%{search_type} search results

• 1. Collections and Collecting--
• 2. Kustaa Hiekka's World Tour Souvenirs on Display--
• 3. Sophus Black and Living in Chinese Style--
• 4. Scholarly Souvenirs: Osvald Siren's Chinese Things--
• 5. The Didrichsens: A Modernist Home for Chinese Objects--
• 6. Conclusion.
• (source: Nielsen Book Data)

This book explores the ways in which Nordic private collectors displayed their collections of Chinese objects in their homes. This leads to a reconsideration of how to define collecting and display by analysing the difference between objects serving as decorative or collectible items, while tracing collecting and display trends of the twentieth century. Minna Toerma examines four Scandinavian collections as case studies: Kustaa Hiekka, Sophus Black, Osvald Siren and Marie-Louise and Gunnar Didrichsen, all of whom had professional backgrounds (a jeweler, two businessmen and a scholar) and for whom collecting became a passion and an educational endeavour. This book will be of interest to scholars in art history, museum studies, Chinese studies and design history.
(source: Nielsen Book Data)

"Nous étions convenus que je pourrais tout filmer durant les trois mois de mon séjour à Kyoto. Il m'ouvrait grand la porte et s'engageait à me faire découvrir et aimer la culture japonaise. Il me répétait avec un sourire espiègle : "On est très différents, mais on peut quand même se parler et essayer de se rapprocher." Marc Petitjean s'est retrouvé un beau matin avec sa caméra à Kyoto, pour filmer celui qui allait devenir son ami : Kunihiko Moriguchi, maître de la peinture sur kimono et Trésor national vivant - comme son père avant lui. Dans les années 1960, jeune étudiant aux Arts décoratifs, Kunihiko côtoie le Tout-Paris et se lie d'amitié avec Balthus, qui influencera sa carrière artistique. De retour au Japon, il renouvellera la tradition en travaillant l'abstraction dans les motifs. Ses oeuvres sont exposées dans les plus grands musées du monde."--Page 4 of cover.

• FOREWORD - Maria Duggan, Sam Turner and Mark Jackson
• CERAMICS AND ATLANTIC CONNECTIONS 250-700 AD: THE AFRICAN PERSPECTIVE - Michel Bonifay
• A HANDFUL OF SHERDS: A RETROSPECTIVE LOOK AT IMPORTS IN ATLANTIC BRITAIN - Ewan Campbell
• BRITAIN IN THE ATLANTIC: LATE ANTIQUE CERAMICS AND CONNECTIONS - Maria Duggan
• A RED SLIP FLANGED RIMSHERD DISCOVERED IN IRELAND: AN EXPLORATION OF ARCHAEOLOGICAL DEPOSITION AND PROVENANCE USING AUTOMATED SEM-EDS ANALYSIS (QEMSCAN) - Amanda Kelly, Martin Feely, Edward P. Lynch and Gavyn K. Rollinson
• MEDITERRANEAN POTTERY IMPORTS IN WESTERN GAUL DURING THE LATE ROMAN PERIOD (MID 3RD-EARLY 7TH CENTURY AD): STATE OF KNOWLEDGE - Joachim Le Bomin
• A LA RECHERCHE DU TEMPS PERDU! A NEW APPROACH TO DOMESTIC CERAMICS OF LATE ANTIQUITY (4TH-6TH CENTURIES AD) IN THE HEART OF AQUITANIA SECUNDA (SOUTH WEST GAUL) - David Guitton
• LATE ANTIQUE ATLANTIC CONTACTS THROUGH THE CASE OF GALICIA - Jose Carlos Sanchez Pardo
• LATE CONTEXTS FROM OLISIPO (LISBON, PORTUGAL): ESCADINHAS DE SAO CRISPIM - Jose Carlos Quaresma
• LATE ROMAN IMPORTED POTTERY IN THE SOUTHWEST OF LUSITANIA: THE CASE OF TROIA (PORTUGAL) - Ana Patricia Magalhaes, Ines Vaz Pinto and Patricia Brum.
• (source: Nielsen Book Data)

The Atlantic Seaboard has attracted increasing interest as a zone of economic complexity and social connection during Late Antiquity and the early medieval period. A surge in archaeological and, in particular, ceramic research emerging from this region over the last decade has demonstrated the need for new models of exchange between the Mediterranean and Atlantic, and for new understandings of links between sites along the Western littoral of Europe. Ceramics and Atlantic Connections: Late Roman and Early Medieval Imported Pottery on the Atlantic Seaboard stems from the Ceramics and Atlantic Connections symposium, hosted by the School of History, Classics and Archaeology, Newcastle University, in March 2014. This represents the first international workshop to consider late Roman to early medieval pottery from across the Atlantic Seaboard. Reflecting the wide geographical scope of the original presentations by the invited speakers, these nine articles from ceramic specialists and archaeologists working across the Atlantic region, cover western Britain, Ireland, western France, north-west Spain and Portugal. The principal focus is the pottery of Mediterranean origin which was imported into the Atlantic, particularly East Mediterranean and North African amphorae and red-slipped finewares (African Red Slip and Late Roman C and D), as well as ceramics of Atlantic production which had widespread distributions, including Gaulish Derivees-de-Sigillees Paleochretiennes Atlantique/DSPA, ceramique a l'eponge' and 'E-ware'. Following the aims of the Newcastle symposium, the papers examine the chronologies and relative distributions of these wares and associated products, and consider the compositions of key Atlantic assemblages, revealing new insights into the networks of exchange linking these regions between c. 400-700 AD. This broad-scale exploration of ceramic patterns, together with an examination of associated artefactual, archaeological and textual evidence for maritime exchange, provides a window into the political, economic, cultural and ecclesiastical ties that linked the disparate regions of the Late Antique and early medieval Atlantic. In this way, this volume presents a benchmark for current understandings of ceramic exchange in the Atlantic Seaboard and provides a foundation for future research on connectivity in this zone.
(source: Nielsen Book Data)

• 1 A potter's paradise: The realm of ceramics in modern Japan, MEGHEN JONES. PART I. 2 Tradition, modernity, and national identity: Celadon production at the Makuzu ceramic workshop 1870-1916, CLARE POLLARD. 3 More than "Western": Porcelain for the Meiji Emperor's table, MARY REDFERN. PART II. 4 Modernizing ceramic form and decoration: Kyoto potters and the Teiten, GISELA JAHN. 5 Unifying science and art: The Kyoto City Ceramic Research Institute (1896-1920) and ceramic art education during the Taisho era, MAEZAKI SHINYA. PART III. 6 The spark that ignited the flame: Hamada Shoji, Paterson's Gallery, and the birth of English studio pottery, JULIAN STAIR. 7 Okuda Seiichi and the new language of ceramics in Taisho (1912-1926) Japan, SEUNG YEON SANG. 8 The nude, the empire, and the porcelain vessel idiom of Tomimoto Kenkichi, MEGHEN JONES. PART I
• V. 9 Veiled references: The role of glaze in Japanese avant-garde ceramics, LOUISE ALLISON CORT. 10 Koyama Fujio's view of modern Japanese ceramics and his role in the creation of "Living National Treasures", KIDA TAKUYA. EPILOGUE. 11 Found in translation: Ceramics and social change, TANYA HARROD.
• (source: Nielsen Book Data)

Ceramics and Modernity in Japan offers a set of critical perspectives on the creation, patronage, circulation, and preservation of ceramics during Japan's most dramatic period of modernization, the 1860s to 1960s. As in other parts of the world, ceramics in modern Japan developed along the three ontological trajectories of art, craft, and design. Yet, it is widely believed that no other modern nation was engaged with ceramics as much as Japan-a "potter's paradise"-in terms of creation, exhibition, and discourse. This book explores how Japanese ceramics came to achieve such a status and why they were such significant forms of cultural production. Its medium-specific focus encourages examination of issues regarding materials and practices unique to ceramics, including their distinct role throughout Japanese cultural history. Going beyond descriptive historical treatments of ceramics as the products of individuals or particular styles, the closely intertwined chapters also probe the relationship between ceramics and modernity, including the ways in which ceramics in Japan were related to their counterparts in Asia and Europe. Featuring contributions by leading international specialists, this book will be useful to students and scholars of art history, design, and Japanese studies.
(source: Nielsen Book Data)

• Introduction *
• 1. Vessel *
• 2. Batch Production *
• 3. Sculpture *
• 4. Figurative *
• 5. Installation *
• 6. Expanded Field.
• (source: Nielsen Book Data)

The practice of ceramics is steeped in history and tradition. For thousands of years humans have exploited the versatile qualities of clay as a material to produce items ranging from humble utilitarian vessels integral to family living, right through to exquisite works of art. Ceramics Masterclass explores this diverse discipline by showcasing 100 of the most innovative and inspiring artists past and present, analysing the techniques and methods used to create the works, and the concepts which underpin their creative process. It shows how to recreate intricate still-life dioramas like 15th-century artist Bernard Palissy, explore narrative like Grayson Perry and convey sensitivity to material like Phoebe Cummings. Arranged thematically, Ceramics Masterclass includes chapters on vessels, batch production, sculptures, figurative works, installation and expanded field. Perfect for students, amateur ceramicists and professionals, this book represents a global perspective of historical and contemporary approaches to clay and be a catalyst for discovery and intrigue.
(source: Nielsen Book Data)

This volume brings together over 1,000 years of Persian Islamic pottery. With more than 500 illustrations, technical treatises, and commentary, Ceramics of Iran assembles a collection of rarely seen treasures from the Persian world and presents a collective history of its ceramic tradition. Included among its catalogue entries are translations of the objects' inscriptions, providing readers with an understanding of the cultural heritage from which these items are derived. In addition, the book contains new research and material from previously unknown sites. Featuring all new photography of nearly 250 objects, Ceramics of Iran brings the contributions of Persian art into a wider historical context, along with a wealth of images to demonstrate the full scope of its intricate beauty.

• Caractéristiques techniques
• Les catégories de céramiques culinaires en Languedoc
• Quelques aspects techniques
• Méthodologie
• Les céramiques modelées du Languedoc
• Les importations italiques
• Poteries kaolinitiques et céramiques à pâte sableuse régionales
• Les céramiques africaines de cuisine
• Les mortiers à pâte calcaire
• La céramique commune oxydante micacée
• Les différents assemblages en Languedoc
• Caractéristiques de l'approvisionnement en Languedoc
• Ateliers et productions
• La production de céramique modelée
• Les ateliers de céramiques à pâte sableuse gardoises
• Les ateliers de céramiques à pâte sableuse héraultaises
• La céramique à pâte sableuse oxydante du Narbonnais et les ateliers minervois
• Les ateliers du Lauraguais
• Les ateliers de céramique brun-orangé biterroise (BOB)
• La production régionale de mortiers
• L'agglomération artisanale de Salauze à Laure-Minervois
• Le Castellas à Murviel-lès-Montpellier
• L'atelier de l'Engarran à Lavérune
• Une époque de transition aux caractères variés
• Les formes
• Les raisons d'une nouvelle typologie des céramiques culinaires
• Critères de classification
• Classes et formes
• Classe 1 - Les formes basses plates et ouvertes
• Classe 2 - Les formes creuses basses et ouvertes
• Classe 3 - Formes creuses et ouvertes munies d'une carène basse
• Classe 4 - Les formes hautes et fermées à ouverture large
• Classe 5 - Les formes hautes et fermées à ouverture étroite
• Classe 6 - Les couvercles
• Hors classe
• Typologie simplifiée
• Les types
• Classe 1 - Les formes basses plates et ouvertes
• Classe 2 - Les formes creuses basses et ouvertes
• Classe 3 - Les formes creuses et ouvertes munies d'une carène basse
• Classe 4 - Les formes hautes et fermées à ouverture large
• Classe 5 - Les formes hautes et fermées à ouverture étroite
• Classe 6 - Les couvercles
• Hors classe
• Répartition des ustensiles culinaires
• Bilan morphologique des ustensiles culinaires en Languedoc
• Cuisine et culture
• Batteries de cuisine en Italie
• Pompéi
• Ostie
• Pratiques culinaires en Languedoc à l'époque romaine
• La cuisine romaine dans les textes antiques
• Mobilier archéologique
• Cuisine et modèles culturels en Languedoc.

"L'étude des céramiques culinaires conduit à une analyse fonctionnelle. La technique utilisée pour fabriquer ces poteries fournit les premiers indices. Le choix de l'argile, la façon de la préparer, de la cuire, donne soit des vases solides soit des récipients résistants au feu. L'identification des formes, par la constitution d'une typologie, permet d'analyser la composition de la batterie de cuisine. À partir des textes antiques on peut parfois préciser l'usage d'un objet. L'étude se double ensuite d'une analyse culturelle, à une époque, entre la fin du IIe s. av. et le IIe s. apr. J.-C., où sont en contact les cultures romaine et gauloise. Si, sur les plans technique et typologique, le Languedoc occidental, en particulier le Narbonnais, présente des caractéristiques très italiques, le Languedoc oriental reste plus traditionnel. Néanmoins, du point de vue fonctionnel, la répartition des formes indique des pratiques culinaires similaires qui se confondent avec la culture romaine comme le montrent certains exemples pris en Italie (Pompéi, Ostie)."--Page 4 of cover.

• Théories dessins, schémas, diagrammes
• Dessins
• Dessin et anthropologie
• Schéma et apprentissage
• Acte d'image et main pensante
• Intuitions structurelles
• Dessein, plan, projet
• Dessein
• Plan
• Projet
• Design, appareil, reproductibilité
• Instruments
• Objectivité
• Reproductibilité
• Pratiques ateliers, cultures, territoires
• Culture visuelle
• La troisième culture
• Technique, représentation, tension
• Culture technique
• Représentation et interprétation
• Tension essentielle
• Création, observation, relation
• Univers des connaissances et modes de création
• Design et engagement ethnographique
• Recherches et pédagogies diplomatie, méthodes, langages
• Diplomatie
• Méthodes
• Langages
• Corps, forme, matière
• Corps
• Forme
• Matière
• Expressivité et matérialité
• Technologie, épistémologie, science
• Science du design et recherche expérimentale
• Conclusion
• Postface : conversation avec Peter Galison
• Bibliographie.

"Présent dans tous les champs contemporains de la culture industrielle, artistique, technique ou scientifique, le design paraît impossible à circonscrire dans le monde contemporain. Selon la formule d'Ettore Sottsass, un de ses représentants au XXe siècle, "ou bien le design n'existe pas, ou bien il a toujours existé". C'est d'abord -tin travail d'inventaire et une enquête anthropologique, historique et critique que propose Anne-Lyse Renon. Réduit parfois à un vecteur d'innovation et de consommation, voire considéré comme une science, le design est avant tout mise en relation de données hétérogènes, méthode d'observation et de formalisation, création à part entière. Ce livre propose une étude des liens singuliers entre théories, pratiques et pédagogies transdisciplinaires qui situent le design contemporain entre recherche et science."--Page 4 of cover.

• List of Figures and Tables Preface Introduction: Asian Handmade Textiles as Fashionable Traditions Ayami Nakatani
• Part 1: Fashion Dynamics in Tradition
• Chapter 1 Ikat Patterns in Flores, Indonesia, and the Global Fashion Trajectory Willemijn de Jong
• Chapter 2 "New Style" of Ethnic Clothing: Dress between Tradition and Fashion among the Hmong in Yunnan, China Chie Miyawaki
• Chapter 3 The Pashmina Shawl: Continuity and Transformation from Ladakh to Kashmir Monisha Ahmed
• Part 2: Politics of Heritage and Beyond
• Chapter 4 Listing Cultures: Politics of Boundaries and Heritagization of Handwoven Textiles in Indonesia Ayami Nakatani
• Chapter 5 Between Culture and Technology: "Theme" Saris and the Graphic Representation of Heritage in Tamil Nadu, India Aarti Kawlra
• Chapter 6 "Heritagization" as a Double-edged Sword: The Dilemma of Nishijin Silk Weaving in Kyoto, Japan Okpyo Moon
• Chapter 7 Inheriting Weaving Knowledge in Depopulated Communities: Conservation of Wisteria Fiber Textiles in Kyoto, Japan Miwa Kanetani
• Part 3: Contested Valorization and the Role of Mediators
• Chapter 8 Branding Tsumugi Kimono in Japan: Kimono Magazines as Mediators between Consumers and the "Mingei" Movement Seiko Sugimoto
• Chapter 9 "Crafts" to "Art": A Trajectory of Aboriginal Women's Weavings in Arnhem Land, Australia Sachiko Kubota
• Chapter 10 Translocal Ikat in Contemporary Bali, Indonesia: Imagining Heritage, Imagining Modernities in Ikat Production and Marketing Susan Rodgers
• Part 4: Ambivalent Encounters with Global Consumers
• Chapter 11 Embroidering Development: The Mutwa and Rann Utsav in Kutch, India Michele A. Hardy
• Chapter 12 Strategic Choices of Techniques: Dyed and Printed Textiles for Goddess Rituals in Gujarat, Western India Yoko Ueba
• Chapter 13 Patchworking in Tradition: The Trends of Fashionable Carpets from Turkey Ulara Tamura
• Chapter 14 What Do Handwoven Textiles Do? Constellation of Things and the Primal History among Non-Weaving People in Flores, Eastern Indonesia Eriko Aoki Index About the Contributors.
• (source: Nielsen Book Data)

Textiles play a decisive role in history: attire not only indicates status, gender, ethnicity, and religion but illustrates how such boundaries are continuously being negotiated, shifted, and recreated. Fashionable Traditions captures the complex reality of Asian handmade textile production and consumption. From traditionalist discourse and cultural authenticity to fashion and market trends, the contributors to this collection demonstrate the multilayered influence of often contradictory forces. In-depth, ethnographic case studies reveal the entangled relationships between local artisans, external interventions, and consumers, while acknowledging the broader frameworks in which such relationships are situated. Together these stories offer a vivid account of the socio-economic, political, and cultural dynamics in various parts of Asia and emphasize that fashion is neither a Western prerogative nor do its roots reside solely in the West.
(source: Nielsen Book Data)

• Bibliomorphie : Die Kunst der Objektkombination
• Spiel und Ernst der 'Buchverfremdung' : Kurt Köster, die Deutsche Bibliothek und die Objekte in Buchform
• Reliquiar
• Porträtdiptychon
• Reliquienkalender
• Blumenvase
• Konfektkasten
• Chiffriergerät
• Astronomisches Kompendium
• Tischuhr
• Kasten mit Spielsteinen
• Lieder- und Spielesammlung mit Jagdtraktat
• Trinkgefäss
• Schuber mit Schneidebrettchen
• Reliquienanhänger
• Schreibzeug 'der heiligen Teresa'
• Behältnis für Miniaturbücher
• Pistolenversteck
• Behältnis für Duftstoffe
• Kollektebüchse
• Regal
• Besteckkasten
• Schönheitsetui mit Zahnbürste
• Ofen
• Schreibtisch
• Vogelorgel
• Camera obscura
• Schubladenkasten mit Gemmenabgüssen
• Holzproben
• Farbenkasten
• Souvenir
• Toilettenstuhl
• Kasten mit chirurgischen Instrumenten
• Taschenapotheke
• Schreibzeug Goethes
• Nähkästchen
• Beschneidungsset
• Fotoapparat
• Kassette mit Stereofotografien
• Keksdose
• Feuerzeug
• Whiskey-Versteck
• Gussform für Ahornzucker
• Rosenkranzschatulle
• Puderdose
• Spardose
• Kunstwerk
• Architektur
• Joint-Kiste
• Lampe
• Kissen
• Laptoptasche
• Bibliografie
• Bildnachweis
• Autorinnen und Autoren
• Impressum

• Introduction *
• 1. Places of Worship *
• 2. Places of Work and Leisure *
• 3. Places of Learning * Bibliography.
• (source: Nielsen Book Data)

Luke Hughes & Company's enduring and meticulously engineered furniture, an eloquent response both to the architecture it inhabits and to the true Arts and Crafts spirit, has been placed at the forefront of the 'craft-led renaissance in British manufacturing.' Flexible in use, commercially viable and environmentally sustainable, the work furnishes many of the world's most distinguished buildings, from Westminster Abbey, the Tower of London and most of the Oxford and Cambridge University colleges to the Keystone Academy in Beijing and one of New York City's most vibrant synagogues. Through an introduction to the studio and 25 case studies, Furniture in Architecture explores the company's place in the Arts and Crafts tradition and examines the philosophy and work of founder Luke Hughes. Aidan Walker sheds light on how the studio balances modern manufacturing technologies with abiding craft values, rendering the small furniture workshop a relevant and profitable proposition even when fulfilling large-scale commissions. This fascinating survey defines the elements of successful design and addresses the meaning of craft and craftsmanship in the digital age.
(source: Nielsen Book Data)

• Introduction
• Catalogue
• Baetica
• Brindisi
• Thasos
• Chios
• Kos
• Knidos
• Rhodes
• Pamphylia
• Egypt
• Comment
• Kos and Knidos
• Rhodes
• Unprovenanced
• Index of names
• Rhodian seconday stamps
• Symbols (Rhodian unless otherwise stated)
• Plates
• Bibliography.
• (source: Nielsen Book Data)

Henry Hunter Calvert died at his family house at Cannakale in 1880 a few months after escaping from the rioting in Alexandria where he was British consul. The consulate was sacked and his collections destroyed. He had however sent an annotated list of his Greek amphora stamps to the British Museum, presumably to Charles Newton, with whom he and his brother Frank had frequent correspondence. This list was forgotten until the present writer 'found' it in a box-file in the Department of Greek and Roman Antiquities (its title at the time). Henry Hunter Calvert's Collection of Amphora Stamps and that of Sidney Smith Saunders publicly presents that material.
(source: Nielsen Book Data)

• Introduction * Necklines and Shoulders * Headwear * Sleeves * Waists * Waist Accessories * Hems * Lining and Undergarments * Footwear * Further Reading * Glossary * Picture Credits * Acknowledgments * Index.
• (source: Nielsen Book Data)

Bringing together more than 100 items of clothing, this book reveals the intricacies of Japanese dress from the 18th century to the present. Including garments for women, men and children, the details have been selected both for their exquisite beauty and craftsmanship, and for how much they impart about the wearer's identity, be it age, status or taste. A comprehensive introduction, illuminating the main periods and key themes of Japanese fashion history, is followed by thematic chapters that cover all aspects of clothing, from hair accessories and necklines to hemlines and shoes. Each garment or object is accompanied by a short text exploring its structure and the fascinating range of decorative techniques employed, including embroidery, weaving, lacquering, stencilling, dyeing and digital technology. Specially commissioned detail photography and line drawings provide an invaluable resource for Japanophiles, students, collectors, designers and lovers of fashion and world dress.
(source: Nielsen Book Data)

• Leihgeber und Dank
• Vorwort / Josef Helfenstein und Anita Haldemann
• Aufsätze
• Wie "Tannenzapfen im Schwarzwald" : Schweizer Glasgemälde und ihre Vorzeichnungen im 16. Jahrhundert / Ariane Mensger
• Ausbildung : Werkstatt : Handel : Die Arbeitsbedingungen der Glasmaler als Zunfthandwerker / Marina Beck
• Hans Holbein d. J. als Entwerfer von Glasgemälden : Fragen der Autorschaft und Rezeption / Christian Müller
• Die Universität im Glasbild / Martin Möhle
• Katalog
• Die Anfänge : Unter dem Einfluss von Meister E.S. und der Strassburger Werkstattgemeinschaft : Kat. 1-2
• Variation und Kombination : Hans Süss von Kulmbach zeichnet für die Hirschvogel-Werkstatt : Kat. 3-7
• Eidgenössische Kämpfer, sinnliche Frauen und reformatorischer Furor : Kat. 8-12 / Niklaus Manuel
• Profanes und Religiöses : Kat. 13-19 / Urs Graf
• Standesscheiben für das neue Rathaus : Kat. 20 / Antoni Glaser
• Die Erschliessung des Raumes : Kat. 21-47 / Hans Holbein d. J.
• Zunftstolz im Zeichen Holbeins : Kat. 48 / Balthasar Han
• Niederländischer Glasmaler und Sektenführer : Kat. 49-57 / David Joris
• Holbeinsche Tradition mit manieristischer Prägung : Kat. 58-67 / Ludwig Ringler
• Universalkünstler mit grossem Einfluss : Kat. 68-76 / Tobias Stimmer
• Rollwerkrahmen und Doppelprojekte : Kat. 77-79 / Hans Brand
• Vielbeschäftigter Entwerfer unter dem Einfluss Tobias Stimmers : Kat. 80-83 / Daniel Lindtmayer d. J.
• Im Dienste Leonhard Thurneyssers : Kat. 84-88 / Christoph Murer
• Erfindungsreichtum und Werkstatteffizienz : Kat. 89-92 / Hans Jakob Plepp
• Ausklang des Booms : Kat. 93-95 / Hieronymus Vischer
• Anhang
• Beobachtungen zur Übertragungstechnik an Scheibenrissen : Annegret Seger / von Hans Jakob Plepp
• Bibliographie
• Abbildungsnachweis
• Impressum

• Preface and Glossary Magnificence and princely virtue The Jewel House The King's Inheritance 'Heaven Smiles, Earth Rejoices' 'Defender of the Faith': Spectacle and the Church Royal Banquets 'Rich, Fierce, and Greedy for Glory' Thomas Wolsey, Patron of Goldsmiths The Field of Cloth of Gold Holbein and the 'Antique' The Family Silver Cromwell, the Tower and the Goldsmiths Dissolution and augmentation 'Most Avaricious of Men' 'Sic Transit Gloria Mundi': The Fate of Henry VIII's Plate and Jewels Bibliography Index.
• (source: Nielsen Book Data)

Henry VIII amassed the most spectacular collection of gold and silver of any British monarch. Plate and jewels were hugely prominent in medieval and Renaissance courts and played an essential role in dynastic marriages and diplomacy as well as in cementing the bonds between king and court. Ranging from plain domestic wares to extraordinary bejewelled works of art, Henry's collection embraced virtuoso continental objects as well as vast quantities of plate commissioned from London goldsmiths or inherited from his father. But nearly all of these holdings were destroyed over the following century, and of the thousands that he owned no more than a handful have survived to modern times. This book makes use of the wealth of surviving documentation - inventories, drawings, lists of payments, dispatches by foreign ambassadors and other records - to explore this lost collection and the light it sheds on the monarchy. Starting with an assessment of the young king's inheritance from his father, the book considers the role of plate at state banquets, in great church services and in the regular exchange of gifts between courtiers and ambassadors; the role of plate and jewels as a potent symbol of power; how the king used confiscation as an instrument of humiliation of those who fell from grace, including Cardinal Wolsey and Katherine of Aragon; and how Henry's avaricious seizure of church plate towards the end of his life throws light on his changing character. While the focus is on plate and goldsmiths' work, the context ranges from court ceremonial to rivalry between princes, the role of the church, the vulnerability of persons and institutions with covetable assets, and relations between the king and his own family. Bringing the existence and significance of these lost riches back to life, the book sheds new light on Henrician and Tudor court culture. TIMOTHY SCHRODER was Curator of Decorative Arts at the Los Angeles County Museum and a Consultant Curator at the Victoria and Albert Museum. Current or recent roles include Prime Warden of the Goldsmiths' Company, President of the Silver Society and a Trustee of the Wallace Collection. Publications include English Domestic Silver, The Gilbert Collection of Gold and Silver and British and Continental Gold and Silver in the Ashmolean Museum.
(source: Nielsen Book Data)

• Les enfants du limon
• Lieux de mémoire
• Terres à la dérive
• Paroles de voyageurs, du début du XVIIIe à la fin du XIXe siècle
• De l'orientalisme au japonisme
• De la poterie avant toute chose
• A la recherche de l'argile perdu : Proust et Mallarmé
• Le japon à l'exposition de 1878
• Des poteries "homériques" ?
• Tours et détours : orientalisme et régionalismes
• Les "demoiselles d'Avignon".

"Voisine de Troie, la ville de Çanakkale, dans le détroit des Dardanelles, s'illustra depuis le XVIII siècle par ses céramiques qui s'exportaient dans tout le Levant. Sous l'influence des fouilles de Schliemann, certains voyageurs s'en entichèrent au point d'y voir les descendantes des poteries homériques. En France, l'engouement pour cet art de terre coïncide avec la revalorisation des faïences traditionnelles après la défaite de 1870, encouragée par le mouvement des Arts & Crafts et par le japonisme : ni Mallarmé, ni Proust n'y furent indifférents. En Grèce et en Turquie, l'artisanat ottoman qui émerveillait Hans Christian Andersen ou Gustave Flaubert symbolise le monde d'avant les événements tragiques de 1922. Lieu de mémoire et catalyseur des passions, cette modeste production rassemble ou divise encore sur les deux rives de la mer Égée, où elle est soumise à une idéologisation de la nostalgie. L'archéologie culturelle est l'objet de cette étude comparatiste qui revendique le mélange des genres, seul apte à appréhender les discours qui ont conditionné l'appropriation, la réception et l'exposition de ce patrimoine."--Page 4 of cover.

• Préface / Antoine Verney
• Introduction / David Bates et Xavier Barrai i Altet
• Histoire de la Broderie depuis la fin du Moyen Âge
• La Broderie, la conquête de l'Angleterre et l'Europe du XIe siècle
• La Broderie-et les historiens des XIe et XIIe siècles
• La-commande de la Broderie dans un contexte transmanche
• La commande de la Broderie à la lumière de Baudri de Bourgueil et d'Adèle de Blois
• La Broderie, culture matérielle et vie quotidienne
• La Broderie de Bayeux, fruit de l'héritage culturel antique et carolingien
• Les stratégies narratives
• Des images pour entourer l'histoire : le rôle des bordures
• Conclusion / Xavier Barrai i Altet et David Bates.

"Entièrement brodée à l'aiguille en fils de laine colorés, la Tapisserie de Bayeux relate sur près de 70 mètres de longueur la conquête du royaume d'Angleterre par le duc Guillaume de Normandie en 1066. Remarquablement conservé, ce chef-d'oeuvre du Moyen Âge récèle aujourd'hui encore de nombreuses énigmes, ici posées et débattues par deux experts. Au-delà d'une page mémorable de l'histoire, la Tapisserie apparaît comme une précieuse fenêtre ouverte sur les réalités matérielles de l'époque médiévale : la guerre avec ses navires, armures et armes ; mais aussi, le mode de vie quotidien à travers l'architecture, l'habillement, l'alimentation, la charpenterie, la cuisine ou encore les animaux domestiques. C'est également un formidable miroir de l'imaginaire collectif du temps au travers la multitude de scènes à l'iconographie profane ou religieuse qui l'agrémentent. Les messages qu'elle délivre ont une portée universelle. Sous quelque angle qu'on la contemple et l'interprète, elle continue - et continuera longtemps - de passionner et de séduire."--Page 4 of cover.

In Transcending Patterns: Silk Road Cultural and Artistic Interactions through Central Asian Textiles, Mariachiara Gasparini investigates the origin and effects of a textile-mediated visual culture that developed at the heart of the Silk Road between the seventh and fourteenth centuries. Through the analysis of the Turfan Textile Collection in the Museum of Asian Art in Berlin and more than a thousand textiles held in collections worldwide, Gasparini discloses and reconstructs the rich cultural entanglements along the Silk Road, between the coming of Islam and the rise of the Mongol Empire, from the Tarim to Mediterranean Basin. Exploring in detail the iconographic transfer between different agents and different media from Central Asian caves to South Italian churches, the author depicts and describes the movement and exchange of portable objects such as sculpture, wall painting, and silk fragments across the Asian continent and across the ages. Gasparini's history offers critical perspectives that extend far beyond an outmoded notion of "Silk Road studies." Her cross-media work shows readers how certain material cultures are connected not only by the physical routes they take but also because of the meanings and interpretations these objects engage in various places. Transcending Patterns is at once art history, material and visual cultural history, Asian studies, conservatory studies, and linguistics.
(source: Nielsen Book Data)

A detailed study of Tudor textiles, highlighting their extravagant beauty and their impact on the royal court, fashion, and taste At the Tudor Court, textiles were ubiquitous in decor and ceremony. Tapestries, embroideries, carpets, and hangings were more highly esteemed than paintings and other forms of decorative art. Indeed, in 16th-century Europe, fine textiles were so costly that they were out of reach for average citizens, and even for many nobles. This spectacularly illustrated book tells the story of textiles during the long Tudor century, from the ascendance of Henry VII in 1485 to the death of his granddaughter Elizabeth I in 1603. It places elaborate tapestries, imported carpets, lavish embroidery, and more within the context of religious and political upheavals of the Tudor court, as well as the expanding world of global trade, including previously unstudied encounters between the New World and the Elizabethan court. Special attention is paid to the Field of the Cloth of Gold, a magnificent two-week festival-and unsurpassed display of golden textiles-held in 1520. Even half a millennium later, such extraordinary works remain Tudor society's strongest projection of wealth, taste, and ultimately power.
(source: Nielsen Book Data)

• Portugal Le verre au Portugal au Moyen Âge : état de la recherche
• Teresa Medici
• Italie Le verre au Moyen Âge en Italie (VIIIe-XVIe siècles) : état des connaissances et mise à jour
• Marina Uboldi, Simone Lerma, Alessandra Marcante, Teresa Medici, Marja Mendera
• A review of medieval glass compositions from northern and central Italy : a statistical approach
• Alberta Silvestri, Marco PescarinVolpato, Alessandra Marcante
• Slovénie et Balkans An overview of the medieval glass in Slovenia and the Balkans Irena Lazar
• Allemagne et Archéologie en Westphalie (Allemagne) : témoignages du mobilier en verre Nord Alpes dans les sites royaux et princiers (VIIIe-XVe siècles)
• Svevo Gai
• Gobelets à gouttes rapportées (XIIIe et XIVe siècles). Quelques exemplaires du Nord des Alpes et leur interprétation
• Erwin Baumgartner
• Canada La diffusion du verre européen sur les sites coloniaux français en Amérique du Nord à l'aube des Temps modernes, un état de la question
• Agnès Gelé, Adelphine Bonneau
• France
• Nouvelle Aquitaine Les verres décorés d'émail, de filets blancs ou "dorés" dans le sud de la France : état de la documentation archéologique et historique
• Catherine Hébrard-Salivas, Isabelle Commandré
• Occitanie Le mobilier en verre découvert à Toulouse et dans sa région à travers 15 ans d'archéologie; évolution du verre, particularités locales et questions de chronologie Sophie Cornardeau
• Provence-Alpes La couleur dans la verrerie languedocienne à la charnière des XIIIe et XIVe siècles
• Côte D'azur Danièle Foy
• Conditions de création et organisation des ateliers de verriers en Roussillon (1350-1650)
• Denis Fontaine, fordi Mach
• Une commande très détaillée de verres provençaux en 1487 pour le marché sicilien
• Philippe Bernardi, Danièle Foy
• Nouvelles données sur le verre du XIVe siècle en Provence : le couvent royal des Dominicaines de Notre-Dame-de-Nazareth à Aix-en-Provence
• Mathilde Patin
• Des accessoires de la ceinture à décor d'architecture du XIVe siècle : rares cas d'association de pièces en alliage cuivreux et de verre peint
• Olivier Thuaudet, Andreas Hartmann-Virnich
• Auvergne Verrerie des XVe-XVIe siècles à Lyon : les sites de l'Hôtel-Dieu et de la place Rhône-Alpes Abbé-Larue
• Laudine Robin
• Bourgogne Les vitraux du haut Moyen Âge de Baume-les-Messieurs (Jura, France) : Franche-Comté contexte stratigraphique, analyses archéométriques et mesures conservatoires
• Carine Bayai, Sébastien Sully, Claudine Loisel, Line Van Wersch, Umberto Veronesi
• Réflexion sur les premières verreries du comté de Bourgogne, la Vieille Loye, Courtefontaine et d'autres sites, des XIe-XIIe siècles au début du XVIe siècle
• Jacky Theurot
• Les verres utilisés à Besançon (Doubs) aux XIVe et XVe-siècles-7quelques découvertes inédites et leurs contextes
• Claudine Munier
• Centre-Val de Loire De nouvelles formes en verre à Orléans de la seconde moitié du XVe à la première moitié du XVIe siècle : regards croisés entre typologie et analyses
• Magalie Guérit, Bernard Gratuze, Pascal Joyeux
• Île-de-France Le verre issu des fouilles archéologiques des collèges médiévaux parisiens : état de la recherche et problématiques
• Catherine Brut, Maria Teresa Penna

• Pays de Loire Le verre creux du Ville au Xe siècle dans la vallée de la Loire moyenne et de la Vienne. Essai typo-chronologique et archéométrique
• Céline Aunay, Amélie Aude Berthon, Bernard Gratuze, Magalie Guérit, James Motteau, Inès Pactat
• Normandie Des artisans du verre dans le bourg monastique de Jumièges (Normandie, France)
• Inès Pactat, Gilles Deshayes, Bernard Gratuze, Yves-Marie Adrianiacques Le Maho
• Bretagne Les verres médiévaux du réfectoire du couvent des Jacobins à Rennes Françoise Labaune-Jean, Gaétan Le Cloirec, Stéphane Jean
• Hors cadre Les contenants en verre du copiste et du peintre (XIVe - XVe siècles) géographique Claudine Brunon.

"Le 8e colloque international de l'AFAV, tenu à Besançon en décembre 2016, a regroupé un grand nombre de spécialistes du verre médiéval. Présentées dans ces actes, les communications renouvellent, grâce à une approche interdisciplinaire, les études menées sur un matériau qui a intéressé les archéologues, les historiens, les archéomètres, les verriers et les restaurateurs-conservateurs. Elles proposent une synthèse de nos connaissances sur le verre des VIIIe XVIe siècles au Portugal, en Italie, Slovénie et dans les Balkans, et plus ponctuellement dans des régions suisses, allemandes et françaises, sans omettre les échanges avec le Nouveau Monde (Canada) pour la fin de la période considérée."--Page 4 of cover.

• Les vitraux d'Occitanie
• Languedoc-Roussillon / Michel Hérold
• Aude
• Gard
• Hérault
• Lozère
• Pyrénées-Orientales
• Midi-Pyrénées / Françoise Gatouillat et Jean-Pierre Blin
• Ariège
• Aveyron
• Haute-Garonne
• Gers
• Lot
• Hautes-Pyrénées
• Tarn
• Tarn-et-Garonne
• Les vitraux de la région Sud Provence-Alpes-Côte d'Azur / Michel Hérold avec la contribution de Véronique David
• Alpes de Haute-Provence
• Hautes-Alpes
• Alpes-Maritimes
• Bouches-du-Rhône
• Var
• Vaucluse.

"Le volume XI du Recensement des vitraux anciens de la France marque une étape décisive vers l'achèvement d'une ambitieuse entreprise : la publication exhaustive des vitraux antérieurs à la Révolution encore conservés, ou documentés dans notre pays. Les richesses de deux vastes régions, Occitanie et Provence-Alpes-Côte d'Azur, se rapportent à des espaces dans lesquels les vitraux sont souvent considérés comme absents, à l'exception notable des célèbres verrières de Sainte-Marie d'Auch. Aborder l'histoire du vitrail dans le Midi c'est en effet s'interroger sur son importance dans l'ensemble de la vie artistique. C'est aussi prêter une attention particulière aux troubles religieux du XVIe siècle, à l'origine de destructions parfois radicales. Mais, le corpus d'oeuvres ici rassemblé pour la première fois est en mesure de refonder la connaissance du vitrail méridional. Le vitrail est présent dans les grandes cathédrales, à Aix, à Carcassonne, considéré par Viollet-le-Duc comme le plus remarquable ensemble du sud de la France, à Narbonne, Rodez, ou Toulouse. Preuve est faite par l'exemple que les meilleurs artistes provençaux, tel Enguerrand Quarton, ont aussi peint sur le verre. Les découvertes de l'archéologie montrent ses débuts au haut Moyen Âge à Marseille. Son épanouissement est partout à la fin du Moyen Âge et à la Renaissance, dont témoignent la centaine de sites étudiés. Le vitrail civil n'est pas en reste, du vitrage du palais des papes à Avignon, à celui des maisons médiévales de Cahors ou de Figeac. Les historiens des collections découvriront les ensembles réunis par un peintre, François-Marius Granet, un industriel, Maurice Fenaille, ou par Béatrice Ephrussi de Rothschild. Ainsi, professionnels du patrimoine et amateurs peuvent-ils désormais s'emparer de l'outil incontournable que forme le présent inventaire. Les vitraux du midi de la France sont prêts à trouver toute leur place dans l'histoire de l'art."--Page 4 of cover.

This inspiring book chronicles the most influential ideas that have shaped industrial and product design. Written by two experts on modern design, it provides both a concise history of the subject, and offers a fascinating resource to dip into for the general reader. From the origins or modern design in the craft movements of the 19th and early 20th century and the changes brought about by mass production, the book traces the most important ideas in design through the modern movement and post-war consumer society to more recent ideas such as Open-Source Design and Biomimicry. Arranged in a broadly chronological order, the ideas are presented through fascinating text and arresting visuals, 100 Ideas that Changed Design explores when each idea first evolved and the subsequent impact it has had up to the present day.
(source: Nielsen Book Data)

White not only plays an important role in Japanese culture in general but also in the work of designer Kenya Hara. In 100 Whites, Hara gives one hundred specific examples of white-such as snow, Iceland, rice, and wax. On the basis of these examples he discusses the importance of white in design-not only as a color but as a philosophy. Hara describes how he experiments with the different whites he mentions, what they mean in the process of his work, and how they influence design today. 100 Whites is the extension of his previously published book White. The new publication explores the essence of white, which Hara sees as symbolizing simplicity and subtlety.
(source: Nielsen Book Data)

This book is a tool kit to create new forms. It deals with grid-based design and gives the reader techniques to develop new forms, fonts, logos, and patterns. The concept represents a design process in which individual decisions follow much larger and deeper principles than immediate and spontaneous-intuitive actions. Using a wide variety of examples, each chapter contains a detailed description of the procedure from form analysis to setting up design rules and their application. Both a workbook and a source of inspiration, this publication provides designers and architects with the tool they need to find analytical forms-analog, algorithm-based, exploratory but never of arbitrary origin. The procedures described allow an almost infinite number of possibilities. The designer is thus transformed from inventor to interpreter or curator, who assesses individual forms for logos, fonts or patterns on the fly and ensures that the design process is always efficient and goal-oriented.
(source: Nielsen Book Data)

• Brought to light: digging in and around Rome
• Marketing antiquities: marketplaces, companies, and shops
• Acquiring meanings, gaining value: antiquarians and the market for antiquities
• From restoration to sale: antiquities in sculptors' workshops
• The price of collecting: acquiring antiquities in sixteenth-century Rome
• The other side of the coin: collecting meets illegality
• Exporting antiquities: the rules and the practice.

Barbara Furlotti presents a dynamic interpretation of the early modern market for antiquities, relying on the innovative notion of archaeological finds as mobile items. She reconstructs the journey of ancient objects from digging sites to venues where they were sold, such as Roman marketplaces and antiquarians' storage spaces; to sculptors' workshops, where they were restored; and to Italian and other European collections, where they arrived after complicated and costly travel over land and sea. She shifts the attention away from collectors to the elusive peasants with shovels, dealers and middlemen, and restorers who unearthed, cleaned up and repaired or remade objects, recuperating the role these actors played in Rome's socioeconomic structure. Furlotti also examines the changes in economic value, meaning, and appearance that antiquities underwent as they moved from person to person during their journey and as they reached the locations in which they were displayed. Drawing on vast unpublished archival material, she offers answers to novel questions: How were antiquities excavated? How and where did peasants, merchants, and agents trade them? How was a price agreed upon between sellers and buyers? How were laws about the ownership of ancient finds made, followed, and evaded?
(source: Nielsen Book Data)

"A dix ans, Antoine de Jacquelot commence à dessiner et oriente ses études en ce sens. Après les Beaux-Arts de Bourges, c'est à l'école des Métiers d'Art de Paris où il est l'élève de René Perrot et de Maurice André qu'il développe son goût pour la Tapisserie. Il s'installe alors dans la maison familiale du Berry où il va mener de front le métier d'agriculteur et la carrière d'artiste, l'un l'aidant à vivre, l'autre à rêver. Antoine de Jacquelot va dès lors devenir un peintre animalier et se tourner résolument vers la Tapisserie pour retranscrire son bestiaire sur le mur. Avec plus d'une centaine de maquettes et de cartons dessinés pour Aubusson, Antoine de Jacquelot fait partie du cercle privilégié des cartonniers figuratifs. Parallèlement, il va aussi dessiner pour la maison Hermès. Une dizaine de ses dessins ont ainsi donné naissance à des carrés. Cette exposition hommage réunira donc des oeuvres personnelles et celles pour Hermès et pour Aubusson."--Page 4 of cover.

• Presentación
• Arpilleras: Arte poblacional como testimonio y simbolo
• Fundación Solidaridad
• Isabel Morel
• Genevieve Jacques
• PIDEE
• Carmen Waugh
• Pauline Waugh
• Kinderhilfe ChileBonn
• Lisa Voionmaa - Marijke Oudegeest
• Maria Paz Santinañez
• Arpilleras de Chile de la fundación Helias y Carmen Alegria
• Dieter Maier
• María José Bunster
• Rosemary Baxter
• Gabriela Videla Gonzalez
• Florrie Snow
• Anne Lamouche
• Memch Los Angeles
• Sheila Reid
• Francoise de Menthon
• Carolina Lehmann
• Mireya Moreno
• Belgica Castro
• Gloria Torres
• Fundación Solaridad
• Taller de Arpilleria Prais
• Agrupación de familiares de detenidos desaparecidos de Parral
• Silvia Canovas Mesa
• Sonia Toledo Loaiza
• Silvia Fernandez Stein
• English version

The arpilleras (a brightly colored patchwork picture made predominantly by groups of women) have a special ability to confront opposite symbols. We see pigeons, newborn children and nature, but we also see cemeteries, blood and repressive agents. Thus, this expression that was born as a form of union between the victims of the Pinochet dictatorship has transcended the conjuncture to become one of the most moving examples of artistic sensitivity, courage and solidarity. This catalog of the arpilleras collection of the Museum of Memory and Human Rights invites you to understand and value in work done by women from all over Chile who, overcoming all difficulties, managed to cross the borders and today represents an inescapable testimony of an era in which life was stronger than death

• L'art royal d'Abomey entre les XVIIe et XIXe siècles
• Le contexte
• Généralités
• Abomey cosmopolite
• Des frontières flottantes : les grands conflits et la place de la traite
• Le roi, le gouvernement et le vaudou
• L'interaction entre la royauté et les vaudous
• Les figures allégoriques : du langage aux artefacts
• La place de l'image à Abomey sous la royauté
• Le mythe fondateur de la monarchie décryptable sur les artefacts
• L'image du roi
• Les regalia
• Les vaudous, Legba et Fa dans l'art de cour
• Les images militaires et historiques
• Les images royales disparues
• La place politique et sociale de l'art de cour
• La mise en espace du trésor royal
• Les artistes et le roi
• Le contact
• Les relations de voyage et le trafic d'esclaves
• Les premiers témoignages européens
• Limage du roi dans l'iconographie européenne
• L'art de cour d'Abomey en Amérique
• L'art de cour d'Abomey dans les témoignages franco-anglais du XIXe siècle précolonial
• Les principaux narrateurs et leurs impressions générales
• Cadeaux et relations diplomatiques
• La perception des cérémonies : condamnations, ostentation et inventaire
• La synthèse iconographique et ethnographie croisée
• La présence chrétienne
• La guerre coloniale et le butin de guerre : 1889-1894
• Opportunités et griefs
• La guerre
• Le colonel puis général Dodds et le roi Béhanzin
• Les forces en présence : la place du Royaume-Uni et de l'Allemagne
• Les protagonistes dans la propagande iconographique à Paris
• La prise de guerre : nouvel inventaire, nouveaux regards
• D'un art de cour sans roi à la patrimonialisation
• Le rayonnement et la différenciation de 1892 à 1960
• L'artefact de conquête dans la culture militaire française
• Du musée à l'exposition : éléments historiques
• Les premiers objets d'Abomey dans les musées parisiens
• La prise de guerre au musée d'Ethnographie du Trocadéro
• L'art de cour d'Abomey muséographié et les missionnaires
• Les objets d'Abomey et l'essor colonial
• Le musée de l'Homme
• Des artistes de l'avant-garde française à la naissance du marché de l'art
• Abomey-Paris-New York
• L'art de cour d'Abomey depuis 1960 et 2000
• Vers une nouvelle définition de l'exposition des objets africains ?
• Les musées publics français
• Les collections privées : du patrimoine familial au collectionneur
• Quelques biographies d'objets
• À Abomey : la transformation des arts visuels.

"Mécènes d'artistes dans l'Afrique précoloniale, les rois du Danhomè (actuel Bénin) ont favorisé depuis le XVIIe siècle, les avant-gardes artistiques dans leur capitale, Abomey, jusqu'à la colonisation française en 1892. Suivre la vie de cet art de cour depuis son lieu de création jusqu'à ceux qui le manipulent et/ou le contemplent, permet de croiser l'histoire d'un puissant royaume africain impliqué notamment dans la traite des esclaves. D'Abomey à Paris, de Londres à Rio de Janeiro, ces objets circuleront de manières différentes, du cadeau diplomatique au don en passant par le butin de guerre. Cette "biographie" de plusieurs centaines d'objets aboméens aborde les différentes méthodes de conservation, d'exposition et de régimes de valeurs sur plus de deux siècles en Afrique, en Europe et en Amérique. Deux temps se distinguent : celui de la royauté et celui au lendemain de la colonisation, où cet art de cour sans roi prend un nouveau virage patrimonial. Cet ouvrage propose une approche de l'objet africain en soulignant aussi bien les enjeux anthropologiques, esthétiques, historiques, muséo-graphiques que politiques."--Page 4 of cover.

Arnold Schwartzman's stunning photographs of the finest examples of Art Deco from all over the world are collected here as a celebration of one of the world's most popular decorative styles. Art deco is the 20th century's most glamorous architectural style, and the one that shaped popular ideas of modern luxury. With over 200 photographs, this is a visual celebration of this very popular style. Unlike most other books on the subject that tend to be regionally specific, this book highlights Art Deco buildings from all over the world, from Australia to South America, with an emphasis on London, Los Angeles, New York, Chicago, Miami, and Paris. Art Deco features much careful and exacting detail, and of special interest in this book are photos that zoom in on murals, mosaics, flooring, ironwork, and other ornamental flourishes. Art Deco began in 1925 and quickly swept the globe becoming the style epitomizing Jazz Age glamor and sophistication. It drew from a variety of influences including ancient Egyptian, Moorish, and Mayan motifs but also modernist movements like Cubism, Fauvism, and De Stijl. Its influence was felt everywhere, from the skylines of New York to Shanghai, and it gained prominence not only with architects and designers but enjoyed a passionate following among the public as well.
(source: Nielsen Book Data)

• Introduction / Claude Courtecuisse et Éric Vandecasteele
• Valeur
• Le souci esthétique de soi en tant qu'autodesign
• D'une imposture l'autre
• Allusions et faux-mouvements
• Les mondanités de l'art : réflexion sur la possibilité d'un design transgressif
• Comment les terra-Étires de l'art sont devenus ceux du design
• Déplacement des objets. Déplacement des regards
• Utopie
• Le goût de l'indistinct
• Bauhaus/Vhutemas. Une histoire parallèle
• La conquête de nouveaux territoires, transfuges et autarcies artistiques
• La promesse d'un ordinaire singulier
• Design : topographie des relations
• Du corps aux objets. Le design comme vecteur d'un imaginaire organique.

"Des utopies d'Arts & Crafts et celles de l'Atelier van Lieshout aux performances d'Issey Miyake, depuis un siècle et demi les liens entre l'art et le design ne cessent pas de se tendre. Le présent ouvrage analyse quelques-unes de leurs convergences, voire de leurs confusions, parmi les plus significatives. Avec les avant-gardes, art et design ont débordé les limites de l'objet. Ils apparaissent désormais tous les deux comme des versions inédites de notre espace commun - aussi bien sa représentation en temps réel que ses lignes de fuite. Le monde tout entier en vient alors à se dérober, recouvert par les images de sa beauté ou de sa cohérence."--Page 4 of cover.

• Introduction-- Raquel A. G. Reyes.- Japanese Export Lacquer and Global Art History: An Art of Mediation in Circulation-- Thomas DaCosta Kaufman.- Paradise in Stone: Representations of New World Plants and Animals on Spanish Colonial Churches in the Philippines-- Raquel A. G. Reyes.- Betel, tobacco and beverages in Southeast Asia-- William Gervase Clarence-Smith.- Domestic Interiors in Seventeenth- and Eighteenth- Century Batavia-- Michael North.
• (source: Nielsen Book Data)

This Palgrave Pivot explores the social and cultural impact of global trade at a micro-level from around 1600 to 1950. Bringing together the collaborative skills of cultural, social, economic, and art historians, it examines how the diffusion of trade, goods and objects affected people's everyday lives. The authors tell several stories: of the role played by a host of intermediaries - such as apothecaries, artisans and missionaries who facilitated the process; of objects such as Japanese export lacquer-ware and paintings; of how diverse artistic influences came to be expressed in colonial church architecture in the Philippines; of revolutionary changes wrought on quotidian tastes and preferences, as shown in the interior decoration of private homes in the Dutch East Indies; and of transformations in the smoking and drinking habits of Southeast Asians. The chapters consider the conditions from which emerged new forms of artistic production and transfer, fresh cultural interpretations, and expanded markets for goods, objects and images.
(source: Nielsen Book Data)

Artisan Bristol is the culmination of interviews and studio visits with some of the city's finest makers, and reveals their personal relationship to the area and how it inspires their work. From ceramicists to glassblowers, silversmiths to textile designers, here traditional methods blend with modern, cutting-edge techniques to create wonderful and unique objets d'art.
(source: Nielsen Book Data)

Artisan Edinburgh is the culmination of interviews and studio visits with some of the city's finest makers, giving a unique insight into their individual workspaces and the inspirations behind their craft. From ceramicists to weavers, silversmiths to kiltmakers, here traditional methods blend with modern, cutting-edge techniques to create wonderful and unique objets d'art.
(source: Nielsen Book Data)

• Le goût précolombien dans la France de la seconde moitié du XIXe siècle
• La "petite soeur latine"
• Construction d'un marché entre l'Amérique latine et la France
• La "latinité"
• Stratégies dénominatives
• Dynamiques identitaires
• De la France vers l'Amérique latine
• Sauvage, acculturé, préhistorique : l'origine de l'homme "précolombien"
• Le Mexique et le Pérou : premières représentations
• L'américanisme
• Les débuts associatifs
• La mise en place d'un réseau de savants
• De la sphère privée à la sphère publique
• La scène artistique comme arme de séduction politique au XXe siècle
• Politiques culturelles France, Mexique, Pérou
• Les missions du ministère des Affaires étrangères français
• Indigénismes mexicain et péruvien
• Vers la reconnaissance artistique
• Un intérêt assumé mais questionné
• Les arts précolombiens et les Surréalistes
• Expositions d'art précolombien en France
• "Exposition d'art américain-latin"
• "Les Arts anciens de l'Amérique"
• Marché de l'art des pièces précolombiennes
• Méthode d'analyse du marché d'art secondaire
• L'objet "primitif" è Drouot
• Un nouveau réseau de "spécialistes"
• Les vendeurs
• Les acheteurs
• Les prix
• De l'authentique au faux
• Arts précolombiens et arts décoratifs de la première moitié du XXe siècle
• Le recueil d'ornements latino-américain
• Stratégies ornementales et politiques
• Elena Izcue
• Elsa Schiaparelli et Jean-Charles Worth
• Renouvellement du décoratif français
• Les céramistes en France
• Ivan da Silva Bruhns
• Deuxième et dernière grande vague : 1937-1945
• Exposition internationale de 1937
• Jean Puiforcat.

"Le point de départ de cette étude se situe en 1875, avec le premier Congrès des américanistes et s'achève en 1945, avec la fin de la Seconde Guerre mondiale et la mort d'un des principaux artistes sélectionnés, Jean Puiforcat. Entre ces deux dates, il s'agit d'appréhender l'histoire des transferts culturels entre le Mexique, le Pérou et la France, en mettant d'abord l'accent sur les liens entre les intérêts diplomatiques et le développement culturel de l'américanisme. À partir de là, le regard se concentre sur l'évolution de la perception française des arts précolombiens au travers de l'analyse des expositions temporaires, du marché de l'art et des revues d'art en France. Cela permet de comprendre comment la réévaluation de ces civilisations a favorisé l'appropriation de motifs précolombiens dans la création décorative en France. Ces phénomènes sont multilatéraux : l'analyse des recueils d'ornements précolombiens et de leur théâtralisation par les gouvernements a permis de mettre en lumière des collaborations internationales, notamment celle de la liménienne Elena Izcue avec la styliste Elsa Schiaparelli. En 2017, cet ouvrage a reçu le prix de thèse de l'Institut des Amériques à Paris."--Page 4 of cover.

• Introduction
• The sentimentalists
• The intuitives
• The arrangers
• The professionals
• The collectors

"Interior designer Nina Freudenberger, New Yorker writer Sadie Stein, and Architectural Digest photographer Shade Degges give readers a peek at the private libraries and bookshelves of passionate readers all over the world, including Larry McMurtry, Silvia Whitman of Shakespeare and Co., Gay and Nan Talese, and Emma Straub. Throughout, gorgeous photographs of rooms with rare collections, floor-to-ceiling shelves, and stacks upon stacks of books inspire readers to live better with their own collections"--Amazon.com

• Foreword Preface and Acknowledgements Beginnings 'Snuff for Dr Walls': the Cobbes in Worcester and London Plans for Collecting and Entertaining The Peacock Service and its Cutlery The Decoration of the Original Peacock Service The Service through later Centuries, Sale and Reassembly
• Appendix I: Transcripts from Worcester and Cobbe archives, accounts and inventories
• Appendix II: Hypothetical tally of the original Peacock Service
• Appendix III: Transcript of Christie's 1920 sale catalogue
• Appendix IV: Known destinations of Cobbe pieces
• Appendix V: A note on the nomenclature of Worcester porcelain pieces
• Appendix VI: Inventory of Worcester blue-scale porcelain from the original service, and re-assembled pieces in Lady Betty's pattern of birds, insects and butterflies.
• (source: Nielsen Book Data)

The early years of the famous Worcester porcelain factory established by Dr Wall have always been a little mysterious, owing to the destruction of the records of the business for this period. Alec Cobbe's discovery of family papers listing the purchases over a period of years of a particularly beautiful and ornate table set have enabled him to give a vivid glimpse of how the factory interacted with its customers. He is able to describe the commissioning of perhaps the largest service of first period Worcester porcelain on record by Thomas and Lady Betty Cobbe for Newbridge House Co. Dublin. It was bought in stages from 1763 as the family travelled from Dublin to Bath each year, stopping at Worcester en route, as other Irish gentry did. The Cobbe service, uniquely in the context of British porcelain, was accompanied by a full set of Irish silver and steel cutlery fitted with Worcester porcelain handles matching the service. The various pieces of porcelain and their historical context are described as well as their painted decoration, and the sources for it. The later history of the service is outlined and its gradual dispersal in the nineteenth century, culminating in a final sale of the remaining pieces lot by lot in a Christie's sale in 1920. This book celebrates Cobbe's reassembly of more than 160 pieces of the original service over a period of more than thirty years and their return to Newbridge following their exhibition in the State Apartments at Dublin Castle. Overall, the book gives an important insight into Irish social life and patronage in the mid-eighteenth century. Alec Cobbe was born in Ireland and still resides in Newbridge House, Co. Dublin, where his ancestors have lived since it was built in the middle of the eighteenth century. He practises as an artist and designer. As a passionate collector, he added to his family's historic collections and assembled the world's largest group of composer-owned keyboard instruments.
(source: Nielsen Book Data)

• Section I: Groundwork. Caravans of gold, fragments in time : an introduction / Kathleen Bickford Berzock
• Uncertain fragments : a divination / Chris Abani
• Views from afar : reading medieval trans-Saharan trade through Arabic accounts / Robert Launay
• The sources of gold : narratives, technology, and visual culture from the Mande and Akan worlds / Ralph A. Austen -- Fragments at risk : the protection of cultural heritage in Mali, Morocco, and Nigeria / Mamadi Dembélé, Ahmed Ettahrir, Youssef Khiara, and Yousuf Abdallah Usman.
• Section II: Sites. The Sahara as a cultural zone / Cynthia Becker
• Sijilmasa's role in the African gold trade / Ronald A. Messier and Abdallah Fili
• Essouk-Tadmekka : a southern Saharan center of the early Islamic camel caravan trade / Sam Nixon
• Gao, a middle Niger city in medieval trade / Mamadou Cissé
• Urbanization and trade networks in the inland Niger Delta / Mamadi Dembélé
• Politics and trade in medieval Northern Nigeria / Detlef Gronenborn.
• Section III: Matter in motion. Gold, ivory, and copper, materials and arts of trans-Saharan trade / Sarah M. Guérin
• Dinars as historical texts : documenting the African gold trade / Ron Messier
• Gold processing at the early Islamic market town of Tadmekka, Mali : preliminary results from experimental replication / Gianluca Pastorelli, Marc Walton, and Sam Nixon
• Medieval glass bead production and exchange / Adidemi Babatunde Babalola
• The written word : Islamic literacy and Arabic manuscripts in West Africa / Mauro Nobili.
• Section IV: Reverberations. Red gold : things made of copper, bronze, and brass / Raymond Silverman
• Gnawa material culture : innovation across the Sahara / Cynthia Becker
• Saharan crossing : the realities of migration today / Galya Ben-Arieh
• Bibliography
• Lenders to the exhibition
• Contributors.

How West African gold and trade across the Sahara were central to the medieval world The Sahara Desert was a thriving crossroads of exchange for West Africa, North Africa, the Middle East, and Europe in the medieval period. Fueling this exchange was West African gold, prized for its purity and used for minting currencies and adorning luxury objects such as jewelry, textiles, and religious objects. Caravans made the arduous journey by camel southward across the Sahara carrying goods for trade "glass vessels and beads, glazed ceramics, copper, books, and foodstuffs, including salt, which was obtained in the middle of the desert. Northward, the journey brought not only gold but also ivory, animal hides and leatherwork, spices, and captives from West Africa forced into slavery. Caravans of Gold, Fragments in Time draws on the latest archaeological discoveries and art historical research to construct a compelling look at medieval trans-Saharan exchange and its legacy. Contributors from diverse disciplines present case studies that form a rich portrayal of a distant time. Topics include descriptions of key medieval cities around the Sahara; networks of exchange that contributed to the circulation of gold, copper, and ivory and their associated art forms; and medieval glass bead production in West Africa (TM)s forest region. The volume also reflects on Morocco (TM)s Gnawa material culture, associated with descendants of West African slaves, and movements of people across the Sahara today. Featuring a wealth of color images, this fascinating book demonstrates how the rootedness of place, culture, and tradition is closely tied to the circulation of people, objects, and ideas. These oefragments in time offer irrefutable evidence of the key role that Africa played in medieval history and promote a new understanding of the past and the present. Published in association with the Mary and Leigh Block Museum of Art, Northwestern University Exhibition schedule: Block Museum of Art, Northwestern University January 26 "July 21, 2019 Aga Khan Museum, Toronto September 21, 2019 "February 23, 2020 Smithsonian National Museum of African Art, Washington, DC April 8 "November 29, 2020.
(source: Nielsen Book Data)

• L'occident méditerranéen et l'expansion grecque en méditerranée
• François Villard, conservateur
• Les choix de François Villard
• François Villard à Marseille
• François Villard à Mégara Hyblaea : un projet novateur
• François Villard, la céramique archaïque et la Sicile
• François Villard et Lipari
• François Villard et les Cyclades : la localisation de la céramique géométrique et orientalisante
• François Villard, historien de la céramique
• François Villard : céramique et colonisation
• Une approche pionnière de la céramologie
• François Villard, professeur à l'Université de Paris X-Nanterre : témoignages
• François Villard et ses travaux sur les collections : entre céramique et grande peinture
• François Villard au Louvre
• François Villard et l'informatisation des collections du département des antiquités grecques et romaines du Louvre
• Le cratère du musée du Louvre CA 4717 : les échos de la grande peinture sur un vase étrusque à décor polychrome
• François Villard et L'Univers des Formes : fragments d'une histoire de la peinture grecque
• François Villard et les vases du Dipylon
• Travailler avec François Villard, d'une réserve à l'autre
• Villard and the Campana Collection ; Euphronios and Smikros
• Des signatures sur les vases
• Les pyxides de marbre peintes : un autre aperçu sur la peinture classique
• Éros dans tous ses États : de l'Étrurie à la Sicile
• Bibliographie de François Villard.

"François Villard (1924-2013) a été un des acteurs majeurs de la construction des savoirs relatifs à la Méditerranée antique, tant sur les terrains de Sicile qu'au Musée du Louvre, dont il dirigea le département des Antiquités grecques et romaines de 1976 à 1983. Les contributions et les témoignages qui composent ce recueil mettent en évidence ses hypothèses et ses choix pionniers, sa connaissance incomparable de la céramique qui, au coeur de ces dynamiques méditerranéennes, lui offre autant d'énigmes à résoudre que d'outils à exploiter : puzzles des fragments conservés dans les collections des musées, indices chronologiques issus du terrain, témoins de l'histoire des ateliers, des lieux de production et d'échanges ou encore supports d'images à déchiffrer. La céramologie est désormais une source à part entière pour l'histoire économique. Mais on constate que parallèlement l'attachement de François Villard à la beauté des formes et des figures, sa réflexion sur l'"esprit de progrès" et sur le geste créateur face aux productions de routine le conduisent à un questionnement sur le statut de l'artiste et sur les rapports entre céramique et grande peinture."--Page 4 of cover.

"Design, architecture, photographie... Il est impossible de restreindre le travail de Charlotte Perriand (1903-1999) à un seul domaine d'expression. Créatrice d'avant-garde, elle rejoint dès 1927. Le Corbusier et devient responsable du mobilier et de l'équipement de l'habitation au sein de son atelier de la rue de Sèvres. Dans un esprit résolument opposé aux Arts décoratifs, ils y créeront, en collaboration avec Pierre Jeanneret, des meubles fondateurs du design moderne. Mais au-delà d'une recherche esthétique, c'est une réflexion politique que mène Charlotte Perriand sur l'habitat, notamment sur la place des femmes dans le foyer. Tout au long de sa vie, elle travaillera avec les mêmes exigences : penser l'espace à partir de l'expérience humaine, s'inspirer des modes de vie et des cultures - en particulier japonaise - pour enrichir ses créations, concevoir l'architecture dans le respect de la nature et rendre accessible au plus grand nombre un véritable art de vivre. Laure Adler livre ici le portrait d'une femme libre, engagée et visionnaire, illustré par de nombreuses photographies issues des archives personnelles de la créatrice."--Page 4 of cover.

The designer Gere Kavanaugh is an irrepressible force of nature who epitomized the craft and folk vibe of the '60s and '70s California design scene and remains a larger-than-life personality today. Raised in Memphis, Tennessee, Kavanaugh became in 1952 only the third woman to earn a degree in Cranbrook Academy of Art's design program. After successful stints as one of GM's so-called Damsels of Design and as director of interiors for Victor Gruen's architecture and planning firm, she opened Gere Kavanaugh/Designs. There, Kavanaugh put her unique stamp on textiles, furniture, toys, graphics, store and restaurant interiors, holiday decor, housewares, and public art-even designing and curating exhibitions. But perhaps her most enduring project has been the joyful, open-ended, ongoing experiment of her own lifestyle and homes, a dream of color and handcraft. Kavanaugh was awarded the AIGA Medal in 2016, recognizing her "prodigious and polymathic approach to design.".
(source: Nielsen Book Data)

In this book, Cristina Filipe offers a critical examination, from a social and art historical perspective, of some of the artists and contexts that contributed to the transformations in Portuguese jewellery from the vanguard of the 1960s to the early twenty-first century - a decisive period in which the term 'jewellery' itself was redefined. In addition, Contemporary Jewellery in Portugal contextualises the international scene, reflecting on how Portuguese artists responded to these external influences. What jewellery was made? Who made it? What were the underlying trends and creative references? These are some of the questions that this book seeks to answer through the analysis of artist interviews and exhaustive factual research, accompanied by a visual narrative mirroring the changes in contemporary jewellery in Portugal.
(source: Nielsen Book Data)

• List of Illustrations
• Notes on Contributors
• Introduction: The Culture of Nature in the History of Design
• Kjetil Fallan
• Part 1: Conceptual Environments
• Design's Ecological Operational Environments
• Simon Sadler
• Pattern Watchers I: Environmental Seeing, c. 1970 Larry Busbea
• Computing Environmental Design Peder Anker
• Ludic Pedagogies at the College of Environmental Design, UC Berkeley, 1966 to 1972 Timothy Stott
• Part 2: Ecotopian Landscapes
• A Cityless and Countryless World: The Total Appropriation of Nature in Victorian Utopias Nathaniel R. Walker
• Clean and Disciplined: The Garden City in Singapore Jesse O'Neill
• Desertification, or Designing New Worlds in the Dust Fattori Fraser
• `There's a World Going on Underground': Ecotopian Realism in Subterranean Design Even Smith Wergeland
• Part 3: Design in the Garden
• Contested Development: ICSID's Design Aid and Environmental Policy in the 1970s Tania Messel
• Power in the Landscape: Regenerating the Scottish Highlands after the Second World War Frances Robertson
• Design for the Garden: Questioning Gardening as Environmentalism Jette Lykke Jensen
• Permanence and Magic: Super-Natural Metaphors of Stainless Steel Nicolas P. Maffei
• Part 4: Design as Ecology
• Forms of Human Environment (1970): Italian Design Responds to the Global Crisis Elena Formia
• Environmental Design Pedagogy in Leningrad in the 1980s Yulia Karpova
• Throwaway Houses: Garbage Housing and the Politics of Ownership Curt Gambetta
• The Unmaking of Autoprogettazione Avinash Rajagopal and Vera Sacchetti
• Index.
• (source: Nielsen Book Data)

The Culture of Nature in the History of Design confronts the dilemma caused by design's pertinent yet precarious position in environmental discourse through interdisciplinary conversations about the design of nature and the nature of design. Demonstrating that the deep entanglements of design and nature have a deeper and broader history than contemporary discourse on sustainable design and ecological design might imply, this book presents case studies ranging from the eighteenth to the twenty-first century and from Singapore to Mexico. It gathers scholarship on a broad range of fields/practices, from urban planning, landscape architecture, and architecture, to engineering design, industrial design, furniture design and graphic design. From adobe architecture to the atomic bomb, from the bonsai tree to Biosphere 2, from pesticides to photovoltaics, from rust to recycling - the culture of nature permeates the history of design. As an activity and a profession always operating in the borderlands between human and non-human environments, design has always been part of the environmental problem, whilst also being an indispensable part of the solution. The book ventures into domains as diverse as design theory, research, pedagogy, politics, activism, organizations, exhibitions, and fiction and trade literature to explore how design is constantly making and unmaking the environment and, conversely, how the environment is both making and unmaking design. This book will be of great interest to a range of scholarly fields, from design education and design history to environmental policy and environmental history.
(source: Nielsen Book Data)

A unique figure in the world of contemporary art, Daniel Brush is in equal measure artist and craftsman. Over the course of forty years, Brush has created an unparalleled body of work, whose scope ranges from large-scale abstract drawings to sculptures in steel, aluminum, and gold. Collected here are more than 150 objects that bring to the fore Brush s astonishing work with jewels. Far from the products of the world of commercial jewelry, these are jewel-encrusted objects of virtue and fantasy that reflect not just the artist s rigorous personal aesthetic and mastery of technique, but his lifelong fascinations with philosophy and Asian thought, and his exhaustive knowledge of the history of precious stones. With photography made of the objects in situ inside Brush s studio in New York City, this book presents not only a catalog of his jewel work to date, but also an ethereal portrait of the artist himself. Housed in a slipcase, with photographs by Takaaki Matsumoto and an illuminating text by Vivienne Becker, this is an intimate study of the work of a master artist and a beautiful object in itself.
(source: Nielsen Book Data)

• Remerciements
• Ante-scriptum
• Une succession d'interprétations
• À bien savoir
• Composantes omniprésentes
• Composantes présentes à plusieurs reprises
• Composantes présentes une seule fois
• La tente et son inscription
• À bien regarder
• Autour des cinq sens
• Autour de la cohérence thématique des tapisseries de La Dame à la licorne
• La lecture des tapisseries de La Dame à la licorne
• La tenture des Chemins de vie
• La vie de plaisir
• La vie active
• La vie contemplative
• La tenture des Arts libéraux
• La Musique
• La tenture des Vertus
• La Vérité
• La tenture du Pouvoir
• La Domination
• Les deux tapisseries à fond rouge non-identifiées du Louvre
• La tapisserie Le péché capital de la Luxure par l'opposition
• La tapisserie La vertu de l'Obéissance par l'initiation
• Datation de la tenture Les Vertus et les Vices
• Le commanditaire des tapisseries
• Les armoiries Le Viste
• Les branches Le Viste
• Aubert Le Viste
• Grand-père de Jean Le Viste de Briandas
• Jean IV Le Viste
• Claude Le Viste
• Fils d'Aimé Le Viste
• Antoine II Le Viste
• Gilbert Le Viste
• Le commanditaire
• L'environnement et les artistes à l'origine de La Dame à la licorne
• La datation et les demeures de La Dame à licorne
• Post-scriptum
• Annexes - Documents d'archives
• Bail de Jean IV Le Viste à Notre-Dame-des-Champs (9/1/1500 n.st.)
• Testament d'Antoinette Le Viste (5/9/1501)
• Testament de Claude Le Viste (8/8/1505)
• Érection de la seigneurie de Fresnes en châtellenie (28/5/1517)
• Foi et hommage rendus par Antoine II Le Viste (20/12/1526)
• Marché d'Antoine H Le Viste pour la verrière (18/9/1532)
• Délivrance des titres par Ch. Briçonnet à Jeanne Le Viste (13/4/1540)
• Inventaire des châteaux de Jaligny, La Palice et Montaigu-le-Blin (7-16/11/1595)
• Inventaire de partage des meubles d'Éléonore de Chabannes (19/3/1597)
• Index des noms de personnes, de lieux et d'oeuvres d'art
• Références bibliographiques
• Sources manuscrites
• Sources imprimées.

"En dépit de la renommée de la tapisserie de La Dame à la licorne, aucune recherche exhaustive ne lui avait été consacrée jusqu'alors. Embrassant à la fois les domaines historique, artistique, iconologique, héraldique et généalogique, cette étude comble ce manque et répond à de nombreuses questions que pose cette oeuvre médiévale demeurée mystérieuse. Le résultat de cette recherche méthodique fut inattendu, même pour son auteur : il ne s'agit en effet pas d'une tenture, c'est-à-dire d'un groupe homogène de tapisseries, comme on le pensait jusqu'alors. La thèse soutenue ici est qu'il s'agit d'éléments assemblés issus de groupes différents sans aucun rapport thématique avec les cinq sens, interprétation officielle actuellement la plus répandue de ces scènes allégoriques. Cette importante monographie, enrichie de 267 illustrations, est en bonne partie fondée sur des manuscrits d'archives, et prolonge les travaux antérieurs de l'auteur sur la famille Le Viste, commanditaire de cette oeuvre majeure désormais présentée au Musée de Cluny (Musée national du Moyen Age)."--Page 4 of cover.

The story of the Norman Conquest and the Battle of Hastings as shown in the Bayeux Tapestry is arguably the most widely-known in the entire panoply of English history, and over the last 200 years there have been hundreds of books portraying the Tapestry and seeking to analyse its meanings. Yet, there is one aspect of the embroidery that has been virtually ignored or dismissed as unimportant by historians - the details in the margins. Yet the fables shown in the margins are not just part of a decorative ribbon, neither are they discontinuous, but in fact follow-on in sequence. When this is understood, it becomes clear that they must relate in some way to the action shown on the body of the Tapestry. After careful examination, it has become clear that the purpose of these images is to amplify, elaborate or explain the main story. In this ground-breaking study, Arthur Wright reveals for the first time the significance of the images in the margins. This has meant that it is possible to see the 'whole' story as never before, enabling a more complete picture of the Bayeux Tapestry to be constructed. This, in turn, has led to the author re-examining many of the scenes in the main body of the work, showing that a number of the basic assumptions, so often taught as facts, have been based on nothing more than reasoned conjecture. It might be thought that after so much has been written about the Bayeux Tapestry there was nothing more to be said, but Decoding the Bayeux Tapestry shows us just how much there is still to be learnt.
(source: Nielsen Book Data)

• Intro
• SECTION I: Lying: Lying down to receive
• A Shift of Attention Louise St. Pierre
• "Towards.... Something More Liveable" A Moth Journey. Katherine Pogson
• An Unexpected Rapport: Mushrooms, a Designer + Everyone Else Avery Shaw
• Sitting in Trees Marcus Denomme
• Co-creating with a Tick Eugenia Bertulis
• SECTION II: Sitting: Sitting to open dialogue
• Hybrids. Others/Selfies Li Joensson, Tau Ulv Lenskjold Poem: `Zoology' by Neil Bennun
• Narrating the Impression. Paola Sturla
• Thick Description Through Visualisations - Towards New Representations of Nature Jana Thierfelder
• Learning from Harakeke - Towards a Network for Textile Design in Aotearoa New Zealand Faith Kane, Huhana Smith, Rangi Te Kanawa and Tanya Maree Ruka Te Miringa Te Rorarangi and Angela Kilford
• Becoming-with Vegetal: Sympoietic Design Practice with Plant Partners Raune Frankjaer
• To Name is to Value Anette Lundebye
• Design and Nature: A History Louise St Pierre
• Part one: Foundation
• Part two: Ecological Design as Mastery
• Part three: Bio this...and Bio that
• Part four: Moving Forward
• SECTION III: Standing: Standing to achieve a view
• Short-comings and Vulner-abilities Markus Wernli
• Living Landfill Katarina Dimitrijevic
• Design and Nature as Seen through Fur: Systems of Manipulation and Care Else Skjold, Frederik Larsen
• Bully Goes Fishing Erik Sandelin
• Dirty design (or A bloody mess) - In celebration of life affirming design Mathilda Tham
• SECTION IV: Walking: Walking to move
• Earthbond Prototyping, a Method for Designers to Deepen Connections to Nature Zach Camozzi
• Design Students in Sustainable Systems Timo Rissanen & Laura Sansone
• Design on the Wing: Collaborative Work with Nature Cameron Cartiere & Nancy Holmes
• We Become Gardeners After All. Clara Vankerschaver
• A Nourishing Dialogue with the Material Environment Maarit Makela
• The Poetics of Cultural Landscapes through Ecological Wisdom Alyssa Schwann
• Antarctica SE3: a Conversation on Designing with Care Sarah Pennington & Eleanor Margolies
• Folding In Kate Fletcher
• Conclusion.
• (source: Nielsen Book Data)

Organised as a dialogue between nature and design, this book explores design ideas, opportunities, visions and practices through relating and uncovering experience of the natural world. Presented as an edited collection of 25 wide-ranging short chapters, the book explores the possibility of new relations between design and nature, beyond human mastery and understandings of nature as resource and by calling into question the longstanding role for design as agent of capitalism. The book puts forward ways in which design can form partnerships with living species and examines designers' capacities for direct experience, awe, integrated relationships and new ways of knowing. It covers: * New design ethics of care * Indigenous perspectives * Prototyping with nature * Methods for new design and nature relations * A history of design and nature * Animist beliefs * De-centering human-centered design * Understanding nature has power and agency Design and Nature: A Partnership is a rich resource for designers who wish to learn to engage with sustainability from the ground up.
(source: Nielsen Book Data)

• List of figures List of contributors Foreword Barry Curtis, Royal College of Art, UK Introduction Zoe Hendon and Anne Massey, independent, UK
• Section I: Millennia, Centuries
• 1. Designing stone: temporal representation of a timeless material Seher Erdogan Ford, Temple University, USA
• 2. `The drama of the soul': time, eternity and evolution in the designs of Phoebe Anna Traquair Sally Anne Huxtable, National Museums Scotland, UK
• 3. Time aboard the Ghan: Alice Springs to Adelaide, March 2016 Anne Burke, Middlesex University, UK
• Section II: Centuries, Decades, Years
• 4 As good as apple pie? Post-unification Germany and the reception of public art from the former German Democratic Republic Jessica Jenkins, Falmouth University, UK
• 5. The story of a Portuguese cock and other knick-knacks: heritage, propaganda and design in a far-right dictatorship Carlos Bartolo, Universidade Lusiada, Portugal
• 6. An experiment with time: modern and classical influences in the planning of 'high and over' Michael Findlay, Otago Polytechnic, New Zealand
• 7. Making `atomic' history: consuming historical narratives in the `unofficial' digital archive Emily Candela, Royal College of Art, UK
• 8. A queer feeling and its future in/for design history John Potvin, Concordia University, Canada
• Section III: Days, Hours, Seconds
• 9. Tube time: How the subterranean city got faster by design David Lawrence, Kingston University and London Transport Museum, UK
• 10. Dreams of The Fun Palace and Plug-In City: architectural modularism and cybernetics in the 1960s Claire McAndrew, University College London, UK
• 11. Sign of the times: slow design in the age of social acceleration Niels Peter Skou, University of Southern Denmark, Denmark
• 12. Fast and slow: design and the experience of time Stephen Hayward, Central St Martins, UK
• 13. Delivered in less than sixty seconds: temporal references in the design and discourse of digital reading devices Toke Riis Ebbesen, University of Southern Denmark, Denmark Select Bibliography Index.
• (source: Nielsen Book Data)

Design, History and Time reflects on the nature of time in relation to design, in both past and contemporary contexts. In contrast to a traditional design historical approach which emphasises schools and movements, this volume addresses time as a continuum and considers the importance of temporality for design practice and history. Contributors address how designers, design historians and design thinkers might respond to the global challenges of time, the rhythms of work, and the increasing speed of life and communication between different communities. They consider how the past informs the present and the future in terms of design; the importance of time-based design practices such as rapid prototyping and slow design, time in relation to memory and forgetting, and artefacts such as the archive for which time is key, and ponder the design of time itself. Showcasing the work of fifteen design scholars from a range of international contexts, the book provides an essential text for thinking about changing attitudes to the temporal.
(source: Nielsen Book Data)

• Part 1: Reality
• 1. As it is
• 2. A Competitive State
• 3. Share Price
• 4. Property
• 5. Branded
• 6. Inversion
• 7. Unbranded
• 8. Reality
• 9. Prestige
• 10. Icarus Falls
• 11. Sellers All
• 12. Waste
• 13. Bypassed
• 14. Fair Game
• 15. What else is on?
• 16. My next fear
• 17. Time closed
• 18. A Moment in the Life of a Reed
• 19. Illusions of forever
• 20. Local?
• 21. Burying Your Dead in the Sand
• 22. Air
• 23. Carbon
• 24. Becoming Human
• 25. Internationalization
• 26. Craft 'n Kitsch
• 27. Modern and Traditional
• 28. Design Think
• 29. Enough
• 30. Damage
• 31. Seeing
• Part 2: Another Reality
• 32. How should we live?
• 33. Moderation
• 34. Legacy
• 35. Ashes of Myopia
• 36. Closest to the Dreaming
• 37. Fragile
• 38. Being Alive
• 39. Nature's Wisdom
• 40. Repeated Patterns
• 41. Profits and People
• 42. Return to Syros
• 43. What reward have ye?
• 44. Atomization
• 45. Lost
• 46. Authenticity
• 47. Change
• 48. Seriously
• 49. New
• 50. The Comb Shop
• 51. Repair
• 52. Resurrection
• 53. Photograph
• 54. The Human Touch
• 55. Perspective
• 56. Art
• 57. Drive
• 58. Elevator
• 59. And more
• 60. Economy
• 61. Beyond Protectionism
• 62. IP
• 63. Commonality and Originality
• 64. Secular Society
• 65. Sacred Time
• 66. Misreading Religion
• 67. A Stultifying Dualism
• 68. Faith
• 69. Rubens' Jesus
• 70. Enculturated Blindness
• 71. A Christmas Story
• 72. Mythic Objects
• 73. Another Reality
• Part 3: A Future Reality
• 74. A Wisdom Economy
• 75. Fair Share
• 76. Design Rhapsody
• 77. Spiritual Renewal
• 78. Cultural Highs and Lows
• 79. Improving Things
• 80. Moving on
• 81. One Manifestation of Wisdom
• 82. Why
• 83. After this?
• 84. A Creative Life
• 85. Delicate, Evanescent Things
• 86. Useless Things
• 87. Dying to Create
• 88. Live
• 89. RAW Design
• 90. Ruination
• 91. Rejuvenation
• 92. Things that Endure
• 93. The Mark Made
• 94. Handmade
• 95. Whittling
• 96. Foraging
• 97. Artefacts
• 98. Life
• 99. Improvisation
• 100. Progressive Design Praxis.
• (source: Nielsen Book Data)

Design Realities explores a wide range of topics on creativity, design and spiritual well-being. Using critique, rational inquiry and personal reflection, Stuart Walker looks squarely at our contemporary condition, demonstrates how current assumptions and material expectations are becoming untenable and, most importantly, offers constructive new directions that are feasible, spiritually enriching, and hopeful. Comprising short essays, lyrical pieces, photo studies and longer discourses, this book takes us on a highly readable and enjoyable journey through some of the most pressing issues of our time. The innovative, intuitive format makes these topics readily accessible, while providing much food for thought about the changing nature of creativity in today's world. Written by a leading thinker in the field, this highly original book offers readers something to ponder, discuss, contest and build upon.
(source: Nielsen Book Data)

"Just as was the case in other phases of history - including, but not limited to pre-modern history - today's finishes in architecture and in our habitat are characterised by figures and spaces, rather than forms, increasingly moving away from abstraction. The recurrent and once again customary presence of figures, natural references, small or large-sized ornaments and decorations, calls for a reflection on this phenomenology; this ranges from a detail in texture to the finishing elements in our interiors, to the surfaces which attribute expressive features to contemporary buildings, in a sort of new - unconscious?- reference to a materialist and naturalistic matrix in relation to the look of artifacts. This condition seemed prevalent from, for example, a walk through the grounds at the last Expo: a touch of experimentalism in the expressive display of shapes and figures inspired by nature or biophysics. This is an easy tool to 'shock the bourgeoisie': from trees of life, foliage and/or stylized woods covering pavilions/boxes, to simplified naturalistic intrusions, the character of the array of decor for our habitat - from public spaces to homes - investigates a wide range of figures mimicking nature. The texts are organised into homogeneous thematic clusters, collecting reflections and short essays, with some bibliographic annotations for each topic. The central thread connecting the text is a critical approach - in positive terms - to the relation between technology, design concept and the production of forms of artifacts"-- Provided by publisher.

Diamond jewelry has long been symbolic of political power and authority in Europe. This book focuses on the individuals who commissioned and wore extraordinarily precious diamond ornaments from the mid-14th century until the 'democratization' of diamonds that followed the opening of mines in South Africa in 1867. This enthralling story covers seven centuries of history, showing the way in which rulers such as Charles V of France, Queen Elizabeth I of Great Britain, Louis XIV of France and Catherine II of Russia used diamond jewelry to reinforce their power and authority. As works of art, these precious creations mirror the successive styles of each period - late Gothic naturalism, the culture of the Renaissance, Baroque splendour, Rococo elegance and the Imperial grandeur of the First and Second Napoleonic Empires. The recurring themes - religion, sentiment, heraldry, military glory, miniatures and cameo portraiture - are reinterpreted by each generation of jewelers. Like royal dress, diamond jewelry was worn to dazzle and impress - at weddings, coronations, christenings and state visits - and was presented as gifts reflecting princely generosity. Over the centuries, these displays proved remarkably successful as instruments of government, symbolizing the pride and glory of a nation. Arranged chronologically, Diamond Jewelry includes some legendary masterpieces of diamond jewelry. Written by an acknowledged expert, it offers an intriguing overview of one of the world's most precious gems.
(source: Nielsen Book Data)

Nach Entwürfen der namhaftesten Künstler des 20. und 21. Jahrhunderts--unter ihnen Henri Matisse, Pablo Picasso, Joan Miró und Louise Bourgeois--entstehen in der Pariser Manufacture des Gobelins textile Meisterwerke. Dieser Band spannt den Bogen von 1918 bis heute und zeigt, wie modern das traditionsreiche Handwerk der Tapisserie-Weberei tatsächlich ist. Die Publikation präsentiert einen nahezu unbekannten Aspekt im Schaffen zahlreicher moderner Künstler von Weltruhm: Sie haben sich der Tapisserie zugewandt und auf Grundlage der jahrhundertealten Webtechnik die Kunst der "Bildwirkerei" immer wieder neu interpretiert. In enger Zusammenarbeit mit den Webern werden in französischen Manufakturen nach wie vor einzigartige textile Meisterwerke geschaffen, die sich durch die Verbindung von künstlerischem Einfallsreichtum und handwerklicher Virtuosität auszeichnen. Liste der Künstlerinnen & Künstler: Louise Bourgeois, Alexander Calder, Eduardo Chillida, Le Corbusier, Marc Couturier, Sonia Delaunay, Hans Hartung, François-Xavier Lalanne, Jean Messagier, François Morellet, Orlan, Alicia Penalba, Gérard Schlosser, Patrick Tosani, Victor Vasarely u. a. --Publisher's website

This new book provides unique access to distinct interiors from renowned Belgian architects and designers who have a deep understanding of family life. Packaged in hardback with a beautiful linen finish.
(source: Nielsen Book Data)

A lavishly illustrated volume of Pakistani textiles of extraordinary colour and vibrancy from one of the most arid areas on Earth. The Flowering Desert: Textiles from Sindh focuses on a private collection of textiles from Sindh, Pakistan, which, according to some scholars, was the crucible in which the textile traditions of Gujarat and Rajasthan were forged. Sindhi textiles are unique inasmuch as they reflect a dimension that combines the harshness of the terrain with a quest for a mythical and unattainable beauty. The collection is recognised as being of outstanding merit and some of it has featured in exhibitions at the Victoria and Albert Museum, London and the National Museum of Scotland, Edinburgh. In addition to sumptuous reproductions of 120 remarkable objects the book includes contextual photographs of textiles in use.
(source: Nielsen Book Data)

Established in 1831, the Gorham Manufacturing Company adeptly coupled art and industry, rising to become an industry leader of stylistic and technological achievement in America and around the world. It was the only major competitor of Tiffany and Co., producing public presentation pieces and one-of-a-kind showstoppers for important occasions, as well as tableware for everyday use. Its works trace a narrative arc not only of great design but also of American ambitions. In this volume, insightful essays are accompanied by gorgeous new photography of splendid silver pieces along with a wealth of archival images, design drawings, casting patterns, and company records that reveal a rich heritage of a giant in decorative arts and silver manufacturing. Produced in collaboration with the RISD Museum, which has the world s most significant collection of Gorham silver, this major new book casts new light on more than 120 years of grand aesthetic styles in silver, innovative industrial practices, and American social and cultural norms.
(source: Nielsen Book Data)

• Un artiste, plusieurs vies
• Étienne Delaune (1518/19-1583)
• Un orfèvre calviniste dans la France des guerres de religion
• Inventer et graver
• Baptiste Pellerin "designeur d'environ toute l'oeuvre de Stephanus"
• Le monde en miniature de Maître Estienne, "habile graveur"
• De l'estampe à l'objet : la fabrique des modèles
• Stefanus Fecit : un orfèvre-graveur au service des arts du métal
• Étienne Delaune et les armes
• Étienne Delaune et la couleur : les émaux peints de Limoges
• Chasses, Combats et Triomphes
• Les Mois
• Sujets bibliques
• Sujets mythologiques
• Sujets allégoriques
• Grotesques
• Delaune après Delaune
• Chronologie.

"Graveur hors pair, Étienne Delaune s'est taillé dès le XVIe siècle une réputation flatteuse, jamais démentie par la suite. Compagnon-orfèvre et graveur de coins et de poinçons à la Monnaie de Paris, son nom est surtout passé à la postérité pour son important corpus d'estampes. Plus de quatre cents feuilles au format miniature, d'une remarquable finesse d'exécution, lui sont attribuées et ont connu un immense succès comme source d'inspiration pour les arts décoratifs. De l'estampe à l'objet, du modèle à l'archétype, Delaune a marqué de son empreinte tout un pan de l'art français."--Page 4 of cover.

• Acknowledgments M. RACHAEL ARAUZ AND DIANA JOCELYN GREENWOLD Director's Foreword MARK H. C. BESSIRE Introduction: The Generosity of an Idea PAUL SACARIDIZ Prologue: Mary Beasom Bishop and Francis and Priscilla Merritt in Flint, 1946-51 STEFFI IBIS DUARTE The Best Ideals of Socially Useful Living: Haystack, 1950-60 M. RACHAEL ARAUZ Inscriptions in History: Haystack, 1961-69 DIANA JOCELYN GREENWOLD Plates Chronology M. RACHAEL ARAUZ AND DIANA JOCELYN GREENWOLD WITH SHEA SPILLER Haystack Instructors, 1951-69 Checklist Sources and Notes Index Lender List Photography Credits.
• (source: Nielsen Book Data)

In the Vanguard: Haystack Mountain School of Crafts, 1950-1969 traces this unique school's impact on American art during the mid-twentieth century. Accompanying a landmark exhibition, this catalogue documents Haystack's innovative pedagogy and its role as a major force in the studio craft movement. Anni Albers, Robert Arneson, Dale Chihuly, Arline Fisch, Jack Lenor Larsen, Harvey Littleton, and Toshiko Takaezu are among the artists who helped define the school's model of communally oriented, process-based learning. With deeply researched essays that detail the school's founding and first two decades, archival photographs, and images of rarely or never-before published works made at Haystack, In the Vanguard introduces readers to the important legacy of this groundbreaking institution. Published in association with the Portland Museum of Art. Exhibition dates: Portland Museum of Art, Maine: May 24-September 8, 2019 Cranbrook Academy of Art, Michigan: December 13, 2019-March 8, 2020.
(source: Nielsen Book Data)

• Casbah
• Medina
• Montagne
• Vieille Montagne
• Ville Moderne
• Marchane

Interior designer Nicolò Castellini Baldissera joins forces with fashion and interiors photographer Guido Taroni to showcase the most beautiful homes Inside Tangier. A white-walled city perched between Morocco and Europe, Tangier was long a haven for the literary and artistic avant-garde--and black sheep--of Europe and America. Now a new generation of residents are blending color, pattern, and taste to create an interior aesthetic all their own. Inside Tangier explores a selection of these exceptional properties and their eccentric inhabitants--from antiques dealer and collector Gordon Watson and interior designers Frank de Biasi and Veere Greeney to the late fashion designer Yves Saint Laurent and antiques dealer Christopher Gibbs--providing rare insights into the sometimes bohemian, sometimes extravagant, but always stylish "Tangerine" lifestyle

How to confront, embrace, and learn from the unavoidable failures of creative practice; with case studies that range from winemaking to animation. Failure is an inevitable part of any creative practice. As game designers, John Sharp and Colleen Macklin have grappled with crises of creativity, false starts, and bad outcomes. Their tool for coping with the many varieties of failure: iteration, the cyclical process of conceptualizing, prototyping, testing, and evaluating. Sharp and Macklin have found that failure-often hidden, covered up, a source of embarrassment-is the secret ingredient of iterative creative process. In Iterate, they explain how to fail better. After laying out the four components of creative practice-intention, outcome, process, and evaluation-Sharp and Macklin describe iterative methods from a wide variety of fields. They show, for example, how Radiolab cohosts Jad Abumrad and Robert Krulwich experiment with radio as a storytelling medium; how professional skateboarder Amelia Brodka develops skateboarding tricks through trial and error; and how artistic polymath Miranda July explores human frailty through a variety of media and techniques. Whimsical illustrations tell parallel stories of iteration, as hard-working cartoon figures bake cupcakes, experiment with levitating office chairs, and think outside the box in toothbrush design ("let's add propellers!"). All, in their various ways, use iteration to transform failure into creative outcomes. With Iterate, Sharp and Macklin offer useful lessons for anyone interested in the creative process. Case Studies: Allison Tauziet, winemaker; Matthew Maloney, animator; Jad Abumrad and Robert Krulwich, Radiolab cohosts; Wylie Dufresne, chef; Nathalie Pozzi, architect, and Eric Zimmerman, game designer; Andy Milne, jazz musician; Amelia Brodka, skateboarder; Baratunde Thurston, comedian; Cas Holman, toy designer; Miranda July, writer and filmmaker.
(source: Nielsen Book Data)

• Clôture et sémiotique du cadre
• Dans la marge, à travers le cadre et au-delà
• Dispositifs d'encadrement dans les manuscrits enluminés romains, de Léon X à Paul III
• Cadre(s) gravé(s)
• Les affiches de thèse dans le décor éphémère de la soutenance académique
• Les cadres des azulejos baroques portugais
• Le cadre dans l'art des jardins de la Renaissance
• Une figure de la transitio
• Rhétorique et autonomie du cadre
• La sculpture encadrée
• Observations sur l'encadrement dans les ensembles sculptés italiens du XVIe siècle
• La Pompe funèbre de Charles III ou les mensonges du cadre
• Le frontispice comme encadrement
• Statuts et fonctions d'un système décoratif
• Cadres et encadrements dans l'architecture française à l'Âge classique
• Un ornement mobile et détachable
• Le cartouche dans les décors modernes
• Perméabilité du cadre
• Portes, cadres, ornements et figures feintes dans les systèmes décoratifs maniéristes italiens
• De la peinture au relief
• À propos des ignudi de la Sala Regia du Vatican
• Tapisseries réelles et feintes
• Dispositifs d'encadrement dans la série du Triomphe de l'Eucharistie de Rubens
• Le cadre et son double
• Le jeu des peintures sur miroirs en Italie au XVIIe siècle.

"Qu'il soit éphémère ou permanent, profane ou religieux, qu'il concerne l'architecture, la sculpture, la peinture, la tapisserie ou les jardins, l'art du décor atteint en Europe un degré exceptionnel d'élaboration et de complexité à partir de la Renaissance. Les études réunies dans le présent volume s'intéressent aux dispositifs d'encadrement, réels ou feints, imaginés par les artistes pour délimiter, articuler, transfigurer les différentes parties de leurs décors, tout en conditionnant l'expérience et la réception du message proposé aux sens. Trop souvent considéré par l'histoire de l'art comme un ornement accessoire destiné à embellir objets et images, le motif du cadre trouve dans les décors de la première modernité (1500-1700) un champ d'application aussi vaste que fécond, et permet de penser l'oeuvre dans son ensemble comme un système unitaire organisant, parfois de façon étonnamment ludique, plusieurs niveaux de représentation et d'artifice."--Page 4 of cover.

This lavishly illustrated book celebrates one of the most comprehensive and meticulously assembled private collections of Chinese export porcelain from the late Ming dynasty (1368-1644) made at Jingdezhen in Jiangxi province. The Lurie Collection, comprising about one hundred seventy porcelain pieces, contains examples that are exceptional not only for their aesthetic beauty and quality, but also for their rarity or historical importance. This book makes a significant contribution to several fields of study, most notable those related to the production, design and trade of Jingdezhen export porcelain in the late 16th and early 17th centuries. An introduction places the diverse porcelains of the Lurie Collection in their historical context. It offers new insight into the European expansion to Asia in the late 16th and early 17th centuries, via both the Atlantic and Pacific oceans, which ultimately led to an unprecedented large-scale trade, transport and consumption of various types of Jingdezhen export porcelain throughout the world until the collapse of the Ming dynasty in 1644. The core of the book is the catalogue section, which is composed of 127 entries with comprehensive discussions and images of a selection of the Lurie porcelains. Whenever possible they are accompanied by images of excavated shards that originally formed part of similar porcelain pieces, establishing direct links to the Jingdezhen kilns where such pieces were produced. Multiple sources of evidence (textual, material and visual) shed light on the trading networks through which these Jingdezhen porcelains circulated, as well as the way in which they were acquired, used and appreciated by the different societies in Europe, the New World, Asia and the Middle East

• La famille Nozerines, une famille de marchands brivadois
• Dans l'intimité de la famille Nozerines
• S'insérer dans les élites brivadoises
• L'atelier et la boutique de Julien Nozerines : organisation, production et vente
• Tenir boutique à Brioude au XVIIIe siècle : organisation et échanges
• Les objets du quotidien, arts de la table et bijouterie
• Les objets sacrés
• La clientèle de Julien Nozerines
• Origines géographiques de la clientèle
• Origines sociales de la clientèle.

"Karin Bergöö Larsson (1859-1928) was a mother of eight and wife to Sweden's beloved painter, Carl Larsson. She was herself a well-regarded artist but gave it up when she married, at the request of her husband. Replacing paintbrushes and canvas with needles and cloth, she turned a somewhat ugly cottage into a designer showcase"-- Provided by publisher.

"I love you I hate you is a book about Johannesburg told in two parts. The first is told through design. It is the story of Love Jozi so far, a catalogue of more than 100 t-shirt graphics. We revisited our image archive from the past 15 years to narrate a tale of the city. T-shirts have always been the core product of the brand, and each range has emerged from a specific context. The book is illustrated by rich visuals which show how Johannesburg became our muse, inspiring bold designs and new ways of looking. The second part is told through a collection of short essays by contributing writers. We invited 34 Joburg thinkers, doers and observers to start a conversation with each t-shirt range. This collection spells out a complicated relationship with the city. The result explores Johannesburg in fresh ways and takes the reader down unexpected paths, grappling with a complex place that inspires competing emotions of love and hate."--Provided by publisher