5 Continents Editions - Catalogue 2019 | 2020 - English Titles

2019 2020 FASHION & DESIGN

PHOTOGRAPHY

PRE-COLUMBIAN ART

ISLAMIC ART

ASIA SOCIETY | NEW YORK

BAUR FOUNDATION | GENEVA

ASIAN ART

OCEANIC ART

MUSÉE DU QUAI BRANLY | PARIS

VISIONS OF AFRICA

AFRICAN ART

HISTORIAL DE LA GRANDE GUERRE MODERN AND CONTEMPORARY ART

ARCHIVES ANTONIO SAURA

MAD | MUSEUM OF ARTS AND DESIGN | NEW YORK MUSÉE D’ART CONTEMPORAIN | LYON

PETIT PALAIS | PARIS | ARCHIVES CHARLOTTE PERRIAND THE ISAMU NOGUCHI FOUNDATION & GARDEN MUSEUM

MoMA DESIGN SERIES JEU DE PAUME | PARIS

MoMA | NEW YORK

CENTRE POMPIDOU | TATE MODERN | SCUDERIE QUIRINALE

MUSÉE D’ART ET D’HISTOIRE | GENÈVE

INSTITUT SUISSE POUR L’ÉTUDE DE L’ART

FONDATION FÉLIX VALLOTTON

MUSÉE JENISH | VEVEY

FONDATION DE L’HERMITAGE | LAUSANNE

MUSÉE CANTONAL DES BEAUX-ARTS | LAUSANNE

GALERIE D’ARTS GRAPHIQUES

LA PHOTOGRAPHIE AU MUSÉE D’ORSAY

ESSAYS ON ART MUSÉE D’ORSAY

ANCIENT ART

MUSEO THYSSEN-BORNEMISZA | MADRID

DRAWING GALLERY

MUSÉE DU LOUVRE

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5CONTINENTS

Dear Readers and Booksellers, I wish I could leaf through the pages of this catalogue with each and every one of you, tell you the stories of the men and women, of the artistic and professional endeavours hidden among the pages of every book. Every project that ends—or begins?—on paper is the repository of encounters, enamorments, shared passions, and team work. Dozens of eyes observed and studied every book, dozens of hands took turns handling them, sampling different papers to choose the best one, switching on the machinery that makes the work go smoothly.

For over seventeen years, this combination of humanity and artifice has made it possible to deliver the projects—of which we can’t help but be proud—to your homes and bookshelves, the ones that line the walls of your houses and those that inhabit those places entrusted with the preservation and transmission of editorial work.

In fact, among our latest publications we are honoured to present a volume that accompanies the first retrospective of the French painter Fabienne Verdier, a book exploring the career of Maria Lai—one of the greatest contemporary Italian artists—as well as a work that, for the first time, collects the portraits painted by Gauguin over an entire lifetime, or another publication illustrating the metamorphosis undergone by Miró’s poetics after moving to Majorca and his new studio designed by Catalan architect Josep Lluís Sert. But our projects do not end here. Names such as Felix Vallotton, Gérard de Palézieux, and Carlo Zinelli concur in the completion of this mosaic, an important section of which is occupied by volumes illustrating the expressive power of non-European art. I am certain you will be captivated by the forms and colours of the Kifwebe masks of the Songye and Luba people, by the cosmic visions populating the figurative universe of the Koranic tables from northern Nigeria, as well as the foresight of collectors such as Josette and Jean-Claude Weill or Pierre Dartevelle: only an eye trained to spot beauty could make such refined choices.

And, finally, I will take the liberty to make a suggestion: alongside our new releases, don’t forget to leaf through the titles that have contributed to establishing our history . . . many treasures may be found even there!

What are you waiting for? Turn the page and lose yourself in a World of Beauty.

Eric Ghysels Publisher

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62 TAILORMADE 66 CATALOGUE

[66] Modern and Contemporary Art

[67] Contemporary Art | Around Art

[68] Art Brut | Design

[69] Design and Applied Arts | Photography

[70] African Art

[71] African Art | Oceanic and Pre-Columbian Art

[72] Asian Art

[73] Visions of Africa

74 INDEX 76 DISTRIBUTION

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B E F OR E T I ME BEGA N Contributions by Jessica De Largy Healy, Georges Petitjean, Luke Scholes

22.5 x 27 cm, 164 pages 115 colour illustrations Softcover with flaps ISBN 9788874398768 £ 32.00 | US $ 39.99 | Can $ 53.99 | € 35

Co-published with the Fondation Opale, Lens – Crans Montana Exhibition Fondation Opale, Lens – Crans Montana June 6, 2019 – March 29, 2020

Aboriginal art can claim to be the earliest form of artistic expression, reaching back reliably some sixty thousand years. Its function has always been to pass down traditions and beliefs through the most varied vehicles, from painting and engraving to sculpture and dyeing, not to mention ceramics and, recently, photography.

The common thread running right through this work is man’s link with the land, the legacy of the ancestors that still echoes in the present. It is no accident that “Before Time Began” is one of the expressions used by Aboriginal artists in central Australia to refer to the creation of the world, in an oneiric sense. Understanding and following this underlying bond enables the reader firstly to explore the art’s narrative content in its association with dreams and the passage of time, elements that inevitably distinguish the temporal dimension in the different societies. But it is also a way of exploring the first stirrings of contemporary art in an Aboriginal context through works made at the beginning of the 1970s in Arnhem Land and in the territory of the Papunya, as well as more recent paintings by artists living in the APY (Anangu Pitjantjatjara Yankunytjatjara). These last examples in particular highlight the fusion between contemporary art and traditional customs, in which ancestral knowledge is fused with elements drawn from the inevitable march of progress.

The book’s importance lies not only in providing an overview of this art form, but in accompanying the first large-scale exhibition staged by the newly established Fondation Opale (Crans-Montana, 2018), which is built around the collection of its founder, Bérengère Primat.

Jessica De Largy Healy is an anthropologist at the Laboratoire d’ethnologie et de sociologie comparative (CNRS - Université Paris Nanterre). Her Ph.D. research involved setting up an experimental digital archive project begun by a group of Yolngu clan chiefs living in Galiwin’ku, in northeastern Arnhem Land. She is a collaborator on various projects organized by European museums concerning the material culture and audiovisual collections of indigenous Australians.

Georges Petitjean is an art historian and obtained his Ph.D. with research on the art of the Western Australian Desert. His main field of research is the transformation of primordial Aboriginal art into contemporary art. He was curator of the Museum of Contemporary Aboriginal Art (AAMU) in Utrecht from 2005 to 2017. Since then, Georges Petitjean has been curator at Collection Bérengère Primat, one of the leading collections of Aboriginal art in the world.

Luke Scholes is curator of Aboriginal Art at the Museum and Art Gallery of the Northern Territory (MAGNT). He was co-organizer of the Tjungunutja: From Having Come Together exhibition, where various Pintupi, Walpiri, and Luritja artists, who are all linked to the school in Papunja, exhibited their works. Besides having already been awarded several Australian prizes, this project will be on display at Alice Springs in 2019.

Luke Scholes has been the coordinator of Telstra National Aboriginal and Torres Strait Islander Awards since 2016.

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M AR I A L A I TE N E N D O P E R MA NO IL SO LE | HO LDING T HE SU N BY T HE HA ND Maria Alicata, Antonella Anedda, Franco Farinelli, Davide Mariani, and Elena Pontiggia

17 x 24 cm, 232 pages 105 colour illustrations Softcover Bilingual edition English/Italian ISBN 9788874398935 £ 27.00 | US $ 35.00 | Can $ 48.50 | € 30.00

Exhibition MAXXI, Rome June 19, 2019 – January 12, 2020

Maria Lai (Ulassai, September 27, 1919 – Cardedu, April 16, 2013) is without doubt one of the leading figures in the history of contemporary Italian art. Not only on account of the content of her works, but also thanks to the diversity of her artistic approach, ranging as it does across many media—public art, embroidery, weaving, sculpture, drawing, and writing: all are grist for her poetics.

The book is published to coincide with the exhibition at the MAXXI Museum in Rome, which is presenting to the general public over one hundred works by the Sardinian artist, from the early 1960s to her very last works, and explores the various themes dear to the artist with the contributions of experts in their fields: the locations, the creation, and publication of art books, her public art events and her relationship with the written word and her own writing. Her entire oeuvre is distinguished by its powerful visual impact, revealing a “way of doing art” that is nothing other than an instrument of thought.

The book’s structure reflects the exhibition’s own sections, arranged by theme, whose titles are paradigmatic of Lai’s oeuvre as a whole: Essere è tessere. Cucire e ricucire; L’arte è il gioco degli adulti. Giocare e raccontare; Disseminare e condividere; Il viaggiatore astrale.

Immaginare l’altrove; L’arte ci prende per mano. Incontrare e partecipare. (Being Is Weaving.

Sewing and Mending; Art Is a Game for Grown-ups. Playing and Storytelling; Spreading and Sharing; The Cosmic Traveller. Imagining Elsewhere; Art Takes us by the Hand.

Meeting and Participating.)

The title of the book and the exhibition—Holding the Sun by the Hand—is nothing less than a tribute to the first fairy tale the artist sewed in 1983 and creates a kind of symbolic bridge with Ogliastra, the part of Sardinia Maria Lai came from, where in those same months the exhibition Tenendo per mano l’ombra (Holding the Shade by the Hand) will be held in Stazione dell’Arte in Ulassai.

Maria Alicata is an art historian and exhibition organizer. She was head of the Art, Architecture, and Town Planning section at the Olivetti Foundation.

Antonella Anedda trained as an art historian and has worked in the field of literature and translation. She writes essays and poetry.

Franco Farinelli is a geographer and has taught in some of the world’s most illustrious universities: Geneva University; UCLA – University of California, Los Angeles; UCB – University of California, Berkeley; and at the Sorbonne in Paris. He is Professor of Geography at Bologna University and has been president of Associazione Geografi italiani (Society of Italian Geographers).

Davide Mariani is an art historian and director of the Stazione dell’Arte in Ulassai (Nuoro).

Elena Pontiggia is an art historian with a particular interest in Italian and international art between the wars. She teaches at the Accademia di Brera and at the Politecnico di Milano.

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C A N O VA

IN FOUR TEMPOS

24 x 30 cm, 96 pages 70 trichrome illustrations Hardcover ISBN 9788874399215 £ 37.00 | US $ 45.00 | Can $ 60.00 | € 40.00

Co-published with the Fondazione Pallavicino, Genoa

The seat of the Fondazione Pallavicino ETS, founded in Genoa on October 31, 2018 is in Palazzo Pallavicino, one of the historic Palazzi dei Rolli, a UNESCO World Heritage Site.

Among its primary purposes is the preservation of the memory of the “Magnificent Pallavicino Family” as well as the organization of art shows and the publishing of art books in cooperation with renowned national and international publishers.

C AN OVA. I N FO UR T EMP O S VOL UM E 1 Photographs by Luigi Spina Texts by Prince Domenico Antonio Pallavicino and Vittorio Sgarbi The full-size plaster models that represented the passage from a preliminary designing phase to the actual production of the marble sculpture were of great significance to Antonio Canova’s creative process. As the photographer Spina puts it, “[…] in the artist’s act of conception, plaster is the fragile, variable moment in which he perceives the body of his sculpture.”The plaster forms are not the finished works, and however they contain all their power and potential. The tiny bronze nails (repères) guide the photographer in tracing an unprecedented visual atlas and allow readers to lose themselves in unexplored landscapes of expressions and gestures, hairdos and drapery.

The close-up photo sequences expose the plaster surfaces and make it possible for the reader’s gaze to once again appreciate the bond between light and the pliability of matter that is one of the key features of Luigi Spina’s work.

As the subtitle emphasizes, the dimension of time proves to be one of the pivotal elements of the photographer’s research — working alone in the halls of the gipsothèque in Possagno.These “four tempos” are not a mere gimmick used to organize Spina’s visual musings throughout the four years in which Canova will be commemorated (20192022). The temporal dimension holds an unparalleled importance in the neoclassic sculptor’s creative and productive phases: the plaster artifact posits a before and an after.

Before comes the preparatory study; after is the finished work. Plaster stands in between, it is central. Thus, this volume aims to introduce the general public to such a meaningful and simultaneously little-known phase in the creative process of Antonio Canova, one of the greatest sculptors of all time.

Prince Domenico Antonio Pallavicino (Stresa 1944) is the scion of one of the oldest and most prominent families in Genoa. After a classical education, he chose to study foreign languages and later joined his father in the management of the family’s assets.

From 1980 he was Consul General of the Principality of Monaco in Genoa and Liguria.

In 2018, his cosmopolitan vision and refined culture, as well as his love for art and history, led him to establish the Fondazione Pallavicino ETS, of which he is president.

Vittorio Sgarbi (Ferrara 1952) is an art critic, the curator of exhibitions with international relevance, a refined collector, and the author of several popular volumes on the importance of culture and art. Among his most recent publications, Dall’ombra alla luce. Da Caravaggio a Tiepolo; Dal mito alla favola bella. Da Canaletto a Boldini (La Nave di Teseo, 2019), installments of the “Treasures of Italy” series. He is also a politician and an independent free thinker.

Luigi Spina is a photographer. His work depicts amphitheatres and the civic dimension of the sacred and explores the links between art and faith, the search for ancient cultural roots, and the physical impact of classical sculpture. His published works include L’Ora incerta (2014), The Buchner Boxes (2014), Hemba (2017), and Mythical Diary (2017).

Spina has collaborated with Valeria Sampaolo and 5 Continents Editions to create the series Oggetti rari e preziosi al Museo Archeologico Nazionale di Napoli, whose titles to date are Memorie del Vaso blu (2016), Amazzonomachia (2017), Centauri (2017), Sette sapienti (2018), and Zefiro e Clori (2018), as well as the Hidden Treasures series, which now includes The Farnese Cup. He has also published The Dancers at the Villa of the Papyri for 5 Continents Editions’ Tailormade series.

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F R I E D R I C H N I E T ZSCH E A ND T H E A RT IST S O F T H E NEW W EIMA R Edited by Sebastian Schütze Texts by Sebastian Schütze and Jennifer Ratner-Rosenhagen

20.5 x 24 cm, 80 pages 50 colour illustrations Softcover with flaps ISBN 9788874398546 £ 20.00 | US $ 25.00 | Can $ 34.00 | € 22.00

Co-published with the National Gallery of Canada, Ottawa Exhibition National Gallery of Canada, Ottawa April 18 – August 25, 2019

Around 1900, a small group of influential patrons, critics, writers, and artists turned Weimar, the capital of the small Duchy of Sachsen-Weimar-Eisenach in present-day Germany, into a utopian centre of modern art and thought. Artists like Max Klinger, Edvard Munch, and Ludwig von Hofmann, and writers like André Gide, Hugo von Hofmannsthal, and Rainer Maria Rilke sought to create a “New Weimar” and position Friedrich Nietzsche at its head as the radical prophet of modernity. Nietzsche’s profound thinking, expressive language, and poignant aphoristic style made him the ideal philosopher of modernism. “It is only as an aesthetic phenomenon that existence and the world are eternally justified.” With philosophical maxims, such as this from The Birth of Tragedy, Nietzsche became an extraordinary influence on artists and critics in their search for a “new art,” a “new man,” and, ultimately, a “new society.”

In 1902, two years after the philosopher’s death, Max Klinger was commissioned to carve his portrait for the Villa Silberblick in Weimar, where the cult of Nietzsche was organized. Starting from a heavily reworked death mask, he executed the famous marble herm that still today adorns the reception room of the Nietzsche Archive. Only three monumental bronze versions were cast, one of which is now in the collection of the National Gallery of Canada. With this sculpture in focus, accompanied by a series of paintings, drawings, plaster casts, and small bronzes,Radical Modernism will show how Klinger and his patrons invented the “official” Nietzsche, transforming a highly expressionist portrait into an idealized classical cult image.The exhibition and this catalogue will also include a comprehensive series of early editions of Nietzsche’s most influential books including luxury editions of Thus Spoke Zarathustra, Ecce Homo, and Dionysian Dithyrambs designed by Henry van de Velde. Finally, it will bring together work by the other protagonists of the “New Weimar,” including Auguste Rodin, Aristide Maillol, Edvard Munch, and Kurt Stoeving, in order to shed light on this extraordinary artistic and cultural constellation of modernism for the first time in North America.

Sebastian Schütze has been a long-standing research fellow at the Bibliotheca Hertziana (Max-Planck-Institut for Art History) in Rome. He is a member of the Austrian Academy of Sciences, a member of the scientific board of the Istituto Italiano per gli Studi Filosofici in Naples, and the Institute européen d’histoire de la République des Lettres in Paris.

From 2003 to 2009 he held the Bader Chair in Southern Baroque Art at Queen’s University in Kingston. Currently he is Professor of Early Modern Art History at the University of Vienna.

Jennifer Ratner-Rosenhagen is the Merle Curti and Vilas-Borghesi Distinguished Achievement Professor of History at the University of Wisconsin-Madison, where she teaches U.S. Intellectual and Cultural History in Transnational Perspective. Her books include American Nietzsche: A History of an Icon and His Ideas (University of Chicago Press, 2012) and The Ideas That Made America: A Brief History (Oxford University Press, 2019).

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M I R Ó À M AJ OR Q UE. UN ESP R IT LIBR E Essays by M. Punyet Miró, Pilar Baos, André Gilbert, and Patricia Juncosa

20.3 x 25.4 cm, 176 pages 153 colour illustrations Hardcover French edition ISBN 9788874398911 £ 27.00 | US $ 35.00 | Can $ 48.50 | € 35.00

Co-published with the National Museum of Fine Arts, Quebec Exhibition National Museum of Fine Arts, Quebec May 30 – September 8, 2019

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When Joan Miró moved to Majorca in 1956 he already enjoyed an international reputation and still had twenty-five years to live, dying on the Balearic island in 1981. Confident in his capabilities and status and spurred on by a kind of creative freedom, he spent these years in his studio experimenting to the greatest degree. He developed, or rather perfected, his own inimitable style: elementary forms became a personal iconography as he placed increasing faith in the expressive power of the brushstroke and the impact of the paint itself. His work displays the most varied influences and all are strongly present: the cave paintings at Altamira, Romanesque art, Catalan landscapes, and the inventiveness of Gaudí. But he also found inspiration in the East, in the rhythms of poetry, and in action painting. They all nurtured his theme of transformations, of metamorphoses.

The book is built around four key topics: Miró’s attachment to the art, nature, and landscapes of his native land; the influences that acted most powerfully on his work; the large paintings of his later years, displaying energetic brushwork and an unrivalled taste for experimenting; and, lastly, the repertoire of original forms that reveal his distinctive imagination as it modelled his favourite subjects. Among these, women, birds, and starry nights play a central role and are ever-present in his ideograms, as ironic as they are joyful and always overflowing with imaginative energy.

The book, which includes over 150 illustrations of paintings, sculptures, and works on paper, many of which extremely large and previously unpublished, will be released to coincide with the Joan Miró exhibition to be held in Quebec (Musée national des beauxarts du Québec, May 30 – September 8, 2019), an event that sees the artist’s work return to Canada after a hiatus of thirty years.

Pilar Baos Rodríguez has been the exhibition coordinator at the Pilar i Joan Miró Foundation in Majorca since 1992. He has organized several important events based on the work of Joan Miró and other contemporary artists, at both a national and an international level.

André Gilbert is an art historian. He has been curator of the international exhibition programme at the Musée national des beaux-arts du Québec since 1995, where he has organized important exhibitions featuring internationally famous artists, including Alberto Giacometti, Berthe Morisot, and Joan Miró.

Patrica Juncosa Vecchierini is now the curator of the Pilar i Joan Miró Foundation Collection in Majorca. She earned her PhD in Architecture with a thesis on the relationship between Miró and Sert, a theme she was later able to develop through a number of collaborations with the aid of the foundation.

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GALERIE DOCUMENTS 15

I N T H E AT E LIER E RIK D E S M A Z IÈR ES P R INT MA KER R ENÉ TA Z É P R INT ER A N A RTIS TIC CO LLA BO R AT IO N 1978–2018 Text by Alain Madeleine-Perdrillat

IN THE ATELIER ÉRIK DESMAZIÈRES | RENÉ TAZÉ

I N T H E AT E L I E R ÉRIK DESMAZIÈRES PRINTMAKER RENÉ TAZÉ PRINTER

A N A RT I ST I C CO L L A B O R AT I O N 1 978 – 2 0 1 8

$ 34.99 | Can $ 47.50 £ 27.00 | € 30.00

24 x 28 cm, 88 pages 40 colour illustrations Hardcover Bilingual edition English/French ISBN 9788874398690 £ 27.00 | US $ 34.99 | Can $ 47.50 | € 30.00

Exhibitions Galerie Documents 15, Paris February 15 – April 6, 2019 Orangerie de la Propriété Caillebotte,Yerres April 18 – June 9, 2019

This book is a tribute by a leading contemporary graphic artist to his intaglio printer.

Erik Desmazières’s first love was drawing and he began engraving in the Ville de Paris studios from 1971. René Tazé joined the Leblanc studio, a famous and ancient Parisian intaglio printer’s workshop in 1969. It was here, on Rue Saint-Jacques, the printers’ quarter since the seventeenth century, where they met: in this corner of Paris imbued with history.

In the spring of 1978, René Tazé opened his own studio at 11 Rue Hittorf, by the side of the town hall in the tenth arrondissement in Paris. The printer and the artist then established a professional bond that has lasted up to the present day. During the four decades of their work together, they have made over 200 prints and no fewer than 20,000 proofs in various formats; their preparation benefited greatly from the skill and noteworthy talent of René Tazé, who was awarded the title of Maître d’Art in 2006.

While René Tazé made the prints, Erik Desmazières began to draw his surroundings, of which he was much inspired. The result was a set of seven large engravings made from 1979 onwards depicting the studio and its wonderful machines from different angles.The place, with its glass roofs, glass partitions, presses, and dilapidated appearance, was inspirational for the artist.

In 2006, René Tazé was forced to leave his studio, which was to be demolished. He moved to a studio in Villa du Lavoir, near Porte Saint-Martin, not far from where he worked previously. The new studio was far more “modern” and more maze-like, but just as inspiring and gave rise to an engraving of the studio just before its conversion: Atelier René Tazé VIII, 2018. The renovated studio offered the engraver the chance to make a new work of the space, which had a completely different layout: Atelier René Tazé IX. This book is published to coincide with the exhibition to be held at Galerie Documents 15, Rue de l’Échaudé, in Paris, in Spring 2019. It includes all the drawings, engravings, and proofs, enhanced by the addition of colour, showing the full series of studios, right up to the present one. It also enables the reader to explore one of the very last remaining studios still operating in Paris and to admire the exemplary and trusting collaboration between an artist and his printer, who today works with two young collaborators, Bérengère Lipreau and Domitille Araï.

The book offers a preface by the art historian Alain Madeleine-Perdrillat and covers all the works published by the Musée Carnavalet in its catalogue for the Paris à grands traits exhibition in 2006–07, which is now out of print.

Alain Madeleine-Perdrillat is an art historian and was born in Paris in 1949. For many years he worked at Réunion de musées nationnaux, then at the Institut national d’histoire de l’art. He has written a monograph on Seurat (Skira, 1990), a study of Nicolas de Staël (Hazan, 2003), and essays on various writers, poets, and painters. He has also translated several works by Roberto Longhi, The Life of a Painter, by Gino Severini (Hazan, 2011), and recently The Originality of Thomas Jones by Lawrence Gowing (Fage editions, 2017).

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B I L L T R AY L OR Introduction by Margit Rowell Texts by Debra Purden and Valérie Rousseau

24 x 28 cm, 148 pages 134 colour illustrations Hardcover Bilingual edition English/French ISBN 9788874398218 £ 37.00 | US $ 50.00 | Can $ 63.00 | € 42.00

Co-published with AFAM – American Folk Art Museum, New York Bill Traylor won the prize for the best modern art book at the 9th International Art Books and Films Festival (FILAF), held in June 2019.

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Born into slavery around 1853/4 on a cotton plantation in Benton, Alabama, Traylor has become one of the most important self-taught artists of the twentieth century, and certainly one of the most celebrated African-American artists, along with Thorton Dial and William Edmondson. The story of Bill Traylor’s life and work is a remarkable one. It is a story that deserves attention both nationally and internationally.

This publication, generously illustrated with full-page high-quality reproductions, will provide a close examination of Traylor’s recurrent themes, composition schemes, favoured iconography, and contextual information related to the artist’s biography, creative process and tools, visual environment, and artistic mindset.

Each artwork is considered in a context beyond that of an isolated image and in response to one another, forming a series of intricate and consistent narratives, intriguingly cinematic in its development. The elements of Traylor’s biography are the anchors of an individual mythology. Instead of merely being a basic depiction, the subject becomes a visual statement structuring Traylor’s mind, bringing together hidden symbols from Kongo Voodoo, Hoodoo, Southern Baptist, Freemasonry, and Blues sources, as well as layers of references: slavery, uncensored violence in the Jim Crow era, and turbulence within the black enclave known as “Dark Town” in Montgomery, Alabama.

Margit Rowell is an art historian. Born in America, she now lives in Paris. Following her MA and PhD obtained at the University of Paris-Nanterre, she worked as a conservator at the Guggenheim Museum in New York, at the Musée national d’art moderne – Centre Georges Pompidou in Paris, at the Fundació Joan Miró in Barcelona, and at the Museum of Modern Art in New York. Over the course of her career spanning thirty-five years, she has organized several monographic and thematic exhibitions of modern and contemporary art by famous and less well-known artists, both American and European, and with associated catalogues. She has been working as an independent exhibitions organizer since 2002.

Debra Purden is an American historian whose research has focused on the life and work of Bill Traylor. She has worked as a curator and registrar for many private collections in Chicago, among them the most significant private collections of Traylor. Previously part of the curatorial team at the Museum of Contemporary Art in Chicago, Purden has held positions at the Filed Museum of Natural History, The Art Institute of Chicago, and the Chicago Cultural Center.

Valérie Rousseau has been curator of self-taught art and Art Brut at the American Folk Art Museum, New York, since 2013, where she curated the AAMC Award-winning When the Curtain Never Comes Down on performance art (2015) and other critically acclaimed exhibitions. Rousseau holds a doctoral degree in art history and a master’s degree in art theory, both from Université du Québec in Montreal, and a master’s degree in anthropology from École des Hautes Études en Sciences Sociales, Paris. She is the author and editor of numerous publications, among them The Hidden Art: 20th and 21st Century Self-Taught Art (Rizzoli, 2017), Revealing Art Brut (Culture & Musées, 2010), and Vestiges de l’indiscipline (Canadian Museum of Civilization, 2007).

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C AR L O Z I N E L LI RE C TO V E RS O Edited by Anic Zanzi

23 x 28 cm, 192 pages 206 colour illustrations Hardcover Bilingual edition English/French ISBN 9788874398522 £ 35.00 | US $ 45.00 | Can $ 60.00 | € 39.00

Co-published with the Collection de l’Art Brut, Lausanne Exhibition Collection de l’Art Brut, Lausanne September 18, 2019 – February 2, 2020

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Carlo Zinelli (1916–74), often called simply “Carlo,” is one of the leading figures of Art Brut, along with Aloïse Corbaz, André Robillard, and Adolf Wölfli.The Collection de l’Art Brut in Lausanne, which possesses the largest body of work by Carlo, has dedicated this book to the Italian artist’s until-now underappreciated oeuvre. The volume gathers together several articles on the artist by experts in various disciplines, which explore multiple aspects of his rich and diverse output—for example, extensive writings that were typically merged with his signature graphic compositions, well known for their characteristic accumulations of human, animal, and even vehicular motifs.The book offers a rare opportunity to follow the development of Carlo’s art, which he regarded as the means of making his childhood memories and the things he loved in life—music, nature, and animals—eternal.

The words “recto verso” in the book’s title refer to the artist’s habit of making drawings and paintings of the same intensity and quality on both sides of a sheet of paper. For Zinelli, creating art was a way of escaping from suffering and sickness—a means of survival.

With bilingual texts in French and English, the book is lavishly illustrated with reproductions of Zinelli’s paintings and many photographs—including several by Life magazine photographer John Phillips—as well as a wealth of previously unpublished archival material.

Anic Zanzi is an art historian, exhibition organizer, and, since 2003, curator at the Collection de l’Art Brut. She has edited several publications for the museum, including Véhicules in the Art Brut La Collection series.

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T H E AT R E S A RT B RUT – THE CO LLECT IO N Edited by Sarah Lombardi Texts by Pascale Jeanneret, Éric Vautrin

20.5 x 25.5 cm, 144 pages 102 colour illustrations Softcover ISBN 97888874399055 £ 25.00 | US $ 40.00 | Can $ 50.00 | € 32.00

Co-published with the Collection de l’Art Brut, Lausanne Exhibition Collection de l’Art Brut, Lausanne Art Brut: 4th Biennale - Theatres November 29, 2019 – April 26, 2020

[24] NEW TITLES

The theatre is the central theme of this fourth volume in our series titled “Art Brut – The Collection,” published to coincide with the fourth Art Brut Biennale. After exploring architecture, vehicles, and bodies, attention turns to the theatre, a theme that is developed in its various aspects. The simplest example is the depiction of theatrical architecture, as in the work of Eugen Gabritschevsky or Victorien Sardou. Other artists create works that are intimately connected to the world of theatre, however without necessarily being a part of it. For example, for Giovanni Battista Podestà or Vahan Poladian, a public stage is a place where they put on a “performance” that responds to a society that consigns them to its margins. Their—intrinsically ephemeral—approach uses clothing or accessories as a means of communication and to have their voices or protestations heard. Other artists conceive whole cosmogonies that take the form of a gigantic staging of a fanciful, phantasmagoric world, as in the case of Aloïse Corbaz, whose work is to be viewed as a “Theatre of the universe,” or in that of Marguerite Burnat-Provins, with her graphic work titled Ma Ville.

The book includes over 100 illustrations, many of which published for the first time, carefully chosen to enable the reader to explore the theme of the theatre in Outsider Art, or Art Brut.

Sarah Lombardi has been Director of the Collection de l’Art Brut in Lausanne since 2013. She is an art historian and graduate of the University of Lausanne and has worked as a freelance exhibition curator. Between 2007 and 2013 she was curator and then acting director at the Collection de l’Art Brut. She has published numerous books in conjunction with the Collection’s exhibitions and has written articles on Art Brut in exhibition catalogues and art journals. In 2013, she launched the Art Brut Biennales, thematic exhibitions curated solely from the museum’s collections as well as a new series of bilingual publications titled Art Brut, la collection – Art Brut, the Collection.

Pascale Jeanneret has been curator at the Collection de l’Art Brut in Lausanne since 2002. Following Art History and Museum Studies at the École du Louvre in Paris, she was responsible for curating the Swiss artist Thomas Hirschhorn’s exhibitions. She then worked in the contemporary art field for several years. She has curated numerous thematic and monographic exhibitions for the Collection de l’Art Brut, including Aloïse. The Solar Ricochet, Anna Zemankova, and the Architectures biennale. Éric Vautrin has been a playwright at the Vidy-Lausanne Theatre since 2015. From 2007 to 2015 he was a lecturer in Performing Arts at the University of Caen-Normandy and an associate researcher at the CNRS-Thalim laboratory. He also founded and directed the contemporary poetry festival La poésie/nuit in Lyon then Caen from 2005 to 2009.

He is currently co-director, along with B. Boisson and L. Fernandez, of the NoTHx (“New Theatres”) research programme on the renewal of European stage forms since 2000.

He assists artists creating work at the Vidy-Lausanne Theatre and hosts encounters and debates based on the theatre’s productions.

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[ C O N T E M P O R A RY A RT ]

MUR | MURS JAC QUE S K AUFMA NN, CER A MIC A R CHIT ECT U R E Edited by Anne-Claire Schumacher Texts by Jacques Kaufmann and Luca Pattaroni

28 x 28 cm, 108 pages 90 colour illustrations Hardcover Bilingual edition English/French ISBN 9788874398904 £ 32.00 | US $ 39.99 | Can $ 53.99 | € 35.00

Co-published with the Ariana Museum 1 Swiss Museum for Ceramic and Glass, Geneva Exhibition Ariana Museum 1 Swiss Museum for Ceramic and Glass, Geneva May 17 – November 10, 2019

[26] NEW TITLES

Bricks, one of the earliest materials associated with both housing and the body, are the subject of this publication. However, the book also explores the role of Jacques Kaufmann in the world of international contemporary ceramics and his impact in architectural ceramics since he first became interested in the field several years ago. In terms of human agency, bricks are the basic unit through which the artist introduces his designs in the landscape. Kaufmann uses this simple, yet tough, material to build up an imaginative world that is not linked solely to the bricks as such, but also to the symbolic charge they possess (the concept of transparency, physical and metaphorical walls, and their associated imaginative world).

This book is intended to accompany the Jacques Kaufmann exhibition that will be held at the Ariana Museum (Geneva), an event that will extend outside the museum. Indeed, an important part of the exhibition will be installed in the park: one of the walls “will enter” the museum and invite the visitor down to the basement display area.

A total of ten works will be exhibited and Kaufmann himself presents each in the book.The introduction is edited by Anne-Claire Schumacher, who discusses Kaufmann’s development and his place in the history of ceramic art and in contemporary art as a whole. This is followed by a contribution by Luca Pattaroni, who views the topic from a socio-political perspective. The five main works set in the park of the Ariana Museum and the continuation into the museum’s basement are described and commented by the artist.

Anne-Claire Schumacher is a curator at the Musée Ariana in Geneva and the author of several articles and publications associated with the museum, including another book published by 5 Continents Editions, La Manufacture de porcelaine de Langenthal, entre design industriel et vaisselle du dimanche (Milan, 2012).

Jacques Kaufmann (1954) opened his current studio in France, just over the border from Geneva, in 1988. He has taught at the Ecole d’arts appliqués of Vevey since 1995 and was appointed head of the ceramics department in 1996. His work in China since 1999 has enabled him to contribute to exhibition exchanges between Europe and China. In 2008, Kaufmann joined a group at Hepia, the University for Engineering, Architecture, and Landscape Architecture in Geneva, to conduct research on “green” walls on a city-wide scale. He is the current president of the International Academy of Ceramics.

Luca Pattaroni graduated in sociology and now works at the Laboratoire de Sociologie Urbaine (EPFL) and is a member of the Groupe de Sociologie Politique et Morale at Ecole des Hautes Etudes en Sciences Sociales (GSPM/EHESS). He has been a visiting scholar at Columbia University (New York) and guest lecturer at the Federal University of Fluminense (Brazil) in 2011. His research and publications focus on urban and cultural policy, housing, social movements, the development of new ways of life, as well as, more broadly, typical issues in contemporary cities. He specializes in mixed methods as well as political and sociological theory and attempts to provide a nuanced analysis of different ways of life co-existing in a pluralist context, while investigating the political and moral issues inherent to establishing a shared social life.

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[ARCHITECTURE]

T H E C A N A DA PAV ILIO N AT T H E V ENICE BIENNA LE Edited by Réjean Legault Texts by Susanna Caccia Gherardini, Karen Colby-Stothart, Josée Drouin-Brisebois, Serena Maffioletti, Cammie McAtee, and Franco Panzini

24 x 28.5 cm, 184 pages 110 colour illustrations Hardcover ISBN 9788874398843 £ 42.00 | US $ 52.50 | Can $ 71.00 | € 45.00

Co-published with the National Gallery of Canada, Ottawa

This richly illustrated book has been published with the intention of creating a detailed record of the story of the Canada Pavilion built in 1958 in the gardens of the Venice Biennale and thus provide an authoritative reference book on this topic. It examines the various figures and interests involved in the design and construction of the building and explores how it was used over the past sixty years to exhibit the work of Canadian artists and architects. This publication intends not only to underline the pavilion’s importance in the broader context of modern architecture, but also to highlight its role as an early example of cultural diplomacy.

The book is fully endowed with archive material, such as photographs, drawings, and maps, along with a portfolio created by contemporary photographers (Francesco Barasciutti and Andrea Pertoldeo), showing the building before, during, and after the restoration.The essays of the various contributors to the book analyse the cultural and political context in which the Canada Pavilion committee worked (Cammie McAtee); the concept and construction of the building and the links with the architect Enrico Peressutti and the BBPR partnership (Réjean Legault); the pavilion’s role in the postwar Italian cultural context (Serena Maffioletti) and its fortunes from its inauguration in 1958 to the restoration in 2018 (Josée Drouin-Brisebois); the restoration project itself (Susanna Caccia Gherardine), and, lastly, the relationship between the Canada Pavilion and the Biennale Gardens (Franco Panzini).

Réjean Legault is Associate Professor at the École de design of the Université du Québec à Montréal. He was the guest curator of the National Gallery of Canada’s exhibition Canada Builds/Rebuilds a Pavilion in Venice, presented at the Canada Pavilion during the 2018 Venice Architecture Biennale, and continues to lend his expertise to the production of the upcoming publication and documentary film (a collaboration with the National Film Board of Canada) on the Pavilion.

Susanna Caccia Gherardini is a full-time professor of fine art restoration at the Università di Firenze and cooperates with both Italian and international institutions for the preservation of contemporary art.

Karen Colby-Stothart has spent over thirty years in the visual arts sector, holding key positions at major Canadian museums including the Art Gallery of Ontario, the Montreal Museum of Fine Arts and the National Gallery of Canada. In 2013 she was appointed Chief Executive Officer of the National Gallery of Canada Foundation.

Josée Drouin-Brisebois is Senior Curator of Contemporary Art at the National Gallery of Canada. She has been highly involved in Canada’s participation at the Venice Art Biennale since 2011.

Serena Maffioletti is an architect and professor of Architecture and Urban Design at Università IUAV di Venezia, where she has taught since 1992. She is also the director of the IUAV’s Archivio Progetti, an archive and documentation centre of modern and contemporary architecture and design.

Cammie McAtee is a Montreal-based historian and curator. She was the lead researcher for the National Gallery of Canada’s exhibition on the Canada Pavilion at the 2018 Venice Architecture Biennale and provided key research for the accompanying publication.

Franco Panzini is an architect and landscape historian and guest lecturer at Università IUAV di Venezia and at the School of Architecture of Roma Tre University.

NEW TITLES [29]

[ P H OTO G R A P H Y ]

PAR I S Photographs by Michael Wolf Text by Johan-Frédérik Hel Guedj

29 x 25 cm, 80 pp.

34 colour illustrations Hardcover Bilingual edition English/French ISBN 9788874398928 £ 32.00 | US $ 40.00 | Can $ 55.50 | € 35.00

Michael Wolf achieved fame when he won the 2005 World Press Photo with his China, Factory of the World project, and the 2010 World Press Photo with his Tokyo Compression.

The present book offers his personal take on the French capital. Singling out typical architectural features of the Parisian landscape he renders the seemingly banal immortal, as only he knows how. Roofs, chimneys, and lights provide the pictures with rhythm, with their colours, shapes, and above all their volumes. Wolf invites the reader to enter his highly distinctive visual world and let his gaze follow the snaking lines of walls and gutters, dwelling on unexpected details lovingly picked out. The photographer’s underlying desire is to encourage us to consider the environmental and architectural context that provides a framework for all these rigorously rectangular features. This dreamlike journey into a Paris viewed from the rooftops is underlined in the second part of the book. The shadows of trees decorate the façades of various buildings, creating a visual poetry and prompting an intimate dialogue where, in the absence of all human presence, nature and architecture blend into one another.

Michael Wolf (1954–2019) lived in Europe, America, and Asia, spending his last years in Hong Kong. A German photographer specialized in urban shots, he graduated in photography from the Folkwang University of the Arts in Essen, where he studied under Otto Steinert. Among his most noteworthy projects are the “beehive” skyscrapers in Hong Kong. The focus of his research is city life, especially in overpopulated contemporary metropolises, and their inhabitants’ loss of individuality. Wolf ’s work has been displayed in a variety of locations, including the Venice Biennale of Architecture, the Aperture Foundation Gallery in NewYork, the Hong Kong Shenzhen Biennale, and the Museum of Contemporary Photography in Chicago. His works are also present in many permanent collections, including those of the Metropolitan Museum of Art in New York, the Museum of Contemporary Photography in Chicago, and the German Architecture Museum in Frankfurt.

Johan-Frédérik Hel Guedj, a French writer, has published two novels (Le traitement des cendres, L’amour grave), a collection of short stories (De mon vivant), an account of polar exploration (Chercheurs d’éternité), and an essay on Orson Welles (La règle du faux). He lives in Brussels and writes on contemporary art in the daily newspaper L’Echo/De Tijd.

[30] NEW TITLES

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[ P H OTO G R A P H Y ]

C H A R L OT T E P ER R IA ND A ND P H OTO GR A P H Y A W ID E - A N G L E EYE Jacques Barsac Introduction by François Cheval Foreword by Alfred Paquement

24 x 28,5 cm, 368 pp.

438 colour and b/w illustrations Hardcover with jacket ISBN 978-88-7439-548-8 £ 40.00 | US $ 50.00 | Can $ 67.50 | € 45.00

This new edition of the book has been published thanks to the contribution of the Maurice Amon Foundation.

Exhibitions Fondation Louis Vuitton, Paris October 2, 2019 – February 24, 2020 Académie des beaux-arts, Paris February – March 2020

[32] NEW TITLES

Charlotte Perriand (1903–99), renowned for the tubular-steel chairs she created with Le Corbusier, was one of the most innovative furniture and interior designers of the twentieth century. Her career spanned nearly seventy-five years, taking her from her native France all the way to Africa, South America, Asia, and across Europe, and today her designs are highly collectable. Several hundred photographic negatives were recently discovered in her archives, revealing for the first time the scope of her work as a photographer.

In the late 1920s, Charlotte Perriand was ready to launch her career 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 hopes of building a better world were shattered by the war. For Charlotte Perriand, photography was a machine for thinking, taking notes, and stirring emotions, but it was also an instrument of political commitment. Today, her photographs are a revelation, offering previously unseen glimpses into her creative process and intellectual development. They express the dominant themes and issues explored by the artists of the day and are part of the vast stream of avant-garde movements that saw painters, architects, and photographers—and sometimes all three combined—work together in a common spirit.

Jacques Barsac is an award-winning filmmaker specializing in documentaries on art and history, many of which screened at major international festivals (Charlotte Perriand, Le Corbusier, Jean Cocteau, Le Roman du visage, Winston Churchill . . . ). Since 2001 he has systematically focused on the work of Charlotte Perriand. His publications include: Charlotte Perriand, un art d’habiter (Paris, 2005), Charlotte Perriand et le Japon (Paris, 2008), and Charlotte Perriand, l’œuvre complète, Volume 1, Volume 2 (2015), Volume 3 (2017), Volume 4 (2019).

François Cheval, sociologist, anthropologist, and photography expert, is the director of the Musée Nicéphore Niépce in Chalon-sur Saône, a pantheon of photography dedicated to the pioneer who invented the earliest techniques in 1816.

Alfred Paquement, curator of Monumenta 2008, has been the director of the Musée national d’Art moderne Centre Pompidou since September 2000.

BÉATRICE HELG

[ P H OTO G R A P H Y ]

27.5 x 35.5, 166 pages 104 colour illustrations Hardcover Bilingual edition English/French ISBN 9788874398966 £ 50.00 | US $ 65.00 | Can $ 88.00 | € 55.00

Exhibitions Paris Photo November 6 – 10, 2019 Galerie Sonia Zannettacci, Geneva November 21, 2019 – February 2, 2020 Paris Photo New York April 2 – 5, 2020 Palais Garnier, Paris May 5 – September 13, 2020

[34] NEW TITLES

B É AT R I C E H E LG Texts by Robert Wilson, Serge Linarès, Philippe Piguet, and Sylviane Dupuis This book is the most important monograph devoted to the Swiss artist-photographer Béatrice Helg. It offers a survey of her work from the past twenty-five years, and is accompanied by a poem dedication by Robert Wilson, critical essays by Serge Linarès and Philippe Piguet, and a poem by Sylviane Dupuis.

Helg’s oeuvre has a singular position in the photographic tradition of “constructed images.” Remote from hyperrealist or narrative imagery, her work displays abstract forms and luminous worlds. Drawing on a passion for music and a marked sensitivity to notions of space and time, to architecture, and to the staging of plays and operas, the artist creates monumental spaces in which sculpture, painting, installation, and light interact.

As poetic as they are spiritual, her photographs show strangely beautiful universes of shadow and of light. Her work opens onto an infinity — onto a quest for the absolute or a search for an inner mystery.

Helg was born in Geneva in 1956. After studying the cello, she studied photography in the United States and worked in the Exhibitions Department of the International Center of Photography (ICP) in New York. From the onset, Helg developed a personal signature for her uses of space, light, and matter, and it has been given international recognition.

More than sixty-five solo exhibitions have been devoted to her oeuvre in Europe, the United States, and Japan. Among these are shows at the Palazzo Fortuny in Venice, at the Museum Tinguely in Basel, at the Institut Valencià d’Art Modern (IVAM) in Valencia, at the Museum of Contemporary Photography in Chicago, at the Museum of Photographic Arts in San Diego, at Paris Photo, and at the Rencontres de la Photographie in Arles.

Robert Wilson is among the world’s foremost theater and visual artists. His works for the stage unconventionally integrate a wide variety of artistic media, including dance, movement, lighting, sculpture, music, and text. Wilson’s productions and innovative uses of time, light, and space on stage have won the acclaim of audiences and critics internationally. He has been honored with a number of awards for excellence, including a Pulitzer Prize nomination, the Golden Lion of the Venice Biennale, and an Olivier Award.

Serge Linarès is a professor of twentieth- and twenty-first-century French literature at the Sorbonne Nouvelle University (Paris 3). As a Jean Cocteau specialist, he was the editor of Cocteau’s collected novels in the “Bibliothèque de la Pléiade” series in 2006.

Interested in the relationships between literature and art, he has published Écrivains artistes: La tentation plastique (XVIIIe-XXIe siècle), Fenosa, la sculpture et les lettres, and Picasso et les écrivains.

Philippe Piguet is a historian, art critic, and independent curator of exhibitions. He has been responsible for organizing exhibitions at the Chapelle-espace d’art contemporain, in Thonon-les-Bains, since 2008, and is the artistic director of the Normandie Impressionniste Festival for 2020. He has contributed regularly to the review Art Absolument since 2002 and occasionally to artpress.

Sylviane Dupuis is a Swiss poet, playwright, essayist, and critic. She was a lecturer in Swiss francophone literature in the Modern French Department of the University of Geneva between 2004 and 2018. Her many publications comprise seven books of poetry, and five plays. Her most recent books are Qu’est-ce que l’art ? 33 propositions (Zoé, 2013) and Géométrie de l’illimité / Poème de la méthode (“Poche Poésie,” Empreintes, 2019).

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[ A F R I C A N A RT ]

A L L O K AF I G I DA S E C RE T QUR’ A NIC BOA R DS FRO M NO RT HER N NIGER IA Antoine Lema

24.5 x 34 cm, 224 pages 163 colour illustrations Hardcover ISBN 9788874398744 £ 60.00 | US $ 75.00 | Can $ 100.00 | € 65.00

Secrecy is the common feature of the so-called allo kafi gida Qur’anic writing boards used by the Hausa of northern Nigeria. While on the one hand their owners share a barely concealed reluctance to reveal the auspicious epigrams decorating these artefacts, on the other they exhibit a clear desire to avoid displaying images of animals and human beings that might cause repercussions in an iconoclastic Islamic context. One need only consider that even today possessing an allo kafi gida incurs severe punishment by the most fervent Moslems, sometimes extending to the death penalty. Every board in this book would have been destroyed by Islamic fundamentalists if it had not somehow been saved at some time in the past.

Those who made the decorations embellishing these Qur’anic tablets were not simply illustrators; they were nothing short of troubadours, painting on wooden panels the tales depicting the cosmic connections of the society in which they lived. Over the years, the cosmic ideas of distant foreign lands were incorporated in the Hausas’ system of thought and these allo kafi gida have thus turned into cosmological time capsules impressed on wooden panels.

In view of this challenging cultural context, the owners of these artworks can be described as “curators” of these secret boards, which, in spite of serving the Islamic religion, actually record Hausa cosmology.

The artefacts adorning the book are truly unique in the field of extra-European art and come from a private collection built over a period of twenty years of painstaking research.

Antoine Lema is a sociologist (PhD), Lund University, Sweden, with an engaging passion for photography and the exploration of visual arts, but particularly primary African Arts. The subject of his thesis was The Ethnicity of Civil Wars in Africa (Lund,1993). For the past twenty years, he has worked as a World Bank expert in Washington, DC, traveling extensively in Africa, not forgetting his passions. In 2008, he initiated and together with the art curator organized the Africa Now exhibition at the World Bank in Washington, DC. Showcasing the works of 160 artists in design, poetry, film, sculptures, paintings, and photography, the event was considered the largest representation ever of African artists at one single exhibition. Allo Kafi Gida is the first of his African Art narratives to be published.

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[ A F R I C A N A RT ]

K I F WE B E A C E N TURY O F SO NGYE A ND LU B A MA SKS François Neyt, with texts by Allen F. Roberts, Kevin Dumouchelle, Woods Davy, and H. Kellim Brown Photographs of Alan Shaffer

25 x 31 cm, 368 pages 287 colour illustrations Hardcover with jacket ISBN 9788874398645 £ 90.00 | US $ 115.00 | Can $ 162.00 | € 100.00

Kifwebe masks are ceremonial objects used by the Songye and Luba societies (Democratic Republic of Congo), where they are worn with costumes consisting of a long robe and a long beard made of plant fibres. As in other central African cultures, the same mask can be used in either magical and religious or festive ceremonies. In order to understand Kifwebe masks, it is essential to consider them within the cosmogony of the python rainbow, metalworking in the forge, and other plant and animal signs.

Among the Songye, benevolent female masks reveal what is hidden and balance white and red energy associated with two subsequent initiations, the bukishi. Aggressive male masks were originally involved in social control and had a kind of policing role, carried out in accordance with the instructions of village elders. These two male and female forces acted in a balanced way to reinforce harmony within the village. Among the Luba, the masked figures are also benevolent and appear at the new moon, their role being to enhance fertility.

Although the male and female masks fulfil functions that do not wholly overlap, they do have features in common: a frontal crest, round and excessively protruding eyes, flaring nostrils, a cube-shaped mouth and lips, stripes, and colours.

Art historians and anthropologists have taken increasing interest in Kifwebe masks in recent years. This book offers a fresh perspective on the Songye and Luba through the study of the Woods Davy Collection.

François Neyt is professor emeritus at the Catholic University of Louvain and has also taught at the Official University of the Congo. François Neyt has published several works on African art, including La Grande Statuaire hemba du Zaïre; Arts traditionnels et histoire au Zaïre; Luba. Aux sources du Zaïre; La Redoutable Statuaire songye d’Afrique centrale; Fleuve Congo; Fétiches et objets ancestraux; and Trésors de Côte d’Ivoire.

Allen F. Roberts is Distinguished Professor of World Arts and Cultures at the University of California, Los Angeles. His studies of sub-Saharan African humanities include A Dance of Assassins: Performing Early Colonial Hegemony in the Congo (2013) and, with his late wife Mary Nooter Roberts, Visions of Africa: Luba (5 Continents, 2007).

Kevin Dumouchelle earned a PhD in Art History and Archaeology from Columbia University. His doctoral research in Ghana examined architectural modernity in Asante.

In 2016, he joined the National Museum of African Art. He has written books and articles on a range of topics and curated exhibitions on both contemporary and historical African art.

Woods Davy lives in Venice, California. For the past thirty years Davy has worked with stone in unaltered states, either from the sea or the earth, incorporating them into assemblages of precarious balance that appear to be in flux. He might be thought of as among the first “green” Postmodern artists. His work is included in many museums and institutions, as well as numerous public and private collections throughout the world.

H. Kellim Brown holds an MA in African Art History. In 2008 he held a research position at Portugal’s National Museum of Ethnology focused on Angolan traditional art production. His work among the Lega in 2011 led him to further investigate ethnicities of the northern Democratic Republic of Congo from 2012 to 2015, yielding a recently published essay in Congo Masks: Masterpieces From Central Africa (2018).

[38] NEW TITLES

[ A F R I C A N A RT | V I S I O N S O F A F R I C A ]

visions of africa

visions of africa

Alain Michel Boyer Alain Michel Boyer

We

We 16.5 x 24, 152 pages 60 colour illustrations and 23 b/w Softcover ISBN 9788874398683 £ 29.95 | US $ 39.95 | Can $ 49.95 | € 35.00

WE V IS ION S OF AFR IC A SER IES Alain-Michel Boyer The We, whose name means “men who easily forgive,” live in the forests along the western border of the Ivory Coast. The family unit plays an important role in We social life.

Each is led by a patriarch revered for his wisdom and wealth, who supervises the clan’s life, organizing weddings, settling disputes, and influencing religious life.

Long known by other names, (Guere, Wobe, Kran), the We live on either side of the border between Liberia and the Ivory Coast and as a result they are considered “peripheral” inhabitants in both countries. Theirs is regarded as a mask culture, as opposed to other societies that have none (such as the Ashanti in Ghana).

The bold, striking sculpture on these masks ensured they would be among the first examples of African art to captivate Cubist artists in the West. So it comes as no surprise that Kahnweiler, Picasso’s famous dealer, used to say that the artist owned a Wobe mask and that it was the close analysis of this object that led Picasso to experiment with innovative techniques in his own work.

These eye-opening, exuberant, phantasmagorical masks are astonishingly diverse and display a dazzling compositional inventiveness. They clearly also influenced the art of neighbouring peoples, to the extent that, far from being isolated in a remote corner of the jungle, this art has been identified as the keystone, the pivot around which all the art of the area revolves—giving the lie to the notion that the lines drawn on maps by colonisers have any effect on the process of artistic creation. To which should be added a further crucial point: it is no exaggeration to speak of a mask culture, so abundant are they in each village, with a part to play in all community activities (legal, mystical, agricultural . . . ) and a role in all the stages of life. The nature of this dynamic, mobile art is completely different from the art of other peoples, where form suggests meaning and reveals the impact and the type of ceremony it is associated with; in the case of the We masks, form is never an indicator of category.

Alain-Michel Boyer, an anthropologist and art historian, is a university agrégé and holds a diploma from the Institut d’Etudes Politiques. He is a former Fulbright Scholar and has two doctorates (Sorbonne). Alain-Michel Boyer has taught in several American universities. He is a former member of the Conseil National des Universités in Paris and is now a professor emeritus of African art. He lived in a village in the Ivory Coast for two years and often returns to the country for long periods. He has also made many trips to Mali, Liberia, Ghana, Zimbabwe, etc. for research purposes. He is the author of some twenty books, including Comment regarder les arts d’Afrique (Hazan, 2017), Baule (5 Continents Editions, 2008), Le Corps africain (Hazan, 2006). He has published the only books on the masks and statuettes of two peoples until then neglected by art historians: Les Yohouré de Côte d’Ivoire.

Faire danser les dieux (Ides et Calendes, 2017) and Les Figurines kulango. Les esprits mystérieux de la brousse de la collection Pierluigi Peroni (5 Continents Editions, 2017).

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VISIO N S O F A FR I C A Series directed by Constantine Petridis, Curator of African art and Chair of the Department of the Arts of Africa and the Americas at the Art Institute of Chicago Visions of Africa is a series devoted to the arts of Africa, grouped according to the continent’s different peoples.

Each volume follows two main themes: the first is visual and aesthetic, taking the form of a rich selection of approximately sixty-two photographs of masterpieces; while the second is theoretical and contextual, exploring the significance of these items within the population that created them.

The series is meant both for readers wishing to discover the arts of these populations and for those who intend to learn more about them.

Highly accessible, avoiding the intimidating feel of scientific literature, the books nonetheless contain significant annotated bibliographies and the most current data based on relevant field research. Author texts explore the origin of the items as well as the context of their use within the various African cultures.

Their evolution and longevity are equally taken into consideration, often up to the present day.

Contemporary and historical field photographs are reproduced throughout the body of the text.

Out of print in the same series: BAMUM 9788874395736 BAMANA 9788874393480 BAULE 9788874393862 BENIN 9788874394104 CHOKWE 9788874392933 FANG 9788874392957 LOBI 9788874393503 PUNU 9788874394012 The Vision of Africa series won in 2016 the Tribal Art Book Prize (Pilat) for the Editorial Trajectory awarded by Tribal Art Magazine in association with Sotheby’s.

9788874398201

9788874397327

9788874392971

9788874397006

9788874396320

9788874396078

9788874394043

9788874393848

9788874395156

9788874395873

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[ A F R I C A N A RT ]

PIERRE DARTEVELLE AND AFRICAN ART Memory and Continuity

24 x 28.5 cm, 454 pages 525 colour illustrations 2 volumes Hardcover ISBN 9788874398133 £ 115.00 | US $ 140.00 | Can $ 189.00 | € 125.00

P I E R R E DART EV ELLE A ND A FR IC A N A RT M E M ORY AND CO NT INU IT Y

By Valentine Plisnier Photographs by Valérie Dartevelle The two volumes dedicated to Pierre Dartevelle and his collection tell a story and create a context, as well as describe relations between men and their bonds with objects.

“Les arts primordiaux,” as the author himself defines them, have been the cornerstone and passion of his life. And everything about his daily life expresses just this: the bookshelves overflowing with books and catalogues on extra-European art, the statues, the masks, and the way all this material is piled up in no particular order, blocking our view in every direction and preventing us from seeing any sort of background in the rooms.

There is no doubting what makes Pierre Dartevelle get up in the morning.

He has devoted fifty years to getting African art’s status recognized in Brussels, where in 1967 he opened a gallery in impasse Saint Jacques at the Grand Sablon, which soon achieved international renown. A lawyer by training and a great traveller by inclination, he abandoned law to give free course to his personal passion, in the footsteps of his father, Edmond Dartevelle, an explorer in his own right and scientist, whose finds in the Congo built the collection of the Musée d’Afrique centrale, in Tervuren.Viewed today by his followers and peers as an “icon,” Pierre Dartevelle has always taken an active interest in preserving the artistic and ancestral heritage of Africa. He has built or expanded some of the most important private and public collections of tribal art known to this day, such as the Musée du Quai Branly – Jacques Chirac (Paris) and the Metropolitan Museum in New York.

Valérie Dartevelle, Pierre’s daughter, has played a key part in this publication, as, besides being the custodian of the collection and of its history, she is also present in the book through her distinctive eye as a portrait photographer with a passion for Surrealism. This visual stance is reflected in the narrative structure of the publishing project, which is not coincidentally built around a series of interviews giving privileged access to one of the most famous collections of tribal art in the world, as well as previously unpublished documents.

Specialists and lovers of tribal art will find in the first volume, dedicated to the figure of Pierre Dartevelle, and in the second, on the illustrious collection, a wealth of pictures and accounts that are sure to satisfy their curiosity, arouse fresh interest, and answer many of their queries.

Valentine Plisnier lives and works in Paris and is a naturalized Frenchwoman, being Belgian by birth. She is a researcher in the history of art and author. Together with Ralf Burmeister, Michaela Oberhofer, and Esther Tisa Francini, she was awarded the International Tribal Art Book Prize in 2016 for the catalogue of the Dada Africa exhibition. Valentine Plisnier has also organized several exhibitions.

Valérie Dartevelle trained as a photographer and obtained diplomas at the École supérieure des arts de l’image in Brussels, “Le 75,” at the Académie de dessin et des arts décoratifs (Watermael-Boitsfort) and at the École de photographie et techniques visuelles Agnès Varda (Brussels). Her work has appeared in numerous exhibitions and was awarded a prize by the Musée de la Photographie, Centre d’art contemporain de la fédération WallonieBruxelles, in Charleroi, as well as winning the Ilford Jury Prize and the Galerie Croiseregard prize (Vincent Verhaeren), at Boitsfort. For the past twenty years she has helped her father run Galerie Dartevelle.

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I N P R A I SE OF TH E H UMA N FO R M A RTS OF A F RIC A , O CEA NIA A ND A MER IC A Edited by Charles-Wesley Hourdé and Jean-Pierre Weill Photographs by Vincent Girier-Dufournier

24 x 28.5 cm, 288 pages 240 colour illustrations Hardcover ISBN 978887438980 £ 60.00 | US $ 75.00 | Can $ 100.00 | € 65.00

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 OLLEYN (anthropologist), Bertrand Goy (author specializing in Côte d’Ivoire), 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).

Charles-Wesley Hourdé is an independent expert, a merchant, and a researcher specialized in classic art from Africa, Oceania, and America. His passion for this market has led him to publish several articles, especially on the Japanese ebony artist Kichizô Inagaki, along with six show catalogues, among which Passeurs de rêves (2016), focusing on the history of non-European artifacts, and L’Emprise des masques (2017), which deals with the affinity between primitive sculptures and Pablo Picasso’s work. Galerie Pigalle: Africa, Oceania, his most recent publication and the result of three years of research, received the PILAT award in 2018 and the FILAF award in 2019.

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E L L OR A Edited by Christophe Hioco and Luca Poggi Texts by Gilles Béguin Photographs by Iago Corazza

25.5 x 34 cm, 284 pages 280 colour illustrations Hardcover with jacket ISBN 9788874398720 £ 55.00 | US $ 80.00 | Can $ 108.00 | € 70.00

Ellora lies in the state of Maharashtra, in western central India. This pretty spot, surrounded by lush vegetation, is only a few kilometres from another place of great interest, the Ajanta caves.

Ellora has been a UNESCO World Heritage Site since 1983 in recognition of its great importance as a repository of wonderful art and as a place of pilgrimage for followers of India’s three great religions: Buddhism, Hinduism, and Jainism. Thirty-four places of worship (temples, monasteries, and shrines) were carved out of the rock between the fifth and tenth centuries over an area of around two square kilometres. All the sculpture at the site is testimony to the superb skill and sheer determination of the workforce involved, as well as being evidence of the religious harmony of the time. The monuments include all sorts of architectural and decorative features that display the utmost splendour and inventiveness: columns, staircases, reliefs, stuccos, and even surviving patches of painted decoration.

In the past, the extraordinary work at the site has unfortunately been eclipsed by the exceptional nature of its surroundings. The architecture and sculpture are often immersed in darkness and this has made it impossible to create the kind of photographic record that would give their stunning quality the visibility it deserves. But now Iago Corazza, with his ultra-sensitive photographic equipment, is able at last to give lovers of Indian art and enthusiasts the chance to fully appreciate this wonderful, indeed unique, group of rock-cut temples. The task of explaining the meaning and significance of these works as they emerge from the dark is entrusted to the expertise of Gilles Béguin.

Following the success of Khajura-ho, readers have the chance to explore another treasure of Indian art accompanied by a distinguished guide, with the benefit of photos that at last do their marvellous subjects full justice.

Gilles Béguin, Conservateur Général Honoraire du Patrimoine, was head of the Nepalese and Tibetan Buddhism collections at the Musée national des arts asiatiques-Guimet from 1971 to 1994. He was then appointed director of Musée Cernuschi, musée des Arts de l’Asie de la Ville de Paris, where from 2001 to 2005 he organized numerous exhibitions and supervised the complete renovation of the museum. He is the author of several scholarly articles, exhibition catalogues, and art books, including: Les Cimes de l’éveil : monastères bouddhiques du Ladakh (1990); Polonnaruva : renaissance à Ceylan (1991); Les peintures du bouddhisme tibétain (1995); Nepal, Vision d’un art sacré (1996); L’Arte buddista. Un atlante storico (2009).

Iago Corazza is a photographer and has provided numerous photographic features for National Geographic, White Star, and the magazine Oasis. He has also made documentaries for leading Italian and international broadcasters. Iago Corazza is a UNICEF collaborator.

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XXXISBN 88-7439-762-4

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788874 397624 Exposition XXX

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ASIA CHIC TH E IN F L UE N C E O F JA PA NESE A ND CHINESE T EXT ILES ON TH E FA S H I O NS O F T HE ROA R ING T WENT IES Estelle Niklès van Osselt

21 x 27 cm, 280 pages 173 colour illustrations Hardcover Bilingual edition English/French ISBN 9788874398560 £ 65.00 | US $ 85.00 | Can $ 115.00 | € 75.00

Co-published with the Baur Foundation – Museum of Far Eastern Arts, Geneva Exhibition Baur Foundation – Museum of Far Eastern Arts, Geneva April 10 – July 7, 2019

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European fashion was profoundly influenced in the early decades of the twentieth century by the style, textiles, patterns, and colour combinations of Asian clothing.The discovery of the kimono, in particular, with its loose cut, fluid lines, and broad range of decorations, captivated the great couturiers of the period. It enabled adventurous women in the Roaring Twenties to cast out their corsets and social straightjackets, while offering a new, daring kind of elegance with exotic overtones.

From the meeting of these two sartorial cultures has sprung an exhibition and this catalogue, in which the drawings of Paris fashion designers are compared with examples of contemporary East-Asian textiles from the Baur Foundation in Geneva. The wonderful garments discussed include the collections of kimonos and other Japanese clothes gifted

by Sato Mariko (2008) and Sugawara Keiko (2015), as well as Chinese textiles that are the pride of the Foundation.

Estelle Niklès van Osselt is a sinologist and studied Asian art and archaeology at the universities of Geneva, London, and Beijing. She is at present curator at the Baur Foundation, Museum of Far Eastern Art, in Geneva, and was formerly employed by the Guy & Myriam Ullens Foundation for Contemporary Chinese Art and their UCCA art centre in Beijing. Her publications include: Five Blessings: Coded Messages in Chinese Art (2015) and L’Aventure chinoise. Une famille suisse à la conquête du Céleste Empire (2017).

She specializes in the wordplay underlying the composition of Chinese images and her present research explores the cultural links that gradually developed between Europe and Asia from the nineteenth century onwards.

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AL EXAND E R C A L D E R RAD IC A L I NVE N TO R Edited by Anne Grace and Elizabeth Hutton Turner

F E R N AN D O C OSTA Text by Johan-Frederik Hel Guedj

I HAVE LONGED TO MOVE AWAY LAWR ENCE C A R RO LL, WO R KS 1985–2017 Edited by Gianna A. Mina Contributions by Roberto Borghi, Lara Conte, Gianna A. Mina

Alexander Calder as a radical inventor: an artist who discarded convention and disrupted hierarchies, overturning the traditional basis of culture while revolutionizing the way people perceive and interact with art. Calder’s “new line” was not simply an evolution of forms and styles. From the start, it was quite clear to all who witnessed him at work that–in his way to draw attention and gaining notoriety–he was doing something radically new. This catalogue shows how Calder’s work emerged from expectations of change in American popular culture. The book, with twelve essays from major contributors, will examine how Calder, among the first college-trained artists, found techniques and inspiration in many disciplines and their development: technology, engineering, architecture, physics, and astronomy among others.

24 x 28 cm, 256 pages 250 colour illustrations Softcover with flaps ISBN 9788874398287 £ 35.00 | US $ 48.00 | Can. $ 60.00 | € 40.00 Co-published with the Montreal Museum of Fine Arts

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This is the first book dedicated to Fernando Costa, an eclectic, self-taught artist, born in France to a family that arrived in the country on foot from Portugal while fleeing the dictatorship of Salazar in 1970. Costa dissects enamelled street signs, cuts them up, smoothes them off, and reassembles the pieces by welding them onto large metal plaques to create works of extraordinary originality. The result is striking, as shown in this colourful monograph. Some are figurative, the cousins of Pop art, infused with a personal element, as they include tragic or comical moments and figures that have influenced the sculptor during his lifetime: the cyclist Tom Simpson, the Beatles, and Josephine Baker. Other works flirt with abstraction derived from Cubism and the mechanical music of Edgar Varèse.

27.5 x 35.5 cm, 184 pages 152 colour illustrations Hardcover with jacket Bilingual edition English/French ISBN 9788874398249 £ 55.00 | US $ 70.00 | Can $ 88.00 | € 60.00

This catalogue accompanied the exhibition that Museo Vincenzo Vela dedicated to the works of Lawrence Carroll, in 2017.

Born in Melbourne in 1954, Carroll moved to California in 1958 and then to New York in 1984, where he pursued his artistic development, having little concern for the fashions of the moment. As he understands it, painting abuts on many other art forms: in his hands it becomes the slow stratification of colour, materials, and objects, in which the surface of the painting interacts with the surrounding environment, blurring the borders between painting, sculpture, and installation.The catalogue offers the first ever overall assessment of the artist’s work as it has evolved during his life, and includes a full biography and comprehensive bibliography, as well as an engaging interview with the artist.

22 x 29 cm, 208 pages 156 colour illustrations Softcover Bilingual edition English/Italian ISBN 9788874397723 £ 40.00 | US $ 50.00 | Can $ 61.50 | € 45.00 Co-published with the Museo Vincenzo Vela, Mendrisio-Ligornetto

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G O DA I . B A M B O O A RT | ART D U B A M B O U TANA B E CHI K U U N S AI IV AND TA DAY U K I M I N A M OTO Photographs by Tadayuki Minamoto Text by Shinya Maezaki

PAB L O R E I NO SO Texts by Michel Serres, Gérard Wajcman, and Henri-François Debailleux

This book is dedicated to Godai, an installation by Japanese artist Tanabe Chikuunsai IV, who represents the fourth generation of a prestigious line of kagoshi (master wickerwork weavers) in Japan. Godai is a homage to nature and to a tradition of handcraftsmanship.

This monumental work, six metres high and nearly as broad at its base, was installed in 2016 in the Rotunda of the Musée des Arts Asiatiques Guimet in Paris and presented to the public from April 12 through September 19, when the artist still presented himself under the name of Tanabe Shouchiku III. The structure, composed of 8,000 small pieces of bamboo prepared in Japan, was extremely well received. It represents a world where the five elements, godai, that make up our world (wind, water, earth, void, and fire, according to Japanese tradition) intertwine.

28 x 28 cm, 128 pages 90 colour illustrations Hardcover Bilingual edition English/French ISBN 9788874397815 £ 35.00 | US $ 45.00 | Can $ 57.00 | € 40.00 Co-published with Ethnic Arts - Galerie Mingei Japanese Arts, Paris

This book is the first important monograph dedicated to the work of Pablo Reinoso, a Franco—Argentinian artist and designer, a curious and largely self-taught jack of all trades.

Technically a sculptor, but actually an artist through and through, Pablo Reinoso has been exploring multifarious artistic avenues from an early age. He produces his works in series—Articulations, Water Landscapes, The Discovery of America, Breathing Sculptures—which he chops up and rummages through as he explores new worlds and different materials, translating the permanent work in progress which is his way of thinking.

In his very latest series, Scribbling Benches (started in 2009), Reinoso no longer takes an anonymous bench, nor an iconic chair, as his point of departure, but a steel girder.

The work plays on the unexpectedness of a solid, heavy object, a key structural component in architecture, that is made to twist like a piece of wire and turn into a bench suggesting airy, transparent, contemplative spaces.

27.5 x 35.6 cm, 280 pages 307 colour illustrations Hardcover with jacket Bilingual edition English/French ISBN 9788874397525 £ 65.00 | US $ 90.00 | Can $ 108.00 | € 80.00

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MONET A B R ID G E TO M O D E R N ITY Edited by Anabelle Kienle Ponka Texts by Anabelle Kienle Ponka, Simon Kelly, and Richard Thomson

I M P R E S S I ON I S T T R EA SUR ES TH E ORD RUP GA A R D C OL L E C TION Paul Lang

T H E P O NT- AV EN SCH O O L CR A DLE O F T HE MO DER N SENSIBILIT Y Texts by Adrien Goetz, Estelle Guille des Buttes, Jean-Marie Rouart

French painter Claude Monet (1840– 1926) is one of the most popular artists of all time. His paintings of water lilies, haystacks, cathedrals, and much more are all celebrated and beloved. For the first time, this book explores a new aspect of Monet’s work: his fascination, during the 1870s, with bridges. After moving to Argenteuil, a small town on the outskirts of Paris, Monet was drawn to the local footbridge near his house on the banks of the Seine. His painting of it, The Wooden Bridge, 1872, is a composition of startling modernity. The book begins with this work and explores Monet’s use of the bridge motif from 1872 to 1877 in the aftermath of the Franco-Prussian war and beyond.

Beautifully illustrated and published to accompany a major exhibition, the book explores how Monet sought to establish himself as a leader of the avant-garde and how his paintings of bridges played a pivotal role in this context.

30 x 25 cm, 104 pages 62 colour illustrations hardcover Bilingual edition English/French ISBN 9788874397198 £ 19.99 | US $ 30.00, | Can $ 36.00 | € 25.00

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This catalogue presents a broad selection of nineteenth-century and early twentieth-century French and Danish art from the celebrated Ordrupgaard museum near Copenhagen. Assembled for the most part between 1892 and 1931 by the Danish insurance magnate Wilhelm Hansen (1868–1936), the Ordrupgaard collection offers a spectacular overview of French painting from Eugène Delacroix through to Paul Cézanne, as well as magnificent examples from the Danish Golden Age. It includes remarkable groupings of works that reflect various stages in the careers of painters such as Jean-Baptiste-Camille Corot, Gustave Courbet, Camille Pissarro, Claude Monet, Alfred Sisley, Paul Gauguin, C.W. Eckersberg, and Vilhelm Hammershøi.

While French Impressionist and Danish works are a focus, other–often contradictory–art movements of nineteenth-century France, including the Barbizon School and Realism, are also well represented.

30 x 25 cm, 144 pages 98 colour illustrations Hardcover Bilingual edition English/French ISBN 9788874398119 £ 30.00 | US $ 40.00 | Can $ 50.00 | € 30.00 Co-published with the National Gallery of Canada, Ottawa

Pont-Aven has lent its name to one of the most famous schools of painting in modern art and is now automatically associated with Paul Gauguin and Émile Bernard. In 1888, in this Breton village in southern Finistère, the two painters set about inventing the features of a completely new style of painting: Synthetism. Breaking with academic orthodoxy and heavily influenced by Japanese prints, they introduced novel aesthetic principles distinguished especially by a belief in simple forms and the use of colour applied in large patches edged by a dark line. This approach further distanced itself from the art that preceded it in its taste for matt tones and the rejection of traditional perspective.

This book reveals to a wider public the important collection that Alexandre Mouradian amassed in only a few years.

24 x 28 cm, 76 pages 28 colour illustrations Hardcover with jacket ISBN 9788874398171 £ 27.00 | US $ 35.00 | Can $ 44.00 | € 28.00

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THE N A R R AT I V E F I G U R AT I ON Edited by Jean-Paul Ameline and Yan Schubert

T H E E X T E NDED MO MENT F IF TY Y E A RS O F CO LLECT ING P H OTOG RA P HS AT T HE N ATION A L GA LLERY OF C AN A DA Texts by John McElhone and Ann Thomas Interview by Marc Mayer and Ann Thomas with James W. Borcoman

GOAT S A ND SH EEP A P O RT R A IT FA R M Kevin Horan Text by Elena Passarello

A new kind of figurative art appeared during the 1960s in Europe and the United States.

While in New York pop art offered a fresh perspective on a fast-changing America, in Paris French painters and others from Italy, Spain, Portugal, Germany, and Iceland also began exploiting images that had their origins in the mass media, becoming the uncompromising critics of what was dubbed the consumer society. Once standard bearers, the Narrative Figuration artists have now been rediscovered by museums, which are dedicating increasing numbers of exhibitions to their work. Thanks to the acquisition of major works, the collection of the Fondation Gandur pour l’Art in Geneva now provides what is without doubt one of the most exhaustive selections of works.

This catalogue includes all key works, with commentary and analysis by curators and art historians specializing in a movement that left an indelible mark.

24.5 x 27 cm, 336 pages 140 colour illustrations Hardcover ISBN 9788874397761 £ 50.00 | US $ 60.00 | Can $ 75.00 | € 55.00 Co-published with the Fondation Gandur pour l’Art, Geneva

A sumptuous celebration of one of the world’s most striking photograph collections from 1967 up to 2017. This publication celebrates fifty years of collecting photographs at the National Gallery of Canada. In 1967 when the collection was established the photography market was in its infancy and the collection reflects the availability of in-depth collections of work by some of the forefathers of the medium such as Charles Nègre, William Henry Fox Talbot, Gustave Le Gray, and Roger Fenton among others. Within a few short years of starting to build the collection the science of photographic preservation and conservation was making remarkable strides and influencing the acquisition and exhibition of photographs in museums.

23 x 29 cm, 336 pages 319 colour illustrations Hardcover ISBN 9788874398027 £ 38.00 | US $ 50.00 | Can $ 63.00 | € 43.00 Co-published with the National Gallery of Canada, Ottawa

When American photographer Kevin Horan moved from city to country, his new neighbours—sheep—greeted him in a chorus of such different voices that he imagined they were individuals. In-depth experience in making portraits of humans made him wonder if the process could be applied to these creatures as well. This is a stunning work about portraiture: what it does and how it works.These pictures ask for engagement of our own feelings about the souls within other beings, human or otherwise, and how visible they are from out here. The world around us is pulsing with life and intelligence, even if we don’t know what to make of it or how to connect. While it is plain to anyone carefully observing that these farm animals do indeed have individual personalities, Horan asks himself: What is going on in that brain, inside the goat’s mind? Every portrait is a work of fiction.

23 x 32 cm, 112 pages 60 colour illustrations Hardcover ISBN 9788874398409 £ 27.00 | US $ 35.00 | Can $ 47.50 | € 30.00

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HEM B A Photographs by Luigi Spina With a text by Constantine Petridis

A F R I C A N SC U LP T UR ES A N D F OR M S Text by François Neyt Photographs by Hughes Dubois

CO LLECTO R S’ V ISIO NS A RT S O F A FR IC A , O CEA NIA , SO U T HEA ST A SIA , A ND T HE A MER IC A S Christine Valluet

Expressing one of many Luba sub-styles, the tall, standing male figures created by master carvers of the Hemba culture in southeastern Congo since at least the mid-1800s arguably rank among the noblest sculptural depictions of the human figure in sub-Saharan Africa.

In this publication, through the perceptive lens of art photographer Luigi Spina, we discover nine of the most accomplished Hemba creations whose classical style has triggered comparisons with some kouroi sculptures of ancient Greece. Spina’s photographic interpretations help us understand why these proportionally balanced and symmetrically conceived ancestral figures have earned the admiration of African art lovers around the world.

24.5 x 34 cm, 144 pages 120 colour illustrations Hardcover with jacket Bilingual edition English/French ISBN 9788874398034 £ 55.00 | US $ 70.00 | Can $ 84.00 | € 60.00

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At the turn of the twentieth century, in particular Gauguin, Picasso, Matisse, and later the Surrealists, then others right up till the present day, Western artists have drawn on the arts of Africa for inspiration.

How can this constant impact ever be measured?

The same is true for the arts in Africa.

Every sculpture carries within it the heritage of a people, culture, and artistic tradition in the originality of its forms. West Africa, Central Africa, and East Africa each has its own set of characteristics, within which the variety of the sculptures— always similar yet also always different— demonstrates the creativity of the ethnic group that created it.

An extraordinary collection of artistic forms that well merits its place in the universal patrimony of art.

24 x 28.5 cm, 312 pages 181 colour illustrations Hardcover with jacket Bilingual edition English/French ISBN 9788874398317 £ 52.00 | US $ 70.00 | Can $ 88.00 | € 59.00

At the beginning of the twentieth century, at a time of turmoil when art was undergoing unprecedented upheaval, the West, began to turn its eyes towards distant cultures until then largely neglected. Artists were in the throes of questioning all canons and were seduced by the freshness they found in the art of these cultures.

The outcome is what we know today as “Primitivism.”

This book acknowledges this art’s role in world art and looks at the way beauty was perceived through the “eye” of great art lovers. Some of these are mentioned in this publication, which discusses the works they painstakingly amassed. Many of these works are now famous and indeed have come to be regarded as “icons.” The art of Africa, Oceania, America, and Southeast Asia are all represented, revealing the extraordinary variety of artistic forms developed in these four regions of the world.

24 x 28.5 cm, 288 pages 277 colour illustrations Hardcover with jacket ISBN 9788874398157 £ 70.00 | US $ 95.00 | Can $ 119.00 | € 80.00

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THE WO R L D T H AT WAS N ’T T H E R E PRE -C O LU M B I A N A RT IN T HE LI GA B U E COL L E C TION Edited by Adriano Favaro Essays by Jacques Blazy and André Delpuech

T R AV E L I N G W IT H C ORT É S A ND P IZA R RO D IS C OV E RING FINE P RE - C OL UMBIA N A RT Texts by Stuart Handler, Joanne Stuhr, Hugh Thomson Photographs by Edward Parrinello

P ERU KINGDO MS O F T HE SU N A ND T HE MO O N Edited by Victor Pimentel with an interview to Mario Vargas Llosa

This catalogue of pre-Columbian art is a fresh attempt to examine and come to terms with artworks produced by a section of mankind that came to the attention of Europeans only after the voyages of Columbus and other explorers. It illustrates the collection of pre-Columbian art of Giancarlo and Inti Ligabue: over 150 pieces from Mesoamerica and South America, an extraordinary corpus of objects that give testament to the excellence achieved by ancient artists. But it also tells the story of certain rare objects which belonged to the Medici Collection, one of Europe’s greatest treasures. Among these are two atlatls, spear-throwers covered in gold-leaf from the Aztec or Mixtec cultures, a Taíno necklace dating from the fourteenth or fifteenth century, and a Teotihuacan stone mask.

These objects are accompanied by pieces from private European collections and a number of significant artworks from the Quai Branly Museum in Paris.

A Pre-Columbian art lover and noted curator journey into a fine art collection, describing the rich cultural context and artistic merits of each work. Along with 150 full-colour glossy illustrations of the terracotta, earthenware, stone, silver, and copper objects, the acclaimed author, explorer, and filmmaker Hugh Thomson gives a detailed, exciting narrative, based upon extensive research, of the role art played in the conquest of Mexico by Hernán Cortés and of Peru by Francisco Pizarro.

It is rare that a collector takes such a personal, descriptive part in publishing his treasure trove, but in this lavishly illustrated book, Stuart Handler describes why he gathered Pre-Columbian art, what attracted him to the individual pieces, and, from his forty-five years of building art collections in various media and genres, what artistic attributes make these objects outstanding works of art.

26 x 31 cm, 362 pages 210 colour illustrations hardcover ISBN 9788874397013 £ 48.00 | US $ 75.00 | Can $ 91.00 | € 65.00

25 x 31 cm, 400 pages 245 colour illustrations Hardcover with jacket ISBN 9788874398089 £ 70.00 | US $ 95.00 | Can $ 119.00 | € 80.00

This ambitious volume showcases more than 4,000 years of Peruvian art in approximately 350 diverse, exciting works. a large selection of pre-Columbian treasures, along with masterpieces dating from the colonial era and striking modern paintings and sculptures produced during the first half of the twentieth century, offer new perspectives on the rich cultural identity of the country. In this richly illustrated reference book, more than twenty international contributors explore the mythologies and rituals of ancient andean civilizations; their perpetuation, concealment, or hybridization with Catholicism during the eighteenth and 19th centuries; and the rediscovery and valorisation of Peruvian popular traditions and faiths in the twentieth century.

24 x 28 cm, 380 pages 320 colour illustrations hardcover ISBN 9788874396290 £ 42.00 | US $ 65.00 | Can $ 72.00 | € 55.00

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_ KHAJUR A H O IND IAN T E M PLE S A ND S E NSUOU S SCU LPT U RE S Edited by Christophe Hioco and Luca Poggi Texts by Gilles Béguin Photographs by Iago Corazza A privileged visual journey through one of the most famous Indian heritage sites, Khajurāho is renowned as much for the elegance of its architecture as for the sensuality of its sculpture. Formerly an important political and religious centre, it is thought to have contained up to ninety-five temples, of which only twenty-five survive.The earliest mention of Khajurāho dates from the seventh century. After the collapse of the Candella kingdom, the site experienced several centuries of oblivion, until British hunters rediscovered it quite by chance at the beginning of the nineteenth century.

Since then the area has undergone several phases of restoration, as befits one of the leading sites of the world’s cultural heritage.

25.5 x 34 cm, 284 pages 280 colour illustrations Hardcover with jacket ISBN 9788874397785 £ 55.00 | US $ 80.00 | Can $ 97.00 | € 70.00

[60] RECENT TITLES

[ A S I A N A RT ]

[ O U T S I D E R A RT ]

A MILLENNIUM OF M ON OC H RO MES FROM THE GREAT TANG TO THE HIGH QING. THE BAUR AND THE ZHUYUETANG COLLECTIONS Peter Lam, Richard Kan, Monique Crick, Laure Schwartz-Arenales

A RT BRUT DU JA P O N Edited by Sarah Lombardi, Edward M. Gómez, and Tadashi Hattori

More than any other civilisation, China has won renown through 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 refined works have always been admired and collected for their outstanding quality. Two hundred masterpieces from prominent private collections around the world have been brought together for the first time in this book. The Baur collections in Geneva, formed between 1928 and 1951, and the Zhuyuetang collection, which has been built up since the late 1980s, reveal the elegance and variety of imperial monochrome porcelain wares produced during the Ming and Qing dynasties, which followed on from the Tang and Song periods.

21 x 27 cm, 400 pages 240 colour illustrations, Hardcover Bilingual edition English/French with Chinese résumé ISBN 9788874398386 £ 80.00 | US $ 100.00 | Can $ 135.00 | € 90.00 Co-published with the Baur Foundation – Museum of Far Eastern Arts, Geneva, and the Zhuyuetang collection, Hong Kong

This catalogue presents the works of new Japanese creators, subsequent to the catalogue Art Brut du Japon, co-published in 2008 by the Collection de l’Art Brut and editions Infolio. It continues the exploration of the Art Brut creations in Japan initiated in the first book by presenting twenty-five new creators from different regions of Japan, whose works—drawings, paintings, photographs, sculptures, and textiles—have not yet been included in a theme-based publication like this one. As Edward Gómez and Tadashi Hattori point out, whereas the notion of mental handicap resides in aesthetic and sociological criteria (the creators are self-taught, misfits, draft dodgers, prisoners, psychiatric patients, the elderly, etc.), the condition— whether mental or physical—is not a criterion in itself. Their essays help clarify the concept of Art Brut from the standpoint of these new Japanese works.

21 x 27 cm, 184 pages 105 colour illustrations Softcover Bilingual edition English/French ISBN 9788874398478 £ 35.00 | US $ 45.00 | Can $ 60.00 | € 39.00 Co-published with the Collection de l’Art Brut, Lausanne

[ARCHAEOLOGY]

[ARCHAEOLOGY]

[ P H OTO G R A P H Y ]

PRET I O S A V I T R E A T H E A RT O F GLA SS M AN U FACT U R I NG IN TH E M U SEU M S A ND PR IVATE COL LE CT I O N S O F TUS C A N Y Edited by Fabrizio Paolucci and Giandomenico De Tommaso Texts by Gabriella Capecchi, Luca Cappuccini, Giandomenico De Tommaso, Stefano Giuntoli, M. Cristina Guidotti, Fabrizio Paolucci, Mara Sternini

T H E FAR N E SE CUP H ID D E N TREA SU R ES SER IES Text by Valeria Sampaolo Photographs by Luigi Spina

MY T H IC A L DIA RY SCU LP T U R ES FRO M T HE FA R NESE CO LLECT IO N Photographs by Luigi Spina Texts by Carmela Capaldi, Philippe Daverio, Giovanni Fiorentino, and Luigi Spina

Pretiosa Vitrea emphasizes the heritage of glass manufacturing through artefacts currently housed in the state museums of Tuscany and in important private collections within the region. The quality of these 100 works is comparable in excellence to the artefacts that can be found in the most renowned international museums.

The book brings together a wide variety of finds to illustrate the evolution of mass production techniques, from the use of moulds to the discovery of the glass blowing technique in the middle of the first century BC, which soon showed clear advantages compared to traditional ceramic production, in terms of lower cost and maintaining the taste of foods and liquids.

19 x 25.5 cm, 176 pages 124 colour illustrations, Softcover Bilingual edition English/Italian ISBN 9788874398041 £ 30.00 | US $ 45.00 | Can $ 57.00 | € 35.00 Co-published with the National Archaeological Museum of Florence

The largest carved hardstone cup to have survived from the ancient world has come down to us through the ages probably without ever becoming an archaeological find: its peregrinations took it from Alexandria to Rome and thence to Constantinople, before it returned to Rome in the fifteenth century, where it was bought by the sharp-eyed connoisseur Lorenzo de’ Medici. It then joined the Farnese Collection, from where it reached the National Archaeological Museum of Naples.

The work is a tour de force of the carver’s art, with the figures in the inner scene and the terrifying face of the Gorgon on the outside picked out with unerring skill, exploiting every shade of the sardonyx agate of which it is made.

24 x 33.5 cm, 80 pages 70 colour illustrations Hardcover ISBN 9788874398515 £ 35.00 | US $ 50.00 | Can $ 67.50 | € 40.00 Co-published with the National Archaeological Museum of Naples

Mythical Diary is a visual journey through the classical sculpture of National Archaeological Museum of Naples. It is a physical engagement with the marble bodies of myth.

Through his black and white photography, Luigi Spina disassembles the limbs of the sculptures, emphasizing their curves and hidden eroticism, humanizing them to establish a dialogue with the observer.

The project takes the form of an imaginary diary covering fifteen days. But this is only an ephemeral period of time, a convention. The whole work developed over a period of days and months amounting to years, always in contact with the circumscribed space made of myriad lives and stories, which we call a museum.

27.5 x 34 cm, 160 pages 167 trichrome illustrations Hardcover with jacket ISBN 9788874398010 £ 50.00 | US $ 70.00 | Can $ 88.00 | € 59.00 Co-published with the National Archaeological Museum of Naples

RECENT TITLES [61]

The Tailormade project is the outcome of our passion for quality and the desire to increase appreciation of the vast and fascinating cultural heritage of the five continents by giving it a new, bespoke presentation.

Tailormade, the new publishing line offered by 5 Continents Editions, combines our extensive publishing experience with highest quality printing and brings together a professional team whose common desire is to fashion a work of excellence.

By creating elegant, unique, and numbered editions, Tailormade re-establishes the link with the expertise of the past. Every book is meticulously crafted and sewn by hand, and will attract the attention of bibliophiles on the look-out for beauty.

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The outcome of the inspiration of a creator, the eye of a photographer, or the pen of an author, each book presents a different story woven around one or more unique works.

It features its own graphic design, exceptional print quality, and a unique binding so that the beauty of the content is matched by the excellence of its presentation.

Tailormade loves beauty, nature, man, and creativity.

The human component is fundamental throughout the creative process and production phases of Tailormade projects, which is why each book has its own very special spirit.

Production of the The Dancers from the Villa of the Papyri involved more than ten professionals. This unique book, box, and original photograph presentation-holder were conceived as a perfectly matching set. The metal box alone required the contributions of four different craftsmen.

The original photograph has been printed under the supervision of the photographer, Luigi Spina, in the city where the five young dancers are today kept.

[64] NEW TITLES

[ TA I L O R M A D E ]

T H E DA N C ER S FRO M T H E V ILLA O F T H E PA P Y R I Photographs by Luigi Spina Text by Stefano De Caro

Special boxed edition of 100 numbered copies each featuring an original photograph by Luigi Spina 23.5 x 33 cm, 192 pages 70 colour illustrations € 950.00 This edition de luxe is available only at the publisher’s

This precious limited edition offers the first presentation of the group of five Dancers from the Villa of the Papyri in Herculaneum, discovered beneath the ashes of the Vesuvius by archaeologist Karl Weber between 1754 and 1756.

Adorned by more than one hundred marble and bronze sculptures and with a collection of over one thousand papyrus scrolls, the Villa of the Papyri is a unique discovery in the history of archaeology. The Dancers—today exhibited in the Archaeological Museum in Naples—were part of this enormous collection and displayed in the “villa of Otium” (villa of leisure) on the Gulf of Naples where the Roman aristocracy enjoyed the spirit of cultivated ease, literature, and philosophy. The legendary site was the setting for many stories interrupted by the eruption of the Vesuvius. The Dancers from the Villa of the Papyri takes us back in time to reveal one of these stories, that of the five fascinating bronze statues. Like many other archaeological finds at sites in Herculaneum and Pompeii, the Dancers have altered the way we consider art and architecture but also the way we look at aesthetics.

The expert photographer Luigi Spina offers a visual description of these five extraordinary and moving young women, while Stefano De Caro relates the historic and artistic context in which they were created.

The Dancers from the Villa of the Papyri is a timeless visual journey to discover the origin of beauty.

Luigi Spina (b. 1966) is a photographer from Naples. He participated at the ninth International Photography Festival in Rome and at MIAFAIR 2013 with his book-project The Buchner Boxes. With 5 Continents Editions he has published: The Buchner Boxes, Memorie del Vaso Blu, Amazzonomachia, and Centauri. He began his photographic portrayal of the Farnese collection of Classical sculptures for the Archaeological Museum of Naples in 2002.

Stefano De Caro, Director-General of ICCROM (International Centre for the Study of the Preservation and Restoration of Cultural Property) is an archaeologist, author, and lecturer.

He has taught in several Italian universities. A member of various professional cultural associations in Italy and abroad, including the Europae Archaeologiae Consilium, he has been Director-General of Antiquities with the Italian Ministry of Cultural Heritage and Activities.

SPECIAL EDITION [65]

FRANS POST 1612-1680 Catalogue Raisonné 27 x 31 cm, 432 pages 247 colour illustrations Hardcover ISBN 9788874393947 £ 100.00, US $ 200.00, Can $ 220.00, € 150.00

SAMUEL HIERONYMUS GRIMM (1733 – 1794) A Very English Swiss 22 x 27 cm, 224 pages 75 colour illustrations Softcover ISBN 9788874396627 £ 29.99, US $ 45.00, Can $ 52.00, € 35.00

METAMORPHOSES In Rodin’s Studio 24.5 x 35.5 cm, 304 pages 475 colour illustrations Hardcover ISBN 9788874397150 £ 30.00, US $ 45.00, Can $ 55.00, € 40.00

REFLECTIONS ON RENAISSANCE VENICE. A Celebration of Patricia Fortini Brown 24 x 28.5 cm, 312 pages 150 colour illustrations Hardcover with jacket £ 42.00, US $ 65.00, Can $ 75.00, € 60.00

MONET’S GARDEN IN GIVERNY: INVENTING THE LANDSCAPE 24 x 29 cm, 144 pages 131 colour illustrations Hardcover ISBN 9788874395262 £ 28.00, US $ 40.00, Can $ 51.99, € 32.00

THE RISE OF ABSTRACTION IN RUSSIA 20 x 24 cm, 164 pages 139 colour illustrations Softcover with flaps ISBN 9788874397471 £ 30.00, US $ 35.00, Can $ 40.00, € 32.00 ISBN 88-7439-747-1

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[ M O D E R N A N D C O N T E M P O R A RY A RT ]

ISAMU NOGUCHI / QI BAISHI / BEIJING 1930 23 x 28 cm, 144 pages 75 colour illustrations Softcover ISBN 9788874396399 £ 25.00, US $ 40.00, Can $ 45.00, € 30.00

FRIEDRICH KARL GOTSCH The Second Expressionist Generation 24 x 28 cm, 224 pages 100 colour illustrations Hardcover ISBN 9788874396139 £ 39.50, US $ 60.00, Can $ 70.00, € 55.00

YVES KLEIN Incandescence 24 x 33 cm, 240 pages 150 colour and b/w illustrations Hardcover with jacket, with DVD ISBN 9788874396252 £ 45.00, US $ 65.00, Can $ 88.00, € 55.00

[ C O N T E M P O R A RY A RT | A RO U N D A RT ]

INDIAN CONTEMPORARY ART Contemporary, One Word, Several Worlds 24 x 28.5 cm, 248 pages 210 colour illustrations Hardcover ISBN 9788874396276 £ 37.50, US $ 55.00, Can $ 62.00, € 45.00

AGUSTÍN FERNÁNDEZ The Metamorphosis of Experience 29 x 30 cm, 260 pages 220 colour illustrations Hardcover ISBN 9788874396306 £ 48.00, US $ 75.00, Can $ 86.00, € 59.00

CARLOS LUNA 30 x 29 cm, 180 pages 180 colour illustrations Hardcover with jacket Bilingual: English/French ISBN 9788874397426 £ 50.00 | US $ 60.00 | Can $ 73.00 | € 55.00

ISBN 88-7439-742-6

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LABORATORY OBSESSION 22 x 18 cm, 96 pages 50 colour illustrations Hardcover Bilingual: English/Italian ISBN 9788874395408 £ 26.00, US $ 40.00, Can $ 48.00, € 29.00

788874 397426

LOOKING UPTM...

Yinka Shonibare, MBE 21 x 21 cm, 176 pages 100 colour illustrations Softcover Bilingual: English/French ISBN 9788874395644 £ 24.95, US $ 34.95, Can $ 41.95, € 29.00

ARTISTS OF NIGERIA 24 x 30 cm, 680 pages 1,158 colour illustrations Hardcover ISBN 9788874395477 £ 65.00, US $ 95.00, Can $ 109.00, € 80.00

ONOBRAKPEYA: MASKS OF THE FLAMING ARROWS 24 x 30 cm, 400 pages 475 colour illustrations Hardcover ISBN 9788874396696 £ 65.00, US $100.00, Can $ 115.00, € 80.00

ÉRIK DESMAZIÈRES Imaginary Places 28 x 21 cm, 136 pages 17 colour and duotone illustrations Hardcover Bilingual: English/French ISBN 9788874394111 £ 19.95, US $ 39.95, Can $ 53.99, € 30.00

ANIMALS WITH STYLE Bêtes De Style 17 x 22 cm, 160 pages 80 colour illustrations Softcover Bilingual: English/French ISBN 9788874393459 £ 18.00, US $ 35.00, Can $ 39.00, € 30.00

ILLUSIONS The Art of Magic 25 x 31 cm, 248 pages 250 colour illustrations Hardcover ISBN 9788874397587 £ 30.00, US $ 49.95, Can $ 59.95, € 40.00

MULTIVERSE Art, Dance, Design, Technology: The Emergent Creation 24 x 28 cm, 272 pages 258 colour illustrations, Hardcover with jacket, with Blu-ray disc ISBN 9788874397792 £ 50.00 | US $ 65.00 | Can $ 79.00 | € 60.00

PRISONERS’ OBJECTS Collection of the International Red Cross and Red Crescent Museum 19 x 24 cm, 160 pages 100 colour illustrations Hardcover ISBN 9788874397600 £ 29.99 | US $ 35.00 | Can $ 43.00 | € 30.00

C ATA L O G U E [ 6 7 ]

[ A RT B R U T | D E S I G N ]

THE CREATIVE GROWTH BOOK 20 x 25.5 cm, 208 pages 220 colour illustrations Hardcover ISBN 9788874397266 £ 30.00, US $ 45.00, Can $ 55.00, € 40.00

VEHICLES Art Brut, The Collection 20.5 x 25.5 cm, 168 pages 130 colour illustrations Softcover with flaps ISBN 9788874396580 £ 25.00, US $ 40.00, Can $ 48.00, € 32.00

ARCHITECTURE Art Brut, The Collection 20.5 x 25.5 cm, 168 pages 130 colour illustrations Softcover with flaps ISBN 9788874397105 £ 25.00, US $ 40.00, Can $ 48.00, € 32.00

BODY Art Brut, the collection series 20.5 x 25.5 cm, 168 pages 130 colour illustrations Softcover with flaps ISBN 9788874397884 £ 25.00 | US $ 40.00 | Can $ 50.00 | € 32.00

AMERICAN DESIGN MoMA Design Series 21 x 21 cm, 160 pages 135 colour illustrations Softcover ISBN 9788874394913 £ 14.99, € 29.00

JAPANESE DESIGN MoMA Design Series 21 x 21 cm, 160 pages 135 colour illustrations Softcover ISBN 9788874394920 £ 14.99, € 29.00

BRITISH DESIGN MoMA Design Series 21 x 21 cm, 144 pages 100 colour illustrations Softcover ISBN 9788874395392 £ 14.99, € 29.00

THE PHOTOGRAPH ALBUMS OF JEAN DUBUFFET 1945–1963 28 x 21 cm, 824 pages 775 colour illustrations, Hardcover Bilingual: English/French ISBN 9788874397969 £ 85.00 | US $ 110.00 | Can $ 132.00 | € 100.00

ITALIAN DESIGN MoMA Design Series 21 x 21 cm, 160 pages 135 colour illustrations Softcover ISBN 9788874394906 £ 14.99, € 29.00

[ 6 8 ] C ATA L O G U E

[ D E S I G N A N D A P P L I E D A RT S | P H OTO G R A P H Y ]

SLASH Paper under the Knife 20.5 x 25.5 cm, 224 pages 230 colour illustrations Softcover ISBN 9788874395293 £ 30.00, US $ 45.00, Can $ 58,50, € 35.00

TELLING TIME. L’ÉLOGE DE L’HEURE 21 x 26 cm, 224 pages 219 colour illustrations Hardcover Bilingual: English/French ISBN 9788874397204 £ 30.00, US $ 45.00, Can $ 55.00, € 40.00

LALIQUE 19.5 x 28.5 cm, 416 pages 360 colour illustrations 8 volumes in a boxed-set ISBN 9788874397402 £ 85.00, US $ 125.00, Can $ 152.00, € 120.00

SCOTTISH JEWELLERY A Victorian Passion 24 x 24 cm, 144 pages 127 colour illustrations Hardcover ISBN 9788874395248 £ 30.00, US $ 45.00, Can $ 58.50, € 35.00

ISBN 88-7439-741-9

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BALDWIN | GUGGISBERG Au-delà du verre | Beyond Glass 28 x 24 cm, 192 pages 150 colour illustrations Hardcover Bilingual: English/French ISBN 9788874396153 £ 40.50, US $ 65.00, Can $ 88.00, € 48.00

CHARLOTTE PERRIAND AND PHOTOGRAPHY A Wide-Angle Eye 24 x 28.5 cm, 368 pages 438 colour and duotone illustrations, Hardcover ISBN 9788874395484 £ 45.00, US $ 70.00, Can $ 84.00, € 59.00

THE GREAT WAR The Persuasive Power of Photography 28 x 28 cm, 144 pages 87 colour illustrations Hardcover ISBN 9788874396788 £ 25.00, US $ 40.00, Can $ 45.00, € 35.00

BORI. Guérisseurs de l’âme | Healers Of The Soul 24 x 24 cm, 128 pages 55 duotone illustrations Hardcover with jacket Bilingual: English/French ISBN 9788874395651 £ 25.00, US $ 35.00, Can $ 48.50, € 30.00

AEOLIAN ISLANDS 21 x 28 cm, 96 pages 62 duotone illustrations Hardcover with jacket ISBN 9788874392421 £ 16.00, US 29.95, Can $ 32.95, € 25.00

BETWEEN SKY AND EARTH 24 x 24.5 cm, 104 pages 70 duotone illustrations Hardcover with jacket ISBN 9788874392674 £ 20.00, US $ 35.00, Can $ 47.50, € 30.00

EARTH MEETS SPIRIT A Photographic Journey Through The Sacred Landscape 27 x 27 cm; 112 pages 87 duotone illustrations Hardcover with jacket ISBN 9788874396009 £ 24.95, US $ 34.95, Can $ 47.50, € 29.00

CARAVANSERAI 30 x 21 cm, 180 pages 90 duotone and colour illustrations Hardcover ISBN 9788874396047 £ 32.50, US $ 50.00, Can $ 57.50, € 40.00

C ATA L O G U E [ 6 9 ]

[ A F R I C A N A RT ]

VISIONS OF GRACE 25 x 30 cm, 256 pages 125 colour illustrations Hardcover ISBN 9788874396863 £ 40.00, US $ 60.00, Can $ 69.00, € 50.00

AFRICAN FETISHES AND ANCESTRAL OBJECTS 24 x 28.5 cm, 288 pages 163 colour illustrations Hardcover Bilingual: English/French ISBN 9788874396542 £ 50.00, US $ 75.00, Can $ 86.00, € 59.00

ARTS OF NIGERIA IN FRENCH PRIVATE COLLECTIONS 24 x 28 cm, 288 pages 200 colour illustrations Hardcover ISBN 9788874395811 £ 42.00, US $ 65.00, Can $ 75.00, € 55.00

INTIMATE CONVERSATIONS African miniatures 25 x 30 cm, 336 pages 220 colour illustrations Hardcover with jacket ISBN 9788874397464 £ 55.00 | US $ 75.00 | Can $ 91.00 | € 65.00

FRAGMENTS OF THE INVISIBLE The René and Odette Delenne Collection of Congo Sculptures 21.6 x 30.5 cm; 120 pages 141 colour illustrations Softcover with flaps ISBN 9788874396566 £ 20.00, US $ 30.00, Can $ 39.99, € 25.00

AFRICAN ART Portraits of a Collection 28 x 28 cm, 332 pages 237 colour illustrations Hardcover Bilingual: English/French ISBN 9788874397440 £ 70.00, US $ 100.00, Can ISBN $ 122.00, € 90.00 88-7439-744-0

MAKING HISTORY African Collectors and the Canon of African Art 24 x 30 cm, 320 pages 300 colour illustrations Hardcover ISBN 9788874395712 £ 45.50, US $ 70.00, Can $ 72.00, € 59.00

BABEMBE SCULPTURE 24 x 28.5 cm, 212 pages 140 colour illustrations Hardcover ISBN 9788874395446 £ 50.00, US $ 90.00, Can $ 117.00, € 60.00

MICRO MONUMENTALITY 23 x 23 cm, 272 pages 245 colour illustrations Hardcover Bilingual: English/French ISBN 9788874397167 £ 35.00, US $ 55.00, Can $ 66.00, € 48.00

KULANGO FIGURINES Wild and Mysterious Spirits from the pierluigi peroni collection 23 x 23 cm, 256 pages 180 colour illustrations, Hardcover Bilingual: English/French ISBN 9788874397808 £ 35.00 | US $ 55.00 | Can $ 66.00 | € 48.00

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WOODEN DREAMS East African Headrests 24 x 28 cm, 240 pages 268 colour illustrations Hardcover with jacket ISBN 9788874397068 £ 35.00, US $ 50.00, Can $ 61.50, € 45.00

[ 7 0 ] C ATA L O G U E

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THE ART OF DAILY LIFE Portable Objects from Southern Africa 24 x 28.5 cm, 112 pages 100 colour illustrations Softcover ISBN 9788874395781 £ 20.00, US $ 30.00, Can $ 36.00, € 25.00

[ A F R I C A N A RT | O C E A N I C A N D P R E - C O L U M B I A N A RT ]

MUMUYE Sculpture from Nigeria 24.5 x 34 cm, 128 pages 80 colour and 30 b/w illustrations Hardcover ISBN 9788874397433 £ 60.00, US $ 90.00, Can $ 118.00, € 75.00

POWERFUL HEADDRESSES Africa | Asia 24 x 28.5 cm, 200 pages 142 colour illustrations Hardcover ISBN 9788874395514 £ 55.00, US $ 85.00, Can $ 102.00, € 55.00

AFRICAN COSTUMES AND TEXTILES 24 x 30 cm, 320 pages 300 colour illustrations Hardcover ISBN 9788874394760 £ 45.00, US $ 70.00, Can $ 84.00, € 59.00

SOLOMON ISLANDS ART The Conru Collection 25 x 31 cm, 200 pages 130 colour illustrations Hardcover ISBN 9788874394937 £ 60.00, US $ 125.00, Can $ 135.00, € 80.00

EMBODIED SPIRITS Gope Boards from the Papuan Gulf 24 x 35.5 cm, 356 pages 222 colour and b/w illustrations Hardcover with jacket ISBN 9788874397051 £ 90.00 | US $ 140.00 | Can $ 168.00 | € 125.00

BISMARCK ARCHIPELAGO ART 27.5 x 35.5 cm, 328 pages 210 colour illustrations Hardcover ISBN 9788874396597 £ 100.00, US $ 165.00, Can $ 190.00, € 125.00

THE WORLD OF SPIRITS IN PRE-COLUMBIAN ECUADOR 19 x 26 cm, 228 pages 257 colour illustrations Softcover Bilingual: English/Spanish ISBN 9788874395965 £ 30.00, US $ 45.00, Can $ 52.00, € 35.00

CHARMS IN PRE-COLUMBIAN ECUADOR 21 x 21 cm, 148 pages 140 colour illustrations Softcover ISBN 9788874395910 Bilingual: English/Spanish £ 24.95, US $ 34.95, Can $ 41.95, € 29.00

PRE-COLUMBIAN ART The Barbier-Mueller Collection 23 x 30 cm, 644 pages 663 colour illustrations, Hardcover two volumes + Sotheby’s catalogue Bilingual: English/French ISBN 9788874396467 £ 125.00, US $ 200.00, Can $ 230.00, € 150.00

THE SILENCE OF THE WOMEN: BAMANA MUD CLOTHS 20 x 26 cm, 320 pages 132 colour illustrations Hardcover ISBN 9788874396702 £ 45.00, US $ 75.00, Can $ 86.00, € 55.00

ANCIENT AMERICAN ART 3500 BC – AD 1532 24 x 29.5 cm, 392 pages 280 colour illustrations Hardcover ISBN 9788874395545 £ 60.00, US $ 90.00, Can $ 108.00, € 80.00

C ATA L O G U E [ 7 1 ]

[ A S I A N A RT ]

WOOD SCULPTURE IN NEPAL Jokers and Talismans 24 x 28 cm, 168 pages 140 colour illustrations Hardcover with jacket ISBN 9788874395095 £ 40.00, US $ 75.00, Can $ 85.00, € 55.00

GOLD, SILVER AND BRASS Jewellery of the Batak in Sumatra, Indonesia 26 x 30 cm, 192 pages 215 colour illustrations Hardcover ISBN 9788874396269 £ 35.50, US $ 55.00, Can $ 62.00, € 45.00

ALFRED BAUR Pioneer and Collector 24 x 28.5 cm, 458 pages 360 colour illustrations Hardcover with jacket ISBN 9788874396931 £ 185.00, US $ 280.00, Can $ 350.00, € 250.00

CHINESE TRADE CERAMICS FOR SOUTH-EAST ASIA Collection of Ambassador and Mrs Charles Müller 21 x 27 cm, 416 pages, 350 colour illustrations, Hardcover with jacket ISBN 9788874394630 £ 85.00, US $ 150.00, Can $ 195.00, € 100.00

CHINESE SNUFF BOTTLES 22.5 x 28 cm, 264 pages 306 colour illustrations Hardcover Bilingual: English/French ISBN 9788874393619 £ 85.00, US $ 150.00, Can $ 195.00, € 120.00

ASIA IMAGINED in the Baur and Cartier Collections 25.5 x 34 cm, 336 pages 460 colour illustrations Hardcover with jacket ISBN 9788874397228 £ 60.00, US $ 90.00, Can $ 108.50, € 80.00

JAPANESE BUDDHIST TEXTILES 22.5 x 28 cm, 336 pages 410 colour illustrations Hardcover Bilingual: English/French ISBN 9788874396450 £ 100.00, US $ 160.00, Can $ 185.00, € 120.00

TEXTILES FROM BORNEO Iban, Kantu, Ketungau, and Mualang Peoples 24.5 x 33 cm, 224 pages 181 colour illustrations Hardcover ISBN 9788874396511 £ 50.00, US $ 75.00, Can. $ 86.00, € 59.00

RE-ENVISIONING JAPAN Meiji Fine Arts Textiles 24.5 x 33 cm, 248 pages 287 colour illustrations Hardcover with jacket ISBN 9788874397396 £ 60.00, US $ 80.00, Can $ 97.00, € 75.00

[ 7 2 ] C ATA L O G U E

ISBN 88-7439-739-6

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FASHIONING KIMONO Dress and Modernity in Early Twentieth-century Japan 24 x 28.5 cm, 328 pages 190 colour illustrations Hardcover ISBN 9788874392711 £ 30.00, US $ 45.00, Can $ 55.00, € 39.55

THE JEWISH WARDROBE From the Collections of the Israel Museum, Jerusalem 24 x 28 cm, 368 pages 350 colour illustrations Hardcover ISBN 9788874396023 £ 48.50, US $ 75.00, Can $ 86.00, € 60.00

[VISIONS OF AFRICA]

BAGA 16.5 x 24 cm, 148 pages 54 colour and 18 b/w illustrations Softcover ISBN 9788874398201 £ 29.95, US $ 39.95, Can $ 49.95, € 35.00

GURO 16.5 x 24 cm, 152 pages 60 colour and 21 b/w illustrations Softcover ISBN 9788874397327 £ 29.95, US $ 39.95, Can $ 49.95, € 35.00

KUBA 16.5 x 24 cm, 144 pages 62 colour and 14 b/w illustrations Softcover ISBN 9788874394043 £ 29.95, US $ 39.95, Can $ 49.95, € 35.00

LUBA 16.5 x 24 cm, 148 pages 63 colour and 23 b/w illustrations Softcover ISBN 9788874392971 £ 29.95, US $ 39.95, Can $ 49.95, € 35.00

MOSSI 16.5 x 24 cm, 144 pages 46 colour and 20 b/w illustrations Softcover ISBN 9788874397006 £ 29.95, US $ 39.95, Can $ 49.95, € 35.00

PENDE 16.5 x 24 cm, 128 pages 46 colour and 9 b/w illustrations Softcover ISBN 9788874393848 £ 29.95, US $ 39.95, Can $ 49.95, € 35.00

IGBO 16.5 x 24 cm, 160 pages 62 colour and 21 b/w illustrations Softcover ISBN 9788874396320 £ 29.95, US $ 39.95, Can $ 49.95, € 35.00

KOTA 16.5 x 24 cm, 168 pages 60 colour and 18 b/w illustrations Softcover ISBN 9788874396078 £ 29.95, US $ 39.95, Can $ 49.95, € 35.00

YAKA 16.5 x 24 cm, 136 pages 62 colour and 18 b/w illustrations Softcover ISBN 9788874395156 £ 29.95, US $ 39.95, Can $ 49.95, € 35.00

YORUBA 16.5 x 24 cm, 160 pages 60 colour and 18 b/w illustrations Softcover ISBN 9788874395873 £ 29.95, US $ 39.95, Can $ 49.95, € 35.00

C ATA L O G U E [ 7 3 ]

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New titles in bold Aeolian Islands (69) African Art. Portraits of a Collection (70) African Costumes and Textiles (71) African Fetishes and Ancestral Objects (70) African Sculptures and Forms (58) Agustín Fernández. The Metamorphosis of Experience (67) Alexander Calder. Radical Inventor (54) Alfred Baur, Pioneer and Collector (72) Allo Kafi Gida. Secret Qur’anic Boards from Northern Nigeria (36) A Millennium of Monochromes from the Great Tang to the High Qing. The Baur and the Zhuyuetang Collections (60) American Design – MoMA Design Series (68) Ancient American Art. 3500 BC – AD 1532 (71) Animals with Style (67) Architecture – Art Brut, The Collection (68) Art Brut from Japan. Another Look (60) Art of Daily Life, The. Portable Objects from Southern Africa (70) Artists of Nigeria (67) Arts of Nigeria in French Private Collections (70) Asia chic. The Influence of Japanese and Chinese Textiles on the Fashions of the Roaring Twenties (50) Asia Imagined in the Baur and Cartier Collections (72) Babembe Sculpture (70) Baga – Visions of Africa (42, 73) Baldwin | Guggisberg | Beyond Glass (69) Béatrice Helg (34) Before Time Began (8) Between Sky and Earth (69) Bill Traylor (20) Bismarck Archipelago Art (71) Body – Art Brut, The Collection (68) Bori. Healers Of The Soul (69) British Design – MoMA Design Series (68) Canova: in Four Tempos (12) Caravanserai (69) Canada Pavilion at the Venice Biennale, The (28) Carlo Zinelli Recto Verso (22) Carlos Luna (67) Charlotte Perriand and Photography. A WideAngle Eye (32, 69) Charms in Pre-Columbian Ecuador (71) Chinese Snuff Bottles (72) Chinese Trade Ceramics for South-East Asia (72) Collector’s Visions. Arts of Africa, Oceania, Southeast Asia and the America’s (58) Creative Growth Book, The. From the Outside to the Inside. Artists with Disabilities Today (68) Dancers from the Villa of the Papyri, The – Tailormade (65) Earth meets Spirit (69) Ellora (48) Embodied Spirits (71)

Érik Desmazières. Imaginary Places (67) Extended Moment, The. Fifty Years of Collecting Photographs at the National Gallery of Canada (57) Farnese Cup, The (61) Fashioning Kimono. Dress and Modernity in Early Twentieth-century Japan (72) Fernando Costa (54) Fragments of the Invisible (70) Frans Post 1612-1680. Catalogue Raisonné (66) Friedrich Carl Gotsch (66) Friedrich Nietzsche and the Artists of the New Weimar (14) Goats and Sheep. A Portrait Farm (57) Godai. Bamboo Art | Art du bambou. Tanabe Chikuunsai IV and Tadayuki Minamoto (55) Gold, Silver And Brass. Jewellery of the Batak in Sumatra, Indonesia (72) Great War, The. The Persuasive Power of Photography (69) Guro – Visions of Africa (42, 73) Hemba (58) I have longed to move away. Lawrence Carroll, Works 1985–2017 (54) Igbo – Visions of Africa (43, 73) Illusions. The Art of Magic (67) Impressionist Treasures. The Ordrupgaard Collection (56) Indian Contemporary Art (67) In Praise of the Human Form. Arts of Africa, Oceania and America (46) In the Atelier. Erik Desmazières Printmaker René Tazé Printer An Artistic Collaboration (18) Intimate Conversations. African Miniatures (70) Isamu Noguchi | Qi Baishi / Beijing 1930 (66) Italian Design – MoMA Design Series (68) Japanese Buddhist Textiles (72) Japanese Design – MoMA Design Series (68) Jewish Wardrobe, The. From the Collections of the Israel Museum, Jerusalem (72) Khajurāho. Indian Temples and Sensuous Sculptures (60) Kifwebe. A Century of Songye and Luba Masks (38) Kota – Visions of Africa (43, 73) Kuba – Visions of Africa (43, 73) Kulango Figurines. Wild and Mysterious Spirits (70) Laboratory Obsession (67) Lalique. The Genius of Glass, the Magic of Crystal (69) Looking UpTM... Yinka Shonibare, MBE (67) Luba – Visions of Africa (42, 73) Making History. African Collectors and the Canon of African Art (70) Maria Lai. Tenendo per mano il sole | Holding the Sun by the Hand (10) Metamorphoses. In Rodin’s Studio (66) Micro Monumentality. A Tribute to Miniature Works of African Art (70) Miró à Majorque. Un esprit libre (16)

Monet. A Bridge to Modernity (56) Monet’s Garden in Giverny: Inventing the Landscape (66) Mossi – Visions of Africa (42, 73) Multiverse. Art, Dance, Design, Technology: The Emergent Creation (67) Mur | Murs. Jacques Kaufmann, Ceramic Architecture (26) Mumuye Sculpture from Nigeria (71) Mythical Diary. Sculptures from the Farnese Collection (61) Narrative Figuration, The (57) Onobrakpeya: Masks of the Flaming Arrows (67) Pablo Reinoso (53) Paris (30) Pende – Visions of Africa (43, 73) Peru. Kingdoms of the Sun and the Moon (59) Photograph Albums of Jean Dubuffet, The (68) Pierre Dartevelle and African Art. Memory and Continuity (45) Pont-Aven School, The. Cradle of the Modern Sensibility (56) Powerful Headdresses. Africa | Asia (71) Pre-Columbian Art. The Barbier-Mueller Collection (71) Pretiosa Vitrea. The Art of Glass Manufacturing in the Museums and Private Collections of Tuscany (61) Prisoners’ Objects. Collection of the International Red Cross and Red Crescent Museum (67) Re-envisioning Japan. Meiji Fine Arts Textiles (72) Reflections on Renaissance Venice (66) Rise of Abstraction in Russia, The (66) Samuel Hieronymus Grimm (1733 – 1794).

A Very English Swiss (66) Scottish Jewellery (69) Silence of the Women: Bamana Mud Cloths, The (71) Slash. Paper under the Knife (69) Solomon Islands Art. The Conru Collection (71) Tailormade (62) Telling Time | L’éloge de l’heure (69) Textiles from Borneo. Iban, Kantu, Ketungau, and Mualang Peoples (72) Theatres (24) Traveling with Cortés and Pizarro. Discovering fine Pre-Columbian art (59) Vehicles – Art Brut, The Collection (68) Visions of Grace. 100 Masterpieces from the Collection of Daniel and Marian Malcolm (70) We – Visions of Africa (40, 58) Wood Sculpture In Nepal. Jokers and Talismans (72) Wooden Dreams. East African Headrests (70) World of Spirits in Pre-Columbian Ecuador, The (71) World that Wasn’t There, The. Pre-Columbian Art in the Ligabue Collection (59) Yaka – Visions of Africa (43, 73) Yoruba – Visions of Africa (43, 73) Yves Klein. Incandescence (66) [75]

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[ P H OTO C R E D I T S A N D C O P Y R I G H T S ]

NEW TITLES

pp. 6–7 Women’s Law alive in our Country, 2018 (detail). Betty Muffler, Angkaliya Curtis © 2019, ProLitteris, Zurich | Wawiriya

p. 8

p. 51

© Bibliothèque Nationale de France, Paris

p. 22

Carlo Zinelli, untitled, 1962, collage RECENT TITLES

Credits © Vincent Girier-Dufournier

on paper, 35 x 50 cm. Photo: Atelier

pp. 52–53 © Eric Corlay

Ancestors at Milmilingkan, 1994, John

de numérisation – Ville de Lausanne,

p. 55

Mawurndjul © 2019, ProLitteris, Zurich.

Collection de l’Art Brut, Lausanne

Margheritina, 1996, thread, cloth,

© Rodrigo Reinoso

(cab-2119) Carlo Zinelli, untitled, between 1957

TA ILORMA DE

20 x 17 cm. Private Collection. Courtesy

and 1958, gouache on paper, 35 x 50 cm.

pp. 63–64 © Luigi Spina

Archivio Maria Lai © Archivio Maria Lai

Photo: Atelier de numérisation – Ville

by SIAE 2019 (detail)

de Lausanne, Collection de l’Art Brut,

p. 15

Pierre Bonnard, The Mirror in the Green

p. 23

p. 25

Lausanne (cab-1130)

C ATA LOGUE

Giovanni Battista Podestà, Carnevale, 1965.

p. 68

Room, 1908, oil on paper, 50.2 × 65.4 cm.

Collection de l’Art Brut, Lausanne.

Indianapolis Museum of Art, Indianapolis,

© Eryck Abecassis

© Giuseppe Pocetti, Atelier de numérisation – Ville de Lausanne. Archives de la Collection de l’Art Brut, Lausanne

James E. Roberts Fund (38.84)

p. 27

© Nicolas Lieber

p. 71

© Hughes Dubois

Joan Miró, Painting, about 1977,

p. 28

© Andrea Pertoldeo

p. 72

State functionary wearing the bufu,

oil and charcoal on canvas, 100 x 80.5 cm.

pp. 30–31 © Michael Wolf

Fundació Pilar I Joan Miró in Mallorca

p. 33

© Charlotte Perriand

(FPJM-31) © Successió Miró / SOCAN,

p. 35

© Béatrice Helg

Montreal / ADAGP, Paris (2019)

p. 37

© Vincent Girier-Dufournier

Atelier René Tazé VI, 1993, etching with

p. 39

© Alan Shaffer

roulette and aquatint on wove BFK Rives,

p. 41

© Archive Karim Grusenmeyer / Frédéric

65.5 x 100.5 cm [71.9 x 108.8 cm] (F. 139) p. 21

13 3/4 x 10 7/8 in. The William Louis-

of cigarette paper packaging and gouache

© Luigi Spina

p. 18

© Fondation Baur

Burton © Copyright Agency. Photo

p. 12

p. 16

p. 50

Dreyfus Foundation Inc.

Photo credits © Vincent Girier-Dufournier p. 11

colored pencil and charcoal on cardboard,

watercolour on paper. Qing Dinasty, Canton, 1851, 26 x 16 cm. Baur Foundation, FB.PC.1964.1 p. 73

Alain and Alexia Freilich Collection, Brussels

Dehaen

Bill Traylor (United States, 1853–1949),

p. 44

© Hughes Dubois

COVER

Untitled (Two Men, Dog, and Owl),

p. 47

© Vincent Girier-Dufournier

Fabienne Verdier, Vide - Vibration no 4, 2017,

Montgomery, Alabama, 1939–42,

p. 49

© Iago Corazza

acrylic and mixed media on canvas, 183 × 407 cm Private Collection

[79]

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The Publisher and his team would like to express their gratitude to Fabienne Verdier for granting permission to reproduce three of her works on the covers of the publishing house’s 2019–20 catalogue.

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