Thames & Hudson Spring 2019 Catalogue by Thames & Hudson

January â&#x20AC;&#x201C; June 2019

Contents Art

2, 9

Bauhaus at 100

Illustration

The British Museum

Victoria and Albert Museum

Fashion

Pop Culture

Travel

London

Photography

Natural History

Social Science

General History

Ancient History

Ancient Culture

Design

81, 90

Lifestyle

Interior Design

Architecture

Recent Highlights

Picture Credits

109

Index

110

Sales & Distribution Contacts

112

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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.

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ART

‘I like a canvas to breathe and be alive. Be alive is the point’ Lee Krasner Thames & Hudson is pleased to announce two new publications marking Lee Krasner’s first major European exhibition in more than fifty years, which is set to cement her status as one of the leading artists of the 20th century

The first full-length account of Lee Krasner’s colourful life

Lee Krasner 2

A Biography Gail Levin In Gail Levin’s riveting biography, Lee Krasner emerges as a significant artist who richly deserves her place in the 20th century’s cultural lexicon. Drawing on new sources and numerous personal interviews – including with Krasner herself – Levin has created a dynamic and moving portrait of a brilliant woman, and in so doing recovers Krasner’s voice and allows us to understand how her life intersected with and informed her art.

‘Beautifully evokes a period in American art that laid the groundwork for the women artists of today’ Erica Jong ‘An insightful, sharply drawn portrait of 20th-century America from a vantage point of a creative woman swept up in a realm of remarkable artistic productivity’ Wall Street Journal

Gail Levin is Distinguished Professor of Art History, American Studies, Women’s Studies, and Liberal Studies at Baruch College and the Graduate Center of the City University of New York. She has written books on Edward Hopper, abstract expressionism, feminist art and American modernist art.

100 illustrations 19.8 x 12.9cm 592pp paperback ISBN 978 0 500 295281 May £12.99

ART

A new monograph on the life and work of an outstanding Abstract Expressionist artist, now recognized as one of the leading figures of postwar American art

Eleanor Nairne is an art historian and curator at Barbican Art Gallery, London, where her previous exhibitions include ‘Basquiat: Boom for Real’ (2017). She has contributed to a number of publications, among them the Basquiat monograph Kings, Heroes and the Street: The Art of Jean-Michel Basquiat, and is a contributor to frieze. She is also a former Jerwood Writer in Residence.

c. 250 illustrations 28.0 x 22.0cm 240pp ISBN 978 0 500 094082 May £35.00

Lee Krasner Edited by Eleanor Nairne Accompanies the major exhibition ‘Lee Krasner: Living Colour’ at Barbican Art Gallery, London, from 30 May to 1 September 2019. The exhibition will then travel to Schirn Kunsthalle Frankfurt (11 October 2019 to 12 January 2020); Zentrum Paul Klee Bern (7 February to 10 May 2020); and Guggenheim Bilbao (29 May to 6 September 2020).

Lee Krasner was a pioneer of Abstract Expressionism, whose importance has often been overshadowed by her marriage to Jackson Pollock. In fact, his death in 1956 marked her renaissance as an artist. Over the course of more than five decades, Krasner continually scrutinized and reinvented her practice, giving her work formidable energy and impact. Her accomplishments began to be recognized towards the end of her life, and in 1984 she became one of the few women artists to be given a solo exhibition at the Museum of Modern Art, New York. As Krasner quipped about her belated recognition: ‘I was a woman, Jewish, a widow, a damn good painter, thank you, and a little too independent.’ Lee Krasner features new colour photography of a selection of the artist’s most important paintings, collages and drawings, contextualized by essays from Eleanor Nairne, Katy Siegel, John Yau and Suzanne Hudson, and richly illustrated with photographs from the post-war period. Also included is a newly commissioned chronology, together with an unpublished interview between Krasner and her biographer Gail Levin. Tracing Krasner’s evolution as an artist – from her earliest self-portraits to the acclaimed ‘Little Image’ series and her epic, painterly canvases – this book offers a vivid impression of one of the key figures of 20th-century American art.

BAU H AUS AT 10 0

A timely re-evaluation of the Bauhaus’s relationship with modern art and design in Britain and the USA, published to mark the centenary of the school’s founding

Alan Powers is a widely published author specializing in 20th-century art and design, with an interest in expanding the canon and reshaping the interpretation of Modernism, especially in the British context. He has taught in several university schools of architecture, and has been active as an exhibition curator, conservationist and journalist.

120 illustrations 23.4 x 15.3cm 304pp ISBN 978 0 500 519929 February £24.95

Bauhaus Goes West

interested in the article that ‘sets forth independently the same ideas that underlie our own schemes of development’.18 The royal connection was also stressed when Isokon approached Harrods with a proposed marketing exhibition. It was politely turned down, but without any suggestion that the style of architecture might put off its customers.19 ‘Where Do We Stand?’ was originally a lecture given by Breuer in Zurich in 1933, but it seemed to strike the right note in the England in which he had just arrived. ‘The younger generation still confines itself to rigid formalization’, he wrote, but argued for a more flexible approach, going on to establish a significant theme in Modern architecture worldwide in the second half of the 1930s. Especially relevant for Britain was Breuer’s belief that Modernism was really a non-literal continuation of the direct spirit of vernacular, an idea not very different from that of the DIA. While Gropius’s lecture at the RIBA was, to a considerable degree, intended to affirm Modernism as a scientific rational approach, Breuer was stood for intuition and emotion. In particular, Breuer asked whether ‘our buildings [are] identifiable with descriptions such as “cold”, “hard”, “empty-looking”, “ultra-logical”, “unimaginative and mechanistic in every detail?”’ It is not hard to imagine a considerable body of well-disposed but not entirely convinced readers answering ‘yes’, particularly when looking at the well-known photograph of Gropius’s Törten Estate on the fringe of Dessau, representing the promise of system-built housing for the modern age, with its electricity pylon prominent on a traffic island, as reproduced in the RIBA Journal with Gropius’s lecture.

Modern Art and Design in Britain and America Alan Powers

Two Chelsea houses

Given that Gropius and Erich Mendelsohn were representatives of concurrent but divergent tendencies in German architecture, working within the same Modernist community in London, it was a happy accident that they were commissioned in parallel to design adjacent houses on Old Church Street in Chelsea for clients who happened to be cousins and had bought adjacent building plots. Numbers 66 (by Gropius and Fry) and 64 (by Mendelsohn and Chermayeff) were completed in 1936 – and attracted attention.20 62

CHAPTER 2

House at 66 Old Church Street, Chelsea, designed by Walter Gropius and Maxwell Fry, 1935–36.

Bauhaus Goes West tells the fascinating story of the journey taken by the Bauhaus – both the concept behind the school and some of the individuals who represented it – from Germany to Britain and the United States. It is therefore a story of cultural exchange, not only between the Bauhaus émigrés and the countries to which they moved, but also in the other direction, focusing in particular on Britain. Most significantly, perhaps, it considers in detail the presence in the UK during the 1930s of three of the school’s most important figures – Gropius, Marcel Breuer and László Moholy-Nagy – using meticulous research to tell for the first time the stories of their British experiences in parallel. After considering some of the lesser-known Bauhäusler who stayed in Britain for life, the book concludes by returning to the lives of the main protagonists and their continuation of the Bauhaus ideals in America. Taking as its starting point the cultural connection between Britain and Germany in the early part of the 20th century, Bauhaus Goes West offers a timely re-evaluation of the school’s influence on and relationship with modern art and design, offering fresh insights and challenging assumptions along the way.

BAU H AUS AT 10 0

Anniversary Edition

An accessible history of the Bauhaus, tracing the ideas behind its conception and its highly influential teaching methods Frank Whitford was an art historian and critic, and one of Britain’s leading experts on 20th-century German and Austrian art. During his varied career, he lectured on the history of art at University College London and Homerton College, Cambridge, wrote several books and served as a newspaper art critic. From 1983 onwards he was a senior member of Wolfson College, Cambridge. Michael White is Professor of History at the University of York. He is the author of Generation Dada: The Berlin Avant-Garde and the First World War.

150 illustrations 21.0 x 14.9cm 216pp paperback ISBN 978 0 500 204436 February £12.95

‘A much needed and very lucid account’ The Times Educational Supplement

‘Well constructed, entertaining and eminently readable’ Architects’ Journal 6

Bauhaus Frank Whitford • With an introduction to the new edition by Michael White The aesthetic of our contemporary environment, including everything from housing developments to furniture and websites, is partly the result of a school of art and design founded in Germany in 1919, the Bauhaus. While in operation for only fourteen years before being shut down by the Nazis in 1933, the school left an indelible mark on design as well as the practice of art education throughout the world. Placing the Bauhaus into its socio-historic context, Frank Whitford traces the ideas behind the school’s conception and describes its teaching methods. He examines the activities of the teachers, who included artists as eminent as Paul Klee, Josef Albers and Wassily Kandinsky, and the daily lives of the students. Reissued to mark the centenary of the founding of the Bauhaus, this is an accessible and highly illustrated introduction to perhaps the most significant design movement of the last hundred years.

BAU H AUS AT 10 0

Bauhaus Imaginista

The installation, which is visual and tactile, includes elements of handicraft, architecture and printmaking and can be approached at many levels. It originates from a personal reading of four photographs documenting the ‘Seikatsu Kōsei Exhibition’ at Bunka Gakuin (School of Culture) in Tokyo, organized by Renshichirō Kawakita in 1931 to introduce Bauhaus ideas and pedagogy to Japan.

A School in the World

The display structure refers in part to the set designs of Jikken Kōbō (Experimental Workshop, 1951–7) a group who are emblematic of the reception of the Bauhaus in post-war Japan. In this sense the installation as a whole can be seen as an attempt to reconnect these two distinctive understandings and approaches to Bauhausian pedagogy and philosophy before and after the Second World War.

Edited by Marion von Osten and Grant Watson From its inception in 1919, the Bauhaus was a truly international institution. Students and teachers travelled from Croatia, Hungary, Japan, Palestine, Russia, Switzerland and the United States to Weimar and later Dessau and Berlin to become part of the school, drawn to the Bauhaus because of its cosmopolitan, avant-garde perspective and hands-on curriculum. This outlook was reflected in the way the school received and interpreted diverse influences, ranging from Arts and Crafts to reform pedagogy, from Eastern spirituality to constructivism, machine production and the Neues Bauen (New Building) movement. Art and design at the Bauhaus also contained a transcultural element, gleaned through exposure to non-western cultures, books and museum collections and interaction with foreign students and visiting lecturers. Featuring contributions from artists, historians, cultural theorists and others, Bauhaus Imaginista offers a rare opportunity to explore a history of transcultural exchange in the 20th century through the specific lens of the Bauhaus and its reception in different geographies and time periods. Part of the large-scale project marking the school’s centenary, its focus is on the experimental, open-ended character of modernism as well as its inherent cosmopolitanism. As never before, it shows the crucial role the Bauhaus had in reimagining the relationship between art and society.

pp 73–75: Luca Frei, Design for Pillows, 2017, Gouache, pencil and collage on foam core, 70 × 100 × 3 cm

pp 76 & 77: Luca Frei, Model for Pedagogical Vehicle, 2017, Wood, textile, gouache

imaginista

Marion von in Osten and From its inception 1919, isthea curator, Bauhaus researcher was a trulywriter international Students based ininstitution. Berlin. Her previous publications and teachers from asColonial far afield as include,travelled as co-editor, Modern: the United States and Japan to Rebellions be part of afor the Future Aesthetics of the Past, schooland whose curriculumModernisms. was shaped byGrant such Watson Transcultural diverse influences as constructivism and is a London-based curator and researcher. Eastern spirituality. Featuring contributions Recent projects include How We Behave with If from artists, historians, cultural theorists and I Cant Dance, Amsterdam, exploring questions others, bauhaus imaginista takes a rare and of lifelook practice politics fascinating at theand legacy of thethrough Bauhausfilmed (2014–present). from ainterviews global perspective, arguing that, through its reach and reception across the world, it has played a key role in reimagining the relationship between art and society. 206 illustrations 30.8 x 24.0cm 312pp ISBN 978 0 500 021934 March £39.95

bauhaus

A rare and fascinating look at the Bauhaus’s global legacy, and a central publication of the school’s centenary celebrations

bauhaus imaginista

www.thamesandhudson.com £39.95

Edited by Marion von Osten and Grant Watson

ART

A far-reaching exploration of the very best landscape painting now, brimming with some of the brightest stars in the contemporary art world Todd Bradway is an artist and editor based in New York. Barry Schwabsky is art critic for The Nation. Robert R. Shane is Associate Professor of Art History at the College of Saint Rose in Albany, New York, and former Managing Editor of the journal Art Criticism. Louise Sørensen is a writer and editor specializing in contemporary art and the history and theory of photography. Susan A. Van Scoy is a professor of art history at St. Joseph’s College, New York.

420 illustrations 26.0 x 27.2cm 368pp ISBN 978 0 500 239940 April £39.95

Landscape Painting Now From Pop Abstraction to New Romanticism Edited by Todd Bradway • Essay by Barry Schwabsky Contributions by Robert R. Shane, Louise Sørensen and Susan A. Van Scoy Although the fact may be surprising to some, landscape painting is positively thriving in the 21st century – indeed, the genre has arguably never felt as vital as it does today. Landscape Painting Now is the first book of its kind to take a global view of its subject, featuring more than eighty outstanding contemporary artists – both established and emerging – whose ages span seven decades and who hail from twenty-five different countries. Through its thematic organization into six chapters – Realism and Beyond, Post-Pop Landscapes, New Romanticism, Constructed Realities, Abstracted Topographies and Complicated Vistas – the book affords a generous window into the very best of contemporary landscape painting, from Cecily Brown’s sensual, fleshy landscapes to Peter Doig’s magic realist renderings of Trinidad, Maureen Gallace’s serene views of beach cottages and the foaming ocean, David Hockney’s radiant capturings of seasonal change in the English countryside, Julie Mehretu’s dynamically cartographic abstractions, Alexis Rockman’s mural-sized, postapocalyptic dioramas, and far beyond. Landscape Painting Now features an extensive essay by the art critic Barry Schwabsky. His text weaves throughout the book, tracing the history of landscape painting from its origins in Eastern and Western art, through its transformation in the 20th century, to its present flourishing. With over 400 colour reproductions, including many details, this ambitious survey makes a compelling case for the continued relevance of landscape painting in our time.

ART

The first 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 Martin Harrison is one of the foremost scholars of Francis Bacon, and the editor of Francis Bacon: Catalogue Raisonné. Christopher Bucklow was a curator at the Victoria and Albert Museum from 1978 to 1986. He is the author of What is in the Dwat: The Universe of Guston’s Final Decade. Steven Jaron is a clinical psychologist and author of the acclaimed study Edmond Jabès: The Hazard of Exile. Darian Leader is Honorary Visiting Professor in Psychoanalysis at Roehampton University. John Onians is Emeritus Professor of World Art at the University of East Anglia. Semir Zeki is Professor of Neuroaesthetics at University College, London. 100 illustrations 26.5 x 20.4cm 160pp flexibound ISBN 978 0 500 970973 May £28.00

Bacon and the Mind Art, Neuroscience and Psychology Edited by Martin Harrison • Essays by Christopher Bucklow, Steven Jaron, Darian Leader, John Onians and Semir Zeki 10

Bacon and the Mind sheds light on Francis Bacon’s art by exploring his motivations, and in so doing opens up new ways of understanding his paintings. It comprises five essays by prominent scholars in their respective disciplines, illustrated throughout by Francis Bacon’s works. The first, by Christopher Bucklow, argues compellingly that Bacon does not depict the reality of his subjects, but rather their reality for him – in his memory, in his sensibility, and in his private world of sensations and ideas. Steven Jaron’s essay questions the psychological implications of Bacon’s habitual language, his obsession with ‘the wound’, with vulnerability and the nervous system. Jaron’s deconstruction of Bacon’s visual imagination results in revealing insights into the man and his work. Darian Leader’s long-time fascination with Bacon’s paintings predates his powerful BBC documentary, In the Name of the Father (1996). His contribution to this book, ‘Bacon and the Body’, presents the latest of his fresh and stimulating insights into the artist. The focus in John Onians’s ‘Francis Bacon: a Neuroarthistory’ is the effect of Bacon’s non-conscious mental processes in the creation of his paintings. In exploring these, Onians unpeels some of their previously hidden meanings. ‘The “Visual Shock” of Francis Bacon: An essay in Neuroaesthetics’ is a newly edited and now fully illustrated re-presentation of an article by Semir Zeki, previously accessible only as an online academic paper.

ART

New in paperback

A highly acclaimed monograph on one of Europe’s leading painters by an expert on contemporary art who has also sat for him for nearly forty years Catherine Lampert, former director of the Whitechapel Art Gallery (1988–2001), is now Visiting Professor at the University of the Arts, London.

100 illustrations 22.9 x 15.2cm 240pp paperback ISBN 978 0 500 293997 May £16.95

Frank Auerbach Speaking and Painting Catherine Lampert Born in Berlin in 1931 to Jewish parents, the eight-year-old Auerbach was sent to England in 1939 to escape the Nazi regime. His parents stayed behind and died in a concentration camp in 1943. Now in his eighties, Auerbach is still producing his distinctly sculptural paintings of friends, family and surroundings in north London, where he has made his home since the war. The art historian and curator Catherine Lampert has had unique access to the artist since 1978 when she first became one of his sitters. With an emphasis on Auerbach’s own words, culled from her conversations with him and archival interviews, she provides a rare insight into his professional life, working methods and philosophy. Auerbach also reflects on the places, people and inspirations that have shaped his life. These include his experiences as a refugee child, finding his way in the London art world of the 1950s and 1960s, his friendships with Lucian Freud, Francis Bacon and Leon Kossoff, among many others, and his approaches to looking and painting throughout his career. For anyone interested in how an artist approaches his craft or his method of capturing reality, this is essential reading.

‘One of the truest books on painters and paintings I have ever read’ Daily Telegraph ‘A gripping, sensitive portrait, close to biography but brighter and livelier than straightforward narrative in conveying the rhythms of Auerbach’s paintings, life and thought’ Financial Times (Art Books of the Year)

‘A hugely enjoyable portrait of one of our leading figurative painters’ Spectator ‘A well-illustrated, comprehensive monograph on a great artist’ Colm Tóibín, Guardian

ART

Van Gogh’s masterpieces are juxtaposed with Hockney’s colourful and colossal paintings in this exploration of the artists’ parallel approaches to nature and landscape Hans den Hartog Jager is a noted Dutch art critic, curator and author. He was the artistic director of the Outdoor Art Biennial in Drenthe, ‘Into Nature’ (2018), and a member of the jury for the annual Royal Award for Modern Painting in the Netherlands.

Illustrated throughout 22.5 x 27.0cm 176pp paperback ISBN 978 0 500 239971 March £24.95

Published to accompany the exhibition at the Van Gogh Museum, Amsterdam, from 1 March to 26 May 2019

Hockney – Van Gogh: The Joy of Nature Hans den Hartog Jager

Hockney – Van Gogh: The Joy of Nature presents unique insights into the influences of two world-renowned artists. Nature is a substantial theme for both David Hockney and Vincent van Gogh, one that draws their work together – Hockney’s Yorkshire landscapes are especially reminiscent of Van Gogh’s Wheatfield with Crows and The Harvest – and now, for the first time, art lovers can study their pieces side by side. Presenting paintings, iPad drawings and sketchbook reproductions, and including work both old and new, this book examines the ways in which both artists use formal elements to create their particular view of the world. An exclusive interview with Hockney and an essay by writer and art critic Hans den Hartog Jager provide a rich analysis of Van Gogh’s influence on Hockney. An eye-catching portrait of David Hockney, taken by the renowned Dutch photographer Rineke Dijkstra, is also part of the book.

‘I’ve always found the world quite beautiful, looking at it. Just looking. And that’s an important thing I share with Vincent van Gogh: we both really, really enjoy looking at the world’ David Hockney

ART

Published to coincide with the 500th anniversary of Leonardo’s death, a new translation of Georgio Vasari’s Life of Leonardo da Vinci, edited by one of the world’s leading Leonardo scholars and illustrated for the first time Martin Kemp is Emeritus Research Professor in the History of Art at Oxford University and one of the world’s leading authorities on Leonardo da Vinci. Lucy Russell recently completed her PhD in Italian and German at St Peter’s College, University of Oxford. Her interest in Vasari developed during her doctoral years when, in writing her thesis on J. J. Winckelmann, she also examined the historiography of art history more broadly.

40 illustrations 18.3 x 13.5cm 128pp ISBN 978 0 500 239858 January £10.00

the life of leonardo da vinci

Virgil depicted Neptune, as did Homer, Steering his horses through the breakers of the resounding sea. Their pictures are both observed within the mind, Vinci’s in our eyes; he is rightly victorious over both.13 The fancy came to him to paint a head of Medusa in oil on a panel, with a coiffure of knotted snakes – a stranger and more extravagant invention cannot be imagined. However, as happens with works that are time-consuming, and as happens with all his things, it remained unfinished.14 This is among the excellent things in the palace of Duke Cosimo, together with the head of an angel who raises one arm in the air, which is foreshortened as coming forward from the shoulder to the elbow, and with the other arm he places his hand on his breast.15 It is a remarkable thing that this genius, having the ambition to endow the things he was painting with the strongest

102

It is said that he received a commission for a work from the Pope, for which *

[fig. 37]

1550 text ․ 1568 text

GiorGio Vasari

It is said that, having received a commission for a work from the Pope,* he immediately began to distil oil and herbs to make the varnish, which is why Pope Leo said, ‘Alas, this man will not do anything, in that he begins by thinking about the end before beginning the work’. There was a great disdain between Michelangelo Buonarotti and Leonardo, and on account of the competition Michelangelo left Florence, having been given leave by Giuliano to discuss the façade of San Lorenzo with the Pope. Leonardo then decided to leave, and went to France, where the king possessed some of his works, and was very affectionate towards him. The king wanted him to paint the cartoon of St Anne, but, as was customary, he spent a long time only talking about it.42 Finally, having become old, he fell ill for many months, and seeing himself close to death, debating matters of the Church and returning to the righteous path, there was nothing else but to turn, with much sobbing, to the Christian faith, wherefore he wished to be fully cognisant of all things Catholic, the road to goodness and the holy Christian religion, and with many laments he confessed and expressed contrition. Even if he could not sustain himself on his feet and had to be supported by friends and servants, he resolved to take the Holy Sacrament outside his bed. The king, who had often lovingly visited him, arrived one day and out of reverence for the king Leonardo raised himself in bed to a sitting position, speaking of his illness and the symptoms he was exhibiting, and above all how he had given offense to God and to the people of the world for not having worked on his art as he should have done. Then he 1550 text ․ 1568 text

38 Jean-Auguste-Dominique Ingres, The Death of Leonardo da Vinci, 1818, Paris, Louvre

A New Translation Giorgio Vasari • Edited by Martin Kemp Translated by Martin Kemp and Lucy Russell Giorgio Vasari’s Lives of the Most Famous Painters, Sculptors and Architects (1550 and 1569) is a classic of cultural history. A monumental assembly of artists’ lives from Giotto to Michelangelo, it paints a vivid picture of the progress of art in the hands of individual masters. No Life is more vivid than that of Leonardo, a near-contemporary of Vasari – not even Vasari’s account of Michelangelo, whom he knew and idolized. This beautiful edition offers a literary translation that respects the 16th-century Italian, transposing Vasari’s vocabulary into its modern equivalent. The new translation by Martin Kemp and Lucy Russell is the first to cover both the 1550 edition and the expanded version of 1568, and the first to integrate the texts of the two editions on the page. Discreet endnotes provide succinct comments in the light of modern knowledge of Leonardo’s career. Illustrated with all the works of art discussed by Vasari and a selection of Leonardo’s studies of science and technology, this will be the perfect accompaniment to Leonardo’s 500th anniversary celebrations.

the water on them, so that they seemed more alive than life itself. For Antonio Segni, his close friend, he made a Neptune on a sheet of paper, produced with draftsmanship of such diligence that it appeared wholly alive.12 One could see the turbulent sea and the chariot pulled by marine horses, with fantastic creatures, sea monsters, personifications of the winds and other heads of marine animals, all most beautiful. This drawing was given by Fabio, Antonio’s son, to Messer Giovanni Gaddi, with the following epigraph:

16 Neptune and Sea Horses, c. 1505, Windsor, Royal Library, 12570

The Life of Leonardo da Vinci

[fig. 16]

ART

New in B-format paperback

Martin Kemp, described by The Times as ‘the world’s leading authority on Leonardo’, relates his fifty-year relationship with the most famous artist of all time Martin Kemp is Emeritus Research Professor in the History of Art at Oxford University and one of the world’s leading authorities on Leonardo da Vinci. Kemp was British Academy Wolfson Research Professor from 1993 to 1998 and based in Scotland for more than twenty-five years at the Universities of Glasgow and St Andrews.

104 illustrations 19.8 x 12.9 cm 360pp paperback ISBN 978 0 500 292693 April £12.99

‘Fascinating’ Sunday Times

Living with Leonardo

‘Kemp is a natural storyteller … This book leads you on a journey through the life, work and legacy of one of history’s most intriguing figures’

50 Years of Sanity and Insanity in the Art World

The Times

Martin Kemp In an engaging personal narrative interwoven with historical research, Martin Kemp discusses a life spent immersed in the world of Leonardo, and his encounters with great and lesser academics, collectors and curators, devious dealers and unctuous auctioneers, major scholars and authors, pseudohistorians and fantasists. He shares how he has grappled with swelling legions of ‘Leonardo loonies’, walked on the eggshells of vested interests in academia and museums, and fended off fusillades of non-Leonardos, sometimes more than one a week. Examining the greatest masterpieces, from the Last Supper to Salvator Mundi, through the expert’s eye, we learn first-hand of the thorny questions that surround attribution, the scientific analyses that support the experts’ interpretations, and the continuing importance of connoisseurship. Throughout, from the most scholarly interpretations to the popularity of Dan Brown’s Da Vinci Code, we are reminded of Leonardo’s unique genius and wonder at how an artist from 500 years ago continues to make such compelling posthumous demands on all those who engage with him.

A one-of-a-kind book of pop-ups based on the works of Leonardo da Vinci Illustrated throughout 33 x 30.4cm 16pp, inc 6 spreads of pop-ups ISBN 978 0 500 239964 May £24.95

Courtney Watson McCarthy is a noted paper engineer and creator of several pop-up books for Thames & Hudson, including M. C. Escher Pop-Ups, Hokusai Pop-Ups and Dalí Pop-Ups.

Leonardo Pop-ups Courtney Watson McCarthy Leonardo da Vinci (1452–1519) was a painter, architect, inventor and student of all things scientific. His natural genius crossed so many disciplines that he epitomized the term ‘Renaissance man’. Today he remains best known for his art, including two paintings that remain among the world’s most famous and admired, Mona Lisa and The Last Supper. This book features six meticulously crafted pop-ups showcasing the incredible breadth of Da Vinci’s work, from his self-portrait in red chalk, his paintings of The Virgin & Child and The Annunciation to his Ornithopter flying machine, his architectural sketches and his Vitruvian Man.

ART

Available again

An essential testament to the late great feminist art historian, described by the Guardian as ‘mischievous, provocative and iconoclastic’ Linda Nochlin (1931–2017) was an American art historian, Lila Acheson Wallace Professor Emerita of Modern Art at New York University Institute of Fine Arts, and writer. Her numerous publications include Women, Art and Power, and Other Essays, Courbet and Misère, all published by Thames & Hudson, as well as the pioneering essay from 1971, ‘Why Have There Been No Great Women Artists?’

170 illustrations 23.4 x 15.6cm 272pp paperback ISBN 978 0 500 294758 February £18.95

‘Fascinating … Nochlin is a woman of learning and accomplishment’ Andrea Dworkin

Representing Women

‘A joy to read … blunt, funny, mischievous, learned, anything but dull and dogmatic’

Women – as warriors, workers, mothers, sensual women, even absent women – haunt 19th- and 20th-century Western painting: their representation is one of its most common subjects. Representing Women brings together Linda Nochlin’s most important writings on the subject, as she considers work by Miller, Delacroix, Courbet, Degas, Seurat, Cassatt and Kollwitz, among many others. In her riveting, partly autobiographical, extended introduction, Nochlin documents her own pioneering approach to art history; throughout the seven essays in this book, she argues for the honest virtues of an art history that rejects methodological assumptions, and for art historians who investigate the work before their eyes while focusing on its subject matter, informed by a sensitivity to its feminist spirit.

London Review of Books

‘Outstanding … rich and methodologically sophisticated’ Art in America ‘Invaluable’ Art Journal

Linda Nochlin

ART

Compact edition .

Paula Rego: Nursery Rhymes Introduction by Marina Warner

Mother Goose Old Mother Goose, When she wanted to wander, Would ride through the air On a very fine gander.

How many miles to Babylon? How many miles to Babylon? Three score miles and ten. Can I get there by candle-light? Yes, and back again. If your heels are nimble and light, You may get there by candle-light.

The bold, distinctive style of Paula Rego’s paintings has acquired for her not only a critical reputation but also an unusually large and enthusiastic following. Her beribboned little-girl heroines and fairy-tale characters seem firmly rooted in childhood, yet the innocence of this art is darkened by the underlying themes of power, domination and rebellion, sexuality and gender, that run through her work. Here Rego has turned to the nursery rhyme as a source for her imagery. It is a genre that perfectly complements her art; full of double meanings, rhymes are written from a child’s perspective but are open to adult interpretation. Twenty-six well-known nursery rhymes are accompanied by a series of etchings which she has executed spontaneously as a child might, drawing directly on the plate without preparatory planning. Following the traditions of earlier artists such as Beatrix Potter, she treats the fantastic realistically, dressing animals in human costume and using dream-like dislocations of scale. These are wonderfully comic and rich illustrations with a hint of the sinister, that turn classic nursery rhymes into colourful stories about folly and delusion, cruelty, convention and sex.

Paula Rego’s anthology of traditional nursery rhymes, illustrated by her sometimes disturbing, but always arresting etchings

PAU L A R E G O | Nursery Rhymes

31 illustrations 25.4 x 19.8cm 72pp ISBN 978 0 500 094105 January £14.95

‘A beautifully produced book … it is to be kept and treasured’ Evening Standard ‘In characteristic style, Ms Rego has turned these surreal squibs and childish chants into something mysterious and alarming’ www.thamesandhudson.com £14.95

Independent

PAU LA RE G O | Nursery Rhymes

Marina Warner is Professor of English and Creative Writing at Birkbeck, University of London, a Fellow of the British Academy and President of the Royal Society of Literature.

ART

A unique guide to making sense of modern and contemporary art that uses seven different lenses to interpret twenty works of art Simon Morley is currently Assistant Professor in the College of Arts, Dankook University, Republic of Korea. He is also the author of Writing on the Wall: Word and Image in Modern Art and The Sublime: Documents in Contemporary Art.

40 illustrations 21.0 x 14.0cm 256pp ISBN 978 0 500 021620 February £19.95

‘Morley marshals ways of seeing and understanding that will give both the lay reader and the aficionado the tools for a deeper engagement with art and ideas’ Iwona Blazwick, Director, Whitechapel Gallery

Seven Keys to Modern Art Simon Morley

In a world where artists place a premium on self-expression and innovation, obtuse intellectualism and outrage for outrage’s sake, this guide aims to decipher the bizarre and often intimidating phenomenon of ‘modern art’. Ranging across the widest variety of media, styles, subjects and intentions, Simon Morley offers seven different lenses through which to interpret twenty works of art, from Matisse’s The Red Studio to Doris Salcedo’s Untitled. History, biography, aesthetics, experience, theory, scepticism and the market represent conventional ways of appreciating every artwork discussed, but in a fascinating variety of ways. In clear, illuminating prose, Morley invites the reader to unlock the meanings of some of the world’s most intriguing and contested art. Seven Keys to Modern Art is a valuable resource for any gallery visitor, as well for as students of art history, fine arts, and even professional artists.

ART

An approachable guide to Old Master painting from a new perspective that offers a simple aid to looking, demystifying the often obscure strategies of the greatest painters of all time Ossian Ward is Head of Content at the Lisson Gallery. He was previously chief art critic and visual arts editor at Time Out London and served as editor at Art Review and V&A Magazine.

90 illustrations 19.6 x 14.8cm 176pp flexibound ISBN 978 0 500 239674 April £12.95

‘Intelligent and accessible’ Taco Dibbits, Director, Rijskmuseum

Look Again

Chapter 4 Art as Beauty

How to Experience the Old Masters Dwell on the beauty of life. Watch the stars, and see yourself running with them. Marcus Aurelius, 170

Ossian Ward

Beauty seems like such an old fashioned notion that nowadays we almost dare not speak its name. Indeed, Old Masters are so often judged by attractiveness alone that it has almost become an inane, redundant qualification to make about any work of art. All exquisitely observed, technically proficient pictures might be regarded as beautiful; meaning that any fictional section of a museum dedicated to ‘beauty’ might well go on forever, with gallery after gallery filled with a parade of chocolate-box pretty idylls or tastefully composed confections. As the default, lowest-common denominator of a response, the word is little more than something platitudinous to say about a painting. It could also be a pernicious pursuit, one that attempts to hoodwink the audience through falsely flattering portrayals that are opposed to the art of honesty or reality that we encountered in a previous chapter. By these vague standards, beauty could be regarded as a generic, dismissive and reductive term, rather than anything beneficial or laudatory to uphold in art. However, as one of art’s great maxims, beauty is so fundamental to art history, humanity and our abiding value systems as to be impervious to the threat of actual extinction, much like the act of painting itself, which has supposedly been killed off numerous times, only to be resurrected with metronomic regularity. If the Old Masters seem to suffer from a surfeit of beauty, there is still an upper echelon of poise, elegance, purity and exquisiteness to be found beyond mere lip-service loveliness. Each age has its own rejuvenated and reinvented form of beauty, one that is more enigmatic, seductive and heady than the last. What I am proposing to focus on, then, is not a generic, run-of-themill idea of beauty, but both this higher form of elegiac, indescribable subtlety – the superlative notions of perfection and impossible beauty 88

Look Again

When regarded as something precious, complex or fragile, rather than merely an opportunity to ogle or enjoy, beauty in art takes on a depth of character and awakens in the viewer the possibility of perceiving or recognising wonders not readily visible, but somehow concealed within the paint. Discovering beauty then becomes a matter not only of personal taste in the beholder, but about flexing our individual powers of discernment and bridging that gap in centuries between what was painted then and now. Of course, today, codes of beauty change faster than ever before, as the fickle hand of fashion and the impermanence of the digital image reinvent society’s tastes and aesthetic norms constantly. But before such a comprehensive fracturing of beauty, comes the celebration of alternative beauty and difference.

Peter Paul Rubens, Nymphs and Satyrs, c. 1638–40. Museo del Prado, Madrid

Titian, Venus with a Mirror, c. 1555. National Gallery of Art, Washington

Look Again

Art as Beauty

The art of the past can seem very far away, obscured both by time and by knotty academic theory. Foregrounding the experience of the contemporary viewer, Look Again shows how this need not be the case. From the spectacular theatrics of Bosch to the harmonious simplicity of Cézanne, Ossian Ward tackles some of history’s greatest art in all its dynamism, horror and beauty. Ward’s simple, ten-step programme acts as an aid to looking, breaking down the often obscure strategies of the Old Masters into intuitive categories – from Art as Honesty to Art as Vision. Look Again’s novel approach is influenced by John Berger’s Ways of Seeing, but is here updated for the art world of the 21st century. Key to this book is an emphasis on ways not simply of looking at Old Masters, but also of experiencing them. Just as contemporary art should be judged by how it moves us, cajoles us and envelops us, so too can the great paintings of the world be seen as immersive, captivating, even participatory experiences. Ward does not deny the specific complexities and barriers associated with looking at art from other eras. Instead he offers readers a new formula to help illuminate this kind of art. His method not only provides the viewer with the tools to interpret a work of art, but also assumes that we hold some of this knowledge within ourselves already. In other words, everyone can share the enriching experience of Old Master paintings.

ART

Small, smart, essential...

WhAt doES SURREALISt ARt Look LIkE? hoW WAS It MAdE?

Art Essentials are for everyone who loves the arts and wants to know more. Each book in the series gives readers all the background knowledge Art is at the centre of human experience, and an they need for their enjoyment and understanding, whether they’re avid essential part of theenthusiasts cultural landscape for engaged gallery-goers, armchair or curious observers.

As beautiful as the chance meeting on a dissecting table of a sewing machine and an umbrella C omte de La utré a mont 1869

citizens of the 21st century. Yet, for many, it can

• An affordable set of must-have introductions

seem tantalizingly beyond reach. That doesn’t need

•to Accessible and engaging, allowing the reader either to read the book be the case. from start to finish, or to locate and focus on topics of particular interest •ART Richly illustrated for ease of understanding ESSENTIALS , Thames & Hudson’s new art series, presents

women artists

triumphs and

t r i b u l at i o n s

need-to-know expertise that will provide the keys to a richer • Expertly written and conceived, building on the strength and authority understanding of art of all kinds. From a no-nonsense guide to how of Thames & Hudson’s reputation in the visual arts to look at pictures to an illuminating introduction to modern art, a revealing overview of the art of to the •from Practical – includes summaries of the keyImpressionists information on every topic, and a glossary of art terms all-you-need-to-know guide to Street Art, the series will build into aEssentials set of must-have companions every curious enquirer ‘Art is a really terrificforseries, providing a truly first-class introduction to many fundamental ideas, individuals and and gallery visitor, makingofit the possible for everyone to enjoy the artworks that have shaped the way we see our world’ experience of the visual arts, whatever their prior knowledge of art. Will Gompertz, BBC Arts Editor

Louise Bourgeois Maman, 1999 Steel and marble, 927.1 x 891.5 x 1023.6 cm (365 x 351 x 403 in.) Private collection

CONNECTED EVENTS 1966 – Bourgeois exhibits her work in the exhibition ‘Eccentric Abstraction’ organized by the critic and curator Lucy Lippard at Fischbach Gallery in New York. Featured artists include Eva Hesse and Bruce Nauman, among others.

which can be at once nurturing and predatory. Her over life-size scale is intimidating, whereas the care with which she protects her eggs makes her a symbol of reassurance.

Maman threatens the taboo of motherhood, revealing the ambivalence of this charged role,

1982 – Her retrospective at the Museum of Modern Art (MoMA) opens in New York. This was the first retrospective given to a woman artist at MoMA. 88

Already available

TRIUMPHS AND TRIBULATIONS (born betwween 1900 and 1925)

20 Of course art has no gender, but artists do L ucy L i p p a rd, 1 9 7 3

978 0 500 293621 £10.95

978 0 500 293584 £10.95 -

surrealism

who were the surrealists?

w h e r e wa s s u r r e a l i s m ?

Coming in Autumn 2019

978 0 500 293218 £10.95

978 0 500 293225 £10.95

Impressionism 978 0 500 294369 Street Art 978 0 500 294338

Ramses younane Untitled, 1939 H. E. Sh. Hassan M. A. Al Thani collection, Doha, Qatar

Paul Paun Tu tournes Lentement, 1943

on.com £10.95

‘Achieves a remarkable balance between well-known examples Surrealism was launched as a literary and of surrealist paintings, and sculpture and unusual artistic movement by French poet André objects Breton in 1924, with his Manifesto of Surrealism. Surrealist worksartists … delved wonderfully fresh aspect’ Dawn Ades into the subconscious and revelled in juxtapositions of bizarre unrelated objects. They embraced all types of media, from Meret Oppenheim’s startling fur-covered cup to Edward James’s fantastical garden, Las Pozas, set deep in the Mexican rainforest. By the time Breton died in 1966, Surrealism had spread worldwide and become one of the most popular art movements of the twentieth century.

Surrealism Amy Dempsey

SURREALISM

gs is ng

ART

SURREALISM

Surrealism was launched as a literary and artistic movement by French poet André Breton in 1924, and by the time of his death in 1966 had become one In this lively book, Amy Dempsey introduces of the most popular art movements of the 20th century. Its very name has the movement’s key figures, their works where to find them, as well as enteredandeveryday usage asexploring a synonym for bizarre. Taking the reader on a Surrealism’s legacy. The reference section narrative journey through the includes an invaluable glossary, timeline andhistory of Surrealism, this book is a digestible suggestions for further reading. introduction to the movement’s key figures, their works and where to find them. Complete with a glossary of key terms and chronology, this new addition With 100 colour illustrations to the Art Essentials series provides an indispensable resource for anyone AMY DEMPSEY is an art historian studied interested in learning aboutwhothis most influential of art phenomena. at Hunter College in New York and received her doctorate from the Courtauld Institute of Art in London. A Fellow of the Royal Society of Arts, Dempsey has written for various London museums, including Tate, and is the author of Destination Art and Styles, Schools & Movements, Dempsey studied under Rosalind Krauss as well as Modern Art in the Art Essentials series.

Amy at Hunter College in New York and received her doctorate from the Courtauld Institute of Art in London. She is the author of Destination Art and Styles, Schools & Movements, as well as Modern Art in the Art Essentials series.

96 illustrations 21.6 x 13.8cm 176pp paperback ISBN 978 0 500 294345 March £10.95

‘Excellent … these essential female figures should be part of our art history, and this book is part of that important re-examination’ Jessica Morgan, Nathalie de Gunzburg Director, Dia Art Foundation

Women Artists Flavia Frigeri Focusing on fifty diverse women artists, from Lavinia Fontana and Artemisia Gentileschi through Judy Chicago, Ana Mendieta and the Guerrilla Girls to Barbara Kruger, Cindy Sherman and Louise Bourgeois, this book equips the reader with a general understanding of the history of art by women, as well as an appreciation of its most outstanding figures. Traditionally women have been among art’s favoured objects of representation, while their contributions as art producers have been subordinated to those of men. This book documents women artists in context to offer readers an accessible but rich understanding of key female artists from the Baroque to the present day.

Flavia Frigeri is currently Teaching Fellow in the History of Art department at University College London. She was formerly an assistant curator at Tate Modern, and is also the author of Pop Art in the Art Essentials series.

80 illustrations 21.6 x 13.8cm 176pp paperback ISBN 978 0 500 294352 March £10.95

ART

Drawing: A Complete Guide Stephen C. P. Gardner A comprehensive practice-based guide to the art of drawing, this book provides a chapter-by-chapter overview of key elements of drawing (such as line, shape, tone and value) before addressing the different genres (such as still life and portraiture). Written in an accessible and encouraging manner, Drawing: A Complete Guide seeks to build the learnerâ&#x20AC;&#x2122;s confidence in artistic exploration as well as developing his or her practical abilities. Stephen Gardner opens the book by making the case that anyone can draw. He then goes on to discuss and analyse more than 500 inspirational examples, ranging from the Renaissance to contemporary art, while step-by-step demonstrations of key techniques provide further guidance for realizing successful drawings. Prompts and projects throughout the book also encourage readers to make sketching a daily routine. Engaging, inspiring and full of expert insights from a professional artist and teacher, Drawing: A Complete Guide is an essential guide for all students and draughtspeople wishing to enhance their skills.

Comprehensive, practical and easy to follow â&#x20AC;&#x201C; the ideal introduction to the art of drawing for students, amateurs and beginners of all kinds 22

Stephen C. P. Gardner has been a professor at Savannah College of Art and Design (SCAD) since 1993. He currently serves as Associate Chair for the Foundations Studies Department. He received his B.F.A. from the Rhode Island School of Design and his M.F.A. from the Parsons School of Design.

529 illustrations 27.5 x 21.5cm 368pp paperback ISBN 978 0 500 292389 February ÂŁ35.00

ART

Analyses the visual approaches and techniques of 100 great artists, and shows readers how to weave some of this magic into their own paintings Susie Hodge has written over 100 books on art, art history, history and artistic techniques, including Why Your Five Year Old Could Not Have Done That, Art in Detail and Modern Art in Detail. In addition she hosts lectures, talks and practical workshops, and regularly appears on television and radio talks on everything to do with art. She has twice been named the No. 1 art writer by the Independent.

CREATIVE TECHNIQUES OF 100 GREAT ARTISTS

c. 350 illustrations 24.2 x 19.9cm 288pp flexibound ISBN 978 0 500 239957 June £19.95

Painting Masterclass

Emil Nolde

Susie Hodge

Weite Marschlandschaft mit Bauernhöfen c.Ü1930–1935 Watercolour on paper 32.8ÜúÜ45.5Ücm (12Ü™ÜúÜ17Ü™Üin.) Private collection

Emil Nolde (German-Danish, 1867– 1956) was born Emil Hansen, and called himself after his birthplace in Denmark after 1902 – he was an Expressionist painter and printmaker. From 1892 to 1898, he was a drawing instructor in Switzerland; he then lived brieﬂy in Munich, where he honed his drawing and drypoint practice. In 1899 Nolde travelled to Paris where he attended the Académie Julian and became acquainted with the work of the Impressionists, as well as that of Paul Gauguin (1848–1903) and Vincent van Gogh (1853–1890). From 1906 to 1907, Nolde was a member of the Dresden-based German Expressionist group Die Brücke (founded by, among others, Ernst Ludwig Kirchner and Karl Schmidt-Rottluff), and in 1910, he participated in the launch of the Neue Secession, an association of Expressionist artists in Berlin.

Emil Nolde was a solitary, fervently religious and reclusive figure. After a trip to the East Indies between 1913–1914, he lived on the Baltic coast of Germany and became completely enamoured with the landscape. He strikes us now as a person of deplorable morals; a supporter of the Nazi party from the early 1920s, he expressed anti-Semitic views and saw Expressionism as uniquely Germanic. Ironically, it was the Nazi party who condemned his work: Hitler believed all forms of modernism to be ‘degenerate art’ – Nolde’s work was deemed ‘decadent’ and he was forbidden to paint. Over 1,000 of his paintings were removed from museums during World War II, a number greater than that of any other artist. Nolde can indeed be considered decadent in that he was one of the first painters of the 20th century to explore the potential of colour, often through dissonant, traditionally ‘clashing’ combinations. What is most striking about this beautiful series of watercolours is the intense, highly-saturated colour. Nolde worked with both watercolour and oil, and moved from one medium to another with ease, but what is lacking in the oil paintings is a kind of luminosity that he achieves so effortlessly in the watercolours. It is as if the oil paintings become too solid, and the lightness and transparency of the paint is lost. If this happens, transparency has to be replaced by effective, interactive colour. The use of colour is deliberately inconsistent – the fields are predictably green, albeit an intensified green, but parts of the sky are vividly over-saturated with unrealistic, implausible yellows and deep purples. These juxtapositions and unlikely pairings of colour create a motion within the landscape, and there is a drama in the moody, bleeding colour of the heavily-laden clouds. We are moved by the painting because it seems to eloquently capture the power of nature. Like much of modernist and expressionistic painting, it presents to us the critical point at which pigments are transformed into subject matter.

ee lso

Constable (p.120), Doig (p.146), Matisse (p.182) Materials Watercolour is a useful medium for working outside. It dries relatively quickly, and water-soluble pigments are easier to work with than oil. It is important to be aware of the role chance might play in how the painting develops, and this is particularly true of watercolour. Using highly absorbent cotton rags or soft paper tissues will allow the artist to create different types of edge. A sharp, distinct edge can only be achieved

138 Landscape

if the paper is given sufficient time to dry (see left). If the paper is still wet and another colour is placed on the surface, it can bleed. If this is done carefully, it can produce extraordinary effects (see right). Experiment with creating different kinds of edges by varying drying times and controlling the amount of water and paint you use, using a hairdryer to speed up the drying process where necessary.

Emil Nolde 139

Also available

978 0 500 293393 £19.95

978 0 500 544624 £19.95

Painting Masterclass Creative Techniques of 100 Great Artists Susie Hodge The tradition of painting is extraordinarily rich in imagination, invention, and skill and long after its advent, it still lies at the heart of art practice, inspiring generations of artists and enthusiasts alike. Painting Masterclass examines 100 of the most fascinating paintings by the world’s greatest artists: the way they were made, what they do well, and how and what we can learn from them. With detailed analyses and instructive creative tips, you can learn how to convey movement like Degas, command colour like Matisse and apply acrylic like Twombly. The book explores the act of vision in each artwork, describing how the images were created and including practical tips and advice, allowing you to weave some of this magic into your own work. The paintings are organized into chapters which cover the important genres: nudes, figures, landscapes, still life, heads, fantasy, and abstraction. Selected masterpieces serve as perfect examples of a particular quality in painting; light and shade, rhythm, form, space, contour, and composition are all covered in detail. Perfect for students as well as professional painters, and with a broad historical and global reach, this book is an indispensable introduction to the rich history and practice of painting.

ART

Available again | New in paperback

An easy-to-master, fun-to-do, stepby-step guide to making your own Impressionist paintings Jonathan Stephenson is also the author of Paint with the Watercolour Masters and The Materials and Techniques of Painting, both published by Thames & Hudson.

400 illustrations 21.5 x 24.0cm 160pp paperback ISBN 978 0 500 295052 January £12.95

‘Excellently produced with many fine colour plates’ Leisure Painter

Paint with the Impressionists A step-by-step guide to their methods and materials for today’s artists Jonathan Stephenson 24

In this innovative approach to Impressionism and its methods, Jonathan Stephenson’s instruction enables amateurs the world over to paint like the Impressionists. Vibrantly illustrated in colour throughout, both with wellknown works of art and step-by-step examples, Paint with the Impressionists shows how the masters achieved their diverse effects and how their ideas and styles can be adapted to today’s tastes. Sections on the artists provide fascinating insights into individual techniques: learn how Monet produced his oil colour sketches, or how Sisley created his atmospheric landscapes. With an introduction providing the historical background to Impressionism, and a comprehensive section on artists’ materials, this is a highly practical book that will appeal both to beginners and more experienced artists, as well as to the many people inspired by the brilliance and beauty of Impressionist painting.

ART

Reveals the origin stories behind over fifty of history’s most vivid colour pigments David Coles is the founder and head paint-maker of Langridge Artist Colours, one of the world’s most respected makers of artists’ oil paints. He is widely respected within the artist community and regularly lectures at leading art colleges.

Illustrated throughout 22.0 x 16.5cm 240pp ISBN 978 0 500 501351 February £24.95

Chromatopia

CHRYSOCOLLA

An Illustrated History of Colour David Coles

THIS TURQUOISE-BLUE MINERAL WAS KNOWN FROM ANCIENT EGYPT ONWARDS.

Chrysocolla was used in the classical world as a solder for gold and the Ancient Greeks named it after the words chrysos (gold) and kolla (glue). Chrysocolla is composed of hydrated copper silicate. It is found in the same deposits as the other copper-bearing minerals, malachite and azurite. In its natural state, chrysocolla is similar to azurite but the colour is paler and slightly greener. Due to its fragility, chrysocolla, unlike other coloured minerals, has limited use as a gemstone. It does, however, make a delicate, pale blue-green pigment that has been used throughout history. It has been found in wall paintings at Kizil in Turkistan and in Twelfth Dynasty Egyptian tombs. In oil painting it is very translucent, due to the pigment’s low tinting strength. Chrysocolla was best employed in aqueous paints, such as egg-tempera and especially watercolour, where, in the 16th century, it was called cedar green.

COLOUR + THE CLASSICAL WORLD

The pigment is prepared by systematically grinding the mineral from a coarse to fine powder. The powder is carefully washed and separated into different sized particle by mixing it with large quantities of water. An egg yolk is often added to help with suspension. The coarser particles settle first, leaving the finer particles suspended. The process is repeated to separate the powder into different grades. CHRYSOCOLLA

Skilful artisans could control the colour of the pigment by controlling the size of the particles. This allowed them to offer a wider range of colours from the same mineral.

MAKING

To make carmine lake, the soluble dye must be extracted from the cochineal and converted into an insoluble pigment. First, take the cochineal insects and grind them down into a fine powder using a mortar and pestle. Add the powdered cochineal to 1600 ml of boiling water on a stove and simmer gently for one hour. Strain the liquid through filter paper into a 6-litre heat-proof container. Next, dissolve the alum and cream of tartar in 1600 ml of hot water. Pour this warm solution into the dye container and stir to mix fully. Now dissolve the soda ash in 1600 ml of hot water. Gently pour this solution into the dye container. It will froth immediately. Stirring to mix the solutions together will generate even more of a reaction.

ALUM

SODA ASH

COCHINEAL EXTRACT

Allow the solution to sit overnight to let the pigment precipitate settle. Using a siphon, draw off the slightly coloured water above the precipitate until there is only about 5 mm left above the pigment surface. Now add 2 litres of cold water, stir and allow the pigment to settle overnight again. Draw off the liquid as before. Repeat washing until the water is colourless after the pigment has settled. GROUND CARMINE

Filter the pigment and leave it to dry in a warm, draught-free space. Finally, grind it in a mortar and pestle to a fine powder.

200

THE SCIENCE OF MODERN COLOUR

100 grams 200 grams 10 grams 170 grams COCHINEAL

CARMINE LAKE

Cochineal Alum Cream of tartar Soda ash

201 FILTERED CARMINE

Did you know that the Egyptians created the first synthetic colour and used it to create the famous blue crown of Queen Nefertiti? Or that the noblest purple comes from a predatory sea snail? In the Roman Empire, hundreds of thousands of snails had to be sacrificed to produce a single ounce of dye. Throughout history, pigments have been made from deadly metals, poisonous minerals, urine, cow dung and even crushed insects. From grinding down beetles and burning animal bones to alchemy and pure luck, Chromatopia reveals the origin stories behind over fifty of history’s most vivid colour pigments. Featuring informative and detailed colour histories, a section on working with monochromatic colour and ‘recipes’ for paint-making, Chromatopia provides colour enthusiasts with an eclectic story of how synthetic colours came to be. Spanning the ancient world to modern leaps in technology, this is the book for the artist, the history buff, the science lover and the design fanatic.

I L LUS T R AT I O N

Announcing a new series on the life and work of the great illustrators

• Created in collaboration with celebrated illustrator Quentin Blake (Series Consultant) and Claudia Zeff, Deputy Chair of the House of Illustration (Series Editor). • Each title examines one of the world’s foremost illustrators in terms of their techniques and practices as well as their lives, showcasing finished work in parallel with behind-the-scenes material. • Celebrates the breadth and creativity of illustration and shows that this often-overlooked art form is not just for children’s books.

Paul Gravett

The first book on this celebrated graphic novelist and satirical cartoonist

t ors

Paul Gravett

posy simmonds

rial g the her ght the

Posy Simmonds

posy simmonds

In the course of a career spanning more than fifty years, Posy Simmonds has become one of Britain’s best-known satirical cartoonists. She is also a muchloved author and artist of widely translated children’s books and graphic novels. These include Fred, animated in 1996 into the Oscar-nominated short film Famous Fred, and Gemma Bovery and Tamara Drewe, both adapted into films, increasing her international fame. This is the first book to explore Simmonds’s life and work from her early childhood to the present day. She offers insights into her creative process and provides unprecedented access to her ‘workroom’ and archives containing sketchbooks and rare or never-before-seen artworks. A portrait emerges of Posy Simmonds as a chronicler and critic of contemporary society and a storyteller in words and pictures of rare perception and humanity.

m £00.00

Paul Gravett

Coincides with an exhibition at the House of Illustration, London, from 24 May to 15 September

80 illustrations 24.5 x 18.7cm 112pp ISBN 978 0 500 022139 May £18.95

Paul Gravett is a widely published writer specialising in international comics. His books include Graphic Novels: Stories to Change Your Life, Comics Art and Mangasia: The Definitive Guide to Asian Comics, the latter also published by Thames & Hudson.

posy simmonds

Literary Life

Gemma Bovery

Between 2002 and 2004, Simmonds returned to regular strips by contributing to the Guardian’s Saturday Book Review supplement. Under the umbrella title ‘Literary Life’, she enjoyed targeting every aspect of the idiosyncratic world of book publishing.

A few years later, Simmonds wanted to return to making comics for the Guardian, but felt the need to stretch herself to a longer story with an ending. The paper offered her a serial in 100 episodes, each one to finish on a cliffhanger to hook readers, and published Monday to Saturday. Inspiration came while holidaying in Italy, where she noticed a pretty young woman: ‘She was giving this guy such a hard time by yawning. She looked desperate, surrounded by Prada shopping bags, and she reminded me of Madame Bovary.’ (35) The Guardian accepted her proposal for a modern, British remake of Flaubert’s novel to be called ‘Gemma Bovery’, altering her name enough from Flaubert’s Emma Bovary to hint that her tale might not be exactly the same.

I am on the edge of it, so I know about the terrible vanities. I was free to choose which character was going to appear each week and whether it would be a comic strip or a single drawing. (43) That depended on what idea I had on the Monday. I had to deliver my drawing by Wednesday, but I never worked in advance, I preferred the tyranny of the final deadline for an idea to turn up. This is reflected in her more relaxed line-work in black ink, often overlaid with grey washes. Among her cast, cantankerous J. D. Crouch grumbled on, joined by gruff, bushy-eyebrowed Welsh writer Owen Lloyd (44A). The original 1950s ‘Silent Three’ schoolgirls returned to pass anachronistic comments on current fiction as ‘The Literary Three’. Another recurring series, ‘Facts and Fallacies’, made digs at how the public misunderstands authors of children’s books, like herself: ‘Oh, what fun! Do you ever do any serious writing?’ (44) One week Simmonds showed a sinister Addams-esque twist to a classified advert for a perfect writer’s solitary retreat called ‘Fairy-tale Cottage’, whose woodshed harboured a mad, axe-wielding gnome. Her cover for the French edition, also used on merchandise, proved how passionate the French are for reading, even topless on the beach. (43A) Throughout, Simmonds demonstrated her ever-growing arsenal of drawing, writing, lettering and design abilities, appropriate to each subject of her satire.

magniet doluptaspe reperum evendit et atisque et mos atia s

above magniet doluptaspe reperum evendit et atisque et mos atia s

above

magniet doluptaspe reperum evendit et atisque et mos atia s

above

magniet doluptaspe reperum evendit et atisque et mos atia s

Such an ambitious departure would need more time to plan and produce. Sketchbooks new and old provided resources for Simmonds to cast characters: ‘I had to know what they looked like, before I could even start imagining what they would say.’ After a rather wistful Victorian false start on Gemma, she drew her looking seductively out of the corner of her eye, reminiscent of Diana, Princess of Wales, and realized that ‘The beauty of eyeballs is you can direct the gaze a lot more than using dots for eyes’. (36) The bearded baker and bibliophile Raymond Joubert grew out of a portrait of a man she once spotted in a Paris bar; (37) several other players derived from tweaking earlier likenesses. These powers of observation and drawing from memory had been honed by the drawing course Simmonds took at Heatherleys, in which she had to look closely at a model and then rush upstairs to the studio and draw what she could remember with no further reference. Such training

I L LUS T R AT I O N

‘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

‘One of the most important illustrators of all time’ Emma Chichester Clark

Ludwig Bemelmans Quentin Blake and Laurie Britton Newell Almost everybody knows Ludwig Bemelmans’ Madeline. His illustrations for those books offer a magical vision of Paris that has created a lasting impression on millions of readers. However, the fact that the illustrator published over forty other titles remains a well-kept secret. Laurie Britton Newell’s illustrated essay gathers material from Bemelmans’ diverse oeuvre, from novels, autobiographical stories, humorous articles and comic strips to murals and menus for hotels and restaurants. The book makes accessible this mesmerizing material, which is otherwise lost to the public, and connects it to the artist’s intriguing life. Ludwig Bemelmans offers a visually rich, behind-the-scenes insight into the life and work of this important artist and writer.

Coincides with an exhibition at the House of Illustration, London, from 6 July to 6 October

Quentin Blake is arguably the UK’s most treasured illustrator and has illustrated over 300 books. Laurie Britton Newell is Senior Curator at the Wellcome Trust.

80 illustrations 24.5 x 18.7cm 112pp ISBN 978 0 500 519950 May £18.95

ludwig bemelmans

above magniet doluptaspe reperum evendit et atisque et mos atia s above magniet doluptaspe reperum evendit et atisque et mos atia s

above magniet doluptaspe reperum evendit et atisque et mos atia s

right to the end of his life. (Nos 79–84) Commissions, like those from Holiday magazine, underwrote his frequent trips abroad, but, as he once only half-joked, ‘my greatest inspiration is a low bank balance’.44 Ill with pancreatic cancer, Bemelmans died in his sleep on 1 October 1962 and was buried at Arlington National Cemetery in Virginia, an honour to which he was entitled as a US veteran of the First World War. Bemelmans recognized that his enduring legacy would be the Madeline series but in all his work readers, whether young or old, could sense his total engagement with life. His ability to pick out people’s distinctive characteristics and foibles in a perceptive and amusing way had no doubt been honed by his early training in the hotel industry, but his skill at turning this into a life-long and prolific career as an illustrator, writer and ultimately an artist is remarkable. As he once wrote: ‘The portrait of life is the most important work of the artist and it is good only when you’ve seen it, when you’ve touched it, when you know it. Then you can breathe life onto canvas and paper.’45

above magniet doluptaspe reperum evendit et atisque et mos atia s

104

105

THE BRITISH MUSEUM

In collaboration with The Citi Exhibition

マンガ

The story of manga, a vibrant form of Japanese narrative art, from its historic roots to its place as a contemporary global phenomenon

MANGA Edited by Nicole Rousmaniere and Matsuba Ryoko

Nicole Rousmaniere is IFAC Handa Curator of Japanese Arts at the British Museum. Matsuba Ryoko is a Research Fellow at the School of Oriental and African Studies, University of London.

c. 225 illustrations 26.0 x 19.0cm 256pp paperback ISBN 978 0 500 480496 May £25.00 Accompanies the exhibition at the British Museum from 23 May to 26 August 2019.

The Citi Exhibition

Manga Edited by Nicole Rousmaniere and Matsuba Ryoko 28

Manga is a form of Japanese narrative art that has grown over the centuries to become a global phenomenon in the post-World War II era. Initially referring to graphic novels and comics, manga has expanded beyond its original forms to include animation, fashion and new media. Arranged into six thematic chapters, each opening with an essay, followed by interviews and art selections, this revealing study traces the origins of manga and explores its role in society, and its appearance in different media, from videogames to street art, as well as its growing international reach. The voices of manga artists and editors are reflected throughout the book, along with critical analysis by leading scholars. Taking the style of the genre and its terms of reference as its cue, Manga draws upon printed manga works, artwork, manga magazines, original drawings, theatre, film, digital technologies and interviews with artists and publishers to bring the subject vividly to life. This book gives readers an understanding of the excitement generated by a form that crosses cultures and media in a globalized world.

THE BRITISH MUSEUM

In collaboration with

The world exists to be put on a postcard Artists’ postcards from 1960 to now Jeremy Cooper The accessibility and familiarity of a postcard makes it an artistic medium rich with potential for subversion, appropriation or manipulation for political, satirical, revolutionary or playful intent. The inexpensiveness of production encourages artists to experiment with their design; the only artistic restriction: that it fits through a letterbox. Unlike traditional works of art, the postcard requires nothing more than a stamp for it to be seen on the other side of the world. Made of commonplace material, postcards invite handling, asking to be picked up, turned over, and shown to friends – to be included in our lives. The world exists to be put on a postcard features postcards, several reproduced at actual size, designed by notable modern and contemporary artists, including Carl Andre, Eleanor Antin, Joseph Beuys, Tacita Dean, Gilbert & George, Richard Hamilton, Susan Hiller, Richard Long, Bruce Nauman, Yoko Ono, Dieter Roth, Gavin Turk, Mark Wallinger, Rachel Whiteread and Hannah Wilke, many of which are published here for the first time. Organized thematically into chapters, such as ‘Graphic Postcards’, ‘Political Postcards’, ‘Portrait Postcards’ and ‘Composite Postcards’, this book demonstrates the significance of artists’ postcards in contemporary art. Written by artists’ postcard expert and collector Jeremy Cooper, this remarkable publication will inspire, educate and delight all fans of the genre and lovers of contemporary art.

An alternative history of contemporary art told through a unique collection of artists’ postcards from 1960 to today Jeremy Cooper is an established author who has written widely on art and antiques. He has appeared as an expert on the BBC’s ‘Antiques Roadshow’ and was co-presenter of BBC Radio 4’s ‘The Week’s Antiques’. He is the 2018 recipient of the Fitzcarraldo Editions Novel Prize.

374 illustrations 22.0 x 22.0cm 160pp paperback ISBN 978 0 500 480434 February £19.95

Accompanies the exhibition at the British Museum from 7 February to 4 August 2019

4. Political Postcards

Postcards have long been put to polemical use. In his novel Alone in Berlin, published in German in 1947, Hans Fallada invented a character who secretly deposited in public places around wartime Berlin postcards with critical comments on fascism. The perpetrator says to his wife: ‘Even if the only effect is to remind them that there still is resistance out there, that not everyone thinks like the Führer…We will inspire other people to write their own postcards…We will inundate Berlin with postcards, we will slow the machines, we will depose the Führer, end the war.…’38 In the 1970s the artist Genesis P-Orridge made radical use of postcards (fig. 126). Accused in 1975 of obscenity for his mailed postcards, P-Orridge was supported by the American author William Burroughs, who addressed a letter to the court stating: ‘The postal cards in question were certainly intended neither to titillate nor to offend, but to instruct by pointing up banality through startling juxtapositions.’39 John Kasmin, Tim Head, Robin Klassnik, Brion Gysin, Anna Banana and Nigel Greenwood were among the art-people invited by P-Orridge to attend his trial. In America the Fluxist Alison Knowles and composer Pauline Oliveros designed and published in the mid-1970s a series of five postcards, whose titles speak for themselves: Beethoven was a lesbian (fig. 112); Chopin had dishpan hands; Bach was a mother; Brahms was a two-penny harlot; and Mozart was a black Irish washerwoman. Oliveros is executive director of the organization that she formally founded in 1985 as the Deep Listening Institute, her musical practice based on principles of improvisation, electronics, ritual and meditation. During the same period in Germany, Renate Bertlmann expressed similar feminist views in her postcard set AMO, ERGO SUM (fig. 114), later the title of a monograph on the artist. In 2017, the postcards were included in her solo show at Fotohof, Salzburg. The best political and polemical postcards spring from convictions deeply held by their creators. In the late 1970s and early 1980s a series of outstanding posters and postcards by Peter Kennard used in imaginative form the technique of photomontage, until then largely neglected in Britain. The cards were commissioned by the Campaign for Nuclear

97 Jasper Johns, Art for the Moratorium, 1969 15.2 × 20.4 cm (6 × 8 1/8 in.) Jumbo Post Card invitation to attend the exhibition and fundraising sale of work by Jasper Johns and others from 11 to 13 December 1969 at Leo Castelli Gallery, New York

Disarmament, of which he was a committed supporter, the majority published for CND by the socialist cooperative Leeds Postcards (fig. 103). Prime Minister Margaret Thatcher inspired hundreds of polemical postcards. Several examples spring to mind: Crime Wave (fig. 109), designed by Steve Hardstaff for his Liverpool imprint South Atlantic Souvenirs; Paul Morton’s Thatcher Therapy and Dot-to-Dot Puzzle No. 1 (fig. 107), published by Leeds Postcards. Mark Pawson is one of a number of other artists working to produce and distribute subversive postcards, including his Reduce Reuse Repair Recycle series, hand-printed in different colourways on his kitchen table. In New York Alfred Gescheidt began working with photomontage in the 1960s, creating many examples for publication by the American Postcard Company. Like Kennard, Gescheidt mostly used photomontage and favoured particular political themes, in his case the practice of Safe Sex, of special concern at the time in 1980s AIDS-ravaged New York. The postcard from an adjusted photograph of President Reagan with an enlarged condom on his head is typical of Gescheidt’s humour, captioned, with conscious misspelling: ‘Condoms? Yeah, I alwais use them in the shower…’ (fig. 101). Like Thatcher, Reagan was much ridiculed in postcards, powerfully by the campaigning artist Hans Haacke in The Lord’s Prayer (fig. 100), self-published in 1984. In his lecture ‘Show and Tell’ at Lake Como in July 2010, Haacke said: ‘I’ve always been interested in opening art spaces to the outside world, not only in the physical sense. I believe the art world is not a world apart. In spite of what many claim, there are no boundaries.’40 Haacke’s antagonism to the moneyed exclusivity of the art scene extends to his refusal, ever since visiting Cologne Art Fair in the late 1960s, to allow dealers to exhibit work by him at an art fair, which these days is the dominant commercial forum for buying and selling contemporary art. Criticism of the money structures in the art world was expressed by dissident artists in public work of various kinds, such as performance protest and in publication of alternative magazines and pamphlets, as well as in the distribution of posters and postcards.

This image by Jasper Johns was made by Leo Castelli into a poster edition limited to 300, for sale at $100 each in aid of the Vietnam Moratorium Committee. Johns’s anti-Vietnam green, black and orange flag in the postcard derives from his painting, which is now in the Museum of Modern Art, New York. That picture depicts a double flag with a grey-painted flag at the bottom and an orange, black and green flag at the top. This invitation was open-mailed to Nigel Greenwood, the leading young London dealer in contemporary art, who held early shows by Gilbert & George. In a 2015 interview with Greenwood’s daughter, published in 2016, they said: ‘The artists needed Nigel because existing galleries wouldn’t show art by people like us.’41

Political Postcards

1.2 Richard Hamilton, Whitley Bay, 1966 10.5 x 15.5 cm (4 1/8 x 6 1/8 in.) Hand-tinted photograph published as a postcard by Robert Fraser Gallery, 69 Duke Street, London Richard Hamilton’s first use of the postcard aesthetic in a painting was his extraction in People (1965–66) of a detail from a postcard of the beach at Whitley Bay. In 1966 Robert Fraser, Hamilton’s dealer at the time, used the artist’s hand-tinted Whitley Bay photograph of 1965, itself the enlargement from a detail of a commercial postcard, to make another postcard. Hamilton remarked: ‘I find it astonishing that a flick of a shutter over a coating of silver emulsion can snatch so much information about that milli-second of activity over half a mile of beach at Whitley Bay one summer’s day…I marvel that marks and shapes, simple or complex, have the capacity to enlarge consciousness.’12

1.1 Richard Hamilton, To Mother, 1968 12.7 x 20.0 cm (5 x 7 7/8 in.) Pull-out postcard published by William N. Copley in the first Shit Must Stop (SMS) folder in an edition of c. 2,000 The image on Richard Hamilton’s contribution to the folder of multiples issued by the American artist and collector William N. Copley was taken from an old postcard of Whitley Bay, near Newcastle upon Tyne. A flap in the middle folds up to release a concertina of eight smaller cards, showing increasingly blown-up black-and-white images of this section of the beach, similarly used by Hamilton in his screen print People (1968). In the same year, he also made a sculptural version of To Mother, over 2.4 metres (8 ft) high, made of cardboard and aluminium, with photographs of the same images in a hinged concertina. That work was exhibited in the Hamilton retrospective at Tate Modern, London, in 2014.

1960s and 1970s

POSTCARDS-BOOK.indb 16-17

1960s and 1970s

7/17/18 5:40 PM

In collaboration with

Edited by Giulia Bartrum

Giulia Bartrum is Curator of German Prints and Drawings at the British Museum. Karl Ove Knausgaard is a Norwegian author, known for six autobiographical novels titled My Struggle.

Edvard Munch love and angst

A fascinating examination of Munch’s prints, which were central to his creative process and established his reputation as an artist

150 illustrations 28.0 x 23.0cm 224pp ISBN 978 0 500 480465 April £30.00

www.thamesandhudson.com £00.00

Edvard Munch

Accompanies the exhibition at the British Museum from 11 April to 21 July 2019

love and angst Edited by Giulia Bartrum • Includes an interview with Karl Ove Knausgaard

Plates, Stones and Blocks Edvard Munch’s Printing Matrices Ute Kuhlemann

1. Caption info xerepe magn atem. Puda ius pratint, conse quam rest quam erec tem. Nam volupit, quodi squatet fuga. Nam eumquid ut a possitae er ro blaccum que nos eius ipsus dolorro dita velis tu rae volup tatur. Tombstone line Tombstone line Tombstone line Tombstone line

Edvard Munch bequeathed in his will almost the complete collection of his own art to the City of Oslo. His generous gift comprised around 25,000 objects, including numerous world-class paintings, prints and drawings, which today constitute the core of the Munch Museum’s collection. As may be sensed in this exhibition, the Museum’s print collection is as comprehensive as it is diverse; it encompasses almost 18,000 prints of approx. 800 different motifs, ranging from rare impressions (Young Women on the Shore, cat.nr. xx [MM G 816-1]), and considerable numbers of almost identical print portfolios (such as Alpha and Omega, see Woll 2012, 336-357) to fascinating groups of numerous experimental variants of the same motif (Towards the Forest I and II, cat.nrs xx, xx and xx [MM G 575-6, G 644-5 and G 644-12]). Each print is the result of a complex interaction between a printing surface (matrix), ink and paper – all brought together under pressure, usually in a printing press. Quite rightly, it is the final print that receives art lovers’ and researchers’ main attention; after all, this is the print that printmakers produce for circulation and public scrutiny. Certain by-products, such as the rare, often unique proof impressions, are also much appreciated: they show the unfinished print and therefore allow valuable insights into the artist’s creative process (Kristiania Bohemians II, cat. nr xx [MM G 10-5]). At the same time, the mother of them all, the printing matrix, receives little attention. Although its existence is generally acknowledged in catalogues raisonnés, the matrix is rarely exhibited or a subject of further discussion. However, in Edvard Munch’s case, it is rather difficult not to pay attention to his matrices: 504 of his printing plates, blocks and stones are held by the Munch Museum, with around 150 lithographic stones prominently displayed in its corridors. In other words, Munch managed to

Cat. 2.8 Self-Portrait with Tulla Larsen 1905 Oil on canvas 640 x 455 mm and 620 x 330 mm Munchmuseet, Oslo MM.M.00345 and MM.M.00346 Cat. 2.9 Woman with Red Hair and Green Eyes. Sin 1902 Lithograph printed from two stones in yellow, red and green 695 x 402 mm Munchmuseet, Oslo MM.G.00241-40

Lasson (1860–1935), the only woman represented in the composition. After leaving her first husband, a wealthy businessman, Jørgen Engelhart, with their two small children, Oda became an artist in her own right.34 Her tri-cornered relationship with Hans Jaeger and Christian Krohg, whom she married in 1888 (having given birth to Krohg’s daughter, in 1885) was a subject of open discussion; as was her subsequent relationship with Munch’s friend, the poet, writer and critic Jappe Nilssen (1870–1931), who is represented as the brooding figure in the foreground of Melancholy III (cat. 3.7). From 1908, Nilssen was employed by the daily Dagbladet, and it was his regular positive reviews of Munch’s exhibitions in Kristiania that made a considerable impact on the increasing acceptance of the artist’s work. Oda also had an affair with the dramatist Gunnar Heiberg (see p. 100), with whom she lived in Paris for four years while married to Krohg. Munch himself became miserable when Milly Thaulow cast him off and engaged in other affairs; she eventually divorced her husband and married an actor. His intimate relationships in later life were short-lived: women were certainly attracted to him and he enjoyed their company, but he always maintained that he was married to his art and the prospect of any long-term commitment made him deeply anxious. His most tortured relationship was with Tulla Larsen (1869–1942), the daughter of a wealthy Norwegian wine merchant who he met in about 1897 (cat. 2. 8 and p. 193 in

T H E I N N E R S O U L O F A N A R T I S T

THE INNER SOUL OF AN ARTIST

Edvard Munch (1863–1944) is best known today as a painter, but his reputation was in fact established through his prints, which were central to his creative process. His printmaking was experimental and innovative, and he continually revisited the subjects of his paintings in striking prints, in which he evoked a wide range of emotion and mood through the use of varied techniques. Munch’s early life in the industrial town of Kristiania (renamed Oslo in 1925) was marked by sickness and poverty. His first works centred on the expression of deep emotional experiences, specifically the deaths of his mother and teenage sister, as well as passionate yet unhappy love affairs of which his deeply religious father disapproved. Encouraged by his encounters with a Bohemian society of artists, writers and poets, he developed a visual landscape that was a radical deviation from the slick society portraits and grand Scandinavian landscapes then so much in vogue. His efforts attracted considerable attention and much criticism, and he practised with little financial success as a painter for ten years before he started to gain his reputation as a profoundly innovative printmaker. Written by a team of experts, and with an interview by writer Karl Ove Knausgaard, this book will shed new light on the production of some of Munch’s most remarkable works.

VICTORIA AND ALBERT MUSEUM

In association with

From Gothic script to brush lettering: fifteen calligraphy projects inspired by the V&A’s collections

c. 230 illustrations 26.5 x 20.5cm 176pp paperback ISBN 978 0 500 294307 April £16.95

Calligraphy and Lettering A Maker’s Guide Related titles

A practical guide to calligraphy and hand-lettering traditions from around the world, both ancient and modern, this book is guaranteed to enhance your writing life. Fifteen beautiful step-by-step projects each take their cue from a different technique or tradition. Detailed instructions lead you through the essentials of classic calligraphy styles such as Gothic and Italic lettering, on to vintage-inspired signwriting and chalkboard design, and even into the elegant, image-led worlds of illuminated capitals and zoomorphic calligraphy. Designed by teachers and practitioners at the forefront of today’s calligraphy revival, the projects include a handmade booklet, banner, menu, gift tags, a monogram stamp, greetings cards and more. Each project offers tips on how to take steps towards developing your own designs, and how to find new creative direction through the timeless arts of calligraphy and hand-lettering.

978 0 500 294185 £16.95

978 0 500 293270 £16.95

978 0 500 293263 £16.95

VICTORIA AND ALBERT MUSEUM

In association with

Rachel Church

ACC E S S ORIE S

Brooches and Badges

A fascinating historical overview of the evolution of brooches and badges from the Middle Ages to today Rachel Church is a curator in the Sculpture, Metalwork, Ceramics and Glass department at the Victoria and Albert Museum. She has contributed to a number of V&A publications, and is the author of Rings in the Accessories series.

170 illustrations 22.7 x 15.7cm 160pp ISBN 978 0 500 480359 June £14.95 Rachel Church

92 BROOCHES AND BADGES

1940–1960 93

Brooches and Badges Accessories series Rachel Church continue. Fashion moved towards softer, rounded designs with a greater use of fantasy and whimsy. The properties of gold were exploited to create interesting textural effects, and brooches continued to be used to reflect current events, add a splash of colour and brilliance to costume, or create an amusing conversational point. In 1949 the New Yorker assured its readers that, ‘as far as design is concerned, almost anything goes this year; you can be as conventional or as whimsical as you please…. We might remark that there is also a definite inclination towards irregularity of design.’7 Brooches often still separated into pairs of clips (98), ‘like an amoeba only much more expensively’,8 but these were now likely to be asymmetrical. Gorgeously coloured birds, butterflies, fish and even flies were made into

brooches; according to Paris magazine Femina, the year 1945 should be placed under the sign of wings (99).9 The 1950s, for many countries, was a period of optimism. Fashions in dress became more flowing and generous; jewellery followed with rounder curves, scrolls and the use of large gemstones rather than pavé settings which required expensive workmanship. Floral motifs became increasingly fashionable, following the spirit of femininity shown in dress. A brooch designed by Jean Schlumberger for Tiffany used polished sapphires and gold to create a bouquet of flowers tied with a diamond bow-knot (100), and another used sapphire and emerald beads to make a pair of pine cones (101).

98 Design for a diamond double clip, separating into two smaller clips. Godman and Rabey Archive, London, c. 1940−50. AAD/209/1/v5. Given by Alan Rabey

99 Gold, platinum, yellow and colourless diamonds, emeralds, rubies and sapphires. France, 1940–50. M.121-2007. Given by the American Friends of the V&A through the generosity of Patricia V. Goldstein

From medieval pilgrim badges and Renaissance hat decorations to jewelled brooches and twentieth-century political pins, brooches and badges are often more than practical or decorative dress fasteners; they are expressions of identity. Focusing on the V&A’s world-famous collection, Brooches and Badges explores the evolution of these intricate and versatile works of art, especially the way in which changes in dress have dictated their use. An inspiring, impeccably researched and concise history of these symbolic and evocative ornaments through the ages, Brooches and Badges is a musthave resource for students, designers and lovers of jewellery.

Related titles

978 0 500 519370 £12.95

978 0 500 519387 £12.95

978 0 500 519745 £12.95

VICTORIA AND ALBERT MUSEUM

In association with CLARE PH I L L I P S

‘Full of pictures of some of the most spectacular and intricate jewellery you are ever likely to see’ Scotsman ‘Here, at last, is the answer to the question “How does one learn about jewellery?”’ Country Life

An impeccably researched and inspiring insight into the evolution of jewellery through the ages, explored through exquisite photography of pieces drawn from the V&A’s outstanding collection

Jewels & Jewellery

CLARE PHILLIPS

From the splendour of medieval jewels to witty,

experimental pieces from the 2010s, Jewels & Jewelle

offers an impeccably researched, inspiring survey of jewellery through the ages. Exquisitely detailed

photography displays the beauty of the materials as

well as the elaborate techniques of the jeweller’s cra Clare Phillips traces the development of styles and

practices in jewellery from the Middle Ages to today,

highlighting movements such as Art Deco and make

including Cartier, Lalique and Fabergé. Short section

on the materials used by jewellers and the hallmarki distribution and ownership of jewels in recent centuries offer an overview of jewellery as both art form and ever-evolving industry.

Clare Phillips is a curator in the Sculpture, Metalwork, Ceramics and Glass Department at the Victoria and Albert Museum. Her publications include Jewelry: From Antiquity to the Present and contributions to Art Nouveau 1890–1914 and Silver.

Showcasing a glorious selection of jewels from the world-renowned collection of the Victoria and Alber Museum, Jewels & Jewellery is a must-have resource fo students, designers, collectors and lovers of jewellery With over 400 illustrations

398 illustrations 29.0 x 20.5cm 224pp paperback ISBN 978 0 500 480342 March £24.95

www.thamesandhudson.com £00.00

CLARE PHILLIPS

Chronology of Style: The Middle Ages to 1700

On the cover: xxx

Jewels and Jewellery Clare Phillips

34 Opposite: Miniature portrait of Queen Elizabeth by Hilliard, above the front and back of its elaborate gold locket, c. 1600. The openwork front is encrusted with table-cut rubies and diamonds, with a central star representing Stella Britannis (the monarch). The vividly enamelled scrollwork of the back includes stylized flowers and two pairs of dolphins (height of ruby-set lid 6.4 cm/2.5 in). Above: The Barbor Jewel. The sardonyx cameo of the queen is framed with rubies and diamonds in an enamelled gold frame, surmounted by a crown made of three rectangular diamonds and hung with a cluster of pearls. The back is decorated with an oak tree. Family tradition claims that it was commissioned by William Barbor, a Protestant who escaped the stake thanks to Elizabeth’s accession. However, the style of the enamelling indicates a date of around 1615–25, significantly after Barbor’s death in 1586 (height 6 cm/2.4 in). Right: The Drake Jewel, set with a sardonyx cameo of the profiles of a black man and a white lady. The back of the jewel opens to reveal a Hilliard miniature of the queen from 1588. The gold setting has an intricate strapwork design, set with rubies and diamonds and richly enamelled in many colours. The jewel was given by Queen Elizabeth to Sir Francis Drake, perhaps after the defeat of the Spanish Armada, and he wears it in a portrait of 1591 (height 11.7 cm/4.6 in).

The 1960s The more valuable the stone, the more unimaginative the setting: this is the unwritten rule for both buyer and manufacturer, based on a solid convention of what will sell. However the convention is now being challenged in this country by a few enterprising jewellers who are sensitive about the designs they produce; by a handful of retailers who dare to stock their goods; by the patrons who help to keep them in business, and by the designers whose work…has helped to create the demand for beautiful jewellery. gillian naylor , ‘ diamonds are for dowagers ’, design magazine , feBruary

1962

Left: Brooch of silver, oxidized in parts, designed and made by John Donald, England, 1960–61 (height 4.8 cm/1.9 in). John Donald studied graphic art at Farnham School of Art, UK, followed by jewellery at the Royal College of Art. He set up his London workshop in 1961. He is best known for his innovative work in gold, with which he has achieved a great variety of textures and forms – in some cases by dropping molten gold into water, or, alternatively, by mirroring striations and structures in nature. His work typically incorporates a rich variety of gemstones, which – particularly in pieces of the late 1960s and ’70s – are often unfaceted or left in their natural crystal form. Below, left: Les Fils d’Éos brooch, designed by the artist Georges Braque and made by the jeweller Heger de Loewenfeld in France, in 1963 (height 3.5 cm/1.4 in). The three birds, of polished lapis lazuli, textured gold and diamonds pavé-set in platinum, represent the three sons of Eos, goddess of the dawn: Phaethon, the guardian of Aphrodite’s temple; Phosphorus, the morning star, and Hesperus, the evening star. The collaboration between Braque and de Loewenfeld dates from the final years of Braque’s life, when he was in his eighties. De Loewenfeld would prepare designs from Braque’s existing work, and Braque would sign the ones he approved. The source for this particular brooch has been identified as the lithograph used on the cover of Cinq poésies en hommage à Georges Braque, by René Char (Geneva, 1958). Braque, who mixed sand into his paint to create a granular effect, disliked shiny gold, so de Loewenfeld developed a gritty matt finish for the metal by fusing gold on gold. This type of textured surface was to become a highly fashionable and distinctive feature of jewellery made in the 1960s. Opposite: Necklet of 14 carat gold and pearls, designed and made by Gerda Flöckinger, England, 1960 (total height 24.7 cm/9.7 in). This was the first piece of contemporary jewellery commissioned by the Victoria and Albert Museum, a choice that recognized Gerda Flöckinger’s pre-eminence in the emerging alternative jewellery scene in London. Born in Innsbruck in 1927, Flöckinger emigrated to England in 1938. She studied fine art at St Martin’s School of Art and jewellery and enamels at Central School of Arts and Crafts. On leaving in 1956 she took the decision – then highly unusual – to work as an independent designer and maker. In 1962 she established the pioneering course in experimental jewellery at Hornsey School of Art, where many of the next generation of British artist-jewellers were taught.

154

Jewels and Jewellery surveys splendid early medieval and Renaissance pieces and superb examples of Arts and Crafts, Art Nouveau and 21st-century jewellery. Exquisitely detailed photography reveals both rare and precious stones as well as the elaborate techniques of the jeweller’s craft such as chasing, enamelling and cameo. Among the ‘star’ pieces are the diamond and sapphire coronet designed by Prince Albert for Queen Victoria, and the Papillon ring by London jeweller G, donated to the Victoria and Albert Museum in 2018 by Beyoncé, alongside a multitude of dazzling rings, brooches, earrings and tiaras. Clare Phillips considers the history of Western jewellery in three parts, first exploring the materials used by jewellers, then turning to the development of styles in jewellery from the Middle Ages to today, before examining the ways in which jewellery has been hallmarked, distributed and worn over recent centuries. Showcasing pieces by Cartier, Tiffany and Liberty, this beautiful volume is the ultimate guide to the history of Western jewellery.

VICTORIA AND ALBERT MUSEUM

In association with

Avalon Fotheringham

The Indian Textile Sourcebook

Drawing on the Victoria and Albert Museum’s world-class collection of Indian textiles, this beautiful compendium features a wide variety of textile designs, techniques and colours. It also includes close-up shots of the reverse of the fabrics, allowing readers to see precisely how the textile was made. It will inspire and inform and anyone interested in textile design and the decorative arts.

An invaluable sourcebook of Indian textile patterns covering the entire region, organized by pattern type and explored by technique

avalon fotheringham is a curator in the Asian Department at the Victoria and Albert Museum.

Avalon Fotheringham is a curator in the Asian Department at the Victoria and Albert Museum.

481 illustrations 26.0 x 20.0cm 400pp ISBN 978 0 500 480427 March £35.00

The Indian Textile Sourcebook Avalon Fotheringham

www.thamesandhudson.com £00.00

The Indian Textile Sourcebook Patterns and Techniques Avalon Fotheringham

opposite page

Sari Kanchipuram, Tamil Nadu, c.1935 Silk with continuous and discontinuous silvergilt kalabattun-pattern weft, DIMENSIONS IS.42-1988 CHECK CREDIT LINE above

front and back Fragment of a headcover (dupatta) Probably Maharashtra or Gujarat, c.1855–79 Tapestry-woven silk and silver-gilt kalabattun with silver-gilt kalabattun-pattern weft in field, DIMENSIONS 7897B below

Sari (detail) Kodalikaruppur, Tamil Nadu, c.late 19th–early 20th century Cotton with discontinuous silver-gilt kalabattun-pattern weft, block-printed and drawn resist- and mordant-dyed, 745 x 116 cm Lent by Her Majesty the Queen

Figurative Structures

201

Textiles have a long and distinguished history on the Indian subcontinent, from the dazzling woven silks worn by royalty to the simple block-printed patterns worn everywhere. Drawing on the Victoria and Albert Museum’s world-class collection, this beautiful and informative book features a wide variety of textile designs, techniques and colours. The introduction gives an overview of Indian textiles, including methods by which they were made and their intended uses. The book is divided into three chapters defined by pattern style: Floral, Figurative, and Abstract and Geometric. Each comprises an introduction to the style’s history, and demonstrates the techniques of structure, surface and embellishment patterning. A wealth of cross-referencing by theme and process makes this a uniquely useful resource. Over 300 breathtaking and hugely varied designs are examined here in detail through close-up shots of the pattern and material alongside images of the reverse of many fabrics, demonstrating different weaving techniques so that the reader can see precisely how the textile was made. Overflowing with colour and patterns, The Indian Textile Sourcebook will inspire and inform anyone interested in textile design and the decorative arts.

FA SHION

The first comprehensive overview of Yves Saint Laurent’s haute couture collections, presented through original catwalk photography Andrew Bolton is Head Curator of the Metropolitan Museum of Art’s Costume Institute in New York City. Suzy Menkes is the international editor of Vogue. The Musée Yves Saint Laurent Paris is home to the collection of the Fondation Pierre Bergé – Yves Saint Laurent, which holds over 34,000 objects.

Over 1,000 illustrations 27.7 x 19.0cm 632pp ISBN 978 0 500 022399 May £48.00 Provisional cover

‘Extraordinary’ Vogue, of Dior

Yves Saint Laurent Catwalk

‘Your new fashion bible’ i-D, of Chanel

The Complete Haute Couture Collections 1962–2002

‘Gorgeous’ Sunday Times, of Louis Vuitton 36 In the same series

Loius Vuitton Catwalk 978 0 500 519943 £48.00 Dior Catwalk 978 0 500 519349 £48.00 Chanel Catwalk 978 0 500 518366 £48.00

Preface by Andrew Bolton • Introduction by Suzy Menkes Texts by Musée Yves Saint Laurent Paris Founded by Yves Saint Laurent and Pierre Bergé in 1961, shortly after the young couturier left his post at the helm of Christian Dior, Yves Saint Laurent would soon become one of the most successful and influential haute couture houses in Paris. Introducing Le Smoking, the first tuxedo suit for women, in 1966, Saint Laurent also presented iconic art-inspired creations, from Mondrian dresses to precious Van Gogh embroidery and the famous Ballets Russes collection. This definitive publication opens with a concise history of the house, followed by a brief biographical profile of Yves Saint Laurent, before exploring the collections themselves, organized chronologically. Each collection is introduced by a short text unveiling its influences and highlights, and illustrated with a gallery of carefully curated catwalk images. These 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. A rich reference section concludes the book.

FA S H I O N / P O P CU LT U R E

Marrying sumptuous fashion with insightful biography, Supreme Glamour charts the glittering story of Motown’s most successful act and original pop fashionistas Mary Wilson – the ‘supreme Supreme’ – is one of the founding members of the band, and the only one to have stayed the distance, and who still performs today. She regularly escorts her gowns around the world for exhibitions in locations including London’s V&A Museum, Bath Assembly Rooms and throughout the USA. Mark Bego has written sixty-two books, two of which have been New York Times best-sellers.

400 illustrations 30.5 x 19.5cm 240pp ISBN 978 0 500 022009 May £29.95

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Supreme Glamour The Inside Story of the Original Pop Fashionistas Mary Wilson with Mark Bego • Preface by Whoopi Goldberg 39

“Carousel Green Swirls” 1968 Diana | Mary | Cindy| Jean | Lynda

Notable appearance TCB (Takin’ Care of Business) (Air date: December 9, 1968, NBC) Designer Michael Travis Embellishments Bugle beads, sequins, rhinestones Notes Worn in 1968 promotional photo

sessions for TCB, were altered in 1976 to have the original neck scarves removed and beaded shoulder fringe and wrist cuffs Left Ommodit pa dollit, ommos ma eataturit doluptat Ommodit pa dollit, ommos ma eataturit doluptat Ommodit pa dollit, ma..

With the assistance of her close friend Mark Bego, founding member Mary Wilson tells the complete story of The Supremes, both on- and off-stage, from their beginnings as The Primettes in June 1959 to their 1964 breakthrough Motown hit, ‘Where Did Our Love Go’, and from the departure of Diana Ross to the group’s comeback in the mid-1970s. Packed with personal ancedotes and reflections from Mary herself, the text is accompanied by rare archive photography and ephemera, much taken from Mary’s personal collection. The Supremes have always been synonymous with glamorous, elegant co-ordinated costumes. Supreme Glamour complements and extends their inspiring story by interleaving text sections with the cream of Mary Wilson’s unparalleled collection of Supremes outfits, showcasing thirty-five of the most eye-catching ensembles, painstakingly re-assembled and photographed on the Grammy museum stage. Detailed captions accompany each photograph, providing all the key information about the design, the fabric, the embellishments, and the occasion on which each was first worn. Contemporary photos of The Supremes wearing the outfits bring the costumes to life. This sumptuous volume builds a complete picture of the charm and sophistication of The Supremes. Supreme Glamour is sure to appeal to fashionistas, Supremes enthusiasts, Mary’s numerous fans and visitors to her frequent exhibitions of the Mary Wilson/Supremes Gown Collection.

P O P CU LT U R E

New in paperback

The definitive visual history of Motown, the most successful independent record company in the world Adam White scripted a Grammy-nominated radio documentary, ‘The Motown Story’, and was vice-president of communications at Universal Music Group International from 2002 to 2012. Barney Ales was Berry Gordy’s right-hand man and the company’s ultimate insider. He was Motown’s president from 1975 to 1978.

Over 1,000 illustrations 27.7 x 21.6cm 400pp paperback ISBN 978 0 500 294857 January £28.00

‘An illuminating path into a familiar story ... an essential Motown work’ MOJO ‘A time capsule from one of the most colourful chapters in music history ... it’ll splash your coffee table in swathes of sunshine, pastel shades and rainbow jackets’ Shortlist ‘Definitive … this is a riotous and political celebration of a great American brand’ Tatler ‘A joy of a thing … the visual equivalent of a Temptations single’ Book of the Year, Herald ‘Buy it, a real no-brainer’ The Beat magazine

Motown The Sound of Young America Adam White with Barney Ales Foreword by Andrew Loog Oldham The music of ‘Motown’ needs no introduction. Berry Gordy’s record label became a style unto itself, producing hit after suave, sassy and sophisticated hit, and shaped the careers of so many of the greatest musicians of all time. The label produced more US number-one hits than the Beatles, Elvis Presley, the Rolling Stones and the Beach Boys combined. Now, and with fresh new insights and an incredible visual narrative, the official, visual history of this momentous contribution to music and American culture is told in full. This book delves deep into the success stories of Motown’s powerhouse creative team, including the Holland-Dozier-Holland triumvirate, and unpicks backstories of the Motown musicians envied by many, and covered by the rest. The roster includes Stevie Wonder, Marvin Gaye, Diana Ross & the Supremes, Smokey Robinson & The Miracles, the Jackson 5, The Temptations and Martha Reeves & The Vandellas. Motown: The Sound of Young America is dense with information and materials gathered from the personal accounts and archives of many of the key players. It is a spectacular labour of love befitting an incredible story.

TR AVEL

A suitcase-friendly insider’s city companion for well-dressed and worldly gentlemen

The Sartorial Travel Guide Simon Crompton This essential travel guide distils a decade of style expert Simon Crompton’s experiences travelling the world to meet and advise the finest menswear producers and artisans, providing everything the modern man needs to know to travel in style, explaining what to buy and where to buy it. Offering the lowdown on ten of the world’s most stylish cities – Florence, Hong Kong, London, Melbourne, Milan, Naples, New York, Paris, Stockholm and Tokyo – each chapter includes listings of the finest local shops and producers. In-depth profiles of standout tailors, clothiers and shoemakers offer insights into the craftsmanship behind the trademark style of each city, from a traditional kimono maker in Japan to a bespoke umbrella-maker in Paris. Fifteen must-see shops in other cities around the world are also profiled more briefly. Other features include travel advice from leading style aficionados, including Mark Cho of The Armoury and Mats Klingberg of Trunk Clothiers, providing travel tips from those in the know. With locator maps to assist the planning of your trip and practical advice on how and what to pack, both leisure and business travellers will be prepared for any occasion. Whether on a luxurious city break or looking to fill a few spare hours on a meeting-packed trip, this is the ideal vade mecum for any sartorial adventure.

Simon Crompton’s Permanent Style website has become a global authority on luxury menswear. Crompton also writes for the Financial Times, among other magazines, and is the author of The Finest Menswear in the World, published by Thames & Hudson.

c. 300 illustrations 19.8 x 13.0cm 240pp ISBN 978 0 500 021569 May £16.95

Tokyo

The List

It is worth highlighting two of the excellent Japanese workshops that make only bespoke trousers: Toru Igarashi and Hayato Osaku. Igarashi is located in the centre of Tokyo and is therefore the easier of the two to visit. Osaku works from a small town an hour’s drive outside of the city, but comes into the centre for appointments. Their work displays a high level of precison in details such as curved waistbands and neat pick stitching.

1 Bespoke shoemakers: Yohei Fukuda and Marquess yoheifukuda.tumblr.com, BAL Aoyama 2F, 2-12-27 Kitaaoyama, Minato-ku marquess-bespoke.blogspot.jp, 8F Ginza Yurika Building, 1-19-3 Ginza, Chuo-ku Japan has a huge number of bespoke shoemakers, perhaps more than in the whole of Europe combined. They are largely young, working in small workshops, and offer good value for money – though waiting times for Western-sized shoes can be long. Most importantly, the quality is amazing, often beating that of the European masters from whom they learned. There are so many good Japanese shoemakers to try, but Yohei Fukuda and Shoji Kawaguchi (opposite), the latter operating under the brand Marquess, are certainly worth visiting.

4 Ortus www.ortus-bag.com, 2F, 1-24-5 Ginza, Chuo-ku Leather master Naoyuki Komatsu has a stellar reputation for bespoke men’s accessories. He runs a small workshop called Ortus, which does 90% bespoke pieces such as day bags and wallets. Everything in the shop is entirely hand sewn; in fact, Komatsu even goes so far as to make the brass hardware, which are small works of beauty in themselves. One of Komatsu’s signature designs is the ‘music bag’ – a briefcase made from one piece of leather with a brass bar securing the single handle.

5 Motoji www.motoji.co.jp, 3-8-15 Ginza, Chuo-ku Those wishing to see traditional Japanese highend silk menswear in Tokyo should consider visiting Motoji, the most famous kimono maker in the city. Although none of the work is done on-site (the fabric is produced by weavers all around Japan, and the tailoring done outside the city), the shop, with its bolts of beautiful cloth and many spectacular finished kimonos, is a virtual museum of the craft. Keita Motoji, son of founder Komei Motoji, is doing much to increase awareness of both Japanese kimono traditions and those of the silk-producers, dyers and weavers.

2 Ciccio Japan www.ciccio.co.jp, 5-4-43 Minami Aoyama, Minato-ku Compared to the large number of talented young Italian-trained Japanese shoemakers, there aren’t quite so many up-and-coming bespoke tailors returning home from Italy, but the quality of their work is still very high. They are largely influenced by the soft tailoring of the south of Italy, although some also trained in Florence or Milan. English influence is felt only in the older, more traditional tailors. Among the most skilled of the new generation of bespoke tailors is Noriyuki ‘Ciccio’ Ueki, who trained in Naples and cuts a soft-shouldered suit with a Japanese level of precision. He moved into new, larger premises last year, where you can also see the shoes of Hidetaka Fukaya, a Japanese shoemaker who operates out of an Italian workshop, in Florence.

6 Okura www.hrm.co.jp/okura, 20-11 Sarugaku-cho, Shibuya-ku Shifting our focus from tailoring to workwear, Okura is a great stop for anyone who loves indigo-dyed clothing, another traditional Japanese technique. The shop in the Daikanyama area of Tokyo is stocked floorto-ceiling with indigo-dyed jackets, T-shirts, sweatshirts and kimonos, both from brands like Blue Blue Japan and cheaper variations not made domestically. Look out for pieces in sashiko cloth in particular.

3 Bespoke trousers: Igarashi and Osaku igarashitrousers.jp, 2-31-9 Jingumae, Shibuya-ku www.m039.net, 7-10-6 Ikuta, Tama-ku 134

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Tokyo

Motoji

Opposite top Weavers’ names, insignia and details displayed on the cloth Opposite bottom Yukata, a cotton summer-weight garment made of cotton Left A master tailor readying a silk kimono for me to try Below Samples of precious hand-woven silks from all over Japan

Putting the name on the cloth elevates the importance of the weaver. – Keita Motoji

‘When I was younger I hated the shop, and kimonos’, says Keita. ‘All I wanted was Western clothes. But over time I got to love it, and now I’m passionate about trying to spread awareness of it around Japan.’ Keita periodically hosts demonstrations of silk farming to increase appreciation of traditional Japanese textiles. In an adjoining shop, he suspends thousands of silkworm cocoons in racks from the ceiling. Around 3,000 cocoons (from male silkworms, which make longer fibres) are required to make 1 metre of cloth. Keita invites groups of

schoolchildren to come and play with the silkworms, and to show them to passers-by. The process of being fitted for a kimono is also interesting. It is different from a fitting for a Western bespoke suit in that the focus is on the drape: how the cloth is held and tied in order to help it hang in very precise ways. Different materials – light and heavy silks, linens, cottons (usually for summer yukata) – drape very differently, so the selection of the right cloth is crucial, and the Motoji tailors’ measurements to ensure a balanced hang must be detailed and exacting. 146

147

TR AVEL

From the unusual to the spectacular, the ultimate visual guide to the finest hotels and travel experiences Italy has to offer Herbert Ypma is a bestselling author and photographer whose ground-breaking HIP Hotels series inspired an entirely new genre of travel publishing. His many other books include RSVP: Simple Sophistication, Effortless Entertaining and Amazing Places Cost Nothing, both published by Thames & Hudson.

Over 500 illustrations + maps 26.0 x 20.0cm 352pp flexibound ISBN 978 0 500 292884 March £29.95

Forthcoming titles in the series New Map France New Map Greece

New Map Italy Unforgettable Experiences for the Discerning Traveller 42

Herbert Ypma In this age of low-cost flights and easy travel, how do you avoid the crowds and find the hidden gems? Expert globe trotter and travel photographer Herbert Ypma guides you through an alternative map of Italy to reveal those hard-to-find places that still hold something special. The experiences and tips that he maps out across the length and breadth of Italy fall into four key categories. ‘Staying in Character’ features thirty-five places to stay, from the grand to the eccentric, all embodying the soul and character of their setting – whether it’s sleeping next to a sloshing canal in Venice, dozing under the plume of Etna’s active volcano or experiencing monastic silence over dinner in Umbria. ‘Eclectic Experiences’ surveys twenty stand-out experiences, from jumping off the cliffs near Otranto to swimming the walls of Dionysius in Ortigia, and from exploring the forgotten farmland of Sicily’s interior to finding the best gelati in Rome. ‘Legend for Lunch’ points you in the direction of the most authentic places to eat, and ‘Convincing Context’ surveys twenty experiences enhanced by nuggets of history. Together they amount to a new map of authentic Italian experiences, and the ultimate answer to the question, ‘What will I do when I get there?’

LONDON

Pocket Photo Books P OC

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B A R B IC A N C ENTR E

BARBICAN CENTRE INTRODUCTION BY SIR NICHOLAS KENYON

The Barbican Centre in the City of London is world renowned as a supreme example of post-war

More than 100 photographs capture the striking spaces architecture in the Modernist tradition. Designed by architects Chamberlin, Powell & Bon as part of the ofBarbican onecomplex of the most radical north of St Paul’s Cathedral and post-war buildings in Britain opened in 1982, the arts centre presents an exciting international programme of more than 4,000 cultural events each year.

Barbican Centre

Harry Cory Wright • Introduction by Sir Nicholas Kenyon This compact album of more than 100 photographs by Harry Cory Wright reveals the dramatic spaces,

textures and carefully materials of the Books series of immersive visual guides to Arich new title in theselected Pocket Photo Barbican Centre in striking detail. From the flowing, the experience of place, this compact album presents the dramatic spaces, rich multi-level spaces of the foyer and the calm woodpanelled concert hall to the surprising intimacy of textures and carefully selected materials of the Barbican Centre, one of the the theatre and the soaring jungle of the conservatory, the Barbican Centre offers the visitor an extraordinary world’s leading international arts venues. From the flowing, multi-level space of variety of experiences within a single building. the and the calm concert hall to the surprising intimacy The foyer photographs in this book capturewooden-panelled their full range, the fascinating introduction by Sir Nicholas ofwhile the theatre and the soaring jungle of the conservatory, the Barbican Centre Kenyon, Managing Director of the Barbican Centre since 2007, personal insights into this offers a provides remarkable variety of experiences within a single building. This book thriving cultural hub in the heart of London and one reveals full range, while the fascinating introduction by Sir Nicholas of the mosttheir important modern buildings in Britain. Kenyon provides personal insights into this thriving cultural hub.

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Harry Cory Wright is one of Britain’s leading ET PH A series of immersive photo guides K landscape photographers. His immaculate images to the experience of place. Series devised by photographer convey an extraordinarily vivid sense of ‘being there’. B Harry Cory Wright. O O KS Sir Nicholas Kenyon has been Managing Director of the Barbican Centre since 2007.

120 illustrations 17.0 x 12.0cm 176pp paperback ISBN 978 0 500 294666 March £12.95

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Pocket Photo Books

TOW E R B RI DGE

O O KS

TOWER BRIDGE INTRODUCTION BY GLEN ELLIS

Tower Bridge is one of the most famous bridges in the world and a defining symbol of London. Designed

by Sir Horace Jones (1819–1887) engineer famous bridges is celebrated in this One of the world’sandmost Sir John Wolfe Barry (1836–1918) and constructed captivating visual guide over a period of eight years, it was the largest and most advanced bascule bridge ever completed at the time. Opened in the summer of 1894, it not only provided an essential and long-overdue crossing point east of London Bridge, but also allowed ships into the Upper Pool of London. Still in use today, this Victorian Gothic masterpiece is lifted between 700 and 800 times each year, and is visited by almost 1 million people from around the world.

Tower Bridge

Harry Cory Wright • Introduction by Glen Ellis A Victorian masterpiece, Tower Bridge remains a highly important crossing on This compelling album of photographs by Harry the River as well as being one of London’s defining landmarks. This Cory Wright Thames, allows us to experience the awe-inspiring structure of Tower Bridge in exquisite detail, from compelling album of photographs by Harry Cory Wright allows us to experience the intricate machinery in the engine rooms and the spaces of the bascule chambers itscathedral-like awe-inspiring structure in located exquisite detail, from the intricate machinery in under the Thames, to the views up and down river the engine rooms the angreat cathedral-like spaces of the bascule chambers. from the top of each tower. to Including introductory with Senior Technical Officer Glen Ellis, It interview includes an interview with Senior Technical Officer Glen Ellis, who shares his who shares with us his own experience of lifting the bridge, this book evokes a remarkable sense of place. own daily experience of lifting the bridge, evoking a remarkable sense of place.

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PH Harry Wright has had many ET Cory A series of immersive photo guides solo exhibitions, and in 2013 K to the experience of place. his work was included inphotographer the major exhibition ‘Landmark: The Series devised by B Harry Cory Wright. O Oof K SLandscape Photography’ at Somerset House, London. Fields Glen Ellis is Senior Technical Officer at Tower Bridge.

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120 illustrations 17.0 x 12.0cm 176pp paperback ISBN 978 0 500 294673 March £12.95

LONDON

Tower Bridge

Published to coincide with its 125th anniversary, a major new illustrated study of a remarkable piece of architecture and engineering, and one of Britain’s most iconic landmarks

History • Engineering • Design Kenneth Powell Tower Bridge is one of the most remarkable and recognizable bridges in the world. Completed in 1894, at a time when London was one of the world’s busiest trading ports, handling goods from all corners of the British Empire and beyond, it served as a gateway to the capital and a key crossing point over the River Thames. Designed by Sir Horace Jones and Sir John Wolfe Barry, Tower Bridge is an astonishing feat of engineering, containing a special counterweight mechanism that allows the roadway to lift so that ships can pass beneath. At the opening ceremony on 30 June 1894, spectators were ‘spellbound and speechless’ when the bridge was lifted, according to The Times. Today, the bridge is raised on average twice a day, and it is still an impressive spectacle. This book charts the story of the bridge from the earliest plans for a river crossing on this site, through the complex evolution of its development, to its construction and operation, offering the reader insights into its architecture and engineering history, while also shedding light on the people who worked on it. It contains specially commissioned photographs and a wealth of archival images, including a sequence showing the bridge at every stage of construction. Also included are the original working drawings for the bridge, some of which have never been published. This book will fascinate and inform anyone interested in engineering, architecture and the history of London.

Kenneth Powell is an architectural historian and critic. He has written extensively on 20th- and 21st-century architecture, and on the architecture of London. He is an honorary fellow of the Royal Institute of British Architects.

225 illustrations 27.0 x 20.5cm 192pp ISBN 978 0 500 343494 February £24.95

TOW E R B R I D G E

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opposite

The preserved interior

b e l ow r i g h t

The simple modern control

of the control cabin on

panel for opening and

the south side of the

closing the bridge.

bridge, with levers, much like those in a railway

ov e r l e a f

signal box, for raising and

The bascules being raised –

lowering the bascules.

one of the great sights

A century and a quarter after its completion, Tower Bridge continues to operate as efficiently as it did when new. The central span is now lifted by the touch of buttons, rather than by pulling levers similar to those in railway signal boxes. Electricity, rather than steam, powers the hydraulic system. Yet the principal working parts of the bridge remain unchanged. To see the bridge raised and lowered – usually now to allow the passage of a pleasure boat – is one of the defining sights of London.

KENNETH POWELL

TOW E R B R I D G E HISTORY

ENGINEERING

DESIGN

T O W E R B R I D G E is one of the most remarkab recognizable bridges in the world. Completed in 18 time when London was one of the world’s busiest t ports, handling goods from all corners of the Britis and beyond, it served as a gateway to the capital an crossing point over the River Thames.

Designed by Sir Horace Jones and Sir John Wolfe Tower Bridge is an astonishing feat of engineering, containing a special counterweight mechanism that the roadway to lift so that ships can pass beneath. A opening ceremony on 30 June 1894, spectators were ‘spellbound and speechless’ when the bridge was lif according to The Times. Today, the bridge is raised average twice a day, and it is still an impressive spec

This book charts the story of the bridge from the e plans for a river crossing on this site, through the co evolution of its development, to its construction an operation, offering the reader insights into its archi and engineering history, while also shedding light o people who worked on it. It contains specially comm photographs and a wealth of archival images, inclu a sequence showing the bridge at every stage of con Also included are the original working drawings fo bridge, some of which have never been published. T will fascinate and inform anyone interested in engin architecture and the history of London.

of London. b e l ow l e f t

Detail of a brass dial in the bridge control cabin.

With 212 illustrations

KENNETH POWELL f ro n t c ov e r

The west side of Tower Bridge, viewed from the south TOW E R B R I D G E I N O P E R AT I O N

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bank of the River Thames (© Julian Honer).

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b ac k c ov e r

Drawing by G. D. Stevenson of the landward-facing side of one of the towers, 1889 (London Metropolitan Archives, City of London; COL/CCS/PL/01/002/A/302).

PHOTOGRAPHY

‘A singular new vision and an original contribution to the development of street photography’ Martin Parr

Eamonn Doyle is a photographer and music producer based in Dublin, Ireland. His work has earned him a truly international reputation, with his self-published projects – all now out of print – highly sought-after by photobook collectors around the world. Kevin Barry is the prizewinning Irish author of two collections of short stories and two novels. Sean O’Hagan is an Irish writer and critic who specializes in photography for the Guardian newspaper.

350 illustrations 29.2 x 21.0cm 272pp ISBN 978 0 500 545089 March £35.00

Eamonn Doyle: Made in Dublin Eamonn Doyle • With texts by Kevin Barry Introduction by Sean O’Hagan 46

‘The term “street photographer” damns Doyle with faint praise. He is a chronicler of the city’ Sean O’Hagan Made in Dublin brings together Eamonn Doyle’s three extraordinary photography series: i, ON and End. Shot a stone’s throw from his front door, this Dublin trilogy provides a multifaceted portrait of a city undergoing and surviving rapid changes. Text vignettes by prize-winning author Kevin Barry enrich the visual trip. Imagining what might be happening just out of frame, Barry gives voice to the otherwise silent Dubliners captured by Doyle’s camera. Including new and unpublished photographs, Niall Sweeney’s design completes what can only be described as an exhilarating surround-sound, cinematic experience in book form.

PHOTOGRAPHY

A portrait of over a century of the British seaside in all its raucous, joyful and sometimes seedy glory Val Williams is Professor of the History and Culture of Photography at the University of the Arts, London, and has curated exhibitions for the Barbican, the Victoria and Albert, The National Media Museum, Tate and the British Council. Karen Shepherdson is Reader in Photography at Canterbury Christ Church University, and in this role both directs SEAS Photography and co-directs the Centre for Research on Communities and Cultures. 200 illustrations 25.0 x 19.5cm 224pp ISBN 978 0 500 022061 May £19.95

Published in association with Turner Contemporary, Margate, where a related exhibition opens on 24 May and then travels to Southampton, Blackpool and Cornwall in 2020

R OA R I N G WAV E S

REPORTAGE CRITICAL D O C U M E N TA RY

MEMORIES

JOURNEYS DECLINE AND R E G E N E R AT I O N UTOPIAN VISIONS

ELEGANT P L AYG R O U N D S

Seaside: Photographed

do you wish you were here?

seaside: photographed

portfolio: keith vaughan

Keith Vaughan · Dick’s Book of Photographs · 1939

Val Williams and Karen Shepherdson

Since the beginnings of the medium, photographers have been fascinated by the shoreline and seaside cultures. Seaside: Photographed offers a record of how both British and international image-makers have responded to the UK’s coastal communities since 1850 and how the art of photography has both shaped and exposed the multiple layers of the seaside resort. From the roaring waves of the 19th century through the heyday of the classic seaside resort in the 1950s and 60s, and the critical reportage of the 1980s and 1990s, to the more intimate work of the last ten years, many photographers have worked at the British seaside, including Henri CartierBresson, Lee Miller, Martin Parr and Anna Fox. The end-of-the-pier show, beauty competitions, light entertainment, the seaside boarding house, the holiday camp, combined to give British seaside resorts the brash and colourful image that is now enshrined in British national mythology. Seaside: Photographed shows not only some of the most spectacular and incisive photographic work from the 1850s to the present, but provides a place of shared connection, of collective memory and a space where memories and perceptions are challenged.

PHOTOGRAPHY

Charles Fréger explores the masks, costumes and characters created by the descendants of Africans and indigenous peoples in the Americas Charles Fréger is internationally acclaimed for his subtle and poetic portraiture. Previous books include Wilder Mann, Portraits in Lace and Yokainoshima. Ishmael Reed is the author of numerous bestselling novels, including the critically acclaimed Mumbo Jumbo and Conjugating Hindi. Two of his novels have been nominated for National Book Awards, and his poetry has been nominated for the Pulitzer Prize.

307 illustrations 23.0 x 18.0cm 320pp ISBN 978 0 500 022467 March £28.00

Cimarron Freedom and Masquerade Charles Fréger • Foreword by Ishmael Reed

NEGRITOS DE HUAYLLAY Huayllay, Pasco, peru 202

QHAPAQ NEGRO Paucartambo, Cusco, peru

203

REY NEGRO Paucartambo, Cusco, peru

QHAPAC NEGRILLAS 204  205 DE OLLANTAYTAMBO Ollantaytambo, Cusco, peru 201

All across the Americas, from the 16th century onwards, enslaved Africans escaped their captors and struck out on their own. These runaways, having found their freedom, established their own communities or joined with indigenous peoples to forge new identities. Cimarron, borrowing a Spanish-American term for these fugitive former slaves, is a new series of photographic portraits of their descendants. From Brazil, Colombia, the Caribbean islands and Central America, as far as the southern USA, elaborate masquerades are staged that celebrate and keep alive the memory of African slaves and their descendants. Stock characters are portrayed in costume, or in grotesque or satirical representations. A huge variety of African tribal dress, wild ritual regalia and shimmering Mardi Gras outfits feature in breathtaking succession. Vividly coloured silks and cottons combine with woven fibres, leaves, feathers, and bodypaint; props include emblems of slavery and slavemasters – ropes, sticks, guns and machetes. These photographs record real people whose collective sense of memory, folk history and imagination dramatically challenges our expectations. Charles Fréger’s work has established a large and growing following among connoisseurs of contemporary photography, defining a new genre of documentary portraiture that extends and deepens our sense of the human past and the present.

PHOTOGRAPHY

The definitive survey of contemporary photography of the human body Nathalie Herschdorfer is a curator and art historian specializing in the history of photography. She is the Director of the Museum of Fine Arts, Le Locle, Switzerland. Among her other books are Afterwards, The Thames & Hudson Dictionary of Photography and Coming into Fashion, all published by Thames & Hudson.

380 illustrations 30.0 x 21.0cm 432pp ISBN 978 0 500 021583 March £48.00

Body The Photography Book Nathalie Herschdorfer The body remains a battleground. Politicized, conceptualized and increasingly shared, our often-paradoxical relationship with the human form is nothing new, but finds itself heightened in the digitised, virtualised era of the ‘post-industrial’ body. No longer a tool but a work-in-progress, our bodily expectations bound from fantasy to reality, beauty to tyranny, art to commerce and curiosity to obsession, leaving us dreaming of other bodies and alternate lives. Surveying a range of over 360 photographic re-presentations from the worlds of art, fashion, scientific and vernacular photography – including the work of Nobuyoshi Araki, Bettina Rheims, Lauren Greenfield, Viviane Sassen, Cindy Sherman, Wolfgang Tillmans, Daido Moriyama, Sally Mann, Pieter Hugo, Juergen Teller, Sølve Sundsbø and Daniel Sannwald – Body explores what our imaging of the human form, and the ways in which those images have been used and shared, might reflect of our relationship to the body. Supporting the broad range of photography is an essay by the psychologist Professor David Sander, Ph.D., discussing the neurological representation of our own bodies.

PHOTOGRAPHY

The first retrospective monograph of one of the most fascinating talents in contemporary photography

Anja Niemi (b. 1976, Oslo) studied at the London College of Printing and Parsons School of Design in Paris and New York, and has exhibited in galleries worldwide. Three previous monographs of her work have been published, and her work appeared in Firecrackers: Female Photographers Now, also published by Thames & Hudson. Max Houghton runs the MA in Photojournalism and Documentary Photography at London College of Communication, University of the Arts London.

174 illustrations 23.0 x 18.0cm 240pp ISBN 978 0 500 545119 February £24.95

Published to coincide with Niemi’s first museum show at Fotografiska, Stockholm, opening February 2019

Anja Niemi: In Character Anja Niemi • Introduction and interview by Max Houghton

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Anja Niemi: In Character is the first career retrospective/monograph by the Norwegian photographer. Niemi’s work has emerged as a distinctive force within the venerable tradition of conceptual self-portraiture. She works alone and always in character. With her purposeful and elaborate stagings, Niemi is photographer, director and female lead, inserting herself into the lives of her fictional characters. Extending the genre of self-portraiture, Niemi is at heart a story-teller, a creator of fictions. Her images offer a multilayered, cinematic exploration of identity, gender roles and, crucially, our relationship with ourselves. Anja Niemi is at the ‘breakout moment’ in her career, having had exhibitions in Amsterdam, London, New York, Oslo, Paris, San Francisco and Shanghai, and with her first museum retrospective show opening in February at Fotografiska in Stockholm. This book features over 170 photographs organized into the six series – Do Not Disturb, Starlets, Darlene & Me, Short Stories, The Woman Who Never Existed, and her latest series She Could Have Been A Cowboy – that have marked her career to date, supported by an essay and interview by Max Houghton, co-author of Firecrackers: Female Photographers Now. It is the perfect introduction for those encountering Niemi’s work for the first time, and a comprehensive retrospective of her career to date for her long-time followers.

PHOTOGRAPHY

New in paperback

Introduces the very best of Mary McCartney’s work from the mid-1990s onwards

Mary McCartney

Mary McCartney – Paul and Linda’s daughter – started her career as a professional photographer in 1994. Her solo exhibitions, which have been shown internationally, include ‘Off Pointe’, ‘Playing Dress Up’ and ‘British Style Observed’.

Mary McCartney’s work is characterized by an intimacy that reveals her subjects’ true character and humanity. Here, portraits of the likes of Paul and Linda McCartney, Madonna, Bono, Debbie Harry, Dennis Hopper and Kate Moss sit alongside photographs that capture the raw energy of catwalks and concerts, the feverish communion of backstage preparations at the Royal Opera House and the private spaces of home and family. Elegant and always at ease, this is the work of an intelligent, soulful photographer with an authentically intuitive eye.

From Where I Stand Texts by Mary McCartney, Simon Aboud, Peter Blake, Chrissie Hynde and Paul McCartney

167 illustrations 26.0 x 22.0cm 192pp paperback ISBN 978 0 500 294659 January £19.95

‘McCartney’s pictures of models, rock stars, family and landscapes are imbued with a calm beauty’ Vogue ‘From adrenalin-filled backstage shots to intimate family portraits, this edit embraces the accomplishments of McCartney’s genuine gift’ Irish Tatler ‘Sharp and stylish’ The Times

This was my first encounter with Tracey. She already had a great affinity with Frida Kahlo, which you can see in her complete connection with the artist and character.

’’

Tracey Emin as Frida Kahlo, London, 2000 84

Sir Ian McKellen, London, 2008

Dad, Willem de Kooning studio, Long Island, 2007 150

PHOTOGRAPHY

Working in colour for the first time, Nick Brandt’s latest project uses complex composition and dramatically cinematic staging to highlight environmental degradation in the world and its effect on both animal and human life

Nick Brandt (b.1964) is an English-born, US-based photographer whose themes always relate to the disappearing natural world. He is the co-founder of the Big Life Foundation, in Kenya, where all of these photographs were shot.

70 illustrations 33.0 x 38.1cm 128pp ISBN 978 0 500 545140 February £45.00

‘Astonishing … a new genre of photography, both technological and conceptual, that brings together science and the visual arts … delivers the emotional shock rarely felt, but needed in full, to accelerate global conservation’ E.O. Wilson, Theorist, Biologist & Author

This Empty World Nick Brandt This Empty World, Nick Brandt’s new monograph, features a series of dramatically staged photographs that bring together and reveal the animals and people of East Africa as the victims of environmental degradation in an emotionally powerful, cinematic way. Moving into colour photography for the first time, the work is both a technical tour-de-force and a massively ambitious project in which the sets are constructed on a scale typically seen in major film production. Each panoramic image is a combination of two moments in time, almost all of them captured weeks apart from the exact same camera position. Brandt first builds and lights a partial set, then waits for the animals that inhabit the region to enter the frame. Once captured on camera, the full set is built with the camera remaining fixed in place. The sets include bridge and highway construction sites, a petrol station, a bus station and even a dead forest. Completing the scene with a huge cast drawn from local communities, Brandt then photographs the second sequence. The final large scale prints are a composite of the two intricately plotted elements. Viewed as a whole, the images vividly illustrate a world in which, overwhelmed by runaway human development, there is no longer space for animals to survive, and beg the question: what kind of world will we live in when stripped of its natural wonders.

PHOTOGRAPHY

Expanded and updated | New in paperback

An extraordinary monograph by one of the most original image-makers at work today, now expanded and updated to include previously unpublished work

Roger Ballen Roger Ballen is an American photographer who has lived and worked in South Africa since the 1970s. Thames & Hudson published his retrospective Ballenesque in 2017.

ASYLUM OF THE BIRDS 100 illustrations 27.0 x 25.2cm 160pp paperback ISBN 978 0 500 294864 February £24.95

Asylum of the Birds Roger Ballen • Introduction by Didi Bozzini Defeated 2005

Blinded 2005

Subdued 2012

Also available

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Wo u n d e d 2 0 1 1

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In a world in which many photographers seek to avoid definition, Roger Ballen’s photographs define themselves in their defiance of classification and genre: his world stands out as one of a kind. The black-and-white images featured in Asylum of the Birds were created exclusively within the confines of a house in a Johannesburg suburb, the location of which remains a guarded secret. The inhabitants of the house, both human and animal – including, most notably, the ever-present birds – are the cast of Ballen’s world, performers amidst the theatrical interiors that they create and he orchestrates. The resulting images exist in a space between painting, drawing, installation and photography. They are timeless, psychologically powerful and masterfully composed.

‘Provocative, graphic, and unlike anything else you’re likely to have seen’ British Journal of Photography

‘Ballen is a true original who not only defies genres, but defines his own artistic space’ Hungry Eye ‘A culmination of Ballen’s previous works and a step further forward (or downward, if we use his analogy) in his exploration of the deepest, most confusing parts of his existence’ Daily Telegraph 978 0 500 519691 £60.00

‘A truly unique artistic vision. Highly recommended’ Lens Culture

PHOTOGRAPHY

Compact edition

A monograph on Andrey Tarkovsky, Russian filmmaker, writer, film editor and film theorist of extraordinary influence and cinematic vision

Tarkovsky Films, Stills, Polaroids & Writings Andrey A. Tarkovsky, Hans-Joachim Schlegel and Lothar Schirmer Andrey Tarkovsky was the most important Russian filmmaker of the post-war era, and one of the world’s most renowned cinematic geniuses. He directed the first five of his seven films – Ivan’s Childhood, Andrei Rublev, Solaris, Mirror and Stalker – in the Soviet Union, but in 1982 defected to Italy, where he made Nostalgia. His final film, The Sacrifice, was produced in Sweden in 1985. Tarkovsky’s films are characterized by metaphysical themes, extended takes, an absence of conventional dramatical structure and plot, and a dream-like, visionary style of cinematography. They achieve a spiritual intensity and transcendent beauty that many consider to be without parallel. This book presents extended sequences of stills from each of the films alongside synopses and cast and crew listings. It includes reflections on Tarkovsky’s work from fellow artists and writers including Jean-Paul Sartre and Ingmar Bergman, for whom Tarkovsky was ‘the greatest, the one who invented a new language.’ Extracts from Tarkovsky’s own writings and diaries offer a wealth of insights into his poetic and philosophical views on cinematography, which he described as ‘sculpting in time’. The book also reproduces many personal Polaroid photographs that confirm the extraordinary poetic vision of a great artist who died aged only 54, but who remains a potent influence on artists and filmmakers today.

Andrey A. Tarkovsky is Tarkovsky’s son. Hans-Joachim Schlegel is a film historian and the editor and translator of the writings of Sergei Eisenstein and Andrey Tarkovsky. Lothar Schirmer is a publisher.

350 illustrations 24.0 x 19.0cm 288pp ISBN 978 0 500 022597 March £29.95

‘Proves that even a single frame from the great man’s films conveys great beauty and profundity … reproduces stunning images from his seven films’ Sight and Sound SOLARIS

SOLARIS

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131

STALKER

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PHOTOGRAPHY

Presents the results of the World Press Photo contest, described by the British Journal of Photography as ‘the premier competition for photojournalism and reportage’ Rodney Bolt is an author and travel writer based in Amsterdam. David Campbell is a writer, professor and producer. As a research consultant to World Press Photo he directed the Multimedia Research Project in 2012–13, and the project exploring ‘The Integrity of the Image’ in 2014.

Illustrated throughout 24.4 x 19.0cm 240pp paperback ISBN 978 0 500 970942 May £19.95

‘Will amuse, sadden, console and ultimately teach you much about this world of ours’ Popular Photography

‘A compilation of the most shocking, heartbreaking, and sometimes beautiful photographs taken by photojournalists last year’ The Herald

World Press Photo 2019 World Press Photo Foundation Edited by Rodney Bolt • Managing Editor: David Campbell Universally recognized as the definitive competition for photographic reporting, the World Press Photo awards have been described by Michael Rand as ‘the international photographic contest’. Publishing the results of the most recent annual World Press Photo Contest, this exceptional book contains the very best press photographs from the year 2018 – pictures submitted by photojournalists, picture agencies, newspapers and magazines throughout the world. Selected from thousands of images, these prizewinning photos capture the most powerful, moving and sometimes disturbing images of the year.

PHOTOGRAPHY

Two new titles in the Photofile series, which brings together the best work of the world’s greatest photographers in an attractive format and at an easily affordable price ‘The photograph is completely abstracted from life, yet it looks like life. That is what has always excited me about photography’ Richard Kalvar

Richard Kalvar Introduction by Hervé Le Goff A member of the celebrated Magnum agency, Richard Kalvar has spent more than four decades building up a diverse body of work that is characterized by a finely honed sense of observation. Born in Brooklyn, New York, in 1944, he has travelled all over the world, capturing fleeting details and moments of absurdity. His images suggest glimpses into untold stories, reflecting an idiosyncratic approach to the act and practice of photography.

Hervé Le Goff is a journalist, art critic and essayist specializing in the field of photography.

64 illustrations 19.0 x 12.5cm 144pp paperback ISBN 978 0 500 411148 January £10.95

‘The portrait is your mirror. It’s you’ August Sander

August Sander

Introduction by Susanne Lange August Sander (1876–1964) was a documentary photographer whose greatest project lasted his entire working life. His series of portrait studies of the German people spanned three eras – the German Empire, the Weimar Republic and Nazi Germany – and every social class, combining to form a fascinating social mirror of the country over a tumultuous period in its history. Working with calm determination, Sander cast the same lucid eye on bankers and boxers, soldiers and circus performers, creating strikingly honest images that fulfil his sole ambition: to tell the truth about humanity.

Susanne Lange is a photography historian.

62 illustrations 19.0 x 12.5cm 144pp paperback ISBN 978 0 500 411131 January £10.95

PHOTOGRAPHY

A jawdropping book of photographs that transports the reader into space, aboard the Rosetta probe Jean-Pierre Bibring is a French astrophysicist and Head of scientific operations on Philae, Rosetta’s lander. Hanns Zischler is an artist and filmmaker.

Over 130 illustrations 27.0 x 25.0cm 216pp ISBN 978 0 500 022276 May £50.00

Comet Photographs from the Rosetta Space Probe Texts by Jean-Pierre Bibring and Hanns Zischler 60

The comet is less than 150 pixels in size but now the first surface structure can be seen in minute brightness variations. The neck between the two lobes appears brighter than the other parts of the nucleus.

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Comet tells the amazing story of the Rosetta space probe and its voyage to the comet Tchoury. Rosetta’s mission was to find clues to the origins of our solar system and the emergence of life on Earth. Following a ten-year voyage and a journey spanning millions of kilometres, Rosetta entered the comet’s orbit. Its lander, Philae – a miniature science laboratory – landed directly on the comet’s surface and captured the images presented here. This breathtaking triumph of scientific endeavour resulted in an immense trove of incredible new photographs, the best of which are featured here. The book is built around the various phases in Rosetta’s journey: leaving Earth, breaching its atmosphere and watching the lights of home recede; skirting the Moon and passing close to Mars; plunging into the cosmos’ starry void and approaching the comet; and, finally, landing on the comet itself. The photographs are accompanied by a text that reflects on the objectives of the mission and the accomplishment of this technological feat. Detailed captions provide accessible scientific information, enabling us to get closer than ever to the heart of the subject, even as it hurtles through space.

N AT U R A L H IS TO RY / S C I EN C E

An expert palaeontologist reveals how our understanding of the dinosaurs has been transformed by huge strides in technology in the 21st century 120 illustrations 23.4 x 15.3cm 320pp ISBN 978 0 500 052006 April £24.95

by the puncture experiment with the Triceratops; but then the T. rex who made that bite clearly wasn’t really trying very hard. Importantly, all these different approaches give similar values, which suggests there’s a good chance they might be correct. Further, it allows us to answer the classic dino-geek question: could T. rex have bitten a car in half? The answer is a resounding ‘yes’. In her comparison of three meat-eating theropods – the modestly sized Coelophysis from the Late Triassic, Allosaurus from the Late Jurassic, and Tyrannosaurus from the Late Cretaceous – Emily Rayfield showed they all employed different feeding methods. For example, in Tyrannosaurus peak stresses are in the snout, whereas in the other two, peak stresses are located further back, above the eye socket (FIG. 35A). This shows that T. rex used a puncture-pull means of killing and feeding, snapping at its prey with the front of its jaws to kill it, and then pulling back to tear the flesh from the carcass held down by its great foot. The other two theropods were capable of a more powerful bite along a greater stretch of the jaws, and so were perhaps juggling the prey in their mouths and chomping it into bits before swallowing.

Applying loads to the snouts of Allosaurus (B, C), crocodile (D, E), gavial (F, G), and Baryonyx (H, I) show it could not stand either bilateral or unilateral twisting

Establishing the function of the snout of th spinosaurid Baryonyx (D) with crocodile (A), gavial (B) and Allosaurus ©

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Chapter 7

In a later study of the strange, long-snouted theropod Spinosaurus from the Early Cretaceous of North Africa, Rayfield and colleagues found that it functioned more like the skull of the modern gharial, or gavial (a slender-snouted fish-eating crocodile that patrols the River Ganges in northern India), than a crocodile or alligator, with their broad snouts. The researchers constructed 3D models of the snouts of all these animals (FIG. 35B) , and then applied FEA (FIG. 35C) . Crocodiles and alligators today employ twist-feeding, in which they sink their jaws into their prey, say a wildebeest snatched from the side of the river, drag it under the water, and then throw their body into great contortions. The rotation of the crocodile’s body is transmitted to the side of its hapless prey, and a great chunk of flesh is twisted off. Gharials feed on fish by snapping their long delicate jaws shut and catching them in a cage of slender teeth. This is what spinosaurs did, and their bony palates acted to prevent their long snout from bending up and down, whereas in crocodiles and alligators the palate acts to strengthen the snout against twisting from side to side. How Did Dinosaurs Eat?

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Michael J. Benton is Professor of Vertebrate Palaeontology and head of the Palaeobiology Research Group at the University of Bristol, which was identified by the Center for World University Rankings as the top palaeontology research group in the world. He has written more than fifty books, including the standard textbooks in palaeontology and When Life Nearly Died, also published by Thames & Hudson. Benton regularly offers media comment on new dinosaur discoveries.

‘If you want to know how we know what we know about dinosaurs, read this book!’ Steve Brusatte ‘New science has transformed the way we understand the lives and evolution of the dinosaurs … Mike Benton has brought together all the latest information in this succinct and well illustrated book to challenge previously accepted ideas, and succeeds in bringing these fascinating creatures back to life for another generation’ Richard Fortey

The Dinosaurs Rediscovered Michael J. Benton Giant sauropod dinosaur skeletons from Patagonia; dinosaurs with feathers from China; a tiny dinosaur tail in Burmese amber – complete down to every detail of its filament-like feathers, skin, bones and mummified muscles. Dinosaurs continue to regularly cause a media sensation. Remarkable new fossil finds are the lifeblood of modern palaeobiology, but it is the advances in technologies and methods that have allowed the revolution in the scope and confidence of the field. Over the past twenty years, the study of dinosaurs has become a true scientific discipline. New technologies have revealed secrets locked in the prehistoric bones in ways that nobody predicted – we can now work out the colour of dinosaurs, their bite forces, top speeds and even how they cared for their young. The Dinosaurs Rediscovered gathers together all the latest palaeontological evidence and takes us behind the scenes on expeditions and in museum laboratories, tracing the transformation of dinosaur study from its roots in antiquated natural history to a highly technical, computational and indisputably scientific field today. Michael J. Benton explores what we know of the world of the dinosaurs, how dinosaur remains are found and excavated, and how palaeontologists read the details of the lives of dinosaurs from fossils – their colours, their growth, feeding and locomotion, how they grew from egg to adult, how they sensed the world, and even whether we will ever be able to bring them back to life. Dinosaurs are still very much a part of our world.

SOCIAL SCIENCE

The Big Idea

Already available

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. • 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. • Timelines: 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.

978 0 500 293676 £12.95

978 0 500 293669 £12.95

978 0 500 293652 £12.95

978 0 500 293683 £12.95

SOCIAL SCIENCE

A lucid analysis of the debate surrounding the escalating costs, both financial and ethical, of medicine in the modern world

Is Medicine Still Good For Us? Julian Sheather The sophistication of modern medicine is an exceptional feat in which many of us benefit from unprecedented levels of care. Yet medical progress comes at a price: resistance to antibiotics, ever-mutating superbugs and the unintended yet devastating consequences of prescribing opiates are all part of today’s medical landscape. Is the natural human experience being over ‘medicalized’ as we seek pharmaceutical remedies for every kind of suffering? Are its astronomical costs furthering global inequality? Where has modern medicine failed us and how does it need to change? This incisive and provocatively illustrated volume interrogates the economics and ethics of modern practices and the impact they have on all our lives.

Julian Sheather (PhD) is special adviser in ethics and human rights to the British Medical Association, and to Médecins Sans Frontières. He is the co-author of Medical Ethics Today, and is a regular contributor to the British Medical Journal and The Journal of Medical Ethics.

Over 160 illustrations 22.9 x 15.2cm 144pp paperback ISBN 978 0 500 294581 April £12.95

Surveys the development of Artificial Intelligence over the last sixty years and highlights the likely transformative effects of AI on society over the next few decades

Will AI Replace Us? Shelly Fan The past sixty years have witnessed astonishing growth in the field of artifical intelligence. From social media to Netflix, AI has already infiltrated our daily lives, while driverless cars and humanoid robots are starting to make seismic shifts in the ways we interact with our world. Are we on the threshold of an AI-dominated reality? How will the ethics of this expanding field be enforced in practice? Will humans be superseded by AI? This astute and disquieting review, replete with astonishing up-to-the-minute imagery – a trademark of the Big Idea series – evaluates whether AI can transform society and humanity for the better or whether its enormous capability will bring about a dystopian AI-controlled future for the planet.

Shelly Fan is a neuroscientist at the University of California, San Francisco. She works as a contributing editor to the online publication Singularity Hub, which seeks to chronicle technological advancement, and she also runs the awardwinning science blog NeuroFantastic.

Over 160 illustrations 22.9 x 15.2cm 144pp paperback ISBN 978 0 500 294574 April £12.95

GENERAL HISTORY

The first book from the subversive genius behind the Twitter phenomenon McFadden’s Cold War Cold War Steve is Christopher Spencer. He has been tweeting as @ColdWar_Steve since 2016.

Over 100 illustrations 15.7 x 17.2cm 144pp ISBN 978 0 500 022894 March £12.95

‘Exemplifies an angry new movement … the new furious absurdism’ The Economist

Cold War Steve Presents…

‘Online therapy for those beaten down by political despair’ Guardian

Cold War Steve • Introduction by Jon Savage

‘A modern Hogarth or Gillray … He’s newsy and angry. It’s what Brits do best. Don’t engage with these people’s arguments because they don’t have any. Just flay them alive with humour, sarcasm and art’ Jon Savage ‘No one has caught the mood of Brexit Britain as acutely as Cold War Steve’ The Art Newspaper ‘One of the funniest accounts on Twitter’ Kathy Burke

‘Apocalyptic but side-splitting’ Financial Times

The Festival of Brexit Cold War Steve has been acclaimed as the Brexit Bruegel and a modern-day Hogarth or Gillray. His Twitter feed, McFadden’s Cold War, has become a cult phenomenon, with over 120,000 followers (and counting). This book contains the prime cuts of his elaborate, satirical photo collages from his Twitter feed, with further exclusive, unseen new work. Begun as a personal reprieve from an often-bleak political climate, Cold War Steve (Christopher Spencer in real life) started collaging images of longstanding Eastender Steve McFadden (aka Phil Mitchell) into Cold War-era scenarios, using a £3 smartphone app while commuting. As ‘Brexit Britain’ begins to take shape his output has taken an increasingly surreal, satirical turn – in what some are calling ‘furious absurdism’ – creating dystopian, absurdly funny Brexit-era landscapes populated with a rotating cast of political, cultural or otherwise newsworthy (or not) figures, and ever-present Fray Bentos pies. A pitch-perfect marriage of Internet meme culture and the political lampoon, Cold War Steve satirizes our increasingly incongruous-seeming popular-political culture with quintessentially British humour. In a time when the UK’s exit from the EU looms large, Cold War Steve offers us a satirical escape from a world that seems to have slipped its moorings from reality.

GENERAL HISTORY

Fifth edition | New in B-format paperback

An updated edition of this classic history of Scotland, covering the momentous events of the last five years Fitzroy Maclean held a number of senior posts in the diplomatic service, the armed forces and the government. Magnus Linklater is a Scottish journalist, writer and former newspaper editor.

58 illustrations 19.8 x 12.9cm 200pp paperback ISBN 978 0 500 294727 January £9.99

‘Elegantly written’ Hugh Trevor-Roper, The Sunday Times

‘An admirable introduction to a fascinating subject’ The Scotsman

Scotland A Concise History Fitzroy Maclean and Magnus Linklater ‘The Scots’, said a censorious English member of Parliament in 1607, ‘have not suffered above two kings to die in their beds these two hundred years.’ He may have exaggerated, but undeniably Scotland has had a rough and bloodstained history. It is a complex one, too, but the late Fitzroy Maclean and Magnus Linklater disentangle the threads, and enliven their brisk account with both wit and scholarship. Pictures from authentic contemporary sources illuminate the story – its romantic figures and bloody battles, its politics and religion – and provide a record of Scotland’s art, craftsmanship and intellectual life. In the fifth edition of this classic work, Magnus Linklater brings the story of Scotland right up to date, examining how the Scots identity is faring since the momentous Scottish referendum of 2014, and discussing the fate of the United Kingdom.

Also available

‘A fanfare for modern Turkey and a vivid, provocative, often funny, always insightful account of how it came about’ Guardian 978 0 500 292990 £8.99

GENERAL HISTORY

New in B-format paperback

A vivid, day-by-day perspective on 2,500 years of human history through the medium of 366 quotations Peter Furtado is the former editor of History Today. His publications include the bestselling Histories of Nations and the forthcoming Great Cities Through Travellers’ Eyes.

19.8 x 12.9cm 496pp paperback ISBN 978 0 500 294963 January £10.99

‘What a wonderful, eclectic daily diet of historical speech! Each entry – one for each day of the year – transports us back to hear the voices of the past, and gives us an empathic, learned and fascinating insight into the thoughts and feelings of the people of history’ Suzannah Lipscomb

History Day by Day 366 Voices from the Past Peter Furtado

Also available

‘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 978 0 500 293003 £9.99

From the founding of Rome to the 21st century’s war on terror, History Day by Day presents an original perspective on over two millennia of human history through the medium of 366 quotations, each of which is tied to the anniversary of a celebrated historical event, capturing its essence with the immediacy of the eye-witness or the narrative flair of the chronicler. Every day becomes a window on the past: on 15 March 44 bc, blood flows in the Roman Senate as Julius Caesar falls victim to the thrusting daggers of Brutus and his co-conspirators; 1 May 1851 brings a visit to London’s Great Exhibition in the company of the novelist Charlotte Brontë; on 28 June 1919, in the Hall of Mirrors of the Palace of Versailles, broken-spirited German delegates sign the Treaty that brings the Great War to its fateful conclusion; on 16 August 1665, we walk the silent streets of plague-ravaged London with the diarist Samuel Pepys; and on 11 September 2001 we watch in horror as the Twin Towers topple and the world changes forever. History Day by Day embraces a wide range of voices, moods and registers, from the powerful to the impoverished, the revolutionary to the reactionary, the propagandist to the idealist and the joyful to the grief-stricken. Both engrossing anthology and informative overview of world history, History Day by Day offers the reader entertainment and instruction in equal measure: it is the ideal gift book for the history buff.

GENERAL HISTORY

A treasure trove of visual delights: a collection of first-hand journals and sketchbooks created on ocean voyages around the world and across the ages Huw Lewis-Jones is a historian of exploration who travels in the Arctic and Antarctica each year as a polar guide. His books include The Conquest of Everest, which won the History Award at the Banff Mountain Festival, The Crossing of Antarctica, Across the Arctic Ocean, The Writer’s Map, Explorers’ Sketchbooks (with Kari Herbert) and the forthcoming A Map of the Island.

Over 450 illustrations 19.5 x 27.0cm 304pp ISBN 978 0 500 021279 May £29.95

The seafarers include:

The Sea Journal

Jeanne Baret William Bligh Francis Chichester Vasco da Gama Francis Drake Zheng He Horatio Nelson Antonio Pigafetta Piri Reis Georg Steller Bartholomew Sharp Tupaia Susan Veeder

Seafarers’ Sketchbooks

Also available

978 0 500 252192 £29.95

Huw Lewis-Jones

‘Personality and passion are frequently on display. The scientific excitement is palpable’ Geographical

The sea has been an endless source of fascination, at once both alluring and mysterious, a place of wonder and terror. The Sea Journal contains first-hand records by a great range of travellers of their encounters with strange creatures and new lands, full of dangers and delights, pleasures and perils. In this remarkable gathering of private journals, log books, letters and diaries, we follow the voyages of intrepid sailors, from the frozen polar wastes to South Seas paradise islands, as they set down their immediate impressions of all they saw. They capture their experiences while at sea, giving us a precious view of the oceans and the creatures that live in them as they were when they were scarcely known and right up to the present day. In a series of biographical portraits, we meet officers and ordinary sailors, cooks and whalers, surgeons and artists, explorers and adventurers. A handful of contemporary mariners provide their thoughts on how keeping a journal remains integral to their voyaging lives. Often still bearing the traces of their nautical past, the intriguing and enchanting sketches and drawings in this book brilliantly capture the spirit of the oceans and the magic of the sea.

GENERAL HISTORY

New in B-format paperback

Across 100 lives, this book explores the dazzling diversity of human experience during the Renaissance Robert C. Davis is professor of Renaissance history at Ohio State University. He is the author of Christian Slaves, Muslim Masters and numerous books on Venice. For ten years, Beth Lindsmith edited and contributed to magazines at the Ohio State University, where she has also taught classes in composition and creative writing.

34 illustrations 19.8 x 12.9cm 376pp paperback ISBN 978 0 500 293805 February £10.99

‘A godsend to anyone wanting to get under the skin of the Renaissance’ Art Quarterly

Renaissance People

‘Wonderful ... [shows] the richness and variety of those two centuries by presenting us with the lives of nearly 100 people who fashioned the modern world’ Good Book Guide

Robert C. Davis and Beth Lindsmith

‘Should be on the shelves of anyone interested in the history and culture of the Renaissance’ The Historical Association

Lives that Shaped the Modern Age Like every era, the Renaissance brims with stories. In this book Robert Davis and Beth Lindsmith highlight dozens of notable lives from between 1400 and 1600. Some names are famous – Leonardo, Luther, Lorenzo de’ Medici and Machiavelli all feature – but many others will be new to general readers. They include the aristocratic matriarch Alessandra Strozzi, who sneaked around Florence to spy on potential brides for her sons; the notorious criminal Catena, who wasn’t satisfied with murdering his enemy but also hamstrung his victim’s goats; Isotta Nogarola, a promising young writer who was mortified to have a critic sneer at her that ‘an eloquent woman is never chaste’; the fierce warriorduke Federico da Montefeltro, who liked to wander through his capital without a guard, stopping for jovial chats with local merchants; and the Inquisition’s Heinrich Kramer, who insisted that witches could remove men’s penises and hide them in birds’ nests. Through these brief biographies, we are reminded that history is more than dates and abstract concepts: it also arises from the lives of countless individual men and women.

GENERAL HISTORY

New in B-format paperback

A richly detailed and illustrated investigation into the story of the world’s favourite food Sophie D. Coe, an anthropologist and food historian, was the author of America’s First Cuisines. Michael D. Coe, Professor Emeritus of Anthropology and Curator Emeritus in the Peabody Museum of Natural History at Yale University, is the author of Breaking the Maya Code, The Maya and Mexico, all published by Thames & Hudson.

99 illustrations 19.8 x 12.9cm 280pp paperback ISBN 978 0 500 294741 February £9.99

‘A splendid treat’ New York Review of Books

The True History of Chocolate

‘A true classic’ Literary Review

Sophie D. Coe and Michael D. Coe

‘Genuinely scholarly and highly entertaining ... erudite and delightful’ Sunday Telegraph ‘Begins with the origins of the cacao tree and follows the story up to today’s mass-produced chocolate … A pleasure, not just for chocoholics but for anyone who enjoys lively, thorough historical sleuthing via the printed page’ Gourmet

‘A beautifully written, indexed and illustrated history of the Food of the Gods, from the Olmecs to present-day developments’ Chocolatier

Chocolate – ‘the food of the Gods’ – has had a long and eventful history. Its story is expertly told here by the doyen of Maya studies, Michael Coe, and his late wife, Sophie. The book begins 3,000 years ago in the Mexican jungles and draws on aspects of archaeology, botany and socio-economics. Used as currency and traded by the Aztecs, chocolate arrived in Europe via the conquistadors, and was soon a favourite drink with aristocrats. By the 19th century and industrialization, chocolate became a food for the masses – until its revival in our own time as a luxury item. Chocolate has also been giving up some of its secrets to modern neuroscientists, who have been investigating how flavour perception is mediated by the human brain. And, finally, the book closes with two contemporary accounts of how chocolate manufacturers have (or have not) been dealing with the ethical side of the industry.

GENERAL HISTORY

Set in the year 1789 and based on the original ninja manuals of that era, this witty secret manual equips readers with all the tools needed to become a master of ninjutsu Stephen Turnbull is a lecturer on Japanese Religion at Leeds University and Visiting Professor of Japanese Studies at Akita International University in Japan. He is also the author of many other books on Japan and warriors including Samurai: The Japanese Warrior’s (Unofficial) Manual. Turnbull gave the inaugural lecture for the establishment of the International Centre for Ninja Studies at Mie University, Japan, and acted as historical advisor for the 2013 film 47 Ronin.

100 illustrations 19.8 x 12.5cm 208pp ISBN 978 0 500 021996 April £12.95

The (Unofficial) Secret Manual Stephen Turnbull The ninja, Japan’s famous black-clad spies and assassins renowned for their superb martial arts skills, are the stuff of legend, their shadowy dealings inspiring countless tales in Japanese folklore. No other military figure in the world has captured the popular imagination as have the ninja, with a swathe of movies, comic books, theme parks and computer games being dedicated to them. Ninja takes the reader into the world of Japan in 1789, conveying the excitement, danger and subterfuge of the period. Based on an original ninjutsu training manual, it teaches readers precisely what is required to become a ninja, and of course the craft itself, so that they can master the ninja arts. Illustrated throughout with contemporary artifacts, documents and prints taken from the original manuals, as well as modern reconstructions, this lighthearted but informative guide will captivate readers young and old, and covers every aspect of what it was really like to be a ninja in Japan.

Stephen Turnbull

So you want to be a

NINJA

NINJA?

Ninja

You have been chosen to join the ranks of the legendary ninja who work undercover to defend the land of Japan from its enemies. This secret manual, from the Grand Master of the Iga School of Ninjutsu, servant to His Most Illustrious Highness Tokugawa Ienari, Eleventh Shogun of Japan, will teach you everything you need to know before you begin your training, including:

´ ´ ´ ´ ´ ´ ´ ´ in the ‘(Unofficial) Secret Manual’ series Also ´ ´ 978 0 500 294772 Gladiator

NINJA Stephen Turnbull

Famous ninja and their stunning achievements Training in the martial arts (bujutsu) Invisibility and how to achieve it

The ninja costume – any colour as long as it’s black!

‘Ninja do not exist!’ and other useful everyday expressions How to tie people in knots

Secret ninja weapons and how to use them Castle entry and how to do it How to blow things up

Knight 978 0 500 293843 www.thamesandhudson.com Legionary 978 0 500 293799 Pirate 978 0 500 252239 Samurai 978 0 500 251881 Viking 978 0 500 251942

£12.95

THE SECRET MANUAL

How to control the minds of your enemies

THE SECRET MANUAL

GENERAL HISTORY

Bestselling author Philip Matyszak explores how the Greeks and Romans used magic, who performed it – and why Philip Matyszak has a doctorate in Roman History from St John’s College, Oxford, and is the author of numerous books, including the bestselling The Greek and Roman Myths as well as Legionary and Ancient Rome on 5 Denarii a Day, all published by Thames & Hudson.

82 illustrations 19.5 x 12.9cm 208pp ISBN 978 0 500 052075 February £14.95

Ancient Magic A Practitioner’s Guide to the Supernatural in Greece and Rome Philip Matyszak

Also by Philip Matyszak Ancient Rome on Five Denarii a Day 978 0 500 293768 The Greek and Roman Myths 978 0 500 251737 Legionary 978 0 500 293799

Magic was everywhere in the ancient world. The supernatural abounded, turning flowers into fruit and caterpillars into butterflies. Magic packed a cloud of water vapour with energy enough to destroy a house with one well-aimed thunderbolt. It was everyday magic, but it was still magical. Philip Matyszak takes readers into that world. He shows us how to make a love potion or cast a curse, how to talk to the dead and how to identify and protect oneself from evil spirits. He takes us to a world where gods, like humans, were creatures of space and time; where people could not just talk to spirits and deities, but could even themselves become divine; and where divine beings could fall from – or be promoted to – full godhood. Ancient Magic offers us a new way of understanding the role of magic, looking at its history in all of its classical forms. Drawing on a wide array of sources, from Greek dramas to curse tablets, lavishly illustrated throughout, and packed with information, surprises, lore and learning, this book will offer an engaging and accessible way into the supernatural for all.

GENERAL HISTORY

Magician-turned-experimental psychologist Matthew L. Tompkins investigates the arts of deception as practised and popularized by mesmerists, magicians and psychics since the early 18th century

Matthew L. Tompkins gained a BA in Psychology at the State University of New York at Geneseo and an MSc in Psychological Research at the University of Oxford, where he is currently a member of Department of Experimental Psychology. His research focuses on the cognitive psychology of illusions. Before Matthew began his academic career he worked as a professional magician and is a member of The Magic Circle.

400 illustrations 24.0 x 17.0cm 224pp ISBN 978 0 500 022429 April £19.95

The Spectacle of Illusion Magic, the paranormal & the complicity of the mind Matthew L. Tompkins • The Wellcome Collection Organized thematically within a broadly chronological trajectory, The Spectacle of Illusion investigates and presents the deceptive arts of hypnotists, magicians, mediums and illusionists since the early 18th century, and exposes the mechanisms and the fakery behind the claims. After discussing the art of the trick, the power of suggestion and what magic can tell us about memory, belief and perception, the book examines the practices of mesmerism and spiritualism, and the misuse of hypnotism and magic tricks to fool people. It highlights how mediums and psychics have been challenged over the last 200 years by magicians and scientists, and examines some of the scientific investigations into the paranormal. It is highly illustrated throughout with entertaining and bizarre drawings, double-exposure spirit photographs and photographs of spoon-bending from hitherto inaccessible and unmined archives, including the Wellcome Collection, the Harry Price Library, the Society for Physical Research and, last but not least, the Magic Circle’s closely guarded collection. The book also features newly commissioned photography of planchettes, rapping boards, trick tables, ectoplasm, automata and illusion boxes. Concluding with a modern-day analysis of anomalistic psychology, including sleep paralysis and hallucination, and the psychology of illusion – illusions of omission and commission, change and choice blindness, and the art of misdirection – this enthralling volume highlights how unreliable the mind is, and how complicit in the success of the illusion.

ANCIENT HISTORY

Third edition

David Potter’s lively history tells the extraordinary story of Rome from its origins to its decline and fall David Potter is Francis W. Kelsey Collegiate Professor of Greek and Roman History, Arthur F. Thurnau Professor, and Professor of Greek and Latin at the University of Michigan.

217 illustrations 25.4 x 19.2cm 368pp ISBN 978 0 500 051979 January £35.00

‘Definitive’ Harriet Flower, Princeton University ‘Excellent’ Ted Kaizer, University of Durham

4.7 The forum of Julius Caesar, pictured left, was paid for with

the spoils of his Gallic campaign. Centered on the temple of Caesar’s ancestor Venus Genetrix, construction began in either 55 or 54 bc. Pompey meanwhile dedicated his new temple complex for Venus the Victorious, which included Rome’s first stone theater, in 55. The coincidence of these two projects reflects both men’s desire to use the wealth they had acquired to dominate the urban space of Rome.

their general, and willing to undertake labors on his behalf that might have caused others to mutiny; the only mutinies that Caesar faced were after he invaded Italy, and both proved remarkably easy to quell. We will never know what end he envisaged from all this, but it may well be that he never looked beyond the issue that would spark the civil war in 49: that he should be allowed to continue to dominate Roman political life through continued provincial commands. At the same time, there can be little doubt that Caesar’s impact on Gallic society was devastating. Reading between the lines (and Caesar’s assertion that it was inspired by the murder of Clodius in the year 52 bc), such revolts as that of Vercingetorix were caused by Caesar’s ruthless handling of Gallic leaders, and the disruptive results of his victories. The immediate cause of the revolt of 52 was the infliction of the Roman penalty of flogging and beheading upon a chieftain. Claims both by Caesar and others about the total number of people he killed are wildly exaggerated, reflecting the Roman audience’s delight in tales of massive barbarian bloodshed (peoples Caesar claimed to have annihilated tended to reappear with large armies rather rapidly after initial defeats). There can be no doubt, however, that hundreds of thousands died and were displaced in these years. Brutal as he could be, Caesar seems to have recognized that he could not build a successful base of support through terror alone. He accepted those who would submit into his service, providing an alternative to resistance for Gallic nobles, many of whom would serve him well as commanders of auxiliary forces in later years. In so doing he laid the foundation for the growth of a provincial society in which Gallic leaders gradually adopted forms of Roman culture that enabled ever greater communication with, and ultimately membership of, the Roman governing class.

The Domination of Caesar (59–44 bc)

Rome in the Ancient World

Despite his overall record of success, setbacks revealed that even Caesar was not without his faults. He was too quick, at times, to assume that his solutions were acceptable to everyone. In the winter of 54–53 bc he divided his legions into many camps so that no one tribe alone would have to try to feed tens of thousands of soldiers after a bad harvest. He may well have assumed that this concession was satisfactory, since no tribe would be foolish enough to revolt on its own. But he was wrong, and nearly 8,000 men paid the price for Caesar’s failure to leave their commanders orders on how to deal with trouble. In 52, he claimed that his men exceeded their instructions during the siege of a Gallic city, panicked, and were driven back with heavy losses. This may be true, but he also notes that there were issues with the terrain that made it difficult for people to know what his orders would have been in a specific tactical situation. Although he spent a great deal of time trying to communicate his strategic and tactical vision to his subordinates, he seems to have felt, at times, that people ought to be able to read his mind and know what he wanted. During Caesar’s years in Gaul the political situation in Rome changed. Opposition to the effective control of the political system by Pompey, Crassus, and Caesar had coalesced in the course of 56 bc (the year that Pompey demonstrated his continuing clout by arranging Cicero’s return from exile), which led to an agreement that Pompey and Crassus should be consuls together in the following year. It was also agreed that as consuls, they should equip themselves with five-year provincial commands. These were modeled on Pompey’s earlier commands, and his passing of a new law that seems to have granted similar powers to Caesar. The most important of these provisions would prove to be the one allowing him to raise whatever troops he thought necessary, and—in what turned out to be the worst-drafted piece of legislation in Roman history—the one that extended his command for five years. The evident problem with the drafting of the law was that Caesar’s command in Gaul still had a year to run, and the law was written in such a way that Caesar could argue that it was extended for five years from the end of his previous mandate; equally, those who disliked him could claim that it ended five years after the passage of the new law.

From Romulus to Justinian David Potter

159

The Transition from Republic to Principate (59 bc—ad 70) Timeline 148 Explaining the Change 150 The Domination of Caesar (59–44 bc) 151 Octavianus and Antony (44–31 bc) 164 The House of Augustus (31 bc–ad 14) 174 Eccentric Stability: The Successors to Augustus (ad 14–69) 191 Summary 207

York 0 London

300 miles

450 km

Rhi ne

Augusta Vindelicorum At l a n t i c O c e a n

Virunum

Burdigala

Aquileia

Lugdunum

Sirmium

Genua Narbo Tolosa

Hispalis Gades

Toletum

Spalatum

Massilia

Saragossa Emerita Augusta

Vinimacium

Black Sea Sinope

Narona

CORSICA

Tarraco

Rome

Byzantium

Nicomedia

Ostia SARDINIA

Corduba

Neapolis

Carthago Nova

Athens

Tingis

Carthage Caesarea

Cirta

Pergamon Ephesus Laodicea

Tarsus Palmyra

S I C I LY Syracuse CRETE

CYPRUS

Mediterranean Sea Jerusalem Roman Territory 59

Roman Territory ad 70

Trabzon

Ancyra

Tarentum

Cyrene

Alexandria Memphis

Damascus Tyre

How did a small village on the banks of the Tiber in Italy become an imperial power that at its height encompassed some 64 million people across three continents? In this richly illustrated new edition, David Potter tells the remarkable story of the origin, rise and fall of one of the most famous and influential empires in history. Potter’s account spans the ancient to the Early Medieval, beginning with the founding of Rome and reaching to the rise of Islam and the Roman loss of Alexandria. In his fascinating account of the dramas, controversies and personalities that make up Roman history, David Potter describes the life and culture of the Roman people; their perspectives on people outside Rome, their views on marriage and the role of women, and their outlook on religion and the coming of Christianity. Now in its third edition, the book offers an even more accessible account of Rome. Each chapter opens with a map of the extent of the Roman Empire alongside colour timelines, offering readers a way to orient themselves as they explore the history of the period. New family trees of some of the most influential dynasties in Rome help to trace the often complicated relationships between one emperor and the next. With an array of colour illustrations throughout, the art and architecture of Rome accompanies the lively and often cruel history of its senators, slaves and emperors, helping to present a comprehensive and captivating account of a culture the influence of which is still felt today.

ANCIENT HISTORY

Second edition

A new edition of this accessible survey of the Greek world, covering 2,000 years of material culture Richard T. Neer is William B. Ogden Distinguished Service Professor of Art History, Cinema and Media Studies and the College at the University of Chicago.

559 illustrations 27.6 x 21.5cm 408pp ISBN 978 0 500 052082 January £45.00

‘A compelling narrative of the history of Greek art in its social, cultural and political contexts … simply the best available introduction to the history of Greek art for any newcomer to the field’ Jeremy Tanner, Institute of Archaeology, University College London

‘Certainly the most beautiful, and in many ways the most interesting, survey of the art of the Greek world’ Robin Osborne, University of Cambridge

Art & Archaeology of the Greek World Richard T. Neer Beautifully illustrated and comprehensive, this survey of ancient Greek art and archaeology is a clear and lively chronological narrative that takes readers through artistic developments in Greek culture from the Bronze Age to the Hellenistic kingdoms and the coming of Rome, emphasizing the diversity and cosmopolitan character of the Mediterranean over a span of two thousand years. Richard Neer offers new insights into the role of visual culture in the Greek world, and its intersection with politics, religion and ancient life. Combining well-known artworks with less familiar pieces, together with architecture, settlements and textual evidence, Neer demonstrates the extent of Greece’s contact with other parts of the ancient world, from Egyptian inspiration to influences in Anatolia and Afghanistan. Each chapter begins with a map and chronology – a visual guide to the places, periods and events it will cover – and ends with a summary. Primary source boxes throughout the book bring in ancient voices, and topical boxes explore specific works, techniques and controversies, including looting, modern restorations and new discoveries, such as the Morgantina Treasure. Now in its second edition, Art & Archaeology of the Greek World offers a wider perspective of ancient art, with more artworks from the Hellenistic period; more early material from Minoan and Mycenaean cultures; and additional archaeological context throughout.

ANCIENT HISTORY

New in B-format paperback

The perfect primer for anyone interested in the foundation of Western thought and a unique companion for visitors to Greek and Roman sites John Gaskin, formerly Professor of Naturalistic Philosophy at Trinity College, Dublin, frequently lectures on tours to the Classical sites of the Aegean. His books on Hume, Hobbes and the philosophy of religion are widely known.

21 illustrations 19.8 x 12.9cm 192pp paperback ISBN 978 0 500 294734 January £8.99

‘A great idea, smartly executed … You’ll never confuse a Stoic with a Cynic again’ Independent

The Traveller’s Guide to Classical Philosophy John Gaskin Includes:

The Greeks were the first to ask and discuss in a rational way two fundamental questions that never cease to concern thinking human beings: what is the nature of the universe, and what can I make of my brief time in it? Their answers, developed between the 8th century bc and the 4th century ad, are as relevant today as they were in ancient times. In this clear and evocative account, John Gaskin unfolds the thinking about nature, life, death and other worlds that informed the culture and society of the Classical world, drawing out its interest for modern readers. Witty sketches and diagrams enliven the story, which runs from Homeric Greece to the banning of pagan religions in ad 391. The book concludes with a gazetteer describing notable sites and the people and ideas connected with them, making it an ideal companion for visitors to Classical ruins and for all armchair travellers curious to explore life’s big questions.

ANCIENT HISTORY

New in B-format paperback

Nicholas Reeves’s revolutionary interpretation of a revolutionary king, now available in B-format paperback Nicholas Reeves, FSA, is a renowned Egyptologist. He is a former Director of the Amarna Royal Tombs Project in Egypt’s Valley of the Kings, and has written widely on the subject. Among his books are The Complete Tutankhamun and, with Richard Wilkinson, The Complete Valley of the Kings, both published by Thames & Hudson.

c. 80 illustrations 19.8 x 12.9cm 240pp paperback ISBN 978 0 500 294697 January £10.99

Akhenaten Egypt’s False Prophet Nicholas Reeves

‘Presents ingenious archaeology as a racy, irresistible detective story full of hidden clues (and bodies), magic geometry and ruthlessness masked as mysticism’ The New York Times Book Review

‘Reeves leads the reader adeptly through archaeological finds and the latest research on the Amarna period … an entertaining and informative volume’ Times Higher Education ‘A tremendous read … brings factional division in ancient Egypt vividly to life’ Birmingham Post

One of the most compelling and controversial figures in history, Akhenaten has captured the imagination like no other Egyptian pharaoh. Known today as a heretic, Akhenaten sought to impose upon Egypt and its people the worship of a single god – the sun – and in so doing changed the country in every way. In this immensely readable re-evaluation, Nicholas Reeves takes issue with the existing view of Akhenaten, presenting a new perspective on the turbulent events of his seventeen-year reign. Reeves argues that, far from being the idealistic founder of a new faith, Akhenaten cynically used religion for purely political ends in a calculated attempt to reassert the authority of the king. Backed up by abundant archaeological and documentary evidence, Reeves’s closely written narrative also provides many insights into questions that have baffled scholars for generations – the puzzle of the body in Tomb 55 in the Valley of the Kings; the fate of Nefertiti, Akhenaten’s beautiful wife, and the identity of the mysterious successor, Smenkhkare; and the theory that Tutankhamun, Akhenaten’s son and true heir, was murdered.

A N C I EN T CU LT U R E

A visual presentation of the origins, principles and practices of Tibetan yoga Ian A. Baker is a cultural historian and the author of seven books on Tibetan Buddhism and Himalayan art and culture, including The Dalai Lama’s Secret Temple and The Tibetan Art of Healing. He was joint curator of the 2016 exhibition ‘Tibet’s Secret Temple: Body, Mind and Meditation in Tantric Buddhism’ at the Wellcome Collection, London. He leads travel seminars in Tibet and Bhutan and was named by the National Geographic Society as one of the seven ‘Explorers for the Millennium’ for his groundbreaking field research in Tibet’s Tsangpo Gorges.

368 illustrations 23.2 x 18.5cm 288pp ISBN 978 0 500 519264 April £24.95

Tibetan Yoga

Outer, inner, secret Yoga in Indo-Tibetan tradition

Principles and Practices

Outer, inner, secret and ultimately hidden (modes of experience and understanding) . . . mark the way to perfect Buddhahood through

Ian A. Baker

the path of Vajrayāna. ‘Esoteric Instructions’, Jamgön Kongtrul Lodrö Thaye (1813–99)

Origins of tantric yoga

Mahāsiddha Darikapa was an Indian king who attained enlightenment as a slave to a courtesan, signifying Tantric Buddhism’s freedom from more constraining models of emancipation. Darikapa’s haloed consort sits in lotus posture with her hands pressed against the ‘wind gates’ on her upper thighs, intensifying the flow of psychophysical energy through her subtle anatomy. Darikapa demonstrates the result of this internal yoga, rising in dance and twirling a double-headed skull drum signifying awakened consciousness. The fiercely aroused, multi-armed and multi-headed Tantric deity in the upper right-hand corner indicates the power and intensity of Vajrāyana Buddhism’s approach to existential freedom. Xylograph painted on cloth, Tibet, 17th century, Musée Guimet, Paris.

A mahāsiddha and a monk depicted on a mural in Ogyen Choling Manor in Bhutan exemplify the contrast between yogic and clerical traditions within Himalayan Buddhism. The non-celibate yogic adept wears his long hair tied above his head, while a meditation belt across his knee and shoulder signifies his mastery of Tantric yoga. The monk wears his hair short, redirecting his libidinal energies towards study and inner illumination.

mandala of subtle energy currents and revealing the mind’s non-dual ‘brilliance’ (prabhāsvara), or Clear Light. Despite the mahāsiddhas’ foundational role in defining Tantric Buddhist tradition, their teachings were not always well received in monastic contexts. Translations of Saraha’s revelatory ‘Treasury of Verses’ on the uncontrived nature of Mahāmudra were abruptly stopped at Tibet’s Samye Monastery in the 8th century for fear the verses’ overt critique of monastic conventions would be taken too literally by Tibet’s first ordained monks. Similarly, when the Indian master Atisha (982–1054) arrived in Tibet two centuries later and helped establish the Kadampa tradition of Tibetan Buddhism, the instructional verses of the mahāsiddhas were intentionally omitted from the curriculum due to his sponsor’s concern for their potentially negative impact on monastic life. The renowned 14th-century scholar Je Tsongkhapa (1357–1419), whose activities led to the formation of the latest school of Tibetan Buddhism, the Geluk, wrote commentaries on the Six Yogas that placed the practices within a graduated approach to enlightenment emphasizing monastic discipline and scholastic study, the very conventions that the mahāsiddhas largely rejected. The Six Yogas’ core stated purpose – gathering and dissolving the inner winds, or prāna, in the body’s central channel through the power of meditation – nonetheless remained a core component of Tibetan Buddhism, albeit within renewed emphases on secrecy and monastic protocol. .

Outer, inner, secret

The word yoga first appears in the earliest of India’s ancient sacred texts, the Rig Veda (1500–1200 BC), where it describes a process of ‘yoking the mind to its innate luminosity’ in conjunction with the rising of the sun. In the earliest Hindu Upaniṣad, the Brihadaranyaka (c. 900 AD), yoga refers to a state of unification in which ‘one sees one’s innermost being (atman) . . . and thus attains the power of the gods’. Practices involving the systematic cultivation of the body, breath and mind towards a transcendent state of freedom continued to develop within ascetic Śramaṇa communities in northern India, ultimately leading to the emergence of Jainism and Buddhism in the 5th and 6th centuries BC. Yoga was further described in Vedic works from the second half of the first millennium BC, culminating in the 3rd-century BC Maitrī Upaniṣad which refers to a system of six-fold yoga comprised of respiratory expansion (prānāyāma), introspective withdrawal of the senses (pratyāhāra), meditative contemplation (dhyāna), mental concentration (dhāranā), focused inquiry (tarka) and unitive absorbtion (samādhi) culminating in ‘limitless goodness’ in which the practitioner is likened to a blissful ‘burning mountain’. This gradual systemization of yoga as a path of emancipation from the entanglements of human existence led in 4th century AD to the composition of the Yoga Sūtras of Patañjali which similarly drew on the eight-fold path to Nirvāna, or spiritual freedom, outlined centuries earlier by Buddha Sakyamuni. Cross-fertilization between traditions continued with the formulation of the Yogācāra school of Indian Mahāyāna, or ‘greater vehicle’ Buddhism in the 4th century AD which presented yoga as a path of insight and engaged compassion leading ultimately to universal enlightenment.

Origins of tantric yoga

Tantra in Tibet

Above Dancing mahāsiddhas on a mural in Pelkhor Chöde Monastery in Gyantse, Tibet, exemplify the strength, flexibility and joy at the heart of genuine yogic practice. To the right, two female figures pay obeisance to a monk. In all its forms, Tibetan yoga seeks liberation from the vicissitudes of existence by bringing forth latent human capacities. Right Mahāsiddha Lawapa was an Indian king who renounced his throne to become a wandering ascetic. This detail of a Tibetan scroll painting shows him meditating with the support of a meditation stick (gom shing). The shaft symbolizes the body’s central energy channel, while the crescent-shaped ‘horns of the moon’ at the top of the pole represent the bifurcation of a subtle energy current connecting the eyes and the heart The image is shown in full on page 287.

Tibetan yoga is the hidden treasure at the heart of the Tibetan Tantric Buddhist tradition: a spiritual and physical practice in pursuit of an expanded experience of the human body and its energetic and cognitive potential. Ian A. Baker progressively introduces the core principles and practices of Tibetan yoga in this pioneering overview. In addition to meditations, visualizations and practices for the breath and body, these include elements rather less familiar to yoga initiates in the West, including sexual yoga; dream yoga or lucid dreaming; and yoga practices enhanced by psychoactive plant or mineral substances. Such techniques facilitate the individual’s journey towards transcendence of the human self and suffering, and ultimately to Buddhist enlightenment. Baker draws on contemporary scientific research and contemplative and humanitarian traditions to enable the reader to understand these practices. Tibetan Yoga includes contemporary ethnographic photography and works of Himalayan art that have never been published before, as well as illustrations of yogic practice and theory from historical books of instruction. It will appeal to students and practitioners of Tibetan Buddhism, as well as anyone interested in mind–body medicine, Tantric art and the ethnography and cultural traditions of the Himalayas.

DESIGN

New in paperback

A beautiful, in-depth guide to one of the world’s most spectacular collections of ancient chess and games pieces

Chess and other Games Pieces from Islamic Lands Deborah Freeman Fahid Among the many treasures of The al-Sabah Collection, Kuwait, are hundreds of chess and other games pieces dating from the 7th to the 19th centuries ce. Intricately crafted in a rich variety of materials, including ivory, wood, ceramic, glass, jade and agate, these tiny objects are of enormous historical and artistic significance. This volume, the tenth in Thames & Hudson’s publications on The al-Sabah Collection, provides the definitive catalogue of this outstanding group of games pieces, with more than 300 striking images. Specially commissioned scientific testing has allowed many of these objects to be dated with precision for the first time. An additional section listing medieval chessmen from museums and private collections worldwide, some previously unpublished, adds a unique contextual dimension.

‘Stunning’ Arab Weekly

Deborah Freeman Fahid is a fellow of the Royal Asiatic Society of Great Britain and Ireland and former assistant curator and head of publications at The al-Sabah Collection, Dar al-Athar al-Islamiyyah, Kuwait.

Over 300 illustrations 27.6 x 21.9 cm 344pp paperback ISBN 978 0 500 970928 January £29.95

Revised and expanded edition

The ultimate sourcebook and practical guide to Islamic geometric patterns, now updated with seven new compositions 81

Islamic Geometric Patterns Eric Broug With the aid of this book, everyone can learn how to create their own dazzling geometric patterns or re-create classic examples. All one needs is a pencil, a ruler, a compass – and a steady hand. Technical tips demonstrate the basics: how to draw a square, hexagon or pentagon. This is followed by some of the best examples of geometric patterns from around the world, from key buildings and artworks including La Mezquita (Spain), Cappella Palatina (Italy), the Umayyad Mosque (Syria) and the Shah Jahan Mosque (Pakistan). Arranged into levels of complexity, these are accompanied with carefully explained, step-by-step instructions.

’Highly recommended!’ Tile & Stone Journal

Eric Broug runs Broug Ateliers for Islamic Architecture, Arts and Crafts. He is also the author of Islamic Design Workbook and Islamic Geometric Design, both published by Thames & Hudson.

Illustrated throughout 24.0 x 17.0cm 136pp flexibound ISBN 978 0 500 294680 January £14.95

LIFESTYLE 181

35.5

Dogs

GA R DE N Au s t r a l i a n S i m o n ry L OV E CGoaur nt d e n s Grif f iths

246

Simon Griffiths is a lifestyle photographer, with gardens his special area of interest. Simon has provided photography for over thirty illustrated books, and has travelled around the world shooting content for Stephanie Alexander, the noted Australian restaurateur and food writer, and Paul Bangay, one of Australia’s foremost landscape designers.

P l a nt s

Twenty riotous gardens, extraordinary plantings and green spaces, all set against the backdrop of the distinctive Australian landscape

181

As is beautifully illustrated in this book, Simon’s ability to capture the obvious as well as the subtlety found in gardens is immense.

300 illustrations 24.0 x 17.0cm PAUL BANGAY oam 304pp ISBN 978 1 760 760083 May £29.95

GA R DE N L OV E Pl a nt s Au s t r a l i a n Cou nt r y Ga r de n s

D og s

Si mon Gr i f f it h s

Garden Love

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Plants • Dogs • Australian Country Gardens Simon Griffiths 82

TOP Morning light over one of the parterres. BOTTOM A moss-encrusted bench in the silver birch wood.

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TOP Another parterre, with pink and red valerian spilling over the box hedges. BOTTOM A Lutyens bench in one of the areas leading into the rose gardens.

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The Moorish garden: a blue garden pavilion and tiled central pond draw influence from gardens in Spain and North Africa.

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It all began when Simon Griffiths decided that he and his whippet couldn’t live in his tiny but gorgeous one-up one-down shopfront in Melbourne any more. He had a yearning for open spaces, country air and, most importantly, a garden of his own. On finding his cottage in Meadowbank, just outside Sydney, and trialling different plants, he gradually became part of the secret gardening network – the one where cuttings are exchanged between friends, and planting successes and failures are recounted over neighbourhood fences. Simon is a brilliant photographer, bringing warmth and joy to all his subjects, but he is also a very knowledgeable plantsman. In this book he has captured his favourite twenty country-style gardens and shares the knowledge he has gleaned from fellow garden lovers.

LIFESTYLE

Georgina Reid is a writer, landscape designer and gardener. She is the founder and editor of The Planthunter. Daniel Shipp is an awardwinning Sydney-based photographer and a contributor to The Planthunter. With a thirst for light and form, he crafts images into emotive narratives, telling stories about the worlds within this world.

Illustrated throughout 28.0 x 21.0cm 256pp ISBN 978 1 760 760236 February £28.00

TRUTH

30 – 31

Get to the earth. Now LEsLIE BENNETT

The soil healed Leslie Bennett. A decade ago, she was an unhappy lawyer in London, writing papers for the US Department of Agriculture on farming practices. Now she spends her days designing and tending to gardens that are both productive and beautiful. TRUTH

132 – 133

The Planthunter Truth, Beauty, Chaos and Plants Georgina Reid • Photographs by Daniel Shipp Come on a botanical safari with The Planthunter and meet twenty-four of the most interesting and passionate people living and working with plants in Australia, New Zealand and the United States of America. Your guide is intrepid hunter of stories, plants and ideas, Georgina Reid. Join her and photographer Daniel Shipp as they explore and document the exceptional and ordinary ways people around the world find truth, beauty, purpose and connection through the act of gardening. From street gardens in Los Angeles to grand country estates in Auckland, from tiny rental gardens in Sydney to plant-packed suburban Brisbane backyards, The Planthunter is a journey underpinned by curiosity and care. The book takes readers into the garden – a place of respite, shelter and connection – and shows that the benefits of connecting with nature through gardening are not restricted by space or experience. They’re found in the simple acts of hands touching earth, seeds being planted and flowers being picked. Gardening is for everyone.

TRUTH, BEAUTY, CHAOS AND PLANTS

A celebration of the exceptional and ordinary ways people engage with the world around them through plants

PB – i

THE PLANTHUNTER 83

LIFESTYLE

The ultimate escapist collection of self-sufficient cabins and retreats in the world’s most stunning and inaccessible locations

Dominic Bradbury is a journalist and writer specializing in architecture and design. He is the author of many books, including Mountain Modern, New Brazilian House, Vertical Living, Mid-Century Modern Complete, The Iconic Interior, New Natural Home, The Iconic House and Modernist Design Complete, all published by Thames & Hudson.

310 illustrations 29.0 x 23.0cm 272pp ISBN 978 0 500 021422 February £29.95

Off the Grid

Shelter in the High Mountains -

Houses for Escape Dominic Bradbury

Jarmund Vigsnæs: Rabot Cabin, Okstindan, Nordland, Norway

The cabin offers a high altitude mountain refuge in the Okstindan range, where the conditions are extreme and the views extraordinary

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Shelter in the High Mountains

On this page The refuge offers living/dining spaces at either end with a kitchen at the centre; wood burning stoves provide heat while water is pumped from the lake below the cabin Opposite and overleaf The isolated, timber clad retreat was designed with a high performance shell, able to cope with accumulated snow and sub zero temperatures

he Rabot Cabin was named after the French explorer, glaciologist and geographer Charles Rabot. It was he who first fully explored the mountains and glaciers of the county of Nordland, Norway, in the 1880s; at about the same time, in 1883, he became the first person to climb the tallest mountain in Sweden, Kebnekaise. Designed by the architectural practice Jarmund Vigsnæs, the cabin serves as a shelter for hikers and mountaineers in the Okstindan mountain range, which includes the peak Oksskolten, the highest point in northern Norway. In such an extreme environment self-sufficiency was essential, as was a hard-wearing, durable, lowmaintenance building that could cope with sub-zero temperatures and driving snow. ‘The cabin is about 1,200 metres (4,000 feet) above sea level and very close to one of the glaciers,’ says the architect, Ane Sønderaal Tolfsen. ‘The setting is spectacular, but the weather can be extremely harsh and there is no infrastructure. There are very few cabins or other structures at this elevation in Norway.’ The only access is on foot or by helicopter, and the latter was used to bring in all the building materials. The cabin was largely built by local volunteers, using native spruce cladding, high-performance glazing and plywood for the interior joinery.

106

The irregular shape of the building evolved after studies of the snowdrift patterns on the site, as well as in response to the rugged topography and the views. There was also a need for flexibility in the layout of the cabin, which can accommodate between two and thirty visitors at a time. The rhomboid structure contains a mixture of open communal spaces and simple cellular bedrooms on the ground floor, while a mezzanine holds a larger bunkroom. The floor plan was designed so that the cabin’s communal zone could be divided in two when in use by fewer visitors, reducing the need for heating, which is largely provided by two wood-burning stoves that form focal points at each side. Electricity is generated by solar panels, and water must be pumped manually from a small lake nearby. A secondary emergency hut is nearby, in case of damage that might compromise the Rabot Cabin. ‘The cabin has a calm and peaceful atmosphere, and both its location and the sense of connection with its surroundings are remarkable,’ says Sønderaal Tolfsen. ‘It encourages people to get outside and experience nature, which inspires closer contact with and an increased respect for the environment.’

Recent advances in technologies and home-generated renewable energy have made building away from urban and rural infrastructures more practical, affordable and desirable than ever. This survey of the world’s most innovative off-grid homes reveals the stunning spaces and constructions that enable us to escape to some of the most extraordinary natural environments on the planet. All of the houses featured in Off the Grid are fully, or almost fully, selfsufficient in terms of energy, water and, in some cases, food. Architecture and interior design expert Dominic Bradbury reveals how each house makes everyday living in these wild and natural settings a rewarding and tempting reality. From snowbound cabins in the far Northern Hemisphere to coastal retreats that can only be accessed by boat, the diverse projects collected here show the ingenious ways in which architects and their clients are tackling extreme climates, remoteness and construction challenges for new lifestyles that are both liberating and sustainable. The imperative to reduce our carbon footprints and refocus on renewable sources of energy has a profound impact on our domestic lives. Off the Grid proves that creative architecture, design and technology are redefining living a truly responsible and fulfilling lifestyle.

LIFESTYLE

The ultimate guide to decorating your home in inventive and surprising ways using the beauty of nature’s own designs Joanna Maclennan is a freelance photographer based in France. She has contributed to many books and magazines, including the World of Interiors, the Telegraph magazine, Elle Decoration Country, The New York Times and Marie Claire. Oliver Maclennan is a freelance copywriter and editor based in London.

Over 300 illustrations 25.0 x 19.5cm 256pp ISBN 978 0 500 021873 April £24.95

The Foraged Home Photographs by Joanna Maclennan • Text by Oliver Maclennan

Gulls soon join in, peering over the edge of the jetty, wary of the flapping fins. ‘If you want crays, you need to wait for a full moon,’ says the man, ankle-deep in the water, unperturbed by gnashing jaws. ‘Then you’ll get them.’ Fortunately, such bloodshed here is rare. In fact, this area of Tasmania, near the tiny port of Strahan, is one of profound calm and tranquillity – as long as the weather holds up. Its remote location is one of the main reasons designer and stylist Sarah Andrews came here. ‘I’d always missed the wilds,’ she says, ‘the small communities and the peace that is often found among people so close to water.’ Sarah spent much of her twenties sailing around the world, stopping off for longer periods in England, South Africa and Mexico. When her boat sank, she decided the time had finally come to return home: ‘I moved back to Australia to start real life again. I had been looking for some way to replace the lifestyle I’d lost, and

then I saw this place advertised in a magazine. I bought it that day over the phone. Thank God I did, because I had no idea what I was in for!’ Looking at it now, there’s no inkling of what Sarah was confronted with. ‘It was in a worse condition than I expected,’ she says. ‘I’d figured it was a restore and style project, but the whole thing had to be rebuilt from the stumps up. It was a huge challenge. To give you some idea, the nearest hardware store is an eighthour round trip. It took a team of us six months to complete, but it was worth it.’ Australia as we know it may have only existed for a few hundred years, but the country takes its heritage seriously. Local guidelines dictate that new shacks must reflect the ‘ad-hoc ABOVE When a space needs something more, Sarah walks outside and finds the perfect branch or rock. ON P. 15 Friends also find things for her, including

a lifebuoy and length of rope.

CAPTAINS REST

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Island Home Samsø, Denmark

Sometimes, as in the case of Per Beier, foraging is more of a necessity than a choice. ‘I was divorced and arrived at my new flat with nothing,’ he says. ‘So I went out and started collecting things.’ ‘He made a really cosy home out of nothing,’ adds Lotte (see also p. 60), who met Per shortly afterwards. ‘One of our first dates was walking around Aarhus and looking in skips, seeing if we could find something. We walked for several hours around the city and only found one thing – a vase – which we still have.’

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Anyone can create a beautiful home by foraging, and salvaging what they find. Whether a box of rusty nails or a disused armchair missing a leg, discarded objects can be restored, recycled or repurposed to fill the home with personal style. Artful interiors are born from curiosity, creativity and imagination, yet many of us fail to see a potential curtain rail in a bamboo stick or a hidden kitchen worktop in an old carpenter’s bench – let alone knowing where to find such objects. Presenting the techniques and philosophies of a wide spectrum of experienced foraging homeowners, this book showcases unexpected and inspiring interiors from all over the world, from an upturned boat in France to an Australian beach house. Such diverse locations each demand a different approach to foraging and, as a result, each home has a distinct sense of style. In an era when self-sufficiency, living off grid and saving our planet have never been more important or appealing, The Foraged Home will provide guidance and inspiration for all those looking to go beyond the world of mass-produced flat-packs.

INTERIOR DESIGN

A stylish celebration of the contemporary vase through the work of more than 150 international designers, from emerging talents to famous names such as Alvar Aalto, Tom Dixon and Zaha Hadid

Agata Toromanoff is an art historian who has previously worked for art collectors and galleries. She has curated and managed numerous contemporary art projects and has written several publications including Chairs by Architects and Sofas, as well as features in the art press.

350 illustrations 18.0 x 18.0cm 256pp ISBN 978 0 500 021248 February £16.95

Vases

ORGANIC

250 State-of-the-Art Designs Agata Toromanoff

Simple shapes and amazing colours are at the core of the ‘Hot Spots’ series of faceted porcelain vases by Christine Rathmann for Rosenthal. The vases change appearance depending on the angle of viewing and the amount of light, and in certain types of lighting almost appear to rotate, as the spectrum-like arrangement of harmonious colour gradations invites the eye to move around the vase. As manufacturer Rosenthal states, ‘the vase series is like a dance of colours’.

Christine Rathmann • Germany ‘Hot Spots’ vases for Rosenthal · 2016

Christine Rathmann

Also available

978 0 500 021262 £16.95

Vases / Geometric

Vase design is blooming. As the vase has become one of the most universal home accessories, contemporary designers are pushing the boundaries, making vases that are not only functional, beautiful objects, but also works of art and conceptual statements. The history of design includes many significant examples of state-of-the-art vases, but the scope and quality of those that we can admire today are unprecedented. From Ted Muehling’s sleek, gilded ‘Goose Egg’ to Glithero’s botanical cyanotypes on ceramic and Joogii Design’s colour-shifting prisms covered in dichroic film, there are no limits to what contemporary designers can make out of what is fundamentally a container for holding flowers. This book includes important mid-century and late 20th-century vases by acclaimed artists, but primarily focuses on the 21st-century scene, with a wide international selection of emerging designers from the younger generation. Inspired by the organic world, architectural elements, artworks or geometric rules, all these designers translate their original visions into a variety of forms, blurring the lines between design, sculpture and architecture. They are all contemporary works of art, worthy of inclusion in museum collections – as many already are.

INTERIOR DESIGN

Imbue your home with Japanese style one room at a time with this highly practical guide

Japanese Style at Home

JAPANESE STYLE at H O M E

A Room-by-Room Guide Olivia Bays, Cathelijne Nuijsink and Tony Seddon Japanese interiors focus primarily on one simple philosophy: Zen. All the rooms in a traditionally furnished Japanese home strive to achieve a balance of peace and simplicity, and a pervasive sense of calm is key to the whole aesthetic. This handbook shows how to create a tailor-made Japanese home. Working through the house one room at a time, it highlights classic items of furniture and signature accessories, from tatami mats and paper lanterns to shoji (dividing screens). In-depth case studies demonstrate the essential elements and provide inspiration, while colour combinations are explored to help personalize this iconic style for the home. Anyone who hankers after the Japanese look will find this book a valuable resource. Olivia Bays is an editor, writer and lover of all things Japanese. Cathelijne Nuijsink is an architecture graduate. She curated ‘Rethinking Domesticity’ at Shibaura House, Japan, in 2013. Tony Seddon is the author of Type Team, Greetings from Retro Design and The Evolution of Type.

Illustrated throughout 21.0 x 16.0cm 192pp flexibound ISBN 978 0 500 294994 June £14.95

Bring a touch of Bohemia to your home with the aid of this informative handbook

Bohemian Style at Home

A Room-by-Room Guide Kate Young Free-flowing fabrics, bright colours and a multitude of clashing patterns – Bohemian style is one of the most versatile styles of decoration. Forget about famous designers and carefully planned decorating schemes – anarchic boho style builds up over time and is the antithesis of trend-following. From chandeliers and kilims to plants and lanterns, this book shows you how to bring a touch of Bohemia into your life. Moving through the house room by room, it highlights essential pieces of furniture and signature styles, while in-depth case studies demonstrate the key elements. Anyone who hankers after the Bohemian look and is eager to bring it to their own home will find this book a valuable source of inspiration.

Kate Young’s enormously successful Scandi-Boho blog, Kate Young Design, was nominated for Cosmopolitan Blog of the Year in 2015. Her home has since been featured in various publications, including EKBB Mag and Abigail Ahern’s Interior Crush.

Illustrated throughout 21.0 x 16.0cm 192pp flexibound ISBN 978 0 500 294987 June £14.95

DESIGN

New in paperback | Revised compact edition Todd McLellan

Over fifty beautifully photographed design classics are displayed, piece by piece, exploding in midair and dissected in real-time, frame-by-frame video stills

T H I N G S COME A PA R T 2.0

TH INGS COME A PART

Todd McLellan is a Toronto-based photographer who specializes in automotive, commercial and conceptual work.

123 illustrations 29.7 x 21.0cm 128pp inc 8pp gatefold paperback ISBN 978 0 500 294871 March £14.95

2.0

‘Artfully reveals the beauty hidden within all the stuff of our lives’ GQ

www.thamesandhudson.com £16.95

‘Todd McLellan makes this junk drawer of mechanics a visual splendour’ Dazed Digital

Todd McLellan

Things Come Apart 2.0 A Teardown Manual for Modern Living Todd McLellan 90

Welcome to Todd McLellan’s unique photographic vision of the material world. This updated edition of the bestselling Things Come Apart captures the wonder of how things come apart better than ever, showcasing twelve ambitious new projects of some of the coolest new tech around, additional photography to further illustrate each of the text contributions, and an even higher total component count of 27,787 individual parts. From SLR camera to mantle clock, from espresso machine to 3D printer, and from a chainsaw to some of the coolest new tech around, every single component of each object is made visible. In adition to showcasing the quality and elegance of older designs, these disassembled objects show that even the most intricate modern technologies can be broken down and understood. Stunning photography is interspersed with newly illustrated essays by notable figures from the world of restoration, DIY and design innovation, who discuss historical examples of teardowns, disassembly and reverse engineering. Things Come Apart conjures the childlike joy of taking somethign apart to see how it works, and will appeal to anyone with a curiosity about the material world.

LIFESTYLE / DESIGN

Expanded edition | New compact format

Gift book, reference, inspiration, Cyclepedia will inspire lust and envy in bike geeks, cycle commuters and design aesthetes everywhere Michael Embacher is a Vienna-based architectural designer. His collection of more than 250 bicycles, amassed over many years, grew to become one of the most diverse in the world. The Embacher Collection, as it is known, has been publicly exhibited in the US, Israel and Vienna. Over 200 bicycles from the collection were auctioned in 2015. Paul Smith is a distinguished British designer.

482 illustrations 15.8 x 20.6cm 304pp ISBN 978 0 500 293973 January £14.95

Cyclepedia A Tour of Iconic Bicycle Designs Michael Embacher • Foreword by Paul Smith Architect and designer Michael Embacher’s unique collection of more than 250 bicycles, the only one of its kind, was lovingly collected over many years and exhibited around the world. This new compact edition of Cyclepedia offers an expanded selection of Embacher’s finest, most unusual and most coveted pieces, despite the fact that the collection is no longer intact. With a foreword by design guru Paul Smith and a history of bicycle design by Michael Zappe and Martin Strubreiter, this homage to the beauty of two wheels is a celebration of the fastest, lightest, most innovative – and most inventive – bicycles designed over the past century. Embacher’s stunning, carefully curated selection features some of the rarest, most beautiful and most sought-after bicycles from around the world, including classic racing bikes from the Tour de France, high-tech machines that employ the latest advances in materials science, and eccentric bikes designed for unusual uses. With a redesigned layout that makes the most of Bernhard Angerer’s colourful photography, this edition features ten new bicycles from Embacher’s collection, including designs from Alex Singer, Alan, Textima and Puch. Published in a new and more accessible compact format, Cyclepedia is a cornucopia of all that bicycle design has to offer, the ultimate gift for cycling enthuasiasts everywhere.

Also available

978 0 500 420331 £14.95

978 0 500 420928 £12.95

DESIGN

New in paperback

Showcases the work of the top 100 tattoo artists around the globe

Anna Felicity Friedman teaches at the University of Chicago, where she has conducted research on the history of tattooing. She was the curator of a travelling exhibition about tattoo history and culture, which put her in touch with a wide range of contemporary global artists.

Over 700 illustrations 23.4 x 21.9cm 400pp paperback ISBN 978 0 500 294970 January ÂŁ19.95

The World Atlas of Tattoo General Editor: Anna Felicity Friedman â&#x20AC;˘ Foreword by James Elkins

Lively and informative, The World Atlas of Tattoo is a superbly illustrated and compelling reference book that, through examining the meeting point between tattoo artists and their personal understanding of their environment, presents a well-informed and nuanced account of what has become a widespread art practice. Organized geographically, each section is introduced by a short historical overview of the types of tattooing traditionally practised in that area of the world, enabling the reader to trace historical threads in the careers of some of the profiled tattooers, as well as marvel at how other artists have managed to create novel forms of tattooing that transcend any previous context. The book also tracks the movement of styles from their indigenous settings to diasporic communities, where they have often been transformed into creative, multicultural, hybrid designs. Written by an international team of scholars, historians and journalists, this comprehensive atlas will enlighten and excite anyone who is passionate about tattoo art in its many forms worldwide.

DESIGN / LIFESTYLE

New in paperback

The definitive volume on an art form with a rich history and cult popularity Alexis Turner is the founder of London Taxidermy and has been buying, selling and hiring natural history for twenty-five years. His clients include film and TV studios, fashion and jewelry designers, interior decorators, artists, advertising agencies, magazines, theatres, private collectors and museums.

337 illustrations 24.0 x 17.0cm 256pp paperback ISBN 978 0 500 295045 January £16.95

‘A cacophony of the covetable, weird and wonderful … decidedly hard to put down’ The Field

‘The founder of London Taxidermy lends his twenty years of experience to the creation of this beautiful book that catalogues and illustrates every aspect of this resurgent art form’ Tatler ‘A cabinet-of-curiosities of a book. It’s beautiful, odd, intriguing, strange and sometimes repellent, just like the history of taxidermy itself’ The Irish Times

Taxidermy Alexis Turner From style wilderness to height of cool, taxidermy has staged an extraordinary comeback. No longer confined to stately homes and trophy rooms, stuffed animals are popping up everywhere, from contemporary apartments to luxury department stores and art galleries. Meticulously organized and illustrated with hundreds of photographs that explore every aspect of this rich art form, this book is the most comprehensive and beautiful survey of taxidermy ever produced. It features the world’s greatest museums, private collections rarely seen by the public, famous anthropomorphic taxidermy by Walter Potter and others, and bizarre examples of freaks and fakes. It also reproduces work by the most important contemporary artists working with taxidermy today, including Charles Avery, Neil Harnon, Polly Morgan, Tessa Farmer, Iris Schieferstein, Reid Peppard, Thomas Grünefeld, Tim Noble & Sue Webster, and Wim Delvoye. Curated and written by Alexis Turner, the founder of London Taxidermy, this book provides a connoisseur’s eye of a vast and fascinating subject.

ARCHITECTURE

New and expanded edition

An all-in-one introduction to combining traditional drawing techniques with computer-aided design Edward Hutchison is principal of his own successful landscape design practice in London. He was previously an associate of Foster & Partners.

Over 500 illustrations 27.0 x 25.0cm 256pp paperback ISBN 978 0 500 294888 March £24.95

‘Only the most digitally addicted need refuse Hutchison’s inviting manual of how to design grandly, thinking initially with colour pencil in hand’ ArchNewsNow.com 94

Drawing for Landscape Architecture Sketch to Screen to Site Edward Hutchison As hand-drawing returns to design courses around the world, this welcome publication celebrates the best aspects of traditional techniques while incorporating them into today’s digital design methods. It reintroduces the importance of learning to ‘see by hand’, to visualize large-scale design schemes and explain them through drawing, before using the digital tools that are so crucial to efficient and cost-effective building solutions. Combining traditional drawing techniques with those from CAD rendering, Drawing for Landscape Architecture guides practitioners from their very first impression of a site, through concept and schematic design and client presentation to construction and site drawings, to two case studies that show the final result. This new and expanded edition includes a new chapter on the relationship between landscape design and architecture, along with a selection of updated artwork.

ARCHITECTURE

Celebrates twenty Chinese female architects, from established names to emerging talents Austin Williams is senior lecturer in Professional Practice at Kingston School of Art and honorary research fellow at XJTLU University in China. He is the director of the Future Cities Project, China correspondent for the Architectural Review, contributing editor for AR Pacific Region and writes for L’Architecture d’Aujourd’hui. Zhang Xin, founder of SOHO China, has worked with many of the world’s most renowned architects, including Kengo Kuma and the late Zaha Hadid.

374 illustrations 24.0 x 21.6cm 256pp ISBN 978 0 500 343388 March £29.95

234

New Chinese Architecture Twenty Women Building the Future

Zhao created the masterplan for the new Changping Future Scientific Technology district and the Wenyu River bridge was designed to serve the surrounding commercial areas and link them together. The bridge is the first in this area. Zhao used parametric design to generate the unique form of the bridge that sits well with the undulating nature of the surrounding landscape.

Austin Williams • Foreword by Zhang Xin

Zhao Zhao

Wenyu River Bridge

Architect: Zhao Zhao Project: Wenyu River Bridge Location: Changping district, Beijing Completion: 2015

239

238

Chongqing Xiantao

In March, 2014, the Chongqing Municipal Government finalized the planning and construction of Xian Tao Big Data Industrial Park that came into use in late 2017. The overall project comprises commercial areas, “livable city” quarters that focus on low-carbon lifestyles. Here the architect designs emanated out of the classic shan-shui (mountain and water) imagery, but within an urban context.

Zhao Zhao

Chongqing Xiantao

Architect: Zhao Zhao Project: Chongqing Xiantao data Valley Planning and Architecture Location: Xiantao district, Chongqing, China Completion: under construction

Over the past decade, China’s new generation of young female architects have proven themselves to be talented, confident, innovative and successful on the world stage. Engaging with traditions and international trends, as well as posing entirely new architectural ideas, their projects reveal China to be a place brimming with energy and creative possibility. This survey of twenty of China’s latest generation features detailed profiles of each architect, exploring their routes to success, their inspirations and the challenges posed for those working and designing in this diverse and rapidly evolving region. Each profile includes works from small-scale conceptual plans to country houses, schools, offices and large-scale urban development projects. From exploring new ways to build with radical, sustainable materials to sensitively honouring the vernacular traditions of the country’s long and complex history, each architect brings her unique vision to the question of what architecture means in China today. Zhang Xin, one of the country’s most successful women entrepreneurs, puts these achievements in context. The most densely populated country on earth, China is metamorphosizing from a mainly rural to an urbanized economy faster than any nation has done so before. Responding to real social and political changes, the architects featured here will define China’s skylines for many years to come.

ARCHITECTURE

Showcases the private sketchbooks of the world’s most visually inventive architects, revealing just how much drawing by hand informs great contemporary architecture Will Jones is a journalist and writer specializing in architecture and design. His articles have appeared in the RIBA Journal, the Financial Times and Blueprint. He is the author of several books, including Architects’ Sketchbooks.

Over 900 illustrations 22.0 x 29.7cm 320pp ISBN 978 0 500 021316 February £29.95

Making Marks Architects’ Sketchbooks – The Creative Process Will Jones

MAKING MARKS • 070

071 • HEATHER DUBBELDAM • DUBBELDAM ARCHITECTURE & DESIGN • CANADA

Also available

‘A rare glimpse of the architectural creative processes’ Monocle ‘A fascinating insight into “the blood, sweat and pencil lead” that go into designing the world we live in’

978 0 500 342688 £29.95

i magazine

Making Marks follows up on the highly successful Architects’ Sketchbooks, which presented, for the first time, the rich breadth of sketches being created by contemporary architects following the digital revolution. Taking a postdigital perspective, the sixty renowned architects whose work is collected here show how drawing and new forms of manual presentation have been refined since the reawakening of this basic technique. Notepads, stacks of paper, pencils and fine-point pens are as present in the architect’s studio as phalanxes of screens. Revealing why and how hand-drawing still matters, this global survey presents the freehand drawings, vibrant watercolours and abstract impressions of rising talents and well-known names, including Jun Igarashi and Brian MacKay-Lyons. Will Jones’s introduction reviews the importance of the physical sketch and its vital part in the architect’s creative process. Spanning diverse approaches, styles and physical forms, Making Marks is not merely a compendium of the preoccupations and stylistics of current practice, but also a rich and varied insight into architectural creativity.

DESIGN

Manual and manifesto, an inspiration and a call-to-arms, the sixty innovative, socially and environmentally conscious design projects presented here will change the world for the better

Rob Phillips is an award-winning product designer and a senior tutor on the Design Products Course at the Royal College of Art. His research into open design and citizen science has resulted in internationally taught methods at MIT, Goldsmiths, Cornell and the BBC.

c. 560 illustrations 25.5 x 21.0cm 240pp ISBN 978 0 500 519790 May £39.95

+ 069

+ ECONOMIC EMPOWERMENT + 006 / PETLAMP

Petlamp

+ ECONOMIC EMPOWERMENT + 006 / PETLAMP

The identity of each culture that has participated in the PETLamp project is evident in each lamp.

+ EE / PL001

Embracing local craftsmanship and cultural skills, whilst addressing abundant waste.

Plastic PET bottles create internationally common detritus after their disposable vessel life is over. This waste finds its way into waterways and the world’s oceans after heavy rains. Once this litter gets washed into waterways, the damage caused by the materials presence costs about $13 billion annually in losses for the tourism, shipping and fishing industries. The waste disrupts marine ecosystems and threatens food security for people who depend on subsistence fishing. The World Economic Forum predicts that by the year 2050 the amount of plastics in the ocean will outweigh fish, pound for pound. Plastic bottles are part of that waste; they have a short lifespan, which is counteractive to their production resources. In many tropical locations, the collection and recycling of this material is fraught with large systemic challenges. To date, no organisation or country has, or can take responsibility for this waste issue that affects our oceans. Rather than designing out the issue, the PETLamp design team formed international alliances between local crafts organisations, textile and wicker craftspeople and international retailers. The project was initiated in Colombia where the designer was invited to engage, raising awareness of the challenges facing plastic bottle disposal. The concept was to convert an object with a short and specific lifespan into a product enriched by the skill set and anthropology of the local culture. The project now includes networks from Colombia, Chile, Ethiopia and Japan, combining industrial processes with top

+ 073

+ AD / P001

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class local crafts. The lamps use the structural integrity of the bottleneck and borrow skills from textile weaving techniques. The PETLamp team commission unique outputs from regional crafts practitioners, tailoring each product. The item is finally completed with industry and retailer compliant fittings, designed not to distract from the weaving work. The project’s intention was to deliver a livelihood to local makers through their traditional knowledge and practice. Each finished artefact has a unique provenance, not only tied to the bottle, but also the local skillset, materials, colours, motifs and the individual hand constructing it. The work does not just create aesthetic artefacts, but intends to establish a process of working with cultural undertones. Each location of production has different materials, treatments and aesthetics. For example, in Japan, bamboo is the material staple; in Ethiopia, grasses and palm leaves are woven; and in Chile (Chimbarongo), wicker is cultivated, farmed and woven for local sustainable natural products. The materials have a direct impact on agricultural economies that surround the local factories. The main point of difference is that PETLamp leverages local communities’ skills, and cultures to make mutually fruitful, high quality, retailable outcomes, promoting crafts practice at scale. In interview, designer Alvaro Catalan de Ocon commented, “We have always been very conscious on how little we can really do about an impact on waste. We are very proud of having

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Futurekind Design by and for the People Rob Phillips • Foreword by Yves Béhar We have grown accustomed to two beliefs: first, that only experts can be designers; second, that our everyday activities are harming the natural world. Yet, with new platforms, digital communication and engaged online communities, the products we can now design – and truly need – can be created and produced by anyone for local social and environmental good. Social design can see that primary school children learn to code, and opensource platforms enable us to create global change. Structured into eight areas of application, from healthcare to education, Futurekind showcases over sixty projects – not the kind you see in glossy magazines or online, but those that have made a genuine difference to communities and individuals around the world. Rather than being client-driven, as commercial design often is, each project here is the result of designers who reach out, communities who get involved and the technologies they employ to help people to realize ideas together. From a playground-powered water pump in South Africa to a DIY budget cellphone, each of these groundbreaking projects is presented through fascinating and life-affirming stories, diagrams that reveal the mechanisms and motivations behind each design approach, and photography that celebrates the humanity of the endeavour for all futurekind.

Highlights 99

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Bests

Mythomania

How to Thrive in the Next Economy

Thinking Big

Tales of Our Times, From Apple to Isis Peter Conrad 256pp ISBN 978 0 500 293546 £9.99

Designing Tomorrow’s World Today John Thackara 192pp ISBN 978 0 500 292945 £9.99

How the Evolution of Social Life Shaped the Human Mind Clive Gamble, John Gowlett and Robin Dunbar 240pp ISBN 978 0 500 293829 £9.99

Significant Others

Weatherland

The Unfinished Palazzo

Creativity and Intimate Partnership Whitney Chadwick and Isabelle de Courtivron 256pp ISBN 978 0 500 293812 £9.99

Writers and Artists under English Skies Alexandra Harris 432pp 978 0 500 292655 £10.99

Life, Love and Art in Venice Judith Mackrell 408pp 978 0 500 294437 £9.99

The Great Explorers

The Battle for Home

Cracking the Egyptian Code

Edited by Robin Hanbury-Tenison 256pp ISBN 978 0 500 293836 £9.99

Memoir of a Syrian Architect Marwa Al-Sabouni 192pp ISBN 978 0 500 292938 £8.99

The Revolutionary Life of Jean-François Champollion Andrew Robinson 304pp ISBN 978 0 500 294178 £9.99

Women of the Raj

Islamic Civilization in Thirty Lives

Turkey

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Bests

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Bests

100

The Mothers, Wives and Daughters of the British Empire in India Margaret Macmillan 320pp ISBN 978 0 500 293744 £9.99

The First 1000 Years Chase F. Robinson 288pp ISBN 978 0 500 293782 £9.99

A Short History Norman Stone 304pp 978 0 500 292990 £9.99

B - FO R M AT PA PER BAC K S H I G H L I G H TS eller

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Histories of Nations

The Great Cities in History

The Great Empires of Asia

How Their Identities Were Formed Edited by Peter Furtado 272pp ISBN 978 0 500 293003 £9.99

Edited by John Julius Norwich 372pp ISBN 978 0 500 292518 £9.99

Edited by Jim Masselos 256pp ISBN 978 0 500 294420 £9.99

England’s Forgotten Past

Legionary

Knight

Richard Tames 192pp ISBN 978 0 500 293775 £8.99

The Roman Soldier’s (Unofficial) Manual Philip Matyszak 208pp ISBN 978 0 500 293799 £8.99

The Medieval Warrior’s (Unofficial) Manual Michael Prestwich 208pp ISBN 978 0 500 293843 £8.99

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101

The Origins of the Irish

Shakespeare’s London on 5 Groats a Day

Ancient Rome on 5 Denarii a Day

Richard Tames 160pp ISBN 978 0 500 293867 £8.99

Philip Matyszak 144pp ISBN 978 0 500 293768 £8.99

Ancestral Journeys

The Romans Who Shaped Britain

Inside the Neolithic Mind

The Peopling of Europe from the First Venturers to the Vikings Jean Manco 312pp ISBN 978 0 500 292075 £12.99

Sam Moorhead & David Stuttard 288pp ISBN 978 0 500 292600 £9.99

Consciousness, Cosmos and the Realm of the Gods David Lewis-Williams & David Pearce 288pp ISBN 978 0 500 294413 £12.99

J. P. Mallory 328pp ISBN 978 0 500 293300 £9.99

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Bests

ART HIGHLIGHTS

102

A New Way of Seeing

The Word is Art

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

Michael Petry 250 illustrations 27.5 x 23.0cm 288pp 978 0 500 239667 £39.95 hb

Bruegel The Master Manfred Sellink, Ron Spronk, Sabine Pénot and Elke Oberthaler 320 illustrations 28.0 x 24.0cm 304pp 978 0 500 239841 £42.00 hb

The Artists Who Will Change the World

Unravelled

Omar Kholeif 233 illustrations 23.0 x 17.7cm 192pp 978 0 500 519967 £18.95 hb

Contemporary Knit Art Charlotte Vannier Over 400 illustrations 28.0 x 22.0cm 256pp 978 0 500 239889 £29.95 hb

Constable’s Skies

Japanese Prints

Hokusai Manga

Paintings and Sketches by John Constable Mark Evans 112 illustrations 19.0 x 17.0cm 144pp 978 0 500 480328 £14.95 hb

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

The Spirit of the Bauhaus

Josef Albers

Forms of Enchantment

Heaven on Earth

Olivier Gabet and Anne Monier Over 300 illustrations 30.2 x 23.7cm 264pp 978 0 500 021804 £40.00 hb

Life and Work Charles Darwent 185 illustrations 24.0 x 16.5cm 352pp 978 0 500 519103 £24.95 hb

Writings on Art & Artists Marina Warner 51 illustrations 22.9 x 15.2cm 288pp 978 0 500 021460 £24.95 hb

Painting and the Life to Come T. J. Clark 101 illustrations 23.4 x 15.3cm 288pp 978 0 500 021385 £24.95 hb

ART & PHOTOGRAPHY HIGHLIGHTS

Modernists & Mavericks

Agnes Martin

A Chronology of Photography

Retro Cameras

Bacon, Freud, Hockney & the London Painters Martin Gayford 114 illustrations 23.4 x 15.3cm 352pp 978 0 500 239773 £24.95 hb

Her Life and Art Nancy Princenthal 38 illustrations 24.0 x 16.5cm 320pp 978 0 500 294550 £18.95 pb

A Cultural Timeline from Camera Obscura to Instagram Paul Lowe 350 illustrations 25.4 x 21.6cm 272pp 978 0 500 545034 £19.95 hb

The Collector’s Guide to Vintage Film Photography John Wade Over 250 illustrations 19.7 x 21.5cm 288pp 978 0 500 544907 £18.95 hb

Civilization

Ravens & Red Lipstick

All About Saul Leiter

Magnum China

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

Japanese Photography Since 1945 Lena Fritsch 218 illustrations 29.5 x 24.5cm 288pp 978 0 500 292877 £35.00 hb

Saul Leiter 232 illustrations 21.0 x 14.8cm 296pp 978 0 500 294536 £19.95 hb

Colin Pantall and Zheng Ziyu Over 350 illustrations 29.5 x 24.5cm 376pp 978 0 500 544549 £48.00 hb

Alex Prager: Silver Lake Drive

Harry Gruyaert: Edges

Cameraless Photography

Alex Prager Over 250 illustrations 30.5 x 24.5cm 244pp 978 0 500 544976 £40.00 hb

Harry Gruyaert Illustrated throughout 23.0 x 30.0cm 144pp 978 0 500 545058 £40.00 hb

Martin Barnes 141 illustrations 25.0 x 19.5cm 192pp 978 0 500 480366 £24.95 hb

Making It Up: Photographic Fictions Marta Weiss 146 illustrations 25.0 x 19.5cm 192pp 978 0 500 480373 £24.95 hb

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Books Do Furnish a Painting

The Writer’s Map

Sentinels of the Sea

I object

Jamie Camplin and Maria Ranauro 165 illustrations 24.0 x 16.5cm 256pp 978 0 500 252253 £24.95 hb

An Atlas of Imaginary Lands Edited by Huw Lewis-Jones 167 illustrations 30.0 x 21.0cm 256pp 978 0 500 519509 £29.95 hb

A Miscellany of Lighthouses Past R. G. Grant 408 illustrations 29.7 x 19.0cm 160pp 978 0 500 519769 £19.95 hb

Ian Hislop’s search for dissent Ian Hislop and Tom Hockenhull 201 illustrations 24.0 x 17.0cm 224pp 978 0 500 480410 £25.00 hb

I am Ashurbanipal

The Islamic World A History in Objects Ladan Akbarnia, Venetia Porter, Fahmida Suleman, William Greenwood, Zeina KlinkHoppe and Amandine Mérat 114 illustrations 23.4 x 15.3cm 352pp 978 0 500 480403 £29.95 hb

Searching for the Lost Tombs of Egypt

Tutankhamun

King of the world, king of Assyria Edited by Gareth Brereton 325 illustrations 28.0 x 25.0cm 348pp 978 0 500 480441 £30.00 pb

Angkor and the Khmer Civilization

The Origins of the Anglo-Saxons

Michael D. Coe and Damian Evans 155 illustrations 23.4 x 15.3cm 304pp 978 0 500 052105 £24.95 hb

Decoding the Ancestry of the English Jean Manco 137 illustrations 23.4 x 15.3cm 240pp 978 0 500 051924 £19.95 hb

Chris Naunton 107 illustrations 23.4 x 15.3cm 304pp 978 0 500 051993 £19.95 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

The Face

Bestiary

Our Human Story Debra N. Mancoff 363 illustrations 19.0 x 17.0cm 304pp 978 0 500 518625 £16.95 hb

Animals in Art from the Ice Age to Our Age Christopher Masters 268 illustrations 19.0 x 17.0cm 256pp 978 0 500 480236 £16.95 hb

DESIGN HIGHLIGHTS

Chinese Movie Magazines From Charlie Chaplin to Chairman Mao 1921-1951 Paul Fonoroff 590 illustrations 27.5 x 21.5cm 288pp 978 0 500 519882 £35.00 hb

The New Yorker Encyclopedia of Cartoons David Remnick and Bob Mankoff Illustrated throughout 30.5 x 22.0cm 1,536pp 978 0 500 022450 £75.00 slipcased hbs

Rock Graphic Originals

The History of Space Exploration

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

Discoveries from the Ancient World to the Extraterrestrial Future Roger D. Launius Over 500 illustrations 25.4 x 21.6cm 400pp 978 0 500 022023 £24.95 hb

Spectrum

Pattern Design

Look & See

Chair Anatomy

Heritage Patterns and Colours Ros Byam Shaw 117 illustrations 24.0 x 18.5cm 256pp 978 0 500 480267 £24.95 hb

Edited by Elizabeth Wilhide Over 1,500 illustrations 23.5 x 22.3cm 672pp 978 0 500 021484 £35.00 hb

Collected Ephemera and Printed Material Anthony Burrill Illustrated throughout 24.5 x 19.0cm 288pp 978 0 500 022115 £25.00 hb

Design & Construction James Orrom Over 700 illustrations 25.5 x 21.0cm 240pp 978 0 500 021750 £39.95 hb

I Wonder

Vienna 1900 Complete

Modernist Design Complete

Mid-Century Modern

Marian Bantjes Illustrated throughout 24.0 x 15.5cm 208pp 978 0 500 294383 £18.95 pb

Christian Brandstätter, Rainer Metzger and Daniela Gregori Over 1,250 illustrations 30.8 x 24.0cm 544pp 978 0 500 519301 £85.00 hb

Dominic Bradbury 635 illustrations 30.8 x 24.0cm 480pp 978 0 500 518427 £60.00 hb

Icons of Design Here Design and Frances Ambler 96 illustrations 17.6 x 12.7cm 200pp 978 0 500 022030 £9.95 hb

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P O PU L A R CU LT U R E , T R AV EL & L I FE S T Y L E H I G H L I G H TS

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Imagine John Yoko

Hip Hop Raised Me®

An Anarchy of Chillies

The Flower Expert

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

DJ Semtex Over 1,000 illustrations 27.7 x 21.6cm 448pp 978 0 500 293959 £24.95 pb

Caz Hildebrand Illustrated throughout 24.6 x 17.5cm 224pp 978 0 500 021835 £16.95 hb

Ideas and inspiration for a life with flowers Fleur McHarg Illustrated throughout 27.0 x 24.0cm 224pp 978 0 500 501245 £24.95 hb

Mr & Mrs Smith Presents The World’s Sexiest Bedrooms

Escape by Bike

Chineasy® Travel

The New Creative Home

Mr & Mrs Smith 211 illustrations 27.0 x 22.0cm 296pp 978 0 500 021781 £29.95 hb

Adventure Cycling, Bikepacking and Touring Off-Road Joshua Cunningham Over 200 illustrations 24.0 x 18.0cm 264pp 978 0 500 293508 £19.95 flexi

ShaoLan Illustrated throughout 18.0 x 12.0cm 96pp 978 0 500 294260 £7.95 pb

London Style Talib Choudhry and Ingrid Rasmussen 500 illustrations 25.0 x 19.5cm 288pp 978 0 500 519226 £19.95 hb

Bohemian Living

HomeWork

Sofas

The Contemporary House

Creative Homes around the World Robyn Lea Illustrated throughout 27.9 x 21.5cm 288pp 978 1 760 760090 £29.95 hb

Design Solutions for Working from Home Anna Yudina 500 illustrations 18.0 x 18.0cm 272pp 978 0 500 519806 £16.95 hb

340 Iconic Designs Agata Toromanoff Over 450 illustrations 18.0 x 18.0cm 256pp 978 0 500 021262 £16.95 hb

Jonathan Bell and Ellie Stathaki 750 illustrations 23.5 x 22.0cm 352pp 978 0 500 021941 £24.95 hb

D E S I G N , P O PU L A R CU LT U R E & L I FE S T Y L E H I G H L I G H TS

The Architecture Concept Book

Architecture Inside + Out

Architectural Masterworks Since 1900 Dominic Bradbury and Richard Powers 660 illustrations 22.4 x 20.8cm 376pp 978 0 500 293942 £24.95 hb

Michael Webb 357 illustrations 29.0 x 23.0cm 304pp 978 0 500 343401 £36.00 hb

An inspirational guide to creative ideas, strategies and practices James Tait 565 illustrations 24.0 x 20.0cm 280pp 978 0 500 343364 £24.95 hb

50 Iconic Buildings in Detail John Zukowsky and Robbie Polley Over 400 illustrations 25.0 x 25.0cm 304pp 978 0 500 343371 £24.95 hb

Kengo Kuma

Andrew Bromberg at Aedas: Buildings, Nature, Cities

Vincent Van Duysen Works 2009–2018

Patterson: Houses of Aotearoa

Aaron Betsky and Andrew Bromberg Over 300 illustrations 24.0 x 19.2cm 288pp 978 0 500 519653 £29.95 hb

Hélène Binet, Julianne Moore, Nicola di Battista, François Halard & Marc Dubois 369 illustrations 29.7 x 23.2cm 320pp 978 0 500 021644 £48.00 hb

Le Corbusier: The Buildings

Santiago Calatrava

David Chipperfield Architects

Casa Moderna

Richard Pare and Jean-Louis Cohen Over 500 illustrations 25.8 x 29.0cm 480pp 978 0 500 343449 £98.00 hb

Drawing, Building, Reflecting Cristina Carillo de Albornoz and Santiago Calatrava 280 illustrations 25.5 x 18.5cm 224pp 978 0 500 343418 £28.00 hb

David Chipperfield, Fulvio Irace, Bernard Schulz and Luis Fernández-Galiano Illustrated throughout 32.0 x 25.0cm 392pp 978 0 500 294543 £49.95 pb

Latin American Living Philip Jodidio Over 250 illustrations 29.0 x 23.0cm 320pp 978 0 500 343296 £38.00 hb

The Iconic House

Complete Works Kenneth Frampton Over 400 illustrations 29.5 x 24.0cm 352pp 978 0 500 343425 £48.00 hb

Architects’ Houses

Andrew Patterson 206 illustrations 26.0 x 30.0cm 252pp 978 0 500 022191 £48.00 hb

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FA SHION HIGHLIGHTS

108

Marc Jacobs: Unseen

Louis Vuitton Catwalk

Travellers’ Tales

Robert Fairer 280 illustrations 33.5 x 24.5cm 352pp 978 0 500 021606 £48.00 hb

The Complete Fashion Collections Jo Ellison and Louise Rytter 1,350 illustrations 27.7 x 19.0cm 632pp 978 0 500 519943 £48.00 hb

Bags Unpacked Bertil Scali and Pierre Le-Tan 70 illustrations 30.0 x 22.0cm 400pp 978 0 500 022504 £75.00 hb

Chanel

The World According to Karl

Christian Dior

Carnet by Michelle Ong

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

Vivienne Becker 263 illustrations 32.0 x 25.0cm 272pp 978 0 500 021637 £65.00 hb

20th-Century Fashion in Detail

This Is Not Fashion

The Parisian Gentleman

Jewelry for Gentlemen

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

Claire Wilcox and Valerie D. Mendes 285 illustrations 29.0 x 20.5cm 224pp 978 0 500 294109 £24.95 pb

Streetwear Past, Present and Future King Adz and Wilma Stone 340 illustrations 25.0 x 19.5cm 304pp 978 0 500 292440 £24.95 pb

Yves Saint Laurent: Dreams of the Orient Aurélie Samuel Over 200 illustrations 28.4 x 19.5cm 220pp 978 0 500 022283 £28.00 hb

Picture Credits On the cover Front: from Lee Krasner, p3. Lee Krasner, Desert Moon (detail), 1955. © 2018. Digital Image Museum Associates/LACMA/Art Resource NY/ Scala, Florence Back: from Eamonn Doyle: Made in Dublin, pp46–47. © Eamonn Doyle pp2–3, Lee Krasner p2, Top left: Lee Krasner, Through Blue, 1963. Photo Christopher Stach. Top centre: Lee Krasner, Water No. 18, 1969. Image courtesy Kasmin Gallery. Photo Diego Flores. Top right: Lee Krasner, c. 1939–40. Photo Maurice Berezov. Bottom left: Lee Krasner in front of Morning Glory, 1982. Photo Ann Chwatsky pp4–5, Bauhaus Goes West p4, clockwise from top left: Ashley Havinden’s studio, interior, 1933 – from Patmore, D., Colour Schemes and Modern Furnishing (London: The Studio, 1945); Transparent plastic shapes by Lazlo Moholy-Nagy – From Moholy-Nagy, L., Vision in Motion (Chicago: P. Theobald, 1946); Exterior of St. John’s Abbey Church, Collegeville, MN, US, designed by Marcel Breuer with Pier Luigi Nervi © Serhii Chrucky/Alamy Stock Photo. p5, Architectural Press Archive/RIBA Collections

p52–53, Anja Niemi: In Character p53, Anja Niemi Room 81 (suitcase), from the series ‘Do Not Disturb’, 2011 © Anja Niemi, courtesy of The Little Black Gallery pp68–69, The Sea Journal p69, from the Smithsonian Institution Archives, Washington, DC (SIA2017-024580, SIA2017-024596, SIA2017-024526, SIA2017024550, SIA2017-024535) pp74–75, The Spectacle of Illusion © Image reproduced courtesy of Senate House Library, University of London pp84–85, Off the Grid FLOAT Architectural Research and Design: Outside House, Maui, Hawaii © Reiulf Ramstad Arkitekter pp86–87, The Foraged Home © 2019 Joanna Maclennan

p12, Hockney – Van Gogh: the Joy of Nature Top image: Vincent van Gogh, Field with Irises near Arles,1888. Oil on canvas, 54 x 65cm. Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation). Middle image: David Hockney, Early July Tunnel, 2006. Oil on 2 canvases (48 x 36” each, 48 x 72” overall). © David Hockney. Photo Credit: Richard Schmidt. Bottom image: Vincent van Gogh, The Harvest, 1888. Oil on canvas, 73.4 x 91.8 cm. Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation)

109 p28–29, Manga p28, Kond? Hidez? (1908–1979), ‘Rampant in India, the fake Daruma (Churchill)’, cover art for Manga, December 1943. Colour lithograph, 29.5 x 21.0 cm (covers). The British Museum, 2006,0217,0.1, given by Angus Lockyer. p29, Utagawa Kuniyoshi (1797–1861), Graffiti caricatures of Kabuki actors, from the series ‘Storehouse of Treasured Goods: Scribblings on the Wall’, about 1848. Colour woodblock print, 36.0 x 25.2 cm. The British Museum, 2008,3037.12401, given by Prof. Arthur R. Miller pp36–37, Yves Saint Laurent Catwalk Yves Saint Laurent © Catwalkpictures.com pp38–39, Supreme Glamour Supremes: Courtesy Mary Wilson pp50–51, Body Henry Leutwyler, Misty Copeland, studies, 2013 © Henry Leutwyler

Index Aboud, Simon 54 Akhenaten 79 Ales, Barney 40 Ancient Magic 73 Art & Archaeology of the Greek World 77 Art Essentials 20–21 Asylum of the Birds 56 Frank Auerbach 11

110

Bacon and the Mind 10 Baker, Ian A. 80 Ballen, Roger 56 Barbican Centre 44 Barry, Kevin 46–47 Bartrum, Giulia 31 Bauhaus 6 Bauhaus Goes West 4–5 Bauhaus Imaginista 7 Bays, Olivia 89 Bego, Mark 38–39 Béhar, Yves 98 Ludwig Bemelmans 27 Benton, Michael J. 61 Bibring, Jean-Pierre 60 The Big Idea 62–63 Blake, Peter 54 Blake, Quentin 27 Body 50–51 Bohemian Style at Home 89 Bolt, Rodney 58 Bolton, Andrew 36–37 Bozzini, Didi 56 Bradbury, Dominic 84–85 Bradway, Todd 8–9 Brandt, Nick 55 Britton Newell, Laurie 27 Brooches and Badges 33 Broug, Eric 81 Bucklow, Steven 10 Calligraphy and Lettering 32 Campbell, David 58 Chess and Other Games Pieces 81 Chromatopia 25 Church, Rachel 33 Cimarron 49 Coe, Michael D. 71 Coe, Sophie D. 71 Cold War Steve 64–65 Cold War Steve Presents… The Festival of Brexit 64–65 Coles, David 25 Comet 60 Cooper, Jeremy 30 Cory Wright, Harry 44

Crompton, Simon 41 Cyclepedia 91 Davis, Robert C. 70 Dempsey, Amy 21 Den Hartog Jager, Hans 12 The Dinosaurs Rediscovered 61 Eamonn Doyle: Made in Dublin 46–47 Doyle, Eamonn 46–47 Drawing for Landscape Architecture 94 Drawing: A Complete Guide 22 Elkins, James 92 Ellis, Glen 44 Embacher, Michael 91 Fan, Shelly 63 The Foraged Home 86–87 Fotheringham, Avalon 35 Freeman Fahid, Deborah 81 Fréger, Charles 49 Friedman, Anna Felicity 92 Frigeri, Flavia 21 Furtado, Peter 67 Futurekind 98 Garden Love 82 Gardner, Stephen C. P. 22 Gaskin, John 78 Goldberg, Whoopi 38–39 Gravett, Paul 27 Griffiths, Simon 82 Harrison, Martin 10 Herschdorfer, Nathalie 50–51 History Day by Day 67 Hockney – Van Gogh: The Joy of Nature 12 Hodge, Susie 23 Houghton, Max 52–53 Hutchison, Edward 94 Hynde, Chrissie 54 The Illustrators 26–27 The Indian Textile Sourcebook 35 Is Medicine Still Good for Us? 63 Islamic Geometric Patterns 81 Japanese Style at Home 89 Jaron, Steven 10 Jewels and Jewellery 34 Jones, Will 96–97 Richard Kalvar 59 Kemp, Martin 13, 14

Kenyon, Nicholas 44 Knausgaard, Karl Ove 31 Lee Krasner 3 Lee Krasner: A Biography 2 Lampert, Catherine 11 Landscape Painting Now 8–9 Lange, Susanne 59 Le Goff, Hervé 59 Leader, Darian 10 Leonardo Pop-Ups 15 Levin, Gail 2 Lewis-Jones, Huw 68–69 The Life of Leonardo da Vinci 13 Lindsmith, Beth 70 Linklater, Magnus 66 Living with Leonardo 14 Loog Oldham, Andrew 40 Look Again 19 Maclean, Fitzroy 66 Maclennan, Joanna 86–87 Maclennan, Oliver 86–87 Making Marks 96–97 Manga 28–29 Matsuba, Ryoko 28–29 Matyszak, Philip 73 Mary McCartney 54 McCartney, Mary 54 McCartney, Paul 54 McLellan, Todd 90 Menkes, Suzy 36–37 Morley, Simon 18 Motown 40 Edvard Munch 31 Musée Yves Saint Laurent Paris 36–37 Nairne, Eleanor 3 Neer, Richard T. 77 New Chinese Architecture 95 New Map Italy 42–43 Anja Niemi: In Character 52–53 Niemi, Anja 52–53 Ninja 72 Nochlin, Linda 16 Nuijsink, Cathelijne 89 O’Hagan, Sean 46–47 Off the Grid 84–85 Onians, John 10 Paint with the Impressionists 24 Painting Masterclass 23 Phillips, Clare 34 Phillips, Rob 98

Photofile 59 The Planthunter 83 Potter, David 76 Powell, Kenneth 45 Powers, Alan 4–5 Reed, Ishmael 49 Reeves, Nicholas 79 Paula Rego: Nursery Rhymes 17 Reid, Georgina 83 Renaissance People 70 Representing Women 16 Rome in the Ancient World 76 Rousmaniere, Nicole 28–29 Russell, Lucy 13 Yves Saint Laurent Catwalk 36–37 August Sander 59 The Sartorial Travel Guide 41 Schirmer, Lothar 57 Schlegel, Hans-Joachim 57 Schwabsky, Barry 8–9 Scotland 66 The Sea Journal 68–69 Seaside Photographed 48 Seddon, Tony 89 Seven Keys to Modern Art 18 Shane, Robert R. 8–9 Sheather, Julian 63 Shepherdson, Karen 48 Shipp, Daniel 83 Posy Simmonds 27 Smith, Paul 91 Sørensen, Louise 8–9 The Spectacle of Illusion 74–75 Stephenson, Jonathan 24 Supreme Glamour 38–39 Surrealism 21 Tarkovsky 57 Tarkovsky, Andrey A. 57 Taxidermy 93 Things Come Apart 90 This Empty World 55 Tibetan Yoga 80 Tompkins, Matthew 74–75 Toromanoff, Agata 88 Tower Bridge 44 Tower Bridge 45 The Traveller’s Guide to Classical Philosophy 78 The True History of Chocolate 71 Turnbull, Stephen 72 Turner, Alexis 93

Van Scoy, Susan A. 8–9 Vasari, Giorgio 13 Vases 88 Von Osten, Marion 7 Ward, Ossian 19 Warner, Marina 17 Watson McCarthy, Courtney 15 Watson, Grant 7 The Wellcome Collection 74–75 White, Adam 40 White, Michael 6 Whitford, Frank 6 Will AI Replace Us? 63 Williams, Austin 95 Williams, Val 48 Wilson, Mary 38–39 Women Artists 21 The World Atlas of Tattoo 92 The world exists to be put on a postcard 30 World Press Photo 2019 58 Xin, Zhang 95 Young, Kate 89 Ypma, Herbert 42–43 Zeki, Semir 10 Zischler, Hanns 60

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Ian Tripp T 07970 450162 E iantripp@ymail.com Wales and Southwestern Counties

Michelle Strickland Senior Key Accounts Manager E m.strickland@thameshudson.co.uk

Alice Corrigan Sales Executive E a.corrigan@thameshudson.co.uk

Karim White T 07740 768900 E k.white@thameshudson.co.uk

Gift Reps

Northern England, Scotland & Ireland

Jamie Denton

For all other UK areas, please contact:

Victoria Hutton

Thames & Hudson Head Office T 020 7845 5000 F 020 7845 5055 E sales@thameshudson.co.uk

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

Customer Services

London, South East

Belgium & Luxembourg Alex Levy Export Sales Department Thames & Hudson Ltd E a.levy@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

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

North East Asia

The Americas

Thames & Hudson Asia Units B&D 17/F Gee Chang ong Centre 65 Wong Chuk Hang Road Aberdeen Hong Kong T+852 2 553 9289 F+852 2 554 2912

Central & South America, Mexico and the Caribbean Natasha Ffrench Export Sales Department Thames & Hudson Ltd E n.ffrench@thameshudson.co.uk

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

Africa

Australasia

Africa (excluding South) Ian Bartley Export Sales Department Thames & Hudson Ltd E i.bartley@thameshudson.co.uk

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

South Africa, Swaziland, Lesotho, Namibia, Botswana and Zimbabwe Peter Hyde Associates 5 & 7 Speke Street (Corner Nelson Street) Observatory 7925 Cape Town T (021) 447 5300 F (021) 447 1430 E noelene@peterhyde.co.za

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

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