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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.

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.

Sculptor Martin Kargruber (b. 1965), from South Tyrol, Italy, forms each of his distinctive sculptural objects from a single piece of solid wood. He consciously uses the wood’s natural properties and organic materiality in his architectural and landscape motifs, employing traditional techniques and interpreting them anew in extraordinary ways. He transforms the rigidity of the material into a seemingly gentle movement, incorporating the workmanship itself into an explicit part of the design. His representative motifs are characterized — above and beyond the formal concept — by intensive exploration into the reality of the living world and a high level of poetic abstraction.

Text in English, German and Italian.

Contemporary office design is evolving, with clients looking for flexible and adaptive spaces, which meet the needs of the twenty-first century workforce. Designers are pushing the boundaries of what it means to work in an office within an ever-connected global network. Intuitive environments are responding to and accommodating the dynamic working styles of the technologically savvy. Approaching office design from an holistic point of view is crucial in order to understand the company and the client; how they currently operate and how they wish to operate in the future. Spatial functionality is an important, if not the most important, aspect of a successful interior space. Establishing the look and feel of an office environment is a balance between function, form and aesthetic appeal. Inside/Outside Office Design V is the latest in this highly successful series, presenting an up-to-date collection of superior office designs from around the world.

JR uses the street as a canvas for his monumental photographic collages. His participatory projects (28 Millimeters, Face 2 Face, …) involve local communities. He launched Inside Out, a worldwide project inviting everyone to express themselves through images. He also explores cinema (Visages, Villages with Agnès Varda, awarded in Cannes) and creates spectacular installations (Louvre, Rio Olympics). His committed art, somewhere between poetry and activism, transforms public space into a universal gallery.

This book puts New York in the spotlight. Since 2006, JR’s collages have marked the life of New York, and several of his most important projects have been set up in this cosmopolitan city: Unframed at Ellis Island, in collaboration with Robert de Niro (2014), The Chronicles of New York City in front of the Brooklyn Bridge (2024), or the immense collaborative collages, such as the one in Times square or Flatiron plaza. An introductory text by The New Yorker’s editorial director, Françoise Mouly, offers a fresh look at this work.

Collecting objects gives enormous pleasure to approximately one third of the population, providing such benefits as intellectual stimulation, the thrill of the chase, and leaving a legacy. On the other hand, the same pursuit can engender pain; for example, paying too much for an object, unknowingly buying a fake, or dealing with the frustrations of collection dispersal. Until recently, there was no objective way to enhance the positive (pleasure) aspects of collecting and minimize the negative (pain). Now, for the first time, scientific research in neuro- and behavioral economics gives us a way to turn this around.

Neuroeconomics is the study of the biological foundation of economic thought, while behavioral economics incorporates insights from psychology and other social sciences into the examination of monetary behavior. By using examples from these disciplines, Shirley M. Mueller, MD, relates her own experiences as a serious collector and as a neuroscientist to examine different behavioral traits which characterize collectors.

The contents of this book are cutting edge, unique and sure to get attention. Mueller breaks new ground in an area not previously explored. Her information is relevant not only for collectors, but also for colleges, and universities which teach collection management, plus museum staff who interact with collectors and dealers of objects desired by collectors. Heavily illustrated with ceramics from Mueller’s collection and packed with useful information, this book will become a required vital resource.

“The book provides a fresh take on the difference between the lived experience inside Ferrari and the perception from outside, combining intense scrutiny and global fan adulation.” – Motorsport.com

“The photographs in the book, reproduced with startling clarity while still maintaining a period-correct palette, are a joy to study, demonstrating with profound evidence the progression of the drivers, cars, and competition—as well as the photographers’ techniques—through the decades” – Car and Driver

Ferrari is the beating heart of the global sporting phenomenon that is Formula 1. Its founder, Enzo Ferrari, was born on the racetrack as a competition driver before he became a creator of mythical road cars. No other team can inspire the passion or match the stories of triumph and tragedy.

Rainer Schlegelmilch and Ercole Colombo are two of Formula 1’s most legendary photographers. They covered the sport from the 1960s onwards, with amazing access inside the Scuderia. Here, for the first time, they come together to pay tribute to Formula 1’s most iconic team.

Ferrari: From Inside and Outside features contributions from iconic figures including Piero Ferrari, Luca di Montezemolo, Stefano Domenicali, Jean Todt and legendary designer Mauro Forghieri. The book is edited by internationally celebrated Formula 1 commentator and Michael Schumacher’s biographer, James Allen.

The Song Inside of Things includes a foreword by Mary Kate Tankard, an extended essay by Craig Burnett and an interview by Jeff Gunderson. These explore Berggruen’s wide-ranging subjects, her musical, literary, historic and artistic influences, and her working processes. The book forms part of the Hurtwood Artist & Gallery Series, offering an in-depth insight into the practice and thinking of some of the most engaging artists working nationally and internationally today.

“The book’s rich visual history and detailed descriptions make it a must-have for any Ferrari enthusiast… .” — Global Village Space
“Beautiful photography is a great way to focus on Ferrari racing, from early Grand Prix to present-day Formula 1.” — Car and Driver
“A must-have book for the Ferrari fan.” — Antique & Collectors Trader

“…simply oozes the Ferrari mystique from every page. Even though I’ve loved Ferrari for decades, reading this book was like falling in love with Ferrari all over again for the very first time. Yes, no question, it’s a must-have Ferrari book.” — Prancing Horse Magazine

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.

Using the formalist conventions of an ironic heritage, William Ludwig Lutgens attains the expression of something sincere. Like the philosophical idiot who did his utmost best to unlearn all the fallacies he was acquitted with since birth and now only knows he knows nothing, the artist made the world into his own theater wherein he can stomp around like a bull in a china shop with the grace of a prima ballerina. Forcing a pathway to possible exits by presenting us with the alloy of his observations, imagination and scattershot references. Not merely asking questions, which seems to be the hype in contemporary art nowadays, he is unraveling the framework wherein these questions originate. The image deconstructed by the story of its creation, alternating between the power and impotence of the theatrical madness at the end of the world as we know it. William Ludwig Lutgens presents with his Comedy of Humours the dysfunctional family of man.

Text in English and Dutch.

John Ruskin wrote this fable for a teenage family friend, Effie, and later he married her. The marriage was famously disastrous, but before it fell apart the Ruskins allowed The King of the Golden River to be published. It became one of the most popular works for children of its time. Richard Doyle contributed over 25 full-page illustrations and vignettes.

The King of the Golden River is the first literary fairy tale in English (as opposed to collected folk tales). Ruskin himself said it was ‘a fairly good imitation of Grimm and Dickens, mixed with some true Alpine feeling of my own’. Later he spoke of the capacity of the traditional tales ‘to fortify children against the glacial cold of selfish science’.

It remains a powerful fable about humanity’s dual capacity for destructiveness and redeeming love, with as strange fairy-tale creatures as one could hope to meet.

An essay by Simon Cooke explains the book’s importance.

Stucco decorations have traditionally been studied considering their formal and artistic qualities. Although much research and numerous publications have explored the works of stucco artists and their cultural context, little attention has been paid to their professional role in relation to the other actors involved in the decorative process (architects, painters, sculptors, patrons), the technical skills of these artists, and how their know-how contributed to the great professional success they enjoyed. From the 16th to the 18th century, many of the stucco decorations in churches and palaces throughout Europe were made by masters from the border area between what is now Canton Ticino and Lombardy. This collection of essays aims to examine how these artists worked from Spain to Poland, from Denmark to Italy, via the Netherlands, France, Germany, the Czech Republic, Slovenia and Austria, adapting to the realities of the different contexts. The authors examine these issues with an interdisciplinary approach, considering art history and social history, the history of artistic techniques, and the science of materials.

Text in English and Italian.

Forgotten in Thailand’s troubled Deep South, stands a dilapidated wooden palace once home to a Malay ruler, the last of his dynasty. Locals call it the “House of the Raja,” a place suffused with loss and solitude, laden with the region’s glorious past and tragic present. Intrigued by this demonized, little-known borderland, photographer Xavier Comas chanced upon this mysterious house and felt compelled to delve into its past. The caretaker, a Muslim shaman who held rituals inside, invited the author to stay and initiated him into its hidden dimensions. As Comas builds a bond of trust with the inhabitants of the house, the missing pieces of its history gently fall into place, revealing an ancient culture long hidden and the building’s ties to the centuries-old struggles in this contested region.

Comas’ evocative black-and-white photographs take us into a realm of hauntings, mystic powers and fading memories. His first-hand account enthralls the reader with vivid descriptions in which the real and the magical entwine. The House of the Raja provides a missing key to controversial issues of legacy, belief and identity in Thailand’s Muslim South.

“Building the Brooklyn Bridge is a perfect feast, a would-be time-traveler’s delight, overflowing with rare and evocative and fascinating images.”
– Kurt Andersen
Recipient of the 2021 Book Award from The Victorian Society New York.

The captivating story of how a bridge of unprecedented size and technology was built during an age of remarkable innovation.
This book invites the reader to step back in time to discover why this iconic bridge-proclaimed the ‘eighth wonder of the world’ soon after its completion and a National Historic Landmark since 1964-continues to hold such a special place in the hearts of so many.
Spanning the East River, the Brooklyn Bridge connected for the first time the then independent cities of Brooklyn and New York. This awe-inspiring structure was not only a modern engineering feat of extraordinary imagination, fortitude, and skill, it also was a towering beacon of human triumph.
Author Jeffrey Richman, historian at Brooklyn’s famed Green-Wood Cemetery, has gathered more than 250 superb nineteenth-century images, many never before published on the printed page, including engineering drawings, photographs, stereographs, woodcuts, and colored lithographs. Flipping through the book, one can imagine the excitement people around the world felt as they followed the progress of the bridge’s construction, either through the illustrated papers of the day or using viewers to look at stereographs in three dimensions. Richman specially commissioned more than forty anaglyphs-3D images generated from the historic stereographs-to recreate the 3D experience on the page. Every copy of the book includes a pair of 3D glasses kept in a pocket inside the back cover, offering the reader the sensation of being at the construction site as the towers began to rise.
A born storyteller, Richman relates how a small group of dedicated engineers and thousands of workers toiled for more than a decade to construct what was then the largest suspension bridge ever built, section by section, from the massive anchorages and elegant towers to the cables and bridge railway (operational four months after the bridge’s official opening). He reminds us how profoundly modern and groundbreaking the bridge was, in its use of steel (a new material) and pioneering construction methods. The bridge still elicits awe and admiration today.
“This is one of humankind’s great creations”-author interview with Michelle Miller on CBS Saturday Morning.

Interiors: Inside the American Home is a chic, modern book that showcases the diversity in approach to interior design across the United States. Honing in on the subtleties of interior design, the book delves into the range of techniques, art and decorative pieces, furnishings, and materials used by designers to merge their own unique aesthetics with the lifestyles of their clients. From eclectic trinket-filled sitting rooms, to expansive, minimalist open-plan living, this book offers a stunning array of intriguing interior spaces for all tastes and styles.

What sort of home would you create for yourself if you could build whatever you wanted—if money, as they say, were no object?

Over the course of his firm’s 30-year history, American architect Mark P. Finlay has been in the privileged position of helping clients answer that very question. This first reprint and revised edition of Country Houses: The Architecture of Mark P. Finlay, originally published in 2018, showcases the dream homes Finlay has designed for some of America’s wealthiest and most sophisticated families.

The renowned architect and interior designer works in the United States’ most storied pastoral locations, including the South Carolina lowlands, Virginia horse country, coastal New England, and the Rocky Mountains. Whether historic restorations or ground-up builds, Finlay’s attention to detail and focus on fine craftsmanship make the magnificent homes look and feel as if they’ve lived on their sites for centuries.

This beautifully presented monograph offers gorgeous photography of 12 superbly designed country residences. Each home is accompanied by an intimate, detailed architectural account that conveys Finlay’s skill and passion for creating residences that telegraph a distinct sense of place and a unique appreciation for their owners’ aspirations.

“My approach is simple. It is nothing other than what I am thinking at the time I make each piece of clothing…The result is something that other people decide.” – Rei Kawakibo, Interview Magazine, 2008

“Kawakubo’s will matches that of Coco Chanel and her influence goes perhaps even further; she is a designer who sees a bigger picture and has impacted the very shape of fashion, moving its foundations.” – Terry Newman

The Genius of Rei Kawakubo: The woman who founded Comme des Garçons celebrates a designer that is revered as the most avant-garde and experimental in the world. Having created a fashion label that is a global inspiration and one of the few independent brands still run by its founder, Kawakubo infuses her designs with the philosophies of Mu-Ma and Wabi-Sabi to create clothes that are truly special.

Beginning with Kawakubo’s early days when she began developing her brand in Japan, The Genius of Rei Kawakubo: The woman who founded Comme des Garçons goes on to look at her principles of anti-fashion and the art of imperfection, including seminal design details from some of her key collections. With chapters on Kawakubo’s collaborations with other designers, her shops, perfumes, and lots more, this book presents the brand and its founder in all its glorious detail.

Written by Terry Newman – the bestselling author of Marilyn Monroe Style – we learn just how canny a businesswoman and creative an artist Kawakubo is and how, through various avenues and alliances, she has created a vast Comme des Garçons empire.

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 for the first time in paperback, 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.

Dismissed by contemporaries as the ravings of a deluded enemy of modernity, The Storm Cloud of the Nineteenth Century is an eerily prescient denunciation of capitalism’s assault on the atmosphere – and the profound danger for the earth but also the spiritual well-being of humanity. It is one of Ruskin’s final writings, conducted with both rigorous scientific observation and a sense of Biblical prophecy.

Ruskin’s call to action is even more urgently needed today. His rallying cry, There is no Wealth but Life, is implicit throughout the Storm Cloud. How his thought developed through a conflicted relationship with the professional science of his day, and what we can take from his writings, are examined by Peter Brimblecombe, Professor of Atmospheric Pollution at the University of Essex, in his Introduction. A foreword by the Master of the Guild of St George, Ruskin’s association for social and spiritual reform, sets out what Ruskinians today can do and are doing.

Milton H. Greene (1922-1985), famous for his fashion photography and celebrity portraits from the golden age of Hollywood, met Marilyn Monroe on a photo shoot for Look magazine in 1953. The pair developed an instant rapport, quickly becoming close friends and ultimately business partners. In 1954, after helping her get out of her studio contract with 20th Century Fox, they created Marilyn Monroe Productions, Inc. Milton and Marilyn were much more then business partners, Marilyn became a part of the Greene family. By the time their relationship had ended in 1957, the pair had produced two feature films, in addition to more than 5,000 photographs of the iconic beauty. There was magic in Milton and Marilyn’s working relationship. The trust and confidence they had in each other’s capabilities was on full display in each photo.

Greene passed in 1985, thinking his life’s work was succumbing to the ravages of time. His eldest son, Joshua, began a journey to meticulously restore his father’s legacy. A photographer himself, Joshua spent years researching ways to restore his father’s photographs as well as cataloging and promoting Milton’s vast body of work all over the world. After spending nearly two decades restoring his father’s archive, Joshua Greene and his company are widely regarded as one of the leaders in photographic restoration and have been at the forefront of the digital imaging and large-format printing revolution.

Now Joshua Greene, in conjunction with Iconic Images, presents The Essential Marilyn Monroe: Milton H. Greene, 50 Sessions. With 280 photographs, including many never-before published and unseen images, newly scanned and restored classics, as well as images that have appeared only once in publication, Greene’s Marilyn Monroe archive can finally be viewed as it was originally intended when these pictures were first produced more than 60 years ago. These classic sessions – 50 in all – cover Monroe at the height of her astonishing beauty and meteoric fame. From film-sets to the bedroom, at home and at play, Joshua has curated a lasting tribute to the work of a great photographer and his greatest muse. Poignant and powerful, joyful and stunning – these breathtaking images of an icon stand above all the rest. The Essential Marilyn Monroe: Milton H. Greene, 50 Sessions is sure to be a book that will become the platinum standard in photography monographs.

Numbered to only 250 copies, this deluxe edition will be produced with the highest quality paper and cloth binding, packaged in a stunning cloth clamshell presentation case. Each book will come with a limited edition estate-stamped print, measuring 355 x 279mm, from Marilyn’s ‘Bed Sitting’, which will be hand numbered, and a letter of authenticity from the Milton Greene estate.

Numbered to only 250 copies, this deluxe edition will be produced with the highest quality paper and cloth binding, packaged in a stunning cloth clamshell presentation case. Each book will come with a limited edition estate-stamped print, measuring 355 x 279mm, from Marilyn’s ‘Negligee Sitting’, which will be hand numbered, and a letter of authenticity from the Milton Greene estate.

“The subtle forms and modelled curves and planes in a skeleton were to George Stubbs what a symphony is to a musician.” — Oxford Companion to Art

“The most unique thing of its kind ever compiled. This heroic effort, an epic of the eighteenth century, is as great and unselfish a work as anything could be.” — Sir Alfred Munnings

George Stubbs was one of the most original artists Britain has produced, and it is easy to forget how much his success was based on rigorous scientific observation. In 1756 he rented a farmhouse where he erected scaffolding to hold the cadavers of horses as he dissected and drew. After 18 months, Stubbs produced the drawings for The Anatomy of the Horse, which he later etched. The result was sensational. Scientists from all over Europe sent their congratulations, amazed at the perfection of the work. The Anatomy remained a textbook for artists and scientists for over a century, and its strange, spare beauty continues to fascinate.

This edition is taken from the 1853 printing, the last to use Stubbs’ original plates. The full Stubbs’ commentary is included for the veterinarially minded. Extensive texts by Constance Anne Parker and Oliver Kase place Stubbs’ work in the context of his life and times, and of 18th-century medical science.