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Книги издательства «Antique Collectors Club»
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'Impressionists in their Gardens' explores gardens through the senses of the Impressionists from three continents — Europe, North America and Australia — enjoying the essentially similar pleasures of the garden, but engaging with the light from their skies in order to create very different sensations. The enclosure of the garden acts like a picture frame showcasing a living canvas that exudes the individuality, vision and taste of its tenants, their family, friends, lifestyles and, in the simple words of the greatest Impressionist and gardener Monet, providing motifs to paint. The first section uses contemporary paintings and photographs to see the who, what and where of Impressionist gardens — planting, eating, loving, sleeping, children, animals, working and painting. The second section, illustrated with paintings, old photographs and modern images, starts at the horticultural source — the nurseryman Latour-Marliac at Temple sur Lot, then Monet at Giverny; American Impressionists at Old Lyme, Cos Cob and Appledore in the USA; Gertrude Jekyll at Munstead Wood and beyond; the Heidelburg School and Frederick McCubbin at Fontainebleau; and, chronologically last but not least, Renoir at Les Colettes. Caroline Holmes' travels have enabled her to take this unique approach, as a garden historian and gardener she understands how weather has shaped and formed the earth's sublime topography and how the control of the human hand is beautifully displayed in its fine crafted gardens, observed and colourfully captured by these artists. Join her in the garden for the great pleasures of solitude and sociability; food and friendship; sound and scent; cool shade and balmy warmth, not forgetting glorious colour. |
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This volume spans more than 35 years and includes both iconic and rarely seen pictures of celebrated women taken by photographer Rose Hartman. |
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A monograph of the work of acclaimed womens wear designer, Caroline Charles. |
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«British flower painting has its own unique, if relatively recent, history, but it can only be judged in the light of the wider history of the subject and by comparison with other, particularly European, countries. The first chapter of «A History and Dictionary of British Flower Painters», therefore, sets the scene with a brief introduction to floral art world wide before the next four chapters concentrate on British flower painting in the seventeenth, eighteenth, nineteenth and twentieth centuries. Over ninety colour plates illustrate these five chapters. The Dictionary gives the biographical details of more than 970 British flower painters from 1650-1950 including their specialities, awards, exhibitions an bibliographical details. The work of many is illustrated in black and white.» |
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This work provides a comprehensive listing of all known Chester marks in easy-to-use format with photographs of the actual marks. |
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Nurtured by the aesthetic-social critique undertaken by the British Arts and Crafts Movement, Art Nouveau contrasted the heaviness of mechanical production with the ingenious elegance of forms inspired by pure and alluring lines, based on plant forms. Enlivened by nostalgic fin de siecle decadence, the movement's unique style was built upon the transposition of industrial materials and techniques into the pristine elegance of the vernacular handicraft tradition. The wealth of images in this book illustrate the artists' approach, and the objects themselves, as well as the birth and evolution of Art Nouveau in the countries that contributed most to the success of this new aesthetic — France, Belgium, Spain, Hungary, United States, etc. |
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«The history of the corset proves that women have attached great importance to outward appearance and this since more than 2000 years. The corset was not a fashion item for the masses. The first flourishing period for the corset dates back to the Elizabethan and Spanish fashion between the 16th and 17th Century. The strict form of the corset went hand in hand with the fashion of the hoop skirt which was made in hard metal and accentuated female slenderness. The slender the loins, the more beautiful a woman». In 'Fashion Icons', Leen Demeester explores fashion trends throughout the centuries. She traces the origins of items of clothing such as the corset, the bra, the dress, the mini-skirt, trousers, accessories and high heels. These 'icons' show a distinct parallel between the history of women's appearance and the history of female emancipation. Top designers confirm that the image of a woman (and her place in society) still depends on her appearance and especially on the clothes she wears.» |
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The first volume in the series on Twentieth-Century Decorative and Applied Arts is dedicated to what is known in Italy as 'Stile Liberty', or Liberty style. Flowers, ribbons, garlands, dragonflies, butterflies and graceful young women dancing, followed by a host of curvilinear, sinuous and spiralling forms: this was Liberty, the new style that at the dawn of the twentieth century, by creating a rupture with traditional artistic forms, spread throughout Europe. Although the movement was short-lived, the First International Exposition of Modern Decorative Arts held in Turin in 1902 showed that it numbered excellent interpreters in every single field. Chini's ceramic works, furniture designed by Quarti and Basile, Mazzucotelli's wrought iron objects, glass-work by Buffa and Cambellotti: pieces that are now much sought after by private collectors and museums. |
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Over the years since its inception in 1875 as the Oriental Emporium, Liberty's has both been at the forefront of fashion and the decorative arts and has sat comfortably riding on its waves. Its history is at the heart of its image to the outside world. In the fifties, Liberty's tried to subvert this image, but subsequently embraced it wholeheartedly in the following decade. Liberty's beginnings are well-known and most historians of the decorative arts will agree that the company had a significant impact on design in the early twentieth century. However, through the years Liberty & Co. took many forms.History, far from being irrelevant nostalgia, offers us a chance to learn from our mistakes and, indeed, successes. Perhaps now, as, emerging from a difficult recent period, this grand company looks confidently to the future, it is a good time to look back to the Liberty of the fifties and sixties: a less well-recognised moment in Liberty's history, but perhaps no less significant. The 1950s were a frugal time and any retailer who wholeheartedly promoted modern design was taking a risk. In truth, Liberty & Co. probably played it safe, running its modern products alongside the more traditional ones, so as not to scare away longstanding customers. It is perhaps for this reason that Liberty & Co. is not so prominent in people's memories as a 'modern' store in the 1950s. In a way this was a period that prepared the business for its flowering in the 1960s. Almost overnight, the emporium of traditional style found itself not just at one of the best spots in London, but at the very epicentre of the world of fashion: Carnaby Street in the sixties. |
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The Mercedes-Benz SLS AMG Gullwing has set new standards. It is best in class and increases the standing of the Mercedes — AMG brand, thanks to its charisma. Two years after the commercial launching of the contemporary legend, the roadster is added to the fascination SLS AMG cosmos. With the coupe, roadster, GT3, an e-cell, AMG has succeeded in creating a quartet of dream machines. The genes of Mercedes — AMG are in every variant. |
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An authentic Provençal cooking class, from an authentic Provence cook. Twelve cooking classes, using twelve fresh products, creating menus with asparagus, cuttlefish, octopus & squid, purple artichoke, mussels, spices, zucchini, tomatoes, sardines, potatoes, cooking in foil, stuffings, and a menu for a special occasion Reine Sammut takes us into her kitchen and her living space, introduces us to her favourite products and suppliers. For each recipe she shows us the main steps, the tips and techniques. |
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In a multitude of exciting photos and numerous enlightening essays, 'Seglen Exclusiv: The World of Superyachts' unites the passion for sailing with fascination for design, sports and technology. This opulent volume takes the reader from the outside all the way into the very hearts of unique sailing yachts, tells the history of yachting, presents descriptions of most coveted yachting hotspots around the globe and introduces prestigious racing yachts and regattas. Peter Sandmeyer dedicates an essay to man's eternal longing for freedom at sea and muses about dedicated sailors and their constant valiant struggle with nature. |
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At the end of 2011, the exhibition 'FoMu: the collection' opened. It presented an outstanding selection of works from the collections of the FotoMuseum Antwerp (FoMu) and, after years of relative invisibility, a wealth of objects finally gain the place in the museum that they deserve. An entire wing of the museum building is devoted to an impressive ensemble of masterpieces, interspersed with unknown gems. To reinforce this statement, FoMu has produced this publication, with corresponding text and images, to document this wonderful anthology. |
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Shafik Gabr started his collection of Orientalist art in 1993 by acquiring a painting by Ludwig Deutsch entitled Egyptian Priest Entering a Temple. His collection is today amongst the very few in the world to count such a large number of works by the famed Austrian artist as well as some of the finest examples of the greatest masters of Orientalism such as Jean-Léon Gérôme, Frederick Arthur Bridgman, Gustav Bauernfeind and many others. Important for both scholars and art lovers, the Shafik Gabr Collection impresses us with its richness and variety. It includes masterpieces by some of the major nineteenth and twentieth century Orientalists found in private hands today and demonstrates the owner's appreciation of differences as well as similarities in European visions of the versatile and diverse Orient. The selection of paintings in this collection illustrates the owner's evolving taste, his relationship with the world of Orientalism and his interest in its European expression. This Orientalist collection is a harmonious 'kaleidoscope' of genres, presenting the Orient through a variety of forms, styles and techniques, and revealing to the European viewer the mysterious East with its bright colours, its exotic and leisurely lifestyle. Over the years, it has become one of the most complete and magnificent tributes dedicated to the world of Orientalism and as such some of the most renowned experts in this field have contributed to this book in order to mark its importance in the art world. Lavishly illustrated, Masterpieces of Orientalist Art: The Shafik Gabr Collection also includes essays by distinguished Orientalist scholars. |
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The new era of globalisation has brought with it a stunning new breed of palaces — modern-day residences built by connoisseurs whose exceptional taste and patronage are propelling art and architecture forward into the next great epoch. For more than 40 years, Geoffrey Bradfield has been creating exceptional residences around the world and in 'A 21st Century Palace' Bradfield documents one such modern-day palace in Mexico City. Thoroughly contemporary, yet drawing on traditions of craftsmanship and excellence, Bradfield has created a truly modern palace of precious materials and outstanding art. Geoffrey Bradfield is known for his sophisticated and daring handling of art and the collection in A 21st Century Palace is, quite simply, dazzling. Every room contains museum-worthy masterpieces, from Art Deco creations by Ruhlmann, Leleu and Bugatti to paintings and sculpture by Picasso, Warhol, Calder, Degas, Lautrec, Lichtenstein and Frida Kahlo. |
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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'. |
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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. |
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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. |
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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'. |
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Presents the stories and designs of the leading contemporary jewellery designers working across the globe today. |
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