A unique opportunity to see rare and beautiful drawings by some of the biggest names in European art.

Chatsworth House in Derbyshire holds one of the finest and most significant private collections of drawings in the world, but they are rarely seen and very little has been published on them.

This book showcases 47 drawings from this exceptional collection, including superb watercolors and drawings by famous German Renaissance artists Albrecht Dürer and Hans Holbein alongside the baroque splendor of Peter Paul Rubens and Anthony van Dyck. It will reveal intimate insights into the artists’ practice and their ways of recording the world.

The captivating selection of drawings will be introduced and contextualized by Charles Noble, Curator of Fine Art at Chatsworth House. Each image will be explained and examined based on rigorous new research, offering new insights into the work of some of art’s biggest names.

Sikh Heritage, with a foreword by Hardeep Sigh Puri, is a succinct and delightfully photographed glimpse into the community’s religion, its ten gurus, its temples, traditional systems of governance, history, architecture, and the famous Golden Temple. This book traces the history of the valor and devotion of the Sikh community, which forms less than 1 per cent of India’s one billion population, yet produces over 50 per cent of the country’s food reserves. Despite the brutal assaults of history faced by the Sikh community – such as the partition of Punjab – they still maintain the merit of their heritage. Looks at how the thriving Sikh diaspora has spread across the globe; and how they always took the words of the gurus with them wherever they went. This work has captured the relics that have borne witness to the establishment of the Sikh community and identity. Most of these heritage objects associated with the gurus are in private collections or in gurdwaras. A photographic documentation of the Sikh historicity through objects both in time and space, such as the beautifully captured images of Takhats or temporal seats of the Sikhs, portray a unique relationship between the edifice and the Sikhs – thus, each photograph is a story in itself. This new approach aims at the conception of Sikh heritage not only as the sacred masterpieces of the past to be valued and conserved, but also as emblematic and living spaces to be appropriated by the local communities who are the bearers of a rich and active collective memory.

In 1987 The Main: Portrait of a Neighborhood (9781550130461) was published and quickly sold out. The critically acclaimed project celebrated the communities around Montreal’s Boulevard Saint Laurent and contributed to the eventual designation of “The Main” as a Canadian heritage landmark.

In 2017 to celebrate the city’s 375th anniversary, the author was invited to re-imagine the original book. Returning to his former neighborhood, his new book weaves old and new photographs with texts and archives, inviting us on a journey into his creative process to reflect on questions of home, identity, time, memory, and the evolving urban landscape, and asking: in a globalized world where people and cities are in constant movement, what happens to places and memories? Can we go home again?

Text in English and French.

A new title in the Design series and an excellent introduction to the life and work of this versatile Russian artist. Alexander Mikhailovich Rodchenko (1891-1953) was a central figure in the Russian Constructivist art movement; a radical activist, a pioneer of photomontage, a theorist, and a teacher. He was an active force in the organization of the first museums of modern art that arose in Russia in the first years after the Russian Revolution of 1917. Attending art school in 1914 in Kazan was to be a defining influence: that year Russian Futurists performed in the town, and Rodchenko saw their leading figures in action. It transformed his vision and he was still working with Futurist artists and their ideas twenty-five years later. And it was at art school where Rodchenko first met the artist Varvara Stepanova, with whom he collaborated extensively, and who would become his life-long partner. Central in the re-examination of art and its place in society after the Revolution, and in the search for a new culture without the class implications of the past, Rodchenko’s radical approach proposed a new understanding of a constructed, rather than a tastefully composed, culture. This concise, comprehensive and informative work focuses largely on Rodchenko’s graphic work in the form of book jackets, posters and advertising. Also avaliable: 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 Harold Curwen & Oliver Simon: Curwen Press ISBN: 9781851495719 Jan Le Witt and George Him ISBN: 9781851495665 Paul Nash and John Nash ISBN: 9781851495191 Abram Games ISBN: 9781851496778

Traditional country parks, which originated in the United Kingdom, are very different to the country parks we know today. With the development of urbanization and the improvement of living standards, city dwellers were no longer satisfied with small urban green spaces, and a new style of country park was born. Conveniently located in the outer city suburbs, with tranquil, natural environments, this new type of park met society’s desire to return to nature, and theses spaces have since become hotspots for tourism and leisure. Country Parks includes detailed theory and case studies showcasing outstanding international country park design; analyzes and promotes the current status and development of the country park and its role in urban development; and provides valuable guidance for professional designers working in the field today.

Not so much about the workplace being disrupted, but rather the rapid pace at which disruptions have come upon us has impacted how facility management and the workplace are perceived. This step-by-step approach will help companies create a sustainable and future-proof work environment, whether looking at this from the perspective of a Facility Manager, FM Service Provider, HR Manager, Chief Happiness Officer, or part of the management team. Everyone will be able to identify with the different international use cases and extract the necessary tips & tricks. And, of course, providing a simple step-by-step model for practical implementation.

This is the 4th volume in the Artists’ Pigments series published initally by the National Gallery of Art, Washington D.C. and Oxford University Press.This volume is published by the National Gallery of Art in association with Archetype Publications The pigments covered in this volume are : – Pigments based on Carbon (by John Winter and Elisabeth West Fitzhugh) – Iron Oxide Pigments (natural and synthetic) (Kate Helwig) – Asphalt (Catarina Bothe) – Cobalt Blue (Ashok Roy) – Arylide (Hansa) Yellow Pigments (Susan Lake and Suzanne Lomax) This series is aimed : – For the practicing artist to learn a pigment’s color, hiding power, lightfastness, toxicity, compatibility – For the art historian to know how an artist worked, what pigments were used, whether they were pure or mixed, opaque or tranparent, layered or not – For the conservator to devise techniques necessary for care and conservation of works of art; to determine what is original, to repair damages, to compensate for missing portions of a painted surface – For the curator/connoisseur to know the history of manufacture and use of pigments to authenticate and assign probable dates to works of art – For the conservation scientist to learn identification methods used, including optical microscopy, microchemical tests, x-ray diffraction, infrared and reflectance spectrophotometry, and electron microscopy Review Volume 4 has the same high standard of content, clarity and production as its predecessors, making it easy to use for reference and enjoyable to browse ICON News September 2007

Covering four decades of photography the book serves as a stunning snapshot of Beckman’s significance in the world of art, photojournalism, music, fashion, and popular culture – but most prevalently, it’s a testament of her unique ability to extract beauty from the outliers of society. With written contributions from Beckman’s peers including academia’s Jason King, Chair of NYU’s Clive Davis Institute of Recorded Music & Vivien Goldman author & professor at NYU; journalists Vikki Tobak, and co-founder of PAPER, Kim Hastreiter; visual artist Cey Adams; music legends Sting, Run DMC, Paul Weller, Salt-n-Pepa, Belinda Carlisle, and Slick Rick; and fashion’s Dapper Dan, Dior’s Maria Grazia Chiuri, Levi’s Chad Hinson – From Punk to Dior showcases Janette Beckman’s influence in her realm. In addition to publishing five books, Janette Beckman’s work has been exhibited in galleries worldwide and is included in the permanent collections of the Smithsonian National Museum of African American History and Culture, the Museum of the City of New York, and the British National Portrait Gallery. She is represented by the Fahey Klein Gallery.

This volume, which draws on more than 50 years of research experience in Nubia is the result of four years of collaboration between chemists, restorers and archaeologists from Poland, Czech Republic, Austria, France, and Sudan who conducted an extensive programme of research based on investigations of samples of Nubian wall paintings from the Middle Nile Valley dating from the 6th to the 14th century AD which are now to be found in various places including the National Museum, Warsaw and the Sudan National Museum, Khartoum.

The jarring emptiness following the loss of a loved one, the expansive out-of-body sensation of sensual touch, the lassitude of melancholy and the ecstatic receptivity to sunshine. His ability to capture and convey sensation and feelings through the materials of art, places the Norwegian artist Edvard Munch (1863–1944) at the forefront of European art at the turn of the last century.

Interestingly, Munch’s artistic exploration of perception, and his persistent questioning of the objectivity of vision, intersect with ideas that matured within the fields of psychology and experimental optics at the time.

Edvard Munch: Inner Fire examines these connections, demonstrating his continuing exploration of the conditions of sight. The essays in this catalogue examine this phenomenon while also probing a lesser-known aspect of the artist’s work: Munch’s relationship to Italy.

The first essay, Lasse Jacobsen’s ‘Edvard Munch. Italian Impressions’, explores this connection explicitly, as part of a general overview of Munch’s life and work.

The second text, ‘Reflections in Munch’s Inner Eye’ by Patricia G. Berman, charts the art historical context of Munch’s exploration of experience’s subjective dimension. Emil Leth Meilvang’s ‘Seeing without Sight. Munch’s Vision’, on its part, explores the relationship between Munch’s artistic development and simultaneous developments within the perceptual sciences. Edvard Munch. Inner Fire includes essayistic pieces by authors Melania G. Mazzucco and Hanne Ørstavik: ‘I am a Romantic’ and ‘Who Am I’. Each demonstrates Munch’s continuing ability to light the inner fires of other artists.

Between 1978 and 1987, renowned British photographer Derek Ridgers captured London youth culture in all its glory. With skinheads, punks and new romantics, in clubs and on the street, his images have come to define a seminal decade of British subculture.

This completely reimagined edition of 78/87 London Youth showcases a fresh selection of those images from the depths of Ridgers’ exceptional archive – including several previously unseen – beautifully printed and bound in an oversized volume.

Each picture is a tribute to the trials and triumphs of youth, and a precious document of style and culture in 1980s England, from the height of punk to the birth of acid house. Several have been exhibited internationally in cities as far-ranging as Moscow, Adelaide and Beverly Hills, in the National Portrait Gallery, Tate Britain and Somerset House. Ridgers has also collaborated with a number of major fashion houses, including Saint Laurent and Gucci, and his images continue to inspire photographers, artists and fashion designers around the world.

‘As time passes, this kind of observational photography attains a new importance’ – Sean O’Hagan, The Observer

‘Ridgers’ portraits of young boys and girls are weighted with a raw poetry and beauty’ – Cory Reynolds, artbook.com

The papers in this volume constitute a substantial body of work that provides a wide-ranging overview of current research on the technology and practice of Old Master paintings, covering some 700 years of European painting, from the thirteenth century to the early twentieth century, including works by Guido da Siena, Bellini, Michelangelo, Leonardo da Vinci, Fernando Gallego, Holbein, Caravaggio, El Greco, Rubens, Murillo, Gainsborough, Reynolds, Whistler, van Gogh and Munch. Six of the contributions focus on technological or historical aspects of specific artists’ materials. These papers were presented at a conference held at the National Gallery to celebrate the 30th anniversary of the National Gallery Technical Bulletin. The Bulletin has a long history of publishing interdisciplinary research on the technical examination of paintings to inform both art-historical study and issues relating to the material history of a work. This type of research was the central focus of the conference and provided the overall thematic link between the contributions presented. Contains essays on the work of a wide range of artists, including Michelangelo, Leonardo da Vinci, Hans Holbein, Albrecht Altdofer, Caravaggio, Rubens, Thomas Gainsborough, Vincent Van Gogh, Edvard Munch, Christen Købke, Bartolomé Esteban Murillom and El Greco.

The extraordinary life of Barbara Cartlidge (b. 1922 in Berlin) – influential gallerist, curator, jewelry artist and author – together with the history of her legendary Electrum Gallery, which she founded in 1971 with Ralph Turner in London, are documented for the first time in a single publication. Pioneers and colleagues as well as around seventy internationally renowned artists of the gallery all have their say and, in anecdotes and recollections, countless illustrations and hitherto unpublished images, tell of a strong and resolute woman and the significance of her gallery as a promoter and platform for the understanding of contemporary art jewelry. Particular attention is paid to the life of Barbara Cartlidge, who fled from Germany in 1938. For over fifty years she was a driving force in what she described as the ‘the brotherhood of jewelers who make modern and thought-provoking jewelry all over the world’.

Washington, DC-area architect Robert M. Gurney, FAIA, designs ecologically aware modern homes using natural materials and varied construction methods. This latest volume in IMAGES’ Master Architect Series features photography and drawings of more than a dozen of Gurney’s most recent projects. Gurney is dedicated to design of modern, meticulously detailed, thoughtfully ordered residential and commercial projects sensitive to site, program and budget. Materials are employed with honesty, integrity and ecological awareness. Whether working in complex historical districts or on a vacant site, the design process involves an understanding of site-specific issues of location, landscape, history, availability of materials and construction methods.

Chosen for the 59th Venice Biennale, to represent contemporary creation at the Lebanese pavilion Ayman Baalbaki is a Lebanese artist born in Beirut in 1975. He first trained at the Institute of Fine Arts of the university Lebanese school in Beirut, then at the National School of Decorative Arts in Paris. Five years after his arrival in France, he received the silver medal in painting at the Francophone Games and then participated in several exhibitions worldwide. Lebanon, France, Great Britain, Argentina, Egypt and Niger are all countries that welcome the works of the artist.

His productions of the last 10 years have been compiled through this unpublished work, published in French, English and Arabic. The authors endeavor to decipher his paintings and installations, crossed by societal issues specific to Lebanon: war, abortive revolt, political and financial bankruptcy, the tragedy of the port of Beirut or even pandemic. The artist paints anonymous portraits of his contemporaries, which have today become symbols of the Middle East. It represents the city, its buildings, erected, but also in ruins. His art is vibrant, dynamic and textured.

Text in English, French and Arabic.

There are many ways to perceive and interpret contemporary craft objects – for instance, as works of representational art in materials like ceramics, glass, textile, metal or wood, or as functional, handmade everyday objects. In this publication, the editors have invited different voices in craft theory to investigate the perception of contemporary craft as a particular discourse and aesthetic vocabulary. According to the editors, contemporary crafts can benefit from being discussed as representations of reality that do not rely on the concept of autonomy. As such, neither do they rely on the conventional dualism between aesthetic objects and everyday things. The authors investigate the possibility to perceive craft objects from perspectives that relate to the aesthetic tradition of materialism.

This book is published on the occasion of the exhibition Helen McNicoll. An Impressionist Journey at Musée National des Beaux-Arts du Québec, Quebec City, Canada 20 June 2024 to 05 January 2025. Edited by Anne-Marie Bouchard, curator of Modern Art, the volume focuses on the idea of mobility in the life of the Canadian artist Helen McNicoll (1879-1915).

In the early 1900s, when women from well-to-do backgrounds were often confined to family and domestic life, Canadian Impressionist Helen McNicoll stood out for her love of travel and the discovery of new spaces. The artist emphasized painting outdoors and researching the effects of light and atmosphere that her numerous trips sustained. Her favorite subjects were scenes of everyday life, although she succeeded in offering an interpretation distinct from the Impressionists in that she focused more extensively on women’s labor.

The Helen McNicoll. An Impressionist Journey exhibition presents more than 60 works by the artist, 25 of them from the Pierre Lassonde collection. Through the prism of travel, the book thus examines the themes of female independence, risk-taking, friendship, and freedom for women in the stimulating context of the struggle by English suffragettes to win the right to vote.

Text in English and French.

The Alice and Louis Koch Collection of finger rings was originally collated by a jeweler 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 modernizer 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 jewelers 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.

Sverre Bjertnæs is considered one of the leading contemporary Norwegian artists today. He himself often refers to his body of works as a fragmented ‘stream of images’ collected from art history, vernacular culture and his own life.

This authoritative monograph on the artist features his oeuvre from the 1990s to the present day, with more than 200 illustrations. The book presents the full range of Bjertnæs’s works, covering painting and drawing as well as sculpture and the tableaux installations he has developed in later years. Bjertnas embraces the conceptual approaches of photorealism as well as merging figurative and abstract painting, and experimenting with the use of new media.

Exhibition at the Haugar Vestfold Kunstmuseum, Tønsberg (NO), 29 April – 8 September 2019.

Text in Norwegian.

The Norwegian Torbjørn Kvasbø (b. 1953) is considered a leading figure in the field of contemporary ceramic art. He exhibits regularly in Asia, Europe and the US and achieved a unique status as an artist and pioneer, and also as a teacher with widespread influence having been actively engaged in restructuring the art schools where he taught. The art historian Jorunn Veiteberg analyzes in this publication Kvasbø’s works from 1977 to the present day. Most critics have described his objects as forms inspired by nature, by lava eruptions or landscapes. Veiteberg is critical of this and sees them more as bodily expressions. Kerstin Wickmann, design historian and former professor at Konstfack in Stockholm, discusses Kvasbø’s twelve years as teacher in Stockholm and his influence on his students and the educational system.

Torbjørn Kvasbø’s work is represented in numerous international museums and private collections, such as the National Museum, Stockholm/SE, Designmuseum Danmark, Copenhagen/DK, The National Museum of Art, Architecture and Design, Oslo/NO, Auckland Institute and Museum/NZ, Museum of Modern Ceramic Art, Gifu Ceramics-Park Mino, Gifu/JP, World Ceramic Exposition/KOR, Daum Museum of Contemporary Art, Sedalia MO/US.

Text in English, Swedish & Norwegian.

The jarring emptiness following the loss of a loved one, the expansive out-of-body sensation of sensual touch, the lassitude of melancholy and the ecstatic receptivity to sunshine. His ability to capture and convey sensation and feelings through the materials of art, places the Norwegian artist Edvard Munch (1863–1944) at the forefront of European art at the turn of the last century.

Interestingly, Munch’s artistic exploration of perception, and his persistent questioning of the objectivity of vision, intersect with ideas that matured within the fields of psychology and experimental optics at the time.

Edvard Munch: Il Grido Interiore examines these connections, demonstrating his continuing exploration of the conditions of sight. The essays in this catalogue examine this phenomenon while also probing a lesser-known aspect of the artist’s work: Munch’s relationship to Italy.

The first essay, Lasse Jacobsen’s ‘Edvard Munch. Italian Impressions’, explores this connection explicitly, as part of a general overview of Munch’s life and work.

The second text, ‘Reflections in Munch’s Inner Eye’ by Patricia G. Berman, charts the art historical context of Munch’s exploration of experience’s subjective dimension. Emil Leth Meilvang’s ‘Seeing without Sight. Munch’s Vision’, on its part, explores the relationship between Munch’s artistic development and simultaneous developments within the perceptual sciences. Edvard Munch:Il Grido Interiore includes essayistic pieces by authors Melania G. Mazzucco and Hanne Ørstavik: ‘I am a Romantic’ and ‘Who Am I’. Each demonstrates Munch’s continuing ability to light the inner fires of other artists.

Text in Italian.

Our Colonial Inheritance explores the complex ways in which slavery and colonialism continue to shape the present, and examines the many entanglements of colonial knowledge systems and infrastructures with our everyday lives. This publication comes at a time when important conversations are happening about the role that the colonial past has played in shaping our society, and how we can engage with this past in the present. The use of the term “inheritance” in the title is a conscious choice, used to provoke what in our view is a different kind of relationship to the past. Throughout the publication, the authors interrogate what it means to inherit the (infra)structures of the colonial past, its categories, its relations and even its objects, and how we can deal with such bequests.

Ganesh Pyne (1937–2013), one of the foremost artists of post-Independence India, is no stranger to connoisseurs of art in India. His haunting images of intimations of mortality, the crepuscular light in his canvases, and his brilliant use of his own version of tempera are widely admired. But he was a shy, reclusive man, who has left little trace of himself in public memory. Memorialising Ganesh Pyne fills this gap by bringing to life the sensitive artist through a remarkable series of photographs shot by artist Veena Bhargava across two decades.

The portfolio of portrait and group photographs that capture glimpses of the artist at work and leisure also provide poignant insights into a very private person. This visual record is anchored by two essays: the first, by Bhargava, recounts her experience of taking these perceptive images; the second, by Ella Datta, analyzes the aesthetic value of these rarely seen portraits as well as Bharagava’s artistic experiment on a suite of photo collages featuring Pyne with elements from his works. A detailed timeline of politics and culture during Pyne’s life adds archival value to the book. The volume will be invaluable for Pyne enthusiasts and research scholars alike.

Published in association with Akar Prakar Gallery, Kolkata.