This publication was designed to celebrate the 50th anniversary of the discovery of the Riace Bronzes. In it, Luigi Spina’s photographic research dialogs with the texts written by Carmelo Malacrino.

The photographer here develops a continued narrative, offering a direct comparison between the two sculptures, identified as A and B, exploring interpretations of the physicality of the two subjects as well as the three-dimensional quality of the bronze bodies, often concealed by the two-dimensional appearance of photographic images.

Carmelo Malacrino analyzes these famous 5th century BC masterpieces from two points of view: as ancient works of art on the one hand, and considering their significance for contemporary culture on the other. He retraces the story of the Bronzes beginning with their discovery in August, 1972, exploring the circumstances of their unearthing, the restoration they underwent, the exhibitions in which they were shown, as well as the impact they have had on the public, both nationally and internationally. Equally relevant is the reinterpretation of these two statues, beginning with their contextualization in the sphere of ancient Greek art, the related stylistic issues, and the reflection upon the practices and the knowledge possessed by Classical sculpture workshops.

This volume will be a pleasant surprise for those of you who love Classical sculpture, for archaeology enthusiasts, and for all those who aren’t satisfied with a quick glance when it comes to admiring a work of art.

Seattle’s first big boom was in 1897, when hundreds of thousands of ‘Stampeders’ with their hearts set on finding gold in Alaska and Canada’s Yukon Territory stopped here to purchase supplies and gear up for prospecting trips up North. Since then, the city has fueled the hopes, dreams, and imaginations of countless others. Some changed the city skyline, the world’s skies, the world of art and music, and even our coffee cups with their ideas and inventions. Others have left us with some unusual, offbeat, and truly odd spaces and places.
From a coin-operated attraction filled with some of the world’s largest shoes to the world’s greenest commercial building, urban old growth forests, a haunted staircase and museums dedicated to pinball machines, dialysis machines, and rubber chickens, 111 Places in Seattle That You Must Not Miss is filled with invitations and inspirations for locals and visitors alike to explore the Emerald City’s hidden treasures, overlooked gems, and charming curiosities. Some of the 111 places here you think you know but will discover from a new angle. Others will be surprises that will encourage you to keep exploring.

Seattle’s first big boom was in 1897, when hundreds of thousands of ‘Stampeders’ with their hearts set on finding gold in Alaska and Canada’s Yukon Territory stopped here to purchase supplies and gear up for prospecting trips up North. Since then, the city has fueled the hopes, dreams, and imaginations of countless others. Some changed the city skyline, the world’s skies, the world of art and music, and even our coffee cups with their ideas and inventions. Others have left us with some unusual, offbeat, and truly odd spaces and places.
From a coin-operated attraction filled with some of the world’s largest shoes to the world’s greenest commercial building, urban old growth forests, a haunted staircase and museums dedicated to pinball machines, dialysis machines, and rubber chickens, 111 Places in Seattle That You Must Not Miss is filled with invitations and inspirations for locals and visitors alike to explore the Emerald City’s hidden treasures, overlooked gems, and charming curiosities. Some of the 111 places here you think you know but will discover from a new angle. Others will be surprises that will encourage you to keep exploring.

Welcome to 111 Places in Richmond That You Must Not Miss, a collection of the sites and experiences that make the River City such a special place. To those who don’t know Richmond, you’ll find the city itself to be a hidden gem, the cradle of 400 years of American history, steward of the magnificent James River, and the unlikely home to heralded culinary masters.

To those who do know Richmond, the self-deprecating but proud populace inured to its remarkable features, by flipping through these pages you will uncover secrets about your city, new and old. You know Hollywood Cemetery, but do you know the final resting place of our famous psychic horse? Have you kept an open mind about our smaller neighbors to the North and South and gazed at the Heavens from “the Center of the Universe” or seen the Petersburg residence constructed entirely from tombstones?

There’s something for everyone within these pages, whether nature lover, history buff, aesthete, epicurean, tippler, or just an adventurous soul seeking curiosities – the River City welcomes you to partake in its treasures. Join us in discovering the secret spots that Richmond hides so well.

The ancient treasures collected over the past 20 years by Ludovic Donnadieu, hail from a myriad of ancient cultures, famous or obscure, across all five continents. The selection maintains a balanced representation of different geographical areas, ensuring that all regions of the world and all historical or prehistoric periods are accounted for. Through this comprehensive panorama, the viewer is invited on a cultural and anthropological journey through time and space.

The showcased artworks are “miniatures”; few exceed a size of 20 centimeters. Indeed, an artwork doesn’t need to be monumental to evoke profound emotional impact and fascination! Fragility can endure, the minuscule can embody grandeur, and singular detail can convey a universal message.

This selection of 99 works, forming a unique ensemble worldwide, adheres to a triple criterion: authenticity, aesthetic quality, and balance, both among the represented subjects and across different forms, materials, or functions. The period covered spans from 6,000 BC to the early 20th century. Presenting this collection to the public holds a dual significance: in a world threatened by uniformity, it celebrates the richness and diversity of human cultures while also highlighting the beauty and grandeur of small-scale formats and the need to protect what is fragile.

The Donnadieu Foundation was established in 2023, under the aegis of the Foundation for Childhood, by Ludovic Donnadieu, art collector, certified public accountant, and founder of the firm Donnadieu & Associates, which specialized in securing funds entrusted to NGOs. The Foundation aims to enable young people, especially those from disadvantaged backgrounds, to broaden their horizons and engage in civic activism, while also raising awareness among the general public and policymakers about the importance of culture for the world’s youth.

Text in English and French.

Car Racing 1971 is every bit a worthy successor in the tradition established by the six previous tomes of the Car Racing series (1965 to 1970). It is still through treasures unearthed from the archives of the DPPI photographic agency that this book offers, for the title year, a unique experience of immersion in the atmosphere of 1970s motorsport. Created in 1965 by a group of photographers fascinated by the fury of the track and the bravura of drivers, DPPI has always gone where the action is. This proximity resulted in incredible action photos, unimaginable today. ‘This is not an umpteenth book on the history of motorsport,’ insists DPPI director Fabrice Connen. ‘In every case, we favored the strongest, most unusual pictures or those that best recreated the atmosphere of the time, even if they were taken at minor events or depicted less famous competitors.’

Text in English and French

Cheers to cosiness! Why is everyone so “crazy” about the Munich Oktoberfest? One thing is certain: the Oktoberfest epitomizes everything that Germany and the whole world love about Bavarian culture: Fesche Madln, hefty food and hearty dance music.

In this Callwey book, deeply rooted traditions are brought to life, numerous exciting facts about the Wiesn are revealed and the most beautiful moments around the Oktoberfest are captured. Visiting the Oktoberfest brings the Wiesn into your own four walls: Wies’n landlords reveal the tastiest Bavarian recipes to recreate, their favorite places and insider tips throughout Munich, and tell never-before-heard Munich stories.

A must for Oktoberfest newcomers, real Wiesn connoisseurs and all lovers of the “fifth season” in Munich!

Welcome to Birmingham, a super-diverse city with an ever-shifting identity. This is the quiet medieval market town that overnight became the center of the industrial revolution, over the centuries rolling out leather wares, jewelry, steam engines, motor cars, fountain pens, gun smithery, toys, chocolate, heavy metal music and nanotechnology. The city’s drive to successively reinvent itself as motor city, conference capital and shopping destination reflects that initial burst of energy. The result is a city of many layers, bold planning experiments, overlapping fragments and pockets of creative endeavor which can be tough to navigate without a guide. However, its many treasures coruscate more brilliantly for being lost. This book tells the story many would miss through the art, places, buildings, people and the dynamic mix of cultures that reveal the Birmingham identity, from the smallest architectural details to epic civic structures. Only here can you chill on a bench with local heroes Black Sabbath, will you be greeted at the museum by the fallen angel Lucifer, chance upon a golden Burmese peace pagoda, time travel in the Shakespeare Library and find the world’s oldest surviving instance of railway architecture.

Retouching, the process employed by paper conservators to replace damaged or lost areas of media, is carried out directly on the original item or on paper infills. Interventive retouching on an original surface requires the consideration of several important ethical issues such as reversibility and authenticity. The use of retouching on infills, which could be termed non-interventive, is easier to accept, as it can always be made reversible and can normally be easily identified as a later addition to the original work. The focus of this book is on interventive retouching and it raises many questions of reconstruction, including digital reconstruction and facsimile reintegration.

This book is the first to be dedicated to a comprehensive study with English translation (plus extensive commentary) of the early 15th century Strasbourg Manuscript – believed to have been the oldest German-language source for the study of Northern European painting techniques and considered to be the northern counterpart to Cennini’s Il Libro dell arte. It is also one of the oldest technical manuals to include a recipe collection describing the preparation of drying oil media and their application in panel painting. Lost in a fire at the Strasbourg Library in 1870, this recipe collection was preserved in the only known copy commissioned by Sir Charles Eastlake, the first director of the National Gallery which was partially published in 1847. The author’s extensive research is based on this copy, two later books based on it and also on comparison with other manuscripts of the Strasbourg tradition, which allowed her to reconstruct the text of the lost manuscript.

For over 2000 years artists travelled throughout India, using painted picture scrolls to spread stories from the great Indian epics, as well as a wealth of stories about regional Gods and heroes and moral tales, amongst the most illiterate rural population. In the hands of the painters and singers, the picture scrolls became a portable cinema, projection screens for mythical knowledge and an incentive to listen to the songs whilst looking at the scrolls. In the same way that other oral art forms have dwindled and lost significance, the picture scroll artists also lost their public and their income. However, in the east of India – in West Bengal and Jharkhand – two closely related but distinctive picture scroll traditions have been upheld: the patua and the jadopatia. Political changes, technical innovations and social turmoil brought both these traditions face to face with the necessity to develop new survival strategies too. Accompanies an exhibition at the Ethnographic Museum of the University of Zurich, Switzerland, from 30th August 2012.

Atlantic City was born in the mid-nineteenth century and grew so big, so fast, that it captured the American imagination. It was ‘the World’s Playground’. Its hotels were the largest and finest, its nightclubs legendary, its boardwalk an endless promenade. And then, as it began to fade, the casinos came. And instead of reviving the city they killed it. Chief among the villains in this piece is Donald J Trump, who built his casinos on dunes of debt and bled them into bankruptcy. On the presidential campaign trail Trump boasted of his ‘success’ in Atlantic City, how he had outwitted Wall Street and leveraged his own name for riches. He would do for America what he had done for Atlantic City, he said. And so it came to be. Brian Rose has documented what remains of the city in the aftermath of the casino explosion. The images are haunting. Atlantic City may never recover.

Covering eight classical dance forms of India – Bharatanatyam, Kathak, Kuchipudi, Kathakali, Manipuri, Mohiniattam, Odissi and Sattriya – Leela Venkataraman seamlessly weaves together a historical perspective with the contemporary scenario. Stripped of their association with the temple and the court, classical dance traditions in India went through a series of unprecedented change in the period marking the last few years of British rule and thereafter. From becoming part of the nationalist struggle when India was trying to rediscover its lost identity, to sharing the international stage today with dance forms from all over the world, the last sixty-six years have seen many changes in perspective and presentation of Indian Classical Dance – some intentional, others involuntary. While looking at these years closely and their impact on dance forms, one realises that this is a phase in an ongoing process, with each new generation of dancers and musicians adding to an already rich tapestry of tradition.

Contents:
Acknowledgements, Preface, Introduction, Legendary Gurus Show the way for Bharatanatyam, Kathak:From Durbar to Proscenium, Kathakali: Peaks and Downfalls, Sattriya in Monastic and Proscenium Manifestations, Manipuri: Striking a Uniquely Different Note, The Enchantment of Mohiniattam, The Changing Faces of Kuchipudi, Odissi: The Oldest in a Post-Independence Manifestation, Transmission in a Changing Teacher/ Taught Relationship, Patronage and Sponsorship of Classical Indian Dance, The Contemporary/ Classical Dialectic.
Covering eight classical dance forms of India – Bharatanatyam, Kathak, Kuchipudi, Kathakali, Manipuri, Mohiniattam, Odissi and Sattriya – Leela Venkataraman seamlessly weaves together a historical perspective with the contemporary scenario. Stripped of their association with the
temple and the court, classical dance traditions in India went through a series of unprecedented change in the period marking the last few years of British rule and thereafter. From becoming part of the nationalist struggle when India was trying to rediscover its lost identity, to sharing the international stage today with dance forms from all over the world, the last sixty-six years have seen many changes in perspective and presentation of Indian Classical Dance – some intentional,
others involuntary. While looking at these years closely and their impact on dance forms, one realises that this is a phase in an ongoing process, with each new generation of dancers and musicians adding to an already rich tapestry of tradition.

This volume reveals the roles of foreign and Indian Jews in the Indian national art project and raises issues such as: Is an “Indian artist” any artist born into an Indian family? What role can foreigners and members of Indian minority groups play in the Indian National Art Project as scholars, critics, or artists? Is a piece of work “Indian art” because of its subject matter or its style? Is it possible to utilize “foreign techniques” in creating “Indian art”? Jews and the Indian National Art Project documents the work of artists such as Anna Molka Ahmed, Mirra Alfassa (The Mother), Siona Benjamin, Carmel Berkson, and Fredda Brilliant as well as those of photographers (David Mordecai and Man Ray) and architects (Otto Königsberger, Moshe Safdie). Also covered in this volume are the work of critics, scholars and art patrons like Ernst Cohn-Wiener, Charles Fabri, Stella Kramrisch, and Marion Harry Spielmann.
• Chronicles the substantial role played by Jews in the shaping and development of contemporary Indian art and aesthetics• Contains images of lost paintings of Fyzee Rahamin and Magda Nachman, and other never-before-seen paintings• Written in an unbiased manner and supported with in-depth research, the book will be invaluable to anyone who wishes to understand contemporary Indian artThis volume reveals the roles of foreign and Indian Jews in the Indian national art project and raises issues such as: Is an “Indian artist” any artist born into an Indian family? What role can foreigners and members of Indian minority groups play in the Indian National Art Project as scholars, critics, or artists? Is a piece of work “Indian art” because of its subject matter or its style? Is it possible to utilize “foreign techniques” in creating “Indian art”?Jews and the Indian National Art Project documents the work of artists such as Anna Molka Ahmed, Mirra Alfassa (The Mother), Siona Benjamin, Carmel Berkson, and Fredda Brilliant as well as those of photographers (David Mordecai and Man Ray) and architects (Otto Königsberger, Moshe Safdie). Also covered in this volume are the work of critics, scholars and art patrons like Ernst Cohn-Wiener, Charles Fabri, Stella Kramrisch, and Marion Harry Spielmann.

Empirical evidence is scant and scattered. Between these fragments, historians have filled the voids with legends. Though legends are not evidence per se, they do carry a seed of truth – and hopefully, their incorporation in this volume will inspire new interest in the mystery of the world’s greatest temples. The engineering techniques that allowed ancient civilizations to construct such marvellous edifices have been lost to us for generations. Unfortunately, they have not received the attention they deserve, as relics of human culture and faith. This is especially true for Konark. In The Sun Temple of Konark, the author attempts to separate chaff from grain, utilizing scientific tools and methodologies. The Sun Temple has been recognized as a UNESCO World Heritage Site, and is considered one of the seven wonders of India. This seminal volume is the result of extensive research by the author into not only the history and legends related to the temple, but also the temple structure itself. An engineer and architect by profession, the author examines the temple in great detail. He questions several of the established theories regarding construction in its various stages and forwards his own theories with reasonable conviction. He takes great pains to go into as much detail as possible with regard to each and every portion, monument, and sculpture of the temple. With 415 images and 21 detailed architectural drawings, the book is a treasure trove for any admirer or student of Konark, or a researcher of its art, history, and architecture.
•Renowned architectural writer Anil Dey analyzes the myriad myths and mysteries surrounding the Konark Sun Temple, one of the Seven Wonders of India
•Gorgeous pictures and accessible text on a complex and engaging subject
•Will be of interest to those who want to learn more about India’s religious and cultural heritage, as well as students of Architecture and South Asian history

Empirical evidence is scant and scattered. Between these fragments, historians have filled the voids with legends. Though legends are not evidence per se, they do carry a seed of truth – and hopefully, their incorporation in this volume will inspire new interest in the mystery of the world’s greatest temples. The engineering techniques that allowed ancient civilizations to construct such marvelous edifices have been lost to us for generations. Unfortunately, they have not received the attention they deserve, as relics of human culture and faith. This is especially true for Konark. In The Sun Temple of Konark, the author attempts to separate chaff from grain, utilizing scientific tools and methodologies.

The Sun Temple has been recognized as a UNESCO World Heritage Site, and is considered one of the seven wonders of India. This seminal volume is the result of extensive research by the author into not only the history and legends related to the temple, but also the temple structure itself. An engineer and architect by profession, the author examines the temple in great detail. He questions several of the established theories regarding construction in its various stages and forwards his own theories with reasonable conviction. He takes great pains to go into as much detail as possible with regard to each and every portion, monument, and sculpture of the temple. With 415 images and 21 detailed architectural drawings, the book is a treasure trove for any admirer or student of Konark, or a researcher of its art, history, and architecture.

Notorious as a refuge for the eccentric, the eclectic, and the creative, the Hotel Chelsea has been home to some of the great and unconventional writers, musicians, artists, and actors of the past century, including Bob Dylan, Janis Joplin, Charles Bukowski, and Allen Ginsburg, to name just a few. When the hotel was sold and closed for full renovations in August 2011, American photographer Victoria Cohen was invited to capture and document the essence of the building’s original interior before it’s imminent demise. Cohen’s photographs of these hallways, lobbies, and rooms, once beaming with life and vision, now bare and aged, illuminate a bohemian era that once was, speaking untold truths of a lost time. Absolutely fascinating and bittersweet, Hotel Chelsea casts the historic landmark through the lens of the twenty-first century, exhibiting it as it has never been seen before, and will never be seen again.
·83 stunning full-color, never-before-seen photographs of the iconic hotel’s interiors
·Featuring a personal introduction by the photographer

Notorious as a refuge for the eccentric, the eclectic, and the creative, the Hotel Chelsea has been home to some of the great and unconventional writers, musicians, artists, and actors of the past century, including Bob Dylan, Janis Joplin, Charles Bukowski, and Allen Ginsburg, to name just a few. When the hotel was sold and closed for full renovations in August 2011, American photographer Victoria Cohen was invited to capture and document the essence of the building’s original interior before it’s imminent demise. Cohen’s photographs of these hallways, lobbies, and rooms, once beaming with life and vision, now bare and aged, illuminate a bohemian era that once was, speaking untold truths of a lost time.

Absolutely fascinating and bittersweet, Hotel Chelsea casts the historic landmark through the lens of the twenty-first century, exhibiting it as it has never been seen before, and will never be seen again.

Despite some field research our knowledge of the sacred among the Mumuye is still embryonic. In all these acephalic groups of a binary and antinomic nature, the complex va constitutes an extremely varied semantic field in which certain aspects are accentuated depending on the circumstances. Religious power is linked to the strength contained in sacred objects, of which only the elders are the guardians. Moreover, this gerontocracy relies on a system of initiatory stages which one must pass to have access to the status of ‘religious leader’. Geographically isolated, the Mumuye were able to resist the attacks of the Muslim invaders, the British colonial authority and the activities of the different Christian missions for a long time. As a result the Mumuye practised woodcarving until the beginning of our century. In 1970 Philip Fry published his essay on the statuary of the Mumuye of which the analysis of the endogenous network has so far lost nothing of its value. Basing himself on in situ observations, Jan Strybol attempted to analyze the exogenous network of this woodcarving. Thus he was able to document about forty figures and some masks and additionally to identify more than twenty-five Mumuye artists as well as a specific type of sculpture as being confined to the Mumuye Kpugbong group. During and after the Biafran war, hundreds of Mumuye sculptures were collected. Based on information gathered between 1970 and 1993 the author has demonstrated that a certain number of these works are not Mumuye but must be attributed to relic groups scattered in Mumuye territory.

In recent years, the images shot by the Cologne-based architectural photographers Hugo (1879-1938) and Karl Hugo Schmölz (1917-1986) have been winning wide acclaim and are receiving more and more attention. After completing his photography training and working in various positions, Hugo Schmölz set himself up as an architectural photographer in Cologne in 1911. Later, his son Karl Hugo took over the company. While the work of the two photographers fell into oblivion over the years, it is being rediscovered today and reveals its breathtaking aesthetic originality and technical perfection. Due to the development of a special, additional exposure technique, Schmölz was able to capture dark interiors in astounding detail even at the beginning of the century and to create dazzlingly elegant pictures which have lost none of their expressive power. For the first time ever, the book presents a series of photos, taken mostly in the Rhineland and the Ruhr district between 1935 and 1957, together with pictures showing movie theaters which were brand new at the time. Most of these cinema auditoriums have since been destroyed, but the light in the photos gives them a three-dimensionality that evokes a striking sculptural effect. They are certainly not imbued with nostalgia, on the contrary, they appear to be strangely lost in time and, owing to their extremely delicate gray nuances, seem almost hyperreal.

Text in English and German.

In 2008, a discovery was made that brought the works of Marie Goslich to light. Part of her estate, long thought to have been lost, was rediscovered in a guesthouse in Geltow at the Schwielowsee lake. Some 400 glass plate negatives exist today, survivors of the chaos of both world wars. This book makes Goslich’s photos available to the public 100 years after their capture, celebrating her as a bold pioneer and a grande dame of German photojournalism and social critique. Born in Frankfurt (Oder) in 1859, Marie Goslich tried her hand at various things before beginning to work as a journalist and editor. Cited in Berlin’s residents register, these professional titles alone were remarkable for a woman of her time. To cap it all, she began training as a photographer at the age of 44 in order to be able to provide her articles with pictures. As a result, she is one of the first professional female photographers in the world. With social injustice being her main concern, Goslich wrote and illustrated many articles, some of which were quite radical, to address the causes of suffering and misery. Again and again, her works denounce the gap between rich and poor. They portray traveling people, street vendors, beggars, ragmen and tinkers. All of her pictures betray her empathy towards her subjects, giving her photos a very intimate and rousing effect. Text in English and German.

When he attempted to trace memories of his late father, Hajime Kimura realized that most of them were missing. Because of this, his photos were shot with a half-framed camera. Each image consists of two shots divided by a thick black border. The continuous sequence of the images seems to repeatedly suggest the photographer’s impossible attempt at recovering a lost past. One can come close to faded memories, but cannot reconstruct them perfectly.

Vikings and Frisians. Inhabitants of the North Sea coasts. Blond and sturdy, with shared cultural characteristics and a similar language. Almost like family. Or were they? From 810 AD onwards Frisia, at that time part of the Frankish empire, suffered fierce Viking raids. What were the consequences of these devastating dragon ship attacks on Frisia, the elongated coastal area between the Zwin and the Weser? Were all Frisians opposed to Viking aggression, or did they occasionally turn Viking themselves? Critically questioning accustomed sources, We Vikings aims to unearth fresh material from a long-lost landscape and to offer a new perspective on existing ideas.

This volume, published in association with the Rijksmuseum (Amsterdam), contains the results of research by scientists, conservators and art historians into the materials and techniques of early paintings from the Northern Netherlands in the museum’s collection. In order to investigate the materials used by the artists, including the provenance of the materials and the methods of preparation and application, 14 paintings and frames were examined. Information on the panels, grounds, underdrawings, pigments, oils, diluents etc. are explored in relation to the descriptions in mediaeval texts and treatises.

This richly illustrated book gives a clear understanding of the lost skills, forgotten materials, and technical secrets of medieval painting – a world so different from ours – thereby making the materials and methods of the medieval past less foreign to us.