The complex story of modern landscape architecture remains to be written, as does its precise definition. Thinking a Modern Landscape Architecture, West & East, written by one of the field’s most prolific and insightful authors, provides a rare cross-cultural study that examines the written and design contributions made by two of the movement’s most influential early protagonists: Christopher Tunnard (1910-1979) in England – and later the United States, and Sutemi Horiguchi (1896-1984) in Japan.

Tunnard’s pioneering manifesto, Gardens in the Modern Landscape, first published in 1938, laid out the thinking and provided the direction for a landscape architecture engaged more strongly with contemporary life, adopting ideas from modern art as well as the historical gardens of Japan. Rather than a book, it was the architect Horiguchi’s 1934 essay The Garden of Autumn Grasses that initiated a new direction for garden making in Japan, with a considered and artful use of seasonal plants and a stronger connection to the modern architecture it accompanied. Unlike Tunnard, who sought inspiration and sources in contemporary art, Horiguchi looked to the eighteen-century Rimpa School of painting for insights into the composition of the new garden by carefully placing individual plants against a simple background. Although the two theorists-practitioners never met, Tunnard’s interest in Japan, and use of Horiguchi’s work as illustrations, links them in a shared quest for a landscape architecture appropriate to their times and respective countries.

Beth Moon’s fourteen-year quest to photograph ancient trees has taken her across the United States, Europe, Asia, the Middle East, and Africa. Some of her subjects grow in isolation, on remote mountainsides, private estates, or nature preserves; others maintain a proud, though often precarious, existence in the midst of civilization. All, however, share a mysterious beauty perfected by age and the power to connect us to a sense of time and nature much greater than ourselves. It is this beauty, and this power, that Moon captures in her remarkable photographs.

This handsome volume presents nearly seventy of Moon’s finest tree portraits as full-page duotone plates. The pictured trees include the tangled, hollow-trunked yews – some more than a thousand years old – that grow in English churchyards; the baobabs of Madagascar, called ‘upside-down trees’ because of the curious disproportion of their giant trunks and modest branches; and the fantastical dragon’s-blood trees, red-sapped and umbrella-shaped, that grow only on the island of Socotra, off the Horn of Africa.

Moon’s narrative captions describe the natural and cultural history of each individual tree, while Todd Forrest, vice president for horticulture and living collections at The New York Botanical Garden, provides a concise introduction to the biology and preservation of ancient trees. An essay by the critic Steven Brown defines Moon’s unique place in a tradition of tree photography extending from William Henry Fox Talbot to Sally Mann, and explores the challenges and potential of the tree as a subject for art.

They call Yorkshire God’s own country. This is because England’s biggest county is also England’s most epic and most historically exciting. It has everything: unimaginably beautiful countryside, derelict castles, cliff-hugging coastlines, brutally bleak moors, quirkily quaint villages, wondrously winding waterways and industrial monsters of cities. Many of the most interesting episodes in English history have happened here: the Wars of the Roses, the English Civil War, the birth of the industrial revolution, the rise of the Labour movement.

But when people think of Yorkshire they also think of the unusual and the unsung: Bettys delightful tea rooms, cricket at Scarborough, the windswept steps of Whitby Abbey, the steam railway of the Railway Children, Mother Shipton’s Cave, and racing at Doncaster and York.

Yorkshire has also given birth to some of the greatest and most talented figures in English history: Brian Clough, Harold Wilson, John Wycliffe, William Wilberforce, the Brontë Sisters, David Hockney and Barbara Hepworth.

Inspiring new design ideas from multiple award-winning Danish fashion and interior designer Malene Birger. In this third volume of her successful interior design series, Birger showcases four houses and apartments she has recently furnished in England, Italy, Greece and Spain. Alluring before-and-after shots trace the path from proverbial white canvas to feel-good oasis. In addition, the versatile globetrotter shows her own artwork and a new line of jewellery that reflects her unique aesthetic visual language. The final chapter of the book is devoted to the beginnings of her latest remodeling project, a townhouse in Felanitx, a town on the Balearic Island of Majorca.

Text in English, German, French and Spanish

Also available by Malene Birger: Move and Work, ISBN 9783832798093, and Live and Work, ISBN 9783832794170.

History Reinterpreted, the second published work from celebrated architect and Fellow of the American Institute of Architects Patrick Ahearn, explores the renovation and reimagination of the 1871 Myles Standish Hotel in Duxbury, Mass., as a grand single-family residence. Highlighting how new life and modernity can be breathed into an historic structure while still respecting the past, the volume includes the architect’s own hand-drawn elevations, before and after floor plans, and countless full-colour photos from yesteryear and today to delight architecture and history enthusiasts alike.

Canadian artist Kelly Richardson (*1972) belongs to a new generation of artists working with digital technologies to create hyperreal, symbolically highly charged landscapes. Her series of digitally-born works Pillars of Dawn imagines a desert landscape in which environmental conditions have crystallised the terrain. The series presents a scenario in which we might have to look beyond our current planet for refuge and survival, and they raise myriad questions about how we arrived as such a moment of environmental crisis.

This elegant exhibition catalogue is presented by The San Diego Museum of Art to accompany the 2023 major exhibition O’Keeffe and Moore, which explores the evolution of Modernism through the work of Georgia O’Keeffe and Henry Moore. Featuring essays from prominent scholars, including representatives of both the Henry Moore Foundation and the Georgia O’Keeffe Museum, the catalogue’s richly illustrated text delves into each artist’s motivation and methodology, and the parallels between them, in particular, the inspiration both took from nature and organic forms, such as bones and seashells. The publication serves as an essential companion to the exhibition. In addition to explorations of the artists’ studios that provide further insight into their working methods, the catalogue presents drawings, paintings, and sculpture that illustrate the organic roots of Modernism developed independently, yet concurrently, by O’Keeffe and Moore. Thematic sections of the catalogue include the Real and the Surreal; The Artists’ Studios; Bones; Stones; Seashells, Flowers, and Internal/External Forms; and Landscapes of Forms. Essay topics include Henry Moore: Modernism, Nature, and National Identity; “A Revelation of the Perfect Relation”: The Influence of D.H. Lawrence on the work of Henry Moore and Georgia O’Keeffe; and Finding the Form, and the publication will also include a comparative chronology of the lives and careers of the two artists.

“Skins by Gavin Watson has been argued as being ‘the single most important record’ of 1970s skinhead culture in Britain, who have possibly been one of the most reviled yet misunderstood of the nation’s youth subcultures.” — Daily Mail
“Gavin Watson documented his friends as they came of age at the heart of a misunderstood community.” — i-D
“Gavin Watson’s cult documentary photo book Skins chronicles the radical and inclusive spirit which originally animated the emerging skinhead culture of 70s Britain.” — Dazed

Skins by Gavin Watson is arguably the single most important record of ’70s skinhead culture in Britain. Rightly celebrated as a true classic of photobook publishing, the book is now reissued in a high-quality new edition under close supervision from the photographer.

The scores of black and white shots offer a fascinating glimpse into a skinhead community that was multi-cultural, tightly knit and, above all else, fiercely proud of its look. These are classic photographs of historical value.

“What makes Gavin’s photos so special is that when you look at them, there’s clearly trust from the subject towards the photographer, so it feels like you’re in the photo rather than just observing.” – Shane Meadows (Director of award-winning film This Is England).

The book, described by The Times as “a modern classic”, forms an important visual record of its time and has attained cult status in the genre, alongside works by other eminent photographers such as Derek Ridgers and Nick Knight.

“Arguably one of the best and most important books about youth fashion and culture ever published.” – Vice Magazine

Skins by Gavin Watson is arguably the single most important record of ’70s skinhead culture in Britain. Rightly celebrated as a true classic of photobook publishing, the book is now reissued in a high-quality new edition under close supervision from the photographer.

The scores of black and white shots offer a fascinating glimpse into a skinhead community that was multi-cultural, tightly knit and, above all else, fiercely proud of its look. These are classic photographs of historical value.

“What makes Gavin’s photos so special is that when you look at them, there’s clearly trust from the subject towards the photographer, so it feels like you’re in the photo rather than just observing.” – Shane Meadows (Director of award-winning film This Is England).

The book, described by The Times as “a modern classic”, forms an important visual record of its time and has attained cult status in the genre, alongside works by other eminent photographers such as Derek Ridgers and Nick Knight.

“Arguably one of the best and most important books about youth fashion and culture ever published.” – Vice Magazine

“Road all about it!” – The Sun

“One of the most original, crazy, informative and enjoyable books to appear for a long time: this guide is utterly appealing” – Sarah Anderson,Travel Bookshop

“The most eccentric and fascinating guidebook we have ever seen” – John Sandoe Bookshop

“Delightful” – Woman’s Hour

A decade-old obsession for Dutchman Pieter Boogaart resulted in a guidebook that looks like no other, to a subject never before fully explored: the A272. Three continuous texts wind their way through the book, simultaneously exploring the A272 itself and the countryside it passes through; extra commentary is provided in yet another level of text. Hundreds of colour photographs complete this homage to the ‘epitome of England’. After eight reprintings, now in a fully revised, updated, improved FOURTH edition and – naturally – 272 pages long!

Reprinted for the first time since 1889, this is the first biography and considered appraisal of one of England’s most prodigiously talented painters. Sir John Everett Millais, P. R. A. (1829-1896) was the most precociously talented artist England has ever produced. His astonishing facility gained him entry as the Royal Academy’s youngest ever pupil. At just 19 he founded with six other painters the Pre-Raphaelite Brotherhood, which revolutionised the English art world with a visionary intensity of both subject matter and style. Millais was its most creative member; as Jason Rosenfeld says in the introduction to this volume, “the sheer quality and distinctness of each of Millais’s paintings of the 1850s is unmatched by any Western artist of the period.” Yet there is much more to Millais’ career than Pre-Raphaelitism. Some of the most emotive narrative paintings of the Victorian era, its greatest portraits, and especially some of its most beautiful, if neglected, landscapes, came from his brush – as did some of its most notoriously successful paintings, like Bubbles, the “fancy picture” that was made into an advertisement for Pears’ Soap. This volume includes not only Millais’s only published work of art criticism, the pithy “Thoughts on Our Art of Today,” but also the first extended biography and appraisal of his work by the important critic M. H. Spielmann. This hugely engaging “Sketch” gives both a warm and personal picture of the man and a level-headed evaluation of the qualities – and defects – of his work as they appeared to contemporaries. Neither essay has been in print for more than a century.

Faneuil Hall is fine and the duck boats are just dandy, but if you want to go beyond the Boston of brochures and get to the heart of this mysterious, charming old metropolis, you have to dig deep and be willing to get a little weird. 111 Places in Boston That You Must Not Miss is a guidebook with a twist: one that takes you far off the beaten path – and the Freedom Trail – to explore a side of the city that’s offbeat, unexpected, and completely fascinating for visitors and locals alike.

Whether you want to pay your respects at the memorial for a fictional character, sneak behind a vending machine to go shopping for sneakers, sip cocktails where hardened criminals sat behind bars, or hang out with some life-sized puppets, you can do it all here… and before dinnertime, to boot. Throw on your Red Sox cap, hop on the T, and uncover some secrets along the way.

“In a visually arresting book titled Houses That Sugar Built, authors Gina Consing McAdam and Siobhán Doran tell the tales behind the historic homes that proliferated during the sugar boom in the Philippines.” — Tatler

Houses that Sugar Built – An Intimate Portrait of Philippine Ancestral Homes explores the largely unknown architectural legacy to be found in the ancestral houses of Iloilo, Negros Occidental and Pampanga – the three main sugar-producing provinces of the Philippines. These grand residences have yet to receive international exposure.

Nonetheless, they are important in two ways. Firstly, although easily classifiable in terms of architectural style, upon experiencing the buildings themselves there are almost always layers of additional influence. Secondly, this assured blending of styles reveals what we might call a ‘Critical Ambition’ – a desire on the part of the patrons who commissioned these residences to participate in an international architectural culture. Their relatively overlooked location did not stop the sugar barons responsible for these houses from undertaking a 20th-century form of the Grand Tour of European capitals, returning with a desire to bring the latest trends from Paris or Vienna to the provincial Philippines, or from partaking of the latest streamlined Moderne style from the US.

Beautifully photographed with over 200 pages of interiors that have rarely been seen by the public, Houses that Sugar Built- An Intimate Portrait of Philippine Ancestral Homes is layered with intimate stories and individual house texts that transport us back to a time when these residences were in their heyday.

We the Forest aims to ‘rewild the imagination’ by opening children’s eyes afresh to the wonder of forests through a meld of science and contemporary artwork. New scientific discoveries show that the interconnectedness of the forest runs deeper than we ever imagined. This title explores how all life in the forest is linked and our own human connection to and dependence on the forest.

Engaging text evokes the magic of forests – from how trees communicate to their superpowers of regeneration and protection of the planet – accompanied by commissioned illustrations. Interspersed throughout are arresting artworks inspired by forests from a wide variety of contemporary artists: learn to speak in ‘tree’ with Katie Holten’s tree alphabet, peer through Levon Biss’s lens to see what a giant beetle would look like, or witness the terrible beauty of forest fires in Jeff Frost’s photos. Interactive elements encourage the reader in their own creative projects.

“Capturing the spirit of every Glastonbury since 1992, this coffee table book from award-winning photographer Liam Bailey brings together three decades of revelry and wonder among festivalgoers on Somerset’s most famous dairy farm.” — Redonline.co.uk

“…Iconic Photos That Capture the Messy Essence of Glastonbury.” — VICE

“The book’s images capture the rugged anarchy that spreads through Somerset each year around the solstice.” — MSN

“There are many books about the music scene but few that show punters in all their beautiful variety. Liam Bailey’s long-term documentation has really paid off – this book about the craziness of Glastonbury Festival is terrific.” – Martin Parr

Glastonbury is the striking distillation of over 30 years’ unprecedented photographic access to the world’s largest green-field music and performing arts festival. In over 120 memorable images, Liam Bailey invites us to share his experiences of being among its diverse tribes.

Although Glastonbury has evolved into a sprawling fixture of the British summer calendar, this famously vibrant event is still powered by the belief in alternative communal culture. It is this special energy that has kept Bailey returning every year since 1992. Above all, this ‘access all areas’ visual diary makes a case for the positive human potential of over 200,000 people being able to get together in the open air – to enjoy music, performance and each other.

Bailey’s work has been exhibited in the UK and abroad, and appeared in magazines and newspapers including The Independent, The Guardian and Condé Nast Traveller.

Stezaker attended the Slade School of Art in London in his early teens, he graduated with a Higher Diploma in Fine Art in 1973. In the early 1970s, he was among the first wave of British conceptual artists to react against what was then the predominance of Pop art.

Solo exhibitions for Stezaker were rare for some time, however, in the mid-2000s, his work was rediscovered by the art market; he is now collected by several international collectors and museums.

Made across a 32-year span, the works in Tabula Rasa unite the central themes in the art of celebrated British artist John Stezaker, from the capacities of collage to the current flow in an age of mass media. This volume brings silkscreens on canvas from the early 1990s and film still collages from the 1990s and 2009 together for the first time. An essay by art critic and cultural commentator Michael Bracewell looks at the connections within Stezaker’s practice, centering on notions of screens, voids and cut-outs.

British Conceptual artist John Stezaker (b. 1949) is known for his distinctive, often deceptively simple, collages. He has been making art since the 1970s, but achieved prominence relatively recently.

In 2011, he had a retrospective at the Whitechapel Gallery, London, and, in 2012, he won the Deutsche Börse Photography Foundation Prize, even though he does not take photographs.

Stezaker says collage is about ‘stuff that has lost its immediate relationship with the world’ and involves ‘a yearning for a lost world’. A collector, he works from an archive of out-of-date images — mostly old film stills, vintage actor head shots, and antique postcards. These images come in standard sizes and are highly conventionalised — all variations on themes.

Art critic David Campany says, Stezaker ‘is drawn to that very slim space between convention and idiosyncrasy.’

In addition to collages, Lost World includes poignant found-object-sculptures: a selection of antique mannequin hands, offering a repertoire of gestures. There’s also a film, Crowd, presenting hundreds of film stills of crowd scenes, each for one frame only, in a bewildering blur.

Dolce&Gabbana’s Alta Moda shows are the epicentre of Italian fashion. The luxury lifestyle brand began its annual grand flourishes in 2012 and has since made a custom of staging the last word in Italian elegance with shows unlike any other, each lasting an entire weekend at an exclusive, invitation-only location.

Behind the scenes of these unique events, the preparations are meticulous, with designers, models, crew members, directors and makeup artists, all adding their finishing touches before the first silhouette is cast out on the runway. Matt Lever is one of only a handful of photographers ever invited to the shows. Covering almost every show since their inception, his images of the backstage commotion take us on a visual journey through Dolce&Gabbana’s intimate inner workings.

Lavishly illustrated, La Dolce Vita is a sublime coffee-table volume, perfect for fans and followers of high fashion and a compelling work of art for anyone with in an interest in the sculpting of the most lauded pageants in the fashion calendar.

James VI & I, the only child of Mary, Queen of Scots, has often been overshadowed by the dramatic lives of his mother and son, Charles I. This book seeks to redress the balance by centering the first monarch to reign over both Scotland and England and uncovering the artistic treasures created during his extraordinary reign.

The cultural riches of James’s court are showcased, revealing his diverse roles as ruler, scholar, politician, father and patron of the arts. His court’s passion for jewellery and fine clothes is illustrated in the vivid portraits and miniatures by John de Critz and Nicholas Hilliard – just two of many artists and craftspeople who thrived in its artistic and intellectual climate.

Five richly illustrated chapters demonstrate James’s impact on early modern Britain, while reconsidering the reputation of a king traditionally presented as preferring hunting and drinking to the duties of daily governance. Packed with exquisite art works and sumptuous objects, this book brings James’s court vividly to life.

First edition since 1865, this anthology brings together 80 of Sir John Everett Millais’s finest illustrations. Collected from his work for Trollope, Tennyson, Collins, and the weekly periodicals over most of his long working life, these prints range from visionary romance to comedy of manners. They are some of the finest black and white work of the Victorian era.

Millais was the most precociously talented artist England has ever produced, and the Royal Academy’s youngest ever pupil. When just 19 he founded with six others the Pre-Raphaelite Brotherhood, which revolutionised English art. Although Millais soon abandoned the Pre-Raphaelite style, he remained the pre-eminent painter of his period. Not least amongst his achievements was a revival of serious black and white work. His drawings were widely published and led to the creation of a greatly respected English school of print-making. This book, collected by his publisher, shows the wide range of his work.

Faneuil Hall is fine and the duck boats are just dandy, but if you want to go beyond the Boston of brochures and get to the heart of this mysterious, charming old metropolis, you have to dig deep and be willing to get a little weird. 111 Places in Boston That You Must Not Miss is a guidebook with a twist: one that takes you far off the beaten path – and the Freedom Trail – to explore a side of the city that’s offbeat, unexpected, and completely fascinating for visitors and locals alike.

Whether you want to pay your respects at the memorial for a fictional character, sneak behind a vending machine to go shopping for sneakers, sip cocktails where hardened criminals sat behind bars, or hang out with some life-sized puppets, you can do it all here… and before dinnertime, to boot. Throw on your Red Sox cap, hop on the T, and uncover some secrets along the way.

“David Mellor …was the outstanding British flatware designer of the last century and a remarkable man who … understood, and insisted upon, the essential relationship between making things and designing them” Stephen Bayley, The Guardian

“Britain’s most serious, modest and greatest post-war product designer” Sir Terence Conran David

Mellor: Design is an introduction to the designer, his works and his importance within the British design landscape, post 1950. The wider world knows him for his cutlery, which although exquisite and important, is the tip of the iceberg. To see Mellor as ‘just’ a cutlery designer is to miss his depth: his love of public projects, street furniture or Church commissions. But then to see Mellor as ‘just’ a designer is to miss his influence as a patron of architecture, or his passion for retailing and promoting British crafts. He may be the ‘King of cutlery’ but that is just the beginning.

David Mellor (1930-2009) began his career at the RCA, developing sophisticated yet simple aesthetics which he displayed through his silver smithing. His cutlery continued in the Sheffield tradition whilst using some technologically advanced manufacturing methods and radically modern designs. He also designed public street furniture in the 50s and 60s which pulled Britain’s streets into the modern era. During the late 1960s he opened a shop in Sloane Square, London. His work as a retailer helped introduce the highest professional design standards into our equipment for cooking with and eating with. It followed the trail led by Elizabeth David, introducing continental cuisine to the country, a development that today seems so natural. Beautifully and comprehensively illustrated, this book opens up the wonderful work of David Mellor to a wider audience.

The Design series is the winner of the Brand/Series Identity Category at the British Book Design and Production Awards 2009, judges said: “A series of books about design, they had to be good and these are. The branding is consistent, there is a good use of typography and the covers are superb.”

Also available: Claud Lovat Fraser ISBN: 9781851496631 GPO ISBN: 9781851495962 Peter Blake ISBN: 9781851496181 FHK Henrion ISBN: 9781851496327 David Gentleman ISBN: 9781851495955 E.McKnight Kauffer ISBN: 9781851495207 Edward Bawden and Eric Ravilious ISBN: 9781851495009 El Lissitzky ISBN: 9781851496198 Festival of Britain 1951 ISBN: 9781851495337 Harold Curwen & Oliver Simon: Curwen Press ISBN: 9781851495719 Jan Le Witt and George Him ISBN: 9781851495665 Paul Nash and John Nash ISBN: 9781851495191 Rodchenko ISBN: 9781851495917 Abram Games ISBN: 9781851496778

A multitude of colourful and naïve biblical and other religious pottery figures found their way into 19th century Victorian homes in Britain. They were bought by tradesmen, shop-keepers, clerks, teachers and the more skilled working class people. This book tells the story of these Staffordshire pottery figures, which sold in their thousands to stand on the mantelpieces of Christian families, both Protestant and Catholic.

Three chapters provide a social history context: the religious background, an assessment of who purchased the figures, the Victorian home and how it was furnished. The final four chapters review the pottery figures themselves, which are based on the Old Testament, the New Testament, relevant religious themes and portraits of preachers. A catalogue of well over 200 figures in full colour with an assessment of their dating and rarity completes the book.

This is the first comprehensive record of Victorian religious figures placed in the context of their times.