Thames & Hudson Autumn 2019 Catalogue

July – December 2019

Contents Art

2

Natural History

37, 104

Photography

38

Fashion

48

Popular Culture

58

Design

64

General History

70

Ancient History

80

The British Museum

86

Victoria and Albert Museum

88

Decorative Arts

92

National Museum of Qatar

94

Architecture

95

Cultural History

106

Lifestyle

107

Travel Photography

109

New Editions

110

Highlights

111

Index

119

Sales & Distribution Contacts

Inside back cover

This catalogue is also available to view at:

thamesandhudson.com All descriptions in this catalogue are correct at the time of going to press. Prices, which apply in the UK only, are net, provisional and subject to alteration without notice.

For Value Added Tax (VAT) purposes, books are zero rated in the UK.

thamesandhudsonvideo

ART

A retrospective of Yayoi Kusama, Japan’s most prominent artist and ‘Queen of Polka Dots’, in the year of her 90th birthday

Akira Shibutami is a curator at the Matsumoto City Museum of Art.

Over 350 illustrations 21.0 x 26.5cm 264pp • paperback ISBN 978 0 500 295427 October £24.95

Yayoi Kusama All About My Love Edited and with an essay by Akira Shibutami 2

Avant-garde artist Yayoi Kusama’s matchless creativity and originality have been captivating the world since she moved from Matsumoto, her hometown in Nagano, Japan, to the USA in 1957. In the last ten years alone, her retrospective exhibitions in four major European and American museums, including Tate Modern, London, and the Whitney Museum of American Art, New York, have seen record attendance.

Kusama has continuously innovated and re-invented her style. Well-known for her repeating dot patterns, her art encompasses an astonishing variety of media, including painting, drawing, sculpture, film, performance and immersive installation. It ranges from works on paper featuring intense semi-abstract imagery, to soft sculpture known as ‘Accumulations’, to her ‘Infinity Net’ paintings, made up of carefully repeated arcs of paint built up into large patterns. This book, originally published to accompany a sell-out exhibition at Matsumoto City Museum of Art, offers a comprehensive overview of Kusama’s entire career, including works from her youth, when she indulged in drawing in order to escape from her hallucinations; paintings made when she was based in New York, including ‘Infinity Nets’ and ‘Polka Dots’; works from the 1980s and 1990s, when she participated in the Venice Biennale; the ongoing large-scale series ‘My Eternal Soul’; and last but not least, some of Kusama’s latest works, which appear in this edition for the first time. The plates are in chronological order and followed by detailed captions.

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Updated edition

The Eye’s Mind: Bridget Riley

Work | 2009

Collected Writings 1965–2019 Edited by Robert Kudielka

For me, drawing is an enquiry, a way of finding out – the first thing that I discover is that I do not know. This is alarming even to the point of momentary panic. Only experience reassures me that this encounter with my own ignorance – with the unknown – is my chosen and particular task, and provided that I can make the required effort the rewards may reach the unimaginable. It is as though there is an eye at the end of my pencil, which tries, independently of my personal general-purpose eye, to penetrate a kind of obscuring veil or thickness. To break down this thickness, this deadening opacity, to elicit some particle of clarity or insight, is what I want to do.

The strange thing is that the information I am looking for is, of course, there all the time and as present to one’s naked eye, so to speak, as it ever will be. But to get the essentials down there on my sheet of paper so that I can recover and see again what I have just seen, that is what I have to push towards. What it amounts to is that while drawing I am watching and simultaneously recording myself looking, discovering things that on the one hand are staring me in the face and yet on the other I have not yet really seen. It is this effort ‘to clarify’ that makes drawing particularly useful and it is in this way that I assimilate experience and find new ground.

This practice is rooted in my experience of drawing from the nude and from nature. But I found it could be moved across surprisingly easily to the elements of abstract painting, centring as it does on enquiry and what happens down there on the paper. I have always believed that those ‘ultimate’ statements of the great protagonists of Abstract art were, in fact, declarations of new radical beginnings. Would those principles and geometric forms really yield the riches dreamt of? Or would they prove a block to creative will and passion? But, in art, prohibitions and denials are always a challenge and a powerful spur to enquiry.

For the last 50 years, it has been my belief that as a Modern artist you should make a contribution to the art of your time, if only a small one.

When I was young, the situation was very different. Abstract painting hung

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2 | development as painter

Bridget Riley in studio date?

67

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The result is a remarkable change on two counts, in the type of sensation produced as well as in the fabric that carries it. Pure visual effects and chromatic interaction in particular are much less prominent; and the even colour structure that came after the compact imagery of the black and white work now seems to have been overtaken by an entirely different attitude to the whole process of pictorial organisation.

Well, I wanted more. A way of working which allowed me to get to grips with plastic issues, to get closer to the real problems of painting. I threw out notions of what the result should be. I crossed the vertical register with a strong diagonal, upsetting the balance of the canvas. That gave me time.

I could work against those directional forces, counteracting them through

Bridget Riley, one of the leading abstract painters of her generation, holds a unique position in contemporary art. She has developed and extended the range of her interests ever since her first success in the 1960s, creating a body of work which is both consistent and highly varied. Now fully revised and updated, and for the first time illustrated wholly in colour, this volume reveals the mind behind this remarkable achievement, drawing together the artist’s most important texts and interviews of the last fifty years.

Riley’s writings show a passionate engagement with her subjects and a great insight paired with a freshness of approach and an exceptional clarity of expression. Quite apart from providing a key to understanding her own work, this book is a fascinating document reflecting the issues and problems facing an artist in the 21st century.

colour and rhythm.

What then is your objective if not compositional harmony?

‘The most surprising joy ... is Riley’s ability to create the same clamouring fizz from her writing about vision as she does in her painting’ Art Review

If one is trying to give sensation a leading role one is dealing with something elusive, essentially unstable, and highly responsive. When it is going well everything you do, even the smallest change made, will affect the entire field. In order to get somewhere one has to have two things in mind: to keep the spatial flow of the painting open and, at the same time, to hold it in place through continually checking it. I suppose this could sound like a paradox, but only if one thinks in logical terms. In painting, it seems to me, contrast is the basic relationship. Even that which appears to be harmony is actually a harmony of contrasts, be they spatial, directional, formal, chromatic, tonal, etc.

‘These essays cast a richer light not only on Riley’s own work, but also on that of the other artists whom she discusses with such insight’ The Art Book

Obviously colour is still very much on your mind, although the new paintings seem to be less concerned with ‘colour for colour’s sake’.

Yes. I no longer treat colour in a purely perceptual way. Sensation of colour is a different thing, it takes in attendant qualities, so to speak, such as glitter or sombreness, buoyancy or weight, dull glow or full brilliance, impalpability or density, softness or hardness – in short a surprising variety of sensual relationships.

Ease 1987

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according to sensation

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A compendium of Bridget Riley’s candid writings on art, updated to cover the last ten years 4 Robert Kudielka is Professor Emeritus of Aesthetics and Philosophy of Art at the University of the Arts, Berlin. He is the author of many books, including (as co-author) Bridget Riley: The Complete Paintings, also published by Thames & Hudson.

92 illustrations 23.0 x 17.0cm c. 448pp • paperback ISBN 978 0 500 971017 October £24.95

Available again Bridget Riley: Dialogues on Art Edited by Robert Kudielka ISBN 978 0 500 976272 £19.95

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The most up-to-date monograph on Paula Rego, one of the most important figurative artists of her generation Deryn Rees-Jones’s poetry has received numerous critical accolades, including shortlisting for the T. S. Eliot and Roland Matthias Prizes. A professor at the University of Liverpool, she co-directs the university’s Centre for New and International Writing. She is editor of the Pavilion Poetry series, and a co-editor of the journal Women: A Cultural Review. Marina Warner is a Professor of English and Creative Writing at Birkbeck College, a Fellow of the British Academy and President of the Royal Society of Literature.

Over 340 illustrations 30.8 x 24.0cm 376pp • hardback ISBN 978 0 500 021378 October £85.00

‘Deryn Rees Jones, with welcome respect for Rego’s mysteries, gives a properly informed overview of her astonishing development’ David Hare

Paula Rego Foreword Marina Warner

Angel, 1998 (detail).

Pastel on paper.

Books and catalogues and even sequences of poetry have paid tribute to Paula Rego’s vision, and the compelling biographical undercurrents in her art have inspired art historians, critics and filmmakers, including her own son Nick Willing, to interpret her paintings and drawings in the light of her personal experiences. In this beautifully produced book, Deryn Rees-Jones, a scholar and herself a poet, illuminates Rego’s oeuvre from an entirely different standpoint, exploring instead the stories Rego tells and the way that she tells them. In so doing, Rees-Jones is keeping faith with a strong strain in Paula Rego’s own self-definition: in the artist’s eyes, her work continues the tradition in which she was steeped during childhood – that of passing on old stories, making up new ones, and realising these fantasies, dreams, desires and fears as pictures. When the town of Cascais in southern Portugal wanted to build a museum to her work, Paula chose to call it ‘La Casa das Historias’ – The House of Stories.

When I first encountered Paula’s work in l988 at the Serpentine Gallery, London, her vision struck me with the force of revelation, and I was hardly alone in feeling the artist’s mind-opening power. The wild exuberance of the large Vivian Girls paintings, with their delinquent and valiant heroines, the enigmatic scenes of pets and children, adults and monkeys, were bravura in their curiosity about little known areas of experience. They also threw open windows onto a horizon of possibility. At the time, this excitement was intertwined – for me at least – with the visibility of women artists and women’s lives, an issue that was then beleaguered to a greater degree than now. But the new interest in art by women, itself partly due to Rego’s achievements, no longer dominates discussion of her work; his book shows us an artistic virtuoso of astonishing imaginative power, as Rego forges ‘an ethical feminist practice’, conveying ‘not just one meaning but multitudes of potential meanings … [in which] feeling is allowed its full repertoire of contradiction’ (page 24).

From the vantage point of today, it is difficult to recall how scornfully narrative art used to be dismissed and how fantastic storytelling itself carried a suspect charge – it was appreciated in the practice of surrealism, as the imagery arose from the artist’s subjective unconscious, but when the picturing was inspired by myth, fairy tale or fiction, such work was condescended to as ‘literary’ or, worse, ‘illustrative’. Since the 1950s and her studies at the Slade, Rego has kept to the narrative and figurative qualities of her vision: she combines sources and lays down layer upon layer from her varied interests in art of the past – Tintoretto and Art Brut, Gillray and Bacon, Degas and Disney. Sublime or vulgar, lovely or repulsive, all is material to plunder: Victor Willing pointed out that ‘orgiastic inelegance’ allowed her to explore ‘pain and awkwardness’(page 49).

Deryn Rees-Jones’s perceptive interpretation orients us here to the successive phases – movements, you could call them – in the great symphonic act of narrative in Rego’s life’s work, and beautifully presents ways into understanding her complex and wide-ranging oeuvre. Rego is an artist of unsettling inner worlds. From the riddling scenarios of power and play in those ‘psychic snapshots’ (page 87) from the 1980s to the imposing storytelling works – couples dancing in the moonlight, a girl polishing her father’s jackboot – she is remembering Portugal where she grew up during the years of Catholic power allied with the fascist Salazar regime. But these images are also dream inventions, taking place in ‘psychic time’ (about myths, the Roman philosopher Sallust wrote that ‘These things never happened but always are’, and his epigram equally applies to Rego’s story-making).

Rego’s sheer technical fluency means that she can and does make the products of her imagination look real, however fantastic they are (the pelican billing Jane Eyre, the snarling, crouching Dog Women). She uniquely combines the literal and the imaginative,

13

The First Mass in Brazil, 1993.

Acrylic on canvas. opposite

The Artist in her Studio, 1993.

Acrylic on paper.

CHAPTER THREE

Deryn Rees-Jones • Foreword by Marina Warner Paula Rego is an artist of astonishing power with a unique and unforgettable aesthetic. Taking its cues from the artist, this fascinating monograph – the most complete survey of Rego’s work yet published – invites us to reflect on the complexities of storytelling on which the artist draws, emphasizing both the stories the pictures tell, and how it is that they are told.

Deryn Rees-Jones sets interpretations of the pictures in the context of Rego’s personal and artistic development across sixty years. We see how Rego’s art intersects with the work of both the literary and the visual, and come to understand her rich and textured layering of reference: her use of the Old Masters; fiction, fairy tales and poems; the folk traditions of Rego’s native Portugal; and her wider engagement with politics, feminism and more. The result is a highly original book that addresses urgent questions of gender, subject and object, self and other.

‘Paula Rego is an outstanding artist. She deserves an outstanding book.

And now she has one’ Waldemar Januszczak

first of a series of recurring images of women on the ground, including Tiger Lily tied up on ‘Marooner’s Rock’. Other females in the Barrie story, who in contrast to Wendy are largely silent – Tinkerbell, Peter’s mercurial companion, can only speak to other fairies and is only ever interpreted by Peter – are given minimal roles.16 Although repetition is one of the hallmarks of Rego’s process as a means of exploring subtle differences, the artist identifies 1993 as the year in which her work made a substantive change. That year was marked by a desire for Rego to situate herself in both artistic and national terms, borne out in works such as The First Mass in Brazil and The Artist in her Studio, the latter suggesting a challenge to the traditional male gendering of the artist. The woman artist is depicted smoking in her studio in what might also be a playful reference to Magritte’s pictorial challenge to representation itself in The Treachery of Images (1928–29), in which an image of a pipe is accompanied by the words ‘Ceci n’est pas un pipe’ (This is not a pipe). Rego’s attempt to locate herself using Portuguese 152

The Art of Story

THE STORY AND THE SECRET (1987–1994)

153

‘Paula Rego has become increasingly impressive. She has a unique imagination and a total command of drawing. She is an extraordinary artist’ Frank Auerbach

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Revised edition

The definitive biography, thoroughly updated, by the only surviving person to have been close to Eileen Gray Peter Adam made over 100 documentaries during his time as a producer for the BBC, several of which were prize-winners. He has been made an Officier des Arts et des Lettres by the French Government.

160 illustrations 24.0 x 16.5cm 368pp • hardback ISBN 978 0 500 343548 October £29.95

Eileen’s belongings after her death, I found scraps of paper, photographs, some torn-out pages of an old address book, the sales ledger of a shop, some work notes, a few architectural and carpet drawings and much of the remnant paraphernalia of her personal life. Much of this book is based on surviving letters – written on an antiquated typewriter – and personal conversations.

For a long time I had no intention of publishing them. Eileen for me was first and foremost a friend, not a public person. Much of our conversation dealt with the present and the banal happenings of daily life, such as the replacing of a blown fuse, not on her thoughts on the Bauhaus. Being more interested in other people’s lives than in her own, she was never easily questioned.

Eileen Gray Her Life and Work Peter Adam

She was a reluctant and not always reliable witness. She did not like to look into the past (which in any case was blurred), and least of all into her own.

The most formidable help came from her niece, the painter Prunella Clough, now alas also departed. Prunella was Eileen’s only true and lasting friend. A distinguished artist herself, she was able to share many of Eileen’s preoccupations, thoughts and worries. Throughout Eileen’s later years the

6

two women exchanged many letters. After Prunella’s death, more letters and notes emerged which made us see Eileen the person more clearly. These, and the many she wrote to me, were a fantastic source of information about her daily life and thoughts. Yet after many years of research into her life, she remains an enigma, a jigsaw with missing pieces. Maybe this is just as well.

‘The work of an artist is more than his life,’ she wrote in one of her letters.

Many new facts have emerged, and I hope that this new version of my biography will deepen the knowledge of her work and her life at a time when the commercial interest spreads absurd untruths. Eileen is now embodied by actresses in both a feature film and a play. As the auction houses fight over her rare original pieces, which are going at the price of gold, the first fakes have appeared on the market. In 2006, six chairs that were claimed to be made by Eileen were sold in Paris for a total of several million euros.

I would like to thank my friend and publisher Andreas Landshoff, who suggested my first book on Eileen Gray. He never lost faith in the whole precarious endeavour, and supported me in all later editions in the United States and Europe. After the first edition in 1987 by Harry N. Abrams in the United States and Thames & Hudson in the United Kingdom, the biography was published in Germany by Edition Stemmle and in France by Adam Biro.

In 2007 Lothar Schirmer unflinchingly suggested bringing out a new, extended 1.1 Eileen, sporting the Byron look, c.1910

and lavishly illustrated edition in German and English, and I thank him

forEWord 11

0.00 Rug with abstract geometrical pattern, c. 1925 (modern reproduction, Edition ClassiCon).

0.00 Rug design for e.1027, 1926–29 (modern reproduction, Edition ClassiCon).

One of the most important designers of the 20th century, Eileen Gray (1878– 1976) wielded enormous influence – though often unacknowledged, especially in her lifetime – in a field largely dominated by men. Today, her iconic designs, including the luxurious Bibendum chair and the refined yet functional E.1027 table, are renowned throughout the world.

This definitive new edition of the biography by Peter Adam, the only surviving person to have been close to Gray during her reclusive later years, is a uniquely intimate survey of her life and work. Comprehensively updated and illustrated with material drawn from Gray’s personal archives – correspondence, journals, photographs and architectural sketchbooks – it tells the full story of her life from aristocratic beginnings in Ireland, through the extravagance of Art Deco-era Paris, relationships with lovers, male and female, and her productive years in southern France. It reveals fresh details about her elegant, largely overlooked paintings; tense exchanges with Le Corbusier; and the fate of E.1027, the home that she designed and furnished herself, and which set a new standard for radically modernist living.

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A groundbreaking exploration of how women artists of the 1970s combined art and protest to make sexual violence visible, creating a new kind of art in the process Nancy Princenthal is a New York-based writer. A former senior editor of Art in America, where she remains a contributing editor, she has also written for the New York Times, Parkett, the Village Voice, and many other publications. She is currently on the faculty of the MFA art writing program at the School of Visual Arts. Her previous book, Agnes Martin, won 2016 PEN/Jacqueline Bograd Weld award for biography. c. 35 illustrations 22.9 x 15.2cm 304pp • hardback ISBN 978 0 500 023051 October £24.95

‘An important and urgent book. Princenthal’s trenchant, honest, complex exploration of the radical representations of sexual violence in the 1970s delineates the upheaval of implicit assumptions about rape, bodies, silence and speech in particular works by individual artists in light of their broader artistic and political meanings and lasting consequences. I read it with breathless, captive attention’ Siri Hustvedt

BODY LANGUAGE Art, like violence, is crowd-sourced. Visual art’s many dialects are all shaped by the influences of history and of real-time interaction; no artist truly works in a vacuum. The same is true of violence, though the crowd from which it is sourced is much larger. Popular culture, with its warp-speed feedback loops, dominates the expression of physical assault. We’ve all seen the movie, the TV show, the video clip; we’ve read the article, the post, the tweet. This is how it’s done, we learn. This is how it feels. It is no contradiction to add that the commercial media’s view of violence has always been distorted, favoring sensationalism over factual or emotional honesty.

Artists, almost by definition, challenge popular formulations.

They give shape to experiences we don’t quite know how to picture or name. And in the spectrum of dramatic injury—of harm organized for maximum expressive impact—sexual violence occupies a uniquely unstable place. Few experiences are more difficult to represent. The pioneering women artists who explored it, with candor and feeling, nearly fifty years ago had a wide-open arena, and plenty to say. We are enormously in their debt; slowly, mainstream culture has been learning to pay attention.

This book is primarily about these pioneers and also the work that

tapp and tastkino (tap and touch cinema) Valie export

Vienna, 1968

influenced and succeeded theirs. While I was writing it, I was often told that addressing sexual violence in the arts was uncommonly urgent—that I had hit upon an especially timely subject. In truth, there has never been a time without screaming headlines about such 7

Unspeakable Acts Women, Art, and Sexual Violence in the 1970s Nancy Princenthal The 1970s was a time of deep division and newfound freedoms. Galvanized by The Second Sex and The Feminine Mystique, the civil rights movement and the March on Washington, a new generation put their bodies on the line to protest injustice. Still, even in the heart of certain resistance movements, sexual violence against women had reached epidemic levels. Initially, it went largely unacknowledged. But some bold women artists and activists, including Yoko Ono, Ana Mendieta, Marina Abramović, Adrian Piper, Suzanne Lacy, Nancy Spero and Jenny Holzer, fired up by women’s experiences and the climate of revolution, started a conversation about sexual violence that continues today.

Some worked unannounced and unheralded, using the street as their theatre.

Others managed to draw support from the highest levels of municipal power.

Along the way, they changed the course of art, pioneering a form that came to be called simply performance.

Award-winning author Nancy Princenthal takes on these enduring issues and weaves together a new history of performance, challenging us to re-examine the relationship between art and activism, and how we can apply the lessons of that turbulent era to today.

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ART

A rare study of a remarkable artist, described by the New York Times as ‘a figure ahead of her time’ Marit Paasche is an art historian and former head of research at the Norwegian Video Art Archive.

She now works as an art critic, curator and writer.

150 illustrations 24.0 x 16.5cm 288pp • hardback ISBN 978 0 500 094099 September £24.95

Hannah Ryggen Threads of Defiance Marit Paasche The significance of Hannah Ryggen (1894–1970) as one of the most important figures in the history of Scandinavian art has only recently been recognized internationally. Beloved and renowned for her original contributions to modernist tapestry, Ryggen made radical political statements against Fascism and Nazism before and during the Second World War. Using primary sources, Ryggen expert Marit Paasche brings us a much fuller knowledge of the artist, weaving her life and work into a story that illuminates not only the artist herself, but also 20th-century art history in general.

Hannah Ryggen’s visually spellbinding tapestries, made on a homemade hand-loom in her small farm on the remote Norwegian coast, depict a wealth of subjects: Mussolini’s Abyssinian campaign, her husband’s internment in a Nazi camp in occupied Norway, the post-war growth of nuclear power, and media coverage of the Vietnam War. At once hard-hitting and humorous, her works combine personal candour, social and political engagement and visual majesty. Paasche explores both the artist’s bold subject matter and particular balance of abstraction and figuration within the context of her life and beliefs.

Including a comprehensive selection of works, this book provides an enthralling account of a remarkable, and unjustly overlooked, artist.

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Hannah Ryggen, Fishing in the Sea of Debt (Fiske ved gjeldens hav), 1933.

Tapestry in wool and linen, 145 x 185 cm.

Private collection.

14

11.

WE ARE LIVING ON A STAR

H

annah left for Skåne to visit her cousins immediately after Hans’ funeral in December 1956. The following spring she spent a few days in Trondheim before making her way home, in April, to Ørlandet. It was difficult to return. In a letter to her cousin Karna Nilsson, Hannah wrote: I cried for two days but I think the work will save me. I am well under way with combing wool to spin. Paul put together the new 3 metre loom.

Hans had almost finished it. I notice his love and care in everything.1

By this time, however, Hannah was beginning to struggle with her vision; she felt her eyesight was not as good as it had been. (The doctor diagnosed double vision and gave her reading glasses.) It was not until August that all the dyeing was finished and she could sit down and begin to weave the commissioned tapestry. The new loom worked well, Hannah reported to Mona, and she had laid in the first threads.2 Work on We Are Living on a Star was underway at Ørlandet, but Hannah was grieving deeply. Emil Nilsson argued with her that moving from Ørlandet to Trondheim would do her good, and she eventually agreed. In a letter to Mona in November, she let her daughter know that the house at Ørlandet would be kept, but that she was moving to the city. She could no longer bear to be alone.3 Through a friend, Olaus Lysholm, Hannah found a studio in Dahl’s brewery in Trondheim. She lived at the Trønderheimen hotel until March 1958 and then moved into her own flat. On 2 November of the same year, the memorial exhibition for Hans Ryggen opened at the Trondheim Arts Association, and its entire second floor was filled with 140 paintings. Hannah sold some of them and put the proceeds into a bank account for Mona. The exhibition

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WE ARE LIVING ON A STAR

Hannah Ryggen We Are Living on a Star (Vi lever på en stjerne), 1958. Tapestry in wool and linen, 400 x 300 cm. This photograph was taken after conservation. Collection: Statsbygg.

WE ARE LIVING ON A STAR

235

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Modern British art history through the stories of its women, told from an artist’s perspective

Carolyn Trant is an artist who was trained at the Slade, University College of London. She is the author of Art for Life: The Story of Peggy Angus and a contributor to The Cultural Life of Images.

120 illustrations 23.4 x 15.3cm 304pp • hardback ISBN 978 0 500 021828 September £24.95

‘A wonderfully rich panorama of creative lives, by turns elegiac and celebratory. Truthful, practical and open-minded, Trant’s book points us in new directions’ Alexandra Harris

Voyaging Out British Women Artists from Suffrage to the Sixties Carolyn Trant

Above Hannah Gluckstein (Gluck), Lords and Ladies, 1936. Oil on canvas. Georgia O’Keeffe’s

flower paintings, made at a similar time in the USA, were interpreted by later feminist critics as as sexualized. While O’Keeffe insisted this was not her intention, Gluck enjoyed challenging the public, and was likely making deliberate sexual statements.

Opposite Hannah Gluckstein (Gluck), The Devils Altar, 1932. Oil on canvas. Devil’s Trumpet

was one of Constance Spry’s favourite flowers. While her work represented ‘bourgeois mediocrity’ for some critics, her highly original vegetable and flower arrangements had an enormous impact on middle and lower-income families between the wars: ordinary people could now design their own floral works of art, which were cheaper than paintings.

84 Chapter 5

Jean Cooke, Self-Porrtrait, c. 1954. Oil on canvas. Cooke’s style became familiar from RA Summer shows, and she was made a full Academician in 1972.

aLternatIve arrangements: LIfe, art and sexuaLIty 85

that she had a reputation before he did, which continued after his own had dwindled.

Cooke was a tiny woman with a huge character, who painted vigorous landscapes and searingly objective self-portraits, finding beauty in a variety of unusual places. Her friends thought Bratby made her look old in his pictures, so she painted herself ‘how she wanted to be’.

When newly married, her made her sign one of her self-portraits as ‘Bratby’ – she ‘belonged’ to him now. Later, she always used Cooke. It is telling that at the time of her separation she called another self-portrait Et Jamais Je ne Pleure et Jamais je ne Ris (1972), a line from Baudelaire meaning ‘And never do I cry and never do I smile’. She started showing work in group exhibitions from 1956, with her first solo show in 1963.

She eventually became a lecturer at the Royal College and a regular exhibitor at the Royal Academy. When she was invited as one of only three women artists, along with Ithell Colqhoun and Anne Redpath, to contribute a self-portrait to the Ruth Borchard Collection at half her usual fee she responded ‘Dear Miss Borchard, I am not a feminist but to have only three women painters out of 91 makes rather poor odds so 21 gns it is. Are you going to come and pick up the painting? Yours sincerely, Jean E Bratby.’ She had four children, most of who went on Jean Cooke at home with her children, c. 1960. Photographer unknown.

in London. When her cottage near Birling Gap in Sussex fell into the sea through coastal erosion she merely moved in to the house next door.

The real tragedy was that she genuinely loved her husband, although they finally separated in 1977. She once remarked that she found women ‘treacherous’, perhaps thinking of her husband’s many affairs.

Virginia Woolf was one of the first to suggest that the idea of the artistic genius led people to think they could be allowed more liberties than ‘ordinary people’. In the case of the Bratbys, many think Cooke’s work was better than her husband’s, but it was he that took the liberties, resorting to physical violence on many occasions in their long relationship. She was only allowed to work for three hours in the morning; he slashed her paintings if he disapproved of them and commandeered them if he needed a fresh canvas. John Berger remarked, admiringly, that he painted ‘as though he sensed he had only one more day to live’ yet Bratby seems to have felt threatened by Cooke’s creativity, annoyed

268 Chapter 17

the KItchen sInK: domestIcIty and the maKIng of art 269

Consider for a moment the history of modern art in Britain; you may struggle to land on a narrative that features very many women. On this journey through a fascinating period of social change, artist Carolyn Trant fills in some of the gaps in traditional art histories. Introducing the lives and works of a rich network of neglected women artists, Voyaging Out sets these alongside such renowned presences as Barbara Hepworth, Laura Knight and Winifred Nicholson. In an era of radical activism and great social and political change, women forged new relationships with art and its institutions. Such change was not without its challenges, and with acerbic wit Trant delves into the gendered make-up of the ‘avant-garde’, and the tyranny of artistic ‘isms’.

Virginia Woolf’s first novel The Voyage Out (1915) has her female heroine strive towards a realization of her sense of self, asking what being a woman might mean. In the decades after women won the vote in Britain, the fortunes of women artists were shaped by war, domesticity, continued oppressions and spirited resistance. Some succeeded in forging creative careers; others were thwarted by the odds stacked against them. Weaving devastating individual stories with playful critique, Voyaging Out reveals this hidden history.

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ART

‘Martin Gayford has a gift for sustaining conversations that unfold across decades’ Guardian Martin Gayford is art critic for the Spectator. His books include Man with a Blue Scarf, A Bigger Message, Rendez-vous with Art (with Philippe de Montebello) and Modernists & Mavericks.

He is also co-author, with David Hockney, of A History of Pictures.

‘Will be read as long as Freud’s work is admired’ Sunday Times

Sunday Times Art Book of the Year 2018

10 New in B-format paperback

New in B-format paperback

Man With a Blue Scarf

Modernists & Mavericks

On Sitting for a Portrait by Lucian Freud

Bacon, Freud, Hockney and the London Painters

Martin Gayford

Martin Gayford

‘If it is Freud who dominates this book, it is Gayford’s achievement to bring him out and to do so with wit and humour as well as acute intelligence … literally inimitable’

‘If you are interested in modern British art, the book is ­unputdownable. If you are not, read it’

Guardian

‘One of the best books about art, and the making of art, that I have ever read’ Julian Barnes

Grey Gowrie, Financial Times

‘A genuinely encyclopaedic work … informed by a deep love and understanding of modern painting’ Andrew Marr, Sunday Times

‘Freud is vividly surprising, potent and dynamic … a portrait of an anarchic painter with views on everything from Leonardo’s failings to Princess Margaret’s voice’ Observer

‘A masterpiece … filled with vivid anecdotes that might have otherwise disappeared into the Soho air’

63 illustrations • 19.8 x 12.9cm • 192pp paperback • ISBN 978 0 500 295182 August £10.99

114 illustrations • 19.8 x 12.9cm • 392pp paperback • ISBN 978 0 500 294703 July £12.99

Wall Street Journal

ART

Critic, bestselling author and art pilgrim Martin Gayford recounts some of the many journeys he has made in the course of a lifetime in pursuit of art 54 illustrations 21.6 x 13.5cm 192pp • hardback ISBN 978 0 500 094112 September £16.95

The Pursuit of Art Travels, Encounters and Revelations Martin Gayford

‘My meeting with the photographer Henri Cartier-Bresson started badly … We sat down in the window, with the geometric order of the Tuileries Gardens laid out below. I took out my tape recorder to record the interview, at which point he picked up his walking stick as if it were a rifle, and pretended to shoot the gadget. CartierBresson did not, it turned out, approve of being interrogated, and certainly not of having his words captured by a mechanical device. “I like conversations,” he announced, “I don’t like interviews. To the best questions there is no answer.”’

In the course of a career spent thinking and writing about art, the critic Martin Gayford has travelled all over the world in pursuit of first-hand encounters with art and artists. Gayford’s journeys, often to rather inaccessible places, involve frustrations and complications, but also serendipitous meetings and outcomes, which he makes as much part of each story as the final destination. Ever amusing, informative and self-deprecating, Gayford recounts trips to see Brancusi’s Endless Column in Romania, prehistoric cave art in France, the museum island of Naoshima in Japan, the Judd Foundation in Marfa, Texas, and an installation by Roni Horn in the far northwest of Iceland.

Other journeys are to meet artists – Robert Rauschenberg in New York, Marina Abramović in Venice, Henri Cartier-Bresson in Paris – or are made in the company of artists, such as a trip to Beijing with Gilbert & George. These encounters provide insights into the way artists approach and think about their art, and reveal the importance of their personal environment to their practice.

They also affect Gayford’s own evolving ideas over a lifetime of passionate engagement with art. A perceptive and knowledgeable companion, Gayford shares the highs and lows of cultural travel, and makes a convincing case that, where art is concerned, only being there will do.

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ART

The second in a series of books that seeks to illuminate Francis Bacon’s art and motivations, published under the aegis of The Estate of Francis Bacon Ben Ware is a research fellow in Philosophy at King’s College, London. Howard Caygill is Professor of Modern European Philosophy at Kingston University. Gregg M. Horowitz is Emeritus Professor of Philosophy at Pratt Institute in Brooklyn, NY. Darian Leader is a psychoanalyst and a member of the Centre for Freudian Analysis and Research. Catherine Malabou is Professor of Philosophy at Kingston University. Dany Nobus is Professor of Psychoanalytic Psychology at Brunel University. Renata Salecl is Professor of Psychology, Psychoanalysis and Law at Birkbeck, University of London. Alenka Zupančič is a research advisor at the Institute of Philosophy, Scientific Research Center of the Slovene Academy of Sciences. c. 100 illustrations 26.0 x 20.0cm 176pp • paperback ISBN 978 0 500 970980 October £28.00

Francis Bacon Painting, Philosophy, Psychoanalysis

Scratching the Surface:

Edited by Ben Ware • Essays by Howard Caygill, Gregg M. Horowitz, Darian Leader, Catherine Malabou, Dany Nobus, Renata Salecl and Alenka Zupanč ič

Distance and Intimacy in Study of Henrietta Moraes Laughing Gregg Horowitz

I

The Eyes, then the Mouth

'I like, you may say, the glitter and colour that come from the mouth.' – Francis Bacon

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Martin Harrison says of Francis Bacon’s Study of Henrietta Moraes Laughing, 1969, that ‘our gaze is drawn to the eyes—perhaps in the transitional motion of blinking and moves ineluctably to the mouth—the site of the ‘laugh’.’ It is natural for us to look first at the eyes in a portrait. Since what the sitter for a portrait is typically doing is also looking, if not directly at us, then at least at the world in which she is being painted, the eyes are where the action is. Why, though, in Bacon’s painting, is our gaze then drawn, as Harrison puts it, ineluctably, irresistibly – as if against our will or hers – to Moraes’s mouth? Do her eyes repel our gaze? Does the draw of her mouth overcome our first, natural gaze at her eyes? Does the drama of this painting play itself out in the overcoming of our natural attention to Moraes’s eyes? And once our gaze has been drawn to her mouth, what then might we do to overcome that fascination and return it again to her eyes? Another way to ask this last question: is there anything we can do, once our eyes have been drawn ineluctably to Moraes’s mouth, to once again treat Bacon’s study of her as a portrait?

28. Portrait of Henrietta Moraes Laughing, 1969

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Also in the series

978 0 500 970973 £28.00

There is one straightforward reason why our gaze at the Study drifts down Moraes’s face: her eyes look to be closed, while her mouth is wildly agape. Harrison aptly describes Moraes’s eyes as ‘perhaps in the transitional state of blinking’, which is to say, her eyelids seem to be down, thereby withdrawing themselves as candidates for the centre of action in the painting. Perhaps not all the way down, but enough at least for us to be freed to look down at the real action in the Study, which is, as the title of the painting tells us, her laugh. There is, I believe, a more perspicacious way than ‘closed’ to describe Moraes’s eyes, but in any case, this explanation, which treats the component parts of the painting in a literal-minded way, tells us very little about the drama unfolding in the picture. As we know from several self-portraits

by Rembrandt, a painter about whom Bacon thought a lot, a sitter’s eyes need not be visible in a painting to grip us. In the Study, Moraes’s eyes patently remain an eventful and compelling site, regardless of whether they are open, closed, or something else entirely. If we find nonetheless that we cannot resist looking down to Moraes’s mouth, it cannot be because Bacon has withdrawn attention from her eyes. As for that mouth: to say that the mouth grabs hold of our attention simply by virtue of being the site of the eponymous laugh understates what is happening in the lower portion of the painting: the laugh is tearing Moraes’s head apart. Harrison acknowledges this violence negatively, when he puts the word ‘laugh’ in shudder

SCRATCHING THE SURFACE

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Francis Bacon is one of the most important artists of the 20th century.

His works continue to puzzle and unnerve viewers, raising complex questions about their meaning. Over recent decades, two theoretical approaches to Bacon’s work have come to hold sway: firstly, that Bacon is an existentialist painter, depicting an absurd and godless world; and secondly, that he is an anti-representational painter, whose primary aim is to connect his work directly into the spectator’s ‘nervous system’.

Francis Bacon: Painting, Philosophy, Psychoanalysis brings together some of today’s leading philosophers and psychoanalytic critics to go beyond established readings of Bacon and to open up radically new ways of thinking about his art. The essays place Bacon in dialogue with figures such as Aristotle, Hegel, Freud, Lacan, Adorno and Heidegger, as well as situating his work in the broader contexts of modernism and modernity.

The result is a timely and thought-provoking collection that will be essential reading for anyone interested in Bacon, modern art and contemporary aesthetics.

ART

A radically new perspective on Francis Bacon’s art, analysing the ways in which literature inspired the artist’s work

Didier Ottinger is assistant director of Centre national d’art et de culture Georges-Pompidou, Musée national d’art moderne, Paris.

101 illustrations 30.0 x 23.0cm 242pp, inc 11 gatefolds Hardback ISBN 978 0 500 239988 September £39.95

Accompanies the exhibition at the Pompidou Centre, Paris, from 11 September 2019 to 20 January 2020

Francis Bacon Edited by Didier Ottinger • Essays by Miguel Egaña, Catherine Howe, Michael Peppiatt and Chris Stephens

124

125

126

47

48

s 42-44

emory of George Dyer ouvenir de George Dyer], 1971 et caractères transfert sur toile ue panneau : 198 × 147,5 cm ation Beyeler, Beyeler Collection, Riehen/Bâle 71-09

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46

Published to accompany the first Francis Bacon retrospective in Paris for twenty years, this catalogue analyses Bacon’s works from 1971 onwards in light of his relationship to literature. Bacon always vigorously opposed over-analysis of his paintings, preferring to interpret them in purely illustrative or symbolic terms; he admitted, however, that literature was a powerful stimulus to his imagination. The artist was inspired by the images conjured up by certain texts: Aeschylus’ phrase ‘the reek of human blood smiles out at me’ in particular haunted Bacon, while his 1978 work Painting refers to T. S. Eliot’s seminal poem The Waste Land. The inventory of Bacon’s personal library has identified more than 1,300 books, ranging from Bataille and Conrad to Nietzsche and Leiris.

Including twelve of Bacon’s renowned triptychs, this lavish publication features eleven gatefolds and some sixty paintings created by Bacon between 1971 and his death in 1992. Reproduced here with analyses of Bacon’s paintings in the light of some of his most admired authors, these specially commissioned texts reveal new ways of understanding some of the most powerful works in the modern canon.

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ART

‘A long (in fact, epic) life; a beautiful (in fact, magnificent) body of work. The exquisite creations of an exquisite man who lived (more or less) the exact duration of the 20th century’ Wes Anderson

Eric Karpeles is a painter and also writes about painting, poetry and aesthetics. He is the author of several books, including a biography of Józef Czapski, Almost Nothing, and Paintings in Proust, also published by Thames & Hudson.

240 illustrations 27.9 x 24.1cm 272pp • hardback ISBN 978 0 500 023044 October £49.95

‘Mr. Karpeles, a California-based painter and art critic, has ignited international interest in Czapski’s artwork’ Wall Street Journal

Józef Czapski An Apprenticeship of Looking

Live performance as a subject, a genre mastered by Degas [5] and Manet, would become a fixture in Czapski’s painting and drawing repertoire. He regularly attended plays, opera, and musical concerts. He captured Edith Piaf, Charles Aznavour, and Mstislav Rostropovich at work, rendered scenes from plays of Ionesco, Gogol, and Beckett, and operas of Puccini and Wagner. Armed with notebook and pencils, he drew what was happening both onstage and off. Canvases based on these original sketches depict not only actors and musicians, but concertgoers in various stages of expectation, the shapes of their heads and bodies often enhanced by balcony decorations or the backs of plush velvet orchestra seats. The sinuous lines of art nouveau design found in many Paris theaters and concert halls serve to frame and isolate the figures.

Always alert to the spectacle of people being themselves, Czapski made good use of an audience gathered for a performance.

Eric Karpeles • With essays by Wojciech Karpiski and Adam Zagajewski

Another painting from 1937, known to us only from a black and white reproduction in an exhibition catalogue, reveals a more psychologically penetrating side of Czapski’s keen eye and spirit.

Girl with Toy Rabbit [6, page 26] shows a young girl of around ten seated at a table, peering out at the viewer with a look of vigilance and slight suspicion, almost sullen, her mouth set tight, her large eyes just short of a glare. She is knowing and no one’s fool. Her neatly parted hair has been set into two braids, one falling forward over her right shoulder with a bow-tied ribbon at the end, the other falling back out of sight over her left. She wears a dress with a Peter Pan collar and puffy sleeves. Her large and fleshy left arm, resting on the tabletop, is the closest part of her body in relation to us, the elbow protruding out lustily like the knee in Caravaggio’s painting of Narcissus. On the cheek just below her right eye is what appears to be a beauty mark, adding a suggestion of preternatural sophistication to her aura. Czapski establishes this suggestion of maturity as a foil to the other, more conventionally childish one of an innocent girl in a party dress.

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Degas applied his blend of classicism and raw brutality to expand the horizons of acceptable subject matter, validating Czapski’s urge to paint old women, beggars, and other marginal subjects.

[detail of plate 16]

5

Master Pathelin

Edgar Degas, Café Singer

1937

1879.

25

124

Roussille

Road in Maisons-Laffitte

1957. 25 1/2 x 20 (65 x 50).

Richard and Barbara Aeschlimann, Chexbres

1957. Oil on canvas, 41 x 20 in. / 105 x 51cm.

National Museum in Warsaw

Pl. 1

Pl. 1

This stunning monograph, a long-overdue critical appraisal of Polish artist Józef Czapski (1896–1993), arrives at a moment when the artist’s legacy is gaining new recognition. Within these pages, author Eric Karpeles conveys how making art was so enmeshed with Czapski’s way of seeing and being in the world that it was second nature. Given that he lived into his 97th year, it’s no surprise that the artist has works dating from every decade of the 20th century but the first.

As witness to the tumultuous events of that century, he found in painting ‘a refuge and a salvation’.

Prolific as a painter, he was equally disciplined in recording the events of his life in pencil, ink, and watercolour in his journals. At a time when abstract art tended to dominate aesthetic discourse, he preferred to observe the world around him, to portray people going about their daily business. Some of his most compelling works depict theatre-goers and art lovers doing what they do best – looking.

ART

A book that fills a major gap in the literature on a key figure in 20th-century British modernism

Catherine Hammond is the research library manager at Auckland Art Gallery Toi o Tamaki and managing editor of Reading Room: A Journal of Art and Culture. Mary Kisler is the senior curator of the Mackelvie Collection, International Art at Auckland Art Gallery Toi o Tamaki.

202 illustrations 28.5 x 23.5cm 268pp • hardback ISBN 978 0 500 094181 July £39.95

Frances Hodgkins: European Journeys Edited by Mary Kisler and Catherine Hammond New Zealand-born Frances Hodgkins (1869–1947) arrived in London in 1901 and, by the 1920s, had become a leading British modernist, exhibiting frequently with avant-garde artists such as Ben Nicholson, Barbara Hepworth and Henry Moore. This book explores Hodgkins as a traveller across cultures and landscapes – teaching and discovering the cubists in Paris, absorbing the landscape and light of Ibiza and Morocco, and exhibiting with the progressive Seven & Five Society in London.

Complete with a rich visual chronology of the artist’s encounters abroad and over 100 of Hodgkins’ key paintings and drawings, the book is an illuminating journey that moves us from place to place through the writings of a number of distinguished national and international art historians, curators and critics: Frances Spalding (University of Cambridge), Alexa Johnston (Auckland-based writer and curator), Elena Taylor (University of New South Wales), Antoni Ribas Tur (Ara newspaper), and Julia Waite, Sarah Hillary, Catherine Hammond and Mary Kisler (Auckland Art Gallery Toi o Tamaki, New Zealand).

FIGURE 6.27

The White Chateau, c. 1930

210 / SARAH HILLARY

FRANCES HODGKINS’ MATERIALS AND TECHNIQUE / 211

‘This is Frances Hodgkins’s moment. She has recently has slipped back into prominence as a key figure in 20th-century British Modernism, buoyed in part by the fresh wave of interest in women’s art … This book fills a major gap’ Frances Spalding

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ART

A celebration of embroidery in contemporary art, illustrating the myriad ways it has been embraced as a form of creative expression

Charlotte Vannier is a designer, copywriter and stylist. She is the author of several books on art and crafts for adults and children, including Unravelled, also published by Thames & Hudson.

Illustrated throughout 28.0 x 22.0cm 384pp • paperback ISBN 978 0 500 295458 October £35.00

Threads Contemporary Embroidery Art Charlotte Vannier 16

Edi volum sum aut asin num fugitae doluptati optas ea dolor as elignatus dicti culloratem alibus ex et optat.

Busam aut ut maximag niandi..

Vacation bags Techniques mixtes 70 x 55 x 22 cm et 40 x 20 x 6 cm 2018

Vacation Techniques mixtes 15 x 10 x 5 cm et 15 x 5 x 2 cm 2018

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85

TERESA LIM Après des études de musique clasANNÉE DE NAISSANCE

1990

VILLE DE NAISSANCE

Singapour

LIEU DE RÉSIDENCE

Singapour

SITE WEB

teeteeheehee.com

sique, Teresa Lim, alias Teresa Lim de Teeteeheehee, obtient un diplôme en textile et stylisme de mode au Lasalle College of the Arts de Singapour. « J’ai commencé à broder lors d’un cours d’initiation à la faculté. Ce fut le coup de foudre au premier regard – au premier toucher, en l’occurrence. » Elle tombe alors amoureuse du caractère thérapeu-

tique du procédé et ne cesse de broder depuis.

Puisant son inspiration dans son environnement proche, la nature, les voyages, la musique, les livres mais aussi dans les individus, et tout particulièrement dans l’univers des femmes, elle raconte des histoires à travers ses ouvrages, guidée par les conversations et les dialogues. Partant du principe que chaque chose peut être reliée avec les autres et que le hasard n’existe pas, elle pousse

(de gauche à droite) Seascapes Combinaison de points de broderie, plastiques recyclés, sequins 23 x 23 cm 2017 Seascapes 2 Combinaison de points de broderie, plastiques recyclés, sequins 23 x 23 cm 2017 Sewcial Media 2 Combinaison de points de broderie, infographie sur Photoshop 15 x 15 cm 2017 Sewcial Media 1 Combinaison de points de broderie, infographie sur Photoshop 15 x 15 cm 2017

le public à se questionner sur sa propre vison du monde, comme dans sa série Sew Wanderlust. Si ses récits brodés donnent lieu à un débat sur des questions sociétales et s’ils poussent le public à réfléchir, elle estime qu’elle a obtenu la plus belle des récompenses pour son travail.

En mixant le procédé traditionnel et ancestral de la broderie avec celui, contemporain, de la manipulation numérique de ses retouches sur Photoshop, elle apprécie tout particulièrement observer son travail se concrétiser à partir d’un croquis rudimentaire au crayon, puis se remplir peu à peu de points et de fils. Travaillant principalement avec des fils de chez KPC et DMC, et, pour les ouvrages plus délicats, du Gutermann, elle brode ses saynètes sur du tissu en fibres naturelles comme de la toile de coton ou de lin. « J’essaye également d’élargir ma palette en brodant sur du plastique. » À la manière des selfies et des snapchats, dans l’ère d’Instagram et de Twitter, elle immortalise ses souvenirs de voyages avec un style qui combine illustration et broderie. « Je dessine et je peins à l’aide de l’aiguille et du fil. » Teresa Lim tente aujourd’hui de trouver un équilibre entre projets personnels et travaux de commande. Ses nombreuses col-

(de gauche à droite) Room #5 série « The Twelve Rooms » Combinaison de points de broderie 15 cm de diamètre 2016 Room #4 série « The Twelve Rooms » Combinaison de points de broderie 15 cm de diamètre 2016 Room #7 série « The Twelve Rooms » Combinaison de points de broderie 15 cm de diamètre 2016 Room #8 série « The Twelve Rooms » Combinaison de points de broderie 15 cm de diamètre 2016

laborations avec des marques prestigieuses telles que Gucci, Uber, Singapore Airlines, Swarovski, Netflix ou encore Olympus lui laissent peu de temps pour ses recherches artistiques.

Sew Wanderlust, Vietnam, Hoi An Ancient Town Combinaison de points de broderie 10 cm de diamètre 2017

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Les dialogues et les conversations me poussent à la création. J’aime raconter des histoires et faire réfléchir à travers mon travail.

305

Embroidery is traditionally associated with the feminine and domestic realm, but there is a new wave of makers drawing on its untapped potential to explore global, political and even transgressive themes. Taking a freewheeling attitude to time-honoured techniques, they may produce intricate miniatures to focus on intimate details or enlarge their work to a macro scale as a means of questioning or appropriating public spaces. Some artists choose to combine media, applying embroidery to photographs, plastic bags or even slices of bread. Others allow their stitches to stand alone, creating densely textured surfaces or delicate networks of natural forms that intrigue the senses.

Threads is a captivating exploration of more than eighty international artists who incorporate the craft into their practice in a vast range of ways.

It will inspire anyone keen to understand how the timeless appeal of embroidery is not only surviving but thriving in the modern world.

ART

‘A concise and well-researched reference for an important movement – Armstrong’s insights will open your eyes’ Remi Rough

Street Art Simon Armstrong From train tunnels and dark alleys to glamorous international art fairs, street art has come to be a global phenomenon. Simon Armstrong explores its foundations, showing the enduring influence of the graffiti culture of 1960s Philadelphia and 1970s New York on the street art of today. He charts the movement’s complex relationship with graffiti, the law, the commercial art world and gentrification as it evolves and embraces new materials, styles and techniques. The book takes in many of the subculture’s most significant artists, from the early taggers, including Taki 183, to New York Kings Dondi and Seen and on to Shepard Fairey, Banksy, Invader, Miss Van and Vhils.

Simon Armstrong has an unrivalled knowledge and appreciation of street art and graffiti culture. He is a bookseller and buyer for Tate.

96 illustrations 21.6 x 13.8cm 176pp • paperback ISBN 978 0 500 294338 September £10.95

‘A broad, informative, well-illustrated and international view of Impressionism’ Barbara Ehrlich White, author of Renoir: An Intimate Biography

Impressionism Ralph Skea It is often forgotten just how provocative Impressionist canvases seemed when they were first exhibited in 1874. The advocates of the new style rejected the principles of art prevalent at that time in France. Daringly using colour and rapid brushstrokes, the Impressionists worked out of doors, creating paintings that captured the transient effects of light and feeling. Ralph Skea shows how Impressionist artists transformed everyday subject matter, and traces the movement from its origins in France to its spread to America and Australia.

Impressionism’s initial shock factor gradually gave way to widespread acceptance and popularity. Its profound impact on modern art cannot be overestimated.

Ralph Skea is a former Senior Lecturer at the University of Dundee, Scotland. He is the author of Vincent’s Gardens, Vincent’s Trees, Monet’s Trees and Vincent’s Portraits, all published by Thames & Hudson.

100 illustrations 21.6 x 13.8cm 176pp • paperback ISBN 978 0 500 294369 September £10.95

Other titles in the Art Essentials series Looking at Pictures Modern Art Pop Art

978 0 500 293218 978 0 500 293225 978 0 500 293584

Key Moments in Art 978 0 500 293621 Surrealism 978 0 500 294345 Women Artists 978 0 500 294352

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ART

Desmond Morris, bestselling author of The Naked Ape, explores how understanding posture and body language can change the way we look at art

Desmond Morris is a zoologist, ethnologist and painter, as well as a popular author in human sociobiology. He is the bestselling author of The Naked Ape and The Lives of the Surrealists (Thames & Hudson, 2018), as well as many other titles.

231 illustrations 24.0 x 16.5cm 320pp • hardback ISBN 978 0 500 022610 October £24.95

Postures: Body Language in Art Desmond Morris

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D. Robert Lefèvre, Napoleon Bonaparte (detail), 1812, oil on canvas E. Irakli Toidze, Stalin Is Leading Us to Victory, 1943, Soviet poster

Status / The Hidden Hand

B. Francisco Goya, The 3rd of May 1808 (detail), 1814, oil on canvas C. Jean-Michel Basquiat, Untitled, 1981, acrylic, oilstick and spray paint on canvas D. Wesley James Lock, Scars and Stripes, 2014, ink on paper

200

Self-protection / Surrender

85

Every time an artist portrays a human subject, a decision has to be made about the posture of the figure. Will they be standing, sitting or reclining? Smiling, screaming or weeping? Will they be clasping their hands, crossing their arms or raising their fist? While some gestures are universally understood, others are deeply embedded in a particular phase of history, or in a local culture.

Examining the way in which specific actions are depicted in art reveals fascinating insights into changing social attitudes and conventions through the centuries and around the world.

For the first time, celebrated surrealist and anthropologist Desmond Morris brings together his two fields of expertise – art and anthropology – in a single volume. As well as exploring such familiar actions as the handshake, the dominant elbow and crossed legs, he draws us into an absorbing story of art detection, tracing the roots of a number of gestures that have baffled and intrigued the art world for years. Why, for example, did Napoleon pose for official portraits with his right hand thrust into his waistcoat, and what is the meaning of the double-split hand gesture displayed by El Greco’s nobleman in El caballero de la mano en el pecho?

Encompassing a vast range of visual creativity, from prehistoric figurines, Roman artefacts and Renaissance frescoes to folk and contemporary art, Postures: Body Language in Art unlocks new ways of looking at art. Surprising similarities are uncovered, as well as now rarely used gestures, so that even the most familiar works are suddenly seen in a new light.

ART

New in paperback

‘Britain’s foremost sculptor reveals the inspirations behind his key works’ Independent

Sir Antony Gormley is a British sculptor. His best-known works include the Angel of the North, Another Place, Event Horizon and Field for the British Isles, for which he won the Turner Prize in 1994. He is the subject of a major show at the Royal Academy, London, in autumn 2019. Mark Holborn is an editor and designer of illustrated books. His books with Thames & Hudson include Susan Meiselas: On the Frontline and Daido Moriyama: Record.

119 illustrations 22.9 x 15.2cm 248pp • paperback ISBN 978 0 500 295229 September £16.95

Antony Gormley on Sculpture

98

The earliest sculptures, standing stones, are the result of taking

Antony Gormley • Edited by Mark Holborn

something lying on the face of the earth, a natural product of glaciation or erosion that is somewhat worn by the elements, and placing it vertically.

By standing it up, the stone becomes a marker in space but also in time. This is a radical departure in Brancusi’s work for two reasons. First, it displays the idea that a work does not have to picture anything. It should simply be a place that can act on you as an instrument, so in some way you can feel yourself anew in the world. Secondly, it is entirely industrially produced.

Here we are talking about industrial methods being applied to the making

20

of something that is, by its nature, totemic: the same post structure exists all over the world. You find wonderful examples among the coastal tribes of the American Northwest, the Kwakiutl and the Haida, and also in the ancestor poles of the Asmat and the tribes of the Sepik River in New Guinea. Within these cultures a stack of elements, one on top of the other, portraying mythical beasts and human creatures, suggest a human continuity with the creatures of the sky and earth and between past and future. They reflect time as measured through a sequence of generations. One wonders if something like this came from within Brancusi’s own history.

Brancusi was born in a small rural village called Hobita, in a part of Romania called Oltenia, in 1876, and it has to be said that there was very little there for him. I don’t think he enjoyed peasant life very much, even though in many senses his whole life was a meditation on its legacy. He left home at the age of eleven and could neither read nor write when he entered the School of Arts and Crafts in Craiova in 1895. He later went to the Bucharest Academy before joining the Académie des Beaux-Arts in Paris in 1904. His work was immediately recognized by Rodin in 1906 when he showed in the Salon d’Automne and he briefly went to work with Rodin, who at that time was a hugely successful public figure, making large monuments

Constantin Brancusi, Endless Column, 1938 Zinc, brass, cast iron, 30 m (98 ft) World War One Memorial Park, Targu Jiu, Romania

Antony Gormley occupies an unusual position as a highly popular sculptor – known chiefly for his Angel of the North (1998), a national landmark in the UK – who is also widely regarded as one of the most intellectually challenging artists working internationally. His art is grounded in archaeology and anthropology, and looks to Asian and Buddhist traditions as much as to Western sculptural history, which he believes reached a punctuation point with Rodin. This is the first book to focus on Gormley’s thoughts on sculpture, positioning his career and artistic philosophy in relation to its history.

The book is structured thematically over four chapters: the first explores Gormley’s thoughts on the body, time and space in relation to major works including European Field (1993) and Still Standing (2011), Gormley’s rehang of the classical rooms at the Hermitage Museum in St Petersburg. The second chapter, ‘Sculptors’, was first delivered as a series of five lectures for the BBC; in each, Gormley discusses a sculpture he considers to be of huge creative importance: Epstein’s The Rock Drill (1913–15); Brancusi’s Endless Column (1935–38); Giacometti’s La Place (1948–49); Joseph Beuys’s Plight (1985); and Richard Serra’s The Matter of Time (2005). In the third chapter, Gormley outlines the influence of Buddhist and Jain sculpture on his work and ideas, and the fourth showcases the artist’s most recent sculptures.

Presented in Gormley’s own voice, this book captures the universal resonance of an artist with an unerring ability to tap into the public consciousness.

ART

A distinguished panel of international jurors identifies the most exciting names in sculpture today

Kurt Beers is founder and director of BEERS London gallery, which he founded in 2012, and is also the author of 100 Painters of Tomorrow.

Richard Cork is an award-winning art critic, historian, broadcaster and exhibition curator.

Over 250 illustrations 32.0 x 24.0cm 288pp • hardback ISBN 978 0 500 021477 September £39.95

100 Sculptors of Tomorrow Kurt Beers • Foreword by Richard Cork b. 1974, Jilin, China Lives and works in Austin, TX, USA Studied MFA Mixed Media/Sculpture/Installation, University of Michigan, Ann Arbor, MI, USA

swatches of fabric, the looming threat of the hovering blades threatened to undo her efforts as well as cause physical harm – a poignant metaphor for the impending threat of violence.

In THIRST (2013), a large, native cedar elm tree was stripped of its leaves, painted white and suspended metres above Lady Bird Lake in Austin, Texas. The tree’s desaturated visage had the appearance of a ghost – a breathtaking sight when seen hovering above the body of water. The project was created in response to a recent drought in the area that caused the death of 300 million trees.

Both pieces speak of Liu’s fascination with dichotomies: chaos and order, life and death, comfort and threat. They also allude to her ongoing interest in the transience and changeability of nature, the ‘dripping water [that] eventually penetrates stone.’

Beili Liu’s large-scale sculptures, site-specific installations and performances explore broad notions of materiality, space, time, labour and feminism. Building on her personal experiences growing up in China and resettling in the USA, her works often confront the complexities of cultural difference and make use of Asian folklore traditions.

Commonplace, ephemeral materials such as wax, clay and thread characterize Liu’s work. Often their use comes to signify the passage of time, a concern echoed in the locations and processes involved: the motion of a lake’s water, or the act of stitching swatches of fabric together. Liu’s pieces also depend heavily on the artistic commentary around them. The Mending Project (2011) saw the artist sat at a table, ‘mending’, with hundreds of pairs of scissors suspended above her head. As she stitched together

Left: Amass, 2013, wood, graphite, string and hardware, dimensions variable; each element 10.3 x 10.3 x 25.4 cm (4 × 4 × 10 in.)

Opposite: THIRST, 2013, cedar elm, paint, LED, metal and hardware, 11.6 x 0.5 x 0.5 m (38 ft x 193/4 x 193/4 in.)

Related artists: Rushdi Anwar, Euyong Hong, Sanné Mestrom, Gal Weinstein,

100 Sculptors of Tomorrow

Beili Liu

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129

b. 1972, Malmö, Sweden Lives and works in Stockholm, Sweden Studied at The National Academy of Fine Art, Oslo, Norway

veneer and deeper idea of ourselves. The sculptures represent a longing for intimacy as much as they do repressed feelings of self-loathing.’

One such work, entitled Happy Depression (2016), features a large leaf brought to life by a tiny smiley face. A drip of goo (glue or spray, perhaps) doubles as a single tear streaming down the leaf’s ‘face’. The work provokes a laugh, but at the same time suggests an incalculable, deep-rooted sadness. Given faces, Jensen’s crude, crutched beings resemble nothing so much as a crumbling façade – an all-too-real reflection of human identity. The artist looks to personal memories as well as fairytales and myths to create his works – his sculptures are beings from his (or our) subconscious, now proudly on display.

Daniel Jensen’s anthropomorphic figures suggest a darkly comic artist at work. Scrapped together from cardboard, tin cans, bits of expanding foam, random fragments of wood, clay and almost anything else Jensen can find, these ambivalent, impulsive forms are thereafter cast in bronze and spray-painted, a process that belies their apparent haphazard fragility.

These caricatures of studio detritus return the viewer’s gaze, somehow managing to look sad and introspective, despite – or perhaps because of – the crude holes used to denote eyes and mouths. Many are reminiscent of unrefined children’s masks, their unnervingly empty stares juxtaposed with the sugary colours of the spray paint. ‘They test our own sense of belonging by provoking negative judgements,’ Jensen states, ‘and so challenge our human

‘I use a patchwork of references and techniques to give life to a series of characters and a personal universe where humour and deep sincerity are entwined and unconstrained.’

Right: Fitness Centre, 2018, sand-cast aluminium, enamel and spray paint, 43 × 27 × 7 cm (17 × 103/4 × 27/8 in.)

Opposite: Happy Depression, 2017, sand-cast aluminium, enamel and spray paint, 50 × 43 × 16 cm (193/4 × 17 × 63/8 in.)

Overleaf, left: Sunset, 2016, sand-cast aluminium, enamel and spray paint, 51 × 23 × 14 cm (201/8 × 91/8 × 55/8 in.)

Overleaf, right: Zip, 2016, sandcast aluminium, enamel and spray paint, 33 × 24 × 7 cm (13 × 91/2 × 27/8 in.)

Related artists: Eric Croes, Jerry Kowalsky, Warre Mulder, Francis Upritchard

100 Sculptors of Tomorrow

Daniel Jensen

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Bypassing traditional art world channels, 100 Sculptors of Tomorrow is the culmination of a major, democratic open call for up-​and-​coming sculptors.

From thousands of entries, an internationally renowned jury has identified the most exciting names in sculpture today, all showcased in this beautifully illustrated book.

Following the much-respected 100 Painters of Tomorrow, which launched the careers of artists such as Michael Armitage, Yelena Popova and Heman Chong, 100 Sculptors offers another powerful platform for artists and a fascinating, visually breathtaking experience for readers.

Sculpture is re-emerging as a revered medium in today’s art world. In the age of 3-D modelling software and ever-proliferating materials, the possibilities for contemporary sculpture are truly dazzling, a fact to which the artworks on show in this book can attest. Featuring a selection of the finest emerging sculptors from six continents and over thirty countries, 100 Sculptors of Tomorrow guides readers with biographical summaries and firsthand artist testimonies, as well as recommended reading and insights from curators, academics, writers and fellow artists. This is an indispensable resource for students, teachers, practitioners, and anyone interested in the future of this ever-evolving art form.

21

ART

An exploration of the birth of Renaissance art, with one of its great masters Fra Angelico at the heart of the story

Carl Brandon Strehlke is Emeritus Curator at Philadelphia Museum of Art. Ana González Mozo is a curator at the Prado.

Illustrated throughout 30.0 x 24.0cm 260pp • paperback ISBN 978 0 500 970997 July £29.95

Accompanies the exhibition ‘Fra Angelico and the Rise of the Florentine Renaissance’ at the Museo Nacional del Prado, Madrid, from 28 May to 15 September 2019

Fra Angelico and the Rise of the Florentine Renaissance Carl Brandon Strehlke and Ana González Mozo 22

30 B. La Visitación

30 B. La Natividad

entrada amurallada al Paraíso. Finalmente decidió no incluir más

Los cambios en la ubicación de Adán y Eva parecen indicar

Los ángeles eran superiores a los hombres […]. Los ángeles par-

tación para descender más. Por encima de la paloma, en un lar-

arquitectura que la casa de la Virgen. Y lo decidió así tal vez por la

que el pintor se estaba dirigiendo a sus compañeros de orden, que

ticipan directamente del resplandor divino con extraordinaria

guero de hierro, hay otra criatura alada —una golondrina común

posible dificultad de coordinar la perspectiva en fuga de la casa con

estaban inmersos en el dogma de la Encarnación y que conocerían

plenitud […]. De tal manera es [la Virgen] llena de gracia, y so-

o un vencejo— que subraya la interacción entre el mundo divino

la de otras estructuras. También decidió no separar el Paraíso del

lo escrito sobre María por santo Tomás de Aquino, y quizás su

brepasa en su plenitud a los ángeles. Por ello con razón se la

y el mundo creado. Asimismo se entremezclan la luz celestial y la

jardín de la Virgen. En sus otras versiones de la Anunciación, el

comentario sobre la salutación del ángel representada en el cuadro,

llama «María», que quiere decir « iluminada»: «El Señor llenará

luz terrenal, y la bóveda del pórtico se ilumina al entrar en con-

jardín está vallado para representar simbólicamente la pureza de

en el que analiza las diferencias entre Eva y la Virgen:

tu alma de resplandores» (Isaías, 48, 11), y significa además «ilu-

tacto con los rayos dorados, a la vez que por la ventana de la es-

la Virgen como hortus conclusus, en referencia al Cantar de los cantares (4, 12) de la Biblia Hebrea. Aquí no hay diferencia alguna entre el jardín de María y el que atraviesan Adán y Eva. Que Fra Angelico pensó aun en otras soluciones para esta

Eva echó mano al fruto del árbol, y no halló en él todo lo que

minadora de otros», por referencia al mundo entero, y se la com-

tancia posterior entra la luz natural y dibuja un brillante cuadra-

para a la luna y al sol3.

do dorado en la pared.

La importancia de la representación de la luz en esta obra se

deseaba; la Santísima Virgen, por el contrario, encontró en su fruto todo lo que había deseado Eva. […] Eva en su fruto buscó

Este hincapié en la interpretación de la Encarnación que hacían

refuerza a la vista de los cambios que Fra Angelico introdujo mien-

zona se demuestra también en la reflectografía, concretamente a

placer, pues le había parecido bueno para comerlo; pero no lo

los dominicos le dio a Fra Angelico la oportunidad de aportar su

tras la pintaba y que están documentados en la reflectografía infra-

la derecha de Adán y Eva, donde está ahora la palmera. Parece que

obtuvo, sino que inmediatamente se dio cuenta de que estaba

propia formulación artística del dogma. Su representación se basa

rroja [fig. 00, ensayo González]. Originalmente la parte superior

pintó ahí una masa rocosa que habría servido para separar el espa-

desnuda y sintió dolor. En el fruto de la Virgen, por el contrario,

en la luz. El arcángel está, como escribió el propio santo Tomás,

de las bóvedas que están detrás de la Virgen de la Virgen entroni-

cio de los Primeros Padres del que ocupa de la Virgen. Otros cam-

encontramos dulzura y salud. […] El fruto de Eva era hermoso

«vestido de luz», y sus ropas, de las que emanan rayos, son en su

zada era más oscura. El ajuste pudo deberse a la decisión de mostrar

bios afectan a las posiciones de Adán y el arcángel Gabriel, a la

a la vista; pero más hermoso era el de María, al cual los ángeles

forma y color similares a las de un diácono, como san Lorenzo en

la habitación del fondo, cuya puerta iba a tener una cortina que,

postura del Cristo Redentor en el medallón de la fachada de la casa

desean contemplar: «El más hermoso de los hijos de los hom-

los frescos que el artista pintó para Nicolás V en el Vaticano. En

medio corrida, revelaría solo una parte de ese espacio. En las repre-

de la Virgen e, incluso, a los frutos del árbol de arriba a la izquierda,

bres (Salmo 45, 3)»2.

que originalmente eran naranjas. Fra Angelico pintó unas naranjas

el retablo de San Domenico, las manos de Dios Padre emiten,

sentaciones tradicionales de la Anunciación, el dormitorio de la

desde el extremo superior izquierdo, un haz de rayos dorados por

Virgen se indica mediante una cama medio oculta por una cortina,

maduras y luego las borró. ¿Podría haberle dicho un asesor, tal vez

En su comentario, Tomás de Aquino se sentía conmovido por el

el que la Paloma del Espíritu Santo desciende flotando hacia la

y es posible que tal fuera la primera intención de Fra Angelico, pero

otro fraile del convento, posiblemente su jardinero, que había en el

hecho de que un ser angélico adoptara una actitud tan humilde

Virgen. Esta se encuentra suspendida entre la columna y Gabriel,

de haber sido así el cuadrado de luz del fondo habría estado tapado

cuadro demasiadas plantas en flor o con frutos al mismo tiempo?

ante un ser humano:

como si estuviera esperando a que el arcángel pronuncie la salu-

y habría tenido mucha menos fuerza simbólica y visual. En la habi-

206

207

campanario. El cuadro estaba en principio destinado a la capilla que Lerma tenía en Valladolid, pero parece que nunca llegó allí.

En 1861, Federico de Madrazo, director del Prado, encontró el cuadro en las Descalzas Reales, en Madrid. Es posible que Lerma lo donara a ese convento femenino, pues tenía en él a una sobrina10. A través de Francisco de Asís, esposo de la reina Isabel II, Madrazo pudo negociar su donación al museo. Su identificación como el retablo de la Anunciación de San Domenico, establecida por Mariano Catalina en 1873, ha sido aceptada por todos los autores posteriores.

Before the Annunciation Altarpiece was shipped to Spain, the predella was probably disassembled and only the front panel with the five scenes retained. The predella would have been a long box-like structure open at the back with one support in the centre, known as the rompitratto. The box predella had to be sturdy enough to support the heavy upper part of the altarpiece and its frame. Taking apart Angelico’s predella required considerable skill as the long handwrought nails that kept the structure together were removed with minimum damage to the paint and the gilt pastiglia decoration. The carpenter in charge of this operation obviously knew that the piece was going to a grandee of Spain and had been painted by San Domenico’s now mythic artist/friar. Only the end panels—perhaps with the coat of arms of the donor family—were cut and discarded. They would have supported the pilasters of the frame of the main panel. The mouldings that were attached to the wood bordering the painted surface were retained, but the rest of the frame is gone, with little evidence of what it may have looked like except that at the bottom probably resting directly on the predella was the inscription in sgraffito. The top moulding was in a gilt dental pattern and painted in the depressions contrasting blue and red. The fine pastiglia decoration between the scenes of the predella suggests that there were similar decorative elements in other parts of the frame as can be seen in well preserved frames by Lorenzo Monaco such as his Coronation of the Virgin [fig. 41.3] and in this exhibition, the hypothetical reconstruction of Angelico’s San DomeFig. 30.3. Masaccio, La expulsión of Adán y Eva del Paraíso, 1425.

Pintura al fresco. Florencia, Santa Maria del Carmine, capilla Brancacci

nico High Altarpiece [fig. 18.1]. There are few Angelico frames that survive intact. The Deposition Altarpiece [fig. 44.1] was begun by Lorenzo Monaco so most of its framing elements was predetermined before Angelico started working on the altarpiece. The frame of the San Piero Martire Altarpiece [fig. 20.1] dates to the period of the San Domenico High Altarpiece whereas the frame of

operación incluía también la venta de una tabla de la Virgen con

the Virgin and Child and Saints in Cortona dates later than then

el Niño, que era probablemente la que hoy está en Frankfurt [cat.

Prado Annunciation and is for a polyptych not a pala quadrata, and

18] y que Farnese se habría quedado para él. Farnese pagó por la

in any case, it has lost some of its decorative elements. About five

Anunciación 1.500 florines al prior del convento, Niccolò Pando-

or so years after the Annunciation was painted, the friars at San

fini, a través de los «Magnifici Sacchetti et Altoviti di Fiorenza», se-

Domenico in Cortona ordered a similar Annunciation [fig. 8], for

guramente unos banqueros florentinos con sucursales en Roma9.

which Angelico made adjustments to the composition indicating

El dinero se empleó en hacer mejoras en la iglesia y terminar el

that he was rethinking the subject. The frame of the Cortona

210

Fig. 22.3. Detalle de cat. 30A 211

Fra Angelico was one of the great masters of early Renaissance art, alongside the painters Masaccio, Masolino, Uccello and Filippo Lippi, the sculptors Ghiberti, Donatello and Nanni di Banco, and the architect Brunelleschi.

Published to accompany the major exhibition at the Prado, Fra Angelico and the Rise of the Florentine Renaissance places Fra Angelico at the heart of the story of early Renaissance art.

Fra Angelico’s Annunciation altarpiece, widely considered the first Florentine altarpiece in the Renaissance style, is the central work in the exhibition and of this catalogue. Its recent restoration has recovered the painting’s rich, vivid colours and brought to the fore its intense, light-imbued scene. It is brilliantly reproduced here in its revived state. The catalogue also focuses to a lesser extent on two other recently acquired Fra Angelico paintings: the Alba Madonna and the Funeral of Saint Anthony Abbot. Carl Brandon Strehlke and Ana González Mozo’s essays examine Angelico in both his artistic context and the political and religious atmosphere of Florentine society of his day, and also, for the first time, consider the Spanish influence on Angelico’s sensibilities.

ART

The complete graphic work of Pieter Bruegel the Elder, published in Bruegel’s 450th anniversary year Maarten Bassens and Joris Van Grieken are both curators at the Royal Library of Belgium in Brussels.

Lieve Watteeuw is head of the Book Heritage Lab at the University of Leuven. Jan Van der Stock is a professor at the University of Leuven, where he lectures on Medieval and Renaissance Arts, Graphic Arts, Iconography, Iconology and Curatorship.

Illustrated throughout 27.0 x 30.0cm 250pp • hardback ISBN 978 0 500 239995 October £45.00

Accompanies the exhibition at the Royal Library of Belgium, Brussels, from 10 October 2019 to 16 February 2020

Bruegel: The Complete Graphic Works Maarten Bassens, Lieve Watteeuw, Joris Van Grieken and Jan Van der Stock Pieter Bruegel the Elder (1525/30–1569) is best known today for his paintings of peasant life, yet it was through his exceptional graphic work that he achieved widespread fame during his lifetime. Starting out as a print designer for publisher Hieronymus Cock, Bruegel produced numerous print series that depicted demons, virtuous souls, fools and beleaguered peasants tilling the soil.

Often Bruegel produced what one early observer called ‘fantasies and bizarre things, dreams and imaginations’ that were closely based on the work of Hieronymus Bosch and inspired his contemporaries to call him the second Bosch.

Published as part of the Bruegel anniversary year celebrations, this luxurious book accompanies the exhibition at the Royal Library of Belgium, Brussels, which is renowned as a pioneer in Bruegel scholarship and holds an unparalleled collection of the artist’s graphic work. Essays by a distinguished group of Bruegel scholars open the book. They discuss the Royal Library of Belgium’s collection of Bruegel prints; the results of the Fingerprint research project; Bruegel as draughtsman and printmaker; Bruegel’s editions, in particular his collaboration with Hieronymus Cock; and the posthumous survival of his art. The essays are followed by 80 reproductions of his drawings, all published at the size of the original works.

23

ART

New in paperback

The definitive overview of Rembrandt’s drawings, published in the ‘Year of Rembrandt’, which marks the 350th anniversary of the artist’s death

Seymour Slive served as director of the Harvard Art Museums from 1975 to 1991.

He was an eminent scholar of Dutch art and more specifically of Rembrandt, Frans Hals and Jacob van Ruisdael.

267 illustrations 25.5 x 20.2cm 264pp • paperback ISBN 978 0 500 295359 September £29.95

Cyan Magenta Yellow Black

Cyan Magenta Yellow Black

The Drawings of Rembrandt Seymour Slive

4 | Model and Study Sheets

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Cyan Magenta Yellow Black

This sweeping overview of Rembrandt’s extraordinary achievement as a draughtsman fills a gap in the otherwise enormous literature on the artist.

Beautifully illustrated, mostly in colour, the more than 150 drawings – from a corpus of some 800 – are discussed in detail. The drawings span Rembrandt’s entire productive life as an artist, from early self-portraits in the 1620s to late drawings from the 1660s of the victim of an execution, a state coach, and historical and mythological images. The scope of the book allows readers to delve into the very broad range of Rembrandt’s oeuvre of drawings.

Cyan Magenta Yellow Black

‘An eloquent introduction to Rembrandt’s genius as a draughtsman ... here is virtuosity and humanity together, on every page’ Financial Times ‘Excellent ... fills a real gap in the literature’

Sunday Times

TJ163-7-2009 PO Getty-Rembrandt Drawings W:8”XH:10” 150L Magenta(S)

134

11.6 | Cottage with a White Paling among Trees, ca. 1648. Pen and brush and brown ink, brown and pale purple wash, white gouache, on paper; 17.1 3 25.5 cm (6 3/4 3 10 in.). Rijksmuseum, Amsterdam, inv. RP-T-1981-1.

11.7 | Cottage with a White Paling among Trees, signed and dated 1648. Etching and drypoint; 12.9 3 16 cm (5 1/8 3 6 1/4 in.). The British Museum, London, inv. 1895,0915.430. Photo © The Trustees of The British Museum/Art Resource, N.Y. 134 |

CHAPTER 1 1

11.8 | The Windmill on the Bastion “Het Blauwhoofd,” ca. 1645. Pen and brown ink, brown and gray-brown wash; 11.6 3 19.8 cm (4 1/8 3 7 3/4 in.). Fondation Custodia, Collection Frits Lugt, Paris, inv. 5174.

11.9 | The Amstel River Seen from the Bulwark beside the “Blauwbrug,” ca. 1645–49. Pen and brown ink with brown wash; 8.9 3 18.5 cm (3 1/2 3 7 1/4 in.). National Gallery of Art, Rosenwald Collection, Washington, D.C., inv. 1954.12.114.

Photo courtesy of the Board of Trustees, National Gallery of Art.

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‘Slive’s commentary is subtle, erudite and sympathetic’ The artist made frequent trips along Amsterdam’s city walls to sketch its bastions, which in many places were surmounted by windmills. Among the best results of this endeavor is his pen-and-wash drawing at the Fondation Custodia, Paris (fig. 11.8), of the bulwark popularly called Het Blauwhoofd (the Blue Headland), upon which were situated a few sentry boxes, cottages, and a post mill (a type whose entire body could be turned into the wind) affectionately named De Bok (the Billy Goat). The slender mill and its beautifully drawn vanes dominate the scene. Details of the landscape can be recounted: Cottages with tall chimneys are huddled to the left of the mill, and beyond them three cannons of the city’s fortification. A clump of shadowed trees is seen at the bottom of an incline on the right. Extraordinary is the impression of vast space beyond the bulwark created by light washes.

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‘A very readable account by a distinguished scholar’ ‘Beautiful ... the definitive study’

Sunday Telegraph

The Art Newspaper

The Wall Street Journal

ART

The most thorough and up-to-date overview of Goya’s graphic work available today

José Manuel Matilla and Manuela Mena are both Senior Curators at the Museo Nacional del Prado, Matilla in the Department of Drawings and Prints and Mena in the Department of Eighteenthcentury Painting.

c. 250 illustrations 22.9 x 15.2cm 360pp • hardback ISBN 978 0 500 971000 November £24.95

Accompanies the exhibition at the Museo Nacional del Prado, Madrid, from 19 November 2019 to 16 February 2020

Drawings by Francisco de Goya José Manuel Matilla and Manuela Mena Francisco de Goya is one of the greatest draughtsmen of all time, and is famous for his achievements in etching and aquatint. Perhaps even more than his paintings, these works reflect the artist’s originality and his opinions about the social and political events of his day. The subject matter of his etchings veers from documentary to imaginary, dreamlike to grotesque, and humorous to harshly satirical.

Published to accompany an exhibition marking the Prado’s bicentenary, this catalogue reproduces some 250 drawings held in the Prado and in public and private collections around the world. Goya’s private notebooks are presented chronologically in 31 sections, from the Italian Sketchbook, his first known work, to his final collection made in Bordeaux, where he died. Each section is prefaced by brief commentaries highlighting their most important themes and aspects – their artistic value, singularity, theme, importance in Goya’s life and more. An entire chapter is dedicated to Los Caprichos, a tour-de-force critique of 18th-century Spain and humanity in general, and Goya’s most famous series of prints. The final chapter looks at the dispersion of Goya’s drawings and their collecting in the 19th and 20th centuries.

Drawing on the very latest research undertaken for the new catalogue raisonné of Goya’s drawings, this book is an essential overview of Goya as draughtsman.

25

ART

A detailed examination of Turner’s painting techniques, offering both insight and inspiration for the contemporary practitioner

Joyce H. Townsend is senior conservation scientist at Tate. She is the author of numerous books, including Turner’s Painting Techniques and, with Tony Smibert, The Tate Watercolour Manual: Lessons from the Great Masters.

Over 200 illustrations 22.0 x 19.0cm 168pp • paperback ISBN 978 0 500 294833 September £14.95

INTRODUCTION

To understand the painting processes of

INTRODUCTION

A N A RTIST A HE A D OF HIS TIME

26

as roughly a third of Turner’s oil paintings and

J.M.W. Turner and the materials he used is to

over 1,000 works on paper are today in public col-

understand the options available to his contem-

lections in the UK, the US, Australia, and a few

poraries, for he was the most innovative artist of

other regions.5

his time. Best appreciated long after his lifetime,

Joseph Mallord William Turner (1775–1851)

like all great artists, Turner was the first and most

lived in the right place – the artistic and artists’

fearless adopter of the new painting materials

quarter of London, which would grow during his

produced in abundance during the early decades

lifetime to become one of the largest cities in the

of the Industrial Revolution.

world – and at the right time. The Royal Academy

This book is based on findings from the tech-

had been founded in 1768, only seven years before

nical examination and materials analysis of his

his birth, and one of its aims was to promote the

watercolours, oil paintings and studio materi-

status of artists. In effect, it was a professional body

als over many years, made during my work as

that enabled full members to display their works

a senior conservation scientist at Tate Britain,

in oil to the public, but gave lesser opportunities to

London.1 It is not about the analytical processes

watercolourists and sculptors. British oil painters

used,2 nor the frames first used for the paintings

stood on the highest step of the hierarchy of artists

(which formed the subject of a separate study in

and subject matter, and they were not restricted

the case of Tate works),3 but is intended to convey

by guilds as in earlier centuries, nor challenged

the skill, imagination and mastery of Britain’s most

by rival imaging processes such as steel-plate

well-known landscape artist, to engender greater

engraving, colour-printing or photography, all of

understanding and appreciation of his paintings,

which would be developed during Turner’s long

watercolours and sketched ideas, and to inform

life (he lived to the age of seventy-six, painting

about his working methods.

to the last).

Many of the examples discussed form part of

Trade founded on Britain’s pre-eminence as

the Turner Bequest at Tate Britain, which includes

a naval power and successful seafaring nation

the largest collection of his works in the world:

expanded during the first half of the 19th century.

some 300 oil paintings and 37,000 sheets of paper,

The growing number of individuals with self-

ranging from pencil sketches to finished watercol-

made wealth would create new patrons for artists

ours. (All of the paper-based works can be viewed

working at the time, purchasing paintings, watercolours, prints and illustrated travel books, and

online in good resolution, as can nearly all of the oils.4) Other collections have also been drawn upon,

commissioning watercolours of picturesque and 11

I N N OVAT I V E WAY S O F U S I N G WAT ER C O LO U R

I N N O VAT I V E WAY S O F U S I N G WAT ER C O LO U R

23 A Yorkshire River, c. 1827. National Gallery of Art, Washington, DC

24 Inverary Pier, Loch Fyne: Morning, c. 1845. Yale Center for British Art, New Haven

22 Fort of L’Essillon, Val de la Maurienne, France, 1836. Metropolitan Museum of Art, New York

Nuanced grey clouds can easily be created

vermilion and mid-toned opaque yellows like

using such mixtures of the type seen in Fort of

chrome yellow, soon led him to apply these primary

l’Essillon (22). This method gives such a wonderful

colours to white paper, with more transparent

variety of tones that many artists accustomed to

washes. Vermilion worked equally well for this, as

using optical greens never, or rarely, made use of

did both mid-toned and pale-lemon chrome yellow.

the newly invented pure-green pigments. Turner

For off-white papers, the best blue as a comple-

simply added such greens to his stock, and then

mentary colour is ultramarine, while smalt is also

applied them as pure colours. He would not live

good. Natural ultramarine, which Turner always

long enough to see the invention of pure purple

used in preference to the manufactured variety,

pigments, which could be a reason he possessed

was very expensive, but not much is needed for a sky. This became his favourite combination for

and used such a variety of red lakes, all excellent

warm and cool washes on white paper, and was

for optical purples in watercolour.

likely used for A Yorkshire River (23) and Inveraray

The blue papers Turner used regularly from

Pier, Loch Fyne: Morning (24).

the 1820s (ill. p. 119), with bright opaque reds like 30

25 A View of Metz from the North, c. 1839. Tate, London

31

How Turner Painted Materials and Techniques Joyce H. Townsend • With a contribution by Tony Smibert Foreword by Nicola Moorby This authoritative visual guide to the artistic materials and painting techniques of J. M. W. Turner brings to life the skills of one of the world’s greatest artists.

Details of his watercolours and oil paintings, usually only available to small numbers of museum professionals, and an experienced artist’s recreation of his core painting processes, combine with in-depth research into Turner’s use of new materials to give unique insights into his creative processes.

How Turner Painted brings new research and understanding to the subject since the publication of the author’s earlier book Turner’s Painting Techniques (1993). Joyce Townsend, senior conservation scientist at Tate, which houses the majority of Turner’s work and is a centre of expertise on the artist, has revisited, updated and continued the examination of his innovative use of materials and early adoption of new colours. Comparisons are drawn across oil painting and watercolour to illustrate how Turner built up an image, and what his numerous unfinished works can tell us about his working methods.

With a foreword by art historian Nicola Moorby and a chapter contributed by artist Tony Smibert, the book anticipates two major new exhibitions planned for 2020, one at Tate Britain and the other at the Queen Victoria Museum and Art Gallery in Tasmania.

ART

A lavishly illustrated collection of essays on drawing as a vital intellectual, artistic and life practice, by the artists of the Royal Drawing School Julian Bell is a well-known artist, writer and critic.

His books include What is Painting? and Mirror of the World. Julia Balchin is Director of Education & Enterprise at the Royal Drawing School. Claudia Tobin is a Leverhulme Early Career Fellow in Cambridge and curates the ‘Lecture and Conversation’ series at the Royal Drawing School.

308 illustrations 28.0 x 21.0cm 272pp • hardback ISBN 978 0 500 021903 October £29.95

Ways of Drawing Artists’ Perspectives and Practices Royal Drawing School • Edited by Julian Bell, Julia Balchin & Claudia Tobin Drawing is among the most direct ways of engaging with the world; a way not just of seeing, but of understanding what you see. At once inspirational and instructive, Ways of Drawing collects a rich variety of reflections on the craft from practising artists, teachers and writers.

The book is divided into three sections: Studio Space, which focuses on drawing within four walls; Open Space, which ventures out into the cityscapes and landscapes around us; and Inner Space, which returns to the living, feeling, drawing person. Each section is comprehensively illustrated with a wealth of drawings, prints and paintings by established artists past and present and alumni of the Royal Drawing School in London. Short ‘In Practice’ pieces, ranging from a recipe for making oak-gall ink to ideas for drawing from poetry, complement explorations of what it means to draw and personal accounts of artistic development.

Passionately advocating for drawing as deeply personal and utterly essential, Ways of Drawing is an inspiring, intelligent companion for artists and aspiring artists who are seeking new ways of thinking about their practice.

27

Learning the City Liza Dimbleby

Learning the City Liza Dimbleby Walking and drawing the streets without regard to studio agendas, as a way of learning and experiencing the city and opening up new forms of articulacy.

D

rawing the city is another way of walking it, but a physical stride is needed to set the work in motion, as preamble and accompaniment. Both actions start from a sort of restlessness, an inability to stay put, to be at ease in the given world. The city that we imagine and experience around us is a familiar yet constantly changing space. It contains hints and promises of transformation. A drawing walk begins with a decision to trust these obscure potentials, to give ourselves up to the unforeseen. In what follows, I look at three ways that we – myself and fellow walkers, such as my students – might approach such a journey into the unknown.

Setting forth on the city: Rhythm Our drawing walks are not made in hopes of perfecting an urban perspective or depicting an immaculate façade. We walk, and as we walk the nervy distractions of our mind are slowed, as we tire and yield to the rhythm of the streets themselves. Robert Musil wrote, Cities, like people, can be recognised by their walk. Opening his eyes, he would know the place by the rhythm of movement in the streets long before he caught any characteristic detail. It would not even matter if he only imagined he could do this [...]

This trust in the rhythm of the streets is crucial to a sort of drawing that can hook itself in, underneath the geometry and façades, to show something of how it was at this moment of this day, in this place, in this person.

The person setting forth in the contemporary city is subject to the immense space beyond them, and this person attempts to conjure or field that space by marking it. We walk to establish the ground of our drawing and then we make our own incursion, fielding the space again with our marking of it. The notes or marks are the meeting point of our inner rhythm with that of the encompassing landscape; the measure of the freedom with which we can inflect this space that we are ultimately subject to, in notes or pencil strokes. Setting forth is also the setting of a rhythm.

There is the bodily pace of our walk and our thoughts; the movement of the city around us; the noise and variety of traffic, of people, a seagull’s swoop. You notice the shape and pace of exchanges, the clatter of coffee

122

Sophie Charalambous, Pearly kings and queens, 2009, watercolour on paper

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ART

New in paperback

‘Vivid, engrossing … the most moving correspondence by an artist that I have ever read’ Financial Times, Book of the Year

The Letters of Paul Cézanne Alex Danchev A singular thinker and an uncompromising seeker after artistic truth, Cézanne channelled a large part of his wide-ranging intellect and ferocious wit into his letters. This translation by Alex Danchev is based on a thorough re-examination of Cézanne’s correspondence with family, friends and major figures from the literary and art worlds. Danchev’s great achievement is to allow readers in English to hear Cézanne’s voice for the first time – and he sounds rather different from the Cézanne we thought we knew: richer, wittier, wiser, more philosophical, more irascible, above all more fully human. The letters offer fresh perspectives on his artistic vision, politics, friendships, psychology, philosophy, literary tastes and classical frame of reference. They provide an intimate insight into the preoccupations and personality of a legend.

Alex Danchev (1955–2016) was Professor of International Relations at the University of St Andrews. Among his other books are Cézanne: A Life, On Art and War and Terror, 100 Artists’ Manifestos and Georges Braque: A Life.

75 illustrations 24.0 x 16.5cm 392pp • paperback ISBN 978 0 500 295175 July £19.95

New in paperback

‘A beautifully produced, highly accessible volume’ Apollo

Paul Cézanne Drawings and Watercolours 28

Christopher Lloyd Drawing was central to Cézanne’s indefatigable search for solutions to the problems posed by the depiction of reality. Many of his watercolours are equal to his paintings, and he himself made no real distinction between painting and drawing. This book’s six chapters are arranged thematically, covering the whole range of Cézanne’s œuvre: works after the Old Masters such as Michelangelo and Rubens; his period as one of the Impressionists; his exploration of both portraiture and the human figure, including the magnificent bathers; his interaction with landscape, particularly in his native Provence and the dominating form of Mont Sainte-Victoire; and finally the magisterial still lifes.

Christopher Lloyd sets the drawings and watercolours in the context of Cézanne’s life and overall artistic development, affording readers a greater Christopher Lloyd was appointed Surveyor of The Queen’s Pictures in the British Royal Collection in 1988 and retired from that post in 2005. His many books include In Search of a Masterpiece: An Art Lover’s Guide to Great Britain and Ireland and Edgar Degas: Drawings and Pastels, both published by Thames & Hudson.

226 illustrations 22.9 x 15.2cm 320pp • paperback ISBN 978 0 500 295212 July £18.95

ART

An authoritative analysis of the drawings (including watercolours and pastels) of twenty leading Impressionist and Post-Impressionist artists in one magnificent volume

Christopher Lloyd was appointed Surveyor of The Queen’s Pictures in the British Royal Collection in 1988 and retired from that post in 2005. His many books include In Search of a Masterpiece: An Art Lover’s Guide to Great Britain and Ireland and Edgar Degas: Drawings and Pastels, both published by Thames & Hudson.

224 illustrations 24.6 x 21.2cm 288pp • hardback ISBN 978 0 500 021231 August £35.00

Impressionist & Post-Impressionist Drawings Christopher Lloyd

40

232

Eugène Boudin

Vincent van Gogh

View of the Sky over an Estuary, c. 1854–60 Pastel, 15 × 20 cm (6 × 7 7/8 in.).

Stormy Sky, c. 1854–60 Pastel, 21.5 × 28.6 cm (8 1/2 × 11 1/4 in.).

musée eugène boudin, honfleur

musée du louvre (collection musée d’orsay), paris

The Kingfisher, March 1884 Pen, brush and ink, pencil heightened with white, 40.2 × 54.2 cm (15 7/8 × 21 3/8 in.). Signed.

Peasant Woman Gleaning, July–September 1885 Black chalk, 51.4 × 41.5 cm (20 1/4 × 16 3/8 in.).

van gogh museum, amsterdam

museum folkwang, essen

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233

Manet, Pissarro, Morisot, Cézanne, Seurat, Gauguin, Van Gogh and their colleagues made some of the most beautiful drawings in the history of art.

This book sets drawings by the Impressionists and Post-Impressionists in the context of late 19th-century France and explains why these particular works are as important as their paintings in the representation of modernity.

A new approach to materials and a wholly inclusive attitude to exhibitions gave drawings a more elevated status in this period than ever before, which avant-garde artists welcomed in their preference for scenes from contemporary life. For the first time also, painting and drawing shared the same stylistic principles of spontaneity, freer handling and lack of finish. Pastels by Degas, watercolours by Cézanne, pen-and-ink drawings by Van Gogh and mixed media works by Toulouse-Lautrec have an autonomy of their own, which proved instrumental in the development of modern art.

The distinguished art historian Christopher Lloyd examines the drawings of twenty of the leading Impressionist and Post-Impressionist artists, highlighting an aspect of French avant-garde art that remains relatively unexplored and which was of immense importance for the art movements that followed.

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ART

A literary and artistic meditation on the theme of night travel from two of our greatest contemporary creative talents Quentin Blake is an internationally celebrated illustrator, known for his collaborations with authors such as Roald Dahl, Russell Hoban, John Yeoman, David Walliams and Joan Aiken. A winner of the Kate Greenaway Medal and the Hans Christian Andersen Award, he received a knighthood in 2013. He is the series consultant for The Illustrators and in 2019 published his illustrated edition of John Ruskin’s King of the Golden River. Will Self has written eleven novels and numerous shorter works of fiction. He regularly contributes to the Guardian, the New Statesman, the New York Times and the London Review of Books. His fiction has been awarded the Geoffrey Faber Memorial Prize and the Aga Khan Prize and shortlisted for the Man Booker Prize.

40 illustrations 20.0 x 15.3cm 112pp • hardback ISBN 978 0 500 022733 September £16.95

Moonlight Travellers Quentin Blake with Will Self

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‘The moon hangs in the same sky we fly through – or possibly one adjacent. Tonight of all nights, she has a face – a beautiful human face, obscured by a cratered mask.

This is the moon Méliès’s astronauts set off for, in their painful bullet of a ship ….

This is the cheesy one, beloved of children and animators – and, as the jets whisper us through the stratosphere, we stare upon its beloved visage …. Surely this is the primordial form of love itself…’ Will Self

A Collector’s Edition is also available The large-format Collector’s Edition is limited to 500 signed and numbered copies, and is printed on the highest-quality paper. Its slipcase incorporates, within a debossed panel, a new design specially created by Quentin Blake for this edition. The limitation page on each book states the number of the copy and is signed by both artist and author.

40 illustrations • 28.0 x 21.5cm 112pp • clothbound in slipcase ISBN 978 0 500 023358 • £195.00

‘The moon drives everyone mad – you know that, well enough. But this is no lycanthropic or otherwise spooky metamorphosis: it’s far stranger than that…’

When Quentin Blake embarked on creating a set of new drawings on fantasies of travel, even he had not envisaged a series so sombre, so haunting, as Moonlight Travellers. These watercolour journeys through unknown landscapes capture, with unmatched skill, all the mystery and intrigue of the dead of night.

A unique collaboration, this book brings Blake’s macabre wit into dialogue with the imaginative insight of Will Self, who contributes six brief pieces. With characteristic sharpness, Self mingles fiction, fact and flights of memory to transport the reader on a radical tour of mysterious lands.

In Moonlight Travellers, two creative minds at the height of their powers connect word and image, darkness and light with our deepest sensibilities.

In eight-wheeled contraptions and winged machines, they carry us on a trail of dreamlike journeys.

ART

Created in collaboration with celebrated illustrator Quentin Blake (Series Consultant) and Claudia Zeff, Deputy Chair of the House of Illustration (Series Editor) ‘This wonderful new series shines a welcome spotlight on the world of illustration and illustrators at a time when they are at last beginning to receive the attention and recognition for their important contribution to visual culture’ Professor Martin Salisbury

An exploration of the life and work of the pioneering socialist illustrator Walter Crane

Walter Crane Jenny Uglow This season’s second volume in The Illustrators series showcases the work of Walter Crane, one of the most influential children’s book creators of his generation. Crane transformed the illustration of children’s books with his bold outlines, jewelled colours and vivid characters. While many knew Crane for fantastical children’s tales, he was also a leading voice in the Aesthetic and Arts and Crafts movements and a powerful socialist.

Distinguished biographer Jenny Uglow expertly narrates a fascinating study of how Crane’s art and politics developed from his childhood love of Pre-Raphaelite painting and the influence of the ideas of William Morris and other progressive thinkers of the time. This book is a brilliant record of an artist who blended styles and influences like no one before him.

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Jenny Uglow’s books include prize-winning biographies of Elizabeth Gaskell and William Hogarth. Her book on Thomas Bewick won the National Arts Writers Award for 2007, and her work on Charles II was shortlisted for the 2010 Samuel Johnson Prize.

above Drawing for King Luckieboy’s Party

opposite King Luckieboy’s Party, 1870

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80 illustrations 24.5 x 18.7cm 112pp • hardback ISBN 978 0 500 022627 September £18.95

ART Already available

‘Long live the illustrators! Hurrah for their work!’

Philip Pullman

‘It is wonderful to see these celebrations of our greatest illustrators and visual story tellers. They will be an inspiration to future generations’ Chris Riddell ‘Will be invaluable to the fans, students and practitioners of illustration everywhere’ Bruce Ingman 978 0 500 022139 £18.95

Coming in Spring 2020

978 0 500 519950 £18.95

Dick Bruna 978 0 500 094136 Raymond Briggs 978 0 500 022184

An overview of the life and work of the much-loved creator of such children’s classics as The Tiger Who Came to Tea and Mog

Judith Kerr Joanna Carey This volume in The Illustrators series showcases the work of Judith Kerr, one of Britain’s most beloved authors and illustrators. Joanna Carey, who has had unrestricted access to Judith Kerr and her archive, explores the backstory behind Kerr’s popular books and analyses how she works. She draws on a range of never-before-seen visual materials to take readers behind the scenes of Kerr’s unforgettable creations. The result is not only a celebration of Kerr’s classic work, but also a thoughtful and intimate account of her long and remarkable career.

80 illustrations 24.5 x 18.7cm 112pp • hardback ISBN 978 0 500 022153 September £18.95

Joanna Carey is a writer and artist, and former Children’s Book Editor for the Guardian.

j u di t h ker r

j u di th k e r r

the Internet she can obtain an image immediately. She finds computers are wonderful in other ways, too. If, say, a squirrel is in the wrong place, she can simply get someone in the art department at HarperCollins to reposition it with Photoshop, where once she would have had to draw the whole thing again.

Then there is the question of roughs. She was never in the habit of making proper roughs. ‘I just used to get the paper and start drawing, and if it went wrong, start again.

above Sketch for The Tiger Who Came to Tea, 1968

below Illustration from One Night in the Zoo, 2009

below Painting of Judith Kerr

by Tacy Kneale

It’s only fairly recently that I’ve started doing proper roughs properly – and keeping them safe in my sketchbook. It took me a long time to realize the importance of this and of course it’s made all the difference.’

At the end of a hard day’s work, she still remembers her husband’s advice: ‘“Always stop when you know that the next bit is going to be easy,” Tom would say. So I always do that, and what’s also important for me is that the very last thing I do, before I go downstairs, is a rough for the following day. It doesn’t matter much what it is, and I may subsequently ignore it, but it means that next morning I’m not going to be confronted with a blank page.’

It is clearly a good system.

opposite Illustration from The Tiger Who Came to Tea, 1968

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Judith Kerr layout pp1-112_12_Feb_CS6_TV.indd 62-63

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106

63

12/02/2019 17:19

Judith Kerr layout pp1-112_12_Feb_CS6_TV.indd 106-107

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12/02/2019 17:19

ART

A new atlas of imaginary islands conjured up by an international gathering of illustrators, including Bill Bragg and Chris Riddell

Huw Lewis-Jones is an environmental historian and expedition guide with a PhD from the University of Cambridge. His books include The Conquest of Everest, which won the History Award at the Banff Mountain Festival, The Sea Journal, Explorers’ Sketchbooks (with Kari Herbert) and The Writer’s Map, which won ‘Photography & Illustrated Travel Book of the Year 2018’ at the Edward Stanford Travel Writing Awards.

91 illustrations 26.0 x 20.0cm 192pp • hardback ISBN 978 0 500 022566 September £24.95

Takayo Akiyama

KAIJUTO

25° 18’ N – 142° 55’ E PACIFIC OCEAN ✯ 401 KM2 | UNKNOWN INHABITANTS ✯ 1,160 KM FROM MAINLAND JAPAN ✯ 18 JUNE 1686 – ISLANDS FIRST SIGHTED BY ROBINSON CRUSOE ✯

15 AUGUST 1779 – LIEUTENANT JOHN GORE ABOARD HMS RESOLUTION

Archipelago: An Atlas of Imagined Islands Edited by Huw Lewis-Jones

WITNESSED VIOLENT VOLCANIC ACTIVITY ✯ 1 OCTOBER 1876 – ARCHIPELAGO RENAMED BY THE JAPANESE GOVERNMENT

KAIJU MEANS MONSTERS and Kaijuto is the place for them. Robinson Crusoe is believed to be the first person to have studied the archipelago when he spotted volcanic activity from afar in 1686. After the eruptions finished, the smaller Kojuto and Kokaito appeared on either flank of Kaijuto Honto. Crusoe named them ‘Creut Islands’, but the Japanese government changed this in 1876 when claiming the Ogasawara islands, not far away.

These Pacific islands are abundant with endemic flora and fauna, but because of their constant movement, no human has ever been able to make them habitable. The Sebone Mountains form the spine of the main island and Caldera Lake is on its far west side, where the twenty-metre high cedar, ‘Osugi’, the tallest tree on the island, can be found. There’s also a living volcano on Atama.

34

Suzumi-gumo, Cyrtophora moluccensis, a tent-web spider, is common on Sumo beach of Migito Island during the mating season. Toque macaques, Macaca sinica, believed to be endemic to Sri Lanka, were discovered on Kojuto Island. There are Japanese giant

‘Think of this atlas as the beginning of a journey and a kind of island guidebook, a rough guide to far-flung places, a Baedeker of make-believe, and a new page waiting to be filled. The cycle of Crusoes continues’ Huw Lewis-Jones

salamanders (Andrias japonicus) on Kaijuto, which some academics believe swam across the sea from Japan. Fuwa field has very soft grass for no particular reason. Yellow bittern (Ixobrychus sinensis) spend their summers here too.

In 1817 the scholar Isaac Titsingh translated Hayashi Shihei’s Sangoku Tsūran Zusetsu in which the islands were first mentioned in any detail. Even so, information is elusive and fleeting.

The Japanese army tried to use the main island for military purposes, but storms, foul sulphuric odours, and fearsome rumblings kept them away. In 1977 a Hawaiian fishing boat sank near Atama in the unusual currents. No one has yet landed on the island and perhaps it is best that way.

~

Helen Crawford-White

NORTHIA 49° 21’ S – 47° 22’ E

29

~

Ever since Robinson Crusoe was cast away, distant islands have been scattered across our collective imagination. Now a team of the world’s leading illustrators, navigated by Huw Lewis-Jones, embarks on an eclectic maritime adventure to map the contours and coastlines of their own. Explored here for the very first time, from AyeAye’La to Zungeland, these imagined islands shine like stars during the day time: just because they can’t always be seen doesn’t mean they don’t exist…

INDIAN OCEAN ✯ 234 KM2 | 36,459 INHABITANTS (BEES AND BUGS) ✯ 2,370 KM FROM SOUTH AFRICA ✯ 2,613 KM FROM MADAGASCAR ✯ 3 APRIL 1875 – MARIANNE NORTH ENCOUNTERS THE ISLAND AFTER A TIP OFF FROM A VEZO FISHERMAN IN MADAGASCAR ✯ 15 DECEMBER 1891 – INFAMOUS NOTEBOOK DISCOVERED IN A TRUNK OF OLD TIGHTS ✯ 3 JANUARY 1892 – NEWS OF THE DISCOVERY OF THE MYSTERY ISLAND QUICKLY SPREADS AROUND THE WORLD

LIKE MANY OF THE BEST ISLANDS, Northia and its whereabouts are clouded in conjecture.

It is rumoured to be situated south of Madagascar though not nearly as far as Antarctica.

‘Rumoured’ because there is no one alive today who has set foot on it. Knowledge of the island emerged in 1890 when the Director of the Royal Botanic Gardens, Kew, found an unusual notebook of drawings among the belongings of the late Marianne North. North was a Victorian biologist, botanical artist and adventurer who toured the globe making drawings of all the remarkable flora she could find. She had a particular love for rare and exotic specimens and would seek them out on mountains, sun-drenched shorelines and in dense rainforests.

The notebook sparked excitement in Victorian Britain, because of the unfathomable plants its pages depicted. Fantastical notes about magical properties filled the borders in tiny, barely legible script. On the edge of the back cover was doodled a simple abstract map, said to be the only indication of the island’s location. Sadly the notebook was destroyed in a fire in 1910 and many of its contents are now lost. But the myth of these plants was nurtured by her admirers, and the detail and credibility of her drawings encouraged other explorers to try and ascertain the truth. None have been successful.

The map here is an approximation of the island based on what’s left of Marianne’s notes.

A strange wilderness, it’s completely covered in species of plants found nowhere else on earth. So vast is the diversity that numbers of species are thought to be in the millions so that if any botanists could finally find their way there, it would take many lifetimes to document the plant life alone. It is not known if the island has ever been inhabited by humans, although there are suggestions of a rudimentary track encircling the island, and cutting a swathe through the interior undergrowth. Some have speculated that the over-sized insects are the culprits. The notebook hinted at rhinoceros-sized Yam Beetles and centipedes the length of lorries. The island was named Northia by Queen Victoria in 1893, in Marianne North’s honour, and newspapers delighted in the irony of the name considering its southerly location.

~

56

~

Takayo Akiyama • Coralie Bickford-Smith • Bill Bragg Marion Deuchars • Sara Fanelli • Tom Gauld • Aušra Kiudulaite John Lawrence • Sarah McIntyre • Matti Pikkujämsä Rodica Prato • Daniel Reeve • Steph von Reiswitz Chris Riddell • Nick Sharratt Piotr Socha • Hervé Tullet and many others…

mith

MAINLAND AUSTRALIA ✯ 2 NOVEMBER 1610 –

E MOUNTAINS OF MADNESS ✯ 21 AUGUST 2015 –

SOLO EXHIBITION OPENS AT MUSEUM OF TALES

physical world these past few

tory within her head, and drawn on

is environment, and the places

o create. The Map of Mihi is an

d hinterland of Mihi. Wading

mpts to find emotional bearings.

ull of doubt and apprehension.

nging desperately to the useful

er legs hurt and her blood pumps explore ideas without criticism.

ahead presents itself. of books that were on their way

ks and began the first library. So

on. Crusoe is here too, walking

d parts of the island to suit her

ess, and the only witness was a

happens to stumble upon it.

t is unmeasurable as the land is

features of this land become a

she clambers back into reality. As of her imagination, stormy

map will always be shifting and

~

41

~

N AT U R A L H IS TO RY

‘To discover so many intriguing things about trees from around the world is truly wonderful. This beautifully illustrated book reveals just how much these useful, fascinating, dangerous yet beautiful living beings really contribute to our lives’ Dame Judi Dench Christina Harrison is the editor of Kew Magazine. She trained as an ecologist and botanical horticulturalist and has an MA in Garden History, for which she specialized in the trees at the Royal Botanic Gardens, Kew. Tony Kirkham is Head of the Arboretum at the Royal Botanic Gardens, Kew. A worldrenowned tree expert, he is the author of several books on plant history including, as co-author, Wilson’s China: A Century On.

180 illustrations 24.6 x 18.6cm 256pp • hardback ISBN 978 0 500 021927 October £24.95

Remarkable Trees B O DY

AND

SOUL

Christina Harrison and Tony Kirkham

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Baobab 142 · The coffin tree 146 Dragon’s blood tree 149 · Ebony 152 Indian banyan fig 155 · Frankincense 158 Hawthorn 160 · White and black mulberry 164 Soap bark tree 168 · Annatto 170

WO N D E R S O F WO R L D 172

THE

Mountain ash 174 · Alerce 178 Bristlecone pine 183 · Candlestick banksia 184 The handkerchief tree 187 · Coco de mer 190 Dawn redwood 194 · Douglas fir 198 Kauri 202 · Durian 206 Red mangrove 209 · Quaking aspen 212 Redwoods 216

T H R E AT E N E D A N D E N DA N G E R E D 220 Juniper 222 · Chinese silver fir 226 The Franklin tree 229 · Monkey puzzle Pōhutukawa 236 · Wollemi pine 239 St Helena gumwood 242 · Café marron Tōtara 246

232

244

Further Reading 250 Sources of Illustrations 252 Index 253

opposite Ginkgos are beautiful trees that grow to 20 to 30 metres (66 to 115 feet) tall, with a very distinctive sparse branching system. On a sunny autumnal day, they bring the landscape alive when their leaves change colour from green to the most brilliant golden yellow. above The name Ginkgo has an interesting history in itself and appears to be a mistake in the transliteration of the Japanese name for the tree, ‘ginkyo’, meaning ‘silver apricot’.

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healers and killers

Once classified as conifers and placed in the same family as the yew tree (Taxaceae) they are now separated from the conifers and placed in an order all of their own, the Ginkgoales, of which there is only this one species. This is one of the trees that is dioecious, meaning there are separate male and female trees. The males produce tiny cones containing the pollen, while the females bear a hard-shelled seed covered in a fleshy outer skin which when ripe is a light-yellow colour and similar in appearance and size to an apricot. Unfortunately, as well as being beautiful, ginkgo has a reputation for being one of the smelliest trees in the temperate world. The flesh around the seed contains butyric acid and when ripe gives off the smell of vomit. It is thought that this smell, also like rotting flesh, attracts nocturnal animals, which eat the fruit and then distribute the seeds.

Despite the smell, the seed kernels are prized as a delicacy in many dishes in eastern cuisine and are thought to have aphrodisiac qualities.

There is also a long history of use of the leaves and seeds in traditional Chinese medicine for the treatment of many ailments including digestive problems, asthma and lung complaints. More recently research has shown that the antioxidants in the leaves can increase blood flow, Maidenhair tree

Trees are the treasures of the natural world and have long been special to us, not only for their beauty and character, but also because down the ages they have been central to human existence in numerous ways.

Every tree has its own story and here two experts from the Royal Botanic Gardens, Kew, have selected over 60 for their particular resonance and connection to us, which represent most of the world’s major habitats. In portraits that combine vivid cultural and historical narrative with a firm scientific grounding, the authors reveal the details of trees from around the world, some familiar and others less well known outside their local regions.

We use timbers for building and creating, have discovered which tree fruits and seeds taste delicious, and which can kill or cure us, as well as which species add colour and spirituality to our lives – from the timber of mahogany to the delights of chocolate and pomegranate, from the medicinal tea tree to the deadly manchineel, and from fragrant frankincense to the highly prized dragon’s blood tree.

Many trees have also become revered over time and they have inspired artists and botanists alike for centuries. A varied and beautiful range of images from the unrivalled collections at Kew illustrate the stories told here, to create this enlightening and enchanting book.

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Also available Remarkable Plants That Shape Our World 978 0 500 517420 £24.95 Remarkable Birds 978 0 500 518533 £24.95

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PHOTOGRAPHY

New from Magnum Photos member Harry Gruyaert, a collection of photographs of airports and people in transit Harry Gruyaert is a photographer known for his images of India, Morocco and Egypt as well as of the west of Ireland, and for his use of colour. He is a member of Magnum Photos, and his work has been exhibited widely and won the Kodak Prize.

c. 57 illustrations 31.7 x 23.5cm 96pp • hardback ISBN 978 0 500 545225 October £29.95

‘Harry Gruyaert makes the banal beautiful with his colour-rich photography’ Guardian

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Harry Gruyaert: Last Call Harry Gruyaert Alongside American photographers such as Saul Leiter, Joel Meyerowitz, Stephen Shore and William Eggleston, Harry Gruyaert became one of the few European pioneers to explore the creative possibilities of colour in the 1970s and 1980s. The previous decades had elevated black and white photography to the realms of art, relegating colour to use in advertising, the press and illustration. Gruyaert’s work suggested new territory for colour photography: an emotive, non-narrative and boldly graphic way of perceiving the world.

Gruyaert’s ability to seamlessly weave texture, light, colour and architecture comes together to wonderful effect in this new collection. His photographs of airports beautifully – and at times surreally – record these liminal, yet reliably inhabited spaces.

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22

Also available

978 0 500 544488 £45.00

‘Stunning … not only showcases Gruyaert’s outstanding work, but also the important role he played in establishing colour photography as an art form’ Aesthetica

‘Harry Gruyaert goes to the edge’ 978 0 500 545058 £40.00

i newspaper

PHOTOGRAPHY

The first visual chronicle of a key chapter in the career of Henri Cartier-Bresson Michel Frizot is Research Director at the Centre Nationale de la Recherche Scientifique in Paris.

Su Ying-Lung is an independent curator of Chinese and contemporary art. He is former curator at the Museum of Fine Arts of Kaohsiung, Taiwan, and is the author of Mournful Morrow: Four Taiwanese Photographers.

120 illustrations 29.0 x 24.0cm 288pp • hardback ISBN 978 0 500 545188 November £50.00

Henri Cartier-Bresson in China 1948–1949 • 1958 Michel Frizot and Su Ying-Lung

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In December 1948, Henri Cartier-​Bresson travelled to China at the request of Life magazine. He stayed for ten months and captured some of the most spectacular moments in China’s history: he photographed Beijing in ‘the last days of the Kuomintang’, and then headed back to Shanghai, where he bore witness to the new regime’s takeover. Then, in 1958, Henri Cartier-Bresson was one of the first Western photographers to go back to China to explore the changes that had occurred over the preceding decade. The ‘picture stories’ he sent to Magnum and Life on a regular basis played a key role in Westerners’ understanding of Chinese political events. Many of these images are among the best-known and most significant photographs in Cartier-​Bresson’s oeuvre; his empathy with the populace and sense of responsibility as a witness making them an important part of his legacy.

Henri Cartier-​Bresson in China allows these photographs to be re-examined along with all of the documents that were preserved: the photographer’s captions and comments, contact sheets and abundant correspondence, as well as the published versions that appeared in both America and Europe.

A welcome addition to any photography lover’s bookshelf, this is an exciting new volume on one of the 20th century’s most important photographers.

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Unseen early photographs by Bruce Gilden are collected here to form an exceptional portrait of late 70s–early 80s New York City Bruce Gilden joined Magnum Photos in 1998. His work has been exhibited widely around the world and is part of many permanent collections such as MoMA, New York, the Victoria and Albert Museum, London, and the Tokyo Metropolitan Museum of Photography. Sophie Darmaillacq is a journalist, author and Bruce Gilden’s wife.

80 illustrations 23.5 x 29.5cm 176pp • hardback ISBN 978 0 500 545270 November £45.00

Bruce Gilden: Lost and Found Interview with Bruce Gilden by Sophie Darmaillacq

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An iconic street photographer with a unique style, Bruce Gilden is defined by his exuberant pictures, and his original and direct manner of shooting the faces of passers-by with a flash. But how has his style evolved?

When digging through his personal archives recently, Gilden unearthed hundreds of unseen contact prints and negatives taken by him in New York between 1978 and 1984, preceding those in his seminal collection Facing New York. From these thousands of original images – most of which are previously unpublished – Gilden has selected the eighty images that are reproduced here.

Brimming with youthful energy, and all taken without the flash for which he is now famous, Gilden’s photos celebrate all that New York City – at once familiar and exotic – had to offer. It is an exceptional study of a now-vanished era.

In this extraordinary gallery of portraits, the compositions simmer with energy, bursting with the most diverse characters, as though Gilden intended to include within the frame everything that caught his eye. The images are accompanied by an interview with Gilden by Sophie Darmaillacq, in which Gilden explains for the first time how he developed his style from this early work, and gives details of the images and the stories behind them. In Lost and Found, we already perceive the guiding tropes of the work that was to make Bruce Gilden famous: sustained movement and tension, unrivalled spirit, and an instinctive and irreverent affection for his subjects – perfectly in cahoots with his city.

PHOTOGRAPHY

The ultimate collection of street photography from the world-famous Magnum Photos agency Stephen McLaren is a photographer, writer and curator based in Los Angeles. He is the co-author of three previous Thames & Hudson titles: Street Photography Now, Photographers’ Sketchbooks and Family Photography Now.

Over 300 illustrations 24.2 x 19.0cm 384pp • hardback ISBN 978 0 500 545072 October £28.00

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Also available Magnum Manifesto 978 0 500 544556 £45.00 Magnum China 978 0 500 544549 £48.00 Magnum Contact Sheets 978 0 500 292914 £35.00

PETER VAN AGTMAEL

Magnum Streetwise is the definitive collection of street photography from Magnum Photos, and an unparalleled opportunity to follow in the footsteps of the true greats of the genre. An essential addition to the street photography canon, this volume showcases hidden gems alongside many of street photography’s most famous images.

Magnum photographers such as Henri Cartier-​Bresson pioneered modern concepts of street photography before the term was even coined. A rich seam of street photography runs through the heart of Magnum to this day, both in the work of recognized masters of the genre – including Elliott Erwitt, Martin Parr, Bruce Gilden, Alex Webb and Richard Kalvar – and in the work of those who may not think of themselves as street photographers, despite their powerful influence on the current generation of budding artists. Magnum Streetwise is a true visual feast, interleaving perspicacious text and anecdotes within an intuitive blend of photographer- and theme-focused sections.

Ambitious in scope, democratic in nature, Magnum Streetwise is an unmissable tour through the photographs and practices that have helped define what street photography is – and what it can be.

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Compact edition | New in paperback

‘A classic of documentary photography … an extraordinary testament to Koudelka’s keen eye and darkly romantic imagination’ Observer, Book of the Month

Josef Koudelka was born in Moravia in 1938. In 1968 he photographed the Soviet invasion of Prague, for which he was awarded the Overseas Press Club’s Robert Capa Gold Medal. He has published over a dozen books, including Exiles, Chaos and Invasion 68: Prague. Stuart Alexander is editor-in-chief of Delpire Éditeur. Will Guy is a research fellow in sociology at the University of Bristol.

109 illustrations 20.5 x 16.3cm 236pp • paperback ISBN 978 0 500 545041 October £22.50

Gypsies Josef Koudelka Introduction by Stuart Alexander • Text by Will Guy 42

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‘Classic … essential for any photography fan’ Independent

‘Books on classic photography don’t come much better than this’ Amateur Photography ‘A precious archival document and a strangely emotional and moving experience’ f22 magazine

Gypsies is based on the original maquette for Josef Koudelka’s book Cikáni (Czech for Gypsies), prepared by Koudelka and graphic designer Milan Kopřiva in 1968, and intended for publication in Prague in 1970. However, Koudelka left Czechoslovakia in 1970, and the book was never published in that original form.

Now available in an affordable compact edition, the book has been revised and resequenced. Comprising 109 photographs taken between 1962 and 1971 in what was Czechoslovakia (Bohemia, Moravia and Slovakia), Romania, Hungary, France and Spain, it is a unique record of a vanished world. The Gypsies in these images were photographed during the 1960s, mostly in a state that no longer exists, and ruled by a regime that disintegrated in 1989. Will Guy, author of the text that accompanied the first publication of Gypsies, contributes an entirely new essay tracing the migration of the Roma from their original homeland in northern India, to their current status – one that continues to be contested internationally.

PHOTOGRAPHY

167 illustrations 30.5 x 24.5cm 208pp • hardback ISBN 978 0 500 545218 September £35.00

Roger BaLLen

Roger Ballen is one of the most important and distinctive art photographers working today. His previous books with Thames & Hudson include Asylum of the Birds, The Theatre of Apparitions and Ballenesque. Colin Rhodes is dean of Kingston School of Art. His previous books include Outsider Art and Primitivism, both published by Thames & Hudson in the ‘World of Art’ series. Martine Lusardy is director of the Halle Saint Pierre.

the world according to

A unique overview of Roger Ballen’s oeuvre in the context of Art Brut, as well as the catalogue to the first major exhibition of his work in France

the world according to

Roger BaLLen colin rhodes

Accompanies an exhibition of the same name at Halle Saint Pierre, Paris, from 10 September 2019 to 31 July 2020

The World According to Roger Ballen Roger Ballen and Colin Rhodes • Introduction by Martine Lusardy Published to coincide with the opening of a major retrospective of Roger Ballen’s work at the Halle Saint Pierre, Paris, in September 2019, The World According to Roger Ballen, co-authored with Colin Rhodes, provides an unprecedented overview of Ballen’s career in the context of modern and contemporary art, specifically his connections with Art Brut, a key influence on his development as a photographer. Organized thematically, with texts by Rhodes and an introduction and interview with Ballen by Martine Lusardy, director of the Halle Saint Pierre, the book is both a catalogue accompanying what is the first significant exhibition of Ballen’s work in France and an exploration of Ballen’s position within and relationship to the wider art world.

Alongside photographs selected from across Ballen’s career, the book features many previously unpublished images, installations created exclusively for the Halle Saint Pierre, and photographs of objects and works from Ballen’s own collection of Art Brut. The associated retrospective, occupying both exhibition spaces at the Halle Saint Pierre, will be curated, like the book,

by Colin Rhodes.

Also available

978 0 500 519691 £60.00

978 0 500 294864 £24.95

978 0 500 544648 £24.95

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Revised edition

An accessible, practical guide to appreciating and unlocking the secrets of photography’s greats, from the dawn of photography to the 21st century Ian Jeffrey is a writer and art historian. He is the author of several illustrated books on the history of photography. Max Kozloff is an American art historian, art critic and photographer. He is former art editor at The Nation, and Executive Editor of Artforum.

Over 400 illustrations 24.0 x 17.0cm 448pp • hardback ISBN 978 0 500 295380 September £24.95

‘You’ll feel very smart for reading this and have a better appreciation of how hard it is to take a good picture’ Amateur Photographer ‘An appetite-whetter ... inspires and informs’ Metro

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‘A valuable commentary on the contribution made by a collection of dedicated photoreportage enthusiasts of the past century and a half’ RPS Journal ‘Lush and expansive … an entrancing introduction to the evolution of the medium’ The Art Book Also available

978 0 500 512005 £19.95

978 0 500 286432 £19.95

How to Read a Photograph Understanding, Interpreting and Enjoying the Great Photographers Ian Jeffrey • Foreword by Max Kozloff Ian Jeffrey is a superb guide in this profusely illustrated introduction to the appreciation of photography as an art form. Novices and experts alike will gain a deeper understanding of great photographers and their work, as Jeffrey decodes key images and provides essential biographical and historical background.

Profiles of more than 100 major photographers, including Alfred Stieglitz, Bill Brandt, Henri Cartier-Bresson, Walker Evans, Paul Strand and Laszlo Moholy-Nagy, highlight particular examples of styles and movements throughout the history of the medium. This new edition has been revised and expanded to feature material from the last ten years, including work by Cindy Sherman, Nan Goldin, Araki Nobuyoshi, Rineke Djikstra and Alec Soth. Each entry includes a concise biography along with an illuminating discussion of key works and nuggets of contextual information, making this book the ideal gallery companion for photography aficionados everywhere.

PHOTOGRAPHY

A Volume production

Liam Wong’s debut monograph, a cyberpunk-inspired exploration of nocturnal Tokyo Liam Wong is an award-winning art director, currently based in Japan. Graphic designer, game developer and photographer, he is best known for defining, designing and directing visual identities and was listed as one of Forbes magazine’s influential 30 under 30.

200 illustrations 28.0 x 22.0cm 256pp • hardback ISBN 978 0 500 023198 October £35.00

‘This will be a fantastic book’ William Gibson

TO:KY:OO

‘Wong’s grasp of story illustrated as a ‘place to be’ is remarkable. I applaud the balance of brilliant colour, precise placement of picture elements, and the overall exhibition of expert technique’ Syd Mead

Liam Wong

’With an aesthetic inspired by science fiction classic Blade Runner and directors such as Gaspar Noe and Wong Kar-wai, a move into film surely can’t be far away’ BBC

‘I want to take real moments and transform them into something surreal, to make the viewer question the reality depicted in each photograph’ Liam Wong Born in Edinburgh, educated in computer arts at Dundee’s University of Abertay (a cauldron of videogame talent), transplanted to Canada to work at Ubisoft at the age of 25, Liam Wong was always destined to produce eye-catching work of substance and originality. His videogame work took him for the first time to Tokyo, where he discovered the ethereality of floating worlds and lurid allure of its nocturnal scenes. ‘I got lost in the beauty of Tokyo at night,’ he explains.

A testament to the deep art of colour composition, this publication – art directed by Wong himself and produced to the highest printing standard – brings together a complete and refined body of images that are evocative, timeless and completely transporting. The book also features a section that reveals the creative and technical process of Wong’s method, from identifying the right scene to composition, from capturing the essence of a moment to enhancing colour values and deepening an image’s impact – insights are invaluable to admirers and photography enthusiasts alike.

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Renowned for his sumptuously surrealist fashion photography, Tim Walker explores the sources of his photographic imagination in this much anticipated new monograph, published to coincide with a major exhibition at the V&A Tim Walker is a prize-​winning photographer whose work appears regularly in the world’s best fashion magazines, including Vogue, Vanity Fair, W, Harper’s Bazaar and Love. His work is held in the permanent collections of both the Victoria and Albert Museum and the National Portrait Gallery in London.

238 illustrations 32.4 x 24.8cm 340pp Paperback with French folded jacket ISBN 978 0 500 545027 September £85.00

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Limited Edition

Shoot for the Moon

This limited edition of 250 copies includes a signed archival photographic print (8.4” x 12”/21.5 x 30.5cm). The book is 10% larger than the standard edition, and has an extra 16 acetate gels. Its jacket is screenprinted in metallic inks on black paper and has a wraparound blue soft gel cover.

Tim Walker

238 illustrations 36.0 x 27.5cm 340pp + print Paperback with French folded jacket ISBN 978 0 500 545256 September £1,000.00

Story Teller introduced audiences to the fantastical, magical worlds of Tim Walker, conjured anew with each shoot. Shoot for the Moon, Walker’s muchawaited follow-up, draws audiences close to tell the story of fantasy’s other, darker side. Showcasing the breadth of Walker’s weird, wild wonderlands, in his signature opulent style and decadent eccentricity, it explores questions of imagination and inspiration, and where they come from.

Dazzlingly designed by Irma Boom, Shoot for the Moon contains spectacular photographs of some of the biggest names in fashion and contemporary culture, images that demand to be read as art as much as fashion. Among the faces in front of Walker’s lens are Tilda Swinton, Riz Ahmed, Kate Moss, Jennifer Saunders, Adwoa Aboah, Cate Blanchett, Edward Enninful, Whoopi Goldberg, Grayson Perry, Peter Blake, Marc Jacobs, Jerry Hall and more.

The book is printed using special ultraviolet inks, unusual paper stocks and acetate gels in a tour-de-force of book production that will make all modern bibliophiles swoon. With its stellar list of contributors and texts from Walker himself illuminating the images, the majority of which are new or previously unpublished in book form, Shoot for the Moon is set to be an unmissable addition to the library of fashion photography.

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FA SHION

New in B-format paperback

An intimate portrait and a vibrant celebration of one of the most influential women of the 20th century Amanda Mackenzie Stuart worked as a screenwriter and independent film producer for a number of years before publishing her first biography, the critically acclaimed Consuelo and Alva Vanderbilt: The Story of a Daughter and a Mother in the Gilded Age.

30 illustrations 19.8 x 12.9cm 420pp • paperback ISBN 978 0 500 295151 September £14.99

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‘A stylish, funny, fond and vivid book’ Sunday Times

‘The research for this book has been exhaustive, but Mackenzie Stuart wears it lightly … she writes movingly about Vreeland’s marriage without any intrusive psychoanalysis, and her warmth, enthusiasm and peculiar genius come through in entertaining anecdotes and marvellous quotes’ Spectator ‘Paints an enthralling picture of a mesmerising character who left an indelible print on 20th-century fashion’ Hello!

Diana Vreeland Empress of Fashion Amanda Mackenzie Stuart Described by an admirer as ‘the High Druidess of fashion, the Supreme Pontiff, Perpetual Curate and Archpresbyter of elegance, the Vicaress of Style’, Diana Vreeland is the cloth from which 21st-century fashion editors are cut. Diana joined Harper’s Bazaar in 1936, where her pizzazz and singular point of view quickly made her a major creative force in fashion. During her time at Harper’s Bazaar and later as the editor-in-chief of Vogue, the self-styled ‘Empress of fashion’ launched Twiggy’s career, advised Jackie Kennedy, and enjoyed the full swing of sixties’ London. In Diana’s Vogue, women were encouraged to resist fashion orders from on high, and to use their own imaginations in re-creating themselves – much as Vreeland spent her own life doing.

In this book, Amanda Mackenzie Stuart portrays a visionary: a fearless innovator who inspired designers, models, photographers and artists. Diana Vreeland reinvented the way we think about style and where we go to find it.

As an editor, curator and wit, she made a lasting mark and remains an icon for generations of fashion lovers.

FA SHION

A sumptuous, slipcased publication dedicated to the 1950s as captured in the pages of American Vogue and illustrated by fashion’s greatest photographers Rebecca C. Tuite is a fashion historian and writer.

She is a doctoral candidate at the Bard Graduate Center. She is the author of Seven Sisters Style: The All-​American Preppy Look, which was featured in publications including the Wall Street Journal, Paris Vogue and Vanity Fair.

280 illustrations 36.5 x 28.0cm 256pp • slipcased paperback ISBN 978 0 500 294376 November £65.00

A DEGREE OF DAZZLE COCKTAIL AND EVENING FASHIONS FOR THE AFTER-SIX CROWD

1950s in Vogue The Jessica Daves Years, 1952–1962 Rebecca C. Tuite

“New ways to look for the new kinds of parties,” Vogue announced in 1954, encouraging readers to “notice in particular, the fact that ‘standard’ dressing no longer seems to exist.” Indeed, old “standards” of dress were being challenged because eveningwear was increasingly adapting to meet the demands of brand-new ways to socialize. However, when it came to “delicious decorations” for evening, Daves’s Vogue showcased an indulgent array of options between 1952 and 1962. No matter the dress code of the invitation, Vogue helped readers “pinpoint the degree of dazzle that’s wanted” for every kind of mid-century after-dark soirée.

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BEYOND THE CANVAS, BEYOND THE CATWALK ART, ARCHITECTURE AND FASHION IN VOGUE

“The couturier’s ties with art are as tangible as they are numerous. The father of Jacques Fath was a student of Corot, Dali decorated the showcases of Schiaparelli’s shop, Balmain studied architecture before designing dresses.”

Jessica Daves

Daves once observed that, “A part of civilization is a regard for the gifted, an admiration of beauty, an understanding of the arts – the arts of daily living as well as the arts of painting or sculpture, writing or music, or architecture.” As particularly important aspects of Daves’s own “civilizing” mission at Vogue, art and architecture received heightened attention in the magazine during her editorship. The result was not only some of the most important art and architecture features in Vogue’s history, but also some of the most iconic photographs: The grape-printed Molly Parnis dress photographed by Horst amidst Marcel Vertès’s surrealist set decorations; the painterly trinity of Dovima, Dior and Monet photographed in Paris in 1956; and Alexander Liberman’s haunting portraits of Picasso and Giacometti in their studios as part of his “Artist in His Studio” series.

Daves and her team worked hard to educate and inspire, and to demonstrate that art and architecture did not exist separately from everything else in life; rather the colors, shapes, styles, lines, designs, approaches, motifs and themes found within them were the basis of a cultural and visual language that communicated across the boundaries of fashion, interior design, and taste.

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One of only seven editors in chief in American Vogue’s history, Jessica Daves has remained one of fashion’s most enigmatic figures. Diana Vreeland’s direct predecessor in the role, it is Daves who first catapulted the magazine into modernity.

A testament to a changing America on every level, Daves’s Vogue was the first to embrace a ‘high/low’ blend of fashion in its pages and to introduce world-renowned artists, literary greats and cultural icons into every issue, offering the reader a complete vision of how design, interiors, architecture, entertaining, art, literature and culture all connected and contributed to refining and defining taste and personal style. Daves profiled icons of American style, from John and Jackie Kennedy to Charles and Ray Eames, alongside Dior, Chanel, Givenchy and Balenciaga creations.

Organized in multifaceted, thematic chapters, 1950s in Vogue features carefully curated photographs, illustrations and page spreads from the Vogue archives (with iconic images alongside lesser-known wonders), as well as reproductions of absorbing archival material and correspondence.

Revealing a fascinating and hitherto little-​explored moment in Vogue history, 1950s in Vogue is a must-have reference for lovers of fashion, photography, and style.

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A lavish, supersize publication dedicated exclusively to John Galliano’s extraordinary creations for the house of Dior, captured by American Vogue’s photographer Robert Fairer Robert Fairer was American Vogue’s exclusive backstage photographer for over a decade. His books Alexander McQueen: Unseen, John Galliano: Unseen and Marc Jacobs: Unseen were all published by Thames & Hudson. Hamish Bowles is the International editor-at-large for American Vogue. André Leon Talley is the former editor-at-large of American Vogue. Oriole Cullen is the Curator of Modern Textiles and Fashion at the Victoria and Albert Museum and curated the V&A’s ‘Christian Dior: Designer of Dreams’ exhibition. Ivan Shaw is the Photography Director at Conde Nast. Iain R Webb is a fashion writer, curator and academic, and the author of Marc Jacobs: Unseen.

320 illustrations 36.0 x 27.0cm 432pp • slipcased hardback ISBN 978 0 500 022405 October £98.00

John Galliano for Dior

Haute Couture Autumn/Winter 2005 – 2006

Photographs by Robert Fairer • Foreword by Hamish Bowles Preface by André Leon Talley • Introduction by Oriole Cullen Essay by Ivan Shaw • Texts by Iain R Webb

FROM GRANVILLE AND BEYOND

This collection celebrated the centenary of Christian Dior’s birth, so who better to open the show than Dior’s mother (played with suitable hauteur by model Erin O’Connor; p. 307, right), dressed in diaphanous Dior grey Edwardian splendour, emerging from a horse-drawn carriage with sailor-suited enfant Christian in tow.

In a spookily atmospheric set (cue dry ice), which referenced the tumbledown grounds of Granville, Dior’s childhood home, the collection celebrated the women in the designer’s life – Margot Fonteyn, Princess Margaret, the Catherinettes of the workroom, and Hollywood stars including Lauren Bacall, Marlene Dietrich, Olivia de Havilland and Rita Hayworth. Modern Hollywood A-listers Charlize Theron, Drew Barrymore and Christina Aguilera sat front row. Galliano paid homage to the Dior workroom with dresses that looked as though he had stopped halfway through their construction, starting with trompe l’œil nude corsets that followed the exaggerated line of a René Gruau illustration. Layers of transparent tulle that exposed hidden techniques of the petites mains offered the effect of exquisite X-rays; shadows of the past. Other embroideries mimicked the brushstrokes of Dior’s favourite artists, given a Peruvian twist by Galliano, while classic signature fabrics and motifs – houndstooth, leopard, polka dots and flowers – were realized in black and white and decorated with a wash of colour. Galliano also added the ‘glitter of a masked ball’, the ‘ornate gilding of a religious icon’, and a host of supermodels including Linda Evangelista, Eva Herzigova, Kirsty Hume and Nadja Auermann for a collection that was described as a reaffirmation of the foundations of the house of Dior.

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As testified by the monumental success of the Dior retrospective at the Victoria and Albert Museum, London, which looks set to attract nearly half a million visitors over its extended run, John Galliano’s creations for the house of Dior have entered fashion history and are widely recognized as some of the most breathtaking and imaginative collections ever created.

John Galliano for Dior is the first publication entirely dedicated to showcasing these unforgettable designs, which have become collectors’ items and form a key chapter of the history of the house of Dior – ‘the greatest house in the world’, as Galliano stated when he was first placed at its helm.

Opening with contributions from Hamish Bowles, André Leon Talley and Oriole Cullen, the book unfolds chronologically, covering a decade of showstopping designs, from 1998 to 2010, and revealing previously unseen behind-the-scenes moments that capture models, hairdressers, stylists, makeup artists and John Galliano himself at their most creative.

Robert Fairer’s high-energy photographs convey the drama, glamour and wild imagination that defined Galliano’s Dior shows. They make this publication a must-have reference for fashion and photography lovers alike.

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FA SHION

Compact edition

‘YSL: The initials evoke allure and sophistication, and this brilliant illustrated portrait of the iconic designer has both’ Tatler

Roxanne Lowit is a New York-based fashion photographer who started taking pictures in the 1970s. Her photographs have appeared in many magazines, including Vogue, Vanity Fair, Elle, V Magazine and Glamour, and she has worked on numerous advertising campaigns. Pierre Bergé was Yves Saint Laurent’s partner and co-founder of Yves Saint Laurent Couture House.

145 illustrations 28.1 x 19.5cm 208pp • hardback ISBN 978 0 500 023037 September £24.95

Yves Saint Laurent Roxanne Lowit • Foreword by Pierre Bergé Yves Saint Laurent is a name synonymous with style, elegance and high fashion. When he came on the scene at Dior and then started his own house, he quickly changed the way people regarded haute couture and the world of fashion itself. He revolutionized women’s evening wear when he introduced Le Smoking, a woman’s tuxedo, and made couture accessible to a younger generation.

Yves Saint Laurent is Roxanne Lowit’s personal photographic history of Saint Laurent, the man and the fashion, from 1978, the year she first met him, to the last show he gave in 2002. With contributions from YSL’s muses and admirers, including Catherine Deneuve, Betty Catroux, Lucie de la Falaise, Pat Cleveland and Valerie Steele, this book represents the backstage experience at YSL’s shows as Lowit experienced them herself. Whether surrounded by beautiful models or peeking at the catwalk from the wings, every moment was a magnificent photo opportunity. Lowit shares magical moments of YSL with the world – intimate, social, absorbed in fashion – and creates a unique portrait of this towering figure of postwar couture.

‘As one of Yves Saint Laurent’s inner circle, photographer Roxanne Lowit had unrivalled access’ Sunday Times ‘Dazzling … Roxanne Lowit’s intimate images show the maître at work from 1978 up to his final show in 2002, and all the fabulousness that surrounded him’ Evening Standard

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FA SHION

The unseen student work of fashion’s biggest names, from John Galliano and Alexander McQueen, to Stella McCartney and Phoebe Philo Cally Blackman is a writer and lecturer on CSM’s Fashion History and Theory course. She is the author of 100 Years of Fashion, 100 Years of Fashion Illustration and 100 Years of Menswear. Hywel Davies is Programme Director of Fashion at Central Saint Martins, and author of Modern Menswear, 100 New Fashion Designers, British Fashion Designers and Fashion Designers’ Sketchbooks.

782 illustrations 30.0 x 22.0cm 272pp • paperback ISBN 978 0 500 293713 September £29.95

‘Central Saint Martins is the beating heart of London’s fashion industry’ Justine Picardie, Editor-in-chief of Harper’s Bazaar UK

Fashion Central Saint Martins Edited by Cally Blackman and Hywel Davies

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R IC HA R D QUINN

Would like to be buried underneath the print room at Central Saint Martins Own label What’s your strongest memory of your time at CSM? I look back with such fond memories, even when it was so stressful as I’m one of the lucky few to have had the chance to be a apart of the of the school. Even the day to day in the print studio was a pleasure with the print technicians Imogen, Rita and June. I learnt so much technically about printing from them and they were there with me in the thick of it.

I think in all there is so much support from everyone that I now consider friends, I would not be able to just choose one.

What are the three most important things you learnt in your time here?

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1. Get on with it.

2. Have a vision.

3. Have a fucking opinion.

What piece of advice, if any, would you give to aspiring or current fashion students?

Go for it, if you have a real passion and desire to create a vision then do it.

There’s nothing holding you back but yourself!

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Celebrating the most famous and influential fashion school in the world, Fashion Central Saint Martins is filled with never-before-seen student work by and exclusive interviews with talented graduates who have gone on to become the biggest names in fashion. Discover a treasure trove of early sketches, first student collections and fashion shoots by designers such as Hussein Chalayan, John Galliano, Stephen Jones, Dior’s Kim Jones, Christopher Kane, Stella McCartney, Alexander McQueen, Phoebe Philo, Gareth Pugh and Burberry’s Riccardo Tisci, journalists like Vogue’s Hamish Bowles and stylists such as LOVE magazine’s Katie Grand. Learn all about their defining memories of the fashion school, favourite characters, inspirational teachers, and words of wisdom on everything a budding fashion designer, or aspiring fashion student, needs to know to forge their own path.

Edited by the school’s Programme Director of Fashion, Hywel Davies, and Cally Blackman, lecturer in Fashion History and Theory, all royalties from the sales of Fashion Central Saint Martins will go towards the CSM Fashion Fund, which provides programme-wide support for students, equipment and facilities.

Packed with profiles of key alumni alongside photography of their student work, and peppered with essays by guest-writers, this book will delight all fans and students of fashion.

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FA SHION

The first comprehensive overview of Prada’s womenswear collections, from their 1988 debut to today, presented through original catwalk photography Susannah Frankel is editor-in-chief of Another magazine. Previously fashion director of Grazia magazine, she was fashion editor of the Independent from 1999 to 2012. She is the author of Visionaries – Interviews With Fashion Designers and has contributed to many books and exhibition catalogues, including Dries Van Noten 1–100, Stephen Jones: Souvenirs, Alexander McQueen: Savage Beauty and The House of Viktor & Rolf.

1,350 illustrations 27.7 x 19.0cm 632pp • hardback ISBN 978 0 500 022047 September £48.00

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‘My true point of view in fashion is to go against the clichés of beauty and sexy. It’s not dignified for women to have to be a doll to be beautiful, always the same – it is banal. I want to be more clever, or more difficult, or more complicated ... or more new’ Miuccia Prada

In the same series

Louis Vuitton Catwalk 978 0 500 519943 £48.00 Dior Catwalk 978 0 500 519349 £48.00 Chanel Catwalk 978 0 500 518366 £48.00 Yves Saint Laurent Catwalk 978 0 500 022399 £48.00

Prada Catwalk The Complete Collections Susannah Frankel Founded as a luxury leather goods house in 1913 in Milan, Prada entered the field of fashion when Miuccia Prada took the helm of the family company in 1979. After initially focusing exclusively on accessories, she presented the house’s first fashion collection in 1988. She would soon transform Prada into one of the world’s most influential luxury brands with a deeply personal, sophisticated and subtly subversive approach.

Published in collaboration with Prada to celebrate over thirty years of trend-setting creations, and written by one of fashion’s most respected writers, Susannah Frankel, this definitive publication opens with a concise history of the house, followed by a brief biographical profile of Miuccia Prada, before exploring the collections themselves, organized chronologically. Each collection is introduced by a short text unveiling its influences and highlights, and illustrated with carefully curated catwalk images that showcase hundreds of spectacular clothes, details, accessories, beauty looks and set designs – and, of course, the top fashion models who wore them on the runway, from Naomi Campbell and Gisele to Kate Moss and Kaia Gerber. A rich reference section, including an extensive index, concludes the book.

FA SHION

Compact edition

An in-depth celebration of the finest producers of men’s sartorial style in the world’s most elegant country Hugo Jacomet is a columnist, screen writer, artistic director and film producer best known for his online men’s style magazine, Parisian Gentleman. His work has been featured in international magazines and periodicals, including The Financial Times (UK), GQ (France and Russia), Pen magazine (Japan) and The Rake (Singapore). Lyle Roblin is a Canadian-born freelance photographer who lives in Milan. His work focuses on tailoring, artisanal craftsmanship, architecture and industrial archaeology.

Over 400 illustrations 25.9 x 20.6cm 304pp • hardback ISBN 978 0 500 022863 September £29.95

The Italian Gentleman Hugo Jacomet • Photographs by Lyle Roblin

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Gaetano Aloisio’s atelier in the prestigious and historic Villa Malta in central Rome. In the workshop, cutters and tailors work under the maestro’s supervision. Aloisio also offers luxurious exotic skin casual jackets in its boutique on via Francesco Crispi, a few steps from the main atelier.

OPPOSITE

ABOVE Maestro Aloisio working on a pattern at his cutting table.

GAETANO ALOISIO

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London may have Savile Row and Paris its luxury houses, but nowhere can compete with the essence of Italy’s nonchalant style: sprezzatura. This book presents an indispensable overview of the designers, tailors and artisans who for generations have defined the essence of Italian menswear. From such fabled names as Rubinacci and Kiton to highly sought-after global brands like Zegna, more than fifty iconic Italian houses are featured for their signature pieces and commitment to upholding the values of quality and timelessness.

Featuring lavish photographs, with close-ups of subtle, exquisite details, most taken specially for this book, The Italian Gentleman explores the world behind the finished garments – the ateliers and hidden shops where legends are born. Including iconic brands alongside fabric mills, shirtmaking, accessories and shoemaking, this rich publication is a tribute to true Italian style for today’s modern man.

‘A biblical ode to the most well-tailored country in the Western world’ ShortList ABOVE Bontoni shoes are painted by hand, using in-house colours and traditional brushes.

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SHOEMAKERS

A Derby and an Adelaide Oxford by Bontoni.

The depth and nuances of the colours are the house’s signature.

OPPOSITE

FA SHION

A history of the world’s oldest and most prestigious tailor, told through its most famous clients: icons of aristocracy, politics and the arts

James Sherwood is a London-based style journalist who writes regularly for the Financial Times and the International Herald Tribune, and has been described as ‘the guardian of Savile Row’ by The Rake magazine. He is the author of Savile Row, Fashion at Royal Ascot, James Sherwood’s Discriminating Guide to London and Jewelry for Gentlemen, all published by Thames & Hudson.

150 illustrations 25.9 x 20.6cm 256pp • hardback ISBN 978 0 500 021958 September £35.00

Henry Poole & Co. The First Tailor of Savile Row James Sherwood In the gilded age of emperors, maharajas, courtesans and kings, Henry Poole & Co. dressed them all. For well over two centuries, Savile Row’s founding father was the Mecca for men and women who made history. Presidents, prime ministers, generals and Russian Grand Dukes recognized Poole’s as the apex of elegance. The firm has endured wars, revolutions and financial crises to emerge as the tailor for the tech giants and hedge-fund billionaires who rule the world in the 21st century.

Henry Poole & Co. celebrates the great names of Poole’s history and tells the story of this exceptional British tailoring firm, still owned by the founding family. This fascinating account distills James Sherwood’s research into sixty iconic customers, men and women. Each client is profiled with details of their signature garment and connection to Poole. From artists and writers, such as Bram Stoker and Wilkie Collins, to financiers J. P. Morgan and Baron Ferdinand de Rothschild, this book offers a unique window into an establishment at the very heart of 19th- and 20th-century public life.

Illustrated with historic portraits and evocative photography of the premises as they are today, this intimate glimpse into the private lives of some of history’s most influential figures is essential reading for anyone interested Savile Row, the relationship between power and being well-dressed, and the evolution of style.

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PRIME MINISTER WINSTON CHURCHILL

PAT R O N A G E

1906-1965

£1587 (£80,401 today), a minimum considering four of Churchill’s ledger pages are water damaged and illegible.

T O TA L S P E N D

Grey chalk stripe single-breasted Fox Flannel grey suit seen in the infamous Tommy Gun portrait of Churchill as Prime Minister.

S I G N AT U R E G A R M E N T

Churchill’s father Lord Randolph and mother Lady Randolph Churchill both held accounts with Henry Poole & Co as did his first cousin the 9th Duke of Marlborough, his wife Consuelo Vanderbilt Balsan and the 9th Duke’s sons the future 10th Duke and Lord Ivor Spencer Churchill.

CONNECTIONS

W

inston Churchill (1847-1965) was Britain’s greatest 20th Century Prime Minister.

He served twice, first from 1940 to 1945 when his fortitude, eloquent speech making and iron resolve never to surrender to Hitler’s Nazi regime steered Britain to victory in World War II. He returned to power between 1951 and 1955 when he had the distinction of being HM Queen Elizabeth II’s first Prime Minister though his health was ailing and his party hostile. Churchill remains one of the most famous British men in the world and he has the distinction of being the first person in history to be made an honorary citizen of the USA. Churchill’s father, Lord Randolph, was the third son of the 7th Duke of Marlborough.

He was a charismatic Tory politician and a controversial figure in London high society for his questionable conduct towards his erstwhile friend the Prince of Wales. He was also a Poole’s man. Churchill’s mother was an American beauty christened Jennie Jerome who also held an account with Poole’s. Neither parent was particularly attentive to young Winston over and above giving him an allowance that was insufficient thus forcing the young soldier who served in British India, the Sudan and in the Second Boer War in Africa to work as a war correspondent to supplement his income.

In his early career as a Tory politician, Winston Churchill was a contentious figure unpopular with the leadership who questioned his judgement when he opposed Indian Home Rule and supported King Edward VIII during the Abdication Crisis. As Minister for War during World War I, Churchill had authorised the attack in Gallipoli that massacred Australian and British troops. The 1930s were known as Churchill’s ‘Wilderness Years’ not only for his support for the king’s marriage to twice divorced American Mrs Ernest Simpson but also his isolated voice in the dark criticising Nazi Germany and urging Britain to arm itself in the face of an impending attack by Adolf Hitler. Churchill’s reputation had not recovered from the disastrous Gallipoli campaign and he was looked on as a bullish warmonger.

History proved Churchill correct and following the resignation of pro-appeasement

H E N R Y P O O L E ’ S G R E AT E S C U S T O M E R S

H

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P O PU L A R CU LT U R E

The genius behind Radiohead’s iconic artwork reveals in his own words and, for the first time, the creative process that has driven his career and earned him a cult reputation Stanley Donwood is an artist and writer who has collaborated with Radiohead since the release of their single ‘My Iron Lung’ in 1994. Having met frontman Thom Yorke at the University of Exeter, he has gone on to create all the band’s artwork to date. In addition to his work for Radiohead, Donwood maintains a website, ‘Slowly Downward’, of his stories and other writings, and has exhibited in London, Sydney, Los Angeles and elsewhere.

500 illustrations 24.0 x 20.5cm 384pp • hardback ISBN 978 0 500 021880 October £28.00

Stanley Donwood: There Will Be No Quiet Stanley Donwood • With a contribution by Thom Yorke

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House for the Devil, digital composition, year

Such a Pretty House, digital composition, year

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Work, painting series, year

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A restless and prolific figure, Stanley Donwood is widely regarded as one of the most important visual artists of his generation. His influential work for Radiohead spans many practices and aesthetics over a 23-year period, from music packaging to installations to print-making. Here, for the very first time, he reveals his personal notebooks, photographs, sketches and abandoned routes to iconic artworks.

Arranged chronologically, chapters are each dedicated to a major work – be it an album cover, promotional piece or a personal project – presented as an idiosyncratic case study, from speculative ideas and sketches right through to Photoshop experiments and finished pieces. Accompanying narratives by Donwood explain the inspirations and stories behind his creative process and what it is like to work with the band, told with his typical razor-sharp humour and generosity of spirit.

Featuring a treasury of archive material, this is the first deep dive into Donwood’s rich imagination. There Will Be No Quiet is essential reading, and viewing, for fans of Radiohead and anyone interested in the explosive mix of artistic accident, musical ingenuity and genuine originality.

P O PU L A R CU LT U R E

Revised edition

An updated edition of the book described

by Empire as ‘a great introduction to cinema’s long and varied tale’ Philip Kemp is a film historian, a regular contributor to Sight & Sound and Total Film, and teaches Film Journalism at the University of Leicester. Sir Christopher Frayling was Rector of the Royal College of Art, London, from 1996 to 2009, where he remains Professor Emeritus of Cultural History. He is the author of many books, including Ken Adam Designs the Movies and Sergio Leone, both published by Thames & Hudson.

Over 1,100 illustrations 24.5 x 17.2cm 576pp • flexibound ISBN 978 0 500 295274 October £24.95

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‘As you’d expect from Thames & Hudson, Cinema: The Whole Story combines high production values and a generous selection of colour stills … truly impressive, with much to offer for the novice and the jaded aficionado’ Sight & Sound

Cinema: The Whole Story Edited by Philip Kemp • Foreword by Sir Christopher Frayling Cinema: The Whole Story takes a close look at the key time periods, genres and key works in world cinema. It places the burgeoning world of cinema in the context of social and cultural developments that have taken place since its beginnings. Organized chronologically, the book traces the evolution of cinema, from the earliest days of film projection to the multiscreen cinemas and super-technology of today. Illustrated, in-depth text charts every genre of cinema, from the first silent films to the epic blockbusters, CGI graphics and groundbreaking effects of the 21st century. Cinema: The Whole Story is an indispensable book for all those who love watching and reading about films and who want to understand more about the world of cinema.

Also available

978 0 500 291481 £19.95

978 0 500 294468 £19.95

978 0 500 292280 £19.95

978 0 500 291108 £19.95

978 0 500 290453 £24.95

P O PU L A R CU LT U R E

Updated edition | New in paperback

Surveys Tarantino’s enthralling career at the heart of cult movie-making, from Reservoir Dogs to his latest film, Once Upon a Time in Hollywood Tom Shone was the film critic of the Sunday Times from 1994 until 1999. He is the author of four books, including Scorsese: A Retrospective and Woody Allen: A Retrospective, both published

by Thames & Hudson.

Over 250 illustrations 29.2 x 24.8cm 272pp • paperback ISBN 978 0 500 023174 October £24.95

‘Eloquent and acute’ Film Book of the Year, Herald

Tarantino A Retrospective Tom Shone Covers:

Reservoir Dogs (1992) • Pulp Fiction (1994) Jackie Brown (1997) • Kill Bill: Vol.1 (2003) Kill Bill: Vol. 2 (2004) • Death Proof (2007) Inglourious Basterds (2009) • Django Unchained (2012) • The Hateful Eight (2015) Once Upon a Time in Hollywood (2019)

Quentin Tarantino is one of the most influential and distinctive filmmakers at work in the world today. His films are so admired that nearly every one he makes becomes an instant cult classic. Here, Tom Shone presents in-depth commentaries on each of the ten films Tarantino has directed, from Reservoir Dogs to Once Upon a Time in Hollywood, as well as looking at his early life, acting career, and his indisputable talent for scriptwriting.

Illustrated with more than two hundred film stills and behind-the-scenes images, Tarantino: A Retrospective is a tribute to the auteur’s unique talent.

Also available

‘Shone’s analysis is most piercing … his prose has a beauty of its own, abounding in nonchalantly exquisite turns of phrase’ Observer, of Woody Allen

‘A glory to leaf through … excellent … Tom Shone, a film critic worth reading whatever aspect of the industry he talks about’ 978 0 500 517987 £29.95

978 0 500 517529 £29.95

Clive James, of Scorsese

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P O PU L A R CU LT U R E

The Big Idea A primer for the 21st century Innovative and informative, provocative and persuasive, The Big Idea series looks at the fundamental ideas that make such a big impact on our lives and our world today. The unique visual approach and intelligently layered text make complex concepts easy to understand and give you all the tools you need to join the debate.

So, the potential marginalizing effects of a vegan diet should not be downplayed, nor should the difficulty of trying to stick to the diet in the face of societal and social adversity. Social pressure is real, and the conditioning of our food preferences by experience, advertising and educators is immense.

A vegan diet also necessitates changes to our cooking habits. It can be difficult to locate a variety of prepared vegan foods, so many vegans find themselves cooking from scratch, especially if they want to avoid processed foods. For people with a love of and curiosity about food, this can mean exploring exciting new cuisines, but for others more time in the kitchen is a chore. Fortunately, many supermarkets are responding to the increasing number of people who are exploring a vegan lifestyle and are stocking their shelves accordingly.

B

A

B

These colourful and nutritious vegan meals, prepped and ready to go, feature the best of vegan eating: fresh, whole foods with lots of fruits and vegetables.

By contrast, @uglyvegan on Instagram shows that vegan food need not be colourful or fresh. It can be as fried, monotone and nutritionally questionable as any convenience or processed food.

One discomforting personal issue for a vegan is the impact of extra dietary fibre on the body’s digestive system. People who are not used to it may experience an uncomfortable amount of gas and bloating at first. However, once the body adjusts to digesting more fibre, the symptoms usually subside.

Yet, the challenges of veganism extend beyond individual inconvenience and nutrition.

A

the challenges of veganIsm 92

Dietary fibre is a carbohydrate that humans cannot digest.

It is found in large amounts in whole grains, produce and legumes.

Manure can be composted, or allowed to decompose, often with additional plant material before being sold as fertilizer.

TBI_Veganism_001_144_CC18_TdeL_Rod.indd 92-93

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Another practical consideration is fertilizer. Most farmers agree that the most effective ones come from manure. However, a strict vegan, who opposes the exploitation of animals by humans, would be against using manure, thus frustrating the production of vegan foodstuffs. If humans are not raising livestock, access to large amounts of manure will end.

the challenges of veganIsm

• Opinionated reference books: Each can be read as a narrative that explains the principles and concisely evaluates the arguments relevant to each subject.

• Quick-recognition text hierarchy: Paragraphs are prioritized using different font sizes – the larger the font size, the more fundamental the paragraph is to the understanding of the overall concept or general argument.

• Provocatively illustrated: Juxtaposes historical gems with the latest visual images.

• Milestones: An extended back cover flap folds out to reveal a timeline, providing an at-a-glance overview of the topic’s key concepts and events.

• Expert authors: High-quality narrative text provides a comprehensive introduction to, and concise analysis of, each subject.

• Top-ranking general editor: Matthew Taylor, Chief Executive of the RSA, ensures consistency of quality and approach and most apposite question formulation across the whole series.

19/02/2019 13:48

Already available

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Being a soldier, especially during war, is a leading cause of male mortality. Being born male has typically been among the first determinants of whether or not an individual is eligible to serve in a nation’s military, in combination with age and fitness. This reflects a decision made by political and military leaders. In the past few decades, some nations have opened military positions, including combat or front line service, to all citizens who are of age and sufficiently fit, without regard to gender.

There are several reasons related to power that mean men’s lives are shorter than those of women. For example, men kill men at notably higher rates via homicide and war; what could be a clearer indication of power than killing? For both causes, the vast majority of victims – and killers – are younger men, age between 15 and 39. In the USA, for example, 75 to 80% of homicide victims each year are men.

A

XLaudi ullam namustis eseque cus quid ma nonetur, ute quiam re volupta cuptaepro omnis sust quamus, eles et veni cone nis expelias solo di volor. re volupta cuptaepro omnis sust quamus, eles et veni cone nis expelias solo di volor eles et veni cone nis.

B

XLaudi ullam namustis eseque cus quid ma nonetur, ute quiam re volupta cuptaepro omnis sust quamus, eles et veni cone nis expelias solo di volor.

D

A

MascUlinE PowEr to HarM 57

Men who commit assault, rape and murder typically report high levels of adherence to the power aspects of masculinity and often do so in a rigid fashion that disallows or disavows other versions of masculinity and resists changes to the definition of masculinity.

Their willingness to be violent may be a way to avoid being dominated by another man (as women are), also signified by sexist comments and behaviours.

In addition, violence provides a method of gaining status or respect, by literally beating one’s opponents and thus moving up the dominance hierarchy and potentially proving oneself to be the alpha male.

Overpowering a partner to convince, or intimidate, them to have sex can also provide status because the man can then claim another sexual conquest and burnish his credential as promiscuous.

P O PU L A R CU LT U R E

An expertly crafted look at the arguments for and against universal adoption of a vegan diet and lifestyle

Should We All Be Vegan?

A Primer for the 21st Century Molly Watson As concern grows over the environmental costs and ethical implications of intensive factory farming, an increasing number of us are embracing diets and lifestyles free from animal products. Has the time now arrived for us all to reject the exploitation of animals completely and become vegan? Would adopting a wholly plant-based diet be beneficial for our health? How would a majority vegan population affect the global economy and the planet? Does it make any sense to go flexitarian or vegetarian? Molly Watson explores the history, rationale and impact of veganism on an individual, social and global level, and assesses the effects of a mass change in diet on our environment, the economy and our health.

Molly Watson is the editor-in-chief of Edible Communities, the flagship website for a network of more than 80 magazines dedicated to telling the stories of local, sustainable food systems around the USA and Canada.

She has written for The New York Times, the Washington Post and Elle, and is the author of two plant-centric cookbooks.

Over 150 illustrations 22.9 x 15.9cm 144pp • paperback ISBN 978 0 500 295038 September £12.95

A timely title in the Big Idea series that reveals the exceptional power and intrinsic vulnerability of manhood 63

Is Masculinity Toxic?

A primer for the 21st century Andrew Smiler In the wake of the #MeToo movement and the upsurge in men’s rights activism, traditional masculinity has become a topic of impassioned debate.

But what exactly do we mean by ‘masculinity’ and in what ways can it be said to be harmful? This lucid and exploratory volume evaluates modern masculinity’s capacity for good against its potential for destruction. It reviews evolving definitions of masculinity since the age of chivalry and examines our current expectations about men’s behaviours, roles and responsibilities.

It reveals societal pressure on men to act aggressively, suppress emotion and be in control, and the impact of being a ‘real man’ on self and others.

Andrew Smiler (PhD) has served as president of the Society for the Psychological Study of Men and Masculinities and MaleSurvivor.org, and is currently the editor of Online Publications for the Society for Research in Adolescence.

Dr Smiler is co-author, with Chris Kilmartin, of the bestselling introduction to men’s studies textbook The Masculine Self.

Over 150 illustrations 22.9 x 15.2cm 144pp • paperback ISBN 978 0 500 295021 September £12.95

DESIGN

The Graphic Art of Tattoo Lettering

The ultimate sketch-to-skin manual: a visually rich resource of the key styles and schools in contemporary tattoo lettering, by one of the world’s top tattoo artists

A Visual Guide to Contemporary Styles and Designs B.J. Betts and Nick Schonberger The Graphic Art of Tattoo Lettering is a visually led, comprehensive guide to designing and realizing hand-drawn letterforms in the most widely used contemporary tattoo styles: ‘Traditional’, ‘West Coast’, ‘Fancy Script’, ‘Calligraphic’ and ‘New School’. Each chapter offers an accessible overview of these key tattoo styles, including an account of their history, complexities and relevant sub-styles, as well as interviews with leading practitioners, galleries of exemplary artists’ work, sketches, sketchbooks, finished designs and detailed how-to-design guides to allow readers to understand each style.

But this is more than a step-by-step, technical handbook for professional and practising tattoo artists; as well as considering the components of typographic tattoos, it also offers an insight into how tattoo art intersects with other areas of graphic arts and design practice, including sign-making, furniture painting and scrimshaw.

Combining great book design with the inimitable expertise of a master tattoo artist, The Graphic Art of Tattoo Lettering is the ultimate guide for all with an interest or involvement in tattoo art, typography and calligraphy, and graphic design.

B.J. Betts is one of the most influential tattoo artists working today. Based in Delaware, USA, he has published a number of industry-standard guidebooks on tattoo lettering. Nick Schonberger has published his thinking about tattooing regularly since 2005. His output has appeared in the popular press and in book form (most recently TTT: Tattooing), as well as via academic venues such as the annual Popular Culture Association conference.

Over 350 illustrations 20.9 x 16.4cm 272pp • hardback ISBN 978 0 500 241530 September £19.95

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45

Traditional ~ Gallery

01

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03

01 ~ death before dishonor ~ s.b.

02 ~ nyc ~ s.b.

03 ~ hard luck ~ s.b.

02

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Calligraphic ~ Gallery

02

01

01 ~ abstract letterform tattoo ~ g.

02 ~ abstract letterform tattoo ~ g.

DESIGN

The first book of its kind – a definitive and beautifully designed survey of 70s, 80s and early 90s arcade videogame typography, published at the moment of the games’ resurgence

Toshi Omagari is a typeface designer at Monotype UK. He studied typography and typeface design at Musashino Art University in Tokyo. Arcade Game Typography is his first book. Kiyonori Muroga is the former editor-in-chief of the renowned Japanese design magazine IDEA. He now works as an editor, writer and curator on graphic design and typography.

300 illustrations 23.0 x 17.0cm 272pp • paperback ISBN 978 0 500 021743 August £19.95

Toshi Omagari • Foreword by Kiyonori Muroga

The design might not look particularly noteworthy, but in comparison with Taito’s Rastan which is done on a similar principle, you may see it is easy to get caught up in pursuit of originality and forget to make a typeface work in the first place.

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02 SANS BOLD

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COPYRIGHT INFO GOES HERE COPYRIGHT INFO GOES HERE COPYRIGHT INFO GOES HERE COPYRIGHT INFO GOES HERE

COPYRIGHT INFO GOES HERE COPYRIGHT INFO GOES HERE COPYRIGHT INFO GOES HERE COPYRIGHT INFO GOES HERE

ARK AREA

TA I T O J A P A N / 19 8 8

Simplistic geometric typeface with full of ideas and a lot of inconsistencies that could have worked with more polish.

Letters like L and O are very thin, and R 4 6 8 have no counter shape inside though the rest of the typeface disagree with them.

It was invited for an unexpected party

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The Art of Pixel Type

S E G A / 19 8 6

Fantasy Zone is a quintessential cute ’em up, rubbing shoulders with Twinbee and Parodius. It featured bidirectional scrolling like in Defender, and character progression through shopping. Sega continues their affection with outlined typefaces here, but this time reduces the letter size and gives ample letter spacing.

NASTAR

COPYRIGHT INFO GOES HERE COPYRIGHT INFO GOES HERE COPYRIGHT INFO GOES HERE COPYRIGHT INFO GOES HERE

COPYRIGHT INFO GOES HERE COPYRIGHT INFO GOES HERE COPYRIGHT INFO GOES HERE COPYRIGHT INFO GOES HERE

FANTASY ZONE

Arcade Game Typography

though, as it was designed for a fantasy beat ’em up where you play as a barbarian who looks like Arnold Schwarzenegger in Conan. Experimental decisions like this are just as interesting as traditional successes, if not more.

U P L / 19 8 8

UPL’s catalog is full of shoot ’em ups with varying degrees of typographic creativity.

This is a technically most impressive one that uses 3D effect to full advantage.

Take a look at S for example, there is no bottom counter but the middle stroke is

10 DECORATIVE

directly on top of the bottom. This would be impossible if the letterform was solid, but we can tell there are two strokes because of the embossing effect. The technique is rather overused in the numerals, and 6 and 8 are almost identical.

251

Arcade Game Typography presents a fascinating new world of lettering – the pixel typeface. Videogame designers of the 70s, 80s and 90s were challenged by the colour and resolution limitations: with letters having to exist in an 8x8 grid, artists found ways to create expressive and elegant character sets within a tiny canvas.

Arcade Game Typography presents a previously undocumented ‘outsider typography’ movement, accompanied by insightful commentary from author Toshi Omagari, and countless screenshots of the type in use.

Exhaustively researched and carefully curated, this book gathers eclectic typography from hit games such as Pac-Man, Marble Madness and R-Type, as well as lesser-known gems.

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DESIGN

T kenobu Igarashi Ta A to Z

A complete retrospective of one of Japan’s greatest designers Sakura Nomiyama is a Design Historian for the Cooper Hewitt, Smithsonian Design Museum.

She has worked as a freelance design researcher and curator, most recently contributing to the ‘Marcel Breuer’s Furniture’ exhibit at the National Museum of Modern Art, Tokyo. Haruki Mori is Design Director of Mori Design Inc, Tokyo.

Illustrated throughout 26.0 x 20.0cm 384pp • hardback ISBN 978 0 500 023068 November £45.00

A Volume production

‘Takenobu Igarashi is a master-mentor who taught me the ABCs of form (and life)’

Sakura Nomiyama Haruki Mori

John Maeda

Takenobu Igarashi: A to Z Sakura Nomiyama and Haruki Mori

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In the mid-1970s designer Takenobu Igarashi began a prolific, decade-long exploration into possibilities of three-dimensional typography. His first experiments with axonometric lettering appeared on magazine covers, posters, and record sleeves – taking influence from the avant-garde typography of the 1920s but rendered afresh as bold sculptural letterforms. Timeless, arresting, and technically dazzling, Igarashi’s experiments demonstrate a mastery of three-dimensional type and perspective draftsmanship, refined long before the introduction of computers into the design industry.

A to Z offers an exhaustive guide to Igarashi’s experiments with typography, featuring not only his celebrated print and physical works – many photographed specially for this publication – but also a first look, using never before seen archival work, at the plans, drawings and production drafts behind his iconic works. Spanning early print works, hand-drawn experiments, selfinitiated sculptural pieces, and high-profile 3D identities for a range of international clients and institutions, A to Z is a long overdue overview of one of the most revered but least celebrated graphic designers of the 20th century.

DESIGN

The ultimate visual encyclopaedia of type, featuring more than 1,500 typefaces Peter Dawson co-founded his design practice, Grade, in 2000. He is a fellow and a former chair and board member of the International Society of Typographic Designers, and has also acted as a visiting typography lecturer at a number of universities. He is the author of The Field Guide to Typography, also published by Thames & Hudson. Tobias Frere-Jones is the creator of some of the world’s most widely used typefaces.

In 2013 he received the AIGA Medal in recognition of exceptional achievements in the field of design.

Over 2,000 illustrations 22.5 x 21.6cm 672pp • hardback ISBN 978 0 500 241547 November £35.00

Type Directory

Berthold Akzidenz Grotesk

Often referred to as the ‘original’ sans serif Akzidenz-Grotesk’s clean lines and forms can mean its often mistaken for Helvetica (p.000) or Univers (p.000). However, Akzidenz-Grotesk dates to a period of design much further back than the aforementioned 1950s typefaces. Its subtle varying stroke weights, more circular counters and bowls gives it a warmer and slightly softer appearance over its rivals.

The original design for Akzidenz-Grotesk is believed to date back to the 1880s where it was understood to have been developed from Walbaum/Didot types with the serifs removed.

With their serifs removed the proportions are similar to be developed into a san serif font resembling Akzidenz-Grotesk.

As the years passed Akzidenz-Grotesk became a collection of differing grotesque types carrying the same name until the 1950s, when Art Director for renowned German type foundry Berthold, Günter Gerhard Lange, revised and improved upon the existing arrangment of designs to the version of Akzidenz-Grotesk that we know and see today.

His efforts in increasing legibility and flexibility with a variety of weights led Akzidenz-Grotesk to become one of the most widely used and successful typefaces in the world today as well as an instant classic.

Peter Dawson • Foreword by Tobias Frere-Jones

Name: Akzidenz-Grotesk Foundry: H. Berthold AG Designer: Günter Gerhard Lange Country of Origin: Germany Date: 1958 Below left. The School of Life special events poster designed

by Tako Chabukiani.

Below. Fikkefuchs movie poster

by Johannes Stoll employing Akzidenz-Grotesk and its condensed variant.

194 | Sans Serif > Grotesque

Above. The Contemporary Theatre Collection is a growing series created by the publishing house Javali with the goal of publishing affordable paperbacks that celebrates contemporary authors. Design: Vitor Carvalho and Amanda Goveia.

Above. Identity for Film and TV production company Peer Pressure by Bite Design, Ireland.

Below. Part of series of posters, entitled Swissted, an ongoing project by US graphic designer Mike Joyce. Each poster is designed around lowercase Berthold Akzidenz-Grotesk medium and the designer’s love of punk rock and Swiss Modernism.

Sans Serif > Grotesque | 195

GT Sectra

Originally created for use in the publication Reportagen, a global events journal, GT Sectra combines ‘the calligraphic influence of the broad nib pen with the sharpness of the scalpel knife’.

Reportagen was designed by Zürich-based studio Moiré, and they required a typeface that was flexible and extensive in weights following investment in their start-up journal. At first the magazine used Times Bold for headlines and a typewriter typeface for texts but once funding was achieved a typeface was commissioned that worked with the many heirarchies and sizes being employed in the magazine which was nearly all typographic. As such this sole use of text throughout was also at the core of the magazine’s visual identity from the cover through to the articles within.

The first beta-version, designed by Grilli Type foundry in Switzerland, had the sharpness of its

design strongly influenced by blackletter forms.

Their influence can be seen reflected in the typeface’s ‘edgy’ appearance and distinctive cut calligraphic forms, which led to its naming, Sectra, derived from the Latin for cutting secare.

Following many iterations since its inception in 2011, Moiré joined forces with Noël Leu from Grilli Type to further refine and develop the concept behind Sectra with the typeface being improved upon with every issue of Reportagen. Initially the letterforms possessed a softer and more traditional feel but over time curves were replaced by cuts, resulting in simpler, more straightforward shapes and forcing the design into having a sharper and more defined presentation, with a high legibility factor and unique visual character with its strong angular lines. The family contains 15 weights divided into 3 subfamiles.

Foundry: Grilli Type Designer: Noël Leu (Grilli Type), Marc Kappeler (Moiré), Dominik Huber (Moiré) Nationality: Switzerland Date: 2014 Below. Text.

Above. Text.

Left. Text

22 | Serif > Calligraphic

Serif > Calligraphic | 23

Wherever we go and whatever we do, the printed word plays a part in every aspect of our day-to-day lives. Behind all the messages we see, read, and absorb, the design and choice of typeface dictate the tone, context and immediacy of these words. From advertising and news headlines to book jackets or wayfinding at an airport, choosing the most appropriate typeface is not an easy task, nor one based on aesthetic alone.

With such a diverse and inspiring range of types now on offer, Type Directory separates and identifies these forms to provide a comprehensive selection of available typefaces. 1,500 typefaces are organized by category – Serif, Sans Serif, Display, Script and Symbols & Dingbats – and subsequently arranged by recognized sub-categories. This allows the reader to make a direct comparison of typefaces with a similar appearance, thus facilitating a deeper understanding of the design and selection process. A visual celebration of the craft, innovation and beauty of these letterforms is presented throughout, from classic typefaces like Garamond, Bodoni and Times through to the contemporary Bliss, Gotham and Meta.

The ultimate visual encyclopedia, Type Directory is an essential creative tool for novices and aficionados alike. This sumptuous sourcebook will inform, educate, inspire and stimulate as a must-have reference title.

67

DESIGN

New in paperback

A manifesto for a revolution in material innovation Kate Franklin and Caroline Till are the founders of FranklinTill Studio, a multidisciplinary design and research and trend-forecasting consultancy in London.

280 illustrations 25.5 x 21.0 cm 256pp • paperback ISBN 978 0 500 295397 July £24.95

Radical Matter Rethinking Materials for a Sustainable Future Kate Franklin and Caroline Till 68

‘Important … an optimistic alternative vision of the future’ Aesthetica ‘A new vision of the future of materials, design processes and manufacturing practices’ Computer Arts

‘An interesting introduction to alternative methods and materials that could replace unsustainable practices in the future’ Creative Review

Guaranteed to inform and inspire in equal measure, this book celebrates the designer and maker as an agent for radical change, disrupting the way we design, make and consume through material innovation. Framed by eight ‘Big Ideas’, with over sixty fully illustrated case studies featuring testimonies from global industry experts, this is an essential introduction to the cutting edge of design for a sustainable future. Fit for designers at any level, this is nose-to-tail eating for the design world – a vital resource for those looking to understand how to connect materials with manufacturing and the means of distribution and consumption.

DESIGN

New in B-format paperback

‘Highly readable and informative … a seminal work for those following the patterns of aid and trade and technological development today’ Financial Times

Victor Papanek was a highly distinguished designer, educator, lecturer and writer, widely acknowledged for his visionary ideas on design theory. He was J. L. Constant Distinguished Professor at the School of Architecture and Urban Design at the University of Kansas at the time of his death in 1998.

127 illustrations 19.8 x 12.9cm 416pp • paperback ISBN 978 0 500 295335 July £14.99

‘Wonderfully alive, and full of examples to instruct, amuse and horrify’ New Scientist

HOW IT IS

Design for the Real World

SNAKE OIL AND THALIDOMIDE

Victor Papanek

The conventional and a new way for carrying groceries.

Developed by the author for pregnant women.

138

238

people have not been forthcoming.

Highly specialized work often calls for highly specialized equipment. As a case history, at Cal Arts we discovered that dancers and dance students could relax their legs more efficiently by elevating them as much as possible. No seating unit (with the partial exception of the ill - fated Barwa Lounger of 1939) exists for this function. By making dancers and dance students (the client group) part of the design team, a graduating student, Douglas Shoeffler, developed a relaxing chair that does the job. In the first picture (see page 139) it is shown in a normal seating position. In this mode it can also be used like a rocking - chair. In the second illustration it is in a “high - speed relaxation” mode. Just by putting one’s arms behind one’s head, one tilts the chair to the second position.

Many of these chairs have been built and sold to professional dancers or students at cost. It also helps relax the tired legs of waitresses, nurses, and so forth. (Do - it - yourself diagrams, instructions, drawings, and a materials list for building the High - Speed Relaxation Chair are given on pp. 32–33 of the author’s Nomadic Furniture.)

One of the most dangerous vehicles in the United States is the school bus. It is unsafe, giving insufficient protection to children and driver. The excellent German buses that exist for this purpose are not bought, and American transportation firms are unwilling to build a better vehicle, since local school boards have to operate on low budgets. Hence thirty-year-old deathtraps rattle down the twisting mountain roads of North Carolina, where a local law permits them to be driven by fifteen-year-olds.

HOW IT COULD BE

DESIGN RESPONSIBILITY

pushed easily uphill through the use of a “gear - pod” (which can be reversed for different ratios, or removed entirely).

The vehicle will also carry stretchers and, because it has a bicycle seat, can be ridden. Several of these vehicles plug into each other to form a short train (see photograph and sketches).

When students suggested the use of old bicycles or bicycle parts, they regretfully were told that old bicycles also make good transportation devices and that parts are always needed for replacement or repair. (The students may have been influenced somewhat negatively by the fact that a design student won first prize in the Alcoa Design Award Program by designing a power source, intended for Third World use, made of brand - new aluminum bicycle parts.)

Consequently we designed a new luggage carrier for the millions of old bicycles all over the world. It is simple and can be constructed in any village. It will carry more payload. But it will also fold down in thirty seconds (see page 240) and then can be used in its other capacity for generating electricity, irrigation, felling trees, running a lathe, digging wells, and pumping for oil. Afterward the bicycle can be folded up again and returned to its primary function as a transportation device.

Except that it now has a better luggage carrier.

A Swedish student built a full- size sketch model of a vehicle that is powered by the arm muscles and can go uphill. This in turn led us at Purdue University to design an entire generation of muscle- powered vehicles that are specifically designed to provide remedial exercise for children and adults with disabilities (see photograph on page 241).

2. Design of Teaching and Training Devices for the Disabled: Cerebral palsy, poliomyelitis, myasthenia gravis, and many other

139

A “high-speed” relaxation chair, specifically designed for dancers.

By Douglas Schoeffler, as a student at California Institute of the Arts.

These drawings show that the muscle - powered vehicle can be plugged together into a short train. It also comes apart, and the geared power pod is reversible so that the vehicle can be pushed uphill under heavy loads.

It can also carry stretchers or, with the power pod removed, be used like a wheelbarrow. Designed under the author’s direction by a student team in Sweden, it could be used in underdeveloped areas to propel heavy loads, similar to the loads pushed on bicycles along the Ho Chi Minh Trail in North Vietnam. Photos by Reijo Rüster. Courtesy: Form magazine.

239

Design for the Real World has been translated into over twenty languages since it first appeared in 1971; it has become the world’s most widely read book on design and is an essential text in many design and architectural schools. This edition offers a blueprint for survival in the third millennium.

Victor Papanek’s lively and instructive guide shows how design can reduce pollution, overcrowding, starvation, obsolescence and other modern ills. He leads us away from ‘fetish objects for a wasteful society’ towards a new age of morally and environmentally responsible design.

69

GENERAL HISTORY

A quirky yet hugely informative global guide to the magnificently designed and engineered structures that lie deep underground Stephen Halliday is a specialist in industrial history and the author of a number of books, including Water: A Turbulent History, Amazing and Extraordinary London Underground Facts and The Great Stink: Sir Joseph Bazalgette and the Cleansing of the Victorian Metropolis. He regularly lectures at Cambridge University and presented, with Michael Buerk, the TV programme ‘What the Victorians Did for Us’. Sir Peter Bazalgette is the great-great-grandson of Victorian civil engineer Sir Joseph Bazalgette.

c. 550 illustrations 24.0 x 17.0cm 256pp • hardback ISBN 978 0 500 252352 October £19.95

An Underground Guide to Sewers Stephen Halliday • Foreword by Sir Peter Bazalgette

FIG. 43

70

1865 L’ÉGOUT RIVOLI — PARIS, FRANCE. PARISIAN PHOTOGRAPHER NADAR USED ELECTRIC LIGHTING TO CAPTURE AS NEVER BEFORE. THE CAVERNOUS DEPTHS OF THE CITY’S SEWERS OF PARIS.

or: Down, Through and Out in Paris, London, New York, &c.

02772_Underground_Guide_Sewers_repro.indd 88-89

FIG. 39

14/03/2019 12:24

1865 L’ÉGOUT RIVOLI — PARIS, FRANCE. PARISIAN PHOTOGRAPHER NADAR USED ELECTRIC LIGHTING TO CAPTURE AS NEVER BEFORE. THE CAVERNOUS DEPTHS OF THE CITY’S SEWERS OF PARIS.

02772_Underground_Guide_Sewers_repro.indd 126-127

14/03/2019 12:26

This execrable exploration traces the evolution of waste management from the ingenious infrastructures of the ancient world to the seeping cesspits and festering open sewers of the medieval period. It investigates and celebrates the work of the civil engineers whose pioneering integrated sewer systems brought to a close the devastating cholera epidemics of the mid-19th century and continue to serve a vastly increased population today. And it evaluates the challenges posed to our sewer systems today by everything from extreme weather to giant fatbergs choking the underground arteries of our great cities.

Entertaining narrative, detailed archival plans, maps and atmospheric photographs guide the reader through these subterranean labyrinths. Nadar’s early photographs reveal the beauty of Eugène Belgrand’s glorious subterranean galleries constructed directly beneath each of the main streets of Paris. Joseph Bazalgette’s drawings for a combined sewer system for London, together with photographs of its construction and of the cathedral-like pumping stations, highlight the enormity of his engineering feat. Analysis of sewer systems constructed throughout Europe, Australia and America from the mid-19th century to today pinpoints an array of specific local problems encountered and overcome. Finally, impressive new photography combined with text chronicles the bio-chemical transformations taking place in our modern cities and the building of the storm-surge infrastructures and the super sewers of tomorrow.

GENERAL HISTORY

New in B-format paperback

‘Pithy, admirable ... a most refreshing resumé’ The Times Literary Supplement

Andrew Robinson is the author of twenty-five books in the arts and sciences, nine of them on aspects of Indian history and culture. They include two definitive biographies: Satyajit Ray: The Inner Eye, described by V. S. Naipaul as ‘an extraordinarily good, detailed and selfless book’, and the coauthored Rabindranath Tagore: The Myriad-Minded Man. He holds degrees from Oxford University and the School of Oriental and African Studies, London, has been a Visiting Fellow of Wolfson College, Cambridge, and is currently a Fellow of the Royal Asiatic Society.

11 illustrations 19.8 x 12.9cm 224pp • paperback ISBN 978 0 500 295168 July £8.99

‘A fascinating guide to an emerging nation’ Good Book Guide

72

A Short History

‘Writing an accessible and coherent history of India is an ambitious task. Andrew Robinson meets the challenge successfully’ History Today ‘Impressively lucid … very good’

Asian Voice

Also available

978 0 500 292990 £9.99

India

978 0 500 294727 £9.99

Andrew Robinson India has had many histories. To pilgrims from ancient China, India was the birthplace of the Buddha; to Alexander the Great it was a land of clever naked philosophers and indomitable, elephantine armies. At the height of the Mughal empire, India boasted nearly a quarter of the world economy, and even under colonial rule it was the jewel in the crown of the British Empire. Today it is the resurgent home to one sixth of the global population.

Andrew Robinson incisively distills India’s many incarnations, from the remarkably advanced cities of the early Indus Valley to the world’s largest democracy. Anyone curious about its past, present or future will find this a fascinating introduction.

GENERAL HISTORY

A landmark publication celebrating the rich history and culture of Central Asia’s 1,500-year-old trade routes

Susan Whitfield is a scholar, traveller, lecturer and curator of the Silk Roads and her many books, articles and exhibitions have looked at its histories, arts and archaeology. During her time at the British Library curating the Central Asia manuscript collection from the explorations of M. Aurel Stein and others in the early 20th century, she developed and directed a project to make Silk Road artefacts freely available.

She has documented archaeological sites and museum collections worldwide.

650 illustrations 28.6 x 22.5cm 480pp • hardback ISBN 978 0 500 021576 October £49.95

Silk Roads Peoples, Cultures, Landscapes Edited by Susan Whitfield As world powers realign their cultural outlooks, there is no better time to consider how Eurasia’s complex network of ancient trade routes – spanning high mountain ranges, open river plains and vast deserts and seas – have fostered economic activity and cultural communication for centuries. From perfumes to spices, from religion to art, the trade and exchange of goods and ideas along the Silk Roads was crucial to the development of civilizations throughout the region, and the world.

This book is the first comprehensive illustrated publication of its kind. Edited by a leading authority on the subject, Silk Roads situates these ancient routes against the landscapes that defined them, to reveal the raw materials they produced, the means of travel employed to traverse them and the communities formed by them. With contributions from over 80 leading experts from around the world, each chapter explores the history of trade and cultures along the Silk Roads in the context of a particular terrain – steppe, mountains, deserts, rivers and seas – to reveal how integral the landscapes of the Silk Roads have been in defining the resources, travel and communities of those who lived and traded along these routes. A wealth of photographs reveal the breathtaking landscapes of Central Asia, mostly unseen by those who haven’t travelled the routes.

The Silk Roads have never been of greater interest or importance than today.

This groundbreaking book honours the legacy of richly diverse cultures that advanced and flourished not in spite of their differences, but because of them.

73

GENERAL HISTORY

Charles Booth’s landmark survey of life in late-19th-century London, published for the first time in one volume

The London School of Economics holds the Charles Booth archive. Mary S. Morgan is Professor of the History of Economics in the London School of Economics. Iain Sinclair is a writer and filmmaker.

Much of his work is rooted in London, most recently within the influences of psychogeography.

1,000 illustrations 36.5 x 26.5cm 288pp • hardback ISBN 978 0 500 022290 October £49.95

‘A splendid – and necessary – publication … a great resource’ Iain Sinclair 48

notes on the eastern district.

49

notes on the eastern district.

Charles Booth’s London Poverty Maps The London School of Economics • Introduction by Mary S. Morgan Foreword by Iain Sinclair

A.

C.

50

C . T H E STAT E O F O F M I L E E N D R OA D.

D. T H E ST R E E T S S U R R O U N D I N G W E ST I N D I A D O C KS .

WALK WITH DISTRICT INSPECTOR OF POLICE MR CARTER.

WALK WITH INSPECTOR FITZGERALD.

WALK WITH DISTRICT INSPECTOR OF POLICE MR CARTER.

BOW AND BROMLEY, 31 MAY, 1897.

SOUTH HACKNEY AND HACKNEY, 26 JULY, 1897.

POPLAR AND LIMEHOUSE, 28 MAY, 1897.

B346/11.

B346/39.

B349/229.

B346/3.

sheet 51.

Covers shoreditCh, hoxton, hagerston and Bethnal green.

51 1 . E A S T E R N D I S T R I C T.

1 . E A S T E R N D I S T R I C T.

D.

B . P R O ST I T U T I O N I N E A ST I N D I A D O C K R OA D.

WALK WITH DISTRICT INSPECTOR OF POLICE MR CARTER. POPLAR AND LIMEHOUSE, 28 MAY, 1897.

1 . E A S T E R N D I S T R I C T.

1 . E A S T E R N D I S T R I C T.

B.

A . I M P R OV E M E N T S TOWA R D S B L AC K WA L L .

In the late 19th century, Charles Booth’s landmark social and economic survey found that 35% of Londoners were living in abject poverty. Between 1886 and 1903, Booth’s team of social investigators interviewed Londoners from all walks of life, recording their comments, together with their own unrestrained remarks and statistical information, in 450 notebooks. Their findings formed the basis of Booth’s colour-coded social mapping (from vicious and semi-criminal to wealthy) and his Inquiry into the Life and Labour of the People of London.

Organized into 12 geographical sections, Charles Booth’s London Poverty Maps presents the meticulously hand-coloured preparatory and final printed social mapping of London. Accompanying the colour-coded maps are selected reproductions of pages from the original notebooks, containing anecdotes related by Londoners of every trade, class, creed and nationality together with observations by Booth’s interviewers that reveal much about their social class and moral views. An introduction by Mary S. Morgan clarifies the aims and methodology of Booth’s survey, and six themed essays by experts in the field contextualize the survey’s findings, illustrated by evocative period photographs.

Completing the re-evaluation of Booth’s seminal social survey are newly rendered infographics presenting the raw statistics relating to living conditions, employment status and poverty levels for each geographical section of London.

75

GENERAL HISTORY

A unique interpretation of the most devastating conflict the world has ever seen

Jean Lopez is the Managing Editor of Guerres & Histoire (War and History) magazine. Nicolas Aubin is a World War II specialist who has contributed to a number of journals of military history. Vincent Bernard is a renowned specialist in military history.

Nicolas Guillerat was trained as a data designer and graphic artist. Jonathan Fenby CBE, has been the editor of the Observer and the South China Morning Post. He is the author of twenty books, nine on China and others on World War II and France.

Illustrated throughout 29.5 x 23.5cm 192pp • hardback ISBN 978 0 500 022924 August £29.95

World War II: Infographics Jean Lopez, Vincent Bernard, Nicolas Aubin and Nicolas Guillerat Foreword by Jonathan Fenby 76

World War II: Infographics tells the story of the great conflict through graphic design. The mass of data available about World War II has never been as large as it is now, yet it has become extraordinarily complicated to interpret it in a meaningful way, and to share that analysis with the public. Infographics allow data to be comprehensible to the general reader while still satisfying demands for the rigorous approach of a historian.

The result is breathtaking. For the first time, it is possible to easily connect the dots between various inter-related aspects of World War II that were previously examined separately. Encompassing the conflict from its roots to aftermath, this book covers more than sixty themes, including arms production, Operation Barbarossa, how America took back the Pacific, and the Nazi concentration-camp system. The result is an extraordinary new approach to World War II, which is sure to appeal to those looking for an overview of the war and to history buffs alike.

16

17 The inter-war period was the darkest point in the history of European democracy. After a century of victories, it was under attack from authoritarian, military and totalitarian regimes. Democracy’s downfall started in Hungary in 1920, followed by regime changes in Italy, Poland, Lithuania, Portugal and Yugoslavia. After 1930, the global economic crisis weakened and disorientated the middle classes, leading to a second wave of right wing extremism in which national resentments and the radicalization of disaffected minorities also played a major role. Everywhere the emergence of openly anti-democratic parties went hand in hand with the growth of ideologies and values that challenged those that had held sway until 1914: the cult of personality, militarism, aggressive nationalism, veneration of the all-powerful state, anti-individualism.

The creation and apparent success of new types of state such

THE FALL OF DEMOCRACY IN EUROPE

THE RISE OF THE FAR RIGHT

EUROPE'S ‘THIRD WORLD’ 1936

DemocraticDemocratic government Democratic government Authoritarian government Authoritarian and/orAuthoritarian and/or and/or totalitariantotalitarian governments totalitarian governments governments = 1 year = 1 year = 1 year

1920

UK

UK

as the USSR, Fascist Italy and Nazi Germany encouraged the widespread rise of these ‘anti-establishment’ parties. Verbal and physical political violence became commonplace, an increasing number of anti-Semitic laws were passed, and wild territorial claims were staked, usually in military terms. Dollfuss, Erzberger, Rathenau, Matteotti, Pieracki, Alexander of Yugoslavia, Granjo, Duca and Stamboliyski were just a few of the hundreds of political figures that were assassinated. Around 1920, twenty-four European governments could be considered democratic. If the USSR and, for other reasons, the micro-states are left out of the picture, only Albania and Hungary did not have free elections. By 1938 the number of democracies had been reduced to eleven: Czechoslovakia, Finland, Belgium, France, the United Kingdom, Ireland, the Netherlands, Norway, Sweden, Denmark and Switzerland.

CARTE POLITIQUE DE L’EUROPE EN 1938

Countries in which over 40% of the population were dependent on agriculture and over a quarter of adults were illiterate.

The abandonment of Czechoslovakia by the two major western democracies in the 1938 Munich Agreement was seen by all European democrats as a terrible betrayal, unforgivable in the context of this retreat into the past. Nonetheless, France and Britain could justifiably claim to be on the side of democracy when the war broke out in September 1939. Their enemy, Germany, was a totalitarian regime, backed by two other equally totalitarian states, Italy and the Soviet Union. Caught between the three, the countries of Central and Eastern Europe and the Balkans all gave up elections and a free press, the rule of law and equality of all their citizens. And the worst was yet to come. Six of the democracies surviving in 1938 succumbed in their turn in 1942. It was the ‘midnight of the century’.

TERRITORIAL CLAIMS

EUROPE'S NAZI & FASCIST PARTIES

Parliamentary Parliamentary democracies Parliamentary democracies democracies

PNF / Italy PNF//1919 PNF Italy // Italy 1919/ 1919

TerritoriesTerritories under democratic Territories under democratic under controldemocratic control control

1925 1920 1920 1930 1925 1925 1935 1930 1930 1935 1935

N regime N Communist Communist totalitarian Communist totalitarian regimetotalitarian regime

UK

National Fascist NationalParty National Fascist Party Fascist Party

N

NSDAPNSDAP / Germany NSDAP / Germany / 1920 / Germany / 1920 / 1920

National Socialist NationalNational German SocialistSocialist Workers’ GermanGerman Workers’ Party Workers’ Party Party

Nazi totalitarian Nazi totalitarian regime Nazi totalitarian regime regime Fascist totalitarian Fascist totalitarian Fascist regime totalitarian regime regime W W WE

France France France

E

SP-NSSP-NS / Slovakia SP-NS / Slovakia / 1923 / Slovakia / 1923 / 1923

E

SlovakianSlovakian Solidarity Slovakian Solidarity Solidarity

Authoritarian Authoritarian regimes Authoritarian regimesregimes

Belgium BelgiumBelgium

Civil war Civil warCivil war

S

S

Garda de Garda FierGarda de / Romania Fierde/ Romania Fier / 1927 / Romania / 1927 / 1927

S

Iron Guard Iron Guard Iron Guard

Luxembourg Luxembourg Luxembourg Netherlands Netherlands Netherlands Switzerland Switzerland Switzerland Czecho- Czecho- Czechoslovakia slovakia slovakia

DenmarkDenmark Denmark Sweden SwedenSweden Norway NorwayNorway Finland Finland Finland

% 38

% 38

% 38

9

7

8

8

8

9

9

NF / Switzerland NF / Switzerland NF / /Switzerland 1930 / 1930 / 1930 National Front NationalNational Front Front

NSB / Netherlands NSB /NSB Netherlands / Netherlands / 1931 / 1931 / 1931 National Socialist NationalNational Movement SocialistSocialist Movement Movement

BUF / United BUF / BUF United Kingdom / United Kingdom / 1932 Kingdom / 1932 / 1932 British Union British of Fascists Union BritishofUnion Fascists of Fascists

FE de las FE JONS de FE lasde /JONS Spain las JONS //Spain 1933/ Spain / 1933 / 1933 Spanish Falange SpanishSpanish FalangeFalange

NS / Norway NS / Norway NS / 1933 / Norway / 1933 / 1933 National Union NationalNational Union Union

NSPA /NSPA Sweden NSPA / Sweden / 1933 / Sweden / 1933 / 1933

Kingdom Kingdom Kingdom

2

2

1

Latvia Latvia 1934 1934

1 3

3

3

Yugoslavia Yugoslavia Yugoslavia 1929 1929 1929

FranceFranceFrance 5

ANTI-SEMITIC LEGISLATION

Portugal PortugalPortugal 1926 1926 1926

GermanyGermany Poland GermanyPoland Poland 1935 1935 1936 19351936 1936 Hungary HungaryHungary Romania 1920 1920 1920RomaniaRomania 1938 1938 1938

Italy 1924

Italy 1938

Italy 1938

Turkey Turkey Turkey 1938 1938 1938

Bulgaria BulgariaBulgaria 1923 1923 1923 Hungary HungaryHungary 1919 1919 1919

Hungary Hungary Hungary

opposed to the central government

Romania Romania Romania

National Radical NationalCamp National Radical Radical Camp Camp

Spain SpainSpain

6

6

REX / Belgium REX / REX Belgium / 1935 / Belgium / 1935 / 1935 Rexist Party Rexist Party Rexist Party

PPF / France PPF / France PPF / 1936 / France / 1936 / 1936

6

French Popular FrenchParty Popular French Popular Party Party

RatniksRatniks / Bulgaria Ratniks / Bulgaria / 1936 / Bulgaria / 1936 / 1936 Warriors Warriors for the Advancement Warriors for the Advancement for the Advancement of the Bulgarian of the Bulgarian National of the Bulgarian Spirit NationalNational Spirit Spirit

Turkey TurkeyTurkey

GreeceGreece Greece

NP-HMNP-HM / Hungary NP-HM / Hungary / 1939 / Hungary / 1939 / 1939 Arrow Party Cross ArrowParty Cross Party 5 countries 5 countries 5 countriesArrow Cross 18 % 18 % 18 %

USSR USSR 1917 1917

Albania AlbaniaAlbania

SOURCES: 1• Dudley Kirk, Europe’s Population in the Interwar Years, Gordon & Breach, 1969.

2• Giovanni Capoccia, Defending Democracy : Reactions to Extremism in Interwar Europe, Johns Hopkins University Press, 2005

6 countries 6 countries 6 countries 21% 21% 21%

Turkey Turkey Turkey

ONR / Poland ONR /ONR Poland / 1934 / Poland / 1934 / 1934

Bulgaria Bulgaria Bulgaria

Portugal

Italy 1938

5

5 countries 5 countries 5 countries 18% 18% 18%

Yugoslavia Yugoslavia Yugoslavia

Portugal

Poland Poland Poland 1926 1926 1926

5

Perkonkrusts Perkonkrusts Perkonkrusts / Latvia/ /Latvia 1933/ Latvia / 1933 / 1933 Thundercross Thundercross Thundercross

VNV /VNV Belgium / 1933 / Belgium / 1933 / 1933 21 countries 21 countries 21 countriesVNV / Belgium Flemish National Flemish Union Flemish NationalNational Union Union 75% 75% 75% Francisme Francisme / France Francisme / France / 1933 / France / 1933 / 1933 POWERFUL NATIONAL MINORITIES Francist Movement FrancistFrancist Movement Movement

Czechoslovakia Czechoslovakia Czechoslovakia

Italy Italy Italy

Portugal

LithuaniaLithuania Lithuania 1926 1926 1926

National Socialist NationalNational Workers’ SocialistSocialist Workers’ Party Workers’ Party Party

PolandPoland Poland

2 Third Reich Third Reich Third Reich 1

Germany (1933) Germany (1933) Germany (1933) Austria (1934)Austria (1934) Austria (1934)

USSR 1917

7

IrelandIreland IrelandUnited UnitedUnited

Estonia EstoniaEstonia 1934 1934 1934

Italy 1924

7

MAJOR FASCIST AND COMMUNIST PARTIES

Soviet Soviet UnionSoviet UnionUnion

Greece GreeceGreece 1936 1936 1936

Italy 1924

Union of War Union of of Independence Union War ofofIndependence War of Participants Independence Participants Participants

Sweden Sweden Sweden

%

%

%

Spain Spain 1938 1938

Ustache Ustache / Croatia Ustache / Croatia / 1929 / Croatia / 1929 / 1929 7 countries 7 countries 7 countriesRevolutionary Revolutionary Movement Revolutionary Movement Movement 25% 25% 25% Vaps Movement Vaps Movement Vaps/ Estonia Movement / Estonia / 1929 / Estonia / 1929 / 1929

NorwayNorway Norway

0- 071 71 71 1938 1938 1938 -

RomaniaRomania Romania 1936 1936 1936

Latvia 1934

Iron Wolves Iron Wolves Iron Wolves

FinlandFinland Finland

0-

Ireland Ireland Ireland Spain 1938

Geležinis Geležinis Vilkas Geležinis /Vilkas Lithuania Vilkas / Lithuania / 1927 / Lithuania / 1927 / 1927

1 Belgium 1 Belgium 1 Belgium 2 Netherlands 2 Netherlands 2 Netherlands 3 Luxembourg 3 Luxembourg 3 Luxembourg 9 countries 9 countries 9 countries 32% 32%4 32% Denmark 4 Denmark 4 Denmark 5 Switzerland 5 Switzerland 5 Switzerland 6 Albania 6 Albania 6 Albania THE REJECTION OF DEMOCRACY 7 Estonia 7 Estonia 7 Estonia Authoritarian Authoritarian Authoritarian RegimesRegimes with Regimes with 8with Latvia 8 Latvia 8 Latvia regimes regimesregimes free elections free elections free elections 9 Lithuania 9 Lithuania 9 Lithuania 192 192 192

20

21

3 • KEY PRODUCTS

4 • AGRICULTURE

in % of world production, 1939

This list of fifteen products, not including oil, that were crucial to victory shows the imbalance between the two sides. Even in the case of basic materials such as steel, the German Reich and Japan did not have the means to achieve their ambitions. They were constantly required to decide between the demands of the three armed forces.

USA

UK

Dominions

British colonies

France

French colonies

Europe (other)

From 1942 onwards, the Reich survived on its stocks of some metal alloys. The Allies only had issues with access to natural rubber, after the Japanese took control of the rubber plantations in Asia. However, the US managed to develop a huge synthetic rubber industry in eighteen months, catching up on the lead the Reich had before the war.

USSR

Third Reich & Austria

Italy

Japan/Korea/ Manchuria

Asia

Africa

Americas (other)

One of the majors concerns for leaders of countries at war is access to food, especially grains and cereals. In fact, Hitler could be said to have been obsessed with the threat of famine. Apart from Romania, all the countries with a surplus were on the Allied side.

Britain was much more dependent on wheat imports than any other country, hence the idea of causing a famine by waging a submarine war on its trade. The Reich fed its citizens by starving millions in the Soviet Union, Poland, France and Belgium.

THE FIVE MAJOR WHEAT PRODUCERS

MAIN EUROPEAN WHEAT IMPORTERS

from 1934 to 1938

from 1932 to 1937 as % of total consumption

Global wheat production (Danube region = Romania, Hungary, Bulgaria, Yugoslavia)

United Kingdom = 77.2%

Coal 1,626,724,088 t

Germany = 4.5%

Iron 212,468,405 t

Steel 131,927,136 t

USA = 15% / Danube = 7% / Canada = 5% / Argentina = 5% / Australia = 3% / Rest of world = 65%

Global wheat exports France = 3.1%

Ferroalloys 104,000,000 t

Italy = 22.2%

Manganese 6,051,779 t Spain = 20%

Chrome 1,192,450 t

Tungsten 34,174 t

Nickel 117,065 t

USA = 33% / Danube = 7% / Canada = 25% / Argentina = 20% / Australia = 15% / Rest of world = 0%

5 • KEY INDUSTRIES Germany’s thriving chemicals industry enabled it to meet the demand for gunpowder and explosives until 1944. Japan and the USSR had greater difficulties. As well as having fewer chemical plants, they also lacked modern oil refineries. The ability to motorize and mechanize forces, critical in Europe where ground combat took place on

ELECTRICITY PRODUCTION

a large scale, was directly dependent on a huge motor industry, as well as oil resources.

Much of the German army was still horse-drawn, while its western opponents were extensively mechanized. The USSR only managed to make up for the shortfall by using American supplies.

CAR PRODUCTION

in megawatts per hour, 1939

CHEMICAL INDUSTRIES PRODUCTION

in 1938

in 1938 as % of world total

Magnesium 1,238,585 t

Molybdenum 479,065 t

1,241.4

239.5

24,000

3,400,000

?

30%

Bauxite 3,772,544 t 544.37

414.7

70,000

447,000

22%

4%

Aluminium 481,900 t

Copper 2,291,716 t

476.2

451

= 100 MW/h Rubber 1,005,254 t Synthetic rubber 101,000 t

459

211,000

= 100,000 cars

SOURCES: 1• Tom Nicholas, ‘The Origin of Japanese Technological Modernization’, Explorations in Economic History, 48, 2011, p. 272-91 - 2• François Caron, Les Deux Révolutions industrielles du xxe siècle, Albin Michel, 1997 - 3• Mark Harrison (dir.), The Economics of World War II, Cambridge University Press, 1998, p. 160 - 4• Max Rutzick & Sol Swerdloff, «The Occupational Structure of US Employment, 194060», Monthly Labor Review, vol. 85, no 11, novembre 1962 - 5• ‘Évolution de la population active en France depuis cent ans d’après les dénombrements quinquennaux’, Études et

340,000

227,000

6%

9%

= 10%

6%

conjuncture – Économie française, vol. 8, no 3, 1953 - 6• William H. Lockwood, Economic development of Japan, Princeton University Press, 1954 - 7• Imperial Institute, The Mineral Industry of the British Empire and Foreign Countries, Statistical summary 1936 - 1938, London 1939 - 8• Johann Peter Murmann, ‘Chemical Industries after 1850’, Oxford Encyclopedia of Economic History, 2002 - 9• G. Aparicio & V. Pinilla, The Dynamics of International Trade Cereals 1900-1938, Societad Española de Historia Agraria, 2015 - 10• Paul de Hevesy, World Wheat Planning and Economic Planning in General, Oxford University Press, 1940

GENERAL HISTORY

Lays out the grand sweep of world history in fifty easily navigable timelines, offering a perfect overview for the general reader

John Haywood is an honorary research fellow in the Department of History at Lancaster University.

His other books include The Historical Atlas of the Celtic World and The New Atlas of World History, both published by Thames & Hudson.

40 illustrations, 8 maps, 50 timelines 17.8 x 23.6cm 256pp • hardback ISBN 978 0 500 022573 September £19.95

1

3

4

Timelines

5

The Events that Shaped History John Haywood

2

6

7

8

78

1ST–12TH CENTURIES

1 Mihrab of the Mezquita de Córdoba, 9th–10th century, p. 94 2 Seated Buddha, Gandhara, 1st to mid-2nd century, p. 63 3 Harun al-Rashid in his Tent with the Wise Men from the East, Gaspare Landi, 1813, p. 87 4 Siege of a town led by Godefroy de Bouillon, c. 1099, during the First Crusade, from the illuminated manuscript Le Roman de Godefroy de Bouillon (The Story of Godfrey de Bouillon), 14th century, p. 98

5 The Mass of Saint Gregory the Great, Adriaen Ysenbrandt, c. 1510–50, p. 79 6 Head of Emperor Constantine I, c. 325–370, p. 68 7 Portrait of Minamoto no Yoritomo (who became first shōgun of the Kamakura shogunate of Japan in 1192), Utagawa Kuniyoshi, 1845, p. 102 8 Dome of the Rock on Temple Mount in Jerusalem, 691, p. 83

106

107

.1100–. .1206.

I N 1 1 TH - A N D 1 2 TH -C E N TU RY Japan, samurai warrior clans competed for control over weak emperors. In 1185, the Minamoto clan destroyed its main rival, the Taira, to emerge victorious. The clan’s leader, Minamoto Yoritomo, established a bakufu (military government) at Kamakura in 1192. The emperor, now merely the nominal ruler of Japan, granted Yoritomo the title shogun (general), beginning a period of military rule that lasted until 1868. In northern China, the recently formed Jürchen Jin state conquered the Khitan Liao kingdom in 1125, before turning on the imperial Song dynasty and capturing their capital at Kaifeng. The end of this period saw the emergence of a new nomadic confederation on the Eurasian steppes: in 1204–6, the warlord Temujin united the Mongol tribes under his leadership and adopted the title Chinggis (Genghis) Khan (‘universal ruler’).

In the Middle East, the Christian crusader states were thrown on to the defensive when Zengi, emir of Seljuk Mosul, began to restore Muslim unity in the second quarter of the 12th century. Saladin, the ruling sultan of Egypt and Syria, recaptured Jerusalem in 1187 and reduced the crusader states to precarious enclaves on the Mediterranean coast.

The crusades did nothing to improve relations between the Catholic West and the Byzantine empire, whose power was broken when in 1204 crusaders sacked Constantinople. At the end of this period, most of northern India came under

SHOGUNS, CRUSADERS AND PHILOSOPHERS

Muslim control after its conquest by Muhammad, sultan of Ghur in Afghanistan. After Muhammad’s assassination in 1206, his Turkish slave-general Qutb-ud-Din seized power and founded a sultanate at Delhi.

The collapse of the Mesoamerican Toltec empire in 1168 created another longlasting power vacuum in Mexico.

Around 1200 the Chimú state of the coastal lowlands in Peru emerged as the first regional power on the Pacific coast since the fall of the Tiwanaku and Wari empires over a century earlier. In North America, the end of this period saw the development of the Southeastern Ceremonial Complex among the semi-urbanized Mississippian cultures. The complex was characterized by the emergence of common cosmological motifs, and by the exchange of exotic materials and symbolic objects associated with rulership and war.

At much the same time, Polynesians from Tahiti settled New Zealand, the last large uninhabited landmass except Antarctica.

In East Asia, Song China continued to demonstrate outstanding inventiveness during the 12th century, devising the earliest forms of cannon, and constructing ships with watertight bulkheads and even paddlewheels. By around 1200 China was also using water-powered machinery to produce textiles. The commercial economy was vast and included both local and longer-distance trade. Although merchants ran their own business affairs, the state kept

strict political control and did not allow cities autonomy to govern themselves. The division of property equally amongst children meant that few families stayed wealthy over several generations.

The 12th century witnessed a strong resurgence of cultural life in Western Europe. One consequence of the Investiture Controversy between the pope and the Holy Roman emperor, which came to an end through the Concordat of Worms in 1122, was to draw scholars’ attention to the contradictions and inconsistencies in scripture, and in both secular and church law. This led to renewed interest in the works of Classical Greek philosophers, especially Aristotle, and the application of their methods to studying theology and law. The majority of Aristotle’s works were translated into Latin from surviving Arabic versions obtained in Muslim Spain, which still maintained a flourishing cultural life despite its political decline. Increased demand for education prompted the foundation of cathedral schools across Europe, some of which developed into universities.

Western European architecture produced its first truly original style, Gothic, characterized by pointed arches and soaring vaults. The cultural developments of this period were not restricted to the church: secular literature flourished, as chivalric romances idealized the military aristocracy.

102

SHOGUNS , C RUSAD E RS AND PHILOSOPHE RS

103

POLITICS & ECONOMY 1126 The Jürchen Jin state captures the Song capital at Kaifeng

1156 The Taira samurai clan wins control over the Japanese emperor

1168 The Toltec state in Mexico collapses

1127–48 Zengi, emir of Mosul, unites the Turkish emirates of Syria

1185 The Minamoto samurai clan defeats the Taira at the sea battle of Dan-no-ura

1169–77 Saladin establishes himself as leader of Egypt and Syria, founding the Ayyubid sultanate

1132 The Kievan Rus splits up into several smaller principalities

1175–1200 Muhammad of Ghur conquers northern India

1200* Polynesians from Tahiti settle New Zealand 1200* The Chimú expansion in the coastal lowlands of Peru begins

1187 Saladin defeats the crusaders at Hattin and recaptures Jerusalem

1204 The Fourth Crusade captures Constantinople

1192 Samurai leader Minamoto Yoritomo becomes the first shogun of Japan

1204–6 Temujin unites the Mongol tribes and takes the title Chinggis (Genghis) Khan 1206 Muhammad of Ghur is murdered: Qutb-ud-Din seizes power and founds a sultanate at Delhi

SCIENCE & TECHNOLOGY 1117* Chinese ships are first fitted with watertight bulkheads

1198 The Spanish Muslim philosopher and scientist Ibn Rushd (Averröes) dies 1200* Water-powered textile machinery is used in China for the first time

1100

1110

1120

1130

1140

1150

1160

1170

1180

1190

1200

1210

RELIGION & PHILOSOPHY 1122 The Concordat of Worms ends the Investiture Controversy between the papacy and the Holy Roman emperors

1140 Italian jurist Gratian’s Decretum applies dialectic (logic) to the study of law

1170 The University of Paris is founded

1191 Zen Buddhism is introduced to Japan from China

1200* The Southeastern Ceremonial Complex develops among the Mississippian cultures

A RT & A RCHITECTURE 1100* Cahokia, Illinois: Monks

Mound, the largest preColumbian structure in North America, is completed

104

1113–50 Cambodia: the

1123 The Persian poet and scientist

1144 The abbey church of St Denis, near

Khmer king Suryavaraman II begins construction of the Angkor Wat temples

Omar Khayyam dies

Paris, considered the first building in the Gothic style, is completed

1193 The Qubbat-

ul-Islam mosque is begun at Delhi

1200* Lalibela, Ethiopia: rock-cut churches are

built by the Ethiopian Orthodox church

1200* The temple mounds and plaza at Moundville, Alabama, are constructed

SHOGUNS , C RUSAD E RS AND PHILOSOPHE RS

105

The world we live in today was formed by the conflicts and rebellions, voyages and discoveries of our shared past. Understanding these key moments and movements in history and, more importantly, seeing the parallels and connections between them, is essential to understanding ourselves and our world now. Timelines presents a fresh perspective on the grand sweep of human history, from the evolution of our ancestors right up to the present.

In each of fifty timelines, four fundamental categories of human endeavour – Politics & Economy, Science & Technology, Religion & Philosophy and Art & Architecture – pinpoint the most significant moments of political upheaval, artistic revolution and technological innovation as they happened simultaneously across vast distances. Concise and thought-provoking essays precede each timeline. A diverse selection of art representing the breadth of human creativity punctuates the timelines, while eight maps act as snapshots of our world undergoing great changes, from the melting of ice caps to the fall of empires.

This original and authoritative book offers a unique way of appreciating the diverse array of events that have shaped world history.

GENERAL HISTORY

A wide-ranging anthology of travellers’ accounts of thirty-eight of the world’s most fascinating cities, from ancient times to the present Peter Furtado has edited a number of bestselling history books, including Histories of Nations: How Their Identities Were Forged and 1001 Days That Shaped the World. He was editor of History Today magazine from 1998 to 2008 and in 2009 was awarded a DLitt by Oxford Brookes University for his contribution to the popularization of history.

39 illustrations 23.4 x 15.3cm 368pp • hardback ISBN 978 0 500 021651 July £19.95

Great Cities Through Travellers’ Eyes Edited by Peter Furtado This entertaining anthology of travellers’ tales features thirty-eight cities across six continents, ranging from Beijing to Berlin, Cairo to Chicago, Lhasa to London, St Petersburg to Sydney and Rio to Rome.

It features commentators across the millennia, including the great travellers of ancient times, such as Strabo and Pausanias; those who undertook extensive journeys in the medieval world, not least Marco Polo and Ibn Battuta; courageous women such as Isabella Bird and Freya Stark; and enterprising writers and journalists including Mark Twain and Norman Lewis. We see the world’s great cities through the eyes of traders, explorers, soldiers, diplomats, pilgrims and tourists; the experiences of emperors and monarchs sit alongside those of revolutionaries and artists, but also those of ordinary people who found themselves in remarkable situations, like the medieval Chinese abbot who was shown round the Sainte-Chapelle in Paris by the King of France himself.

Some of the writers seek to provide a straightforward, accurate description of all they have seen, while others concentrate on their subjective experiences of the city and encounters with the inhabitants. Introduced and contextualized by bestselling historian Peter Furtado, each account provides both a vivid portrait of a distant place and time and an insight into those who journeyed there. The result is a book that delves into the splendours and stories that exist beyond conventional guidebooks and websites.

Also available

79

‘A wonderful, eclectic daily diet of historical speech … empathic, learned and fascinating’ Suzannah Lipscomb 978 0 500 294963 £10.99

‘If you want to get a sense of what it means to be Greek, French, German, Egyptian or Ghanaian, then make the excellent Histories of Nations your first port of call’ Geographical Magazine 978 0 500 293003 £9.99

ANCIENT HISTORY

New in B-format paperback

One hundred life-stories cover the time-span of ancient Egypt, from the dawn of history to the death of Cleopatra

Lives of the Ancient Egyptians Toby Wilkinson Ancient Egypt never ceases to capture our imagination – but what of the men and women who experienced it at first-hand, who created and sustained the culture of the pharaohs? What was it really like to live in the Nile Valley centuries ago? From revolutionaries Akhenaten and Nefertiti and zealous pyramid-builder Khufu, to ordinary men and women, Toby Wilkinson reveals the true character and diversity of the greatest civilization of the ancient world.

Here are personal accounts of ambition and skulduggery, of triumph and tragedy, of despair and love, offering unprecedented eye-witness accounts of ancient Egypt and its spectacular achievements.

Toby Wilkinson is a Bye-Fellow of Clare College, Cambridge.

The author of many books on ancient Egypt, he won the Hessell-Tiltman prize in 2011 for The Rise and Fall of Ancient Egypt: The History of a Civilisation from 3000 BC to Cleopatra.

18 illustrations 19.8 x 12.9cm 304pp • paperback ISBN 978 0 500 294802 August £9.99

‘Remarkable vignettes ofthe normal people of ancient Egypt … highly recommended’ Minerva New in B-format paperback

‘Chris Naunton makes the search for the lost tombs of Egypt as exciting as a novel’ Dan Snow, award-winning historian and author 80

Searching for the Lost Tombs of Egypt Chris Naunton Where are the tombs of Alexander the Great or Cleopatra? Both rulers were buried in Egypt, but their tombs have never been found despite years of intensive research and excavation. Yet we have tantalizing clues. In this gripping account, Chris Naunton skilfully unravels the tangled threads surrounding the mysteries of the missing tombs. As well as immersing the reader in the action of the search and the thrill of discovery, the book also explores the reasons why tombs remain such a central part of both the popular perception of Egyptology and the continuing allure of ancient Egypt.

Chris Naunton is a distinguished Egyptologist. He has presented numerous television documentaries, including The Man Who Discovered Egypt (BBC4) and Tutankhamun: The Mystery of the Burnt Mummy (Channel 4). He was the Director of the Egypt Exploration Society from 2012 to 2016, and is now President of the International Association of Egyptologists.

107 illustrations 19.8 x 12.9cm 304pp • paperback ISBN 978 0 500 295441 July £12.99

ANCIENT HISTORY

The perfect companion for both the actual and armchair traveller to the Roman myths and the landscapes and ideas that shaped them David Stuttard taught Classics for eleven years in Edinburgh, St Andrews and York, and has written numerous books on the Classical world including Greek Mythology: A Traveller’s Guide from Mount Olympus to Troy, A History of Ancient Greece in Fifty Lives and The Romans Who Shaped Britain (with Sam Moorhead), all published by Thames & Hudson. He is the founder of the theatre company Actors of Dionysus and a Fellow of Goodenough College, London.

70 illustrations including map 21.6 x 13.5cm 272pp • hardback ISBN 978 0 500 252291 July £14.95

The Sites

Troy • Delos • Carthage • Eryx • Cumae • Lavinium • Ardea • Alba Longa • The Palatine Hill • The Capitol • Campus Martius • The Aventine Hill • The Sublician Bridge • The Roman Forum • Tarquinia • Clusium • Veii • Tivoli

Also available

‘A friendly and intelligent guide’ Minerva 978 0 500 518328 £14.95

Roman Mythology A Traveller’s Guide from Troy to Tivoli David Stuttard All roads lead to Rome. Sites and events throughout the ancient world provided Romans with a rich tapestry woven with the stories of their past.

The city itself was a melting pot of peoples from across the Mediterranean and beyond, each bringing their myths and legends of heroes and heroines, gods and goddesses. Rome’s citizens wholeheartedly embraced these stories of kings consorting with river nymphs, a prophetic baby discovered in a field and the founding of Rome itself. Myths formed the backdrop to the rituals and customs of everyday life.

David Stuttard takes the reader on a tour of eighteen of the great sites of the ancient Roman world, following in the footsteps of Aeneas and his companions from Troy via Greece, North Africa and Sicily to Italy, and travelling with his descendants to Rome, while also enjoying an excursion into Tuscany and Latium to explore later legends. Each chapter begins with an evocative description of the site’s location and landscape, followed by its associated myths and stories, as well as any rituals performed there in antiquity. Drawing on the great works of Dionysius of Halicarnassus and Plutarch, Ovid, Horace and Virgil, and with specially commissioned illustrations and information about key events and remains that can still be seen today, this is a fresh look at a subject of eternal fascination.

81

ANCIENT HISTORY

Eighth edition

‘Fascinating … an accessible, informed and extremely well-illustrated introductory book’ Popular Archaeology

Mexico From the Olmecs to the Aztecs Michael D. Coe, Javier Urcid and Rex Koontz Mexico arrives in its eighth edition with a new look and the most recent discoveries. Revised and expanded, the book is updated with the latest developments and findings in the field and current terminology. It includes expanded coverage of Oaxaca, particularly Monte Albán, the centre of the Zapotec civilization. Recent research on the Olmecs and the legacy of the Maya offer a wider and more cohesive narrative of Mexico’s history. And a fully revised epilogue discusses the survival of indigenous populations in Mexico from the arrival of the Spanish through to the present day.

Michael D. Coe is a professor emeritus of anthropology at Yale University. Javier Urcid is the Jane’s Chair Professor of Latin American Studies at Brandeis University. Rex Koontz teaches art history at the University of Houston.

Illustrated throughout 24.1 x 15.9cm 272pp • paperback ISBN 978 0 500 293737 October £18.95

Sixth edition

‘An expert’s account … superb illustrations’ 82

Times Literary Supplement

The Art of Mesoamerica From Olmec to Aztec Mary Ellen Miller Expanded and revised in its sixth edition, The Art of Mesoamerica surveys the artistic achievements of the high prehispanic civilizations of Central America, guiding readers through the most iconic palaces, pyramids, sculptures and paintings, from the Olmec Colossal Head 5 recovered from San Lorenzo to the Aztec Calendar Stone found in Mexico City’s Zócalo in 1790. This new edition incorporates new colour images and extensive updates based on the latest research and dozens of recent discoveries, particularly in Maya art, where excavations at Teotihuacan, the largest city of Mesoamerica, and Tenochtitlan, the capital of the Aztecs, have yielded new sculptures.

Mary Ellen Miller is former Dean of Yale College, and now directs the Getty Research Institute in Los Angeles. Her book with Linda Schele, The Blood of Kings, is considered a landmark in Maya studies.

276 illustrations 21.0 x 15.0cm 296pp • paperback ISBN 978 0 500 204504 July £14.95

ANCIENT HISTORY

New in B-format paperback

Incorporating the latest information from cutting-edge DNA technology, this highly readable account sheds exciting new light on the origins and identity of the Anglo-Saxons – and the English Jean Manco was a building historian who trained within an archaeological unit and applied an interdisciplinary approach to her work. She is the author of Ancestral Journeys and Blood of the Celts, both published by Thames & Hudson.

137 illustrations 19.8 x 12.9cm 240pp • paperback ISBN 978 0 500 295434 July £10.99

‘Admirable … both authoritative and well written’ David Miles, Minerva ‘A lot of technical information to convey, but Jean Manco does so with flair’ Current Archaeology

The Origins of the Anglo-Saxons Decoding the Ancestry of the English Jean Manco

Also available

‘Thoughtful, thoughtprovoking, erudite yet accessible, with an engaging style’ Miranda Aldhouse-Green 978 0 500 292075 £12.99

‘A bloody good book’ Minerva Reads

‘Ambitious and lucid’ J. P. Mallory 978 0 500 051832 £18.95

Who are the English? Their language and culture have had an impact on the modern world out of all proportion to the size of their homeland. But what do we really understand about their ancestry? Traditionally they have been seen as the descendants of those Germanic peoples who poured into Britain after the Roman legions departed, today known as the Anglo-Saxons. Alternative interpretations have questioned this picture, or suggested complications. At last, the astonishing progress made in extracting and analysing ancient DNA means that theories can be tested empirically, shedding new light on the movement and migrations of peoples in the past.

Skilfully and accessibly blending together results from this cutting-edge DNA technology with new research from archaeology and linguistics, Jean Manco reveals a long and adventurous journey before a word of English was spoken. Going beyond a narrow focus on the Anglo-Saxon period, she probes into the deep origins of the Germani and their kin, and extends the story to the language of Shakespeare, taken to the first British colony in America. The result is an exciting new history of the English people, and a groundbreaking analysis of their development.

83

ANCIENT HISTORY

An in-depth cultural and archaeological history of one of England’s great ancient monuments: the White Horse at Uffington David Miles was the Director of the Oxford Archaeological Unit for many years, and became Chief Archaeologist at English Heritage in 1999. He is an expert on the history of the English landscape and his books include The Tale of the Axe: How the Neolithic Revolution Transformed Britain.

85 illustrations 23.4 x 15.3cm 304pp• hardback ISBN 978 0 500 519936 September £24.95

84

The Bourn IdenTITy

The Bourn IdenTITy

the valley floor. This is the stuff of prehistoric megaliths: the builders of Stonehenge and Avebury and the great chambered tomb of Wayland’s Smithy, which crouches on the Ridgeway above us, used the dense, hard Tertiary sandstone to make monuments that could endure the wear of millennia.

The sarsen stones are incredibly resistant, ideal if you want your monument to last. The usual explanation of the name ‘sarsen’ is that it derives from ‘Saracen’ – the well-known Islamic opposition to medieval crusaders in the Holy Land. The megaliths were erected by ancient pre-Christian Britons, hence in effect they are ‘pagan stones’, or alien foreigners in the soft chalk. John Aubrey, the seventeenth-century antiquary, questioned this attractive, if romantic idea. He suggested that the name came from Anglo-Saxon sar-stan, or ‘troublesome’, stones. He could be right – these heavy blocks, littering the downland valleys, must have been a nuisance to the English farmers who were long past wanting to build henges and megalithic tombs. The boulders are also known to downland farmers as ‘grey wethers’ because from above they look like a flock of sheep.

We walk down the downland scarp into the village of Ashbury, another spring-line settlement with thatched roofs and cob walls. In 1086, at the time of William the Conqueror’s Domesday survey, this was the only manor in Berkshire to be held by Glastonbury Abbey. From Ashbury the Icknield Way takes us to the foot of White Horse Hill. The Manger is an enormous natural bowl in the chalk scarp. Above it lies our objective: the Uffington White Horse, Britain’s oldest and most spectacular hill carving.

And we can’t see a thing. The Horse is lost, invisible under a grey, soggy pillow of cloud that smothers the hill. The road behind us has turned into a torrent, carrying pebbles of chalk, flakes of flint and streaks of silt. The flowing water guides us down into the village of Woolstone and the pub, named after the White Horse, a thatched gingerbread cottage of a building that has a welcoming log fire and rooms. The real White Horse can wait until tomorrow. After all, it has been there nearly three thousand years.

the makers of the Horse place it precisely to appear out of the morning sunlight, silhouetted against the sky on the highest point of the Downs, where the chalk scarp is most pronounced? If so the audience for this drama should stand to the north, in the Vale that stretches beyond the foot of the scarp. Today, however, the lie of the land and the slimness of the Horse’s limbs and body means that the view from the north in most places is less than perfect. It is not easy to distinguish the whole form from a distance. Were the makers of the Horse careless? Were they more concerned about the making of the Horse and its presence than creating the kind of clear cinematic image that we take for granted as normal?

The form of the Uffington Horse, in all its sinuous elegance, appeared with great clarity in the twentieth century when humans took to the skies. Aerial photographers perched in flying machines made of not much more than balsa wood, paper and gutta-percha produced startling images.

With great foresight the naturalist W. H. Hudson (1841–1922) predicted

WedneSdAy, 25 JAnuAry 2017: The LAnd oF The rISInG Sun

The next morning we get up in the dark. As we leave the pub and climb back up the hill there is light in the east. The sky is clear. Thank God for changeable English weather. By the time we are on the upper slopes the sun appears over the hindquarters of the Horse. From this angle, the figure is flattened and foreshortened, an abstract pattern of white lines etched in the turf, but the low sun is a searchlight scanning over the hillside, illuminating the figure. Is this theatrical effect an accident or, more likely, did 18

OPPOSITE ABOVE In Eric Ravilious' painting of the White Horse, the carving does not dominate the picture. The foreground is the swelling, curving downland, whose lines take the eye to the Horse, which is disappearing over the skyline.

BELOW Ravilious tackled the Horse because he had been approached by Puffin Picture Books for a book for children on hill figures. He painted several and even prepared a mock-up for the book, but it was never published.

OPPOSITE BELOW Frank Dobson’s 1931 Shell poster of the Cerne Abbas Giant. It was made more family-friendly by masking the giant’s priapic splendour with the shadows of a discreetly passing cloud.

The first aerial photograph of the White horse, taken on 31 July 1933 by Major G. W. G. Allen, shows the chalk hill figure as well as the Iron Age uffington hillfort.

19

The Land of the White Horse Visions of England David Miles The White Horse at Uffington is an icon of the English landscape – a sleek, almost abstract, giant figure, that was carved into the green turf of the North Wessex Downs in the early first millennium bc. For centuries people have speculated about its age, who created it and why. Was it a memorial to King Alfred the Great’s victory over the heathen Danes, an emblem of the first Anglo-Saxon settlers or a banner announcing the territory of a British tribe?

Or was the Horse an actor in an elaborate prehistoric ritual, drawing the sun across the sky? The rich story of this ancient figure and its surroundings can help us understand how people have lived in the Downland landscape, which has inspired artists, poets and writers including Paul Nash, Eric Ravilious, G. K. Chesterton and John Betjeman, and continues to do so today.

David Miles weaves together agricultural, religious, artistic and literary histories to create a cultural narrative spanning 3,000 years from the prehistoric origins of the White Horse right up to the present. He examines how this figure has metamorphosed in our imagination, and searches widely to explore the role of the horse in human civilization around the world.

The White Horse itself is most remarkable because it is still here. People have cared for it and curated it for centuries, even millennia. In that time the meaning of the Horse has changed, yet it has remained a symbol of continuity and enchantment – it is a myth for modern times.

ANCIENT HISTORY

An up-to-the-minute account of the most exciting archaeological discoveries in Britain over the past decade Mike Pitts is the editor of British Archaeology, where he followed and reported on an extraordinary number of discoveries and scientific breakthroughs.

He is the author of several books, including Digging for Richard III: How Archaeology Found the King, also published by Thames & Hudson.

74 illustrations 23.4 x 15.3cm 304pp • hardback ISBN 978 0 500 051900 September £24.95

‘Lucid and informative … If you’ve ever wondered how we know so much about who we used to be, this is the book for you’ Greg Jenner, historian and bestselling author of A Million Years In A Day

Digging up Britain Ten discoveries, a million years of history Mike Pitts Britain has long been obsessed with its own history and identity, an island nation besieged by invaders from beyond the seas. The long saga of prehistory is often forgotten, but our understanding of our past is changing. In the last decade, astounding archaeological discoveries have shed new light on those who have gone before us, radically altering the way we think about our history. Mike Pitts presents ten of the most exciting – and surprising – of these discoveries.

As Pitts leads us on this journey through time, we move from the more recent and familiar to the most remote and bizarre, just as archaeologists delving into the earth find themselves moving backwards through the years until they reach the very oldest remnants of the past. At each of these sites we hear from the people who have found and recovered these ancient remains. We follow the archaeologists as they unearth an ancient Britain of many different cultures, and their efforts to understand them aided by new sciences including DNA analysis. Some are major digs, carried out to rescue and record heritage sites before they are covered over by new developments. Others are chance finds, leading to revelations out of proportion to the scale of the original projects. All are extraordinary tales of both luck and cutting-edge archaeological science that have produced profound, and often unexpected, insights into people’s lives between a thousand and a million years ago. Digging up Britain offers a vision of antiquity for a modern British identity.

Chapter 5

three dimensions so that later it could all be put together and they could try to make sense of it.

By the time they’d finished, from the complete elongated hollow they had retrieved fourteen articulated human skeletons and over 200 further finds of scattered bones. There were very few artefacts, so they had to rely on a large number of radiocarbon dates – around fifty, half of those for the whole site – to say what part of Cliffs End’s history these people belonged to. Some were Late Bronze Age, around 900 bc, from the same time as the small enclosures. Some were Early Iron Age, 600 to 400 bc. And some were Middle Iron Age, around 300 bc. These period niceties are not insignificant, defined by more or less subtle changes in artefact styles, houses and farming (and at one point, of course, the introduction of iron); and the gaps when there is no evidence for burial seem to be real, though whether it stopped altogether or just within the excavated area (the hollow continuing an unknown distance to the northeast) is impossible to know.

In this great pool of disturbed ground with bodies and bones, there was one place with a clearly defined ancient pit bigger than a single grave: ringed by a small ditch, it was up in the corner where the original small trench had been. By the rules of chance that seem to govern archaeological digs, that random test excavation had gone straight down into the most sensitive part of the site. The pit contained all but one of the oldest burials (and the exception was very close by). Gathered together nearly 3,000 years ago, the bodies seem to have drawn the dead for generations afterwards – as, you might almost think, they had drawn the archaeologists from another world.

In the sequence of features across the site, the pit had collected the number 3666. As archaeologists dug down, they might occasionally have paused to think this was indeed the pit of the beast.

It was large, larger than it needed to be to take the bodies in it: a squashed oval in plan 4 metres across and 2 metres deep (13 by 6 feet), with almost vertical sides reaching down to a flat base. The ground had already been disturbed when it was first dug, so that in the earth that had been thrown back in were a few bits and pieces that had been buried before. These included loose bones from at least half a dozen different people – the remains of a foot, a fragment gnawed by a dog, parts of skulls, a kneecap and more – and among animal bones were some sheep horncores (or goats’, they are difficult to distinguish) and a wing and a leg of a buzzard.

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The woman’s body (top left) was accompanied by a crouched juvenile with a pot above the head (bottom), a teenage girl with her head on the head and neck of a cow (at the woman’s feet), a child in front of her arms, and male body parts (top right).

THE BRITISH MUSEUM

In collaboration with Edited by Isabel Seligman

Pushing paper

Contemporary drawing from 1970 to now A fascinating exploration of drawing by contemporary artists from across the globe, published with the support of the Bridget Riley Art Foundation Isabel Seligman is the Bridget Riley Art Foundation Curator at the British Museum.

She is the author of Lines of thought: Drawing from Michelangelo to now and contributed to The American Dream: pop to the present.

125 illustrations 25.0 x 22.0cm 128pp • paperback ISBN 978 0 500 480540 September £18.95

Accompanies the exhibition at the British Museum from 12 September 2019 to 12 January 2020

Pushing paper Contemporary drawing from 1970 to now Edited by Isabel Seligman Systems and Process

Systems and Process

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8 Bridget Riley (born London, 1931) Second Study: with Double Yellow and Double Red, Blue and Turquoise, 1999 Coloured gouache and graphite on graph paper Signed, titled and dated in pencil 283 × 220 mm (11¼ × 8¾ in.)

2004,0601.37

9 Myra Stimson (born London, 1961) SW#1 word pile, 2000 Pen and black and red ink Signed, titled and dated in pencil 419 × 296 mm (16½ × 11¾ in.)

2001,0127.5

Myra Stimson’s drawing is based on pages of handwritten text found, across several pages, in a notepad.

The artist has outlined the words, emphasizing the patterns they make, as well as the space between them, while redacting their meaning. The drawing resembles an elaborate word search with forms stretching up and across, creating a non-verbal reading of everyday written communication.

The artist is sensitive to the idea that the gesture within the documents is not her own but rather an echo of a distinct and individual ‘voice’.

Stimson’s choice of mundane or workaday text underlines the motion of writing, over and above its literal meaning. While the work predates the ubiquitous use of mobile phones, email and social media, it highlights the creative act of writing as well as its rapid decline as digital technologies have homogenized the work of the individual hand.

In Second Study Bridget Riley explores the meeting points between systematically arranged bands of colour over graph paper, exploiting a purely visual energy through variations and careful manipulation of hue and tonal values. The discipline of drawing is central to Riley’s work – from an early devotion to figure drawing, through analytical studies for larger-scale paintings, drawing has remained for her an essential tool and a means of creative enquiry. ‘It is this effort “to clarify” that makes drawing particularly useful and it is in this way that I assimilate experience and find new ground.’7 By setting four contrasting colours in different combinations, Riley explores the meeting points between colour values – highlighting the fugitive and changing nature of colour. ‘An element so responsive to relationships and interactions as colour cannot be stable and definitive in the same way as forms described by line can be.’8

Fig. 37 Bridget Riley Older Woman Looking Down, mid 1950s, red

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and sepia Conté crayon on paper, 55.9 × 37.3 cm (22 ⅛ × 14 ¾ in.)

59

Place and Space

Place and Space 24 Edward Allington (born Troutbeck Bridge, 1951, died London 2017) Leicester, 2005 Ink and emulsion on old ledger paper Signed with initials and dated in ink and stamped with his woodblock seal in red ink: ‘E.T.A.’ 436 × 550 mm (17¼ × 21¾ in.)

2006,0930.10

82

This dreamlike, imagined space was created in response to the old ledger paper habitually used by Allington, in this case an accounts book from Leicester. By looking closely, the viewer can detect beautifully handwritten script and mathematical workings, over which the artist overlays his sculptural forms. The

parallel lines of text and grids of red-ruled ink are at odds with the projection of the room’s walls and floorboards. Allington describes how these records of everyday life create a conflict within the space of the drawing: ‘I want there to be a contradiction between my illusionistic style of drawing and the paper. If you want to read the writing on the paper, you have to ignore the drawing, and if you want to read the drawing, you have to ignore the writing.’6

25 Phyllida Barlow (born Newcastle upon Tyne, 1944) Untitled: hoarding; 2017 Venice, 2017 Acrylic on watercolour paper On the verso signed, titled and dated 444 × 575 mm (irreg.) (17½ × 22¾ in.)

2017,7049.1

This drawing relates to a sculpture that formed part of folly, Barlow’s installation work made for the British Pavilion at the Venice Biennale in 2017 (fig. 41), later reimagined for the High Line public park in New York. Stages, fences, towers and other imposing three-dimensional structures often appear in her work, anchored in an ongoing concern with volumes and their endless pliability. As Barlow herself

said recently about her medium: ‘So it’s kind of absurd, and its absurdity is what I find fascinating.’7 For Barlow, drawing is a field of infinite possibilities, which allows her an energetic freedom more vital than sculpture, and sometimes more ambiguous.

This structure, reminiscent of an advertising hoarding, is shown surrounded by colourful debris, the barest hint at a shadow suggesting that it is an idea for a threedimensional work, rather than an illusionistic description of one.

Throughout her career Barlow has made drawings before, during and after creating the related sculptures, continuing the exploration throughout the sculpting process.

Fig. 41 Phyllida Barlow untitled: folly; holedhoarding; 2017, 2017, timber, plywood, hessian scrim, cement, PVA, tape, polyurethane foam, sand, steel, wire mesh, polyurethane board, paper, polystyrene, 450 × 520 × 580 cm (177 ¼ × 204 ¾ × 228 ⅜ in.)

Installation view, British Pavilion, 57th Venice Biennale, Italy, 2017

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Since the 1970s, artists have dramatically expanded the definition of drawing, pushing the limits of what a drawing can mean and be. Showcasing graphic work by some of the world’s most important contemporary artists, such as Louise Bourgeois, Judy Chicago, Tracey Emin, David Hockney and Bridget Riley, as well as exciting works by emerging artists such as Hamid Sulaiman and Rachel Duckhouse, Pushing paper offers an arresting analysis of the evolving status of drawing in the world of contemporary art.

The book examines why drawing has endured and continues to thrive as a method of making art, and explores the vital and fundamental nature of drawing. Themes such as systems and process, and time and memory offer new lenses through which to view major artists and their work, and will inspire admirers of drawing, and artists and students alike.

THE BRITISH MUSEUM

In collaboration with

Troy Alexandra Villing, Lesley Fitton, Andrew Shapland and Victoria Donnellan

Sheds new light on a fascinating story that has resonated for more than 3,000 years of human experience Alexandra Villing is a Curator of the Greek collections in the Department of Greece and Rome at the British Museum. Lesley Fitton is Honorary Research Fellow in the Department of Greece and Rome at the British Museum. Andrew Shapland is Curator of the Aegean World and Classical Greek collections at the Ashmolean Museum, Oxford. Victoria Donnellan is Project Curator for the Troy exhibition.

300 illustrations 28.0 x 25.0cm 272pp • hardback ISBN 978 0 500 480557 November £40.00

For more than three millennia the myth of Troy has intrigued artists and audiences alike – from the epic tales of Homer’s Iliad and Virgil’s Aeneid to retellings from Chaucer to Madeline Miller, and stagings from Shakespeare’s Troilus and Cressida to Brad Pitt’s rendering of the hero Achilles. But how much do we really know about historical Troy beyond the myth?

In this richly illustrated book, the story of Troy is told through a new lens.

Published to accompany an exhibition at the British Museum, it introduces the storytellers and Classical artists inspired by the myths of Troy, then examines the tales themselves – such as the Judgment of Paris and the return of Odysseus – through the Classical objects for which the museum is internationally known.

The third section focuses on Heinrich Schliemann’s excavations at Hissarlik, introducing the nineteenth-century search for the location of Troy that convinced the world that this city did once exist. The publication also uses objects from the Greek Bronze Age to examine and probe the myth, or otherwise, of the Trojan War. The final section delves into the legacy of Troy, and the different ways in which its story has been retold, both in literature and art, from Homer to the present day. Focusing on the major characters – Helen of Troy, Achilles and Hector, Aeneas and Odysseus – it illustrates how artists including Cranach, Rubens, Romare Bearden and Cy Twombly have been inspired by this archetypal tale to reflect on contemporary themes of war and heroism, love and beauty.

Accompanies the exhibition at the British Museum from 21 November 2019 to 8 March 2020

A paperback edition is also available ISBN 978 0 500 480588 £25.00

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VICTORIA AND ALBERT MUSEUM

In association with

William Morris’s Flowers Rowan Bain

A beautiful gift book devoted to designs by William Morris that incorporate flowers, a central motif in Morris’s oeuvre Rowan Bain is Senior Curator at the William Morris Gallery, Walthamstow, London, and was formerly Assistant Curator at the Victoria and Albert Museum. She is the author of several books and a contributor to May Morris: Arts & Crafts Designer.

110 illustrations 19.0 x 17.0cm 144pp • hardback ISBN 978 0 500 480458 September £14.95

88 7. Daffodil furnishing fabric, designed by John Henry Dearle and manufactured by Morris & Co. Designed c.1891 Block­printed on cotton Victoria and Albert Museum, London (V&A: T.623­1919)

Spring flowers – daffodils, forget­me­nots and stylized tulips – wrap around strands of decorative ribbon in this design by John Henry Dearle. Although his earliest designs for Morris & Co. were closely based on Morris’s style, as Dearle matured he developed his own style, characterized by his competent drawing ability, clearly defined pattern outlines and the influence of Middle Eastern textile patterns. After Morris’s death, Dearle became the Artistic Director of Morris & Co., creating some of its best­loved patterns.

45

Also available

978 0 500 480328 £14.95

A passionate advocate of craftsmanship over mass-production, William Morris (1834–1896) designed a huge variety of objects, but it is his highly original carpet, fabric and wallpaper patterns that have continued to capture the imagination and exert their influence on the decorative arts. Around 600 such designs are attributed to Morris, of which the vast majority are based on natural forms, including trees, plants and flowers.

This beautifully designed gift book offers a wealth of designs by Morris in which flowers are the principal motif, bringing together not only completed patterns but also working drawings in pen and watercolour, and examples of his pearwood, floral-pattern printing blocks. It also explores examples of the sources that inspired Morris’s flower-based designs: his own gardens at the Red House in Kent, Kelmscott Manor in Oxfordshire and elsewhere; 16th- and 17th-century herbals; illuminated medieval manuscripts; late medieval and Renaissance tapestries; and a range of decorated objects, particularly from the Islamic world, that Morris studied at the South Kensington Museum (now the V&A). Authored by Rowan Bain, Curator at the William Morris Gallery in Walthamstow, north London, and lavishly illustrated with more than 100 colour illustrations, this exquisite book will both inform and delight.

VICTORIA AND ALBERT MUSEUM

In association with

A beautifully designed visual history of ceramic tiles from around the world

Terry Bloxham is Assistant Curator of Ceramics and Glass at the Victoria and Albert Museum.

300 illustrations 17.0 x 17.0cm 304pp • hardback ISBN 978 0 500 480250 October £19.95

The Tile Book History • Pattern • Design Introduction by Terry Bloxham

(Previous page) Islamic Tile Panel; 15 star shapes with inscriptions; Persian; 17th 18th century.

Panel of twelve tiles; Topiary Design of Trees & Pots with flower & leaf background on dark navy blue ground; plaster cast; Turkish (Iznik); 16th or 17th century.

Damascus; 16th century-17th century.

Fritware with underglaze polychrome painting

Across the world, tiles add colour and decoration to the façades and interiors of buildings. Both functional and decorative, and found in a multitude of shapes, sizes and designs – ranging from complex geometrical Islamic patterns to figurative 17th-century Delftware – they are among the most varied ceramic products. This striking book gathers together a diverse collection of ceramic tiles, and explores their rich history, purpose and decorative qualities.

An introduction traces the little-known history of tiles, from their earliest mass production in Europe in the 13th century to today, and presents the development of different types of tile. This luxurious sourcebook, curated by award-winning studio Here Design, is organized chronologically and features tiles in every variety of shape, displaying each individual tile type – and often with its overall laid pattern – in vivid colour. Tiles are also shown in situ around the world and at different periods in their remarkable history. This book is a dazzling mosaic, with colours and patterns that will uplift and inspire.

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VICTORIA AND ALBERT MUSEUM

In association with

V&A Photography Library • Engaging, keenly priced introductions for a young, hip audience who want to learn about photography’s great works and practitioners.

• Illustrations sourced from the Victoria and Albert Museum’s photography collection, the oldest held by a public museum and one of the largest and finest in the world.

• Each book features more than 180 photographs supported by extended commentaries and a concise introduction.

An elegant introduction to the tree as photographic subject

Into the Woods Trees in Photography Martin Barnes Trees have long provided a compelling source of inspiration for photographers. Both as standalone aesthetic ‘objects’ and as symbols of broader cultural significance, trees have an understated, sometimes under-appreciated ability to evoke a deep, primal sense of wonder and, indeed, pleasure.

Into the Woods is an elegant, informative introduction to the ways in which distinctive patterns of branch, bark, leaf and root have continued to offer arresting subjects for photographers over the years. With more than 180 photographs ranging from the 19th to the 21st century, supported by commentaries, captions and an introductory essay, Into the Woods illustrates the wild (or cultivated) and wonderful world of trees in photography.

90 188 illustrations 25.0 x 19.5cm 192pp • hardback ISBN 978 0 500 480533 October £24.95

Martin Barnes is Senior Curator of Photographs at the Victoria and Albert Museum.

Abelardo Morell (b. 1948)

John Heywood (dates)

Ingrid Pollard (b. 1953)

from the series After 2017

Tomboys

title

Silver gelatin print ?? × ?? cm

C-type print ?? × ?? cm

Constable

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63

62

63

1995, printed 2013

1979

Digital C-type print 76.2 × 101.6 cm

140

141

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VICTORIA AND ALBERT MUSEUM

In the same series

‘Timely … responds to life in an age of post-truth’ Aesthetica, of Making It Up

‘Beautiful and informative’

Black & White Photography, of Cameraless Photography

978 0 500 480366 £24.95

978 0 500 480373 £24.95

An exploration of the intersections between car and camera

Autofocus The Car in Photography Marta Weiss The car has changed not only the way we live, but also the way we look at the world around us. From formal, compositional device to highly desirable, photogenic object, the car has a long and enduring appeal in modern and contemporary photography, as revealed in this latest addition to the V&A Photography Library.

Autofocus, in considering the curious compatability of car and camera, explores the deep cultural significance of the car in the history of photography and its role both as subject matter and as a genuine creative vehicle. More than 200 photographs span from the early years of the automobile to the present day and showcase work by, among others, Henri Cartier-Bresson, Robert Frank, Edward Weston and Weegee. For both photography and car-loving audiences, Autofocus illustrates the inexorable rise of the car as a cultural icon.

Marta Weiss is Curator of Photographs at the Victoria and Albert Museum.

Publication coincides with the V&A exhibition ‘Cars: Accelerating the Modern World’, opening on 23 November 2019

Philippe Garner (dates)

Sanlé Sory (dates)

title

title

Gelatin silver print ?? × ?? cm

Gelatin silver print ?? × ?? cm

1968–1974

19??

34

35

34

214 illustrations 25.0 x 19.5cm 192pp • hardback ISBN 978 0 500 480526 October £24.95

35

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91

D ECO R AT I V E A RTS

An outstanding collection of medieval ivory carvings and small sculpture, published here for the first time Paul Williamson was until January 2016 Keeper of the Sculpture, Metalwork, Ceramics and Glass department at the Victoria and Albert Museum, where he worked for thirty-seven years. He has written and lectured extensively on medieval sculpture and ivory carvings. His many books include volume 1 of the Wyvern Collection catalogues, Medieval and Renaissance Sculpture and Metalwork; Gothic Sculpture 1140–1300; Netherlandish Sculpture; and Medieval Ivory Carvings 1200–1550.

300 illustrations 27.6 x 21.9cm 416pp • hardback ISBN 978 0 500 022832 September £65.00

The Wyvern Collection Medieval and Later Ivory Carvings and Small Sculpture Paul Williamson 92

Also available

‘Williamson’s erudition and deep understanding make this volume a landmark … After reading it, one can only impatiently await the publication of the next’ 978 0 500 021774 £65.00

Burlington Magazine

This volume, the second of the Wyvern Collection catalogues, celebrates an extraordinary group of medieval ivory carvings and small sculpture, the finest assemblage of its kind in private hands. The collection comprises pieces from every period of the Middle Ages, including rare examples from the Early Christian era; spectacular panels from the workshops of tenth-century Constantinople; objects produced by the celebrated carvers active in south Italy in the eleventh and twelfth centuries; and several important pieces from the Romanesque period. At the heart of the collection is a remarkable group of Gothic ivories whose highlights include one of the most important secular medieval ivories discovered in recent years. The collection also features a number of small amber, hardstone, jet, wood and mother-of-pearl carvings.

In addition to their virtuoso craftsmanship, many of these objects have illustrious histories as part of famous aristocratic or ecclesiastical collections.

This is a precious opportunity to study these miniature masterpieces in detail.

D ECO R AT I V E A RTS

A social history of diamond jewelry, told through the stories of the European rulers and socialites who commissioned and wore it Diana Scarisbrick is an art historian specializing in the history of engraved gems and jewelry. Her publications include Rings: Jewelry of Power, Love and Loyalty and Portrait Jewels: Opulence and Intimacy from the Medici to the Romanovs, and (as co-author) Elihu Yale: Merchant, Collector & Patron, all published by Thames & Hudson.

311 illustrations 30.5 x 22.5cm 256pp • hardback ISBN 978 0 500 021507 September £49.95

Diamond Jewelry 700 Years of Glory and Glamour Diana Scarisbrick

both young and old, with black velvet dresses and lace veils covering the head.

All the diamonds they possessed shone out brilliantly from aigrettes, ears, neck, arms, and bosom, marking the solemnity of Holy Week.’ 27 Although the king rarely appeared without his diamond epaulette, shoe buckles, buttons, jewelled cane handle and sword, it was his splendid insignia that ensured that he was not outshone by his consort. As Grand Master of all three Portuguese orders of knighthood – of Christ, of Aviz and of São Tiago – as well as a member of foreign orders such as the Golden Fleece, his insignia matched the splendour of the queen’s jewelry (figs 168, 169). In Spain the marriage in 1714 of Philip V (reigned 1700–46) with Elizabeth Farnese (1692–1766) brought, with other important jewels, the gift of a 6.16-carat violet blue diamond from the governor of the colony of the Philippines. She gave it to her younger son, Philip, on his accession to the Duchy of Parma in 1745, from whom it descended to Prince Elie of Parma and to his wife, Archduchess Marie Anna of Habsburg, on their marriage in 1903.

O PP O SI T E

163. Rose diamond garniture (1753, 1782–89) of the Electors of Saxony

and Kings of Poland comprising insignia of the Polish Order of the White Eagle.

It includes an epaulette, sword with diamond hilt, jewel for the hat, buttons, and buckles for shoes and knee breeches.

A B OV E LEF T

164. Augustus II wearing his set of diamond buttons and star of the

Order of the Polish White Eagle. Portrait by Louis de Silvestre, 1723.

A B OV E R I GH T

165. Maria Josepha (1699–1762), wife of Frederick Augustus II, with

the insignia of Russian and Polish orders. On her head is a hair pin in the form of a large teardrop (briolette diamond) held in the beak of an eagle.

v D iamon D s in the age of e Le gan ce 170 0 – 180 0

14 5

outshone by the Bonaparte royalty, Karl XIV of Sweden and Norway (reigned 1818–44), then Marshal of France Jean Bernadotte, bought from Nitot a ruby and diamond parure for her to display in Notre-Dame at Josephine’s coronation of 1804 (fig. 201).

These descriptions make it clear that the extraordinary brilliance of these scenes derived from the quantities of diamond jewelry displayed by the newly created imperial court. John Mawe, in his Treatise on Diamonds and Precious Stones (1813), explained that the eye was drawn towards this stone because of its property of absorbing light and then reflecting it with intensity and brilliance. In some Napoleonic jewels the diamonds were not the centrepiece but

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v i th e g r a n D mo n a rc h i ca L m a n n e r 1 8 00–1 9 00

O PP O SI T E

200. Queen Theresa of Bavaria, wife of Ludwig I, dressed for her

coronation wearing a crown and tiara created by Nitot & Fils, after a design by Charles Percier, 1806–7. Portrait by Joseph Karl Stieler, 1827.

A B OV E

201. Ruby and diamond parure worn by Désirée Clary, the future

Queen Desideria of Sweden, to the coronation of Napoleon. The necklace and earrings are original, but the tiara has been reassembled.

vi the gran D mon archicaL man n e r 180 0 – 190 0

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Diamonds are among the most precious gemstones, and they have long been symbolic of political power and authority in Europe. Diamond jewelry was worn to dazzle and impress – at weddings, coronations, christenings and state visits – and to present as gifts reflecting princely generosity. Over the centuries, these displays proved remarkably successful as instruments of government, symbolizing the pride and glory of a nation.

Diamond Jewelry focuses on the individuals who commissioned and wore these extraordinarily valuable ornaments from the mid-14th century until today’s ‘democratization’ of diamonds, which began with the opening of mines in South Africa in 1867. This enthralling story includes figures such as Louis XIV of France and Elizabeth I of England, as well as screen icons such as Elizabeth Taylor. From Lisbon to London and Stockholm to St Petersburg, diamond jewelry has been used to reinforce power.

Exquisite paintings and detailed photography capture the successive styles of diamond jewelry across 700 years, from late Gothic naturalism and the culture of the Renaissance, to Baroque splendour, Rococo elegance and the Imperial grandeur of the First and Second Napoleonic Empires. Written by an acknowledged expert, this book puts breathtaking masterpieces in context, offering a compelling overview of one of the world’s most captivating gems.

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N AT I O N A L M US EU M O F QATA R

A beautifully produced, highly visual exploration of the extraordinary design of the National Museum of Qatar by world-renowned French architect Jean Nouvel

Philip Jodidio is the author of numerous books, including monographs on Tadao Ando, Santiago Calatrava, Norman Foster, Richard Meier, Jean Nouvel and Zaha Hadid, as well as The New Pavilions and Casa Moderna: Latin American Living.

200 illustrations 30.5 x 24.5cm 308pp • hardback ISBN 978 0 500 022764 September £60.00

National Museum of Qatar Philip Jodidio

94

This volume is published to mark the opening of the National Museum of Qatar in the state’s capital, Doha. Inspired by the desert rose with its interlocking discs, Pritzker Prize-winning architect Jean Nouvel’s innovative design responds to the country’s desert location by the sea. Exquisitely produced and designed, the book includes detailed architectural line drawings that reveal Nouvel’s uncompromising design vision as well as specially commissioned photography

by Iwan Baan and Khalifa Al Obaidly, both architectural photographers of international repute. The museum, built around Sheikh Abdullah bin Jassim Al-Thani’s original 19th-century palace, honours Qatar’s heritage while looking to its future as a thriving cultural hub.

Also available Special souvenir edition 200 illustrations 33.5 x 27.5cm 364pp Hardback in clamshell box ISBN 978 0 500 022788 September £200.00

ARCHITECTURE

A spectacular showcase of the leadingedge architectural designs from the multidisciplinary, Los Angeles-based design practice Hernán Díaz Alonso is the director of SCI-Arc in Los Angeles. He is also principal of Xefirotarch, a multidisciplinary practice praised for its work at the intersection of design, animation, interactive environments and radical architectural explorations. In 2005 he won MoMA PS1’s Young Architects Program (YAP) competition, and in 2012 received the Educator of the Year award from the American Institute of Architects (AIA).

400 illustrations 23.5 x 20.3cm 400pp • hardback ISBN 978 0 500 343500 November £39.95

‘Díaz Alonso is the strongest pure designer of his generation. While his style is immediately identifiable, it is impossible to pigeonhole....

He is recognized as a leader, not just of his generation, but of the future of architecture that this generation will build’ Zaha Hadid

The Surreal Visions of Hernán Díaz Alonso/HDA Hernán Díaz Alonso Since graduating from Columbia’s School of Architecture and a stint working for Peter Eisenman, one of the world’s most forward-thinking pracitioners and thinkers, Argentinian-born Hernán Díaz Alonso has developed an arresting architectural language that has attracted leading institutions and a worldwide student following, as well as the respect of his peers, since he established his studio in Los Angeles in 2001. His competition-winning design for New York’s MoMA PS1 in 2005 was a global sensation.

Although very active in the digital space, Díaz Alonso’s work is not often seen in print. This is the first major publication to collect the wide range of his oeuvre, much of it in his signature surrealist style, from large-scale museum competitions and landscape schemes to furniture and silverware. Taken as a whole, it is unquestionably the work of a visionary designer at the height of his abilities. Alongside exquisite renderings that push the boundaries of possibility are detailed plans and drawings revealing just how real these buildings could be.

Not often in a generation does an architect emerge with such startling visions of how our cities might be transformed. This transfixing publication offers truly exciting propositions for a radical new world.

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ARCHITECTURE

A unique photographic journey through the socialist architecture and grand visions of North Korea’s secretive capital Architects Cristiano Bianchi and Kristina Drapić first visited Pyongyang in 2015, when they started their research on the ‘model city’ with the support of Koryo Studio. In 2016, the pair returned to Pyongyang with the support of the Korea Cities Federation (KCF). Pico Iyer has written for Time since 1986, and regularly writes for Harper’s Bazaar and the New York Times. Books by Iyer include The Lady and the Monk and Video Night in Kathmandu.

City Centre

1

International Cinema Hall 13

which is dominated by axis and symmetry, but also in its skyline. Every building was, and is, built by the state, often with the shape and height specially designed to frame a particular space or view, from the residential blocks that form a symmetrical background to the Juche Tower to the recent development of Ryomyong Street, with its progression of towers echoing the shape of a mountain, positioned perfectly on the axis of the Three Revolutions Exhibition.

One of our aims during this project was to document those buildings of Pyongyang that still retained their original design scheme. A massive renovation programme, beginning in 2012, led to the redesign of many important structures, with the overriding strategy guided seemingly by a desire for uniformity, rather than conservation. Glass façades with their bronze frames have been replaced by highly reflective curtain walls, while inside, terrazzo floors and mosaics made way for vast expanses of sterile marble, and the overall decoration greatly simplified. As a result, the character of each building has been reduced to a version of ‘international modern’, or a garishly colourful environment showcasing the latest architectural advances.

Kim Il Sung Square

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6. Tribune Building 7. Grand People’s Study House 8. Workers’ Party of Korea Headquarters 9. Ministry of Foreign Trade 10. Korean Art Gallery 11. Korean Central History Museum 12. Viewing platform

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1. Kim Il Sung Square 2. Okryu Bridge 3. Taedong Bridge 4. Eastward projection to the Juche Tower

Model City Pyongyang Cristiano Bianchi and Kristina Drapić Foreword by Pico Iyer • In collaboration with Koryo Studio

Plans & Drawings

The idea of designing a ‘model city’ for a new kind of society recurs throughout the history of architecture – an ambition shared by political leaders and architects alike.

Model cities have been envisioned and built over the centuries, from the Renaissance planned towns of Pienza and Ferrara to the Modernist utopias of Brasília and Chandigarh. Pyongyang is one of these. But owing to the isolation of the country, access to this open-air museum of socialist architecture has been limited. While most of these model cities were superimposed on an existing urban fabric, or later transformed by different ideological contexts, Pyongyang is a unique example of an urban centre that was completely planned and rebuilt after a single event – the Korean War (1950–53) – and developed under one vision: the peculiar state ideology known as ‘Juche’.

On Architecture, written in 1991 by Kim Jong Il (1941– 2011), the second Supreme Leader of North Korea, describes the importance of architecture for the political power of a country, and provides ideological and practical guidance on how to build a city that communicates ideas to its citizens through its buildings. Many of the rules outlined in these pages were applied across Pyongyang, evident not only in the city’s plan,

Plans & Drawings

We visited Pyongyang for the first time in July 2015, with the support of Koryo Studio, which later gave us full access to its archive, library and art collection, and returned the following year, this time with the support of Korea Cities Federation, to further our study of the city’s architecture and meet architects and professors at the University of Architecture and Building Materials. During a final trip in 2018 to complete the photography, we were granted access to buildings not normally open to foreigners, many of which have never been published.

After our first visit, Nick Bonner of Koryo Studio asked us if we, as architects, thought Pyongyang was beautiful.

It was a simple question, yet difficult – if not impossible – to answer. Our first reaction was of embarrassed protests, but once we let go of our view of the European ideal, we realized that the city did have its own strange kind of beauty. Pyongyang embodies the dream of total planning, to which every architect secretly aspires: jettisoning planning restrictions, space-ratio guidelines, land costs and all of the other constraints that govern modern architecture, and returning to the idea of a city of the people, in which everything is designed in a single, cohesive vision.

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This disregard for the old and embracing of the new is not uncommon in Asian cultures, but is at odds with the Western tradition of heritage and preservation. On a visit to the Paektusan Academy of Architecture, we met one of ten Korean architects sent in the early 2000s to Italy to study architecture. He told us that when he returned home, he had suggested applying the conservation-led methods they had learned, but quickly realized such ideas were too alien for Korean sensibilities. We decided that it was important to photograph buildings in their original condition wherever we could, but in some cases, we were too late: the gorgeous, brutalist International Cinema Hall was supposed to be one of the highlights of this book, but building works began a few weeks before we planned to photograph it (in 2016), and we were not allowed to enter. When we returned two years later, the concrete façade had been covered in white and grey tiles.

In 2016 the Pyongyang Ice Rink still retained its original design, inside and out. When we arrived to photograph it, the management, mortified by the poor condition, asked us not to photograph the cracks in the floor. When we said that these signs of use were both normal, given the building’s age, and beautiful, they looked puzzled and said that we were unlucky as it was going to be renovated soon, and we could have photographed the new design had we come later. Before we left, we were asked for our thoughts on how best to proceed with the renovation. ‘Preserve everything!’ we said. ‘Repair it, but don’t change it!’ This was accompanied by guffaws of laughter at what they thought was a joke.

This book is the result of an amazing experience, an immersion into a different world. It is a visual journey through the city’s architecture and urban spaces. Rather than taking a purely documentary approach, we chose to communicate what we saw and the impressions we later digested through

Cristiano Bianchi and Kristina Drapić

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The Model City

The Model City

200 illustrations 18.5 x 21.0cm 224pp • hardback ISBN 978 0 500 343531 September £19.95

Many ‘model’ cities, both imagined and physical, have existed throughout history; from the ideal cities of the Renaissance, Urbino, Pienza and Ferrara, to modernist utopias, such as Brasília or Chandigarh. North Korea’s Pyongyang, however, is arguably unique. Entirely rebuilt following the Korean War (1950– 53), the city was planned and fully implemented to model a single ideological vision – a guide for an entire state. As a result, the urban fabric of Pyongyang displays an extraordinary architectural cohesion and narrative, artfully captured in the pages of this book.

In recent years, many of Pyongyang’s buildings have been redeveloped to remove interior features or to render façades unrecognizable. From the city’s monumental axes to its symbolic sports halls and experimental housing concepts, this timely book offers comprehensive visual access to Pyongyang’s restricted buildings, which still preserve the DPRK’s original vision for a city designed ‘for the people’. Often kitsch, colourful and dramatic, Pyongyang’s architecture can be reminiscent of the aesthetic of a Wes Anderson film, where it is difficult to distinguish between reality and theatre. Reflecting a culture that has carefully crafted its own narrative, the backdrop of each photograph has been replaced with a colour gradient, evoking the idealized pastel skies of the country’s propaganda posters.

Icons

Icons

Juche Tower Location: Taedong River Date: 1982 Height: 170 m (558 ft)

Juche Tower 127

Residential Projects Changgwang Street 113 Hwanggumbol Station 169

The Subterranean Monument

Puhung Station 168

Icons

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Chollima Street

Social Condensers

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Juche Tower

Located on the east bank of the Taedong River, directly opposite Kim Il Sung Square, the tower was built to commemorate the leader’s 70th birthday. The tapering, 150 m (490 ft)-long granite spire, dressed in white stone and capped with an illuminated metal torch, is one of the tallest in the world. At the bottom is a statue of three figures (opposite), who hold a hammer, a sickle and a calligraphy brush, which together form the insignia of the Workers’ Party of Korea.

ARCHITECTURE

A survey of residential projects

by Australia’s leading minimalist architect, Sean Godsell Sean Godsell established his architectural practice in Melbourne in 1994. In 2013 he received the RAIA Victorian Medal and William Wardell Awards for the RMIT Design Hub and the Harold Desbrowe-Annear award for the Edward St House. He was awarded the Papal Silver Medal at the 2018 Architectural Biennale. Philip Goad is Professor of Architecture in the Faculty of Architecture, Building and Planning at the University of Melbourne. He is also a former President of the Victorian Chapter of the Royal Australian Institute of Architects.

200 illustrations 26.0 x 30.0cm 228pp • hardback ISBN 978 0 500 343524 October £50.00

Sean Godsell Houses Sean Godsell • Introduction by Philip Goad 98 ST. ANDREWS BEACH HOUSE

Entrance, Exterior View

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Bus Shelter House

The Bus Shelter House is the third in a series of prototypical housing proposals which have been produced by our office.

The first, Future Shack, is a mass produced relocatable house for emergency or relief shelter after war or natural disaster has destroyed people’s homes. It is a mid term solution using shipping containers as a base module which can be stockpiled for re-use. The original prototype was exhibited in 2004 at the Smithsonian Institute’s Cooper Hewitt Design Museum in New York.

The second, The Park Bench House, is a park bench during the day which converts into a rudimentary sheltered bed at night. The Park Bench House is part of our proposition that the city is a place of sustenance and support for displaced people and that as such, its infrastructure should be designed to (under controlled circumstances if necessary) accommodate rather than shun the homeless. It is an argument for urban design which incorporates basic amenity for the transient population of Melbourne.

Like the Park Bench House, the Bus Shelter House argues for compassionate infrastructure – it’s a bus shelter (when public transport is running) which converts into emergency overnight accommodation. The regular advertising hoarding is modified to act as a dispenser of blankets, food and water. As well the hoarding acts as a small gallery space where art can be exhibited and promoted. The shelter has the potential to be solar powered and it is proposed that its glass roof and back double as a giant digital projection screen.

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2003–2004

No fixed address

As many architects turn to Australia for inspiration, Sean Godsell – a pioneer of Australian minimalism – has established himself as an important influencer on the global architecture scene. This survey of his residential architecture features twelve house projects across Australia, each illustrated with fullcolour photography, as well as a selection of the architect’s hand-drawn plans and exploratory sketches, which illuminate how each project relates to its surrounding landscape.

Featuring an essay by Godsell about the influences of Australia’s landscape and culture in his work, this survey also includes an introduction by leading critic and commentator Philip Goad about the achievements of Godsell’s career to date and the importance of his visionary designs. With a complete illustrated chronology of Sean Godsell’s works, this overview will be an important resource for architecture lovers and design enthusiasts.

ARCHITECTURE

A stunning showcase of the best and most cutting-edge architecture and interior design across the Asia-Pacific region

Charmaine Chan has been design editor for the South China Morning Post for over a decade. She previously worked as a journalist in Sydney and Tokyo before moving to Hong Kong in 1997.

400 illustrations 29.0 x 23.0cm 272pp • hardback ISBN 978 0 500 519202 September £35.00

Courtyard Living

FIC U S H O U SE Hatterwan Architects and Zarch Collaboratives

Contemporary Houses of the Asia-Pacific

singapore, 2015

Charmaine Chan Architect Randy Chan will never forget the arrival of the eponymous ficus tree at this

the floor plane of the courtyard bathes the walls of what is essentially a giant travertine

courtyard house in Singapore. ‘It was like a

plant pot. The roots of the ficus, bound like

bride coming into a new home,’ he says. ‘It took

Chinese lotus feet to restrict their growth, are

fourteen men to bring her in.’

Six metres (20 ft) tall and chosen as carefully as one might a spouse, the tree had beaten stiff competition to claim its spot in the

contained within its stone barriers reaching the earth.

Typical of many courtyard houses in the Lion City – which sweats throughout the year

middle of the five-bedroom house, designed

when it is not swimming in rain – the void at the

by London-based Hatterwan Architects and

centre acts as an air shaft and a light well. The

Chan’s Zarch Collaboratives to accommodate a

heart of the house, massed in two symmetrical

three-generation family. Sited on its own island

volumes with a central articulated space, also

in a shallow pool open to the sky, the Ficus

affords an immediate connection with nature:

benjamina is so integral to Ficus House that, he

birds nest in the branches of the ficus and their

jokes, ‘The house is just a massive planter box.’

It is not difficult to see what he means. Life in this 1,460-square-metre (15,715-sq-ft) house, moments from Singapore Botanic Gardens, literally revolves around the courtyard and

chicks take flying lessons indoors. Then there’s the accompanying sense of well-being, say its owners.

That knock-on effect became apparent not long after they moved in. Because of forest

its tree, an axis mundi connecting earth and

fires in neighbouring Indonesia that closed

sky. Rooms on the ground and first floors

schools for weeks in 2015, many in the city-

are arranged in a rectangle around the 6- x

state donned masks outdoors and, at home,

4-metre (20- x 13-ft) centrepiece. And directly

shuttered windows and switched on air

below, in a basement as large as the footprint

conditioning. Ficus House, however, remained

of the level above, light penetrating a gap in

open to the elements, even though the

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Opposite: The acrylic base of the water feature, housing the all-important ficus tree, allows light into the floor below.

Courtyards have long played an important function in residential design, regulating light, shade and the use of space. With centuries of tradition as inspiration, contemporary architects are now realizing courtyard living afresh.

This lavish survey of twenty-five residences across the Asia-Pacific region features homes from Australia, Taiwan, Malaysia, Indonesia, Thailand, the Philippines, Singapore, India, Vietnam and Sri Lanka.

Structured by courtyard function, the book’s five chapters – on privacy; social spaces; sightlines; air, light, and shade; and blending boundaries – are richly illustrated with photography and architectural sketches that reveal the position of the courtyard within the floor plan.

Showcasing the unique lifestyle opportunities afforded by contemporary courtyard design, this is an inspirational resource for anyone interested in indoor-outdoor living.

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ARCHITECTURE

Overflowing with stunning photography, a rare glimpse inside Scandinavia’s new generation of 21st-century homes Dominic Bradbury is a journalist and writer specializing in architecture and design. He is the author of many books on the subject, including Mountain Modern, New Brazilian House, Vertical Living, Mid-Century Modern Complete, The Iconic Interior, Mediterranean Modern, New Natural Home and The Iconic House, all published by Thames & Hudson.

400 illustrations 29.0 x 23.0cm 320pp • hardback ISBN 978 0 500 021552 August £35.00

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Rural Cabins

Hytte Hvasser

The design of the house draws inspiration from the look of vernacular boathouses. A series of protective timber shutters unfold and slide back to reveal the doorways and windows when the building is in use.

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Coastal Retreats

Weekend House

New Nordic Houses Dominic Bradbury In a climate with dramatic shifts in temperature and light, the homes of Nordic countries respond to ever-changing and breathtaking environments with an intrinsic sense of warmth. Nordic architects today are as much informed by vernacular traditions and natural materials as their forebears, but the most recent generation of practitioners reflects a new appetite for spatial exploration and changing lifestyles.

Divided into four chapters – rural cabins, coastal retreats, town houses and country homes – New Nordic Houses surveys Scandinavia’s finest and most innovative houses, featuring work by a broad spectrum of leading architects.

Structured by terrain to show the full diversity of the landscape and its architectural challenges, this book reveals living spaces that are at once universal and distinctly Nordic. From country houses complete with traditional Nordic fireplaces, saunas, window seats and verandas, to remote cabin hideaways and artist’s studios, there are details and grand ideas that can be applied to residential design anywhere.

This unique glimpse inside Scandinavia’s new generation of 21st-century homes will be an endlessly rich resource for anyone with a passion for home and modern design.

ARCHITECTURE

The first publication devoted to allwhite houses, compiled and written by one of the world’s leading authorities on contemporary architecture Philip Jodidio studied art history and economics at Harvard, and edited Connaissance des Arts for over twenty years. He is the author of numerous books, including monographs on Tadao Ando, Santiago Calatrava, Norman Foster, Richard Meier, Jean Nouvel and Zaha Hadid. His books for Thames & Hudson include The New Pavilions and Casa Moderna.

268 illustrations 26.0 x 23.0cm 288pp • hardback ISBN 978 0 500 519837 July £35.00

White Houses Philip Jodidio DELORDINAIRE

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Sometimes seen as an absence of colour, white in fact reflects the purity of the entire spectrum. In the history of design, white houses often embody the bright, clean clarity associated with 20th-century giants Le Corbusier, Ludwig Mies van der Rohe and Richard Meier.

White Houses presents the most striking, innovative and unusual white houses by contemporary architects, spanning the globe from Asia to the Americas. The featured houses represent every scale and a wide range of locations and terrains, from seaside retreats to space-​saving urban homes and grand country residences. From radical new takes on traditional building forms in Latin America to state-of-the-art urban projects in Europe and Japan, each house employs the apparent simplicity of white to reflect light and accent materiality, pressing the frontiers of form to the point of abstraction. No longer an anonymous box, the contemporary white house is the embodiment of the architectural archetype, reinterpreted and refreshed.

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ARCHITECTURE

An entirely fresh perspective on the history of western architecture that uses timelines to trace the medium’s development from ancient history to the present John Zukowsky is an architectural historian and retired museum professional, and the author of numerous books. He was curator of architecture at the Art Institute of Chicago from 1978 to 2004 and has held several executive positions at institutions in Chicago, New York and Ohio.

Among his books is Architecture Inside and Out, also published by Thames & Hudson.

Over 300 illustrations 25.4 x 21.6cm 272pp • hardback ISBN 978 0 500 343562 November £24.95

A Chronology of Architecture

Home Insurance Building, Chicago, IL, USA (demolished)

1880-1890

A Decade of Engineering Marvels. The 1880s witnessed an amazing advance in building and engineering. Skyscrapers of ten or more stories, having iron and steel frames covered by masonry and terra cotta, were being constructed in cities like New York and Chicago. Massive suspension bridges were being built as well, secured with the earliest caissons. Enormous shopping arcades in Europe and North America with skeletal glazed roofs were becoming the world’s cathedrals of commerce. Of the many international expositions of this decade, there was even one even dedicated solely to electricity in 1881 – the first International Exposition of Electricity, Paris.

Electrical inventions alone would wow crowds in later World’s Fairs, from Chicago in 1893 to Brussels in 1897 and Paris in 1900. And inventions were being conceived that would forever reshape our world, from electric lights to automobiles. This decade laid the groundwork for the next.

Parisian-trained architect and veteran Union Army engineer, William Le Baron Jenney (1832-1907) is credited with creating the world’s first skyscraper.

The ten-story, elevator-accessed Home Insurance Building had an iron and steel frame, reinforced by, and clad in, masonry. It took the building to a height of 138 feet (42 m.). A two-story level atop was added 1891. The building was demolished 1931 and thoroughly documented for its importance to architectural history.

A Cultural Timeline from Stone Circles to Skyscrapers Edited by John Zukowsky

Brooklyn Bridge, New York NY, USA Civil engineers and bridge builders John Augustus Roebling (1806-69) and his son Washington Augustus Roebling (18371926) created this masterwork that connects Manhattan Island to Brooklyn.

Begun 1869 and opened 24 May 1883, this was the first steel wire suspension bridge in the world, its span being 1595.5 feet (486.3 m). The towers of limestone and granite are supported by an early use of caissons that went to bedrock 44-78 feet below.

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1880

12

Tri-Star Horseless Carriage Karl Friedrich Benz (1844-1929), whose shop specialized in bicycle repairs and small gas engines, married an engine with a slender tricycle-wheeled carriage to create was many believe to be the first automobile. Patented as the Benz Patent-Motorwagen, twenty-five were produced.

Completion of Cologne Cathedral, Germany Begun 1248, Cologne Cathedral was finally finished after work stopped 1473. Work recommenced 1842, following the original Medieval drawings, particularly for the West facade. The grand reopening was an event led by Kaiser Wilhelm I on 14 August 1880. Heavily damaged in World War II (1939-45), the cathedral was repaired 1956.

Electric Lighting Thomas Edison’s (1847-1931) experiments with electric illumination from 1879 blossomed into the first commercial application of incandescent electric lighting within the steamboat Columbia.

A dynamo aboard provided electricity for the lights, its use reported in Scientific American (May 1880).

1883

THE INDUSTRIAL AGE

1885

Galleria Umberto I, Naples, Italy Gallerias such as this, designed

by Emanuele Rocco and Ernesto di Mauro, are multi-storied retail spaces that are spectacularly roofed with iron and glass. They prefigure shopping malls of today. Perhaps the most famous is the Galleria Vittorio Emanuele II in Milan from 1877, but others can be found as far away as the Arcade in Cleveland, Ohio from 1890.

These grand spaces are descendants

1890

1880-1890

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Also available

978 0 500 545034 £19.95

978 0 500 239810 £19.95

A Chronology of Architecture presents a fresh perspective on the medium by taking a purely chronological approach to its history, tracing the complex links between structural innovations, social changes, and artistic interventions.

Organized around a central timeline that charts the development of architecture from the earliest structures to present-day skyscrapers and global cities, it features key buildings, together with commentaries and contextual information about the social, political and cultural events of the period in which they were built. Special feature spreads highlight important movements, construction methods and key practitioners.

Covering a wide selection of genres, styles and architects, it is invaluable as a comprehensive guide to architecture in all its different forms.

ARCHITECTURE

The Art of Earth Architecture Past, Present, Future

A landmark publication, presenting a world panorama of raw earth structures from ancient times to the present day

Edited by Jean Dethier For almost 10,000 years man has built with unbaked earth, not only simple dwellings but also palaces, temples and fortresses of the utmost grandeur and durability. The Art of Earth Architecture shows the extreme diversity of this type of architecture from a technical, cultural and historical point of view.

After presenting the various types of raw earth constructions (adobe and rammed earth, walls and roofs, columns, etc.), Jean Dethier reveals some of the raw earth masterpieces scattered across five continents, the majority listed as UNESCO world heritage sites.

From the creations of antiquity to those of today, as well as vernacular heritage and modernist works, the book surveys a multitude of building types: monumental structures – the temples and palaces of Mesopotamia, the Great Wall of China, the Great Mosque of Djenné in Mali, Capitagreen in Singapore; large urban developments – the city of Tenochtitlan in Mexico, the medinas of Morocco; housing in Marrakech, Bogota and various European cities; the castlehouses of the Somba people in Togo; Martin Rauch’s villas in Austria; and public amenities – a high school in Bangladesh, a museum in Australia, a market in Koudougou, Burkina Faso, and many more.

The culmination of a lifetime’s work, this definitive book is illustrated with around 700 photographs and about 100 drawings and architectural plans.

Jean Dethier has dedicated his life to the research, safeguarding and development of raw earth architecture around the world. Winner of the prestigious ‘Grand Prix d’Architecture’ in 1987, Dethier also sat on the jury of the 2016 international Terra Award, the first international prize for contemporary earthen structures.

c. 700 illustrations 31.0 x 24.0cm 512pp • hardback ISBN 978 0 500 343579 November £98.00

31 PAT R I M O I N E S V E R N A C U L A I R E S

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Winner of Prix des libraires de livres d’art 2017

‘A landmark publication’ Aesthetica 978 0 500 343241 £98.00

N AT U R A L H IS TO RY

Compact edition

A new edition of the winner of the 2017 ABC James A. Duke Excellence in Botanical Literature Award Mel Gooding, an art historian, has taught at Edinburgh and Wimbledon Schools of Art, and writes regularly in the art press. David Mabberley is an Emeritus Fellow at Wadham College, Oxford and Professor Extraordinary at the University of Leiden. Joe Studholme co-founded Editions Alecto and undertook the printing of Banks’ Florilegium from the original copper plates between 1980 and 1990.

175 illustrations 27.0 x 20.2cm 320pp • hardback ISBN 978 0 500 022870 September £29.95

‘A stunning piece of history, art and botany in one’ The Field

Joseph Banks’ Florilegium Botanical Treasures from Cook’s First Voyage Mel Gooding • David Mabberley • Joe Studholme 104

Joseph Banks accompanied Captain Cook on his first voyage round the world from 1768 to 1771. A gifted and wealthy young naturalist, Banks collected exotic flora from Madeira, Brazil, Tierra del Fuego, the Society Islands, New Zealand, Australia and Java, bringing back over 1,300 species that had never been seen or studied by Europeans. On his return, Banks commissioned over 700 superlative engravings between 1772 and 1784. Known collectively as Banks’ Florilegium, they are some of the most precise and exquisite examples of botanical illustration ever created.

The Florilegium was never published in Banks’ lifetime, and it was not until 1990 that a complete set in colour was issued in a boxed edition (limited to 100 copies) under the direction of the British Museum (Natural History). It is from these prints that the present selection is made, directed by David Mabberley, who has provided expert botanical commentaries, with additional texts by art historian Mel Gooding, setting the works in context as a perfect conjunction of nature, science and art. An afterword by Joseph Studholme describes the history of the modern printing.

‘Monumental’

Financial Times

‘Beautifully crafted and lovingly presented … a joy to behold’ The Garden

N AT U R A L H IS TO RY

New in B-format paperback

Fascinating stories of pioneers who changed the course of science with their daring travels and groundbreaking theories

Robert Huxley was Head of Collections in the Botany Department of the Natural History Museum, London, for twenty years and has served as a board member of the North America-based Natural Sciences Collections Alliance and as President of the Society for the Preservation of Natural History Collections.

22 illustrations 19.8 x 12.9cm 272pp • paperback ISBN 978 0 500 294796 August £10.99

‘A cabinet of delights … history of thought at its accessible best’ Financial Times

The Great Naturalists Edited by Robert Huxley Features

Aristotle • Pliny the Elder • Leonhart Fuchs Antony van Leeuwenhoek • Sir Hans Sloane Carl Linnaeus • Joseph Banks • Jean-Baptiste Lamarck • John James Audubon • Charles Darwin • Alfred Russel Wallace • Asa Gray and more

Also available

978 0 500 292518 £9.99

978 0 500 293836 £9.99

From Classical times to the 19th century, the great quest to discover and define the intoxicating diversity of the natural world attracted a host of intrepid thinkers and explorers. Aristotle and Linnaeus set out to classify nature; Joseph Banks and von Humboldt made perilous journeys to collect and record it. Antony van Leeuwenhoek discovered bacteria with a homemade microscope and James Hutton revealed the immense age of the Earth. Mary Anning hunted fossils; others insects, birds and plants.

Georges Cuvier pondered extinction, and Charles Darwin proclaimed the origin of species.

Here thirty-nine of them are brought vividly to life by an array of experts. With their radical thinking and commitment to close observation, these pioneers laid foundations for the specialist scientists of today.

978 0 500 294420 £9.99

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CU LT U R A L H IS TO RY

Compact edition

‘Weird and wonderful … like a catalogue for the repository of the most freakish flights of scientific imagination’ The Times

Cabinets of Curiosities Patrick Mauriès All knowledge, the cosmos arranged on shelves, in cupboards, or hanging from the ceiling, ‘infinite riches in a little room’ – such were the cabinets of curiosities of the 17th century. This survey, now available in a compact edition, traces their amazing history, from their first appearance in the inventories and engravings commissioned by Renaissance nobles such as the Medici or the Hapsburgs, via those of the Dane Ole Wurm and the Italian polymath Athanasius Kircher, to the serious 17th- and 18th-century scientists Elias Ashmole and Levinas Vincent. Patrick Mauriès reconstructs these ‘rooms of wonders’ as they were in their heyday and illustrates many of the most exotic items they contained, as well as the few complete interiors that survive.

Patrick Mauriès is a writer and publisher of many notable titles on fashion and design, including Jewelry by Chanel, A Cabinet of Rarities, Christian Dior and Cabinet of Wonders, all published by Thames & Hudson.

272 illustrations 25.5 x 18.8cm 256pp • hardback ISBN 978 0 500 022887 July £19.95

New in B-format paperback

‘A savoury collection … the perfect present for the curious foodie in your life’ Observer

106

Food The History of Taste Edited by Paul Freedman Since earliest times food has encompassed so much more than just what we eat – whole societies can be revealed and analysed by their cusines.

In this wide-ranging book, leading historians from Europe and America piece together from a myriad sources the culinary accomplishments of diverse civilizations, past and present, and the pleasures of dining. Throughout, the entertaining story of worldwide food traditions provides the ideal backdrop to today’s roaming the globe for great gastronomic experiences.

From beginning to end, this is an enthralling story, not just of what keeps us alive, but of what makes us feel alive.

Paul Freedman is Chester D. Tripp Professor of History at Yale University. He specializes in medieval social history, the history of Catalonia and the history of cuisine. His latest book is Ten Restaurants That Changed America.

c. 20 illustrations 19.8 x 12.9cm 336pp • paperback ISBN 978 0 500 295373 May £12.99

LIFESTYLE

Published by Thames & Hudson Australia

A visual diary of leading garden designers the Land Gardeners

The Land Gardeners Cut Flowers Bridget Elworthy and Henrietta Courtauld When The Land Gardeners arrived at Wardington Manor, the cutting gardens had lain dormant for over thirty years. The Arts and Crafts gardens meandering around the Jacobean manor house had once provided cut flowers for London society. This is the story of how these gardeners revived the cutting gardens, growing and gathering glorious blooms for florists and homes and bringing the manor and gardens alive with their floral circus. It explores their beliefs on growing organically and on soil health, which is central to all of their work.

It is a book to inspire others to create their own cutting gardens, with an introduction to The Land Gardeners’ favourite flowers and expert knowledge on how to grow and what to gather by season.

Bridget Elworthy and Henrietta Courtauld are the Land Gardeners. Their book Clive Nichols English Gardens was published in 2014.

440 illustrations 33.0 x 26.0cm 256pp • hardback ISBN 978 1 760 760380 October £39.95

Published by Thames & Hudson Australia

The first book to address a growing fact of city life: housemates coming together to share a common living space 107

Shared Living Interior design for rented and shared spaces Emily Hutchinson The harsh reality of the global housing market has made sharing a longer-term affordable solution for many living in cities around the world. Featuring 21 shared homes that are getting it right, Shared Living uncovers the potential of dwelling in social and creative groups. A cottage in Sydney boasts a readymade gallery with an enviable swapped-art collection; an apartment in Berlin exudes bohemian luxury through a combination of vintage finds; a Tokyo shared house reveals a bedroom art installation; and a small London flat merges bold colours with clusters of collectables to achieve domestic harmony.

This image-rich book offers practical advice and tips for DIY styling through each stage of shared living – from finding a place to merging style – including how to upcycle furniture, scour flea markets and enjoy common living spaces.

Emily Hutchinson has been writing about interior design for many years, and has a passion for encouraging decorating on a budget.

160 illustrations 24.0 x 18.5cm 176pp • paperback ISBN 978 1 760 760168 July £19.95

LIFESTYLE

Presents over 80 of the finest cycling climbs through the French Alps, offering key route guides, statistics, maps, tips and stories for those looking to plan their next adventure Previously a lecturer in Latin and Greek literature at the University of Reading, Graeme Fife is a writer and broadcaster who has written for BBC Radio and the World Service, as well as for magazines and national newspapers. He is the author of eight books, including Tour de France: The History, the Legend, the Riders. Peter Drinkell is a photographer, filmmaker and sports therapist based in London.

62 illustrations 22.4 x 17.0cm 352pp • hardback ISBN 978 0 500 022719 July £29.95

Great Cycling Climbs

GENEVA

The French Alps Graeme Fife • Photographs by Peter Drinkell

108

Introduction Chablais Massif Col du Ran Folly, Col de Joux Plane Avoriaz Col de la Joux Verte Col du Corbier Col du Grand Taillet, Pointe de Tréchauffex Pas de Morgins Recipe: Le Berthoud Chablaisien

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The Alps are a place of legend for cyclists, road-racers and enthusiasts alike.

Home to one of the most challenging sections of the Tour de France, the mountains offer some of Europe’s most challenging and glorious cycling climbs through Geneva, Chamonix, Annecy, Chambéry, Grenoble, Le Bourg-d’Oisans and Barcelonnette.

In this comprehensive guide, teacher, passionate cycling enthusiast and author of one of the most renowned books on the Tour de France and L’Alpe d’Huez, Graeme Fife presents the greatest mountain routes of the Alps. Fife’s lively writing style, full of anecdotes and humorous asides, captures the beauty and intrigue of the mountains, as well as key moments in cycle-racing history.

A selection of photography of the routes and stunning scenery follows each chapter and hand-drawn maps document some of the most famous – and most challenging – climbs, both well- and lesser-known, including Chablais Massif, Grand Saint-Bernard, Col de la Colombière, Mont du Chat and Col du Mont Noir.

Whether planning a weekend micro-adventure or an epic cycling escape, this beautifully illustrated guide is essential reading for cyclists of all stripes.

TR AVEL PHOTOGR APHY

A collection of Sean Scully’s photographs of Aran Island’s stone walls, which inspired his recent exhibition ‘Inside Outside’ at Yorkshire Sculpture Park

Sean Scully – Walls of Aran Photographs by Sean Scully • Introduction by Colm Tóibín

‘The book is self-contained and pleasing as a piece of work in itself’ The Irish Times

Sean Scully is one of today’s best-loved abstract painters. His familiar signature style of lines or bands of colour, alluding to architectural elements such as portals, windows and walls, is one of the most instantly recognizable in contemporary painting. This book brings together for the first time his photographs of the dry stone walls found on the Aran Islands, off the west coast of Ireland. An essay by Colm Tóibín evokes the stark beauty of these remote islands on the edge of Europe.

Sean Scully is an Irish-born painter and printmaker who has twice been named a Turner Prize nominee. Colm Tóibín is an Irish novelist, short story writer, playwright, poet, journalist and critic. Tóibín is currently Irene and Sidney B. Silverman Professor of the Humanities at Columbia University.

64 illustrations 16.5 x 18.0cm 128pp • hardback ISBN 978 0 500 545133 August £14.95

Pocket Photo Books

More than 100 photographs showcase the magnificent spaces of Harewood House, one of Britain’s greatest country houses

Harewood House

109

Pocket Photo Books Harry Cory Wright • Introduction by David Lascelles, Earl of Harewood Situated in the heart of Yorkshire, Harewood House was commissioned in the 18th century by Edwin Lascelles, 1st Earl of Harewood. He employed the finest artists and craftsmen of the time, including John Carr of York, Robert Adam, Lancelot ‘Capability’ Brown and Thomas Chippendale. Harewood also displays an extraordinary collection of Renaissance masterpieces alongside fine works of 20th-century art, and was the first country house in England to have a designated space for contemporary art. With an introduction by David Lascelles, 8th Earl of Harewood, this exquisite album of photographs by Harry Cory Wright allows us to experience Harewood as if for the first time.

Already available Harry Cory Wright is a leading landscape photographer whose work is concerned with the fundamental sense of place. David Lascelles, the 8th Earl of Harewood, is Chairman of Harewood House Trust.

978 0 500 294598

978 0 500 294673

978 0 500 294666

108 illustrations 17.0 x 12.0cm 176pp • paperback ISBN 978 0 500 295007 July £12.95

NEW EDITIONS

Updated edition

‘A pithy biography written with energy and zest’

Sunday Times

Gauguin Belinda Thomson

209 illustrations • 21.0 x 15.0cm 216pp • paperback • ISBN 978 0 500 294642 September • £12.95

Paul Gauguin’s prominence has always had as much to do with the dramatic events of his life – his self-imposed exile in the South Seas, his turbulent relationships with his peers – as with the appeal of his art. Belinda Thomson gives a comprehensive account of his life and art, discussing his work in the light of his public persona, his relations with his contemporaries, his exhibitions and their critical reception. His private world, beliefs and aspirations are revealed through his extensive cache of journals, letters and other writings.

Fully updated throughout, drawing on the insights of thirty years of scholarship since its first edition, Thomson’s book remains the best introduction to this controversial and often contradictory artist.

Belinda Thomson is an independent art historian. Among her books are Van Gogh Paintings and Impressionism: Origins, Practice, Reception, both published by Thames & Hudson.

Second revised edition

‘A thing of joy. Warmly recommended’

Guardian

William Blake Kathleen Raine • With a Preface by Colin Trodd ‘Prophet, poet, painter and engraver – Blake’s uniqueness lies in no single achievement, but in the whole of what he was, which is more than the sum of all that he did.’ So writes Kathleen Raine in this classic study of William Blake, a man for whom the arts were not an end in themselves, but expressed his vision of the spiritual drama of the English national being. A new Preface

by Blake scholar Colin Trodd contextualizes Raine’s original, somewhat controversial, work, offering a short history of the study of Blake that explains the artist’s rise to prominence.

110 185 illustrations • 21.0 x 15.0cm 224pp • paperback • ISBN 978 0 500 204573 August • £12.95

Kathleen Raine wrote a number of books of poetry, and her Collected Poems appeared in 2000. Her other books include From Blake to a Vision (1979), Blake and the New Age (1979), The Human Face of God: William Blake and the Book of Job and four volumes of autobiography.

New in paperback

‘The definitive guide to the history of western costume’

Antiques Info

The Chronicle of Western Costume John Peacock Here, in more than 1,000 illustrations, is the history of Western costume, from ancient Egypt to Paris fashion. John Peacock’s meticulous drawings are organized in chronological sections and accompanied by detailed descriptions of each figure, including the individual items of costume shown and the many types of fabric, cut, pattern and colour that have been used over the centuries.

Over 1,000 illustrations • 27.9 x 20.3cm 224pp • paperback • ISBN 978 0 500 284476 August • £9.95

John Peacock has worked as a fashion and costume designer and lecturer in fashion history.

He was for several years senior costume designer for BBC Television, and is the author of many books on costume.

Highlights

ART HIGHLIGHTS

112

Lee Krasner

Paula Rego: Nursery Rhymes

Bauhaus Goes West

Bauhaus Imaginista

Living Colour Eleanor Nairne 214 illustrations 28.0 x 22.0cm 240pp 978 0 500 094082 £35.00 hb

Introduction by Marina Warner 31 illustrations 25.4 x 19.8cm 72pp 978 0 500 094105 £14.95 hb

Modern Art and Design in Britain and America Alan Powers 120 illustrations 23.4 x 15.3cm 304pp 978 0 500 519929 £24.95 hb

A School in the World Marion von Osten and Grant Watson 206 illustrations 30.8 x 24.0cm 312pp 978 0 500 021934 £39.95 hb

Hockney – Van Gogh: The Joy of Nature

Japanese Prints

Hokusai Manga

Manga

The Collection of Vincent van Gogh Axel Vellekoop and Marije Vellekoop 170 illustrations 29.0 x 21.0cm 224pp 978 0 500 239896 £29.95 hb

Hokusai Illustrated throughout 14.8 x 10.5cm 1,040pp 978 0 500 294611 £25.00 slipcased pbs

Nicole Coolidge Rousmaniere and Matsuba Ryoko 310 illustrations 26.0 x 19.0cm 352pp 978 0 500 480496 £29.95 pb

Leonardo Pop-ups

Edvard Munch: love and angst

Landscape Painting Now

Courtney Watson McCarthy Illustrated throughout 33.0 x 34.0cm 16pp 978 0 500 239964 £24.95 hb

Giulia Bartrum Contribution from Karl Ove Knausgaard 186 illustrations 28.0 x 23.0cm 224pp 978 0 500 480465 £30.00 hb

From Pop Abstraction to New Romanticism Todd Bradway and Barry Schwabsky 420 illustrations 26.0 x 28.0cm 368pp 978 0 500 239940 £39.95 hb

Hans den Hartog Jager Illustrated throughout 22.5 x 27.0cm 160pp 978 0 500 239971 £24.95 pb

The Life of Leonardo da Vinci Giorgio Vasari Edited by Martin Kemp and Lucy Russell 40 illustrations 18.5 x 13.5cm 128pp 978 0 500 239858 £10.00 hb

ART & PHOTOGRAPHY HIGHLIGHTS

Seven Keys to Modern Art

Look Again

A New Way of Seeing

Chromatopia

Simon Morley 40 illustrations 21.0 x 14.0cm 256pp 978 0 500 021620 £19.95 hb

How to Experience the Old Masters Ossian Ward 101 illustrations 19.6 x 14.8cm 176pp 978 0 500 239674 £12.95 flexi

The History of Art in 57 Works Kelly Grovier Over 200 illustrations 27.0 x 22.6cm 256pp 978 0 500 239636 £29.95 hb

An Illustrated History of Colour David Coles Illustrated throughout 22.0 x 16.5cm 240pp 978 0 500 501351 £24.95 hb

Painting Masterclass

Drawing: A Complete Guide

Body

Creative Techniques of 100 Great Artists Susie Hodge 350 illustrations 24.2 x 19.9cm 288pp 978 0 500 239957 £19.95 flexi

Stephen C.P. Gardner 529 illustrations 27.5 x 21.5cm 368pp 978 0 500 292389 £35.00 hb

The Photography Book Nathalie Herschdorfer 369 illustrations 30.0 x 21.0cm 432pp 978 0 500 021583 £48.00 hb

Nick Brandt: This Empty World

Cimarron

Eamonn Doyle: Made In Dublin

Anja Niemi: In Character

All About Saul Leiter

Freedom and Masquerade Charles Fréger 307 illustrations 23.0 x 18.0cm 320pp 978 0 500 022467 £28.00 hb

Kevin Barry, Sean O’Hagan and Niall Sweeney 350 illustrations 29.2 x 21.0cm 272pp 978 0 500 545089 £35.00 hb

Anja Niemi and Max Houghton 170 illustrations 23.0 x 18.0cm 240pp 978 0 500 545119 £24.95 hb

Saul Leiter 232 illustrations 21.0 x 14.8cm 296pp 978 0 500 294536 £19.95 pb

Nick Brandt 84 illustrations 33.0 x 38.1cm 128pp 978 0 500 545140 £45.00 hb

113

PH OTO G R A PH Y & P O PU L A R CU LT U R E H I G H L I G H TS

114

Ravens & Red Lipstick

Civilization

Japanese Photography Since 1945 Lena Fritsch 218 illustrations 29.5 x 24.5cm 288pp 978 0 500 292877 £35.00 pb

The Way We Live Now William A. Ewing and Holly Roussell 485 illustrations 29.5 x 24.5cm 352pp 978 0 500 021705 £39.95 hb

Hip Hop Raised Me® DJ Semtex Over 1,000 illustrations 27.7 x 21.6cm 448pp 978 0 500 293959 £24.95 pb

Rock Graphic Originals Revolutions in Sonic Art from Plate to Print ’55–’88 Peter Golding 750 illustrations 31.5 x 21.8cm 224pp 978 0 500 293539 £28.00 hb

Cold War Steve Presents...

The Festival of Brexit

Tarkovsky

Cold War Steve Introduction by Jon Savage 114 illustrations 15.7 x 17.2cm 144pp 978 0 500 022894 £12.95 hb

Films, Stills, Polaroids & Writings Andrey A. Tarkovsky, Hans-Joachim Schlegel and Lothar Schirmer 350 illustrations 24.0 x 19.0cm 288pp 978 0 500 022597 £29.95 hb

Motown

Supreme Glamour

Imagine John Yoko

The Sound of Young America Adam White 1,000 illustrations 27.7 x 21.6cm 400pp 978 0 500 294857 £28.00 pb

Mary Wilson with Mark Bego 338 illustrations 30.5 x 19.5cm 240pp 978 0 500 022009 £29.95 hb

John Lennon and Yoko Ono With contributions from the people who were there 1,362 illustrations 30.8 x 24.0cm 320pp 978 0 500 021842 £35.00 hb

The New Yorker Encyclopedia of Cartoons

Pattern Design

Spectrum

Edited by Elizabeth Wilhide Over 1,500 illustrations 23.5 x 22.3cm 672pp 978 0 500 021484 £35.00 hb

Heritage Patterns and Colours Ros Byam Shaw 117 illustrations 24.0 x 18.5cm 256pp 978 0 500 480267 £24.95 hb

David Remnick and Bob Mankoff Illustrated throughout 30.5 x 22.0cm 1,536pp 978 0 500 022450 £75.00 slipcased hbs

ART & PHOTOGRAPHY HIGHLIGHTS

Things Come Apart 2.0

Futurekind

The World Atlas of Tattoo

Cyclepedia

A Teardown Manual for Modern Living Todd McLellan 123 illustrations 29.7 x 21.0cm 128pp 978 0 500 294871 £14.95 pb

Design by and for the People Robert Phillips 900 illustrations 25.5 x 21.0cm 240pp 978 0 500 519790 £39.95 hb

Anna Felicity Friedman Over 700 illustrations 23.4 x 21.9cm 288pp 978 0 500 294970 £19.95 pb

A Tour of Iconic Bicycle Designs Michael Embacher 482 illustrations 15.8 x 20.6cm 304pp 978 0 500 293973 £14.95 hb

Calligraphy & Lettering

The Planthunter

The Foraged Home

Vases

A Maker’s Guide Denise Lach 230 illustrations 26.5 x 20.5cm 176pp 978 0 500 294307 £16.95 pb

Truth, Beauty, Chaos and Plants Georgina Reid and Daniel Shipp Illustrated throughout 28.0 x 21.0cm 256pp 978 1 760 760236 £28.00 hb

Joanna and Oliver Maclennan Over 300 illustrations 25.0 x 19.5cm 256pp 978 0 500 021873 £24.95 hb

250 state-of-the-art designs Agata Toromanoff 350 illustrations 18.0 x 18.0cm 256pp 978 0 500 021248 £16.95 hb

Japanese Style at Home

Bohemian Style at Home

Making Marks

A Room by Room Guide Olivia Bays, Cathelijne Nuijsink, Tony Seddon Illustrated throughout 21.0 x 16.0cm 192pp 978 0 500 294994 £14.95 flexi

A Room by Room Guide Kate Young Illustrated throughout 21.0 x 16.0cm 192pp 978 0 500 294987 £14.95 flexi

Architects’ Sketchbooks – The Creative Process Will Jones Over 900 illustrations 22.0 x 29.7cm 320pp 978 0 500 021316 £29.95 hb

Vincent Van Duysen Works 2009–2018 Hélène Binet et al 369 illustrations 29.7 x 23.2cm 320pp 978 0 500 021644 £48.00 hb

115

ARCHITEC TURE, TR AVEL & FA SHION HIGHLIGHTS

116

New Chinese Architecture

The Iconic House

Off the Grid

New Map Italy

Twenty Women Building the Future Austin Williams and Zhang Xin 374 illustrations 24.0 x 21.6cm 256pp 978 0 500 343388 £29.95 hb

Architectural Masterworks Since 1900 Dominic Bradbury and Richard Powers 660 illustrations 22.4 x 20.8cm 376pp 978 0 500 293942 £24.95 hb

Houses for Escape Dominic Bradbury 310 illustrations 29.0 x 23.0cm 272pp 978 0 500 021422 £29.95 hb

Unforgettable Experiences for the Discerning Traveller Herbert Ypma Over 500 illustrations 26.0 x 20.0cm 352pp 978 0 500 292884 £29.95 flexi

The Sartorial Travel Guide

The Parisian Gentleman

Jewelry for Gentlemen

Jewels and Jewellery

Simon Crompton 300 illustrations 19.8 x 13.0cm 240pp 978 0 500 021569 £16.95 hb

Hugo Jacomet Over 350 illustrations 26.0 x 20.7cm 272pp 978 0 500 293966 £29.95 hb

James Sherwood 275 illustrations 25.9 x 20.6cm 256pp 978 0 500 519851 £29.95 hb

Clare Phillips 398 illustrations 29.0 x 20.5cm 224pp 978 0 500 480342 £24.95 pb

Carnet by Michelle Ong

Chanel

The World According to Karl

Christian Dior

Vivienne Becker 263 illustrations 32.0 x 25.0cm 272pp 978 0 500 021637 £65.00 hb

The Karl Lagerfeld Campaigns Patrick Mauriès and Karl Lagerfeld Over 600 illustrations 27.7 x 19.0cm 560pp 978 0 500 519813 £55.00 slipcased hb

The Wit and Wisdom of Karl Lagerfeld Jean-Christophe Napias and Sandrine Gulbenkian Illustrated throughout 17.0 x 12.0cm 176pp 978 0 500 293935 £10.00 hb

Designer of Dreams Edited by Florence Müller Over 280 illustrations 35.5 x 28.0cm 368pp 978 0 500 021545 £50.00 hb

FA SHION & HISTORY HIGHLIGHTS

The Indian Textile Sourcebook

The Sea Journal

The Writer’s Map

Aurélie Samuel Over 200 illustrations 28.4 x 19.5cm 220pp 978 0 500 022283 £28.00 hb

Patterns and Techniques Avalon Fotheringham 478 illustrations 26.0 x 20.0cm 400pp 978 0 500 480427 £35.00 flexi

Seafarers’ Sketchbooks Huw Lewis-Jones Over 450 illustrations 19.5 x 27.0cm 304pp 978 0 500 021279 £29.95 hb

An Atlas of Imagined Lands Huw Lewis-Jones 167 illustrations 30.0 x 21.0cm 256pp 978 0 500 519509 £29.95 hb

Taxidermy

The Dinosaurs Rediscovered

Tutankhamun

Alexis Turner 338 illustrations 24.0 x 17.0cm 256pp 978 0 500 295045 £16.95 pb

How a Scientific Revolution is Rewriting History Michael J. Benton 163 illustrations 23.4 x 15.3cm 336pp 978 0 500 052006 £24.95 hb

Treasures of the Tomb Zahi Hawass and Sandro Vannini 324 illustrations 28.9 x 20.8cm 296pp 978 0 500 293904 £29.95 hb

Art & Archaeology of the Greek World

The Spectacle of Illusion

Ancient Magic

Tibetan Yoga

Ninja

Magic, the paranormal & the complicity of the mind Matthew L. Tompkins 534 illustrations 24.0 x 17.0cm 288pp 978 0 500 022429 £19.95 hb

A Practitioner’s Guide to the Supernatural in Greece and Rome Philip Matyszak 82 illustrations 19.5 x 12.9cm 208pp 978 0 500 052075 £14.95 hb

Principles and Practices Ian A. Baker 396 illustrations 23.2 x 18.5cm 292pp 978 0 500 519264 £24.95 hb

The (Unofficial) Secret Manual Stephen Turnbull 122 illustrations 19.8 x 12.5cm 208pp 978 0 500 021996 £12.95 hb

Yves Saint Laurent: Dreams of the Orient

Richard T. Neer 559 illustrations 27.6 x 21.5cm 408pp 978 0 500 052082 £45.00 hb

117

B - FO R M AT PA PER BAC K S H I G H L I G H TS

History Day by Day

Histories of Nations

The Great Cities in History

The Great Explorers

366 Voices from the Past Peter Furtado 488pp 978 0 500 294963 £10.99

How Their Identities Were Formed Edited by Peter Furtado 272pp 978 0 500 293003 £9.99

Edited by John Julius Norwich 372pp 978 0 500 292518 £9.99

Edited by Robin Hanbury-Tenison 256pp 978 0 500 293836 £9.99

The Great Empires of Asia

Islamic Civilization in Thirty Lives England’s Forgotten Past

Edited by Jim Masselos 256pp 978 0 500 294420 £9.99

The First 1000 Years Chase F. Robinson 288pp 978 0 500 293782 £9.99

Richard Tames 192pp 978 0 500 293775 £8.99

Sophie and Michael D. Coe 280pp 978 0 500 294741 £9.99

Renaissance People

Living with Leonardo

Lee Krasner

Significant Others

Lives that Shaped the Modern Age Robert C. Davis, Beth Lindsmith 376pp 978 0 500 293805 £10.99

Martin Kemp 336pp 978 0 500 292693 £12.99

A Biography Gail Levin 272pp 978 0 500 295281 £12.99

Creativity and Intimate Partnership Whitney Chadwick, Isabelle de Courtivron 256pp 978 0 500 293812 £10.99

The Unfinished Palazzo

The Battle for Home

Thinking Big

Life, Love and Art in Venice Judith Mackrell 408pp 978 0 500 294437 £9.99

Memoir of a Syrian Architect Marwa Al-Sabouni 192pp 978 0 500 292938 £8.99

How the Evolution of Social Life Shaped the Human Mind Gamble, Gowlett, Dunbar 240pp 978 0 500 293829 £9.99

The Traveller’s Guide to Classical Philosophy

The True History of Chocolate

118

John Gaskin 192pp 978 0 500 294734 £8.99

Index 100 Sculptors of Tomorrow 21 1950s in Vogue 49 Adam, Peter 6 Alexander, Stuart 42 Alonso, Hernán Diaz 95 Arcade Game Typography 65 Archipelago: An Atlas of Imagined Lands 34 Armstrong, Simon 17 The Art of Earth Architecture 103 The Art of Mesoamerica 82 Aubin, Nicolas 76 Autofocus 91 Francis Bacon 12 Francis Bacon 13 Bain, Rowan 88 Balchin, Julia 27 Ballen, Roger 43 Joseph Banks’ Florilegium 104 Barnes, Martin 90 Bassens, Maarten 23 Bazalgette, Peter 70 Beers, Kurt 21 Bell, Julian 27 Bergé, Pierre 52 Bernard, Vincent 76 Betts, B.J. 64 Bianchi, Cristiano 96 Blackman, Cally 53 William Blake 110 Blake, Quentin 30 Bloxham, Terry 89 Charles Booth’s London Poverty Maps 75 Bowles, Hamish 51 Bradbury, Dominic 100 Bruegel: The Complete Graphic Works 23 Cabinets of Curiosities 106 Carey, Joanna 33 Henri Cartier-Bresson in China 39 Caygill, Howard 12 Paul Cézanne 28 Chan, Charmaine 99 The Chronicle of Western Costume 110 A Chronology of Architecture 102 Cinema: The Whole Story 60 Coe, Michael D. 82 Cork, Richard 21 Cory Wright, Harry 109 Courtauld, Henrietta 107 Courtyard Living 99 Walter Crane 32 Cullen, Oriole 51 Jósef Czapski 14

Danchev, Alex 28 Darmaillacq, Sophie 40 Davies, Hwyel 53 Dawson, Peter 67 Design for the Real World 69 Dethier, Jean 103 Diamond Jewelry 93 Digging Up Britain 85 Donnellan, Victoria 87 Stanley Donwood: There Will Be No Quiet 58 Donwood, Stanley 58 Drapic, Kristina 96 Drawings by Francisco de Goya 25 The Drawings of Rembrandt 24 Drinkell, Peter 108

Guy, Will 42 Gypsies 42

Egaña, Miguel 13 Elworthy, Bridget 107 The Eye’s Mind: Bridget Riley 4

Takenobu Igarashi: A to Z 66 Impressionism 17 Impressionist & Post-Impressionist Drawings 29 India 72 Into the Woods 90 Is Masculinity Toxic? 63 The Italian Gentleman 56 Iyer, Pico 96

Fairer, Robert 51 Fashion Central Saint Martins 53 Fenby, Jonathan 76 Fife, Graeme 108 Fitton, Lesley 87 Food 106 Fra Angelico and the Rise of the Florentine Renaissance 22 Frankel, Susannah 54 Franklin, Kate 68 Frayling, Christopher 60 Freedman, Paul 106 Frere-Jones, Tobias 67 Frizot, Michel 39 Furtado, Peter 79 John Galliano for Dior 51 Gauguin 110 Gayford, Martin 10, 11 Bruce Gilden: Lost and Found 40 Gilden, Bruce 40 Goad, Philip 98 Sean Godsell 98 Godsell, Sean 98 Gooding, Mel 104 Antony Gormley on Sculpture 20 Gormley, Antony 20 The Graphic Art of Tattoo Lettering 64 Eileen Gray 6 Great Cities Through Travellers’ Eyes 79 Great Cycling Climbs 108 The Great Naturalists 105 Harry Gruyaert: Last Call 38 Gruyaert, Harry 38 Guillerat, Nicolas 76

Halliday, Stephen 70 Hammond, Catherine 15 Harewood House 109 Harrison, Christina 37 Haywood, John 78 Frances Hodgkins: European Journeys 15 Holborn, Mark 20 Horowitz, Gregg M. 12 How to Read a Photograph 44 How Turner Painted 26 Howe, Catherine 13 Hutchinson, Emily 107 Huxley, Robert 105

Jacomet, Hugo 56 Jeffrey, Ian 44 Jodidio, Philip 94, 101 Karpeles, Eric 14 Karpiski, Wojciech 14 Kemp, Philip 60 Judith Kerr 33 Kirkham, Tony 37 Kisler, Mary 15 Koontz, Rex 82 Koryo Studio 96 Koudelka, Josef 42 Kozloff, Max 44 Kudielka, Robert 4 Yayoi Kusama 2 The Land Gardeners 107 The Land of the White Horse 84 Lascelles, David, Earl of Harewood 109 Leader, Darian 12 The Letters of Paul Cézanne 28 Lewis-Jones, Huw 34 Lives of the Ancient Egyptians 80 Lloyd, Christopher 28, 29 Lopez, Jean 76 Lowit, Roxanne 52 Lusardy, Martine 43

119

Mabberley, David 104 Mackenzie Stuart, Amanda 48 Magnum Photos 41 Magnum Streetwise 41 Malabou, Catherine 12 Man with a Blue Scarf 10 Manco, Jean 83 Matilla, José Matilla 25 Mauriès, Patrick 106 McClaren, Stephen 41 Mena, Manuela 25 Mexico 82 Miles, David 84 Miller, Mary Ellen 82 Model City Pyongyang 96 Modernists & Mavericks 10 Moonlight Travellers 30 Moorby, Nicola 26 Morgan, Mary S. 75 Mori, Haruki 66 Morris, Desmond 18 William Morris’s Flowers 88 Mozo, Ana González 22 Myroga, Kyonori 65 National Museum of Qatar 94 Naunton, Chris 80 New Nordic Houses 100 Nobus, Dany 12 Nomiyama, Sakura 66 Omagari, Toshi 65 The Origins of the Anglo-Saxons 83 Ottinger, Didier 13

120

Paasche, Marit 8 Papanek, Victor 69 Peacock, John 110 Peppiatt, Michael 13 Pitts, Mike 85 Henry Poole & Co 57 Postures: Body Language in Art 18 Prada Catwalk 54 Princenthal, Nancy 7 The Pursuit of Art 11 Pushing paper 86 Radical Matter 68 Raine, Kathleen 110 Rees-Jones, Deryn 5 Paula Rego 5 Remarkable Trees 37 Rhodes, Colin 43 Robinson, Andrew 72 Roblin, Lyle 56 Roman Mythology 81 Hannah Ryggen 8

Yves Saint Laurent 52 Saleci, Renata 12 Scarisbrick, Diana 93 Schonberger, Nick 64 Sean Scully – Walls of Aran 109 Scully, Sean 109 Searching for the Lost Tombs of Egypt 80 Self, Will 30 Seligman, Isabel 86 Shapland, Andrew 87 Shared Living 107 Shaw, Ivan 51 Sherwood, James 57 Shibutami, Akira 2 Shone, Tom 61 Shoot for the Moon 46 Should We All Be Vegan? 63 Silk Roads 73 Sinclair, Iain 75 Skea, Ralph 17 Slive, Seymour 24 Smibert, Tony 26 Smiler, Andrew 63 Stephens, Chris 13 Street Art 17 Strehlke, Carl Brandon 22 Studholme, Joe 104 Stuttard, David 81 Surreal Visions of Hernán Diaz Alonso/ HDA 95 Talley, André Leon 51 Tarantino 61 Thomson, Belinda 110 Threads 16 The Tile Book 89 Till, Caroline 68 Timelines 78 TO:KY:OO 45 Tobin, Claudia 27 Tóibin, Colm 109 Townsend, Joyce H. 26 Trant, Carolyn 9 Trodd, Colin 110 Troy 87 Tuite, Rebecca C. 49 Type Directory 67 Uglow, Jenny 32 An Underground Guide to Sewers 70 Unspeakable Acts 7 Urcid, Javier 82 Van der Stock, Jan 23 Van Grieken, Joris 23 Vannier, Charlotte 16 Villing, Alexandra 87 Voyaging Out 9

Diana Vreeland 48 Walker, Tim 46 Ware, Ben 12 Warner, Marina 5 Watson, Molly 63 Watteeuw, Lieve 23 Ways of Drawing 27 Webb, Iain R. 51 Weiss, Marta 91 Whifield, Susan 73 White Houses 101 Wilkinson, Toby 80 Williamson, Paul 92 Wong, Liam 45 The World According to Roger Ballen 43 World War II Infographics 76 The Wyvern Collection 92 Ying-Lung, Su 39 Yorke, Thom 58 Zagajewski, Adam 14 Zukowsky, John 102 Zupancic, Alenka 12

Picture Credits On the front: from Shoot for the Moon, p46 On the back: from Stanley Donwood, p58 p18, Postures. Top left: Fang Lijun, Series 2 No. 2, 1991-92. © Fang Lijun. Top right: Mihály Munkácsy, Yawning Apprentice, 1869. Museum of Fine Arts, Budapest. Bottom: Luigi I Montejano, Yawning Men, 1850. Private Collection p23, Bruegel: The Complete Graphic Works. Top: © KBR, S.I 9405; bottom: © KBR, S.II 22654 p37, Remarkable Trees. All images from the Library, Art & Archives Collections, the Board of Trustees of the Royal Botanic Gardens, Kew p46, Shoot For The Moon. Clockwise: Kristen McMenamy, ‘The Little Mermaid’ (bath tub), 2013. Mariacarla Boscono and mechanical man on moon, 2013. Fei Fei Sun and Xiao Wen Ju, Sunday promenade, 2014. p54, Prada Catwalk. Left: Prada Spring/Summer 2017 Ready-to-wear © firstVIEW. Right: Prada Autumn/ Winter 2015–2016 Ready-to-wear © firstVIEW p87, Troy. Filippo Albacini (1734–1813), Wounded Achilles. Marble, 1824. © Devonshire Collection, Chatsworth.

Reproduced by permission of Chatsworth Settlement Trustees.

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Eastern Europe Sara Ticci T+44 7952 919866 E s.ticci@thameshudson.co.uk Eastern Mediterranean, Bulgaria, Romania Stephen Embrey T+44 7952 919866 E s.embrey@thameshudson.co.uk France Interart S.A.R.L. 1 rue de l’Est 75020 Paris T (1) 43 49 36 60 F (1) 43 49 41 22 E commercial@interart.fr Ireland Karim White T 07740 768900 E k.white@thameshudson.co.uk Italy, Spain and Portugal Natasha Ffrench Export Sales Department Thames & Hudson Ltd E n.ffrench@thameshudson.co.uk The Netherlands Van Ditmar b.v.

E th@vanditmar.audax.nl Bas van der Zee T +31 (0)6 2313 7695 E b.v.d.zee@vanditmar.audax.nl Scandinavia, Baltic States, Russia and the CIS Per Burell T +46 (0) 70 725 1203 E p.burell@thameshudson.co.uk

The Near & Middle East Middle East incl. Egypt Stephen Embrey T+44 7952 919866 E s.embrey@thameshudson.co.uk

T 07765403182 E jamesdenton778@btinternet.com South, Southeastern Counties/Gift T 07899 941010 E victoriahuttonbooks@yahoo.co.uk London/Gift

Colin & Jill MacLeod T 07710 852197 (Colin) T 07885 720175 (Jill) E colinmacleodsw@gmail.com Wales & Southwestern Counties/Gift

Philip Tsang Managing Director E Philip_Tsang@asiapubs.com.hk China, Hong Kong, Macau and Korea Zita Chan Regional Sales Manager E Zita_chan@asiapubs.com.hk Taiwan Helen Lee E helen_lee@asiapubs.com.hk Japan PhilipTsang E Philip_Tsang@asiapubs.com.hk

South East Asia APD Singapore PTE Ltd 52 Genting Lane #06-05, Ruby Land Complex Singapore 349560 T (65) 6749 3551 F (65) 6749 3552 E customersvc@apdsing.com

Malaysia APD Kuala Lumpur Nos. 22, 24 & 26 Jalan SS3/41 47300 Petaling Jaya Selangor Darul Ehsan T (603) 7877 6063 F (603) 7877 3414 E liliankoe@apdkl.com

Indian Subcontinent Roli Books Kapil Kapoor T +91 11 2921 0886 F +91 11 2921 7185 E kapilkapoor@rolibooks.com

Pakistan and Sri Lanka Stephen Embrey T+44 7952 919866 E s.embrey@thameshudson.co.uk

Australasia Africa

Karim White T 07740 768900 E k.white@thameshudson.co.uk

Belgium & Luxembourg Alex Levy Export Sales Department Thames & Hudson Ltd E a.levy@thameshudson.co.uk

Africa (excluding South) Sian Edwards Export Sales Department Thames & Hudson Ltd E s.edwards@thameshudson.co.uk South Africa, Swaziland, Lesotho, Namibia, Botswana and Zimbabwe Jonathan Ball Publishers 66 Mimetes Road Denver Johannesburg, 2094 South Africa T 27 (0) 11 601 8033 021 E orders@jonathanball.co.za

Australia, New Zealand, Papua New Guinea & the Pacific Islands Thames & Hudson Australia Pty Ltd 11 Central Boulevard Portside Business Park Melbourne 3207 VIC T (03) 9646 7788 F (03) 9646 8790 E enquiries@thaust.com.au

For countries not mentioned above, please contact: Export Sales Department Thames & Hudson 181A High Holborn London WC1V 7QX, UK T +44 (0)20 7845 5000 F +44 (0)20 7845 5055 E exportsales@thameshudson.co.uk

Featuring: Lee Krasner Bauhaus Goes West Featuring: Landscape Painting Now Yayoi Kusama The Life of Leonardo da Vinci The Pursuit of Art Look Again Postures: Body Language in Art The Illustrators Moonlight Travellers Yves Saint Laurent Catwalk Archipelago: Supreme Glamour An Atlas of Imagined Islands New Map Italy Remarkable Trees Eamonn Doyle: Made in Dublin Magnum Streetwise Body Shoot for the Moon Cold War Steve Presents…

John Galliano for Dior The Festival of Brexit Stanley Donwood: The Big Idea series There Will Be No Quiet The Sea Journal An Underground Guide to Sewers Ancient Magic Charles Booth’s London Poverty Maps The Spectacle of Illusion World War II Infographics Tibetan Yoga Digging Up Britain Off the Grid Model City Pyongyang The Foraged Home The British Museum Making Marks Victoria and Albert Museum

The British Museum Victoria and Albert Museum