This book follows the author’s popular title ‘Fungal Facts’ and is designed to help collections managers, conservators, curators and students (of materials and material culture) to understand the properties of fibrous proteins. The author presents relevant information to assist in developing new approaches to care, conservation and research of objects and understanding conservation treatment interactions. Subject areas include: the link between heritage objects and natural history specimens; the different collagenous tissues used in heritage artefacts including the skin structure of several different specimens; amino acids; the numerous agents of protein deterioration; the effects of water in fibrous protein materials; collagen structure and the deterioration of collagen; tanning processes; striated muscle and elastin in fluid-preserved natural history specimens.

The primary aim of the ATSR Working Group is to establish a focus for historical documentary source research and reconstructions on art materials and techniques. Documentary source research is often an essential component of conservation research, or art historical research. Reconstructions, a natural follow-on from the collection of information on materials and their use, can form an invaluable tool. This publication is a collection of papers from the third symposium of the Art Technological Source Research Working Group held in 2008. The papers centre on the exploration of artists’ practice from a wide range of disciplines and periods, as recorded in visual and written testimonies; from treatises and manuals to correspondence, ledgers, diaries and journals, as well as images such as paintings, prints, photographs and film.

Presents a detailed study of the transferred wall paintings in Denmark. However, the material and case studies presented contain information of interest to all conservators and others working with wall paintings.

Du Paquier, an independently operating Viennese porcelain factory, was established in 1718, only eight years after Meissen. Although its heyday was brief, lasting only twenty-five years, Du Paquier produced porcelain of great beauty, notable for an enchantingly graceful style and consummate sophistication of execution. In three sumptuously illustrated volumes, scholars of international standing present the distinctive style and the exciting history of Du Paquier porcelain in the context of Baroque Vienna. The first comprehensive publication on this important porcelain factory, this work has been made possible through a five-year research programme conducted by the Melinda and Paul Sullivan Foundation for the Decorative Arts. The objects shown, many of them for the first time here, are in major public and private collections. The first volume deals with the historical and stylistic background of Du Paquier porcelain: art and architecture in early eighteenth-century Baroque Vienna; furthermore, the history of the porcelain factory, its style and its manifold sources of inspiration as well as Du Paquier’s relationship to Meissen and the role played at Du Paquier by independent porcelain painters and decorators. The second volume places this Viennese porcelain in its cultural context, providing broad-ranging information on court banquet ceremony as well as private pleasures such as drinking and festive dining. Objects used in aristocratic circles are shown along with choice presents of state made to the Ottoman and Russian courts. In addition, this volume contains a new study on the Dubsky Room, the only room still in existence devoted to Du Paquier porcelain. The contents of the third volume include an annotated catalogue comprising approximately 500 objects, scholarly analysis and a chapter on the history of collecting Du Paquier porcelain, an inventory of the Dubsky Room, a bilingual glossary of terms and a complete bibliography. An enclosed CD-ROM contains transcriptions of original documents that have played an important role in the history of the Du Paquier porcelain factory. “This definitive work provides a fascinating survey of Viennese baroque court culture.”
The Art Newspaper

The upsurge in publishing in the sixteenth century turned the Reformation into a media event, and printed products of every kind superseded the communication methods used thus far. Flyers were particularly successful in reaching their audiences as an easily affordable information medium. Renowned artists such as Hans Sebald Beham, Lucas Cranach Sr, Albrecht Dürer and Michael Ostendorfer produced the woodcuts for these single-sheet prints, which thematised the political, religious and societal happenings of the time. Portraits of protagonists, such as Luther and Karl V., but also fables and proverbs as well as reports on miracles and celestial phenomena, catastrophes and crime all found their platform in these pages. One of the largest collections of illustrated single-sheet prints in the Palace Museum of the Stiftung Schloss Friedenstein in Gotha provides a rich treasure trove of prints that informed the Reformation. The Gotha inventory of around 700 flyers from 1480 to 1599 is today considered unprecedented. Now for the first time it has been published in its entirety. Text in German.

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 to their success was the collaboration with distinguished sculptors and ceramicists of the day, which included Demetre Chiparus, Walter Bosse and Josef Lorenzl, all of whom were responsible for a great many of the Goldscheider designs. This success story was quashed by the National Socialist aryanization 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. Over 600 color photographs show Goldscheider examples, demonstrating why this firm earned such a highly regarded reputation in the world of ceramics. Text in English and German.

The work of the English artist Hamish Fulton (b. in London in 1946) uncontestedly occupies a unique position among the artistic stances taken in the 20th and early 21st centuries. Fulton is a “walking artist”, one whose central theme is nature and nature as humans experience it. For the past thirty years he has been taking long walks on all five continents. He captures the emotional and physical experiences resulting from this activity in photographs, drawings, murals and texts. They range from basic information on the duration, location and conditions of these walks to Haiku-like, poetically meditative excerpts from his diaries. His work contains aspects of both Land art and Conceptual art. Fulton has taken hundreds of walks and lives by the motto “No Walk – No Art”. On his most recent perambulations, his diary has increasingly replaced his camera; hence words and drawings have pride of place in the present book on the trip he took to Tibet in 2007. For Fulton is not concerned with providing travel documentation that is as objective as possible. On the contrary, he wants to capture the feeling of walking and express it in his – by now increasingly abstract – works.

With passion and expert insight, Frank Nievergelt compiled an impressive collection over forty-five years of more than 900 pieces of contemporary ceramics, ranging from vessels and sculptures via display pieces to monumental works. Over one hundred leading figures of the international ceramic scene from 1970 to 2015 are represented in the collection, the emphasis of which is on newer objects. In this publication, the most significant pieces of this renowned collection are presented in a selection of forty-one artists, hence impressively highlighting the unaffected beauty and diversity of contemporary ceramic art. Moreover, Nievergelt introduces the artists individually, enhanced with reflections from Anne-Claire Schumacher (curator of the Musée Ariana) and Prof. Volker Ellwanger. The catalogue documents the latest inventory of the Musée Ariana in Geneva. Text in German and French.

Du Paquier, an independently operating Viennese porcelain factory, was established in 1718, only eight years after Meissen. Although its heyday was brief, lasting only twenty-five years, Du Paquier produced porcelain of great beauty, notable for an enchantingly graceful style and consummate sophistication of execution. In three sumptuously illustrated volumes, scholars of international standing present the distinctive style and the exciting history of Du Paquier porcelain in the context of Baroque Vienna. The first comprehensive publication on this important porcelain factory, this work has been made possible through a five-year research programme conducted by the Melinda and Paul Sullivan Foundation for the Decorative Arts. The objects shown, many of them for the first time here, are in major public and private collections. The first volume deals with the historical and stylistic background of Du Paquier porcelain: art and architecture in early eighteenth-century Baroque Vienna; furthermore, the history of the porcelain factory, its style and its manifold sources of inspiration as well as Du Paquier’s relationship to Meissen and the role played at Du Paquier by independent porcelain painters and decorators. The second volume places this Viennese porcelain in its cultural context, providing broad-ranging information on court banquet ceremony as well as private pleasures such as drinking and festive dining. Objects used in aristocratic circles are shown along with choice presents of state made to the Ottoman and Russian courts. In addition, this volume contains a new study on the Dubsky Room, the only room still in existence devoted to Du Paquier porcelain. The contents of the third volume include an annotated catalogue comprising approximately 500 objects, scholarly analysis and a chapter on the history of collecting Du Paquier porcelain, an inventory of the Dubsky Room, a bilingual glossary of terms and a complete bibliography. An enclosed CD-ROM contains transcriptions of original documents that have played an important role in the history of the Du Paquier porcelain factory. Text in German

Interactive installation art is an important medium of artistic expression, generated alongside the development of technology and art throughout the 21st century. This book includes a number of interactive installation projects, dedicating particular attention to how designers convey their message.

Instead of accepting information passively, in an interactive installation the audience is encouraged to communicate directly with the art. This book is divided into three parts: immersive installation (environment), experimental installation (technology), and feedback installation (engagement). Featuring examples drawn from 3D-rendered images, photographs and video projects, this book will explain the relationship between art and technology, and explore some of the ways these fields can be combined. It is a high-quality and practical guidebook, to accompany any interactive installation art exhibition.

This book includes a cross-section of projects from outstanding global design agencies such as teamLab, Dem, and Random International. When placed in conjunction with testaments from practising designers, these examples provide a comprehensive introduction to interactive installation art.

Hugely popular in his own day and an enormous influence on Monet, van Gogh and other leading European artists, Utagawa Hiroshige (1797 1858) has never lost his appeal. A prolific artist, he produced between 4,000 and 5,000 woodblock print designs. He is particularly renowned for his landscape prints, which are among the most frequently reproduced of all Japanese art in both Japan and the West. Hiroshige’s unusual compositions, humorous depictions of people involved in everyday activities and masterly expression of weather, light and season, are explored in this publication with its especially fine printing and experts’ notations. It is part of a series featuring the depth of the Japanese art holdings at the Ashmolean Museum of the University of Oxford, the world’s first university art museum. The gems of information are numerous, including a page on “how to read a print” — with such as a note on “the censor’s mark,” a detail that only the cognoscenti might recognize. The book adds greatly to the art lover’s knowledge and pleasure.

Contents:
How to ‘read’ a Japanese Print, Preface, Utagawa Hiroshige (1797-1858) Woodblock Print Designer, Making a Japanese Woodblock Print, I Views along the Tokaido, II Views of the Provinces, III Views of Edo, IV Views of Mount Fuji, Further Reading.

After his last book Escapes, Stefan Bogner returns to the Alps again with this illustrated book. This time not only did he photograph particular routes, but he looked for the ideal tour through the Alps: 3 countries, 14 passes – the perfect little escape for 4 days.

Different from Bogner s photographs in Escapes or Curves, where Bogner just presents dreamlike empty streets, Porsche Drive focuses on the journey in Porsche models such as Porsche 906, Porsche 911, Porsche 918 and more. Stefan Bogner drives his own Porsche 911 1970 ST.

Apart from Bogner’s photographs, Porsche Drive offers information on each route and height profile. Thus you can follow Bogner’s itinerary on a long weekend.

Text in English and German.

Beautifully produced, Desmond Freeman Venice presents more than 50 captioned, black and white and full-color sketches of the architecture of Venice accompanied by quotations from well-known authors, poets and artists. The preface describes the story of how the book came into being, and was developed in addition to information about the artwork methodology. A set of thumbnail illustrations of each of the 50 or so full artworks has been included at the back of the book in the form of an index.

Beautifully produced, Desmond Freeman Venice presents more than 50 captioned, black and white and full-color sketches of the architecture of Venice accompanied by quotations from well-known authors, poets and artists. The preface describes the story of how the book came into being, and was developed in addition to information about the artwork methodology. A set of thumbnail illustrations of each of the 50 or so full artworks has been included at the back of the book in the form of an index.

“Fascinating details of the original pictures and a social history of footwear fashion” VOGUE
In acclaimed photographer Lois Lammerhuber’s pictures, shod feet in the Louvre paintings reveal undreamt-of information about people. The details are not only separate works of art, but also studies on centuries of shoe fashion and an excursion into social history. Almost intimate, the photographs raise the world of feet and footwear to eye level, showing delicate shoes and stout limbs; feet without shoes and shoes without feet. The viewing angle is a special one, not only for art enthusiasts but also for shoe lovers. Raphael, Goya, or Ingres did not produce or design footwear, but they all ‘recorded’ shoes, contributing to a history of footwear and at the same time creating fashion archives of shoes that people stepped out in between 1280 and 1863. In a brilliant discourse, Margo Glantz, an icon of Mexican literary studies, introduces the viewer to original thoughts on painting and footwear design, the history and sociology of shoes. Text in English, German, French & Spanish.

These rare and extraordinarily beautiful stones with mineral formations resembling chrysanthemum flowers are for the first time presented in a comprehensive and fully illustrated book. Found primarily in China and Japan, but more recently known from Korea and the western United States, they are regularly exhibited in national shows in Asia, where they are accorded the highest value among natural artistic stones. This scholarly work sets a new standard for books relating to the art of stone appreciation. The authors traveled extensively in China and Japan to bring together historical information with current data; the text is generously illustrated with over 120 full-color photographs of the widest variety of chrysanthemum stone types from all sources, and the most complete set of published references to chrysanthemum stones ever assembled is included.

A remarkable combination of superb artistry, sophisticated design, and a lengthy history of continuous usage sets the masks of the Noh theater of Japan apart from all others. That so little is known outside of Japan about their great beauty and brilliant craftsmanship prompted the author to undertake the two decades of study, research, and writing that has culminated in this work. The result is nearly 800 pages of text and images published in a two-volume boxed edition limited to 1200 copies. Volume 1 consists of an extended treatise on the history of Noh and the evolution of its masks, including mask forms and functions, types and roles, nomenclature and taxonomy, mask carvers and their lineages, signatures, and other markings. It includes plot and character synopses of the plays most often staged as well as others rarely performed, with particulars about the masks used by various troupes for the principal roles. Volume 2 is an album showcasing in full color over 140 of the finest masks of Noh, both ancient and more recent, with detailed information on their creation, character, and significance, as well as photos of their backs showing inscriptions and artists’ signatures. An extensive bibliography, glossary, and index round out this presentation of an exquisite, centuries-old art form. No existing publication on the subject, in either English or in Japanese, remotely compares in scope and depth to the present work.

First published in 1980, James Cahill’s Index is the most comprehensive English-language compilation available on Chinese painters and their works from the late 6th through the mid-14th century. Incorporating the work of Ellen Johnston Laing and Osvald Siren, whom Professor Cahill studied under as a graduate student, the Index includes biographical details of the artists, their style and studio names, where their works are located or have been published, and information on materials, signatures, seals, and inscriptions. An extensive bibliography focuses on reproductions of the works in Chinese, Japanese, and Western publications, making the Index is an essential research tool for all students, collectors, and connoisseurs of Chinese art.

In this follow-up to Visiting China’s Past, Professor Robert Thorp offers a guided tour of historic Beijing. Beginning with early cities that preceded the modern capital, the author introduces Dadu, established by Khubilai Khan in 1267 and known to Marco Polo as Cambaluc. This guide’s focus, however, is the great architectural monuments of the Ming and Qing dynasties (ca. 1421-1912). Altogether, thirty-two sites are explored in detail: the city’s walls and gates; the imperial city and palaces (the Forbidden City); state altars and imperial tombs; Buddhist and Daoist temples as well as mosques; and residences (both princely mansions and courtyard houses) and gardens. A final chapter summarizes developments of the early twentieth century. Each chapter discusses the history and cultural context of these sites, while entries describe the main structures complemented by numerous plans, photographs, and diagrams. Although both chapters and entries “stand alone,” extensive cross-referencing encourages readers to find related information, and each chapter concludes with suggested titles for further reading. A list of suggested walking tours and an extensive bibliography (both English and Chinese) complete the text. Visiting Historic Beijing is an excellent guide for anyone planning to visit Beijing, and a fascinating introduction to Chinese culture through the architecture and urban planning of one of the world’s most magnificent capitals.

When we think of Barcelona, the eclectic art of Antoni Gaudí immediately springs to mind. It is present in every corner of the city. Or we think of the Olympic Ring with the tower designed by Santiago Calatrava; but these are only two aspects of the exquisite beauty of the Catalan capital which has been able to blend old and new in a unique and unpredictable way. The traditional Gothic architecture has a discreet historical flavor, while the buildings that have appeared in the past 10 years reflect modern art trends like Cubism, Neo-plasticism, and Futurism. Named the European capital of innovation in 2014, the city boasts extremely distinctive urban planning because of the unusual bevelled corners on city blocks that provide more open street intersections, with extra space for outdoor cafés and seating, that give the city its particularly sociable community atmosphere.

Florence is aimed at showing how one of the Italian cities most strongly linked with its past, the quintessential symbol of the Renaissance period, conceals a myriad of innovative architecture. Florence is not a static city. It has often been guilty of long delays and a certain lack of courage in assimilating new approaches, but its way of introducing contemporary architecture into a consolidated context, is unique. Changes with great impact began in Florence at the end of the 19th century with the urban planning transformations designed by Giuseppe Poggi. The strongly defined limits of the historic centre became blurred with the demolition of the fortifications and the city was opened up to permit expansion. In the 1930s, the Rationalist design of the Santa Maria Novella Station introduced a new form of architectural expression into the historic center and outskirts of the city. This is the building that begins the itinerary proposed in this guide; a chronological, but also a physical beginning: a starting point for visitors to begin their architectural excursion.

In recent years, Milan has become a metropolis involved in transformations that are well worthy of interest for the architectural and urbanistic experiments that have been carried out. The complex dialectics between innovation and respect for the existing urban form is the distinctive characteristic of the city: recovery of downgraded neighbourhoods, redevelopment of decommissioned industrial zones, technological experimentation, and vertical development are the aspects that mark Milan as a strongly contemporary city. This guide is being launched in answer to a moment of great focus on Milan. As it guides the reader through the wide range of contemporary architectural projects, it emphasizes the unique nature of its complex character. The transformations are still underway and for this reason, it is difficult to foresee how a city of such size will manage to redefine its personal equilibrium: but this too is part of the contemporary nature of Milan.