John Ruskin assembled 1470 diverse works of art for use in the Drawing School he founded at Oxford in 1871.  They included drawings by himself and other artists, prints and photographs. This book focuses on highlights of works produced by Ruskin himself. Drawings by John Ruskin are uniquely interesting.  Unlike those of a professional artist they were not made in preparation for finished paintings or as works in their own right.  Every one – and they number several thousand, depending on what can be considered a separate drawing – is a record of something seen, initially as a memorandum of that observation but with the potential to illustrate his writings or for educational purposes, notably to form part of the teaching collection of the Drawing School he established after election as Slade Professor of Fine Art at Oxford University. In addition, because of the range of interests of arguably the only true polymath of his time, every drawing touches on some interesting aspect of art and architecture, landscape and travel, botany and natural history, often connected with his writings and lectures.  Ruskin’s life is one of the best documented of any in the 19th century, through letters, diaries and the many autobiographical revelations in his published writings: this allows the opportunity to give almost any drawing a level of context impossible for any other artist.  When there is so much background information, a single drawing reveals much about its creator, and becomes a window into the great sprawling edifice of his life and work.

“Any man that loves Bond will love to get this amazing book in their life.” – Men’s Journal

“A great coffee table book filled with amazing photos of everyone’s favourite spy.” – Tom Lorenzo, Men’s Journal

“No fan of 007 will want to miss this coffee-table album…” – Michael Dirda, The Washington Post

“Shy, lascivious, self-confident or sometimes completely private – O’Neill always knows. The photographs are all very aesthetic, somehow magical and an absolute must for all Bond fans.” – Lovely Books Germany

Terry O’Neill was given his first chance to photograph Sean Connery as James Bond in the film Goldfinger. From that moment, O’Neill’s association with Bond was made: an enduring legacy that has carried through to the era of Daniel Craig. It was O’Neill who captured gritty and roguish pictures of Connery on set, and it was O’Neill who framed the super-suave Roger Moore in Live and Let Die. His images of Honor Blackman as Pussy Galore are also important, celebrating the vital role of women in the James Bond world. But it is Terry O’Neill’s casual, on-set photographs of a mischievous Connery walking around the casinos of Las Vegas or Roger Moore dancing on a bed with co-star Madeline Smith that show the other side of the world’s most recognizable spy.

Terry O’Neill opens his archive to give readers – and viewers – the chance to enter the dazzling world of James Bond. Lavish color and black and white images are complemented by insights from O’Neill, alongside a series of original essays on the world of James Bond by BAFTA-longlisted film writer, James Clarke; and newly conducted interviews with a number of actors featured in O’Neill’s photographs.

“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

“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.

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.

Stories and photography intermingle on the pages of this gorgeous homage to ’70s and ’80s cinema and celebrity. Including rare and never-before-seen images, Through Her Lens is a wonderful collection of images and memoires that capture the spirit of the age. From unexpected late-night calls from Romy Schneider, to a stay at Paul Newman’s home in Connecticut; from working on set with Bernardo Bertolucci, Werner Herzog, Steven Spielberg and Sydney Pollack, to lounging poolside with Raquel Welch; Sereny reveals her favorite moments from working behind the lens. This is the first photographic retrospective of Sereny’s star-studded career, including nearly 100 never-before-seen images complemented by Eva’s own stories.

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. Her flower paintings have been published in Growing Old Fashioned Flowers and Wild Flowers of Scotland and have been widely exhibited in Scotland, England and Europe. The publication of this book symbolises the tradition that she and her small circle maintained for many years as the only keepers of garden plants until the foundation of the National Council for the Conservation of Plants and Gardens 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. ‘The exquisite watercolor drawings of an accomplished botanical artist, Mary McMurtrie, fill the pages of this retrospective of the life and work of this dedicated collector and grower of precious flora. Born in Scotland in 1902, she died at age 101. During her lifetime, she became an ardent advocate for saving the historic garden plants of Britain. Author Timothy Clark recalls in the narrative the influences on her career, her gardening friends, her restoration of an historic garden, and her favorite plants. His literary style is reminiscent of a cozy chat with a gardening friend as he tells of the heritage of plants and how to grow the rare beauties featured on the pages of this book’.
Marilyn K. Alaimo, garden writer and volunteer, Chicago Botanic Garden.

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.

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.