The catalogue for The power with which we leap together. Women artists in Spain and Portugal between dictatorship and democracy stems from an exhibition held at IVAM – Institut Valencià d’Art Modern, in partnership with CAM and curated by Giulia Lamoni and Patricia Mayayo.
Bringing together works by 59 renowned Iberian women artists, the exhibition examines the work created during the pre-revolutionary period in Portugal, before the Carnation Revolution in 1974, and in Spain, prior to the death of the dictator Francisco Franco, in 1975. In both countries, women had already started to challenge the established order, and there was a strong feeling of sisterhood on either side of the border.
In addition to the curatorial text, the publication features four essays by prominent Portuguese and Spanish researchers, interspersed with images of several of the works on display, spread through the nine sections that also structure the exhibition.
With design by the artist Dayana Lucas, each essay is jointly written by a Spanish and a Portuguese researcher, thus forging relationships and allowing for the examination of themes that have been little studied until now: abstractionism in the work of women artists between 1960 and 1970, feminism in Iberian pop art, the mobility of women artists in the Iberian Peninsula in the final decades of the Cold War, and a proposed dialogue between the two countries through artists’ books.
The story of Chanel begins with the visionary Gabrielle “Coco” Chanel, who revolutionised fashion in the 1920s by freeing women from the strict dress codes of the time. Her timeless designs are symbols of style and status. But not only her iconic handbags, such as the 2.55 or 11.12, are presented in The Ultimate Guide to Chanel Bags, but also street style favorites such as the Boy bag, and special models like the minaudières.
The new Brand Bible series of books is for handbag collectors, and those that dream of their first designer purchase, as well as fashion fans everywhere. Featuring the most iconic bags from the major luxury maisons, the series reveals each house’s history, explores the creation of their unique It bags and presents the pop culture moments that made them famous. With in-depth information, beautiful imagery and entertaining anecdotes, the Brand Bible series is an essential addition to any well-dressed coffee table, this season and beyond.
The World’s Best Beaches takes you to 200 breathtaking beaches scattered across the globe. This book is a true tribute to the most beautiful coastlines, where every beach lover can find their paradise. From pristine, pearl-white sands in the tropics to dramatic cliffs along rugged shores, these carefully selected destinations are all worthy of your bucket list. Be inspired by gorgeous photos that make you dream of your next beach adventure, and plan your trip with the practical information provided. This book is a must-have for anyone who loves sun, sea, and sand.
The dishwasher has robbed the good old kitchen towel of some of its practical significance. Nevertheless, it remains present in many households, hand-woven or industrially produced, lint-free or absorbent, dirty or clean, inherited or replaceable. In some kitchens, special attention is also required, as there is one for the hands and one for the dishes.
For a long time, specially made kitchen towels were a luxury and reserved for the upper classes. Industrial mass production has changed this, and today two developments can be observed: while kitchen towels are displayed as design objects in museum stores and craft stores, they are also standardised cheap goods.
In The Tea Towel: Perspectives on an Everyday Item, 13 authors, artists, and designers enter into a dialogue with the object and examine it from a literary, journalistic, artistic, technical, and socio-political perspective. The contributions of very different tones complement each other and create new references. In text and images, the book encourages a rediscovery of the everyday kitchen towel as a sensual object with which many socially relevant topics are associated.
Have you ever seen a place that leaves you breathless… and with a million questions?! Well, check these out! Fifty of the world’s most mysterious places – those made by man and those gifted by nature. Places that stimulate curiosity and everyone’s truly innate desire to learn and know more!
Locations included: Stonehenge (Great Britain); Loch Ness (Great Britain); Fingal’s Cave (Great Britain); San Juan de Gaztelugatxe (Spain); Quinta da Regaleira (Portugal); Alchemical Caves (Italy); Gardens of Bomarzo (Italy); Carnac Stones (France); Paris Catacombs (France); Devil’s Bridge (Germany); Black Forest (Germany); Crooked Forest (Poland); Hessdalen Lights and Aurora Borealis (Scandinavia); Hoia Baciu Forest (Romania);
Krudum Hill (Czech Republic); Buda Castle Labyrinth (Hungary); Dargavs (Russia); Mammoth Bone Buildings (Ukraine and Russia); Tunnel of Love (Ukraine); Pamukkale Thermal Pools (Turkey); Giza Necropolis (Egypt); Eye of the Sahara (Mauritania); Fairy Circles (Namibia); Gates of Hell (Turkmenistan); Vaitheeswaran Koil (India); North Sentinel Island (India); Heizhugou Forest (China); Terracotta Army (China); Genghis Khan’s Grave (Mongolia); Mysterious Road (South Korea); Ise Shrine (Japan); Plain of Jars (Laos); Marine Bioluminescence (Maldives); Slope Point (New Zealand); Devil’s Sea (Pacific Ocean); Mariana Trench (Pacific Ocean); Abraham Lake (Canada); Bermuda Triangle (Atlantic Ocean); Area 51 (USA); Sailing Stones at Racetrack Playa (USA); Naica Mine (Mexico); Island of the Dead Dolls (Mexico); Snake Island (Brazil); Enchanted Well (Brazil); Catatumbo Lightning (Venezuela); Uyuni Salt Flat (Bolivia); El Ojo, the Rotating Island (Argentina); Nazca Lines (Peru); Machu Picchu (Peru); Easter Island (Chile).
Ages 8 plus.
“…a delectable tour of 46 clubs that span 300 years of architecture and design.” — Airmail
“… a lavishly illustrated and wittily written study of one of the capital’s most distinctive – and most secretive – institutions.” — House & Garden UK
“Jones treats them not really as clubs, but as examples of interior decoration, which he writes about interestingly and with an observant eye.” — Charles Saumarez Smith
“From the concealed bookcase door in the library of The Travellers Club in St James’s to the taxidermy fish and walls lined with rods in Mayfair’s Flyfishers’ Club, it serves as an unofficial guide to the city’s strangest and most elegant private dining and drinking venues.”— FT
“…wonderful book on the architecture and interiors of London’s private members’ spaces.”— The Rake
London has more members’ clubs than any other city. There are clubs for everyone: from actors, plutocrats, aristocrats and bishops to sailors, soldiers, fishermen and spies, as well as journalists, jockeys, architects and æsthetes.
Andrew Jones opens the door to 46 of the most beautiful, interesting and unusual of these clubs, presenting 300 years of architecture and design. The London Club features the oldest clubs in London as well as the most recent, with perfectly preserved interiors, original furniture and extraordinary
collections. From bohemian to bling, shabby to chic, classical and brutal, this is a celebration of variety and beauty, with newly commissioned photographs by Laura Hodgson.
“From the grandest to the simplest taking in the quirkiest en route, this book is an irresistible journey through London’s clubland.” – From the Foreword by Nina Campbell OBE
The successor to the highly acclaimed bestseller World’s Best – 50 Interiors from Around the Globe ISBN 9782875501325.
Fifty internationally renowned interior designers and architects share their best residential design projects in this beautiful coffee table book. This must have collection of interior design projects includes over 300 photographs of the most remarkable houses from more than 30 countries all over the world.
Fifteen years ago, Eduardo Mencos (farmer, landscape designer and photographer) and Charles Quest-Ritson (historian, writer, journalist and editor) conceived the idea of going on a trip around the world, like Jules Verne, but with the olive tree playing the leading role. The outcome of that adventure through 26 countries is this book, which tells the story of humankind through the olive tree and its fruit. In the book, the authors take an in-depth look at a tree that is so familiar to us all and yet still remains so much of a mystery in terms of its many different guises.
With over 200 spectacular photographs taken by Eduardo Mencos, accompanied by an erudite text written by Charles Quest-Ritson, the book sweeps through the manifold manifestations of the olive tree and its distinguishing traits. It covers the origin and later domestication of the tree, all of the different roles it has played and the significance it has had at different times throughout history, its importance in the Bible, right through to the most innovative contemporary methods used today for growing and cloning olive trees, together with the prominent place it holds in the Mediterranean diet and its different uses.
The intention of this long journey is to awaken a vision of the olive tree that is imbued with beauty, poetry and curiosity.
This delightful new series of colour filled pages with easy, short and fun text makes exploring fish swimming in the ocean an exciting adventure for little ones with soft felt flaps to flip and uncover! This interactive board book with durable felt flaps plays on children’s innate attraction to peekaboo and hide-and-seek.
Ages 3+
A new kind of figurative art appeared during the 1960s in Europe and the United States. While in New York Pop Art offered a fresh perspective on an America in the throes of frenzied change, in Paris French painters and others from Italy, Spain, Portugal, Germany and Iceland also began exploiting images that had their origins in advertising, cinema and the popular press. Grouped under the umbrella term Narrative Figuration, they soon became the uncompromising critics of what was dubbed the consumer society. They were for the most part politically committed artists and many of them were actively involved in the political agitation that led up to the events of May 1968 in France. Once standard bearers, the Narrative Figuration artists have now been rediscovered by museums, which, like the Centre Pompidou, are dedicating increasing numbers of exhibitions to their work. Thanks to the acquisition of major works, the collection of the Fondation Gandur pour l’Art in Geneva now provides what is without doubt one of the most exhaustive selections of works by Adami, Aillaud, Arroyo, Erró, Fromanger, Jacquet, Klasen, Monory, Rancillac, Schlosser, Stämpfli, Télémaque and Voss, to name a few. Edited by Jean-Paul Ameline, who curated the Figuration narrative, Paris, 1960-1972 exhibition, held at the Grand Palais in 2008, this catalogue includes all its key works, with commentary and analysis by curators and art historians specialising in a movement that left an indelible mark on 1960s Europe.
The study of fifteenth-century painting in France was inaugurated a century ago by the exhibition Primitifs français (1904) and has developed considerably over the past few decades, especially thanks to the work of Charles Sterling, Michel Laclotte, Nicole Reynaud, and François Avril. This research has led to the revival of several forgotten figures (Barthélemy d Eyck, André d Ypres, Antoine de Lonhy, Jean Hey, Jean Poyer, etc.) and the reassessment of many centres of artistic production. Linked together, they formed a crucial part of the trade network across Europe. It is this extremely complex artistic geography that this book’s three sections attempt to recreate. The first is devoted to the interplay between the French courts and Paris, as a thriving centre of artistic production at the time of the flowering of international gothic (1380-1435). The second examines the spread of ars nova (the illusionist art of Flanders) and its selective adoption in the kingdom of France in the time of Charles VII and Louis XI (1435 1483). The third concentrates on the gradual development of a generally accepted standard form of the French language, based on the model of Jean Fouquet and evolving in parallel to the work of the grand rhetoricians under Charles VIII and Louis XII (1483-1515).
In the years 1945-1963, Jean Dubuffet set about documenting his collection of Art Brut. He had the pieces photographed by recognised photographers on the Paris art scene, including Henry Bonhotal and Emile Savitry. But he also had pieces photographed that were not in his own collection, including works that interested him because, like Art Brut, they were marginal to the official art world. These notably include works of popular and naïve art, children’s drawings, tattoos, graffiti photographed by Brassaï and graphic works from the Solomon Islands. Dubuffet arranged these photographs of artworks by over a hundred artists – including Gaston Chaissac, Aloïse Corbaz, Joseph Crépin, Auguste Forestier, Somuk and Adolf Wölfli as well as anonymous artists – in extraordinary sequences contained in 14 albums (755 pages in total). These have been preserved since 1976 in the archives of the Collection de l’Art Brut, Lausanne. Classified by artist, the images document paintings, drawings, embroideries, sculptures and collages. In assembling this image bank in the years 1945-1963, Dubuffet set up a dialogue between highly diverse forms of expression of his period, all of which flowered away from the more familiar terrains of art history and culture. This facsimile edition of the Photographic Albums of Jean Dubuffet is combined with a booklet of essays by specialists: preface by Sarah Lombardi, Director of the Collection de l’Art Brut and essays by Baptiste Brun, Nicolas Garnier, Karoline Lewandowska, Jean-Hubert Martin, Jérôme Pierrat and Michel Thévoz. Text in English and French.
Follow The Coast guides you along the Atlantic coast, on the west side of the Iberian peninsula, from San-Sebastián, the capital of gastronomy, to Gibraltar, on the southern tip of Europe. This visual travel guide explores the Spanish and Portuguese coastlines, with countless charming beaches, rugged cliffs and hidden gems. The book is a photobook gathering high-end nature photography, but also a guide which can be your companion for a road trip or beach holiday. Last but not least, it tells the formidable story of our project where we run the entire European coastline with a collective of brave runners who run 100km a day.
The volume, investigating the extraordinary season of the Italian Renaissance, highlights the great contribution offered to the culture of that period by the Jewish world, still little documented in today’s studies. Indeed, there is no doubt that Judaism, with its long-lasting identity and tradition strongly rooted in territorial states, has made a peculiar contribution to the sphere of arts, literature and humanistic philosophy, contributing to giving many original and inimitable intonations to the Italian Renaissance. The investigation proposed here focuses on the relationship – harmonious in some cases and conflicting in others – between the Christian majority society and the Jewish identity in the period between the early fifteenth and mid-sixteenth centuries, meaning from the full affirmation of the Humanism to the conclusion of the Council of Trento, offering at the same time a precise geographical overview of the phenomenon. The volume is divided into thematic chapters, it contains a rich catalogue of testimonies ranging from liturgical objects to those of daily use, from manuscripts to furnishings to some art masterpieces, and is supplemented by bibliographical apparatus. Essays by: Guido Bartolucci, Giulio Busi, Donatella Calabi, Saverio Campanini, J.H. Chajes, Andreina Contessa, Miriam Davide, Silvana Greco, Maria Giuseppina Muzzarelli, Mauro Perani, David B. Ruderman, Angela Scandaliato, Salvatore Settis, Giacomo Todeschini, Francesca Trivellato, Giuseppe Veltri, Gianni Venturi, Joanna Weinberg.
For generations, Black artists from the American South have forged a unique art tradition. Working in near isolation from established practices, they have created masterpieces in clay, driftwood, roots, soil, and recycled and cast-off objects that articulate America’s painful past – the inhuman practice of enslavement, the cruel segregationist policies of the Jim Crow era, and institutionalised racism. Their works date from the early twentieth century to today and respond to issues ranging from economic inequality, oppression and social marginalisation, to sexuality, the influence of place, and ancestral memory. Among the sculptures, paintings, reliefs and drawings included here are works by Hawkins Bolden, Thornton Dial, Sam Doyle, Bessie Harvey, Lonnie Holley, Ronald Lockett, Joe Minter, Nellie Mae Rowe, Mary T. Smith, Henry and Georgia Speller, Mose Tolliver, Charles Williams and Purvis Young. Also featured are the celebrated quiltmakers of Gee’s Bend, Alabama, among them Mary Lee Bendolph, Marlene Bennett Jones, Loretta Pettway and Martha Jane Pettway.
Tomas De Bruyne is one of today’s leading floral event designers, known for architectural and conceptual floral spaces. An internationally celebrated artist, he creates breathtaking large-scale installations for events ranging from royal weddings to corporate celebrations. At a certain point in a designer’s journey, flowers become more than decoration – they become a language. Every petal, line, and colour turns into an intentional choice. This book is inspired by that transformation. As a floral scenographer, De Bruyne has spent decades shaping atmospheres across the world, discovering that beauty is a living structure defined by rhythm, hierarchy, and intelligence. When these align, design becomes an unforgettable experience. In this book, he shares not formulas, but a way of thinking. It goes beyond flowers, offering insight for designers who shape how people feel – event planners, floral designers, hoteliers, architects, and scenographers – inviting them to see design through the eyes of a floral architect.
Text in English and Dutch
What do the Great Wall of China, Georgia’s polyphonic singing, the Mediterranean diet and the Vanuatu sand drawings have in common? Despite their evident dissimilarity, they are all protected by UNESCO, the supranational organisation that is responsible for preserving the common cultural heritage of humanity, protecting it from disappearance and ensuring its conservation for future generations. The Great Wall of China is one of the natural and cultural sites that comprise the famous list of World Heritage Sites, compiled by UNESCO while the other three are part of the Intangible Cultural Heritage list that includes immaterial goods. In fact, in 2003, the UNESCO General Conference adopted the Convention for the Safeguarding of the Intangible Cultural Heritage with the intent to safeguard the traditional cultures and folklore of our planet. Today, over 400 practices and expressions from more than 100 countries represent the riches and demonstrate the cultural diversity of the populations in the world. Appearing on this variegated list of traditions are the art of the ‘pizzaiuoli’ – the pizza makers of Naples, the Carnival of Basel, the Rebetiko music of Greece, Japanese kabuki theatre, Mexico’s Day of the Dead celebration, the Brazilian capoeira, Chinese shadow puppetry and the mass Hindu pilgrimage of faith, Kumbh Mela. This book of photographs and splendid illustrations will guide you on your discovery of the Intangible Cultural Heritage list; a journey that will open your eyes to the cultural riches of our planet and to the importance of preserving them for future generations.
The Selous was my very first Africa experience, and it remains my favorite. Robert J. Ross’s extraordinary photographs take us into a natural world unlike any other on earth. A world of elephants. Of wild dogs. Of nature as it should be, can be, might be – if we keep these breathtaking images firmly in mind. A triumph! Bryan Christy, Director, Special Investigations Unit, National Geographic
The Selous Game Reserve in southern Tanzania is Africa’s oldest and largest protected area. Proclaimed in 1896 and bigger than Switzerland, the Selous is a UNESCO World Heritage Site. The Selous remains one of Africa’s largest and greatest undisturbed ecosystems, teeming with life including one of the two largest elephant populations remaining on the African continent, probably half of all of the wild dogs in Africa, vast herds of buffalo as well as more lions than any other protected area on the continent as reported by National Geographic in August 2013. The game reserve is becoming more important by the day as the pressure on elephants and other species grows – problems that are addressed here in this book. New York-born photographer Rob Ross has spent much of the past four years photographing in this vast and difficult to access reserve. He has compiled more than 100,000 images showing all aspects of the reserves varied landscapes, seasons, flora and large and small fauna. The spectacular large-format photography book features a selection of the very best images including landscapes, wildlife portraits and behaviour, night photography, impressionist style work and breath-taking aerials.
“Hands down the wine book of the year.” —David McIntyre, Washington Post
“…paints a glorious picture of Bordeaux as seen through the skittish and mischievously observant eyes of Somerville and Ross – cousins and writing partners.” —Victoria Moore, The Telegraph
Journeying through the Medoc in the autumn of 1891, Anglo-Irish cousins and travelling companions, Edith Somerville and Martin Ross (aka Violet Florence Martin) bring their distinctive mélange of wry wit, acute observation and unabashed horror at the barefoot treading of Cabernet Sauvignon to this delightful account of vendangeurs lofty and low-born as they bring in the harvest in time-honoured fashion. Illustrated using Somerville’s equally delightful sketches, this is a story of two feisty ladies for whom anything remotely pretentious is fair game.
Better known for their tales of an Irish R. M. (resident magistrate), Somerville and Ross outraged their respective families – who referred to them ‘the Shockers’ – by combining travel writing with the fight for Women’s Suffrage. The contrast between the emancipated pair and the largely unreconstructed characters they encounter on their travels only serves to heighten the charm of an already indelibly charming book.
The Classic Editions breathe new life into some of the finest wine-related titles written in the English language over the last 150 years. Although these books are very much products of their time – a time when the world of fine wine was confined mostly to the frontiers of France and the Iberian Peninsula and a First Growth Bordeaux or Grand Cru Burgundy wouldn’t be beyond the average purse – together they recapture a world of convivial, enthusiastic amateurs and larger-than-life characters whose love of fine vintages mirrored that of life itself.
A decade after the Swiss National Bank had opened its neo-baroque building in Berne, the bank’s Zurich-based Governing Board moved into its own grand office building in 1922. This major work of the local firm of Otto and Werner Pfister is a prime example of neo-classicism in Switzerland and provided Zurich with an architectural landmark at the top end of its famous Bahnhofstrasse.
Marking its centenary, this book celebrates the Zurich home of the Swiss Franc. It describes in detail and lavishly illustrated the architecture and building history from planning stage until today. This is supplemented by essays on bank architecture since the Middle Ages, the urban formation of Zurich and the city’s development into a financial centre in the late 19th century. In his contribution, the renowned Canadian-British architect Adam Caruso compares it from today’s perspective with other central bank buildings and places it in context of the Pfister brothers’ other public commissions, many of which are occupying prominent locations in Zurich’s cityscape.
Richly illustrated with historical and new photographs, original plans and other historical documents, the volume pays tribute to a piece of public architecture that combines monumentality with pragmatism and republican modesty.
The Veronese wine regions of Soave and Valpolicella – home to Amarone – are currently producing some of the world’s most drinkable quality wines. But both regions still struggle with a reputation for cheap, poor-quality wines brought about through industrial-scale production during the economic depression following the Second World War. In Amarone and the Fine Wines of Verona, Italian wine specialist Michael Garner traces a shift in focus towards new levels of quality driven by a generation of producers inspired by the area’s outstanding potential for producing fine wine.
Both regions produce versatile wines which, as well as being both deliciously drinkable and relatively affordable, have the flavour and structure to accompany a wide range of foods. In Valpolicella an appassimento wine, the famed Amarone, has gained comparable status to Barolo and Brunello di Montalcino, while Soave overlaps with the tiny denomination of Lessini Durello, where sparkling wine is produced from the rare, local white grape Durella.
Garner begins Amarone and the fine wines of Verona with a summary of the region’s history, before detailing its geography, grape varieties and approach to both viticulture and winemaking, leading into a discussion of each denomination’s character and wine styles. A cross-section of around 100 producers provides a capsule profile of each, along with analysis of some of their best and most distinctive wines.
For students of wine, those in the wine business and wine adventurers alike, Amarone and the Fine Wines of Verona provides a gateway to a sorely misunderstood wine region.
Discover the magic of beloved the classic fairy tale Snow White with The Storyteller sound books. This innovative collection offers young children a new way to experience these timeless tales: designed for those who are not yet able to read independently, each book allows children to explore the stories by turning the pages while listening to the corresponding text read aloud at the touch of a button. The book becomes a modern storyteller, presenting the fairy tales with beautiful illustrations and engaging narration that brings the stories to life.
Other titles in the collection include:
9788854421707 The Storyteller: Peter Pan
9788854421714 The Storyteller: Pinocchio
9788854421691 The Storyteller: Little Red Riding Hood
Ages 4 plus.
Palazzo Vecchio, which towers over piazza della Signoria, at the centre of Florence, is an iconic building and from the Middle Ages to the Medici family to present day it has been the seat of civic power.
Among its most admired features are the marvellous grotesque decorations which animate the walls and vaults of the courtyard and several rooms. Grotesques are a type of wall decoration, in stucco or fresco, often with the addition of gold, that developed in the Renaissance when the vaults of the Domus Aurea in Rome, which were underground (considered grottos hence the name), were rediscovered by artists who drew inspiration from those designs.
Palazzo Vecchio’s grotesques are lively, extravagant ornaments, generated by the creativity of artists – among whom Ridolfo del Ghirlandaio (1483-1561) and Marco Marchetti da Faenza (ca. 1526-1588) stand out – and they include, birds, flowers, vegetation and many strange creatures that have a mixture of human and animal traits.
Team 10—also known as Team X and Team Ten—was an international group of young and strident architects that emerged from the Congrès International d’Architecture Moderne (CIAM) and existed from 1953 to 1981. The group criticised the dogmatism of Le Corbusier and other proponents of classical modernism. Its most notable members included Alison and Peter Smithson (Britain), Georges Candilis and Shadrach Woods (USA), Jacob Bakema and Aldo van Eyck (Netherlands), Giancarlo De Carlo (Italy), and Stefan Wewerka (Germany).
In this book, architectural historian Pedro Baía examines the influence of Team 10 on Portugal’s architectural culture. At the time, the country was largely cut off from Europe’s architecture hotspots. Using projects, completed buildings, images, texts, and statements by members of Team X, he illustrates how the group’s ideas and work were interpreted, disseminated, and appropriated in the critical discourse of the Portuguese architectural scene.