When does a carpet transcend the category of interior accessory to become art? This well-illustrated book features 200 carpets found in behind-the scenes tours of amazing homes around the world. In thematic chapters, it covers the main international trends, from Ethnic to Art Deco and from Contemporary to Artsy. These dressed-up living spaces provide inspiration for anyone fascinated by stylish living, creative interior design and the myriad possibilities for home decor. In addition, the author provides helpful information on the provenance of materials, quality of design, composition and workmanship possibilities for home decor. It’s a fascinating glimpse into the homes of people with a good taste. Carpets & Rugs is comprehensive and more relevant than ever.
Nicolas Eekman (1889-1973) is the heir of the great creators of his native Flanders, from Jérôme Bosh to James Ensor, as well as one of the representatives of the School of Paris.
Born in Brussels where he studied architecture, he turned to painting and exhibited for a few years in Holland before settling in Paris in 1921. Close to his compatriot Mondrian with whom he exhibited at the Jeanne Bucher gallery (1928), he is also closely linked to the artists Jean Lurçat, Marcoussis, Max Jacob, Lipchitz, and later with Moïse Kisling and Frans Masereel.
Influenced by Cubism to which he devoted a few outstanding years, he gradually returned, in the 1930s, to realism and then from the 1950s turned to the fantastic, reviving the Flemish painting of the fifteenth and sixteenth century.
Author of an abundant painted work, he is also a renowned draftsman, illustrator and engraver whose works have been collected by numerous print studios (Brussels, Hanover, Berlin, Hamburg, Basel, Budapest).
Text in English and French.
This beautifully illustrated book, with over 300 color reproductions, showcases many of the greatest masterpieces of 19th century Orientalist art. During this period, colonization, and a revolution in means of transportation allowed artists to visit countries from North Africa to the Middle East that had previously been relatively inaccessible. The patterns, colors, and light of this region influenced artists such as Delacroix, Decamps, Berchère, Bridgman, Ziem, Gérôme, Corrodi, Dinet, Matisse, Majorelle and many others. Upon returning to Europe, these artists captured the atmosphere of these distant and exotic lands in painted scenes of daily life and wrote memoirs of their travels. Some returned to settle there, including painters like Dinet, who spent a large part of his life in Algeria, and Majorelle, known as the “painter of Marrakech.” This book offers insight into the Orientalist aesthetic that inspired the movement, and lays the groundwork for a deeper understanding of these vibrant works of art.
Text in English and French.
The jewelry department at the Musée des Arts Décoratifs in Paris comprises some 3,500 pieces and is the only national collection of its kind in France. This book presents bijouterie and joaillerie masterpieces from this high-profile collection which ranges from the Middle Ages to the contemporary period and shines a particular spotlight on the 18th century and the age of Art Nouveau.
Daytime or evening jewelry and art jewelry pieces in the form of tiaras, necklaces, bracelets, earrings, pendants, hair or tie pins, rings and stomacher brooches illustrate the boundless creativity of designers.
The greatest artists are represented: Sandoz, Vever, Falize, Boucheron, Lalique, Fouquet and Gaillard for Art Nouveau, Raymond Templier and Jean Després for Art Deco, Georges Braque, Jean Lurçat, Line Vautrin, Jean Schlumberger, Torun, Dinh Van, Jonemann and Claude Lalanne for the post-war period, and a number of contemporary designers. The collection also features pieces by the great jewellery houses: Cartier, Boucheron, Chanel, Van Cleef & Arpels and, more recently, JAR.
This richly illustrated book accompanies the display in the Galerie des Bijoux at the Musée des Arts Décoratifs, which features the collection’s highlights.
Lancaster and Morecambe are like chalk and Lancashire cheese. So near, yet so far apart in what they offer. Morecambe, the traditional seaside resort, its ‘Bring me Sunshine’ favorite son Eric Morecambe and Victoria Wood’s ‘two soups’ cafe. Plus, its awesome 1930’s Art Deco Midland Hotel, haunt of Coco Chanel and Laurence Olivier.
Lancaster, with its Roman remains, its impregnable ‘John O’Gaunt’ castle and characterful Georgian buildings, built in part from slave-trade profits. Notorious Lancaster, known as the ‘Hanging Town’ for its use of the noose, with its fearsome castle cells that held Quaker maker George Fox.
Leave the crowds behind and embrace the true character of this story-filled region, one special place at a time.
The story of Ladurée started in 1862 when Louis Ernest Ladurée opened a bakery in the heart of Paris at 16 rue Royale. In 1872, following a fire, the little bakery became a pastry shop and the decoration was then done by Jules Cheret, a famous painter and poster-designer of the time. Jeanne Souchard, Ernest Ladurée’s wife, then had the idea of combining the Parisian café with a pastry-shop, thereby creating one of Paris’ first tea-rooms.
In 1993 Ladurée was bought by Francis and David Holder and becomes one of the best-known gourmet addresses in Paris, a veritable institution with its famous “macaron” as its emblem. In 1997 Ladurée opened a tea-room/restaurant on the prestigious Champs-Elysées, followed by another in the Printemps department store and on the Left Bank as well as the beginning of their international adventure with branches in London, Geneva, Monaco and Tokyo.
In this book Philippe Andrieu, the Pastry Chef at Ladurée, reveals 100 of the most famous Ladurée recipes, adapted for the general public. From the Strawberry Cake with Rose Choux Pastry to Pistachio Financiers and the world-famous macarons in all their variety, this icon of French “art de vivre” is brought to life in a palette of pastries the color of powder pink, light green, bright purple, and lemon yellow.
George Byrne’s photography depicts the gritty urbanism of Los Angeles in sublime otherworldliness. Arriving a decade ago, the Australian artist was immediately enthralled by the sprawling cityscape of L.A., mesmerized by the way the sunlight transformed it, into two-dimensional, almost painterly abstractions. In his Post Truth series (2015–22), Byrne reassembles his photos of the urban landscape into striking, ascetic collages of color and geometric fragments, creating a postmodernist oasis in the metropolis. By masterfully harnessing the malleability of the photographic medium, the photographer situates his work in the space between real and imagined. Byrne’s compositions evoke associations with Miami Beach’s Art Deco, the Memphis Group’s designs, as well as the painting of David Hockney or Ed Ruscha, and at the same time tap into the aesthetics of today’s visual culture played out on Instagram.
Creator and architect of the emblematic Maison de verre in Paris, Pierre Chareau left behind a rich and coherent body of work, a “Chareau style” that places him as much in the modernist movement as in avant-garde thinking that embraces a world of new forms and materials.
This first volume looks back at his biography, his decisive encounters with artistic movements such as cubism and primitive arts, and with leading figures such as Nicolas de Staël, Jeanne Bucher, Jacques Lipchitz, Pablo Picasso, Rose Adler, Max Jacob, Jean Lurçat and Rob Mallet-Stevens, who remained loyal to him throughout his short life.
It traces his career, from his beginnings as a draughtsman at Waring & Gillow to his emergence as an independent designer; it details his participation in the Salons d’automne, the Salons des artistes décorateurs, the Groupe des 5 and the UAM, which set the tone for the modernity that thrilled the rest of the world; his work on Marcel L’Herbier’s film sets; and his departure for the United States in 1940. It also introduces us to the collector and gallery owner, surrounded by artists such as Braque, Ernst, Gris, Léger, Lurçat, Masson, Modigliani, Motherwell and de Staël. The boutique he set up with his wife Dollie, on rue du Cherche-Midi, exhibits not only his own works but also the creations they produced: fabrics by Hélène Henry, rugs by Jean Burkhalter and Charchoune…
Richly illustrated with almost 500 visuals, this first volume offers a complete overview of Dollie’s furniture and lighting production, drawing on several iconographic collections (Musée des arts décoratifs, Paris, Moma, New York).
Text in French.
Pierre Chareau, aménagements et architecture is an unprecedented synthesis of almost 80 interior architecture projects (1908-1938), both private and public, and his architectural projects (1925-1950).
It reveals the evolution of Pierre Chareau’s approach to interior design, from his beginnings as a decorator integrating his furniture into existing spaces, to the advent, over the course of his projects, of a resolutely architectural approach to space, in which furniture comes to life and becomes architecture in its own right. Listing all of these projects, it provides a detailed, illustrated analysis of twenty-five of them, most of which were commissioned by three families: the Dalsaces, the Bernheims and the Dreyfus.
This second volume reveals the designer’s long-term commitment to architecture. It looks back at his involvement in the CIAM, the Société des architectes modernes and the Rassemblement des architectes, as well as his collaboration with the magazine L’Architecture d’aujourd’hui. It offers a critical analysis of Pierre Chareau’s work as an architect, deciphering the 13 projects he worked on in France from 1923 to 1938, and in the United States from 1945 to 1950, from Djemil Anik’s cottage to Robert Motherwell’s studio in East Hampton. Finally, this book offers an in-depth analysis of the Glass House. By drawing up a portrait of Jean Dalsace and his wife Annie, it helps us to understand the central role played by those who commissioned the project. It looks back at the architectural and societal context of the time, explaining the importance of light and hygiene in the Maison de verre. The building site and its vicissitudes are described, followed by a description of the main principles behind the design of the house, and an analysis of its volumes and spaces.
Text in French.
The fisherman’s hut and the arcachonnaises, magnificent residences of the Belle Époque, have shaped the coastline of the Arcachon basin, from the Ville d’Hiver d’Arcachon to the tip of Cap Ferret. Following in the footsteps of Art Deco architects such as Roger-Henri Expert and Le Corbusier, a new generation of designers from the early 1950s went on to leave their mark, sometimes modernist, sometimes brutalist, on the Basin’s landscape, with a series of villas and houses that, alongside the rare collective dwellings, gave it its distinctive present-day appearance. Concerned to preserve the natural setting, the architects have competed in ingenuity to fit into this grandiose and fragile territory. Among them, the Salier-Courtois-Lajus-Sadirac team from Bordeaux, Raphaëlle and Jacques Hondelatte and Anne Lacaton and Jean-Philippe Vassal (Pritzker 2021), have invented an art of living here, with architecture that respects the environment, which has helped to make this unique natural site between the dunes, the pine forest and the ocean better known and loved.
Text in French.
This well-illustrated book – previously published as Carpets & Rugs (9789401476928) – features 200 carpets found amazing homes around the world. Get inspired and upgrade your own interior with amazing carpets and rugs. In thematic chapters, the book covers the main international trends, from Ethnic to Art Deco and from Contemporary to Artsy. These dressed-up living spaces provide new ideas for anyone fascinated by stylish living, creative interior design and the myriad possibilities for home decor. In addition, the author provides helpful information on the provenance of materials, quality of design, composition and workmanship possibilities for home decor. It’s a fascinating glimpse into the homes of people with a good taste.
László Hudec (László Edvard Hudec, or Ladislaus Edward Hudec) can only be described as a legend. As one of the foreign architects who fled his native country of Austria-Hungary during troubled times, he ended up making his mark on more than 50 projects, including over 100 buildings during his 29-year (1918 to 1947) stay in a city far away from home.
Among them, 25 projects have been listed as Shanghai’s Most Historical Buildings. His signature work, the Park Hotel, is counted as national heritage. How did Hudec come to enjoy his legendary status in a foreign land, especially as he arrived with almost nothing in his pocket? Why does he continue to attract new followers even in the 21st century?
For the last 14 years, Dr. Hua Xiahong has devoted herself to the study of Hudec and his architecture. The Shanghai Hudec Architecture has shown the essence of Hudec’s projects, which is also one part of the essence of Shanghai’s architecture. To know Hudec, is to know the history of Shanghai and the city’s future.
Like an encyclopaedia of architecture, his style has gone through Neo-classicism, Expressionism, Art Deco and Modernism, which not only reflects European and American influences, but also the architect’s personal creativity. Hudec has left behind a lot of work that is remarkable in Shanghai’s architectural history.
Text in English and Chinese.
In 1925, at the age of 30, Jean Luce was the only artist specializing in tableware to have his own space at the Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris.
His long career took him through many 20th-century movements, including Art Nouveau, Art Deco and Modernism. Initially admired in the 1920s for the quality and originality of his geometric decorations and ornamentation, he made a name for himself thanks to his work in renewing forms. Designers and interior decorators such as Pierre Chareau, Charlotte Perriand, Rob Mallet-Stevens and Djo Bourgeois used his designs on their stands and in their interiors. He creates services for prestigious clients such as the Maharajah of Indore and Paul Cavrois. His creations were also aimed at a wider public, which he reached both in France through outlets such as Steph Simon and Pilote, and in the United States, where he made his mark in the early 1950s.
Richly illustrated, in particular by the Luce collection held at the MAD, Paris, this book presents the unpublished biography of Jean Luce, as well as the work of his contemporaries such as Marcel Goupy, Suzanne Lalique, Paul Follot, Mathurin Méheut and Francis Jourdain.
Text in French.
The Classicist is an annual journal dedicated to the classical tradition in architecture and the allied arts. Focused on Northern California, the Classicist No. 21 explores the region’s rich architectural history; contemporary examples of classical design through professional and student portfolios; and academic articles authored by leaders within the field. Contributing authors include Daniel Gregory, architectural historian and editor; Laura Ackley, author of San Francisco’s Jewel City: The Panama-Pacific International Exposition of 1915; Lucia Howard, Partner at Ace Architects and Piraneseum; Therese Poletti, author of Art Deco San Francisco: The Architecture of Timothy Pflueger and journalist at MarketWatch; and Andrew Shanken, Professor of Architecture at UC Berkeley College of Environmental Design.
The Musée des Arts Décoratifs has maintained close ties with Christofle since the second half of the 19th century. It is celebrating the goldsmith’s creations and expertise with the largest exhibition ever dedicated to this factory, which has a rich history spanning almost two hundred years.
Since its foundation in the 1830s, this lineage of silversmiths, created by Charles Christofle and continued by Henri Bouilhet , has transformed the lines and decorations of silver to adapt them to everyday life. In collaboration with the greatest designers such as Luc Lanel, Gio Ponti, Andrée Putman and Karl Lagerfeld, Christofle is an artistic laboratory that revolutionizes traditional goldsmithing by renewing its uses and adorning it with unprecedented colors and decorations.
The rich iconography of the exhibition catalog invites us to discover some of the most remarkable pieces. In doing so, it transports us into the splendor of great restaurants and palaces such as the Ritz, and legendary trains, liners and planes, such as the Orient-Express, the Normandie and the Concorde. Moreover, it brings us into places of political power, all equipped by Christofle, ambassador in France and abroad of the art of living and luxury “à la française”.
Through thirteen thematic essays divided into four chapters, this book traces the extraordinary destiny of the House of Christofle. Sixty-one notes cover the history of the decorative arts through goldsmithing, from historicism to Japonism, from Art Nouveau to Art Deco, from 1950s design to the most contemporary.
In this brand new and thoroughly revised edition of the bestselling London city guide author Tom Greig not only shares a lot of new secrets, he also included two outside-the-box city walks: an ideal way to explore a part of the city in a day. Many of the new addresses in this guide are in East-London, an area Tom has explored more intensely since the first publication of The 500 Hidden Secrets of London in 2017.
Of course the best hidden secrets in the rest of the city are still included as well, such as the bakery on Brick Lane that’s open 24-hours and that’s famous for its salt-beef bagels; the only modernist house open to the public; the historic church where you can hear avant-garde electronic music; or the art deco car park that hosts art installations and fashion shows. The book contains 500 places and details that few people know, making it the perfect guide for visitors who want to avoid the usual tourist spots and for residents who are keen to track down the city’s best-kept secrets.
“Van Hulle is not an interior designer but an interior artist. He understands the art of transforming the soul of the occupants into the soul of a house.” – Elle Deco
Grand Interiors is an immersive ‘grand tour’ of Geoffroy Van Hulle’s grandiose interiors. The Belgian decorator gives us a look inside exuberant private homes, from Knokke to New York. In his unpretentious interiors, he sprinkles generously with colors, patterns and exoticism. ‘Nowhere in my interiors is the distance to a bookcase, fireplace or bar cabinet more than five steps,’ he says. With the bravura of his teachers Cecil Beaton and David Hicks, he designs dazzling sets for everyday theater.
Please welcome on stage, mister Geoffroy Van Hulle and his Grand Interiors!
As Khilen Shah states in his foreword to this remarkable book, modern architecture misses the soulfulness and artistry of the buildings and structures of earlier days, which is why it is all the more important to preserve what we have – in reality and in art. This book is an attempt to preserve in memory some impressions of Mumbai’s architectural beauty. It also seeks to correct the image of Mumbai in the minds of both outsiders and those who have lived there, encouraging them to think beyond the city’s slums.
The book is intended to showcase Mumbai as a city worth seeing and savoring. Artist Matt Rota brings a unique creative style to this endeavor, which perfectly blends the human and cultural element of the city with its architectural beauty. The result is a sumptuous production that would suit a library shelf or a coffee table, whether in India or abroad.
Welcome to a private tour of the home of American collector Susan Beech. Since 1991, Beech has been transforming her house in Tiburon, California, into an extraordinary environment, in which the themes of her extensive jewelry collection interact with craft and fine art, all against a backdrop of Art Deco glamour. Beauty is entwined with darker forces of death and decay, and glimpses of pleasure are complicated by a nod to the surreal and uncanny. The result is a wholly original and fascinating stage for a major collection of contemporary jewelry thoughtfully assembled over four decades.
Lavishly illustrated and featuring four essays exploring Beech’s activities as a collector and wearer as well as the key themes of her pieces, the publication Feast: Contemporary Jewelry from the Susan Beech Collection marks the donation of the collection to the Renwick Gallery, Smithsonian Museum of American Art, in Washington, DC, and the Museum of Arts and Design in New York City.
The Modern Guide to Vintage Jewellery takes the reader on a tour from the 1930s through to the early 1980s, scouting out the most desirable, collectible and enduring styles of the time.
Beginning the tour with the later part of the Art Deco period, the book then guides the reader through the three periods of Retro jewelry during prewar, wartime and post-war optimism. Then we’re off to the cocktail suburban lifestyle of the ’50s, the rebellious ’60s, the glitter and glamor of the ’70s disco era, and the new ‘career-woman’ style of the ’80s. On our journey, we visit stars from Hollywood’s Golden Era and beyond, and the renowned jewelers who designed for them and became legends in their own right.
Whether you are a novice or consummate collector, a starter vintage dealer, shop owner, burgeoning jewelry historian or student of jewelry making, this book is a must-read for all enthusiasts and collectors of vintage jewelry. The Modern Guide to Vintage Jewellery will show you how to identify the most popular gemstones, materials, styles and collectible pieces in the market today, as well as divulging invaluable information from dealers and experts.
Front of the book: Nicolò Rossi and Gabriele Finaldi, director of London’s National Gallery, write about a restored Parmigianino in London; Maria Cristina Chiusa presents Lucio Rossi’s photographic reconstruction of Correggio’s dome of San Giovanni in Parma; Massimo Navoni tells of a pilfered Titian’s recovery and record-breaking sale at auction. VP of the NY Art Deco Society Anthony W. Robins recounts the dazzling New York of the Roaring Twenties, with photographs by Roberto Bigano. Then, Florentine Renaissance birth trays, specially decorated, for refreshments for new mothers, with an article by Jacqueline Marie Musacchio. Giorgio Antei writes about the Codex Cospi, a rare surviving pre-Columbian manuscript. Baroque Italy, for an overall view of Palermo’s Oratory of San Lorenzo, with a special focus on Serpotta’s stuccowork; text by Giorgio Villani, photographs by Massimo Listri. Last of all, Giovanni Mariotti describes the assemblages of contemporary sculptor Marco Barina.
This study of the wooden Serpent figures/headdresses of the Baga people of Guinea is a collaboration by the author, as an art historian, with many contributions from diverse perspectives, including scientists preeminent in their fields, Robert J. Koestler, Roy Sieber, Dennis William Stevenson, Mark T. Wypyski, and Peter J. Zanzucchi.
The text begins with a thorough exploration of the ethnological and art historical evidence for the Serpent masquerade among the Baga of Guinea, bearing an immense wooden serpent figure on top of the head representing a python. Never witnessed or photographed by an outsider, it disappeared in the 1950s along with most ritual performance after an Islamic jihad instated strict prohibitions against indigenous religions. The ritual context is followed by an in-depth analysis of the Serpent masquerade figures now extant in collections in Europe, the Americas, and Africa, as well as other representations of the python in the ritual art of the region. The final sections present the arguments, as a debate, between interested persons in the arts, including art historians, dealers, appraisers, collectors, and curators, and the scientific examinations by specialists in botany, chemistry, physics, entomology, and conservation concerning one particular Serpent figure in question.
“Outsider art” is the name given to the idiosyncratic work of self-taught creators who are driven to use their own invented visual language to bring forth images from their imaginations. It is outside the continuum of art history, outside the boundaries of art recognized by established art institutions, and outside the collective discourse of the mainstream art world. This book examines the underlying biases, ideologies, and social factors that inform the various approaches to outsider art, including myths surrounding mental illness, movements toward social inclusion, and movements away from the marginalizing effect of labels. Most importantly, Outsider Art of Canada explores how we think about art and who is entitled to call themselves an artist. In this survey dedicated to outsider art in Canada, the first of its kind, the artists introduced have much to tell us about their need to create, unapologetically and without regard to public opinion.
‘The Indian tribal art, a new field of exploration of contemporary art’ – Le Monde.
India’s cultural richness makes it an endlessly fascinating country. India is known for its profusion of sacred art reaching back several thousand years, but we are less aware of the fact that over 60 million Indians come from the several hundred miscellaneous tribes with which the country is studded. The Indian government has done more than any other to preserve and give visibility to its tribal and popular art and since 1976 the Indian authorities have regularly accorded the great names in tribal art the same status as those in the modern art that has followed independence. These are India’s ‘other Masters’, as the title of an exhibition held in New Delhi in 1998 put it. At the instigation of the great modern painter and guru Jagdish Swaminathan, the year 1982 saw the inauguration in the very heart of India of the Bharat Bhavan, the first museum to give an equal standing to contemporary artists from both dominant and minority cultures. The groundbreaking historical figures among these other masters, such as Jangarh Singh Shyam and Jivya Soma Mashe, who were present in the historic exhibition Magicians of the Earth (Centre Pompidou, 1989), are enjoying a burgeoning international reputation. Their works are now on display in the great private collections, from the Devi Art Foundation to the Fondation Cartier, and the international press, ranging from the New York Times to Le Monde and including The Hindu, have celebrated these artists’ imaginative range. India astonishes once again through its extraordinary capacity simultaneously to provide a stage for all the best examples of contemporary art generated by its diverse cultures, whether they be dominant, minority, global, local, urban or rural. Like contemporary art, India is itself multi-faceted. One word, manifold cultures.