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John Russell Pope is one of America’s most famous architects, responsible for many major works, including the Jefferson Memorial, the House of the Temple and the West Building of the National Gallery of Art. This book, The Architecture of John Russell Pope, Selected Works: Houses is the first volume of a two-part monograph, to be followed by a volume on public buildings.

Made in association with the ICAA (the Institute of Classical Architecture & Art), this is a lavishly illustrated study of Pope’s extraordinary house designs, often inspired by classical European architecture, standing proudly among his achievements as the crown jewels in many of the USA’s most vaunted ZIP codes. Originally published during the 1920s, Pope’s exquisite floorplans and sketches accompany period photographs and the original commentary by art historian and traditionalist Royal Cortissoz to create a comprehensive and visually stunning account of a true titan of American design.

Houses include: the residence of Ogden Mills, Woodbury, Long Island; Moses and Edith Taylor’s Glen Manor House, Portsmouth, Rhode Island; Charlcote House, built for James Swan Frick in the suburbs of Baltimore; the now lost Oak Hill mansion, Jericho, Long Island; and Brodhead-Bell-Morton Mansion (aka Morton House) in the exclusive Logan Circle area of Washington DC.

Born in Yugan, near Jingdezhen, the birthplace of porcelain, Bai Ming has contributed to the revival of contemporary Chinese ceramics and introduced it to a new worldwide audience through numerous exhibitions. Today he is arguably China’s greatest exponent of this most traditional art form.

In this book, Bai Ming traces his career, revealing a sensitive yet creative and flamboyant style, built on the most rigorous traditional techniques.

Focussing particularly on his blue and white ceramic work, this book, through a large selection of glorious images and the artist’s own words, reveals Bai Ming’s exquisite style and superb attention to detail.

Why collect Russian stage designs? Why write about them? These questions are not rhetorical or idly academic. They have real historical, intellectual, and commercial relevance. Answers may vary, but surely a primary response must be that, quite simply, Russian stage designs are immensely pleasing to the eye. They vibrate, and scintillate with color, texture and movement.

Furthermore, through their daring inventions, Russian artists of the first thirty years of the 20th century transformed, profoundly and permanently, our perception of stage design – and hence of the theater. They belonged to an extraordinarily creative generation of impresarios, dancers, actors, patrons, and critics who inspired or at least made a major contribution to the international renaissance of the art of the stage, and in particular areas, e.g. the teaching and performing of ballet, their influence is still present today.

However, in spite of the many published commentaries on the Russian theater, in spite of the autobiographies and biographies of its leading representatives, and in spite of the scholarly appreciations of its various components (ballet, drama, opera), the subject of stage design in Russia has yet to be explored in all its manifestations.

Each work presented here is documented as fully as possible, and includes curatorial data, provenance index, and references to relevant published sources, exhibitions; and variants such as copies and preliminary drawings. The catalogue raisonné addresses the issues of attribution, identification of stage production, and date of execution and adduces evidence in the form of bibliographical, archival, and photographic data, expert opinion, and circumstantial evidence in order to support assumptions and conclusions.

“For the general reader there are many splendid discoveries; for anyone in today’s theatre, with its drearily modish predictabilities of image, it should prove an eye-opener, an eye-cleanser, an inspiration”. Clement Crisp, The Financial Times

“This is an essential guide not just to the works in the collection themselves, but to the biographies of the artists”. The Art Newspaper

The Encyclopedia of Russian Stage Design 1880-1930 has been published to accompany Masterpieces of Russian Stage Design 1880-1930 ISBN: 9781851496884.

“Four fluent, readable essays will offer much to higher level students of Russia’s history, theater, culture, and art… The artwork is presented beautifully: the book features over 200 full-page brightly colored illustrations. Verdict Academic libraries should consider this worthy title for their art and/or Russian studies collections” Library Journal

“Anyone interested in the theater will enjoy leafing through this book, but the text also makes it a resource for specialists in the history of Russian stage design.” CHOICE

Masterpieces Russian Stage Design 1880-1930 examines the Lobanov-Rostovsky collection of stage design, in turn outlining the history of modern Russian art: one of the most important interludes within the cultural renaissance of the early twentieth century. Unique in size, scope, and composition, the collection is unequalled; artists include celebrities such as Bakst, Benois, Goncharova, Larionov, Malevich, Popova, Rodchenko, and Tatlin as well as less familiar names such as Anisfeld, Lissim, Remisoff, and Soudeikine. This volume (the first of a two-part set) includes over 200 color illustrations of selected designs as well as an introduction, interview, indices (to artists, theater companies, and primary productions), a glossary of terms, and a comprehensive bibliography for the visual and performing arts in Russia. From Neo-Nationalism and Symbolism through Cubo-Futurism and Suprematism to Constructivism and Socialist Realism, Masterpieces of Russian Stage Design guides the reader through the movements, styles, productions and projects that attracted many of Russia s early twentieth-century artists to the stage. The companion volume, Encyclopedia of Russian Stage Design ISBN 9781851497195 (to be published in 2013), is the catalogue raisonné of the Lobanov-Rostovsky collection.

It is a vast world one enters when writing on the statuettes of the Art Deco era: both in terms of the number of artists that contributed to it, and the number of figures they created. This book studies the influences that shaped these artists’ work – namely, the growth of the Ballets Russes under the aegis of Sergei Diaghilev; the fascination in all things Egyptian that followed the discovery of Tutankhamun’s tomb in 1924; and the Music Hall, with all of its venues, its stars and its glamor. Paris was a magnet for aspiring artists. An unrivaled destination for free-spending tourists, its popularity dwelt in the city’s inexpensiveness, considering the absence of the dollar and the falling value of the franc. A thorough look at its artists and their work can only emerge from long investigation.

Also available by Alberto Shayo: Chiparus: Master of Art Deco ISBN 9781851498222 and Roland Paris: The Art Deco Jester King ISBN 9781851498239

The selection of paintings in this collection illustrates the owner’s evolving taste, his relationship with the world of Orientalism and his interest in its European expression. This Orientalist collection is a harmonious “kaleidoscope” of genres, presenting the Orient through a variety of forms, styles and techniques, and revealing to the European viewer the mysterious East with its bright colours, its exotic and leisurely lifestyle. Over the years, it has become one of the most complete and magnificent tributes dedicated to the world of Orientalism and as such some of the most renowned experts in this field have contributed to this book in order to mark its importance in the art world. Lavishly illustrated, Masterpieces of Orientalist Art: The Shafik Gabr Collection also includes essays by distinguished Orientalist scholars.

The wee folk have returned! Uncover the mystery of who they are and why they are here in the first book of the Vinetrope Adventures. Following a young girl, Sara, who has recently lost her mom to cancer, Return of the Vinetropes tells the story of a remarkable fairy-like creature found in Sara’s back yard. Lucinda Vinetrope: born wise, full-grown, and all alone. She may only be 12 inches high, but her personality is huge! Her arrival signifies the return of the Vinetrope nation, but also the return of their evil counterparts, the Chargons and the Vinkali. Joined by a supporting cast of comedic characters, animal and human alike, Sara and Lucinda set off on their quest to find the other Vinetropes and protect their world from danger.

The Berber women from Morocco have received wide acclaim for their rugs. They also used their amazing skills to weave traditional costumes, whose ample shapes are reminiscent of the draped garments of antiquity. Many garments, veils and capes reflect the identity of the different groups living on mountains and in valleys. They represent a way of life that is disappearing fast, as contacts with the outside world render it obsolete.

Some items of clothing are decorated with designs transferred from mother to daughter, but tradition did not prevent weavers from expressing their own creativity. The book shows a wide variety of designs allowing the reader to discover masterpieces of weaving and embroidery, but also of decoration with henna, a technique only known from Morocco.

This book is the first to offer a vast panorama of this exceptional heritage from the Mediterranean coast to the Sahara. Ethnologist Marie-Rose Rabaté and Frieda Sorber art historian and textile specialist have, between them researched Berber costume in and outside Morocco for 40 years.

As women in a female environment, their invaluable experience has allowed to widen existing knowledge, to collect rare examples, to witness the changing state of textile crafts and to pinpoint the recent apparition of fakes. In and outside Morocco many collectors have shared their collections for study, to help them to define a Berber style of decoration.

A wealth of objects was chosen to illustrate the texts, showing a kaleidoscope of colors and designs, including many details. They present an art that remained hidden for a long time, and that almost disappeared before it could claim its place among the world’s cultures.

Text in English and French.

Shafik Gabr started his collection of Orientalist art in 1993 by acquiring a painting by Ludwig Deutsch entitled Egyptian Priest Entering a Temple. His collection is today amongst the very few in the world to count such a large number of works by the famed Austrian artist as well as some of the finest examples of the greatest masters of Orientalism such as Jean-Léon Gérôme, Frederick Arthur Bridgman, Gustav Bauernfeind and many others. Important for both scholars and art lovers, the Shafik Gabr Collection impresses us with its richness and variety. It includes masterpieces by some of the major nineteenth and twentieth century Orientalists found in private hands today and demonstrates the owner’s appreciation of differences as well as similarities in European visions of the versatile and diverse Orient. The selection of paintings in this collection illustrates the owner’s evolving taste, his relationship with the world of Orientalism and his interest in its European expression. This Orientalist collection is a harmonious “kaleidoscope” of genres, presenting the Orient through a variety of forms, styles and techniques, and revealing to the European viewer the mysterious East with its bright colors, its exotic and leisurely lifestyle. Over the years, it has become one of the most complete and magnificent tributes dedicated to the world of Orientalism and as such some of the most renowned experts in this field have contributed to this book in order to mark its importance in the art world. Lavishly illustrated, Masterpieces of Orientalist Art: The Shafik Gabr Collection also includes essays by distinguished Orientalist scholars.

Artisans of Israel is a very special book on crafts. Author Lynn Holstein is in search of a national identity in the artisanry of the still young country – and she finds it in the unifying pursuit for innovation. Forty artists, including Jews, Muslims and Christians, tell their stories and show in five different trades how emancipation can be promoted through creativity. Working with one’s hands stands unfailingly at the centre of this reflection. From the hybrid of cultural and religious backgrounds emerges a unique compilation that brings together the fields of metalwork and jewellery, ceramics, textiles, paper and wood. This compilation portrays a sensitive and inspiring portrait of Israel and its inhabitants. This book accompanies an exhibition at The Open Museum, Tefen (IL), in January 2018.

Text in English, Hebrew and Arabic.

Between 1885 and 1891 the Swiss pastor Wilfried Spinner sojorned in Japan on behalf of the East Asian mission. He founded the first Christian parishes in Tokyo and Yokohama and began to intensively teach there. However, his interest was also directed at local beliefs, which informed the everyday lives of the population. He brought back to Europe around eighty religious scrolls, comprising some painted hanging scrolls and numerous black-and-white prints (ofuda). Ofuda are paper amulets featuring representations of important deities, Buddhas and bodhisattvas, which were printed in and distributed from temples. Some of them additionally feature calligraphy, which was written by the monks in the presence of the pilgrims. They are evidence to their pilgrimage and accompany them onwards as protection and good luck charms. The recently discovered collection of Wilfried Spinner in the Ethnographic Museum at the University of Zurich covers a broad spectrum both figuratively and in content.

Text in English, German, and Japanese.

Tibetan Buddhist art is not only rich in figural icons but also extremely diverse in its symbols and ritual objects. This first systematic review is an abundantly illustrated reference book on Tibetan ritual art that aids our understanding of its different types and forms, its sacred meanings and ceremonial functions. Eighteen chapters, several hundred different implements are documented in detail, in many cases for the first time and often in their various styles and iconographic forms: altar utensils and amulets, masks and mirrors, magic daggers and mandalas, torma sculptures and prayer objects, vajras and votive tablets, sacrificial vessels and oracle crowns, stupas and spirit traps, ritual vases, textiles, furniture, and symbolic emblems. These are accompanied by many historical and modern text sources, as well as rare recorded oral material from high-ranking Tibetan masters. This long-awaited handbook is a must-have for all those with an interest in Buddhist art and religion.

The Alice and Louis Koch Collection of finger rings was originally collated by a jeweler from Frankfurt am Main, once described as the German ‘Cartier and Fabergé’. By 1909 the collection comprised 1,722 rings from Antiquity to 1900. Rene Lalique, a contemporary of the time, was included, undoubtedly as a modernizer of the ring form. In the past twenty-five years the fourth generation of the family continued where Louis Koch and his wife Alice left off and expanded the collection to include rings from the twentieth and twenty-first centuries.

This publication will present the complete collection of contemporary rings, now kept in the Swiss National Museum, Zurich. Nearly 600 rings by artist jewelers from around the world document how these miniature works of art have become modern sculptures showcasing new materials and techniques, daring designs and current themes.

Text in English and German.

Comprehensive Examples of Landscape Classification is an in-depth reference guide to the varying types of landscape architecture and design, offering a complete overview of the subject. The book is divided into 18 chapters: road and street landscape, floor covering landscape, planting landscape, table and chair landscape, stair landscape, trestle and quay landscape, rail and fence, door landscape, artificial waterscape, natural water landscape, swimming pools, wall landscape, roof landscape, landscape construction, landscape architecture, lighting landscape, sculpture piece and professional facilities.

History Today carried a feature in 2015, describing The Origin of Museums as “a cult book [that] spawned a new discipline in the history of collecting”. Indeed, the first publication of this book in 1985 undoubtedly marked a propitious moment in the development of interest, in what has since grown to be a dynamic subject-area in its own right. That an appetite for such matters was already there is confirmed by the fact that the first impression sold out within a few months, a second impression a year or two later, and the third in 1989. There was to be no further printing by the original publishers, Oxford University Press. However in 2001 a new edition appeared with a new publisher. Demand again proved buoyant, but within a few months the company failed; having operated on a print-on-demand basis, it left behind it no unsold stock. The Origins of Museums reverted to a scarce (though much sought-after) volume. With original copies now selling for hundreds, if not thousands of pounds, the Ashmolean is proud to make this important volume readily available again.

Drago’s 36 Chambers series explores one of the world’s best-known street artists and the evolution of his unique iconography. Nick Walker’s iconic bowler-hatted character is an urban prankster whose timeless work possesses a charming yet mischievous sense of humor. Together with a collection of never-before-seen stencil pieces, the book provides exclusive insight into the birth of modern street art and culture.

For ten years, New York’s Alleged Gallery provided a breeding ground and played the role of willing accomplice to some of the most vibrant American art to come along in decades. By exhibiting the then emerging talents of Mark Gonzales, Chris Johanson, Rita Ackermann, Susan Cianciolo, Barry McGee, Margaret Kilgallen, Harmony Korine, Mike Mills, Ed Templeton, Thomas Campbell and Terry Richardson, much of Alleged’s impact was due to a complete and utter disregard for the status quo. Using a potent blend of photographs, artworks and interviews with artists, photographers, filmmakers, musicians, collectors and other denizens of the era, Aaron Rose’s Young, Sleek and Full of Hell documents the glorious trials and tribulations of running an independent gallery in the final hours of the 20th century.

The full list of the artists interviewed by Brendan Fowler in the book is as follows: Thomas Campbell, David Aron, Liz Goldwyn, Joey Garfield, Leo Fitzpatrick, Spike Jonze, Audrey ‘Rose’ Bernstein, Kid America, Amy Gunther, Mike Mills, Jason Lee, Arik ‘Moonhawk’ Roper, Carlo McCormick, Shelter Serra, Kim Hastreiter, Andre Razo, Chris Pastras, Lila Lee, Athena Razo, Joshua Wildman, Brian Degraw, Chris Habib, Julia Gandelsonas, Bill Powers, Sasha Hirschfeld, Susan Cianciolo, Shayla Hason, Ari Marcopoulos, Cynthia Connolly, Adam Glickman, Michele Lockwood, Terry Richardson, Barry McGee, Phil Frost, Tobin Yelland, Craig R. Stacyk II, Jess Holzworth, Marcellus Hall, Ashley Macomber, Tatiana von Furstenberg, Stefano Giovannini, Adam Wallacavage, Rita Ackermann, Erin Krause, Chan Marshall, Stephen Powers, David Hershkovits; Thurstone Moore, Chris Johanson, Janice Gaffney, Ed Templeton, Hugh Gallagher, Harmony Korine, Andy Jenkins, Ryan McGinley, Cheryl Dunn, Simone Shubuck, Shepard Fairey, Andrew Jeffrey Wright, Lee Ranaldo, Seth Hodes, Bruce Labruce, Brendan Fowler, Dakota Goldhor, Beata Hendricks, Ivory Serra, Susanna Howe, Mai-Thu Perret, Christian Strike, Chloe Sevigny, Oliver Zaham and Clare Crespo.

Joaquin Sorolla’s catalogue raisonné is the culmination of a project that was initiated by Francisco Pons-Sorolla and Blanca Pons-Sorolla, which assembles all the work of the painter known so far (over 4,000 works). The aim of this project is the publication of five volumes in which the works by Joaquin Sorolla Bastida (1863-1923) will be presented by themes: 1. Sorolla Museum; 2. The Sea and the Beach; 3. Portraits; 4. Landscapes; 5. Composition Works. Within these themes, the works will be presented chronologically, so that the evolution of the painter can be observed in each case.

This first volume of the catalogue is dedicated to the collection of the Sorolla Museum, which houses the largest collection of the artist’s works. It displays a comprehensive panorama of the painter’s oeuvre through 1,300 pieces.

The project is currently being financed by the Sorolla Museum Foundation, and is being carried out by Blanca Pons-Sorolla, with the collaboration of Teresa Jiménez-Landi and Mónica Rodríguez Subirana. Since the beginning of the project in 1987, a profoundly better understanding of Sorolla’s work has been achieved.

The Meadows Museum at Southern Methodist University is honored to offer viewers in the United States their first opportunity to contemplate masterpieces from the leading historic private art collection in Spain. The treasures of the Alba family represent more than five hundred years of patronage and collecting of European art of the highest quality and importance. One hundred thirty-eight exemplary objects from these vast holdings will be presented in Dallas and then travel to the Frist Center for the Visual Arts in Nashville. Coinciding with the Meadows Museum s golden anniversary, the exhibition Treasures from the House of Alba: 500 Years of Art and Collecting and this companion publication trace the history of the Alba family from the fifteenth century through the present day through the works they collected. The book explores the family’s wealth of paintings, sculptures, furniture, tapestries, and other objects, as well as the Alba archives and library. The stature of the painting collection is clear from the artists represented in the exhibition, among them Fra Angelico, Titian, Rubens, Mengs, Goya, Ingres, Sorolla, and Renoir. The relationship of the Alba legacy to America is highlighted in decorative objects and in a selection of documents from the Alba library related to Columbus and his voyages. The ten essays in this publication shed light on the dynasty’s particular interest in collecting tapestries; its patronage of writers such as Garcilaso de la Vega; the influence of Eugenia de Montijo, empress of France, who was directly related to the Alba family; the pivotal roles of the Seventeenth Duke of Alba and his daughter, the Eighteenth Duchess, in the twentieth century, both of them keenly engaged with the art of their time; and the three palaces Liria, Monterrey, and Las Dueñas that house much of the collection today. Finally, there is one essay covering the biographical life of the Albas as well as an article that discusses their artistic legacy. As a result, the book provides an in-depth study of the rich life and cultural achievements of this legendary dynasty that still lives strong today.

More than any other civilization, China is renowned for its long tradition of ceramic production, from its terracotta and stoneware works in ancient times to the imperial porcelain manufactured at Jingdezhen from the end of the fourteenth century. These works have been admired and collected over centuries for their outstanding quality and refinement. Now two hundred masterpieces from prominent private collections around the world have been brought together for the first time in a new book. The Baur Collections in Geneva, formed between 1928 and 1951, and the Zhuyuetang Collection (the Bamboo and Moon Pavilion in Hong Kong), which has been building since the late 1980s, reveal the elegance and variety of imperial monochrome porcelain wares produced during the Ming (1368-1644) and Qing (1644-1911) dynasties, which followed on from the Tang (618-907) and Song (960-1279) periods. These restrained pieces – both profane and sacred – exemplify the values of simplicity and modesty espoused by classical Chinese texts. With chapters devoted to the historical, cultural and technical contexts in which these pieces were made, this book will be a key reference on Chinese monochrome ceramics for all lovers of the subject, as well as students, researchers and connoisseurs.

Text in English and French with Chinese summaries.

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

While the foundations of the Josette and Jean-Claude Weill Collection lie in painting, their passion for seeking out exciting new forms soon led them to embrace the infinite diversity of tribal art. Expanded over the decades under the enthusiastic stewardship of their son Jean-Pierre, the collection now includes over 120 works of the very highest order, covering Africa, Oceania, and the Americas. Several large categories can be discerned, reflecting the Weill family’s liking for daring, expressionistic forms: Dogon and Tellem statues combining geometric shapes with textured surfaces, as well as Kongo powerful figures endowed with magic properties. The expressive arts of Nigeria, Cameroon, and Melanesia are also well represented in the collection. Among the more classic works there are pieces that have iconic status – such as the Bena Lulua statue that used to belong to Jacques Kerchache, Edward Robinson’s Fang reliquary figure, or the Biwat powerful flute plug from the Lemaire Collection – that testify to the sureness of the Weill’s taste and to the shrewd instinct that led them to appreciate this art from another world. An important group of finely carved small ivories makes up one-third of the whole collection. This book will provide an opportunity to unveil the Parisian collection shrouded in mystery, whose importance is matched only by its confidentiality. In order to enable the reader to capture the full richness and diversity of its contents, the works are all accompanied by notes written by experts, including Viviane Baeke (Africa Museum, Tervuren), Philippe Dagen (historian and art critic), Jean-Paul Colleyn (anthropologist), Bertrand Goy (author specializing in the Ivory Coast), Hélène Joubert (Musée du Quai Branly-Jaques Chirac), Hélène Leloup (historian and antiquarian), Sean Mooney (the Rock Foundation), and Philippe Peltier (formerly at Musée du Quai Branly-Jaques Chirac).

Wen Tong (1019-1079) is considered the supreme master of bamboo painting in the history of Chinese art. According to his friend and admirer, Su Shi (Dongpo), the greatest poet of the Song Dynasty (960-1279), “When

Wen Tong painted bamboo, he himself became bamboo!” Wen was a poet as well, and perhaps because of his fame as a painter, his poetry has remained virtually unknown for centuries. This book is the first in any Western language to present translations of selected poems by Wen, over three hundred of them, as well as examples of his prose writings, which are also fascinating. A particular revelation is Wen’s unusual degree of interest in what might be called the Folk Religion of China, for example, ceremonies of supplication to various gods, especially Dragon deities, to send rain in time of drought.

Wen’s poems and prose pieces also bring to light aspects of Buddhism, Daoism, and Confucianism that are of great importance in Chinese civilization, but rarely addressed in the literature of the Chinese poets as they involve devotional practices held in suspicion by many of the literati, but seen by Wen Tong in a positive light.

This most comprehensive and authoritative dictionary of Japanese artists has been continuously in print and used by scholars and connoisseurs of Japanese art since first published in 1977. The pertinent facts related to approximately 3000 painters, printmakers, sculptors, potters, and lacquerware makers born before 1900 are concisely listed, including their art names (in kanji and romanized), brief biographies, descriptions of their work, collections in which their work is included, and books and periodicals in which their work is discussed or illustrated. Extensive appendixes, glossary, bibliography and complete indexes – including artists by alternate names and Japanese characters – make this an essential reference for all those interested in Japanese and East Asian art.