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Karkhana takes us on a meandering journey through the Rajasthani city of Udaipur as we follow American artist Waswo X. Waswo, a 20-year resident of India, through a typical day of collaborations with a variety of Indian artists. From miniature painters such as R. Vijay and Dalpat Jingar, to the third-generation photo hand-colorist Rajesh Soni, to the phenomenally skilled painter of golden borders, Shankar Kumawat, we are treated to an intimate look behind the scenes of Waswo’s extended network of co-creators, as well as the photography studio he uses in the outlying village of Varda. Waswo and his team weave visual narratives that blend vintage miniature painting techniques with digital photography, the past with the present, and a self-effacing humor with existential angst. Karkhana is a word that literally means ‘factory’ in Hindi, but has lineage to the historical painting workshops of Persia. This book explores the continuance of this system of mutual artistic collaboration within a contemporized Indian community, and the manner in which Waswo’s unlikely team has come into the contemporary art market.

Gilbert & George created Dark Shadow in 1974 as a ‘living sculpture book,’ the ‘result of our past three years of earnest daily thoughts, shadows, deeds, cares, and pleasures.’ Hurtwood’s limited re-edition of 2,000 marks its fiftieth anniversary.

Featuring original text and artwork by Gilbert & George, the publication offers an unparalleled perspective on the early career of one of the twentieth century’s most significant artistic duos. Like their art, Gilbert & George’s writing is irreverent, rebellious, often funny, and deeply poetic. The book includes a letter to their readers and photographs by the artists of themselves, their home in East London, and their pictures.

Dark Shadow is structured into eight chapters, which elaborate on the inspirations behind Gilbert & George’s work, such as London life and British culture, including, of course, Gordon’s Gin. As is emblazoned on the cover, Dark Shadow is a continuation of their lifelong agenda ‘Art for All’, and each book is a piece of art in itself, uniquely bound in the UK with hand-marbled cloth.

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 color 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!

The Art of the Architect celebrates the role that drawing and watercolor painting play in architecture. Architectural drawing as we know it dates from the Renaissance, but with the arrival of computer design programs this ancient art – formed of pen, pencil, and brushstrokes on paper – is sometimes regarded as obsolete. The work of Michael G. Imber, whose watercolors and sketches are published here for the first time, shows what a vital contribution they can still make at every stage of an architectural project. His personal example is followed by his colleagues in a visual culture that permeates his practice, Michael G. Imber, Architects.
Whatever the place occupied by photographs, simulations, and visual graphics in the design process of today, hand drawing still facilitates a moment of deeper connection between an architect and his environment. Unlike a snap taken on a smart phone, a hand drawing is an active response to its subject: what is understood about a place in sensory terms cannot help but inform the finished design, creating buildings which maintain the balance between the way we live and the natural world around us.
Not only do Michael’s sketches allow him to visualize his environment more clearly, but they provide an immediate visual language with which he can communicate with his team, his craftsmen, and his clients. Pen and wash is a suggestive, selective, and emotive technique. Rich in examples of the art and philosophy that have inspired him over the years, this book is both an ode to a precious art form, and a visual delight to anyone who may turn its pages. Michael’s attention to light, color, line, shape, and space in these “working paintings” reveals a love for the medium that extends from his architectural practice into the time he spends both traveling, and at his summer home on an island in Maine. The beauty of the result will be inspiring to anyone who loves architecture and the attendant arts.

You can’t sit still. You don’t like unannounced visitors. You always triple-check if the lights are out. But you also see details that no-one else notices. You’re always coming up with surprising solutions. You can focus intensely for hours at a stretch. Usually without realising it, many people lie somewhere on the spectrum of a neurodivergent condition. We often tend to focus on the many downsides of neurodivergent conditions such as AD(H)D, ASD, dyslexia and OCD. This book takes a different approach by looking in depth at the special talents that go hand in hand with these conditions. Whether you already have a diagnosis or simply feel you’re somewhere on the neuroatypical spectrum, one thing is certain: once you’ve identified your unique talents, you’ll be able to make more focused choices in your life and work. You’ll discover which jobs best showcase your talents, which colleagues complement your personality, and which environments and corporate cultures are right for you.

It’s not hard to find a decent hotel in London; what’s trickier is finding the really tasteful gems with both great food and treatments that aren’t stuffy. Whatever you’re looking for – a spontaneous getaway, pampering weekend, culture-rich adventure, or special celebration – we’ve found the perfect place to go. These hand-picked hotels include amazing places to splash the cash for a weekend of unapologetic luxury as well as those offering a more wallet friendly stay without skimping on style; from the best spots to treat your mum to afternoon tea to where to go to enjoy a relaxing spa day with friends or dinner among world class art. All give the lowdown on vibe, decor, facilities, and service with the assured voice of someone who has experienced them first hand.

The textiles here have been organized by several broad categories, beginning with type, and then by area of origin, dating and style. First are ikats and prints from India: the ikats woven in silk as “double ikats” and known as patola, and two prints that are cotton chintz. Though made in India, these textiles were all found in Sumatra, with the patola being highly-prized heirlooms used ceremonially, and the prints being used widely in trade across Indonesia from Sumatra to the Eastern Islands.

Next are ikats and other woven textiles organized by origin, moving West to East, from Sumatra to Borneo, Sulawesi, Bali, and Timor. For all of these pieces, the material was hand spun or commercial cotton, silk, or sometimes a mixture of the two.

Lastly are batiks, mostly from Java. The first three are the oldest batiks in this collection, each of which has been analyzed by radiocarbon dating and found to originate in the 17th and 18th centuries, respectively. These batiks are made on hand spun cotton.

The batiks here are from Sumatra and Java (the great mother-temple of batik artistry), ranging in age, after the proto-batiks described above, from the early 19th century to mid-20th century. They vary in style from the most traditional, including those distinctive in color and pattern from the kratons (palaces) of the sultans, Indian influences from chintz and other Indian imports, to Chinese-inspired depictions of animals, insects, plants and flowers, to French-inspired Art Nouveau mostly via Batik Belanda.

This collection of Indonesian textiles and some related Indian textiles that were popular and influential in Indonesian usage and design came together in a series of collecting periods spanning nearly 40 years.

At DOOR73, Brazilian-Italian star chef Marcelo Ballardin and his Greek right-hand man Eric Ivanidis welcome you into their cosmopolitan kitchen for a journey of flavors in 70 sharing dishes. Be surprised by contemporary interpretations of classics such as vitello tonnato, patatas bravas or hamachi, with chef Ivanidis incorporating influences from Asian and Latin American cuisine in addition to his Greek roots. The dishes are accessible, making it easy to get started yourself.

‘Not only is this a visually luscious book of Ptolemy Mann’s work, it makes a fascinating – and timely – contribution to the ongoing debate about the relationship of art and textiles.’ — Alice Rawsthorn, author of Design as an Attitude.

‘[Ptolemy Mann] has been creating textile works of extraordinary colour and vibrancy for nearly 30 years. In 2021, after a period of experimenting with painting on paper, she turned her brush to her painstakingly dyed and handwoven cloths – the striking results can be seen in Mann’s first monograph, Thread Painting.’ — Killian Fox, the Guardian

British artist Ptolemy Mann’s studio practice bridges weaving and painting, creating distinctive, refined and radiant wall-based work, often on a large scale. Her early work was focused on weaving, and she then turned to painting on paper, later combining the two to paint directly onto her hand-woven artworks.

Focusing on the past decade, Thread Painting features over 140 stunning full-color images of these three phases in Mann’s artistic career, and is her first published monograph. Thread Painting includes written contributions from Ann Coxon, curator of international art at Tate Modern, and Chloë Ashby, arts critic and author. A conversation between Mann and childhood friend, artist and stage designer Es Devlin sheds light on Mann’s early influences and her meticulous process.

Thread Painting is a celebration of Mann’s unique work during a fascinating decade of artistic output, exploring the relationships between dye, thread, paper, paint and time.

Stefano De Luigi’s images restore the landscape’s semantic value. The Italian landscape is a complex one, subject to the continuous superimposition of new signs. Yet in some ways, it is also a resistant landscape. While on the one hand, in fact, these signs – mostly similar and very much the offspring of consumer society and mass tourism – make Italy alternately a commodified trophy to be exhibited or “one anonymous, unfriendly, messy suburb,” on the other hand, they are sometimes grafted onto different realities – the upshot once again of those local identities that have long characterized the various areas of the peninsula – giving rise to genuine short circuits of meaning and vision where, in a bizarre potpourri, the contemporary and the ancient, the beautiful and the ugly, the rare and the banal, the serial and the unique all dialog with one another.

La Manufacture Cogolin, a weaver of hand-made rugs established in 1924 in a village near Saint-Tropez, is rich with a traditional craftsmanship particularly sought out by a clientele looking for authenticity and quality. Acquired by the visionary textile engineer Jean Lauer in 1928, La Manufacture Cogolin has grown remarkably from the 1930s onward, thanks to early collaborations with well-known designers such as Jules Leleu, Christian Bérard, Jean-Michel Frank, Sir David Hicks and artists such as Jean Cocteau.

This fully illustrated art book dives into what has made the Cogolin house special for a century. Mixing unpublished archives (letters, photographs, watercolors), lively texts suited to a wide audience, and testimonies from women working in the historical workshop, from contemporaries, and from illustrious customers.

Following a chronological approach, this book describes the manufacture’s economic history, shedding light on its rebirth in the 21st century, while placing it in the history of the Decorative Arts of the 19th and 20th centuries, and describes the key elements of this recognized French craftsmanship.

Cherán is a social, political, and anthropological phenomenon without precedent in Mexico. Rebellious Forests gathers together images captured by Pavel Hroch during his travels in the land of the Purépecha in Michoacán, particularly the towns of Cherán, Comachuén, and Cocucho. These photographs show a world confronting global problems such as deforestation, water shortages, and the violence of organized crime while also rebelling against historical changes, driven by a constant desire to endure. The book reflects the Purépecha community’s successful struggle to achieve autonomy and control over their territory after a confrontation that pitted armed locals against illegal loggers and drug traffickers. This resistance led to the expulsion of these invaders and the establishment of Purépecha systems of security and self-government, based on their own cosmology and traditional practices.

Text in Spanish.

“…dynamic and insightful images.” — Black & White Photography Magazine

Whatever the place occupied by photographs, simulations, and visual graphics in the design process of today, hand drawing still facilitates a moment of deeper connection between an architect and his environment. Unlike a snap taken on a smart phone, a hand drawing is an active response to its subject: what is understood about a place in sensory terms cannot help but inform the finished design, creating buildings which maintain the balance between the way we live and the natural world around us.

Not only do Michael’s sketches allow him to visualize his environment more clearly, but they provide an immediate visual language with which he can communicate with his team, his craftsmen, and his clients. Pen and wash is a suggestive, selective, and emotive technique. Rich in examples of the art and philosophy that have inspired him over the years, this book is both an ode to a precious art form, and a visual delight to anyone who may turn its pages. Michael’s attention to light, color, line, shape, and space in these “working paintings” reveals a love for the medium that extends from his architectural practice into the time he spends both traveling, and at his summer home on an island in Maine. The beauty of the result will be inspiring to anyone who loves architecture and the attendant arts.

Radiant City is a major monograph documenting a decade of figurative and geometric work by London-based British contemporary artist Lucy Williams (b. 1972, Oxford). Her mixed-media bas-relief collages depict modernist architecture and interiors, from tower blocks and municipal buildings to private residences in Palm Springs.

All made painstakingly by hand, this is a contemporary art practice that, with the precision of an architect or a draughts person, references craft traditions, using materials including paper, Plexiglas, wood veneer, fabric, piano wire, and thread. Space, form, pattern, design, and geometry meet with color and light to form mesmerizing, detailed scenes such as tiled swimming pools with mosaic walls, the imposing facades of Brutalist buildings, and domestic interiors containing bookcases replete with books, vases and ornaments.

In addition to figurative works, the publication also features the artist’s Threaded Collages, abstract geometric pieces inspired by Bauhaus tapestries, constructivism and traditional Welsh quilting. Williams creates repeated triangular and diamond forms, using colorful painted papers along with silk and cotton threads.

Featuring a variety of text contributions, this, Williams’s second trade monograph, has been designed by Kristin Metho, edited by Matt Price, and produced by Hurtwood. It is published by Hurtwood with generous support from Berggruen Gallery, San Francisco.

“Ed’s photos take us behind the scenes and in the middle of the action. I always felt like I was being transported to the location of the shot, and was experiencing it all first hand. The Stooges Funhouse sessions are my favorite rock photos of all time. I wanted to be those guys. Those images have stayed with me my entire life and continue to inspire me to this day !!!!!” – John Varvatos

In May 1970, The Stooges were in the middle of recording their celebrated album, Fun House at Elektra Records Recording Studio in Los Angeles. That same month, they appeared at the Whisky a Go-Go on Sunset Boulevard for two incredible nights. Ed Caraeff, a new rock photographer who had burst onto the scene three years prior with his now-iconic image of Jimi Hendrix burning his guitar onstage at Monterey, happened to be in that crowd, and took a plethora of wonderful pictures. Only a few stills from that phenomenal gig were ever reproduced. Most famously, one was used on the cover of Fun House. The rest were filed away. Until now. Ed Caraeff’s coverage of this monumental moment is reprinted here for the first time in book form. He not only captures the energy, madness and raw power of Iggy Pop’s performance, but also the preceding minutes before the band stepped onto stage and made history.

Along with images and contact sheets, original interviews shed new light on that unforgettable night. Interviewed by pop-culture historian Jennifer Otter Bickerdike, names include Jac Holzman, Head of Elektra Records during the recording of Fun House; Mikael Maglieri, son of Mario Maglieri, owner of the Whisky a Go-Go when The Stooges played in 1970; Danny Fields, a DJ/publicist credited for signing MC5 and The Stooges; and Jeff Gold, music historian and noted Iggy Pop biographer. A tribute to the band that rocked the world, Iggy & The Stooges: One Night at the Whisky, 1970 will revolutionise your view of music.

Jacqueline Groag was probably the most influential textile designer in Britain in the post Second World War era. Although originally Czech, she studied textile and pattern design in Austria in the 1920s. During the late twenties and early thirties she designed textiles for the Wiener Werkstatte in Vienna and subsequently designed and produced unique hand printed lengths of fabrics for many of the leading Parisian fashion houses, including Chanel, Lanvin, Worth, Schiaparelli and Paul Poiret. She was awarded a gold medal for textile design at the Milan Triennale in 1933 and another gold medal for printed textiles at the Paris World Fair in 1937. Jacqueline was not only a serious and highly respected contender in the field of textile and pattern design but, with her husband, the Modernist architect Jacques Groag, was also deeply immersed in the intellectual life of Vienna.

In 1938 the sophisticated world of Jacques and Jacqueline was brutally shattered when the Anschluss, the political unification of Austria and Germany, occurred and the German army entered Vienna. Faced with the actuality of the Nazi terror the Groags, who were Jewish, fled to Czechoslovakia and their home city of Prague. After a brief respite they were once more forced to flee in 1939, this time to London. On their arrival in England they were welcomed and championed by leading members of the British design fraternity, amongst whom were Sir Gordon Russell, the doyen of British architects Sir Charles Reilly and Jack Pritchard, founder of the modernist design company, Isokon. From 1940 until her death in 1986, Jacqueline had a long and successful career. Much of the Contemporary style of the textiles and wallpapers shown at the 1951 Festival of Britain were heavily indebted to her influential designs of the 1940s. Many examples of her work were featured prominently at the Festival and from then on she became a major influence on pattern design internationally. She developed a large client group in the United States during the fifties and sixties, amongst whom were Associated American Artists, Hallmark Cards and American Greetings Ohio.

In the later 1950s and throughout the 1960s she became increasingly involved with Sir Misha Black and the Design Research Unit (D.R.U.), working on the interiors for boats and planes and trains, particularly the design of textiles and plastic laminates for BOAC and British Rail. One of her last commissions from Misha Black, in the mid-seventies was a distinctive moquette for London Transport, for seating on both buses and tube trains. Her work and influence did not just extend to the large corporations and exclusive couturiers but was familiar to the general public through stores and companies such as John Lewis, Liberty of London, David Whitehead, Edinburgh Weavers, Sandersons, Warerite and Formica. Her remarkable achievement finally received public recognition in 1984 when, at the age of 81, she was made an R.D.I. – a Royal Designer for Industry – the ultimate accolade for any designer in Britain.

“This exhaustive study will be an invaluable tool in identifying not only where a piece was made and when, but in understanding the processes of its manufacture” The Regional Furniture Society
“Cataloguers now have an impressive volume of new information to draw on when describing anything from a simple tea tray to those suites of papier mâché furniture which remain as impressive today as when they dazzled visitors at the great international exhibitions of the 19th century” Antiques Trade Gazette
As one of the few decorative arts about which little has been written, japanning is today fraught with misunderstandings. And yet, in its heyday, the japanning industry attracted important commissions from prestigious designers such as Robert Adam, and orders from fashionable society across Europe and beyond. This book is a long overdue history of the industry which centered on three towns in the English midlands: Birmingham, Wolverhampton and Bilston. It is as much about the workers, their skills, and the factories and workshops in which they labored, as it is about the goods they made. It tells of matters of taste and criticism, and of how an industry which continued to rely so heavily upon hand labor in the machine age reached its natural end in the 1880s with a few factories lingering into the late 1930s. Richly illustrated, it includes photographs of mostly marked, or well-documented, examples of japanned tin and papier mâché against which readers may compare – and perhaps identify – unmarked specimens. Japanned Papier Mâché and Tinware draws predominantly upon contemporary sources: printed, manuscript and typescript documents, and, for the period leading up to the closure of the last factories in the 1930s, the author was able to draw on verbal accounts of eyewitnesses. With a chapter on japanners in London, other European centers, and in the United States, together with a directory of japan artists and decorators, this closely researched and comprehensive book is the reference work for collectors, dealers and enthusiasts alike. Contents: From Imitation to Innovation; Enter the Dragon!; The Lion of the District; Japanning & Decorating; Not a Bed of Roses!; Clever Accidents?; Decline of the Midlands Japanning Industry; The Birmingham Japanners; The Wolverhampton Japanners; The Bilston Japanners; Japanners in London and Oxford; Products; Other Western Japanning Centres; Appendices.

There are no rules, and even less justice. Death takes everyone without discrimination. Sometimes it is accidental – like Signorelli, who fell from scaffolding. Sometimes it is expected, as with the diabetic Cezanne, who wrote “I am old, sick, and I swore to die while painting”. But often, researching a painter’s death is an easier task than determining which of their works is truly their ‘last’. Paintings tend to be dated by year and not month, inciting much debate among art historians. This book embraces this ambiguity, studying 100 examples of works that lay completed for several years, or were left unfinished on the easel, or were finished post-mortem by a friend’s grieving hand.

The Last Painting collects 100 terminal paintings from 100 artists, including Dalí, Manet, Toulouse-Lautrec, Degas, Goya, Pollock, Rembrandt, Dix, Bonnard, Titien, and many more. Each picture gives us a glimpse into the painter’s mind. Did they know death was coming? Did they paint with denial, or acceptance? Did they return to a favorite subject, or decide to embark on a new, original project while they still had time? A poetic and thought-provoking book, The Last Painting is a sensitive exploration of the relationship between art and death.

The Royal Touch is a beautiful compilation of stunning recipes gathered from far and wide on an incredible culinary journey. It is one that has covered three continents over several decades and has taken in many a royal palace along the way. Carolyn Robb, former personal chef to TRH The Prince and Princess of Wales, Prince William and Prince Harry, presents the food that she loves to serve to her family and friends; food that is fit for a king, yet is accessible to us all. Inspired by everything from her mother’s home-cooking, memories of her happy childhood in South Africa and her extensive travels to the extraordinary experiences of 13 years as a chef in the royal household, Carolyn’s recipes are simple to prepare and perfect to share. Whether you are entertaining special guests, going on a picnic, planning a cosy fireside supper, cooking with children or you simply feel like trying your hand at some baking, this book has it all and the ingredients you require won’t break the bank.

As soon as Bill Wyman was given a camera as a young boy, he quickly developed a passion for photography. After joining what would become the world’s greatest rock ‘n’ roll band, Wyman continued his hobby. When he didn’t have his bass, he had his camera. The result is an arresting, insightful and often poignant collection of photographs, showing his exclusive inside view of the band. From traveling to relaxing, backstage and on, Stones From the Inside is a unique view captured by a man who was there, every step of the way. Along with the images of the band at work and play, Wyman includes remarkable images of those along for the ride, from John Lennon, Eric Clapton, David Bowie and Iggy Pop to John Belushi and Dan Aykroyd. To accompany his photographs, Wyman offers up wonderful insights, anecdotes and behind-the-photo stories, giving all us a front-row seat and backstage pass to what it was like to be there, as music history was made as a member of The Rolling Stones. Limited to just 300 copies, this slipcased edition is accompanied by a print.

“…a beautiful book, filled with captivating images and explanatory text which never gets too dry or too technical…” – Revolution

Despite the functional obsolescence of the mechanical wristwatch (our phones and computers tell more accurate time) the early 21st Century has seen a boom in the development, production, and appreciation of all things horological. Whether it is presented to the collector as an alternative investment, as a feat of micro-mechanical technology, or as a showcase of artisanal mastery, the mechanical wristwatch has never possessed more forms, functions or facets than it does today.

The Wristwatch Handbook is written from the epicentre of a renaissance, a place in time between the Quartz revolution and the rise of the smart device – where the mechanical wristwatch is the antidote to the microprocessor and the permanent buzz of your inbox. From the multi-axis tourbillion, to the split-second chronograph, to the sidereal sky chart, The Wristwatch Handbook covers it all and does so with more than 470 rich illustrations from over 90 of the World’s leading brands.

The book is separated into two sections. The first section provides the reader with a comprehensive understanding of the mechanical movement. Its chapters explore power, transmission, distribution and regulation illustrating the basic concepts before considering the innovation and complexity that takes place further toward the cutting edge. From the fifty-day power reserve, to the constant force mechanism, and the 1,000Hz mechanical escapement, section 1 will allow the reader to understand and appreciate what is happening beneath the dial of their watch. Section two allows the reader to take this understanding and apply it to the vast range of complications (functions) that exist in modern horology. Each chapter showcases a distinct category of complication. For example, the regatta timer, pulsometer, and monopusher chronograph join a host of others in a chapter entitled ‘Recording Lapses of Time’; The power reserve indicator, dynamograph, and crown position indicator are featured in a chapter for ‘Power and Performance Indication’; The moon phase indicator, annual calendar, and planetarium can be found in the ‘Astronomical Complications’ chapter. Once the functional categories are exhausted, the final three chapters explore whimsical complications that have little regard for practical function, novelty time indication, and the ‘super-complicated’ watch – a rare breed of timepiece that houses an intimidating host of complications featured throughout the book. Upon completion of The Wristwatch Handbook the reader will be able to identify even the most exotic complication from across the room, and be able to share their appreciation and understanding of what makes it so useful and compelling.

The Wristwatch Handbook is “brand agnostic”, using only those watches that most aptly illustrate the given subject-matter. As a consequence the book places equal emphasis on the classic and the cutting edge, on watches produced in large volume or exclusive runs, by industry-leading technology or at the hand of a master. In doing so the book provides an unparalleled range of watches from over 90 brands, allowing the reader to determine for themselves which brands, complications, and styles they will build their collection from.

“The written word is the most basic element of human culture. To touch the written word is to touch the essence of culture.” – Xu Bing

Book from the Sky certainly seemed to have fallen from the heavens: the text of this installation piece was written in a new language that resembled traditional Chinese. No matter who scours Xu Bing’s book for ‘meaning’, they will only discover a semblance of it: mutated characters that resist interpretation. Carving out approximately four thousand wood blocks by hand, Xu Bing spent four years, from 1987 to 1991, making (in his own words) “something that said nothing”.

After creating a book no one could read, it only made sense for Xu Bing to develop his next project: a book that transcended barriers of language: Book from the Ground. Composed entirely of pictographs, Book from the Ground is a groundbreaking study into the concept of universal communication.

Whether his goal is total comprehension or confusion, Xu Bing’s masterful exploration of language challenges the way we think about the written word.