Women Garden Designers presents twenty-seven of the most important and influential women garden designers and their gardens from around the world, showing both their finest commissions as well as the gardens they designed for themselves, in their own space. The carefully researched text examines their influences and their legacy to garden design. Beginning with the remarkable Gertrude Jekyll and Beatrix Farrand, who were working simultaneously, though on different sides of the Atlantic, the book then moves on into the 20th century, featuring international designers as diverse as Florence Yoch – who created gardens for film sets and for glamorous Hollywood homes – and Vita Sackville-West – whose regular gardening column in the Observer, along with her own garden at Sissinghurst, influenced those in Britain. In Australia, Edna Walling supplemented her income from her practice with regular articles in life-style magazines. Increasingly with picture-led articles, designers found a way to publicize and advertise their work, thus gaining new clients in emancipated women who were in a position to place their own commissions. Women designers were more likely and quicker to embrace the ecological garden movement particularly in Germany and Sweden in the middle of the 20th century. They are represented by Herta Hammerbacher and Rosemary Weisse, who created the glorious perennial plantings in Munich’s West Park and Ulla Bodorff in Sweden, as well as Isabelle Greene in California with her dry native plantings. The modern movement includes Monica Gora and Topher Delaney, for whom spirituality and landscape as works of art are important. The more conventional structured approach is represented by Penelope Hobhouse and Rosemary Verey, who began creating gardens later in their lives, following motherhood. Haruko Seki from Japan and Isabel du Prat from Brazil express their own special cultural qualities in their trans-global practices. Contents: Gertrude Jekyll (1843-1932, English); Beatrix Farrand (1872-1959, American); Norah Lindsay (1876-1948, English); Marian Coffin (1876-1957, American); Florence Yoch (1890-1972, American); Vita Sackville-West (1892-1962, English); Edna Walling (1895-1973, Australian); Brenda Colvin (1897-1981, English); Herta Hammerbacher (1900-1985, German); Sylvia Crowe (1907-1997, English); Maria Teresa Parpagliolo Shephard (1903-1974, Italian); Joane Pim (1904-2002, South African); Ulla Bodorf (1913-1982, Swedish); Rosemary Verey (1918-2001, English); Cornelia Oberlander (1921-, Canadian); Rosmarie Weisse (1927-2002, German); Penelope Hobhouse (1929- English); Niki de Saint Phalle (1930-2002, French); Isabelle Greene (1934- American); Arabella Lennox-Boyd (1938- Italian); Nancy Goslee Power (1942- American); Topher Delaney (1948- American); Isabel du Prat (1954- Brazilian); Petra Blaisse (1955- Dutch); Monica Gora (1959- Swedish); Haruko Seki (1959- Japanese).

Animal liver, deer legs, sepia and cosmic dust are not usually amongst the preferred materials used by goldsmiths in the creation of pieces of jewellery. This is not the case for the Estonian group of artists õhuLoss, which means ‘Castle in the Air’. Its seven members make use of many organic materials in the design of objects which are on the border between applied and visual arts. They create confusing pieces of jewellery which appear to hover in time and space and play with these concepts. The lyrical creations of the seven artists evoke a past era, but their choice of materials is shocking enough to bring the viewer back to the present. The undisputed strength of the work lies in its suggestive power, which puts the viewer under its spell. The new Estonian jewellery of the õhuLoss group probes itself, the world and life. It is a medium for communication without words, expressing the ambivalence of the modern attitude towards life. The young Estonian jewellery artists show that especially intelligent jewellery, close to nature, is very powerful. This jewellery reveals the human feelings of the wearer. The purpose of this jewellery, according to Kadri Mälk, lies in the quiet support of its wearers and in the discrete revelation of their identity. Artists featured include Villu Plink, Eve Margus-Villems, Kristiina Laurits, Piret Hirv, Katrin Sipelgas, Tanel Veenre and Kadri Mälk. Contents:
Introduction by Kadri Mälk; sight/vaade; Castle in the Air | Rüdiger Joppien; The Touch of an Invisible Space | Saale Kareda; The Ultimate Castle in the Air | Karl Bollmann; Mart Raukas; The School and the Academy. Castle in the Air | Tamara Luuk; Homage to the Most Beloved | Lars Pahlman; jewellery/ethed; Kadri Mälk | Kristiina Laurits|Villu Plink | Eve Margus-Villems | Piret Hirv | Tanel Veenre | Karin Sipelgas; beyond/pilvevaatlus; lighthouse/tuletorn; post scriptum: chronology, bibliography, biographies. Text in English and Estonian.

A ‘vessel for living’ – such were the words Glenn Adamson used to describe this remarkable residence. Richard Meier designed the Grotta home to house Sandra and Louis Grotta’s collection of contemporary studio jewelry and significant works in wood, ceramic and fibre. The building was conceived around the collection, framing the objects within the open architecture, which comprises an equal blend of glass and concrete. Nature, visible from many vantage points, plays an essential supporting role. The Grotta Home by Richard Meier: A Marriage of Architecture and Craft is rich in photographs of the collection and provides impressive insights into this exceptionally personal project. The accompanying essays afford the reader a greater sense of how the Grottas have not simply acquired art, but have immersed themselves in it.

The Miller Ceramic Art Collection features masterpieces highlighting the artistic ideals of numerous luminaries of mid-twentieth century to early twenty-first century American ceramic art. In addition, the collection includes important examples of European and Japanese ceramic artworks of the same period. Marlin Miller’s profound understanding of materials began with ceramic engineering. His interest in brick and its role in architecture informs a keen eye for surface texture, dimension and materiality.

The publication is a comprehensive presentation of one of the world’s most distinguished private collections of contemporary studio ceramics, and an observation on the correlation between ceramics and architecture. With contributions by Meghen Jones, Sequoia Miller, Michael McKinnell and Wayne Higby.

The Swiss artist Otto Künzli has revolutionized modern art jewelry. In the 45-odd years in which he has been addressing the topic of jewelry, Künzli has carved out for himself a unique position of far-reaching international influence, not only as an artist and a pioneer but also as an author and mentor. Otto Künzli’s works are based on complex reflection, conceptual and visual imagination. The result: objects with a clear, minimalist appearance, captivatingly crafted to perfection and highly visible – jewelry that adorns and at the same time possesses an autonomous aesthetic status of its own. The publication presents for the first time Otto Künzli’s highly diverse oeuvre. It includes hundreds of jewelry objects as well as interdisciplinary conceptual works from the artist’s various creative phases. An extraordinary artist’s book designed in close collaboration with Otto Künzli and Die Neue Sammlung – The International Design Museum Munich.

Otto Künzli was born in 1948 in Zurich, Switzerland. Since 1991 Künzli has held the Chair of Art Jewelry at the Academy of Fine Arts in Munich – as the successor of Prof. Hermann Jünger. Otto Künzli’s work is represented in numerous international museums and collections. Alongside numerous awards, in 2010 Otto Künzli was awarded the Swiss Grand Prix Design, and in 2011 the Goldener Ehrenring der Gesellschaft für Goldschmiedekunst, the golden ring of honor conferred by the German Association for Goldsmiths’ Art.

The Padua School originated from the Istituto Pietro Selvatico in Padua. The distinctive features of this jewelry are the use of gold reminiscent of the goldsmith’s art in antiquity and a modern and abstract formal expression within the group. Mario Pinton, who brought the goldsmith movement international recognition and acclaim in the 1950s and ’60s, is credited with founding the experimental goldsmith movement in Padua. Francesco Pavan has enlarged the scope of the Padua School with his kinetic and geometric formal idiom.

The breakthrough on the international jewelry scene took place in the late 1960s with Giampaolo Babetto, under whose support the geometric and Minimalist tendency was most pronounced. Other distinguished artists in jewelry such as Graziano Visintin, Renzo Pasquale, Annamaria Zanella, Stefano Marchetti and Giovanni Corvaya continued along these lines or went their own highly individual ways by experimenting with the use of new materials including plastic. The work of these creative artists is beautifully displayed through color photographs, which serve to highlight their great talent.

The representation of mysterious and fantastical figures, magical inscriptions and mythical beings that are half man and half beast are characteristic of the jewelry works and art objects created by Ulo Florack. With artistic mastery and an exuberant imagination, he tells stories using gold, silver, platinum and enamel. Ulo Florack is a multi-talented artist. It is almost impossible to categorize him. The question of whether he is more a painter or a jewelry artist cannot be answered definitively: both aspects cross-pollinate each other. His jewelry objects incorporate sculptural elements, whilst the choice and application of colors reveal the artist. His style is very distinctive and his objects use surprising ideological and intelligent imagery, which consciously hovers in the grey area between fantasy and reality.

Text in English & German.

The collection of British silver at the Ashmolean Museum has all, with one notable exception (a tankard of 1574 given in 1790), been acquired since shortly after World War II. In relation to other major museum collections, therefore, it is young. Yet amounting to over 550 objects, many of which are of spectacular quality and rarity, it is one of the most important collections of its kind in the world, equaled only for the ‘golden age’ of English silver by the Victoria and Albert Museum in London and the Museum of Fine Arts in Boston. The collection has never been fully catalogued and this will be the first time a complete catalogue has been published.

In Let the Kids Play, Drago’s 36 Chambers series exalts the beauty and exuberance of youth as embodied by the renowned street artist, Pax Poloscia. The book is a reaction to the cynicism and monotony of the adult world and a celebration of youthful creativity.

Tossed into a melting pot of calligraphy and graffiti writing from around the world, ZenTwO and Native’s work leans towards the raw and finds expression in the uneven in an attempt to access, engage, and integrate vivid emotions in a destabilising aesthetic. Drago’s 36 Chambers joins an international and multi-cultural tour of street art with this fresh addition to the series.

Drago’s impressive library already includes the works of many internationally celebrated and influential photographers such as Boogie, Estevan Oriol, Ed Templeton and JR. The Street is Watching encapsulates the talent of these artists together with over 100 contributing photographers in a single and revolutionary anthology. These featured photographers include Larry Clark, Glen E. Friedman, Martha Cooper, Jamel Shabazz, Bruce Davidson, Jim Goldberg, Mary Ellen Mark, Bruce Gilden, Ryan McGinley, Hugh Holland, Jill Freedman, C.R. Stecyk, Dash Snow, Bruce LaBruce, Ivory Serra, Olivia Bee and many more. The book also features insightful contributions from the curator, Paulo Luca von Vacano; Miss Rosen, a New York-based photo editor and photography book specialist and Ethel Seno, a project manager and curatorial coordinator at MOCA, Los Angeles.

In The Thousands, an 18-year-old RJ Rushmore curates an extensive collection of some of the biggest names in Street Art including Faile, Banksy, KAWS, Shepard Fairey, Swoon, Herakut, Jenny Holzer, Blek le Rat, Futura 2000 and Barry McGee. As the founder and editor-in-chief of Vandalog, Rushmore has achieved a reputation for “genuine reporting, insight and analysis” (Papermag). This quality and attention to detail shines through the compelling writing in his book. Many of the works featured have come from private collections and several pieces have been provided directly by the artists participating in the show and the book. Each artist or group of artists is explored in an immersive two-page spread with an insightful biography and intricate analysis of their work. This fascinating anthology is a must-have for Street Art followers and those simply interested in the movement.

In keeping with an editorial strategy that aims to bring to public attention all of the various groups of works belonging to the Calouste Gulbenkian Collection, a book devoted to its drawings and watercolors has been published. Featuring texts by Manuela Fidalgo, who worked as a curator at the Calouste Gulbenkian Museum until her retirement, this edition is the product of several years of thorough research underpinned by technical and scientific rigor and the involvement of several international experts in the art of drawing.

This publication therefore plays an essential part in raising awareness of one of the Calouste Gulbenkian Museum’s least-well known collections, which includes works produced in the main centers of European art (France, Holland, Flanders, England and Italy) between the 16th and early 20th centuries by great masters such as Dürer, Watteau, Boucher, Turner and Sargent, among others. This book also gives us a clearer picture of Calouste Gulbenkian’s artistic sensibility as a collector: despite claiming not to be attracted to drawing, the beauty and quality of the works brought together here were such that he could not resist purchasing them.

The 25th anniversary of the UN Convention on the Rights of the Child is a good reason to put the topic emphatically into the public focus. UNICEF Germany and GEO – with the support of the world’s best photographers and Edition Lammerhuber – do exactly that in this joint pro-bono project. In 40 photographic reports from 15 years, a selection of particularly striking pictures from the UNICEF Photo of the Year competition forms a fervent appeal to respect the rights of the child and to guarantee every girl and boy in the world a childhood in dignity. The volume is edited by Jürgen Heraeus, the Chairman of the German Committee of UNICEF, and Peter-Matthias Gaede, long-serving Editor-in-Chief of GEO. We the Children draws attention to the suffering and hardships, but also to the wishes and dreams of today’s children. We the Children is a book full of hope for a child-oriented world. Text in English and German.

New York City’s borough of the Bronx draws millions of people annually to visit the largest zoological park in the United States, or to catch a baseball game at Yankee Stadium. Beyond the animal cages (and batting cages) is a section of the city filled with art, food, music, and unusual sites that can only be found in one place: Da Bronx. The Bronx offers some of the most amazing experiences for visitors to New York City because it is so unexplored. You can take a canoe down a river, or take a course in pole dancing school. The Bronx has a rich history, which includes the American Revolution, that has given way to today’s rebels in street fashion. Sit down and feast on dishes from Ghana and Italy. Learn to roll cigars. Pay homage to the founders of rap music and hip hop culture. And explore quiet cemeteries’ stunning architecture. The borough is home the largest park in New York City, waterfront vistas that are unparalleled, and access to riverfronts and bays. Whether you are a first time visitor, longtime resident, or a native, you will find 111 hidden gems in the Bronx. The most unexplored borough of New York City is yours to discover with 111 Places in the Bronx That You Must Not Miss.

The fashion, history, and development of Jewish dress tells a story that spans the globe and crosses many cultures. In this colorful volume, Jewish communities – particularly those established for centuries in Eastern Europe, the Middle East, and North Africa – are revealed through their garments. Stunning photographs spin tales of family traditions and religious devotion, with a special section dedicated to jewelry worn by brides and grooms. Superb photographs of specific garments, with many close-up details, are juxtaposed with rare contextual photographs from The Israel Museum’s archives to create a tapestry of a people revealed through textiles, costume, and images. More than 350 revelatory illustrations tell us how these precious articles of dress were originally worn.

This popular work sheds lights on Taoism, China’s great indigenous religion during this vibrant and glorious period of Chinese history. Without these insights, we can have only limited understanding of an important aspect of China’s social, political, and of course, religious life.

By the early seventeenth century the Tokugawa shogunate had achieved supremacy over the islands of Japan. Meanwhile, the great Ming dynasty of China, which came to power in 1368, was on its last legs. North of the Great Wall, the nomadic Jurchens were beginning to cause the Ming government trouble. Across this stage of international conflict and intrigue wanders a completely unlikely couple, the Jurchen princess Abiya, shipwrecked on the island of Hirado, and the minor samurai Katsura Shosuke, charged by his lord with returning her to her North China homeland. Neither has any inkling that they will soon become caught up in events that will shape the history of East Asia, and will bear witness to the birth of two remarkable and enduring regimes. An epic of colorful characters animating pivotal events taken straight from documented history, The Tatar Whirlwind was penned by Japan’s most popular writer of historical fiction and rendered in a masterful and accurate translation by a noted scholar of East Asian history.

In the seventh century the great T’ang nation was obliged to reconquer the southern most portion of what had been considered Chinese territory for many centuries. The region had in fact remained largely an unassimilated wilderness, whose heavily forested marshes – monsoon lands with fringes of the true tropics – corresponded roughly with modern North Vietnam, along with the Chinese provinces of Guangxi and Guangdong. The Vermilion Bird attempts to recover the actual character of the monsoon realms of T’ang: a scattering of palisaded garrisons, isolated monasteries, and commercial towns, all surrounded by dark, haunted woods. The soldiers, administrators, colonists, and political exiles who lived there were constantly threatened by hostile inhabitants, disease, wild animals, and supernatural powers. On the other hand there were new and beautiful flowering plants and luscious fruits for the delectation of the connoisseur, enchanting limestone grottoes ready to be explored, and every sort of ravishing image available for the exploitation of poets. Professor Schafer examines the thoughts, emotions, imaginations, and daily lives of the men.

A new title in the Design series and an excellent introduction to the life and work of this versatile Russian artist. Alexander Mikhailovich Rodchenko (1891-1953) was a central figure in the Russian Constructivist art movement; a radical activist, a pioneer of photomontage, a theorist, and a teacher. He was an active force in the organization of the first museums of modern art that arose in Russia in the first years after the Russian Revolution of 1917. Attending art school in 1914 in Kazan was to be a defining influence: that year Russian Futurists performed in the town, and Rodchenko saw their leading figures in action. It transformed his vision and he was still working with Futurist artists and their ideas twenty-five years later. And it was at art school where Rodchenko first met the artist Varvara Stepanova, with whom he collaborated extensively, and who would become his life-long partner. Central in the re-examination of art and its place in society after the Revolution, and in the search for a new culture without the class implications of the past, Rodchenko’s radical approach proposed a new understanding of a constructed, rather than a tastefully composed, culture. This concise, comprehensive and informative work focuses largely on Rodchenko’s graphic work in the form of book jackets, posters and advertising. Also avaliable: Claud Lovat Fraser ISBN: 9781851496631 GPO ISBN: 9781851495962 Peter Blake ISBN: 9781851496181 FHK Henrion ISBN: 9781851496327 David Gentleman ISBN: 9781851495955 David Mellor ISBN: 9781851496037 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 Abram Games ISBN: 9781851496778