The photo-tear-off-calendar will delight us again every day in 2025 with an ­instant photo and its own little story. ­­The front side of the calendar page always presents an instant picture in original size, on the back side is a short text about the origin of the photo as well as ­information about the photographer and the used film used. 

“This is the best, most comprehensive jazz book I’ve ever seen – and I’ve bought them all.” -Terry O’Neill “In these photographs… the music plays on, never dated, always right on time.” – John Leland, New York Times “Williams was an important part of jazz history, and this book belongs in the collection of anyone interested in the history of America’s greatest art form.” – DownBeat From the smoky backstage dressing rooms of New York and Chicago’s pioneering jazz clubs to the acclaimed Jazz festivals that flourished to enthral legions of fans, Ted Williams’ camera captured the intimacy and the wizardry of Jazz’s greats as they perfected their art over more than three decades from the 1940s-1970s. From his unique access and perspective, Williams diligently accumulated a unique and largely unseen archive that documented some of the greatest musicians of the 20th century, the jazz and blues musicians who themselves not only inspired the greats such as Frank Sinatra but fired the aspirations and tastes of a new generation; The Beatles, The Rolling Stones, Bob Dylan and Eric Clapton among them. Williams caught them in the act of exploring and defining their careers and music – while ensuring impassioned audiences and atmospheric venues remained inseparable from the iconic history he was chronicling. From Miles Davis to Duke Ellington, Dizzy Gillespie to Stan Getz and Sarah Vaughan, Williams’ camera witnessed genius at work, rest and play, with an honesty and clarity that few photographers could replicate. When Williams died in 2009 at the age of 84, he left nearly 100,000 prints and negatives behind – many of which have never been seen before. Jazz, the first book dedicated to the jazz photography of Ted Williams, will highlight hundreds of these unseen jazz images and will be captioned throughout by his own memories along with commentary from some of the leading jazz historians and journalists working today. Artists include Dizzy Gillespie, Miles Davis, John Coltrane, Ray Charles, Charlie Parker, Sarah Vaughan, Thelonious Monk, Dinah Washington, Duke Ellington, Count Bassie, Billie Holiday, Ella Fitzgerald, Louis Armstrong, Tony Bennett, Mahalia Jackson, Buddy Rich, Julian “Cannonball” Adderly, Art Blakey, Benny Goodman, Charles Mingus, Quincy Jones, Sonny Rollins, Muddy Waters, Max Roach, Woody Herman and Wynton Marsalis

Lewis Foreman Day (1845-1910) is one of the most neglected figures in late nineteenth-century design. In exploring Day’s dual career as an industrial designer of extraordinary range and versatility as well as a major writer and critic, this well-illustrated book restores his place among the influential figures of his time. Day’s relationships with colleagues William Morris, Walter Crane, W.A. S. Benson and others placed him in the vortex of development of design in Britain. Joan Maria Hansen, design historian, examines Day’s work as a prolific industrial designer whose mastery of pattern, color, ornament and superb draftsmanship resulted in tiles and art pottery, clocks and furniture, wallpapers, textiles, stained glass, and interiors of remarkable diversity and beauty. Day embraced modern technology. His views on the role of the designer for industry, along with his unshakable belief that a marriage of design and industrial processes was essential to produce beautiful furnishings for the majority of people, reveal him to be startlingly modern in his attitudes and practice in the changing world of industrial production. Today collectors prize Lewis F. Day’s clocks, furniture, tiles and art pottery, and books – which he both wrote and designed – along with reproductions of his patterns for wallpapers and textiles which are enjoyed by enthusiasts. Day’s textbooks on design continue to influence designers, and his magazine journalism provides insightful and balanced commentary on developments in late nineteenth- and early twentieth-century design. This book – the very first full treatment of this major figure – is the definitive reference on Day’s life and work and is an invaluable reference for collectors and dealers, decorative arts professionals, designers, business historians and enthusiasts of late nineteenth- and early twentieth-century design.

The common denominator linking the artists in this book is that they all went to the Near East or North Africa and painted the experiences drawn from their travels. The “Orient” in question covers a geographic area which spreads from the Balkans through the Maghreb down to Marrakech. Turkey, Syria, Lebanon, Palestine, Egypt and Sudan were a part of this vast territory as well. This “covering” of the Orient occurred during the 19th century, in between Bonaparte’s campaign in Egypt and the First World War. Text in French.

Since the 1970s the Ethnographic Museum at the University of Zurich has held culturally significant collections of Heinrich Harrer (1912-2006) and Peter Aufschnaiter (1899-1973).

Between 1945 until 1951 both lived in Tibet. Aufschnaiter then worked in Nepal, whereas Harrer undertook numerous expeditions. In the 1960s he traveled to Asia, South America and Oceania. In the artifacts brought back, craft skills as well as social organizational structures and world views from the local communities are represented. They also reflect the viewpoints of the travelers themselves.

For this publication all of the Zurich collections have been researched for the first time. ‘Starting with the object’, moments of encountering and social change as well as historical and cultural developments can be retraced, and the seemingly obvious is thus pieced together into an extended map or knowledgescape.

Accompanies an exhibition at the Ethnographic Museum at the University of Zurich (CH), from 1 July 2018-8 September 2019.

A creative exchange with artists such as the painter Guido Cadorin or the ceramicist and sculptor Hans Stoltenberg-Lerche brought the second generation Toso Brothers to the forefront of Murano glass manufactories at the beginning of the twentieth century. After the Second World War Ermanno Toso and Pollio Perelda were among the most famous designers and continued the production of lavish series in glass, complemented from the 1950s onwards with high-quality one-offs executed mainly in the celebrated millefiori technique. This decoration consists of a multitude of tiny colored discs, known as murrini, which are produced by melting, cooling and cutting bundled canes of glass to form a cross-section pattern. Together with Caterina Toso, renowned Murano expert Marc Heiremans looks back on and reviews the complex history of the famous glass manufactory. Well-informed texts, hitherto unpublished sketches and archive photos make Fratelli Toso Murano an essential reference work for all connoisseurs of glass.

With this publication a comprehensive study of Impressionism in Canada is available for the first time: from its beginnings in France, via the dissemination of the new style through artists, gallerists, dealers and collectors in North America, and its incorporation into and propagation within a hitherto conservative milieu, to the reception of Canadian Impressionism both nationally and internationally.

The study culminates in the concise portrayal of the lives and works of fourteen of the most significant Canadian artists – including William Blair Bruce, Maurice Cullen, J. W. Morrice, Laura Muntz Lyall, Marc-Aurele de Foy Suzor-Cote, Helen McNicoll and Clarence Gagnon – along with several other artists who for some time also employed Impressionist techniques. In this overview not only are the sources of inspiration in French Impressionism presented but also how masterfully and with aplomb these artists found their own artistic form of expression, which has decisively shaped Canadian Impressionist painting today.

With a foreword by Guy Wildenstein and an introduction by William H. Gerdts.

Pressure exerted by America in 1854 caused Japan to open its doors after 260 years of isolation. Wide receptiveness to everything Western was the driving force behind the modernization of Japan initiated by the Meiji government, yet it also induced a rapid rediscovery of indigenous cultural values. At early Paris and London international exhibitions, the Japanese decorative and applied arts sparked off the Western fascination with all things Japanese japonisme. In Japan, on the other hand, new technologies were eagerly adopted the government realized that increasing production for export would be an excellent means of promoting Japanese economic growth and thus enhancing Japan’s status worldwide. Meiji Ceramics represents the first in-depth study of the development of Japanese export porcelain against a highly charged background of political, economic and cultural factors. Includes 180 artists’s signatures.

As the 1930s began, Alfred H. Barr Jr., founder of the Museum of Modern Art in New York, and Philip Johnson, distinguished architect, brought the principles of the Bauhaus to America – even before exiles from Nazi Germany fully established the idea of architecture and furnishings as a functional whole in the United States. Barr’s organization of the museum reflected the departmental structure of the Bauhaus, elevating architecture, graphic design, utilitarian furniture design, industrial design, photography and film to be on an equal footing with painting and sculpture, and endorsing all to be recognized as art. Barr and Johnson curated exceptional exhibitions such as Modern Architecture, International Exhibition (1932) and Machine Art (1934) at MoMA and created modern interiors in private living quarters. In this book, comprehensive essays and series of photos trace how modernism found its way into the American cultural landscape.

Text in German.

Despite being one of the most influential – and indeed most eccentric – of the American modernist jewelers, Sam Kramer (1913-1964) has received little recognition. His expressive, organic work and surreal workshop, located on West 8th Street in New York’s Greenwich Village, paved the way for other mid-twentieth century metalsmiths, and for many more working today. Sam Kramer: Jeweler on the Edge investigates Kramer as both a seminal artist and a cult personality. Through lavish color photographs of rarely seen works as well as newly discovered archival material, the story of this unique individual is told against a backdrop of post-Second World War America, from the late 1940s to the early 1960s. Mirroring both the existential angst and quirky humor of the Beat Generation, Sam Kramer embodied the iconoclastic spirit of his era.

Atlantic City was born in the mid-nineteenth century and grew so big, so fast, that it captured the American imagination. It was ‘the World’s Playground’. Its hotels were the largest and finest, its nightclubs legendary, its boardwalk an endless promenade. And then, as it began to fade, the casinos came. And instead of reviving the city they killed it. Chief among the villains in this piece is Donald J Trump, who built his casinos on dunes of debt and bled them into bankruptcy. On the presidential campaign trail Trump boasted of his ‘success’ in Atlantic City, how he had outwitted Wall Street and leveraged his own name for riches. He would do for America what he had done for Atlantic City, he said. And so it came to be. Brian Rose has documented what remains of the city in the aftermath of the casino explosion. The images are haunting. Atlantic City may never recover.

In Animal Collective, Fupete and Jacklamotta create escapist dreams through their alternative reality. The stunning addition to the 36 Chambers series leads the reader deep into a menagerie of fantastic, dark creatures accented by bold strokes and specks of gold. These creatures feature influence from the Italian streets, lending an authenticity to their portrayal as surreal daydreams from the minds of two outsiders.

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.

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.

Charlotte Perriand (1903-1999) was one of the most innovative furniture and interior designers of the twentieth century, long renowned for the tubular-steel chairs she created with le Corbusier. Her career spanned nearly seventy-five years and included work in her native France as well as in Africa, South America, Asia, and Europe, and today her designs are highly collectable. Recently, several hundred photographic negatives were uncovered in her archives, revealing for the first time the scope of her work as a photographer. In the late 1920s, French interior and furniture designer Charlotte Perriand was at the cusp of her career, just beginning her work as an architect, designer, town planner, and political militant. Starting in 1927, she turned to photography, which was to play a pivotal role in her development as a designer through the pioneering years of the modern movement. Her photographic venture ended in Japan in 1941, when the hope of a better world was shattered by World War II. For Charlotte Perriand, photography was a machine for thinking, taking notes, and stirring emotions, but it was also an instrument of political engagement. Today, her photographs are a revelation, offering unseen glimpses into her creative process and intellectual development. Her photographs express the important themes and questions explored by modern artists of the day, and are part of the vast stream of avant-garde movements in which painters, architects, and photographers – and sometimes all three combined – worked together in a common spirit.

The Barbier-Mueller Collection of Pre-Columbian art, recently auctioned at Sotheby’s, is the most comprehensive collection of its kind. Comprising some 300 works from Mexico, Central, and South America – wood and stone sculptures, ceramics, textiles, and ritual objects – it spans 1200 BC to AD 1500. The Barbier-Mueller Collection, one of the most important and wide-ranging art collections in the world, was begun by Josef Mueller in Paris in 1908 with the purchase of works by Hodler and Cézanne; the Swiss Mueller then looked beyond Western art and bought his first pre-Columbian piece, an Aztec stone water goddess, in 1920. Today, Mueller’s daughter and son-in-law, Monique and Jean Paul Barbier-Mueller, continue to collect Western, African, Oceanic, and Cycladic art, which is frequently on loan to museums around the world. Text in English and French.

Sicilian cuisine is known as curtigghiu – of the courtyard – with recipes passed from door to door and from generation to generation by word of mouth. Influenced by the endless crossing of cultures that is Sicily’s history, its food is as rich in tradition as it is in taste. Here this mingling of Europe, Italy, the Middle East and North Africa is celebrated in 30 recipes chosen by Maite and Marie and photographed – both landscapes and finished dishes – by Mau.

Tuscany is home to Florence, the Renaissance, stunning landscapes, great wines – and food. Simple, slow cooked, made with the finest ingredients, locally sourced. Maite and Marie collect 30 traditional recipes, combined with 40 of Mau’s delicious photographs, and published at an affordable price. Now the best of Tuscan food is within easy reach of any home cook.

Exploring the vast range of materials and techniques used in the making of Tibetan clothing and ornaments, this book takes a closer, more intimate look at the different cultural groups within this diverse country, discussing how national costume relates to their everyday life. The technical approach will appeal to spinners, weavers, felt makers, braiders, embroiderers, jewellers and costume enthusiasts. The book will also interest many general readers in Europe and America who are fascinated by the aura of the Tibetan Region; the lifestyle of the people who live amongst Tibet’s high peaks, emerald forests, and stunning lakes command world-wide interest. Richly illustrated with the author’s evocative contemporary high quality photographs, dating from the mid 1980s, this book is a visual journey into the heart of the country. It documents the people, and their costumes and related crafts, focussing on the historical Tibetan regions of Amdo and Kham. Tibetan Dress is unique in its reflection of historical material. It combines this academic knowledge base with original observations and wide-ranging interviews with nomads and farmers, all of which centre around costumes locally possessed and worn by Tibetans today.

“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.

This book will accompany the first major solo exhibition of Douglas Gordon’s work in Scotland since he presented his now celebrated work, 24 Hour Psycho at Tramway in Glasgow in 1993. Gordon is one of a number of Glasgow-trained artists who came to prominence in the 1990s. He has gone on to achieve huge international recognition, marked by major awards, including the Turner Prize in 1996, and by exhibitions in museums in Europe and America. Gordon works with film, video, photographs, objects and texts, examining issues such as memory and identity, good and evil, life and death. He makes great play with the doubling of images often in positive and negative or in mirrored form. This book will show all the important aspects of Gordon’s work, both past and present. In addition, it will be specially tailored to bring out the particularly Scottish nature of Gordon’s ideas and practice. The exhibition book will contain essays by the exhibition curator, Keith Hartley, senior curator at the Scottish National Gallery of Modern Art, Edinburgh; Dr Holger Broeker, Kunstmuseum; Dr Jaroslav Andel of the Museum of Contemporary Art, Prague and an essay by the renowned Scottish author, Ian Rankin.

This field guide is the result of the author’s intense study of the flora of the southern western ghats as well as those of Palni hills for several years. The book lists more than 200 species of trees, herbs, and shrubs, that can be found in the region. The author names the genus, the species, the short name of the botanist who classified the plant, and the family name of the plant, in all the cases. She also takes great pains to provide the common English names as well as the local names of the species in various regional languages of India. Not only is the distribution of the species in various parts of the world explained, but the author also gives a physical description of the species, including its leaves, flowers, and fruits. Medicinal as well as general uses of any part or parts of the plant is also explained in most cases. The author, however, warns the reader that use of any species for medicinal purposes must be preceded by doctoral advice.

Contents: Preface; Acknowledgements; Introduction; Trees; Shrubs; Herbs; Line Drawings; Glossary; Bibliography; Indices – Trees, Shrubs, Herbs; Index.