Furthermore, through their daring inventions, Russian artists of the first thirty years of the 20th century transformed, profoundly and permanently, our perception of stage design — and hence of the theatre. They belonged to an extraordinarily creative generation of impresarios, dancers, actors, patrons, and critics who inspired or at least made a major contribution to the international renaissance of the art of the stage, and in particular areas, e.g. the teaching and performing of ballet, their influence is still present today. However, in spite of the many published commentaries on the Russian theatre, in spite of the autobiographies and biographies of its leading representatives, and in spite of the scholarly appreciations of its various components (ballet, drama, opera), the subject of stage design in Russia has yet to be explored in all its manifestations. Each work presented here is documented as fully as possible, and includes curatorial data, provenance index, and references to relevant published sources, exhibitions; and variants such as copies and preliminary drawings. The catalogue raisonne addresses the issues of attribution, identification of stage production, and date of execution and adduces evidence in the form of bibliographical, archival, and photographic data, expert opinion, and circumstantial evidence in order to support assumptions and conclusions. 'The Encyclopedia of Russian Stage Design 1880-1930' has been published to accompany 'Masterpieces of Russian Stage Design 1880-1930'.

This, the newest title in the highly acclaimed Design Series focuses on the work of John Piper (1903 — 1992). Piper remains something of an enigma: an antiquarian who was among the pioneers of non-representational art in Britain; an abstract painter who drew his inspiration from the paintings of Turner and mediaeval stained glass; and a romantic with a penchant for geometric design. Despite, in formal terms, coming to art late, Piper became one of the most diverse designers of his generation. Up until the 1951 Festival of Britain, his work had been almost entirely graphic. Indeed much of his design — particularly for the theatre, murals, mosaics, textiles and tapestries — was to remain graphics based. However, Piper was also to enter into rewarding partnerships with Patrick Reyntiens, David Wasley and Joseph Nuttgens designing stained glass; with Geoffrey Eastop in ceramics; and, most explosively of all, with Ron Lancaster and John Deeker, for some of the greatest pyrotechnic displays that Britain has witnessed since the 18th century. Commissioned by the War Artists Advisory Committee in 1940, Piper's two paintings of the ruins of Coventry's St Michael's Cathedral, along with his St Mary-le-Port, Bristol are among the most iconic images of World War II. However, mediaeval stained glass was perhaps Piper's most enduring passion; the slabs of glass, the leading and the richness of colour of these windows, were to provide a fundamental source of inspiration not only for his paintings and designs for stained glass, both figurative and abstract, but also for work in other media.

Despite working in different media, Francis Bacon and Henry Moore were exhibited together from end of the Second World War into the 1960s when Marlborough Fine Art represented both. Carefully chosen to highlight the important influences and experiences which they shared, the works included here bring a fresh perspective to Bacon and Moore, exploring themes in their work such as 'the Biomorphic/Picassoesque form', 'the human head', and 'the Classical figure'.

Presents the stories and designs of the leading contemporary jewellery designers working across the globe today.

'Contemporary Designers' Own Gardens' offers a rare opportunity to view twenty gardens not generally open to the public.'The outstanding gardens featured in 'Contemporary Designers' Own Gardens' are all designed by innovative, influential, award-winning designers. Fascinating text and sumptuous photography profile each garden, analysing the relationship between the garden and its setting, planting schemes, the aims of the designers, and their achievements. In addition, the book examines the ways in which the designers' personalities affect their creations, and how their own gardens differ from those of their clients. 'Contemporary Designers' Own Gardens' is an inspirational, informative and beautiful work, which will appeal to anyone who is interested in landscape architecture or garden design, be they a beginner or a professional. The gardens featured belong to and have been designed by: Patrick Blanc, Fernando Caruncho, Kate Cullity, Jim Fogarty, Ludwig Gerns, Adriaan Geuze, Isabelle Greene, Bunny Guinness, Ron Lutsko, Shunmyo Masuno, Dan Pearson, Antonio Perazzi, Tony Smith, Ted Smyth, Tom Stuart-Smith, Andy Sturgeon, Jacques Wirtz, Ute Wittich, Made Wijaya and Stephen Woodhams. The book presents the gardens of designers from the UK, France, Spain, Germany, Italy, The Netherlands, Belgium, Australia, New Zealand, The United States, Japan, and Indonesia.

This book divides the Galle cristallerie's vast production of light fixtures into two basic categories: those created before Galle's death in 1904 and those produced by the firm from then until its closure in 1931. Curiously, many of the firm's most desirable models in today's market were introduced as late as the 1925 Exposition Universelle, Paris, still in the Art Nouveau high style at the very moment that it had been replaced by the era's ascendant Art Deco movement.

A fresh approach to nineteenth-century European painting; lusciously illustrated, it offers a comprehensive overview of the century's artistic innovation This extensive survey also includes biographies for each of the artists Nineteenth-Century European Painting: From Barbizon to Belle Epoque represents a comprehensive guide to the range of stylistically diverse genres of nineteenth-century European painting. Accessible and insightful, this exquisitely illustrated volume presents the historical context behind the century's essential artistic movements including Romantic Painting, The Pre-Raphaelite Brotherhood, Realist Painting, Academic Painting, and Impressionist Painting. Influenced by an overwhelming wave of political, military and social change, nineteenth-century Europe represented an era more diverse in painterly subjects and styles than any before it. Indeed, it was a period that saw many European painters moving away from the strictures of the academy system, choosing instead to use their training to develop new techniques and traditions. A collection of independent stories, this book also outlines the unique progression between the different movements, exciting and enlightening the reader about the most magnificent period of art the world has ever known. Contents: Foreword; Dr. Vern G. Swanson; Introduction; Author's Note; STYLES: The Barbizon School; Romantic Painting; Orientalist Painting; The Pre-Raphaelite Brotherhood; Realist Painting; Academic Painting; Impressionist Painting; The Newlyn School; Post-Impressionist Painting; SUBJECTS: Landscape Painting; Venetian View Painting; Maritime Painting; Sporting Painting; Animal Painting; Genre Painting; Cardinal Painting; Costume Painting; British Neoclassical Revival Painting; Belle Epoque Painting; Conclusion; Endnotes; Bibliography. Considered one of the world's foremost experts on 18th and 19th century European and American antiques, fine art and jewelry, Bill Rau has worked in his family-owned gallery, M.S Rau Antiques, for over 30 years. An avid collector and authority in his field, Bill has helped place several items in museums around the world. In addition to being a prominent member of many local business organizations, he was the youngest senior member ever accepted to the American Society of Appraisers. In addition to writing numerous articles published in a wide variety of national magazines and antique journals.

The Dress of the Year is a deluxe study of exquisite fashion from 1963 to the present, drawn from the renowned collection at the Fashion Museum, Bath. Each year, a fashion-world luminary is invited to capture the definitive moment in an international whirlwind of creative style by choosing the outfit that truly represents that year's mood in fashion. The announcement of each winner is widely covered in the British press, and the resulting Dress of the Year collection is a treasure trove of international design. Among the extraordinary roll-call of design names are Mary Quant, Jean Muir, Ossie Clark, Biba, Calvin Klein, Karl Lagerfeld, Margaret Howell, Katharine Hamnett, Giorgio Armani, John Galliano, Paul Smith, Jean-Paul Gaultier, Ralph Lauren, Donatella Versace, Tom Ford, Marni, Prada, Alexander McQueen, Kate Moss for Top Shop, Vivienne Westwood and Sarah Burton. The choices are made and explained by a Who's Who of great style writers, including Felicity Green, Prudence Glynn, Beatrix Miller, Grace Coddington, Suzy Menkes, Colin McDowell, Liz Tilberis, Isabella Blow, Iain R. Webb, Alexandra Shulman, Hilary Alexander, Paula Reed and Hamish Bowles. Through specially-commissioned new photography, unseen archive material and contemporary media images, this sumptuous book reveals the Dress of The Year collection in all its glory for the first time. The book champions an important and fascinating fashion project, offering a detailed insight into our ever-changing styles and tastes since the early 1960s, and revealing the complex interplay between haute couture, celebrity endorsement and the High Street.

The emergence in recent years from their original homes of many of Galle's deluxe furniture commissions — seemingly lost forever — provides today's connoisseur with the opportunity at last to examine and assess the Nanceien's work in this his third artistic discipline, cabinetmaking. Included for the first time under one cover are all his major works of furniture, both those he designed as unique pieces for an exclusive clientele and those he displayed at two World Expositions and at the annual Paris Salons between 1889 and his untimely death in 1904. Included also in these pages is the encyclopedic range of models created in the Galle workshops both during his lifetime and then well into the 1920s. Presented by furniture category — wardrobes, tables, dressing tables, desks, commodes, consoles, etc. — the seemingly infinite number of different furnishings that bear the Galle imprint overwhelms the reader in their diversity.

As one of the few decorative arts about which little has been written, japanning is today fraught with misunderstandings. And yet, in its heyday, the japanning industry attracted important commissions from prestigious designers such as Robert Adam, and orders from fashionable society across Europe and beyond. This book is a long overdue history of the industry which centred on three towns in the English midlands: Birmingham, Wolverhampton and Bilston. It is as much about the workers, their skills, and the factories and workshops in which they laboured, as it is about the goods they made. It tells of matters of taste and criticism, and of how an industry which continued to rely so heavily upon hand labour in the machine age reached its natural end in the 1880s with a few factories lingering into the late 1930s. Richly illustrated, it includes photographs of mostly marked, or well-documented, examples of japanned tin and papier mache against which readers may compare — and perhaps identify — unmarked specimens. 'Japanned Papier Mache and Tinware' draws predominantly upon contemporary sources: printed, manuscript and typescript documents, and, for the period leading up to the closure of the last factories in the 1930s, the author was able to draw on verbal accounts of eyewitnesses. With a chapter on japanners in London, other European centres, and in the United States, together with a directory of japan artists and decorators, this closely researched and comprehensive book is the reference work for collectors, dealers and enthusiasts alike.

'Liberty's Furniture 1875-1915' provides the clearest and most comprehensive account of early Liberty furniture to date. A definitive work of reference, the volume outlines the company's unique contribution to the British Arts and Crafts style. Throughout the history of the Arts and Crafts Movement, Liberty & Co. always enjoyed a prominent position. With imaginative design, high quality construction, and state of the art marketing, the company was responsible for some of the most beautiful and enduring pieces of furniture from that period. Drawing on archive material and reviews in contemporary journals and magazines, Liberty's Furniture 1875-1915 examines the key features and different styles of Liberty's furniture design, as it evolved through a variety of genres including Oriental, Arts and Crafts and 'modern country cottage'. Illustrations from the Liberty catalogues enable readers to see how both the products and promotional styles of the company developed, whilst the many colour photographs show a wide selection of items — from the Athelstan suite and Culloden sideboard to the Thebes stools and Witlaf chairs. Giving particular attention to the work of Leonard Wyburd, the man responsible for some of the most important elements of the Liberty style, this volume represents an invaluable evidence base for collectors and auction houses alike.

This beautiful book is a nostalgic glance astern at the glory days of P&O both at sea and on shore. Drawing on personal recollections in the archives of P&O Heritage, Ruth Artmonsky looks back at the influence of the company during the age of empire and a bygone time when travelling P&O captured the imagination of writers from Thackeray to Noel Coward. In addition the book takes a curator's tour of the company's art collection which dates back to P&O's foundation in 1837. The result is an engaging and richly illustrated homage to one of most famous companies afloat, in its 175th anniversary year.

Pop! Design, Culture, Fashion 1955 — 1976 covers all aspects of Pop design in Britain and America, from early rock n roll to punk. It looks at record covers and packaging designs by Pop artists such as Andy Warhol, Peter Blake and Richard Hamilton, and the work of fashion designers such as Mary Quant, Barbara Hulanicki from Biba, Vivienne Westwood and John Stephen of Carnaby Street fame, as well as their contemporaries in America such as Betsey Johnson of Paraphernalia.

'Masterpieces of Russian Stage Design 1880-1930' examines the Lobanov-Rostovsky collection of stage design, in turn outlining the history of modern Russian art: one of the most important interludes within the cultural renaissance of the early twentieth century. Unique in size, scope, and composition, the collection is unequalled; artists include celebrities such as Bakst, Benois, Goncharova, Larionov, Malevich, Popova, Rodchenko, and Tatlin as well as less familiar names such as Anisfeld, Lissim, Remisoff, and Soudeikine. This volume (the first of a two-part set) includes over 200 colour illustrations of selected designs as well as an introduction, interview, indices (to artists, theatre companies, and primary productions), a glossary of terms, and a comprehensive bibliography for the visual and performing arts in Russia. From Neo-Nationalism and Symbolism through Cubo-Futurism and Suprematism to Constructivism and Socialist Realism, Masterpieces of Russian Stage Design guides the reader through the movements, styles, productions and projects that attracted many of Russia s early twentieth-century artists to the stage. The companion volume, 'Encyclopedia of Russian Stage Design' ISBN: 9781851497195 (to be published in 2013), is the catalogue raisonne of the Lobanov-Rostovsky collection.

The development of textiles as an art form between 1945 and 1970, and the extent of collaboration between artists and textile manufacturers at this time, is unrivalled in modern art history. This book presents a comprehensive survey of this art form in Britain and America.

This volume spans more than 35 years and includes both iconic and rarely seen pictures of celebrated women taken by photographer Rose Hartman.

A monograph of the work of acclaimed womens wear designer, Caroline Charles.

The sheer complexity of the subject of European furniture, ranging through an enormous variety of styles with often only small regional differences, makes it unrealistic to cover it adequately in anything less than the detailed and lavishly illustrated work we have here. France dominated the European furniture scene as her extraordinary cultural influences were much encouraged, if not created, by the aspirations of the two Napoleons who wished to recreate that country's earlier grandeur. This is not to underestimate, however, other influences such as Turkish, Moorish, African, Far and Mid-Eastern, which filtered in through neighbouring European countries and were often incorporated into furniture designs throughout the Continent. It was inevitable that such a vast area, with its strong external and internal influences, and at the same time undergoing great political and industrial change, should be responsible for a confused mixture of styles with much of the furniture frankly bizarre or mass-produced. Yet the period also saw the manufacture of the excellently crafted and beautifully designed pieces, which are so sought after and appreciated today. This pioneering reference work discusses the period 1830-1910 in great depth, and with great clarity.

Hollywood Dogs showcases a fine selection of photographs taken from the famous John Kobal collection. Taken between 1920 and 1960, during the 'Golden Age of Hollywood', they feature stars including Humphrey Bogart, Buster Keaton and Audrey Hepburn posing with dogs of every shape and stature. In almost every case, these stunning photographs have never been seen before. John Kobal was an authority on Hollywood portrait photography, who established a preeminent collection of works featuring iconic stars of the day. Many of his photographs were used for publicity purposes, often featuring the stars with their dogs. This book brings together a fabulous collection of these superb black and white photographs showing some of the greatest movie stars of the twentieth century in enduring poses that you will never have seen before.

This is an intriguing introduction to the graphic work of Abram Games. With images drawn from his personal archive, many less well known, it is possible to follow the social history of 20th Century Britain. For more than six decades Abram worked entirely on his own, always adhering to his personal maxim of maximum meaning, minimum means. From the start, Abram Games was determined to become one of Britain's great poster designers and would often say, I have a small talent which I polish like a diamond. A first generation Londoner, and an autodidact, he maintained that the three qualities a designer needs are curiosity, concentration and courage. These he had in abundance. Just three months before his own death in November 1996, Abram's friend, the great American designer, Paul Rand, wrote in an obituary, Stubborn, unique, a man of integrity, honour and talent, he meant what he said and said what he meant... Abe's work is well known; it is not my purpose to itemise his achievements, his posters for the army during WW2, his posters for Guinness, for the underground, many distinguished for their humour, their inventiveness and enthusiasm... Only Paul got away with calling him Abe!