“Steven had a unique perspective, and he wanted to open people’s eyes to the variety and quality of wine available throughout the world ” – Tim Modavi

Académie du Vin’s founder, the late Steven Spurrier, wine connoisseur, critic extraordinaire and instigator of the famed 1976 Judgement of Paris, was a man who in the immortal of words of Hugh Johnson, ‘was born with a silver spoon in his mouth and never stopped stirring’. Back in 1972, Steven founded the Académie du Vin – a series of classes that blended factual information with practical tasting experience, and which were structured so that students could build their knowledge in a gradual, orderly way without becoming ‘swamped’. In the 1980s his Académie du Vin Wine Course became a best-selling book. Now, the Académie du Vin Library is delighted to honour Steven’s legacy by publishing an all-new commemorative edition, handsomely bound in a linen slipcase, and fully revised and updated to reflect the wine world of today.

True to the spirit of the original, Steven Spurrier’s Académie du Vin Wine Course takes the reader logically through every aspect of wine appreciation: how to taste wine like the professionals; why the ways grapes are grown and wines are made have such a profound impact on the final taste; the characteristics of the most popular grape varieties and the world’s wine-growing regions; and last, but certainly not least, how to store and collect wine so that you can appreciate it in years to come.

Whether you’re a newcomer to fine wine or already an aficionado, there is no more enjoyable, concise way to take your learning to the next level.

Académie du Vin Library’s founder, the late Stephen Spurrier, wine connoisseur, critic extraordinaire and instigator of the famed 1976 ‘Judgement of Paris’, was a man who in the immortal of words of Hugh Johnson, ‘was born with a silver spoon in his mouth and never stopped stirring’. Back in 1972, Steven founded the Académie du Vin – a series of classes that blended factual information with practical tasting experience, and which were structured so that students could build their knowledge in a gradual, orderly way without becoming ‘swamped’. In the 1980s his Académie du Vin Wine Course became a best-selling book. Now, the Académie du Vin Library is delighted to honour Steven’s legacy by publishing an-all new commemorative edition, handsomely bound in a linen slipcase, and fully revised and updated to reflect the wine world of today.

True to the spirit of the original, Steven Spurrier’s Académie du Vin Wine Course takes the reader logically through every aspect of wine appreciation: how to taste wine like the professionals; why the ways grapes are grown and wines are made have such a profound impact on the final taste; the characteristics of the most popular grape varieties and the world’s wine-growing regions; and last, but certainly not least, how to store and collect wine so that you can appreciate it in years to come.

Whether you’re a newcomer to fine wine or already an aficionado, there is no more enjoyable, concise way to take your learning to the next level.

Académie du Vin Library’s founder, the late Stephen Spurrier, wine connoisseur, critic extraordinaire and instigator of the famed 1976 ‘Judgement of Paris’, was a man who in the immortal of words of Hugh Johnson, ‘was born with a silver spoon in his mouth and never stopped stirring’. Back in 1972, Steven founded the Académie du Vin – a series of classes that blended factual information with practical tasting experience, and which were structured so that students could build their knowledge in a gradual, orderly way without becoming ‘swamped’. In the 1980s his Académie du Vin Wine Course became a best-selling book. Now, the Académie du Vin Library is delighted to honour Steven’s legacy by publishing an-all new commemorative edition, handsomely bound in a linen slipcase, and fully revised and updated to reflect the wine world of today.

True to the spirit of the original, Steven Spurrier’s Académie du Vin Wine Course takes the reader logically through every aspect of wine appreciation: how to taste wine like the professionals; why the ways grapes are grown and wines are made have such a profound impact on the final taste; the characteristics of the most popular grape varieties and the world’s wine-growing regions; and last, but certainly not least, how to store and collect wine so that you can appreciate it in years to come.

Whether you’re a newcomer to fine wine or already an aficionado, there is no more enjoyable, concise way to take your learning to the next level.

The White Compositions are symbolically charged with highly specific references that speak to Ames’s work and life as an architect in Georgia preoccupied with modernism, art and basketball, among other cultural and literary meanings. Ames playfully collages architectural elements, such as facades organised by grids, with everyday (yet highly specific) objects—like a Morandi-esque vase, a Corbusian pair of glasses, a can of coke, an electric guitar, or a basketball hoop. The contrast between the (supposedly) rational, objective, and universalising characteristics of modernism in confrontation with the particular, the idiosyncratic, and the autobiographical quotidian communicates a uniquely Ames-ian sensibility that provides a distinctive and refreshing take on the 20th-century architectural movement.

Based in Atlanta, Georgia, Anthony Ames has operated his eponymous architecture office since 1976 and began painting in 1984. Ames’ White Compositions—a series of 11 monochromatic relief wall sculptures—originate from and elaborate on the architect’s painting practice, closely attending to proportion, layout, recurring forms, and motifs found within both his artistic and built works. His paintings—as described by Courtney Coffman in her previous review of Ames’s solo exhibition at a83 gallery in New York—“oscillate somewhere between the formality of a still life, the dynamism of sculptural relief, and the juxtaposed delight of collage.” A natural evolution in Ames’s practice, the 11 wall sculptures are accompanied by documents that provide insight into the precise and accomplished nature of Ames’ design process: from buildings to art.

José Bedia: Inner Circle Journey 1976 – 2026 is a rich exploration of the career and work of Cuban artist – José Bedia. From being a formative member of the “Volumen Uno” Cuban art renaissance, Bedia’s international outreach continually grew from the 1980’s onward, reaching worldwide acclaim – spanning from his participation in the monumental exhibit Magiciens de la Terre in 1989 to winning First Prize at the Beijing Biennale in 2010. His unique artistic craft focuses on organic elements, tribal symbology, and shamanism from diverse cultures. Bedia’s work and artistic creations are deeply informed by living and past ancestral communities everywhere and his personal interactions with them, while simultaneously using a “field work” approach of an ethnographer or anthropologist to create his paintings, drawings, sculptures, and installations. Anchored by his 5-decade retrospective at the MARCO Museum of Monterrey, and also accompanied by text from various art scholars, this book will look at his trajectory focusing on his different styles and periods throughout the years, as well as images from his personal travels, and tribal collection, that directly impact his artistic output. 

Text in English and French. 

The publication comprises the best of Art Monthly’s interviews with some 65 artists, ranging from Marina Abramović to Artur Żmijewski, which together provide an entertaining and alternative history of art. Since it was founded in 1976 the magazine has consistently published interviews with leading contemporary artists. The collection brought together here offers unique insights into the thought processes and working practices of artists, as well
as evolution of the form of the interview.

Adapted from the acclaimed How Artists See series by Colleen Carroll, the concise, appealing How Artists See Jr. format gives young learners a taste of the many exciting ways in which artists see their world. Once they have finished looking at the books, kids may want to create some art of their own!

How Artists See Cities uses works by such artists as Edward Hopper, Archibald Motley, Marc Chagall and Georgia O’Keeffe to explore the streets, buildings, shops and transportation that make up a city—featuring 34 full-colour illustrations.
Each volume in the How Artists See series presents sixteen diverse works of art, all devoted to a subject that every child already knows from personal experience. Author Colleen Carroll’s engaging, conversational text is filled with thought-provoking questions and imaginative activities that spark children’s natural curiosity both about the subject of the artwork they are looking at and about the way it was created.
This direct, interactive approach to art—and to the world—promotes self-exploration, self-discovery, and self-expression. As it introduces basic artistic concepts, styles, and techniques, it also provides loads of fun. For children who want to know more about the artists whose works appear in the book, biographies are provided at the end, along with suggestions for further reading and an international list of museums where each artists works can be seen. As they begin to understand the multitude of ways that artists see, children will deepen their appreciation of art, the world around them, and, most importantly, their own unique visions.

This direct, interactive approach to art – and to the world – promotes self-exploration, self-discovery, and self-expression. As it introduces basic artistic concepts, styles, and techniques, it also provides loads of fun. For children who want to know more about the artists whose works appear in the book, biographies are provided at the end, along with suggestions for further reading and an international list of museums where each artists works can be seen. As they begin to understand the multitude of ways that artists see, children will deepen their appreciation of art, the world around them, and, most importantly, their own unique visions.

Artists of Nigeria analyses the influence of different art systems (museums, cultural institutions, art fairs, galleries, the internet) and cultures on the development of modern and contemporary Nigerian art in the past 100 years. Organised chronologically, and including biographical notes on the artists and lavish colour illustrations, this unprecedented book charts the development of modern Nigerian art, and analyses the works of significant Nigerian artists and art movements within the country and beyond. This comprehensive overview demonstrates the variety and vitality of Nigerian artists and confers on them a visibility they are often denied in global publications. Among the artists featured are Olowere, whose work is in the collections of the British Museum, the Detroit Institute of Arts, and the Smithsonian Institution; Chike Aniakor, who has a PhD from Indiana University; and Uche Okeke, whose work has been shown at the Sherman Gallery at Boston University.

How Artists See is a breakthrough series of interactive, inquiry-based books designed to teach children about the world by looking at art and about art by looking at the world. Each volume presents 16 diverse works of art, all devoted to a subject that every child already knows from personal experience. Author Colleen Carroll’s engaging, conversational text is filled with thought-provoking questions and imaginative activities that spark children’s natural curiosity both about the subject of the artwork they are looking at and about the way it was created. This direct, interactive approach to art – and to the world – promotes self-exploration, self-discovery, and self-expression. The books introduce basic artistic concepts, styles, and techniques, and are loads of fun. For children who want to know more about the artists whose works appear in each book, biographies are provided at the end, along with suggestions for further reading and an international list of museums where each artist’s works can be seen. As children begin to understand the multitude of ways that artists see, they will deepen their appreciation of art and artists, of the world around them, and of their own unique vision.

Creative souls have always craved a space in which to bring forth their artistic ideas and develop their practice. Continuing the tradition of the contemporary arts practitioner working from a home studio, many creative folk will often prefer to carve out a space within their own residence. Artists’ Homes examines the residences of a select group of professional artists who work across a broad range of artistic styles, from writing, photography, and painting through to music, sculpture, and pottery (and more). As well as presenting an exciting journey through the design, construction, and function of these spaces, this book provides a unique glimpse into these artists’ beautiful home environs from around the world, and shares how each of these modern craftspeople and artists takes inspiration from the transformation of their home interiors and surroundings to live a creative life.

In How Artists See Work children can see how Patrick Desjarlait showed in one painting the many tasks that go into making maple syrup; how the Limbourg Brothers created the feeling of a hot July day on a medieval farm; how Jacob Lawrence used bright, bold colours and diagonal lines to capture the dynamic energy of a carpentry workshop; and why Maggi Hambling chose to portray a famous scientist with four hands instead of two.
Each volume in the How Artists See series presents sixteen diverse works of art, all devoted to a subject that every child already knows from personal experience. Author Colleen Carroll’s engaging, conversational text is filled with thought-provoking questions and imaginative activities that spark children’s natural curiosity both about the subject of the artwork they are looking at and about the way it was created.
This direct, interactive approach to art—and to the world—promotes self-exploration, self-discovery, and self-expression. As it introduces basic artistic concepts, styles, and techniques, it also provides loads of fun. For children who want to know more about the artists whose works appear in the book, biographies are provided at the end, along with suggestions for further reading and an international list of museums where each artists works can be seen. As they begin to understand the multitude of ways that artists see, children will deepen their appreciation of art, the world around them, and, most importantly, their own unique visions.

How Artists See the Elements children can see how Red Grooms created clumps of earth out of dabs and lines of paint; how Arthur Dove captured the beauty and destructiveness of fire at the same time; how N. C. Wyeth made air “visible”; and how Katsushika Hokusai suggested the immense power of the oceans waves by using strong, curving lines.

Each volume in the How Artists See series presents 16 diverse works of art, all devoted to a subject that every child already knows from personal experience. Author Colleen Carroll’s engaging, conversational text is filled with thought-provoking questions and imaginative activities that spark children’s natural curiosity both about the subject of the artwork they are looking at and about the way it was created.

This direct, interactive approach to ‘art and to the world’ promotes self-exploration, self-discovery, and self-expression. As it introduces basic artistic concepts, styles, and techniques, it also provides loads of fun. For children who want to know more about the artists whose works appear in the book, biographies are provided at the end, along with suggestions for further reading and an international list of museums where each artists works can be seen. As they begin to understand the multitude of ways that artists see, children will deepen their appreciation of art, the world around them, and, most importantly, their own unique visions.

The period 1870–1910 saw the heyday of a phenomenon of artist ‘colonies’ which, though centered on Europe, stretched to the USA and Australia. Despite most histories focusing on the urban and avant-garde, this was the dominant mode of international art practice – with its formative role in the emergence of modern tourism having ramifications still now.

Although at its core was a yearning and nostalgia for life that was pre-modern and immersed in nature, the authenticity it sought placed artists’ colonies firmly within a modern context. In doing so it set the scene for a qualitatively new encounter between artists and environment.

This book on the Staithes colony in Yorkshire is the first to present its activity in the context of painting on that coast, explore its international connections and influences and give a far fuller picture of the inter-relationship of its main artists, including Britain’s first female Royal Academician.

Globalisation has forced us to stop thinking that art only exists in the West. The very notion of art was invented by the West and refers to the learned version of its material culture. It was then projected onto other civilisations, particularly Asian ones, and finally onto the preliterate societies of Africa and Oceania.

Whether or not these cultures possess the concept of art is of little importance, because when they honour their gods, they inevitably address what they consider to be the acme of beauty. For a long time, this openness to other aesthetics was based on the arts of the past, until it was finally accepted that there were living creators in these distant lands, and that today’s means of communication have brought them closer to us.
These “others” who appeared in the 1980s are by no means a homogenous group. Without stretching this analysis too far, they can be regarded as falling into two categories: those who have opted for modernity and submit to the demands of the market and Western based institutions, and those who concentrate on giving visual expression to their communities and beliefs, ignoring the demands of the art market. Australian Aboriginal art represents an intermediate situation, since alongside art of a sacred nature, there are works deliberately produced for sale, initially encouraged by missionaries.

Nothing Too Beautiful for the Gods aims to show the variety of works connected with the spiritual impulse, from those used in religious rites to contemporary artworks that refer to them. These hybrid works are often the result of accommodations with modernity. The exhibition and accompanying book bring together altars from Africa, the Caribbean and Asia, works by artists invested with religious responsibilities (Didi, Shiraga), works by religious artists (Ramoun) and others by artists who refer explicitly to religions and spirituality (Sooja Kim, El Anatsui, Vasquez de la Horra, Bedia, Boltanski, Viola).

Text in English and French.

This new omnibus edition of the How Artists See Teachers’ Guide contains creative, educational activities for using the How Artists See series in the home and classroom. Each chapter in the new guide covers an individual volume in the series: Animals, America, Artists, Cities, The Elements, Families, Feelings, Heroes, People, Play, The Weather, and Work. Teachers will love the standards-based activities that explore artistic concepts and interdisciplinary themes and reinforce concepts children read about in each volume of How Artists See. For easy lesson planning, each chapter is cross-referenced to the national standards in the main content areas and skills are organized with a scope and sequence chart.

Lewis Foreman Day (1845-1910) is one of the most neglected figures in late nineteenth-century design. In exploring Day’s dual career as an industrial designer of extraordinary range and versatility and a major writer and critic, this well-illustrated book restores his place among the influential figures of his time. Day’s relationships with colleagues William Morris, Walter Crane, W.A.S. Benson and others situated him in the vortex of developments of design in Britain. Design historian Joan Maria Hansen examines Day’s work as a prolific industrial designer whose mastery of pattern, colour, ornament and superb draughtsmanship resulted in tiles and art pottery, clocks and furniture, wallpapers, textiles, stained glass, and interiors of remarkable diversity and beauty. Day embraced modern technology. His views on the role of the designer for industry, along with his unshakable belief that a marriage of design and industrial processes was essential to produce beautiful furnishings for the majority of people, reveal him to be startlingly modern in his attitudes and practice in the changing world of industrial production. Today, collectors prize Lewis F. Day’s clocks, furniture, tiles and art pottery, and books – which he both wrote and designed – and reproductions of his patterns for wallpapers and textiles are enjoyed by enthusiasts. Day’s textbooks on design continue to influence designers, and his magazine journalism provides insightful and balanced commentary on developments in late nineteenth- and early twentieth-century design. This book – the very first full treatment of this major figure – is the definitive reference on Day’s life and work and is an invaluable reference for collectors and dealers, decorative arts professionals, designers, business historians and enthusiasts of late nineteenth- and early twentieth-century design.

“…a great resource for the art and textile enthusiast…” Classic Stitches, 2010. The most gifted textile designer of her generation, Shirley Craven won a string of awards during the 1960’s. This book celebrates her remarkable achievements at Hull Traders and documents her arresting hand screen-printed furnishing fabrics in full. Big bold abstracts were her speciality, striking in colour and breathtakingly original in style. A visionary small company with high ideals, Hull Traders made its mark initially with designs by artists Eduardo Paolozzi, Nigel Henderson and Ivon Hitchens. Under Craven’s direction Hull Traders issued a string of ground-breaking textiles during the 1960’s by forty artist-designers, recorded here in their entirety for the first time. Contributors included Althea McNish, John Drummond, Peter McCulloch, Doreen Dyall, Roger Limbrick, Cliff Holden, Richard Allen and Dorothy Carr. In 1966 Hull Traders branched out into furniture with the launch of Bernard Holdaway’s revolutionary tomotom range made of painted cardboard tubes – an icon of the Swinging Sixties, based entirely on circular forms, sold all over the world. Drawing on pioneering new research by leading post-war design historian Lesley Jackson, this book traces the fascinating, hitherto untold story of Hull Traders and its unique creative alliance with Shirley Craven and Bernard Holdaway. Featuring stunning new photography and rare archive photographs, it captures the explosion of creativity during the 1960’s and provides a visual feast of inspirational post-war pattern and form.

This book features the collector/author’s well-informed views about a careful selection of mainly 19th century knotted pile carpets and flatwoven covers in various techniques from his own extensive collection, which has been built up over a period of more than five decades. Many of the rugs, which are all of the highest graphic and artistic quality, have been acquired without recourse to the open market and are therefore previously unseen and unpublished. Raoul (Mike) Tschebull’s long experience in the genre allows insights that go beyond the conventional wisdom of the traditional antique oriental carpet bazaar. His collecting career began under the aegis of one of the great US collectors of a previous generation, Joseph V. McMullan.

This beautifully illustrated book will include a general introduction to the region, which straddles the present-day border between north-western Iran and the Republic of Azerbaijan, setting the context for the focused presentation of some 70 examples, each with the author’s comments about design, structure, technique and attribution, providing a matrix within which dating can be considered. In-country field experience colours some of his views, and extracts from his field notes and accompanying images will be included the book.