Based on what is the most comprehensive collection of local ceramic art, this publication discusses with greater detail 30 potters' work and is illustrated with over 200 ceramics. It covers the entire 20th century, but gives particular emphasis to the 1950s and 1960s, when there was a boom in interest for the discipline, and when both state and private patrons commissioned significant artworks.
The Museum of Applied Arts (MAK) in Vienna holds a unique collection of Italian maiolica from the 15th to the 18th century, which is now being published almost in its entirety for the very first time. Maiolica tableware, Italy's luxury export, spread to the courts of northern Europe from the early 16th century. Today, the MAK's holdings from former imperial, ecclesiastical, aristocratic, and private ownership enter into a dialogue with maiolica from well-known Austrian and Central European collections. Timothy Wilson, professor emeritus at Balliol College Oxford and former Keeper of Western Art at the Ashmolean Museum in Oxford, and Rainald Franz, curator at MAK, together with other experts provide an extensive insight into the development of maiolica in its cultural and historical context. Thus a scholarly exploration of one of the best collections of maiolica in the world has now been scientifically examined for the very first time.
Four hundred images of pure Rococo and Baroque opulence
Most beautiful Meissen figurines from European private Collections
Accompanying the extensive exhibition at Wawel Castle, Kraków
The name Johann Joachim Kaendler (1706-1775) is closely entwined in the 18th century with the golden age of the Meissen Porcelain Manufactory. His exceptional artistic talent, coupled with craftsmanship, enabled him to capture the daily life of the nobility in their palaces and residences in numerous figures and groups. In doing so, he did not limit himself to official events but reflected tastes and aspirations as well as current trends. In the publication Magnificence of Rococo impressive porcelain figurines from top-class European private collections are brought together for the first time: on over 400 pages, these magnificent, often unique objects provide insights into courtly life of the Baroque and Rococo periods.
The New York jewelry firm of Marcus & Co. (1892?1942) created exceptional examples of Art Nouveau and Art Deco jewelry for an art-loving, wealthy elite. Innovative in their collaboration with contemporary artists, and in their captivating window displays and advertisements, the firm captured the imagination of Gilded Age families such as the Rockefellers. This volume chronicles their story, from the founder?s apprenticeship in Dresden to the firm?s grand premises on Fifth Avenue neighboring Tiffany and Cartier. The triumphs and tragedies of three generations of Marcus jewelers, both artistic and entrepreneurial, are presented here together with exquisite jewelry and archival design drawings spanning 50 years.
À la fin des années 1920, un nouveau design célèbre ses premiers succès dans tous les pays nordiques, chacun proposant une interprétation très indépendante du fonctionnalisme. L'accent n'est pas mis sur la forme avant-gardiste, comme c'était le cas en Allemagne, mais sur la solution personnalisée pour une tâche spécifique. Cette publication traite de la réaction des pays nordiques au Bauhaus et au modernisme allemand.
Berlin Deko is the first comprehensive English survey of early 20th-century German and Central European furniture design to move beyond the notion of a linear development of styles between Jugendstil and Bauhaus. It explores the period between 1910 and 1930, revealing a diverse continuum of styles, including the overlooked ?Expressionist Rococo? that flourished in Berlin. The book highlights Berlin?s role as a centre for furniture and interior design that attracted international artists. Key figures such as Leo Nachtlicht, Oskar Kaufmann, Bruno Paul, Fritz August Breuhaus de Groot, Paul Thiersch, Emil Fahrenkamp, Eduard Pfeiffer, and Lajos Kozma played important roles. Berlin Deko re-examines and celebrates Berlin?s legacy as a creative centre, revealing a richer, more nuanced narrative of German design history. One that celebrates diversity, individual expression, and the enduring influence of Berlin as a creative hub.
Small China presents Chinese miniatures from 5,000 BCE up to the 15th century. The pocketsize representations of supernatural beings, people, animals, or everyday objects are virtually uncharted in East Asian crafts - even in China, these objects in jade, bronze, ivory, and porcelain are little known.
- The new monograph on master-ceramist Claude Champy.
- With insights into the artist's studio and mind.
- Champy bans the forces of nature in his pottery.
The Frenchman Claude Champy (*1944) brings together man and the cosmos in his ceramics. In his studio, mechanical, geological, and chemical processes fuse to form a ceramic total work of art-guided by the barely visible yet influential human gesture. Despite the ceramicist wishing to capture the great forces of the universe in his work, he consciously consigns this part to trial and error, to an intentional loss of control, relying instead on the inherent logic of the material and fire. In Stardust Champy permits insights into his studio practice, his more recent artworks, and his work philosophy by providing commentary on his own sculptures and having them contextualized by experts. What results is a personal book on a unique artist, a retrospective on an oeuvre that is as powerful as it is elemental. Text in English and French.
The essays in this lavishly illustrated volume offer a multi-faceted portrait of American financier J. Pierpont Morgan (1837-1913) as a collector of art. A riveting exploration of Morgan's acquisitions from antiquities to medieval manuscripts to Old Master paintings and European decorative arts, Morgan?The Collector introduces the reader to how and why he amassed his vast collection. The lively essays also serve as a tribute to Linda Roth, curator at Wadsworth Atheneum Museum of Art, Hartford, CT, who dedicated much of her forty-year career to researching Morgan and the over 1,500 works from his collection now in the museum. This much-needed publication focuses on Morgan as a collector and is directed at both a scholarly and more general audience that is interested in the history of collecting, America in the Gilded Age, Pierpont Morgan, and European art.
First comprehensive monograph on Antoine Leperliers' glass works
Unique pieces from the last 40 years created using Leperlier's own technique
An artist questioning our perception of time and mortality
Text in English and French
Antoine Leperlier (b. 1953) is a trained visual artist and painter. He has been working as a freelance glass artist since the 1980s, developing his own glass technique based on casting and the lost-wax technique to create large-format translucent and painterly blocks.
In this survey of work spanning more than 40 years, skulls float, snakes are frozen alive, and what looks like abstract watercolours are preserved forever. Time stands still, the universe speaks. His works explore transience and memory, past and future; he stops time, makes moments eternal. Enamel and ceramic inclusions, bubbles, colours, and engravings create colourful, expressive worlds reminiscent of organic forms floating in outer space. This endeavour to capture dynamic images in material form is an approach unique in contemporary glass art.
Upholstered pieces of furniture are familiar to all of us as more or less constant companions of everyday life. Upholstery is comfortable, it conveys security and promises comfort, it has a specific design, asserts or creates status and tells a (hi)story.
We rarely consider its interior. At the same time, a view into the hidden content of chairs and armchairs is a journey into secrets, into lashed and sprung constructions that prove to be unknown masterpieces of craftsmanship. Deep-Seated. The Secret Art of Upholstery explores furniture and its interiors and explains why upholstery is always also a part of cultural and social history.
With contributions by Thomas Andersch, Maximilian Busch, Cordula Fink, Thomas Rudi, Stefanie Seeberg, Thomas Schriefers, Xenia Schurmann, and a foreword by Olaf Thormann.
A creative exchange with artists such as the painter Guido Cadorin or the ceramicist and sculptor Hans Stoltenberg-Lerche brought the second generation Toso Brothers to the forefront of Murano glass manufactories at the beginning of the twentieth century. After the Second World War Ermanno Toso and Pollio Perelda were among the most famous designers and continued the production of lavish series in glass, complemented from the 1950s onwards with high-quality one-offs executed mainly in the celebrated millefiori technique. This decoration consists of a multitude of tiny colored discs, known as murrini, which are produced by melting, cooling and cutting bundled canes of glass to form a cross-section pattern. Together with Caterina Toso, renowned Murano expert Marc Heiremans looks back on and reviews the complex history of the famous glass manufactory. Well-informed texts, hitherto unpublished sketches and archive photos make Fratelli Toso Murano an essential reference work for all connoisseurs of glass.
- The next volume in Marc Heireman's excellent series on Murano glass factories.
- An examination of the master-engravers from SALIR.
- With more than 800 illustrations from contemporary design sketches to new object photos.
In 1924, five young Italians founded the Studio Ars et Labor Industrie Riunite (SALIR) with the aim of modernizing the ancient art of glass-decorating: Giuseppe D'Alpaos, Decio Toso, Guglielmo Barbini, Dino Martens, and Gino Francesconi. In 1928, the emergence of Franz Pelzel, a Bohemian glass engraver, and Guido Balsamo Stella, an all-round artist, marked the start of the production for which SALIR is most remembered today: contemporary glass-engraving. After Balsamo Stella's departure in 1932, Franz Pelzel took the lead role of designer, occasionally also executing designs by other reputed artists. Based on the factory's archives, Marc Heiremans illustrates the artistic evolution of SALIR through numerous drawings and period photographs. As well as being a catalogue raisonné, it is also an in-depth study shedding light on paramount developments in Murano's glass-making history.
Le musée autrichien des arts appliqués conserve de nombreuses archives de dentelles et broderies produites entre 1906 et 1930 par le Wiener Werkstätte. Aspect moins connu des créations pensées par des artistes et fabriquées par des artisans d'exception, ces dentelles et broderies font l'objet d'un ouvrage réunissant des photographies d'époque, des esquisses et des patrons des réalisations de Dagobert Peche, Fritzi Löw-Lazar, Hilda Jesser-Schmid, Anny Schröder-Ehrenfest, Irene Schaschl-Schuster, Mathilde Flögl, Vally Wieselthier, Felice Rix-Ueno, Maria Likarz-Strauss, Maximilian Snischek,
Scenes of gardens and of love, idyllic hunting parties, picturesque farms, and lifelike animal figurines in porcelain were popular motifs in table decoration from the Baroque to the beginning of the 19th century. These 'worlds in miniature' were intended to initiate conversation among the table guests - and of course attest to the discerning taste of the hosts. The decorative pieces were, for all intents and purposes, part of the furnishing scheme and finished off the room?s interior as a total work of art down to the last detail. Central to this was the artisanal sophistication and the perfect mastery of the latest techniques, which breathed new life into the miniatures.
Following on from Courtly Companions: Pugs and Other Dogs in Porcelain and Faience, now Courtly Pleasures presents the most beautiful table decorations produced by a variety of manufacturers, all from the abundant treasures of a southwest German private collection.
