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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. From 1940 until her death in 1986, Jacqueline had a long and successful career. Much of the Contemporary style of the textiles and wallpapers shown at the 1951 Festival of Britain were heavily indebted to her 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 is the best, most comprehensive jazz book I’ve ever seen – and I’ve bought them all.” -Terry O’Neill “In these photographs… the music plays on, never dated, always right on time.” – John Leland, New York Times “Williams was an important part of jazz history, and this book belongs in the collection of anyone interested in the history of America’s greatest art form.” – DownBeat From the smoky backstage dressing rooms of New York and Chicago’s pioneering jazz clubs to the acclaimed Jazz festivals that flourished to enthral legions of fans, Ted Williams’ camera captured the intimacy and the wizardry of Jazz’s greats as they perfected their art over more than three decades from the 1940s-1970s. From his unique access and perspective, Williams diligently accumulated a unique and largely unseen archive that documented some of the greatest musicians of the 20th century, the jazz and blues musicians who themselves not only inspired the greats such as Frank Sinatra but fired the aspirations and tastes of a new generation; The Beatles, The Rolling Stones, Bob Dylan and Eric Clapton among them. Williams caught them in the act of exploring and defining their careers and music – while ensuring impassioned audiences and atmospheric venues remained inseparable from the iconic history he was chronicling. From Miles Davis to Duke Ellington, Dizzy Gillespie to Stan Getz and Sarah Vaughan, Williams’ camera witnessed genius at work, rest and play, with an honesty and clarity that few photographers could replicate. When Williams died in 2009 at the age of 84, he left nearly 100,000 prints and negatives behind – many of which have never been seen before. Jazz, the first book dedicated to the jazz photography of Ted Williams, will highlight hundreds of these unseen jazz images and will be captioned throughout by his own memories along with commentary from some of the leading jazz historians and journalists working today. Artists include Dizzy Gillespie, Miles Davis, John Coltrane, Ray Charles, Charlie Parker, Sarah Vaughan, Thelonious Monk, Dinah Washington, Duke Ellington, Count Bassie, Billie Holiday, Ella Fitzgerald, Louis Armstrong, Tony Bennett, Mahalia Jackson, Buddy Rich, Julian “Cannonball” Adderly, Art Blakey, Benny Goodman, Charles Mingus, Quincy Jones, Sonny Rollins, Muddy Waters, Max Roach, Woody Herman and Wynton Marsalis

In 1970, the young Japanese designer Kenzo Takada opened his first boutique, Jungle Jap, in Paris and revolutionized the fashion world. His colorful, ethnic, and nomadic- influenced collections, made with luxurious and vibrantly patterned textiles, tweaked the conventions of haute couture while maintaining the quality of traditional European clothing houses. He was influenced by Parisian fashion and Japanese kimonos, boldly mixing colours and prints, cuts and materials. His vibrant palette and pattern combinations were joyful and whimsical, and very different from the subtle tailoring of the traditional Paris couturier. In his inspired blend of the opulent and the exotic, he developed a signature style and found early success.

With stunning photography, and over 300 sketches from Kenzo’s private collection, this book traces more than forty years of his creative output. It includes photographs from his high-energy runway shows, in addition to personal photographs, and a behind-the-scene look at the creation of a spectacular wedding dress, opening a window on the creative process and capturing Kenzo’s energy, vision, and presence. Superbly illustrated throughout with pencilled and hand colored sketches, swatched drawings, and previously unpublished archival photographs, the authors explore Kenzo’s career, tracing the evolution of his cult label in a look-book of visual exuberance.

“The Orient Express, in the collective imagination, embodies the golden age of travel. The fabrics, the silverware, the woodwork; their evocative fragrance… all contribute to this particular atmosphere, created by the best craftsmen of the time. The experience on board is absolutely unique…” – Sir Kenneth Branagh, from the foreword The first train to connect Paris to Constantinople – the gateway to the Orient and epitome of all its associated desires and fantasies – the Orient Express was an immediate success. Quickly nicknamed ‘the king of trains, the train of kings’, it had already become a legend in its own time. This unique train and its celebrated passengers (both real and fictional) have become one of the great cultural icons of our times and have helped to create a limitless source of stories and fantasies to feed our imaginations. It’s a story told here through fabulous new photographs of the restoration workshops where the historic train carriages are being brought back to life, through archive photos of famous and exotic destinations, and portraits of the most famous passengers who were lucky enough to climb aboard.

…this is a glorious and luxurious book, surely one of the finest collections of polar bear photography published in recent times” – BBC Wildlife A symbol of strength, survival despite hardship and – more recently – the perils of global warming, the polar bear wears many different faces across the world. Polar Bears: A Life Under Threat is an uncompromising exploration of the animal behind the mythos. Rawicki’s anthology transports us to the Arctic: the bears’ home territory. His photographs depict playful cubs, hunting mothers and solitary adults on their yearly migration. The bears’ innate curiosity shines through, as they peer through windows and rear up on their hind legs to study the camera. As well as trekking across miles of dazzling snow, they forage in forests and towns – leading to a striking series of photographs that document the relationship between bear, man and environment. Accompanying these images are a series of essays, poems and even a quiz, from the minds of Michel Rawicki and his contributors: Hubert Reeves, astrophysicist, and Remy Marion, author of several books about the polar regions. They explain the challenges encountered by polar bears in the modern age, and explore the future of a species threatened by climate change and pollution.

From traveling to relaxing, backstage and on, Stones From the Inside is a unique view captured by a man who was there, every step of the way. Along with the images of the band at work and play, Wyman includes remarkable images of those along for the ride, from John Lennon, Eric Clapton, David Bowie and Iggy Pop to John Belushi and Dan Aykroyd. To accompany his photographs, Wyman offers up wonderful insights, anecdotes and behind-the-photo stories, giving all us a front-row seat and backstage pass to what it was like to be there, as music history was made as a member of The Rolling Stones.

As soon as Bill Wyman was given a camera as a young boy, he quickly developed a passion for photography. After joining what would become the world’s greatest rock ‘n’ roll band, Wyman continued his hobby. When he didn’t have his bass, he had his camera. The result is an arresting, insightful and often poignant collection of photographs, showing his exclusive inside view of the band. From traveling to relaxing, backstage and on, Stones From the Inside is a unique view captured by a man who was there, every step of the way. Along with the images of the band at work and play, Wyman includes remarkable images of those along for the ride, from John Lennon, Eric Clapton, David Bowie and Iggy Pop to John Belushi and Dan Aykroyd. To accompany his photographs, Wyman offers up wonderful insights, anecdotes and behind-the-photo stories, giving all us a front-row seat and backstage pass to what it was like to be there, as music history was made as a member of The Rolling Stones. Limited to just 300 copies, this slipcased edition is accompanied by a print.

Terry O’Neill (1938-2019) was one of the world’s most celebrated and collected photographers, with work displayed and exhibited at first-class museums and fine-art galleries worldwide. His iconic images of Frank Sinatra, The Beatles, Brigitte Bardot, Faye Dunaway, and David Bowie – to name but a few – are instantly recognizable across the globe.

Now, for the first time, O’Neill selects a range of images from his extensive archive of “vintage prints”, which will surprise and delight collectors and photography lovers alike. Long before the age of digital, photographers would send physical prints to the papers and magazines. These prints were passed around, handled by many, stamped on the back, and often times captioned. After use, the prints were either filed away, thrown out or – for the lucky few – sent back to the photographer or their photo agencies.

At the dawn of the 1960s, when O’Neill’s career began, physical prints were the norm. Terry kept as many as he could that were sent back to him. “I just kept everything,” he says. “I don’t know why. Back then, there wasn’t really a reason to keep them. Photos were used straight away and then I just moved on to the next assignment. No one was thinking these would be worth anything down the line, let alone fifty years later.”

This book collects hundreds of these rare images, a true must for Terry’s fans and photography collectors.

Milton H. Greene (1922-1985), famous for his fashion photography and celebrity portraits from the golden age of Hollywood, met Marilyn Monroe on a photo shoot for Look magazine in 1953. The pair developed an instant rapport, quickly becoming close friends and ultimately business partners. In 1954, after helping her get out of her studio contract with 20th Century Fox, they created Marilyn Monroe Productions, Inc. Milton and Marilyn were much more then business partners, Marilyn became a part of the Greene family. By the time their relationship had ended in 1957, the pair had produced two feature films, in addition to more than 5,000 photographs of the iconic beauty. There was magic in Milton and Marilyn’s working relationship. The trust and confidence they had in each other’s capabilities was on full display in each photo.

Greene passed in 1985, thinking his life’s work was succumbing to the ravages of time. His eldest son, Joshua, began a journey to meticulously restore his father’s legacy. A photographer himself, Joshua spent years researching ways to restore his father’s photographs as well as cataloging and promoting Milton’s vast body of work all over the world. After spending nearly two decades restoring his father’s archive, Joshua Greene and his company are widely regarded as one of the leaders in photographic restoration and have been at the forefront of the digital imaging and large-format printing revolution.

Now Joshua Greene, in conjunction with Iconic Images, presents The Essential Marilyn Monroe: Milton H. Greene, 50 Sessions. With 280 photographs, including many never-before published and unseen images, newly scanned and restored classics, as well as images that have appeared only once in publication, Greene’s Marilyn Monroe archive can finally be viewed as it was originally intended when these pictures were first produced more than 60 years ago. These classic sessions – 50 in all – cover Monroe at the height of her astonishing beauty and meteoric fame. From film-sets to the bedroom, at home and at play, Joshua has curated a lasting tribute to the work of a great photographer and his greatest muse. Poignant and powerful, joyful and stunning – these breathtaking images of an icon stand above all the rest. The Essential Marilyn Monroe: Milton H. Greene, 50 Sessions is sure to be a book that will become the platinum standard in photography monographs.

Numbered to only 250 copies, this deluxe edition will be produced with the highest quality paper and cloth binding, packaged in a stunning cloth clamshell presentation case. Each book will come with a limited edition estate-stamped print, measuring 355 x 279mm, from Marilyn’s ‘Bed Sitting’, which will be hand numbered, and a letter of authenticity from the Milton Greene estate.

Numbered to only 250 copies, this deluxe edition will be produced with the highest quality paper and cloth binding, packaged in a stunning cloth clamshell presentation case. Each book will come with a limited edition estate-stamped print, measuring 355 x 279mm, from Marilyn’s ‘Negligee Sitting’, which will be hand numbered, and a letter of authenticity from the Milton Greene estate.

Decoration and design as Dora El Chiaty might exclaim: “What else?”. It was in Egypt, the country of her birth, that this passion developed and found its full expression, as evidenced by numerous creations showcasing not just a talent, but a genuine gift. Born in Ismaïla, to a Greek family, she arrived in France at the age of eleven as a boarder at Sacré-Coeur de Chantilly, then returned to Cairo to study at the Centre Culturel Français where she passed her baccalaureate. After a short stay in Spain, she studied journalism, advertising and anthropology at the American University in Cairo, where she got a Bachelor of Arts degree. It was there that she got to know her future husband, Hamed El Chiaty, a defining encounter in more ways than one. Indeed, Hamed would soon become an entrepreneur in tourism and would ask the woman who had become his wife and to decorate two of the boats he owned on the Nile. Dora, who had always loved art in all its forms, found her curiosity piqued and successfully completed her first two projects with ease, taste and character. This would mark the start of a genuine fascination for the many different sides of this profession – decoration and design – and the starting point for many other commissions which would accompany Hamed’s rise through the tourism world, first and foremost in Egypt. Very quickly, it would become a regular occurrence: Dora took charge of the decoration of several sites with extremely tight deadlines (nine to twelve months!) and limited budgets. Between her beginnings and her most recent work there is evidence of development, of neoclassicism tempered with a conscious modernity, never forgetting an enduring reference to Islamic decorative arts. Everything inspires her: from the wrought iron railings in her Parisian pied-à-terre, to the pattern on a scarf or the print on a dress, which we find – modified, adapted, varied – on the velvet of a couch, the arabesques of a carpet or wallpaper, made to measure by remarkable teams of Egyptian artisans. Indeed, in the footsteps of the famous French interior designers of the twentieth century – Ruhlmann, Arbus, Leleu, Quinet, Old and Raphaël – Dora El Chiaty, assisted by a team of more than fifty, creates a large part of the furniture, seats, lights, carpets and textiles of the decors herself. How to describe her style? In the beginning Dora preferred furnishing that drew its inspiration from the forties, with references to the Louis XVI and Directoire styles – their straight and slender lines, and materials typical of the time, like mahogany and bronze. She now leans towards a greater contemporaneity, with which she blends a joyful fantasy, like her nods towards the baroque. An excellent colorist, her favorite shades include all varieties of beige and grey, embellished with a few bright touches, such as the deep reds and bordeaux she particularly favors. What is her dream as a designer and decorator? To have greater resources for her decoration and three years to decorate a hotel! All the decor would not only be created, as always, by Dora El Chiaty, but she would also design every piece of furniture, light and accessory. Knowing her taste and talent, we look forward to her dream becoming a reality. Text in English and French.

This book provides a comprehensive overview of the history of French glass making. Glass makers can be compared to alchemists in the way that they transform sand and ashes into precious objects of great beauty. This book explores the value given to glassware throughout French history, focusing on the Ancient Régime from the 15th to 18th Centuries, when royally appointed glassmakers were considered more important than their artistic counterparts within the court; painters, musicians and actors. In the middle of the 19th Century, glassware was subjected to mass industrial production and as a result the benchmark of quality that had previously been set was no longer adhered to. However, it was out of frustration with this situation that Emile Gallé, a glassmaker who employed many experimental techniques, started his own workshop to produce incredibly high quality original glassware, a move that revolutionised glass making and placed it once again at the forefront of contemporary artistry. Le Verre argues that glass never left this pedestal, and that today, more than ever, ‘the world is living in the age of glass.’ Text in French.

The papers published in this collection (supported by a generous donation from Abegg-Stiftung), all presented at Dyes in History and Archaeology meetings, demonstrate how dyes were used through the centuries. If one century is chosen – the 17th century, for example – a fascinating comparison can be made between the dyes and dyeing methods used in Europe, in Turkey, in South America and in Japan, not only on textiles, but also in the pigments used for painting.

Taking a different approach, chemical analysis has assisted detective work enabling a distinction to be made between rather similar 18th-century textiles with chinoiserie motifs, not all of which were Chinese in origin.

Over the long time scale covered in this book, many developments took place and are described in its pages. One of the most exotic of dyes, shellfish purple, was used in Late Bronze Age wall paintings dated to the 17th century BC at Akrotiri, while over 3000 years later the brilliantly colored, but sometimes impermanent synthetic dyes, devised by chemists, appeared on the market: the azo dyes, fluorescein, the eosins and others. A long and distinguished history of the use of color, a glorious variety of dyes revealed – the diversity of dyes in history and archaeology.

This volume contains written versions of presentations given at a two-day meeting entitled Holding it all together: ancient and modern approaches to joining, repair and consolidation. This topic was deliberately chosen to be wide ranging; in an era of escalating specialisation, it is felt that there are increasingly few opportunities for a wide range of professionals with an interest in the conservation and technical study of the cultural heritage to come together. The papers are divided into three groups: ancient and traditional joins and repairs, modern joins and repairs and case studies on subjects as diverse as the Caergwrle bowl, a Bronze Age shale bowl apparently depicting a boat, and the types of conservation materials used in early twentieth century Mexico.

This book will be of interest to all who seek to further their understanding of iron artefacts: their corrosion, conservation, and pigments based on iron compounds, which mankind has used for millennia. The authors take the reader through some of the latest observations on the occurrence and role of compounds of iron – from the hot water undersea vents where the presence of iron pyrites is thought to be vital to the emergence of life on Earth, to the discovery of jarosite on the surface of Mars, possibly indicating the presence of water; from the pyrophoric surprises one can have when dealing with iron artefacts taken from beneath the sea to the use of a blue oxide of iron as a pigment in mediaeval wall paintings; from rusticles on the Titanic to the analysis of coloring matter on the Turin shroud.

The great variety of iron compounds is examined (from the simple oxides to the exotic green rusts, from Prussian blue to yellow jarosites), the corrosion of iron in different environments is discussed and a critical review of the many attempts to conserve iron is presented. This volume will serve as a useful textbook on the subject for many years.

This volume of post prints of a conference held at the Victoria and Albert Museum, is a record of current perceptions and considerations of plastics within museum collections. Artist’s concepts of plastic as a medium and their views of ageing and decay challenge museum ethics. The dichotomy between an artist’s intent and engagement with their contemporary culture and longevity has resulted in many different resolutions. The balance between using and preserving ‘plastic’ artwork is a fine and delicate line of compromise, and the complex enigma of how to identify which of the many synthetic polymers, mass-produced ‘plastics’ within collections are formed from remains, as yet, unsolved. Now, through experience, observation and research, museums are developing collecting policies, recording techniques and preservation strategies which take pragmatic and utilitarian approaches, differentiating between stable and unstable plastics on the grounds of many aspects including age, color and design.

In five complementary contributions, recognized authors draw a fascinating and complex picture of contemporary jewelry in the twenty-first century. Through a rich palette of themes, works, reports and concepts from current art practices, they illuminate the conditions and interconnections of education, making, presentation, marketing and networking in design and art using the example of the New Zealand Handshake project. This book will enrich and bring pleasure to all who are interested in the visual arts in their broadest sense! Handshake is a unique mentoring programme in the art world, in which established artists spread their knowledge to less experienced protégés. The knowledge accumulated in this exchange, of a relationship based on feedback, is realized in exhibitions and joint projects. Exhibition at The Dowse Art Museum, Lower Hutt (NZ), 5th August to 3rd December 2017. www.http://handshakeproject.com/ https://handshake3.com/”

Fashion is fascination, cult, protection and adornment. We experience it daily on our own bodies and we notice it in our surroundings. The manifestations of fashion in magazines, advertisements and the Internet are never ending: sophisticated, erotic, provocative or overly aesthetic pictures create specific images, carrying the beholder off into their own world. To inspire such an eye-catching sensation requires a concept, an idea, which takes shape in an illustration. In the fast-moving age of digital photography, this art is disappearing from the everyday life of the fashion designer and media. In doing so it affords illustration great additional value: it bears witness to individuality, it conveys the zeitgeist and mood.

Text in English and German.

In the early nineteenth century, printed tablewares formed part of the new media of the age. Together with patterned textiles and wallpapers they assimilated, then disseminated the constructs of landscape imagery making the previously exclusive available to many. Printed tablewares played a significant role in the democratization of artistic imagery as well as the development of cultural and national identities. Eventually, as newer media forms began to supersede the vitrified print, meaning became diluted, so that the genre eventually reached obsolescence and kitsch.

Today there is a growing interest in this undervalued material from collectors, curators, museologists and contemporary artists who reference and celebrate the genre. The new artwork is international in nature, reflecting the significant cultural impact printed transferwares had as they were produced and exported around the world. Melding historical enquiry with contemporary practice, the book illustrates how artists re-appropriate this historical genre to observe, record, comment and re-animate.

Ever since at least the ninth century, the Chinese province of Zhejiang has been known for its fine celadon porcelain with wonderful shimmering surfaces in qing, the magnificent shades of green. Chinese celadon enjoyed its golden age from the eleventh to the fourteenth century, a time when it found its way into the Imperial collections and was exported worldwide. A decline of craftsmanship followed, and by the end of the nineteenth century celadon had almost completely disappeared. It was not until the 1950s that this style of pottery was successfully brought back to life. In the 1990s changes to the market economy forced porcelain artisans to reorient; to this day they have been able to successfully align themselves, similar to the UNESCO World Cultural Heritage system, as ‘Living State Treasures’ with their unparalleled celadon glazes. Seladon im Augenmerk offers an exciting social anthropological insight into the cultural history, technology and sociality of celadon production in the porcelain metropolis of Longquan, PR, China, up to the present day.

Text in German.

Gemstones have always been, since time immemorial, heavily charged with meaning and have even been regarded as magical objects. For that reason they have also been an art medium since the early modern age and have shaped as art symbols – in the form of the crystal – both Romanticism and Modernism, for example in the works of Caspar David Friedrich, Lyonel Feininger and many more. In the latter half of the twentieth century, not only have such artists as Bernd Munsteiner, Ute Eitzenhöfer and Bernhard Schobinger rediscovered the gemstone; through the Hochschule für Edelstein und Schmuck Trier/Idar-Oberstein and other similar specialist institutions it is also undergoing a revival in today’s art production – right up to Damien Hirst.

Text in English and German.

In the age of online shopping, how can physical stores attract shoppers, stimulate buying behaviour, and compete with their virtual rivals? Impressive visual merchandising design may tilt matters in their favour. Not only can it lure the customers across the threshold, but it also establishes and reinforces a unique brand image, anchoring the company in the customer’s mind. Revolving around fashion, lifestyle and food stores, Fantastic Designs in the Store presents over 50 of the hottest and most exciting shop layouts from all over the world. It demonstrates how a shop’s visual dimension influences customer psyche, drawing people in and inviting them to browse. Each project is presented with high-res images and sophisticated description, making this book both an aesthetic journey into the heart of commercial style, and a wonderful reference for designers. No matter whether you are a designer seeking inspiration or a shop manager looking for integrated visual design, this collection will serve you well.

Wood is a fundamental natural resource for building. Environmentally sustainable building is a worldwide trend.

Wood is widely available and widely used, particularly in creating buildings that connect to the environment and have low energy consumption.

This book brings together wooden houses of different styles from all over the world, featuring contrasting yet contemporary residential homes for a new age of environmentally responsible construction.

The collection of British silver at the Ashmolean Museum has all, with one notable exception (a tankard of 1574 given in 1790), been acquired since shortly after World War II. In relation to other major museum collections, therefore, it is young. Yet amounting to over 550 objects, many of which are of spectacular quality and rarity, it is one of the most important collections of its kind in the world, equaled only for the ‘golden age’ of English silver by the Victoria and Albert Museum in London and the Museum of Fine Arts in Boston. The collection has never been fully catalogued and this will be the first time a complete catalogue has been published.