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Punjab, and especially Sikh art, has taken multiple forms ranging from scriptural manuscripts, floral adornments to illustrations and illuminations. This family collection showcases varied forms of jewelry, textiles, arms, coinage, along with construction of religious places and monuments. Murals and frescoes, paintings from Mughal, Punjabi and Pahari styles as well as calligraphy; all enhance the culture and add to its beauty. In addition, foreign artists such as Emily Eden, Shoefft, Soltikoff and other Europeans have left their imprint. The Khanuja Family believes encouragement of art is an essential element in enriching cultural heritage, upliftment of the human spirit, which eventually results in understanding, tolerance and interconnecting us all. This collection is a labor of love which started with an interest in listening to the history of Punjab from elders and subsequently reading about it. Over time with the help of Dr P Khanuja’s daughter, Jasleen it evolved into this expensive passion of collecting artifacts and paintings over the last 14 years.

India is a nation of conﬂicting realities, where the old and the new, the traditional and modern regularly coexist. Here, the artists are concerned not solely with telling their own tales but also with exploring what it means to live in a nation steeped in tradition.

Within the context of modern and contemporary India, works on paper offered artists a way of cultivating transnational modernist expression while continuing to explore the potential of a medium that had deeper roots in older artistic traditions native to the subcontinent. This volume features over 100 watercolors, drawings, etchings, sketches and lithographs by senior Indian modernists, born primarily before the 1950s and who came of age in the decades directly following Independence in 1947. These artists span the transition from colonial to post-colonial India, embracing both realism and abstraction, exploring complex metaphors, and making political statements that directly engage India’s past, present, and future.

With contributions by Tamara Sears, Michael Mackenzie, Paula Sengupta, Emma Oslé, Darielle Mason, Rebecca M. Brown, Jeffrey Wechsler, Kishore Singh and Swathi Gorle.

The Meaning of the Earth offers a retrospective on the lives and work of the relentlessly controversial artists, placing them within the context of twentieth century British culture. Wolf Jahn tells the story of how Gilbert & George found their identity in opposition to pervasive ideas around social conformity and religion after meeting in 1967.
The artists staged an internal revolution, mining their psyches to create visionary and unwaveringly modern art. The ‘two people but one artist’ ask the questions that gnaw at us all: ‘Where do we come from?’, ‘Who are we?’ and ‘Where are we going?’ The book meditates on the artists’ role in this century, connecting their beginnings as Living Sculptures to their pictorial work of today.
The Meaning of the Earth is a continuation of Jahn’s 1989 work, The Art of Gilbert & George. The author writes a playful philosophical interrogation of Gilbert & George’s work that truly grasps its cosmic scale.

For the very first time an overview is published featuring the works of Belgium’s finest street art and graffiti artists.
Belgian Street Art Today contains a selection of works made by 50 selected artists, such as Roa, Djoels, Dzia, Jaune, Mata One, 2 Dirty, Bué The Warrior, Joachim, Zenith…
Some of these artists are working around the globe and have received international acclaim; a few of them are even represented by prestigious art galleries abroad.
The selection is preceded by a brief history of street art and a never-before-published comprehensive overview of street art projects and street art and graffiti walks in Belgium. Therefore this book is a must-have for art lovers looking for insider tips and unique experiences.
For more than two years, photographer Vincent Willems crisscrossed Belgium in search of the most spectacular interventions and murals, a passion culminating in this stunning book.

In previous studies, Jan Strybol pointed out that – contrary to popular belief – sculpture flourished in northern Nigeria. Wood sculptures could be found just about everywhere, with the exception of part of the Far North. In this study, the author first examines the sculptural traditions of a number of peoples in central Nigeria, more specifically from the Jos Plateau and from the Middle Benue Valley to the source area of the Taraba River. These peoples can be described as non-centralized communities where art was mainly produced in perishable materials by part-time artists, in contrast to the centralized empires in the South (Ife, Benin) where full-time specialist sculptors created complex artefacts in durable materials (stone, bronze, iron).
Perhaps the most familiar ethnic group in the Central Benue region to lovers of African art are the Mumuye. Since the end of the last century, as a result of the advance of world religions, the traditional rites of the Mumuye have rapidly disappeared and with them the Mumuye sculptural tradition so much admired in Europe and America.
In addition to wood sculptures, Jan Strybol also pays attention to objects in bronze, iron, terracotta and other materials. These art forms have been very underexposed until now and have almost completely vanished. Finally, the author also delves into the artistic achievements of some little-known remnant groups within the Mumuye territory, which can boast of a rich art tradition.

Paper Art III contains the wonderful works of dedicated paper artists from all over the world since 2018, exploring the infinite possibilities of paper, an ancient and common material in daily life, allowing people to rediscover the breathtaking beauty of the ordinary and perceive the survival and growth of paper in art. The exquisite paper cutting, spectacular paper sculpture, collision of photography and paper art techniques… each piece of paper artwork will be cohesive in the work of the artist’s time and effort to present the full extent of the work.

In addition to existing as pure artwork, this book also shows how paper art can be used in a variety of applications. From house decoration to window decoration, to large-scale public space decoration, etc., these cases give readers the opportunity to understand and feel how the artist creates a rich sense of space, enhances environmental aesthetics, and even changes the urban temperament by changing the color and shape of the paper.

The New York jewelry firm of Marcus & Co. (1892–1942) created exceptional examples of Art Nouveau and Art Deco jewelry for an art-loving, wealthy elite. Innovative in their collaboration with contemporary artists, and in their captivating window displays and advertisements, the firm captured the imagination of Gilded Age families such as the Rockefellers. This volume chronicles their story, from the founder’s apprenticeship in Dresden to the firm’s grand premises on Fifth Avenue neighboring Tiffany and Cartier. The triumphs and tragedies of three generations of Marcus jewelers, both artistic and entrepreneurial, are presented here together with exquisite jewelry and archival design drawings spanning 50 years.

Master printmaker Liu Chunjie is renowned for his beautiful woodcut art. Born to land reclamation workers in Heilongjiang Province’s 856 Farm, Lui began life in a remote part of China that was deemed to be a place of cultural exile. But it is here that a vibrant chapter in the history of contemporary Chinese printmaking, known as Beidahuang Prints, was born.

Living and breathing woodcut art, Liu takes the reader on a personal journey through his life’s work. Written in beautiful poetic prose, Liu describes how his art and the techniques he uses have developed over time, culminating in a stunning body of work that has made him the celebrated artist he is today.

Having experimented with colored ink, installation art and mixed-media painting, it is the spirit of woodcut that remains the foundation of Liu’s art. Using ancient tools and materials, he creates works that embody modern concepts, elevating the essence of woodcut art to a new level.

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.

Addressing one of the urgent issues of climate crisis and environmental pollution, this book explores our relationship to the sea: how we live alongside it, our bodily relationship to it, its role in the creation of a connected, global society and, perhaps most critically, the threat we pose to it.

Through a broad selection of works by contemporary international artists, Can the Sea Survive Us? responds to the urgent need to resuscitate our seas. While the oceanic environment is essential to all life, its vulnerability to human action is highlighted by an ever-increasing loss of biodiversity. This book prompts the reader to imagine a future in which collective human behavior can mitigate the effects of climate change. As ocean temperatures reach record highs, it is clear that time is not on our side. This ambitious project aspires to accelerate climate awareness and deliver the critical climate action we urgently need.

This pocket sized picture book is an artwork to itself telling the story of the famous trio and their art over the last 12 years. From the most human moments to their wacky adventures to the gigantic murals they have birthed – the Sool Boomb Book will transport you into the colorful world of this prolific Italian art crew.

Laure Pigeon (1882-1965) is one of the leading figures in Art Brut (Outsider Art), along with Aloïse Corbaz and Adolf Wölfli. The Collection de l’Art Brut in Lausanne probably possesses her entire oeuvre, amounting to over 400 works, including writings, notebooks, small-scale drawings and an extensive series of large compositions in blue ink. These are all part of the corpus of works acquired by Jean Dubuffet, the historic collection around which the museum was founded.

In 1978, the Collection de l’Art Brut held the first and only monographic exhibition dedicated to this artist. A new exhibition in 2025 has now been devoted to her exclusively. It offers a representative selection of her striking graphic work, spanning a period of 30 years.

Like Madge Gill, Jeanne Tripier, Augustin Lesage and Raphaël Lonné, Laure Pigeon too was a member of the spiritualist fraternity – men and women who feel “selected” to receive messages from the hereafter and claim the deceased are responsible for their creations. The spiritualist’s hand is therefore guided and merely executes what the spirits dictate.

The catalog, in French and English, includes essays by several authors and a large number of color illustrations.

Text in English and French.

International Realism: The 17th & 18th ARC International Salons celebrates the winners and finalists from two successive ARC International Salon competitions in one book. Both the 17th and 18th ARC International Salons are featured in detail with over 500 artworks from each, all beautifully reproduced in a reversible layout. Categories include Animals, Drawing, Figurative, Fully From Life, Imaginative Realism, Plein Air, Portraiture, Still Life, Sculpture, Landscape and a Teen Category for outstanding works by teenage entrants, as well as multiple special awards, magazine awards and more.

The Art Renewal Center (ARC) is a non-profit educational foundation, dedicated to encouraging rigorous skill-based training in the methods of the old masters. The ARC International Salon is the world’s largest and most prestigious realist art competition. Showcasing artists from across the globe, these pages represent an extraordinary example of humanity’s ability to come together and communicate through art.

This richly illustrated publication accompanies the first comprehensive retrospective of Amrita Sher-Gil (1913–1941) in the Netherlands, one of the most celebrated figures in modern Indian art. Often called the “Frida Kahlo of India”, Sher-Gil combined elements of Western modernism with the aesthetics and subjects of traditional Indian art, forging a distinctive style that profoundly influenced later generations of artists. The book offers new insights into Sher-Gil’s life and artistic journey, from her Hungarian-Indian heritage and training in Paris to her groundbreaking work in India during the 1930s. Essays by experts from India and the Netherlands explore her cultural context, artistic development, and enduring legacy.

Featuring rarely seen works from India’s national collections, this publication provides an unprecedented opportunity to rediscover an artist whose vision bridged continents and redefined modern art in the 20th century.

One of the most representative artists in the field of abstract art in Shanghai and even throughout China, Huang Yuanqing has developed a uniquely distinctive visual philosophy of his paintings. This book features 113 representative works. On the surface, they may appear close to Western action painting, but in fact they embody the rhythmic logic of wild cursive script (kuangcao) from traditional Chinese calligraphy. In particular, the seemingly casual brushstrokes on the canvas are actually a tightly controlled form of improvisation. Moreover, each work requires repeated layering—sometimes over several months—achieving a dynamic balance between improvisation and continuous revision. Huang Yuanqing’s practice is rooted in the tradition of calligraphy, integrating seal carving, music, and other artistic forms. His works at times emphasize color and space, at other moments lean toward writing and graffiti, yet he has never abandoned calligraphic creation independent of his paintings. The result is a new form of abstract art that fuses various script styles as its structural backbone, with color and space as its flesh—achieving a cross-dimensional integration of two different art forms: painting and calligraphy.

This monograph dedicated to Claude Monet offers a rare and intimately documented perspective on one of the most beloved artists of the public. It is written by Philippe Piguet, an art historian, a recognized specialist of Monet and his great-grandson, custodian of unpublished documents and heir to a family memory shaped from childhood in the gardens of Giverny. The book provides a sensitive reading of the artist’s work, seen from within, which renews the understanding of an artistic journey that has become universal.

This book aims to establish itself as an essential reference for understanding how the artist transformed the perception of light and the history of modern painting.

This volume explores the dynamic artistic landscape of 1980s New York through the work of some of its most influential protagonists: Andy Warhol, Jean-Michel Basquiat, Keith Haring, Julian Schnabel, and Francesco Clemente.

Bringing together key works from a transformative decade, the book highlights the creative energy that shaped New York’s cultural scene, where painting, music, performance, film, street art, and popular culture constantly intersected. The artists featured in the exhibition shared a common spirit of experimentation, expanding Warhol’s groundbreaking vision and embracing new forms of artistic expression.

A particular focus is devoted to the collaborative projects that defined the period, including the celebrated partnerships between Warhol and Basquiat and the collaborative works created by Warhol, Basquiat, and Clemente. These exchanges reveal an artistic ecosystem in which collaboration was not merely a working method but a fundamental creative principle.

Richly illustrated and accompanied by critical essays, the volume offers a compelling overview of one of the most innovative and influential moments in contemporary art history.

The Bargue-Gérôme Drawing Course is a complete reprint of a famous, late nineteenth-century drawing course. It contains a set of almost two hundred masterful lithographs of subjects for copying by drawing students before they attempt drawing from life or nature. Consequently it is a book that will interest artists, art students, art historians, and lovers and collectors of drawings. It also introduces us to the work and life of a hitherto neglected master: Charles Bargue.

The Drawing Course consists of three sections. The first comprises of plates drawn after casts, usually of antique examples. Different parts of the body are studied in order of difficulty, until full figures are presented. The second section pays homage to the western school of painting, with lithographs after exemplary drawings by Renaissance and modern masters. The third part contains almost 60 académies, or drawings after nude male models, all original inventions by Bargue, the lithographer. With great care, the student is introduced to continually more difficult problems in the close observing and recording of nature.

Charles Bargue started his career as a lithographer of drawings by hack artists for a popular market in comic, sentimental and soft-porn subjects. By working with Gérôme, and in preparing the plates for the course, Bargue was transformed into a spectacular painter of single figures and intimate scenes; a master of precious details that always remain observation and never became self-conscious virtuosity, and color schemes that unified his composition in exquisite tonal harmonies. The last part of the book is a biography of Bargue, along with a preliminary catalogue of his paintings, accompanied by reproductions of all that have been found and of many of those lost.

Gertrude Jekyll was perhaps the most important British garden designer of the 20th century. She famously argued that gardening ought to be considered a Fine Art, highlighting that it becomes a point of honor to be always striving for the best. This volume examines Jekyll’s work at Manor House, Upton Grey in Hampshire, offering an insight into her eclectic, imaginative, and inspiring art. Designed between 1908 and 1909, and once maintained by as many as nine gardeners, the garden fell into disrepair by the second half of the twentieth century, before a full and accurate restoration was carried out in the early 1980s. Gertrude Jekyll: Her Art Restored at Upton Grey presents a visual record of the garden’s plants and layout, with original plans and photographs, as well as beautiful images of the garden taken since its restoration. There is also a fascinating chapter about Miss Jekyll’s discovery, admiration and use of Mediterranean plants. The book succeeds in illustrating exactly why Jekyll was so admired in her lifetime and why she continues to inspire and influence gardeners today. Contents: Introduction Chapter 1: The Garden from 1902 to the Start of its Restoration in 1984 Chapter 2: The Rose Garden Chapter 3: The Dry-Stone Walls Chapter 4: The Main Herbaceous Borders Chapter 5: The Pergola, the Rose Arbour and Surrounding Garden Chapter 6: Miss Gertrude Jekyll’s mediterranean travels and plant discoveries and their use at Upton Grey Chapter 7: The Wild Garden Chapter 8: The Art Completed Also available: The English Garden Through the Twentieth Century ISBN: 9781870673297

There are many ways to perceive and interpret contemporary craft objects – for instance, as works of representational art in materials like ceramics, glass, textile, metal or wood, or as functional, handmade everyday objects. In this publication, the editors have invited different voices in craft theory to investigate the perception of contemporary craft as a particular discourse and aesthetic vocabulary. According to the editors, contemporary crafts can benefit from being discussed as representations of reality that do not rely on the concept of autonomy. As such, neither do they rely on the conventional dualism between aesthetic objects and everyday things. The authors investigate the possibility to perceive craft objects from perspectives that relate to the aesthetic tradition of materialism.

This book is a unique and comprehensive illustrated dictionary of French Art Nouveau Ceramics.

A census conducted in 1901 indicated the existence of some 209 producers of pottery in France, employing a total of around 5,800 full-time labourers. This great activity stimulated a parallel development in the arts, including the search for new expressions in art pottery, giving birth to l’art nouveau, a great and eclectic synthesis of a number of other art styles. Largely through British arts and crafts, and the work of artists like the Manxman Archibald Knox, it reached far back into the prehistory of Celtic art. To this were added later medieval elements, through the gothic revival championed by William Morris.

The need for renewal, breaking away from the neo-Classical and academia, which was the realm of the upper-class culture, was largely theorised by John Ruskin, who searched elsewhere for inspiration. Thus did British art nouveau also partake of Chinese and Japanese styles, though never in so forceful a manner as did the French aesthetic. France, on the one side, looked back to the swirling and frivolous eighteenth century Rococo, primarily through the influence of the Goncourt brothers, Edmond and Jules, influential aesthetes of the mid-nineteenth century.

The book focuses especially on artists working stoneware or grès, faience, and terracotta. It aims to provide a general survey of the many artists working in these areas, and includes brief accounts of the ceramics work of sculptors and painters whose wider output is already well known.

This fine tribal rug collection, built over many years by a Buenos Aires artist/architect, has at its heart a superb selection of ‘Bird’ designed rugs, alongside many other characteristic knotted-pile rugs woven by the nomadic tribes of the Khamseh Confederation in southwest Iran during the 19th century. In addition, smaller numbers of related weavings are featured, made by by neighbouring South Persian nomads (such as the Qashqa’i and the Afshar) as well as two highly focused groups of Shikli Kazak and ‘Keyhole’ design village rugs from the Transcaucasus region. The collector/author’s lucid bilingual texts explain his passion for these stunning woven creations. His choices of collectable pieces are informed by his perspective as a successful artist and architect working in the Argentinian capital.

Text in English and Spanish.

“Although the street art is generally conveyed in a very natural matter, even his dead animal paintings seem at peace.” – Streetartbio.com “Detached from the artist’s identity, his detailed, illustrative animal paintings have brought him back to the world. With local species of animals as his main focus, ROA inevitably starts a dialogue about human interaction with nature and the environment, whether it is painting on the walls of a museum or in an abandoned rural factory.” – Hi Fructose – The New Contemporary Magazine “One of the most influential acts of street art around the world.” – The Huffington Post Fascinated by nature, the anonymous muralist and street artist ROA is inspired by the beauty of its non-human inhabitants. With great attention to detail, ROA draws over-sized black and white creatures of endemic or endangered species on buildings around the world, from Moscow to Mexico City, and from Los Angeles to London. His subjects are frequently survivors; scavengers, rodents, and unusual animals that thrive in their particular milieu.