisoned craftsmen. The items – delicate, intricate and highly detailed – include boxes, toys and automata made from bone, straw or paper, as well as paintings by artists whose work is now much in demand. The creation of these pieces seems even more remarkable when the conditions under which they would have been made and the extreme limitations the prisoners would have endured in terms of access to materials and resources are considered.

This book records in great detail the fascinating accounts of the lives and occupations of the prisoners of war, and the prison markets in which they were permitted to sell their wares. It also tells of the comings and goings of the highly interesting variety of characters who lived and worked alongside the prisoners, or were paroled prisoners themselves, and who would travel for many miles to trade with these, quite literally, captive audiences.

Providing an excellent insight into general life at the time, much information, such as the laws, and the trading and working conditions of both the prisoners and their non-prisoner acquaintances is given as background to the former’s stories.

A detailed account of the historical background to the wars that saw these men become prisoners can be found in the author’s, A History of Napoleonic & American Prisoners of War 1756-1816: Hulk, Depot & Parole.

“There have been volumes written on and by Terence Conran and Mary Quant, but this is the first time they have been placed together in a book. And it works.” – Colin McDowell, The Times “It is given to a fortunate few to be born at the right time, in the right place, with the right talents. In recent fashion there have been three: Chanel, Dior and Mary Quant.” – Ernestine Carter. Transporting you back to London at the height of the Swinging Sixties, this book provides vital context for two of the biggest and boldest names in ‘Pop’ fashion: Mary Quant, alleged mother of the miniskirt, and Terence Conran, the entrepreneur behind the new wave of ‘lifestyle’ stores. Friends, associates and allies in design, Quant and Conran stood at the head of an informal but influential bohemian group who steered the rudder of style during the Pop era. ‘The Chelsea Set’ resist definition; there was no comprehensive members list. Conran/Quant: Swinging London – A Lifestyle Revolution explores the contributions of designers and artists from Laura and Bernard Ashley to Eduardo Paolozzi, Nigen Henderson and Alexander Plunket Greene, all of whom were essential generators of Sixties Style.

The finest books produced during the quarter century prior to the outbreak of the Great War were almost invariably printed by the private presses, but post-war, with the development of new technology, the accolade of excellence passed into the hands of a small number of commercial firms, with the Curwen Press very much to the fore. Like those earlier printers, Harold Curwen was inspired by the Morrisian ideal, but he did not adhere to the tenet that ‘hand made’ was necessarily better than ‘machine made’, which led him to become one of the pioneering figures in the technical revolution that transformed the printing industry. Harold Curwen joined the family firm in 1908 and by 1916 had instigated a general replanning of the works and, aided by the wartime staff shortage, felt able to push ahead with the installation of modern machinery. He was in the forefront of the development of offset lithography, which ensured that the Curwen Press would be in the vanguard of fine colour printing throughout the next decade. Harold also pioneered, as far as England was concerned, the pochoir technique of hand-stencilling. 1922 was the beginning of the Curwen Press’s golden decade, during which it produced The Woodcutter’s Dog, the English language edition of Julius Meier-Graefe’s two volume biography of Van Gogh for the Medici Society, the exhibition catalogue of books and manuscripts for The First Edition Club, Goldoni’s Four Comedies and the delightful little pocket engagement book, The Four Seasons, illustrated by Albert Rutherston. Rutherston was later to illustrate Thomas Hardy’s Yuletide in a Younger World, the first of the Ariel Poems for Faber & Gwyer which were to become a feature of the collaboration between the two firms. In addition there was the ‘Safety First’ Calendar, adorned with Lovat Fraser’s cautionary illustrations. Following restructuring in 1933 the Curwen Press had a further forty years of distinguished work ahead both in the printing of books, particularly those illustrated by Barnett Freedman, as well as jobbing work, including some of the finest posters for the London Underground by Bawden, Wadsworth, John Banting, Betty Swanwick, Barnett Freedman and others. The Design series is the winner of the Brand/Series Identity Category at the British Book Design and Production Awards 2009, judges said: “A series of books about design, they had to be good and these are. The branding is consistent, there is a good use of typography and the covers are superb.”
Also available: Claud Lovat Fraser ISBN: 9781851496631 GPO ISBN: 9781851495962 Peter Blake ISBN: 9781851496181 FHK Henrion ISBN: 9781851496327 David Gentleman ISBN: 9781851495955 David Mellor ISBN: 9781851496037 E.McKnight Kauffer ISBN: 9781851495207 Edward Bawden and Eric Ravilious ISBN: 9781851495009 El Lissitzky ISBN: 9781851496198 Festival of Britain 1951 ISBN: 9781851495337 Jan Le Witt and George Him ISBN: 9781851495665 Paul Nash and John Nash ISBN: 9781851495191 Rodchenko ISBN: 9781851495917 Abram Games ISBN: 9781851496778

A peculiar can be defined as something that ‘has eccentric or individual variations to the general or predicted pattern’. And, as it turns out, London is overflowing with them. This pocket-sized book will accompany you around the capital, guiding you from the tent-shaped tomb designed for Victorian explorer Sir Richard Burton by his widow, Isabel Arundel Gordon; to what may be the last surviving porter’s rest in London; to a stone niche by a long-demolished foundling hospital where almost 15, 000 infants were discarded over the course of the 18th century. Sometimes heroic, sometimes tragic, often amusing and always unexpected, these so-called ‘peculiars’ bring colour to the fabric of London. Whether you are a lifelong resident or a visitor passing through, London Peculiars is guaranteed to lead you on an adventure. Also in the series: Vinyl London ISBN 9781788840156 Rock ‘n’ Roll London ISBN 9781788840163 Art London ISBN 9781788840385

In this fascinating volume, china-ware expert Geoffrey Godden confirms the collective and decorative appeal of New Hall Porcelain. The factory produced over three thousand patterns which served to enhance a long series of attractive yet highly functional forms. They were welcomed for their excellence over a period of over fifty years, from 1782 to 1835.

The success of these pleasing Staffordshire porcelains in the marketplace helped to turn the Staffordshire Potteries, then famed only for its earthenwares, into a porcelain-producing centre of world importance; the New Hall firm in England were market-leaders, their shapes and styles were widely copied.

New Hall Porcelains presents historical facts in a novel, helpful manner, supported by a broad selection of clear illustrations. Geoffrey Godden illustrates how diverse and attractive Staffordshire ‘Real China’ porcelains can be, placing New Hall in its rightful position in the study of British porcelains and their history.

Victor Chinnery’s scholarly work covers the history and development of furniture in oak and kindred timbers in the British Isles and New England, from the Middle Ages through to 1800. The subject is broken down into a logical sequence of aspects and each section is generously illustrated. The furniture shown ranges from the finest examples of the period, to the sort of sturdy and workmanlike pieces which modern collectors will find affordable.

The study of oak furniture is a remarkably rich and varied subject, which reflects at several levels the social and domestic life of many generations of our ancestors. Victor Chinnery has explored and clarified many important topics, whilst fully realising that scholarship in this field is still very much in its infancy.

One of the most profound influences on the appearance of furniture in the sixteenth and seventeenth centuries was the system of rigid demarcations operated by the different furniture making trades, and in which the work of the joiners was the most important. The author explains the techniques and materials of the different trades, as well as other considerations of vital interest to the modern collector and curator.

The furniture of Connecticut and Massachusetts in the seventeenth century is presented as an extension of the range of styles to be found in other English provinces at the same date.

Since first published in 1991 Pocket Jackson’s, as it is most often called, has enjoyed enormous success and is constantly rated as a bestseller in the Arts & Antiques category. During the last twenty-three years important developments have taken place in the Hallmarking system. Most notably the introduction within Europe of a universally accepted system of marking has lead not only to the addition of new marks, but also to a change of status of several historic marks. This edition brings up to the present day all the date letters and commemorative marks. It also includes the recently introduced marks for Palladium and a section illustrating the Assay Office identification marks of those countries that are signatories to the International Convention marking system. In addition and of importance are the changes made in the early cycles of Dublin date letters which result from recent research by silver scholars in Ireland.

“A very well designed book. Great photography and I especially enjoyed the close-up images” – The Collector’s Companion Wemyss Ware is an evocative name to anyone with an interest in pottery. It conjures grinning cats and pot-bellied pigs, jugs and plates and other items of tableware, often decorated with an intricate pink cabbage rose or other such bucolic scenes. Produced in Kirkcaldy, Scotland, from 1882 to 1930 (and in Bovey Tracy, England, 1930-1952), Wemyss Ware has an illustrious history. From the Wemyss family, the patrons of this pottery line; to the Queen Mother and Prince Charles, Wemyss Ware has caught the eye of many individuals of note. Among these was George Bellamy, now a legendary collector of Scottish Wemyss, who has been seeking out his pieces since 1976. A treasure trove of Wemyss Ware, this book catalogues a collection lovingly compiled over decades. Carol McNeil’s essay traces the history of the Fife Pottery where Wemyss Ware saw its debut, while Bellamy’s introduction guides the reader through several of the key figures involved in the locating and preserving of these works of art. Scottish Wemyss Ware 1882-1930 celebrates the labour, design and artistry that poured into each hand-decorated pot. Often inspired by the Fife countryside where they first originated, these characterful creations are just as delightful now as when they were first produced.

“Stuart Devlin was probably the most original and creative goldsmith and silversmith of his time, and one of the greats of all time. His originality of design marked him out as a master craftsman and his prolific output was a tribute to the width of his imagination.” – Foreword by His Royal Highness The Duke of Edinburgh.

This book gives an idea of Stuart Devlin’s extraordinary creativity, his skill, and the beauty of his work. It comprises over 500 pages with hundreds of images of Devlin’s gold, silver and coins as well as his jewellery, sculpture and furniture. Many collectors will recognise pieces that they originally commissioned or have bought. Also shown are numerous sketches and working drawings. The short sections of text include concise captions and reviews from primary sources. Although it has been impossible to encompass everything ever designed or produced by Devlin, the book highlights how remarkable it is that this wealth of ideas was conceived by just one man. Stuart Devlin was a pioneer goldsmith who rejected the anonymity of corporate design during the 1960s. He adapted old techniques and devised many new ones. His commissions included those for the Royal Households, cathedrals, the armed forces, sporting bodies and universities, as well as abundant private commissions. He was also a coin and medal designer. Australian born, recognition came to Devlin after designing the Australian decimal coinage in 1963. He went on to design coins for more than 30 countries.

White Salt-Glazed Stoneware of the British Isles is the first book on salt-glazed stoneware since 1971. This book is the first to cover salt-glazed production in the whole of the British Isles, not simply the production in Staffordshire. Beginning with the introduction of salt-glazed stoneware into England by German and Dutch potters in the mid-seventeenth century, and John Dwight’s patent of 1672, this book goes on to discuss in detail early industrial stoneware, the manufacture from raw materials to producing and decorating the pots, to marketing and distribution, and even the history of collecting salt-glazed stoneware. There is a chapter on the American market and the final chapter identifies, for the first time, a number of manufacturers who produced salt-glazed stoneware, attributions made possible by the excavations of pottery sites. Beyond that, there are five invaluable appendices with details of all manufacturers of salt-glazed stoneware identified thus far, price lists from the eighteenth century and an extensive bibliography.

“When one is tired of London, one is tired of life.” – Samuel Johnson London has long been a centre of the literary world. From Shakespeare to Amis, Byron to Blake, Plath, Thomas, Christie and Rowling; many of the greatest names in literature have made this metropolis their home. Writers’ London guides the reader through homes, bookshops, pubs and cemeteries, in search of where literary greats loved and lost, drank and died. Discover the Islington building where Joe Orton was murdered by his lover, the Soho pub where Dylan Thomas left his manuscript, the Chelsea hotel where Oscar Wilde was arrested, and the Bank of England where Kenneth Graham was shot at (and missed) three times. Gathering hundreds of famous and less-well-known anecdotes, this meticulously researched volume will entertain any lover of literature. Also in the series: Vinyl London ISBN 9781788840156 Rock ‘n’ Roll London ISBN 9781788840163 Art London ISBN 9781788840385 London Peculiars ISBN 9781851499182

Jacqueline Groag was probably the most influential textile designer in Britain in the post Second World War era. Although originally Czech, she studied textile and pattern design in Austria in the 1920s. During the late twenties and early thirties she designed textiles for the Wiener Werkstatte in Vienna and subsequently designed and produced unique hand printed lengths of fabrics for many of the leading Parisian fashion houses, including Chanel, Lanvin, Worth, Schiaparelli and Paul Poiret. She was awarded a gold medal for textile design at the Milan Triennale in 1933 and another gold medal for printed textiles at the Paris World Fair in 1937. Jacqueline was not only a serious and highly respected contender in the field of textile and pattern design but, with her husband, the Modernist architect Jacques Groag, was also deeply immersed in the intellectual life of Vienna.

In 1938 the sophisticated world of Jacques and Jacqueline was brutally shattered when the Anschluss, the political unification of Austria and Germany, occurred and the German army entered Vienna. Faced with the actuality of the Nazi terror the Groags, who were Jewish, fled to Czechoslovakia and their home city of Prague. After a brief respite they were once more forced to flee in 1939, this time to London. On their arrival in England they were welcomed and championed by leading members of the British design fraternity, amongst whom were Sir Gordon Russell, the doyen of British architects Sir Charles Reilly and Jack Pritchard, founder of the modernist design company, Isokon. Much of the Contemporary style of the textiles and wallpapers shown at the 1951 Festival of Britain were heavily indebted to Jacqueline’s influential designs of the 1940s. Many examples of her work were featured prominently at the Festival and from then on she became a major influence on pattern design internationally. She developed a large client group in the United States during the fifties and sixties, amongst whom were Associated American Artists, Hallmark Cards and American Greetings Ohio.

In the later 1950s and throughout the 1960s she became increasingly involved with Sir Misha Black and the Design Research Unit (D.R.U.), working on the interiors for boats and planes and trains, particularly the design of textiles and plastic laminates for BOAC and British Rail. One of her last commissions from Misha Black, in the mid-seventies was a distinctive moquette for London Transport, for seating on both buses and tube trains. Her work and influence did not just extend to the large corporations and exclusive couturiers but was familiar to the general public through stores and companies such as John Lewis, Liberty of London, David Whitehead, Edinburgh Weavers, Sandersons, Warerite and Formica. Her remarkable achievement finally received public recognition in 1984 when, at the age of 81, she was made an R.D.I. – a Royal Designer for Industry – the ultimate accolade for any designer in Britain.

This book, using the paintings that Mary McMurtrie left to illustrate an unpublished book on cottage garden flowers, records how she created the garden at Balbithan and used her nursery to distribute the double primroses and cottage garden plants which her husband, John McMurtrie, bequeathed to her. Mary McMurtrie belonged to the small band of enthusiasts, which included Margery Fish and Gladys Emmerson, who grew double primroses during the period after the Second World War. At a time when every fifth day a house of some architectural importance was being demolished, these enthusiasts, along with fellow gardeners, preserved many of the plants from our gardening heritage of the previous centuries. Gently proud of her Scots ancestry, Mary would have been delighted to know that one of her paintings was chosen as a gift for Prince Charles during a visit to The Gordon Highlander Regiment in 2006.

Goldscheider, a Viennese factory (est. 1885), soon sped to the top of European ceramics makers. Figures and vessels of faience and terracotta as well as bronze and alabaster, all of top quality in respect of form and workmanship, were created in the Historicist, Jugendstil and Art Deco period styles. A crucial factor was collaboration with distinguished sculptors and ceramicists of the day – including Demetre Chiparus, Walter Bosse and Josef Lorenzl – who were responsible for a great many of the Goldscheider designs. This success story was quashed by National Socialist aryanisation in 1938: the Goldscheider family was forced to emigrate, the firm was sold and the new proprietor was unable to sustain the high aesthetic quality standard. The Goldscheider brothers did manage to open new ceramics businesses while in exile in the US and England and Walter Goldscheider even returned to Vienna after the Second World War to resume his post as managing director of his old firm; however, in the 1950s the great ceramics tradition of this venerable Viennese business ended when it was sold to the German Carstens company. Text in English and German.

Lace was a passion of Leopold Iklé (1838-1922), scion of a Hamburg textile dynasty who successfully produced machine-made embroidery over the course of the industrial boom in St. Gallen around 1900. He exported to England, France and the United States, among other places, at a time when St. Gallen was the market leader in the lace industry. Iklé’s collection of handmade European bobbin lace and needlepoint from the sixteenth to the nineteenth century originally served as inspiration for his firm’s textile designers. Through his passion for collecting, however, it quickly surpassed the practical demands of a simple pattern collection, and in 1904 he donated it to the Textile Museum St. Gallen. Historische Spitzen provides a comprehensive review as well as highlights of the lace samples in this unique collection.

Text in German.

Food and dining were transformed in Europe during the Age of Enlightenment, and these profound changes continue to resonate today. What many of us now eat, the way our food is prepared and how we dine are the result of radical changes that occurred in France from 1650 until the French Revolution in 1789. Over thirty French and English recipes of the period are presented in this cookbook, offering readers a taste of the past. Amusing stories, culinary insights, and snippets of history outline the cultural milieu of the time. The King’s Peas is richly illustrated with pictures of paintings, books, silver, glass and ceramics to stimulate the imagination – and the appetite. You are cordially invited to take part in this delectable historical feast.

The Alice and Louis Koch Collection of finger rings was originally collated by a jeweller from Frankfurt am Main, once described as the German ‘Cartier and Fabergé’. By 1909 the collection comprised 1,722 rings from Antiquity to 1900. Rene Lalique, a contemporary of the time, was included, undoubtedly as a moderniser of the ring form. In the past twenty-five years the fourth generation of the family continued where Louis Koch and his wife Alice left off and expanded the collection to include rings from the twentieth and twenty-first centuries.

This publication will present the complete collection of contemporary rings, now kept in the Swiss National Museum, Zurich. Nearly 600 rings by artist jewellers from around the world document how these miniature works of art have become modern sculptures showcasing new materials and techniques, daring designs and current themes.

Text in English and German.

The Formula One book. Art of the Race – V18 is book 5 in a series that encapsulates the very essence of Formula 1 motor racing through the lens of Darren Heath, one of the sport’s most celebrated photographers. Art of The Race captures the key moments and rarely seen images of each race as the 2018 season unfolds, culminating in Lewis Hamilton winning his 5th World title. “Formula 1 is the aesthete’s ultimate sport: an intoxicating cocktail of speed, spectacle, competition and power, at the heart of which are the thoroughbred racing machines exquisite manifestations of form following function, driven at dizzying speeds by the quickest-of-the-quick, the best racing drivers on the planet. From a young age I dreamed of one day photographing the sport I adored. My one desire: to demonstrate through this creative art just how beautiful Formula 1 can be. This yearning has never dimmed. I hope you enjoy the pictures that follow as much as I enjoyed taking them.” Darren Heath – Multiple award-winning photographer with an Honorary Fellowship of The Royal Photographic Society in 2005.

This book is the culmination of nearly 30 years’ work in caring for, studying, and developing the collections in this Museum by Timothy Wilson, long-time Keeper of Western Art. Wilson is well-known as a specialist in the study of European Renaissance ceramics. The Ashmolean collections have their origins in the collection of C.D.E. Fortnum (1820-1899), but have been developed further in the last quarter-century, so that they can claim to be one of the top such collections of Renaissance ceramics worldwide.

This book, containing 289 catalogue entries, will completely encompass the Museum’s collection of post-classical Italian pottery, including pieces from excavations. In addition it will include catalogue entries for some 70 selected pieces of pottery from France, the Low Countries, England, Spain, Portugal, Germany, and Mexico, in order to present a wide-ranging picture of the development of tin-glaze pottery from Islamic Spain through to recent times. It also includes an essay by Kelly Domoney of Cranfield University, and Elisabeth Gardner of the Ashmolean’s Conservation Department, on the technical analysis and conservation history of some pieces in the collection.

The Rawlinson collection of seal matrices in the University of Oxford is the most important early collection of European seal matrices to survive. Created by Dr Richard Rawlinson (1690-1755) in the first half of the eighteenth century, it consists of 830 matrices ranging in date from the 13th to the early 18th century. It includes the collection of seal matrices formed by Giovanni Andrea Lorenzani, a Roman bronze caster, which Rawlinson acquired in Rome together with a catalogue written in 1708.

This collection is primarily Italian, but the Rawlinson collection also includes examples from many other countries England, Wales, Scotland, Ireland, France, Germany Spain, and Scandinavia as well as Italy. The study of seals was much neglected in the middle of the twentieth century, but the study now attracts greater interest. This is due to their visual appeal, sense of identity and their representation of symbols. This book will appeal to a wide variety of readers from those interested in collecting, Jacobitism, history of the early eighteenth century, the Grand Tour, antiquaries, and seals and seal matrices. This book has four introductory chapters which set the scene for the collecting of seal matrices, tell the life of Richard Rawlinson and Giovanni Andrea Lorenzani, analyse their collections and relate the history of the collection after Rawlinson’s death in 1755. One hundred seals, all illustrated, are described in detail, with much unpublished data, and an indication is given of the contribution they make to the sigillography of the different countries.

The Wirtz Gardens Part III is the third in a series of books on the gardens of landscape architect practice Wirtz International Landscape Architects. It contains 30 gardens, a mixture of private, public and corporate projects in Belgium, Japan, France and England. Private projects in the USA and Switzerland are shown, gardens which enchant by their beautiful setting, their scale or their exclusiveness. Unusual projects like the cloister’s gardens of the Hauterive Abbey (Switzerland) or the Haute Couture fashion show stage set for Dior in 2012, and, a secluded Japanese garden with views to Mount Fuji will surprise the reader.

In this book’s breathtaking images, extensive documentation, and incisive analysis, a cycle of six highly important bronze reliefs representing The Hours of Night and Day is being published for the first time. Made in Florence at the beginning of the eighteenth century, these bronzes epitomise pre-modern notions about time, which are visualised through an elaborate array of mythological and allegorical components. In describing and deciphering the meanings and traditions of the scenes represented in these bronzes, the authors unveil a multifaceted concept of time that is based upon the human perception of the Hours, while also pointing toward their otherworldly, magical dimension. The Hours of Night and Day, a celebrated masterwork in its own time, is the result of a fortuitous collaboration between the painter and modeler Giovanni Casini and the bronze sculptor Pietro Cipriani. With the discovery of these long-forgotten bronzes, and of bronze versions after Greco-Roman statuary – most notably the Venus de’ Medici and the Dancing Faun now at the J. Paul Getty Museum, Los Angeles – it becomes apparent that Cipriani was one of the foremost bronze sculptors of his age. Finally, this book documents the legacy of these bronze reliefs in derivative works created for subsequent generations. As further testimony to the enduring appeal of Casini and Cipriani’s extraordinary creation, variations of the reliefs from The Hours of Night and Day became popular as decorations on vases and as porcelain reliefs throughout the eighteenth and nineteenth centuries, and on to the present day. Published to accompany and exhibition at the Minneapolis Institute of Arts, September 13, 2014 to January 4, 2015. Contents: Sparkles in the Twilight of the Medici: Allegories of the Hours of Night and Day by Giovanni Casini and Pietro Cipriani – Eike D. Schmidt Pietro Cipriani’s Venus de’ Medici and Dancing Faun and the Classical Tradition – David Ekserdjan Bronze into Porcelain: The Enduring Legacy of Giovanni Casini’s Reliefs in the Manifattura Ginori di Doccia – Rita Balleri