5 Continents Editions Catalogue 2015-2016 English Titles

2015 2016

MODE & DESIGN

PHOTOGRAPHY

PRE-COLUMBIAN ART

ISLAMIC ART

ASIA SOCIETY | NEW YORK

BAUR FOUNDATION | GENEVA

ASIATIC ART

OCÉANIC ART

MUSÉE DU QUAI BRANLY | PARIS

VISIONS OF AFRICA

AFRICAN ART

HISTORIAL DE LA GRANDE GUERRE MODERN AND CONTEMPORARY ART

ARCHIVES ANTONIO SAURA

MAD | MUSEUM OF ARTS AND DESIGN | NEW YORK MUSÉE D’ART CONTEMPORAIN | LYON

PETIT PALAIS | PARIS | ARCHIVES CHARLOTTE PERRIAND THE ISAMU NOGUCHI FOUNDATION & GARDEN MUSEUM

MoMA DESIGN SERIES JEU DE PAUME | PARIS

MoMA | NEW YORK

CENTRE POMPIDOU | TATE MODERN | SCUDERIE QUIRINALE

MUSÉE D’ART ET D’HISTOIRE | GENÈVE

INSTITUT SUISSE POUR L’ÉTUDE DE L’ART

FONDATION FÉLIX VALLOTTON

MUSÉE JENISH | VEVEY

FONDATION DE L’HERMITAGE | LAUSANNE

MUSÉE CANTONAL DES BEAUX-ARTS | LAUSANNE

GALERIE D’ARTS GRAPHIQUES

LA PHOTOGRAPHIE AU MUSÉE D’ORSAY

ESSAYS ON ART MUSÉE D’ORSAY

ANCIENT ART

MUSEO THYSSEN-BORNEMISZA | MADRID

CABINET DES DESSINS

MUSÉE DU LOUVRE

NEW TITLES

5CONTINENTS

2015 2016 MODE & DESIGN

PHOTOGRAPHY

PRE-COLUMBIAN ART

ISLAMIC ART

ASIA SOCIETY | NEW YORK

BAUR FOUNDATION | GENEVA

ASIATIC ART

OCEANIC ART

MUSÉE DU QUAI BRANLY | PARIS

VISIONS OF AFRICA

AFRICAN ART

HISTORIAL DE LA GRANDE GUERRE MODERN AND CONTEMPORARY ART

ARCHIVES ANTONIO SAURA

MAD | MUSEUM OF ARTS AND DESIGN | NEW YORK MUSÉE D’ART CONTEMPORAIN | LYON

PETIT PALAIS | PARIS | ARCHIVES CHARLOTTE PERRIAND THE ISAMU NOGUCHI FOUNDATION & GARDEN MUSEUM

MoMA DESIGN SERIES JEU DE PAUME | PARIS

MoMA | NEW YORK

CENTRE POMPIDOU | TATE MODERN | SCUDERIE QUIRINALE

MUSÉE D’ART ET D’HISTOIRE | GENÈVE

INSTITUT SUISSE POUR L’ÉTUDE DE L’ART

FONDATION FÉLIX VALLOTTON

MUSÉE JENISH | VEVEY

FONDATION DE L’HERMITAGE | LAUSANNE

MUSÉE CANTONAL DES BEAUX-ARTS | LAUSANNE

GALERIE D’ARTS GRAPHIQUES

LA PHOTOGRAPHIE AU MUSÉE D’ORSAY

ESSAYS ON ART MUSÉE D’ORSAY

ANCIENT ART

MUSEO THYSSEN-BORNEMISZA | MADRID

CABINET DES DESSINS

MUSÉE DU LOUVRE

NEW TITLES

5CONTINENTS

Dear reader, It is my pleasure to present you with 5 Continents’ new titles for the year 2015–2016.

Once again non-European arts are significantly represented. Indeed, our titles dedicated to the art of Africa have made us a reference point in the world of primitive art. However, every art-loving reader will find a title to his or her taste in the pages that follow. I am unable to pick a favourite myself as I love them all. Nonetheless, I would like to take the opportunity to point out a few which, on account of their structure, subject, and iconography, are absolutely key.

Two of the titles have been produced on the basis of our increasingly close partnership with the Baur Foundation in Geneva. In a comparison of the jewellery creations by the Maison Cartier with the pieces of oriental art in the collections of the Baur Foundation, Asia Imagined in the Baur and Cartier Collections illustrates the influence of Eastern art on the designs of the great Parisian jeweller during the early decades of the twentieth century. In parallel, with photographs of rare beauty, Alfred Baur, Pioneer and Collector displays the splendour and depth of the Baur Collection while also relating the life and career, unknown to most of us, of this entrepreneur. It is a tribute to a man but also to all collectors in search of the fine, the rare, and the unusual.

We, too, indulge in research of this kind as it is our aim to find and present to you the arts of the most distant and mysterious countries. This is the spirit that underlies the publication of Embodied Spirits – Gope Boards from the Papuan Gulf, a large-format book on a strange and astonishing form of artistic expression on which no other title exists. It is also the case with Wooden Dreams, rich in information and photographs on the subject of headrests, everyday objects in many African countries but boasting an unsuspected artistic dimension.

Naturally, there is a selection of titles dedicated to the arts of Europe. Do not miss Metamorphoses – In Rodin’s Studio, a superb book that will usher you into the studio of the artist, and which, due to its dimensions, wealth of images and written contributions, well represents the work of the master of twentieth-century sculpture.The book accompanies an important exhibition held at the Montreal Museum of Fine Arts, the Virginia Museum of Fine Arts in Richmond and the Peabody Essex Museum in Salem, Massachusetts.

Equally devoted to the art of the turn of the twentieth century, in partnership with the National Gallery of Ottawa, Monet – A Bridge to Modernity is an analysis of the art and history of the paintings dedicated to bridges by the great Impressionist.

Lastly, I am pleased to announce the publication of The Creative Growth Book, which celebrates the fortieth anniversary of the Creative Growth Center in Oakland and its activity to promote the art of people with disabilities.

Enjoy your trip around the world.

Eric Ghysels Publisher

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new titles

44 CATALOGUE

[44] Modern and Contemporary Art

[45] Design and Applied Arts

[46] Visions of Africa

[47] African and Oceanic Art

[48] Asian and Pre‑Columbian Art

49 INDEX

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[ A p p l i e d a rt s ]

A SI A I M AGINED In the B aur and C artier CollectionS Edited by Estelle Niklès van Osselt Texts by Estelle Niklès van Osselt and Song Haiyang

25.5 x 34 cm, 336 pages 460 colour illustrations Hardcover with jacket ISBN: 9788874397228 £ 60.00, US $ 90.00, Can $ 108.50, € 80.00

Co-published with the Baur Foundation, Museum of Far Eastern Art, Geneva Exhibition Baur Foundation Museum of Far Eastern Art, Geneva November 12, 2015 – February 14, 2016

[ 8 ] NEW t i t l e S

In the nineteenth and twentieth centuries it was fashionable to collect ‘curios’, objects so named because they aroused ‘curiosity’. Imaginatively decorated and made from different materials, some of which are still underappreciated, these exotic objects from China and Japan fascinated Westerners.They stimulated a fad for Asia, captivated art lovers, and had a profound influence of the graphic arts in Europe. This beguiling period kindled a passion for collecting in Alfred Baur (1865 – 1951) and for creation in Alfred Cartier (1841 – 1925) and his three sons, Louis (1875 – 1942), Pierre (1878 – 1965), and Jacques (1884 – 1941). While the jewels fashioned in Asian style by the Maison Cartier are generally known, their historical and cultural context is not, thus the idea arose of bringing these jewels together with the collections of the Baur Foundation, Museum of Far Eastern Art, based in Geneva.

As one leafs through the pages, Asia Imagined slowly becomes apparent, like a treasure hunt.

Diamond-studded pagodas and pavilions, busy scholars beneath the starry sky, nacreous moonlight scenes, shimmering phoenixes, jade dragons, and multi-coloured cherry blossom-like gems depict an imaginary land. The Cartier magic has its effect. Side-by-side with the creations of the Parisian jeweller, the imperial porcelains, lacquerware embellished with precious metals, embroidered silks, jades, coloured enamels, netsuke, sword hilts, and prints belonging to the Baur Foundation give their version of the marvels of China and Japan and install a unique dialogue, offering an exceptional opportunity to view two of the world’s most outstanding collections.

Estelle Niklès van Osselt is a sinologist. She studied Asian arts and archaeology at universities in Geneva, London, and Beijing. Today an assistant curator at the Baur Foundation, Museum of Far Eastern Art, she previously worked for the Guy & Myriam Ullens Foundation Collection and Ullens Center for Contemporary Art (UCCA) in Beijing.

Song Haiyang is a researcher at the Palace Museum of the Forbidden City, Beijing.

[ A SI A N A RT ]

A L F RE D B AUR, PIO NEER A ND CO LLECTO R Texts by Monique Crick, Helen Loveday, and Estelle Niklès van Osselt Photographs by Hughes Dubois

24 x 28.5 cm, 458 pages 360 colour illustrations Hardcover with jacket ISBN 9788874396931 £ 185.00, US $ 280.00, Can $ 350.00, € 250.00

Co-published with the Baur Foundation, Museum of Far Eastern Art, Geneva

[ 1 0 ] NEW t i t l e S

Published to celebrate the 150th anniversary of Alfred Baur’s birth (1865–1951) and the 50th anniversary of the Baur Foundation, Museum of Far Eastern Art, this book presents one of the major collections of Asian art through an opulent selection from the nine thousand Chinese and Japanese art objects today housed in an elegant private mansion constructed in Geneva during the late nineteenth century. Alfred Baur, Pioneer and Collector combines the history of the Far East with that of the man who founded the company A. Baur & Co. Ltd. in Colombo (Ceylon) in 1897. Guided by the stunning photographs of Hughes Dubois, readers will discover both the essence of the collection and the life of a man fascinated by the arts of the Far East. Sabre fittings, netsuke, lacquerware, prints, jades, and imperial ceramics: the illustrations show the diversity of the works and the quality of the collection as a whole. The precious Japanese objects, so meticulously worked and of technical perfection, reveal the outstanding skills of Japanese craftsmen, while the simplicity of the forms of the Chinese monochrome ceramics display the contemporaneity of the visionary master ceramists of the Song dynasty.

Monique Crick is an art historian who specializes in Far Eastern art. She was an independent researcher commissioned to undertake projects for the musée national des Arts asiatiques-Guimet in Paris from 1991 to 1998, and for the musée Cernuschi after 1999. Since January 2003 she has been director of the Baur Foundation, Museum of Far Eastern Art in Geneva.

Helen Loveday studied Chinese at Oxford University and wrote a doctorate on the archaeology of the Warring States Period. She has worked at the Baur Foundation since 2003, first as assistant curator, then as curator. She is also a part-time lecturer in the Art of China and Japan at Geneva University.

Estelle Niklès van Osselt is a sinologist. She studied Asian arts and archaeology at universities in Geneva, London, and Beijing.Today an assistant curator at the Baur Foundation, Museum of Far Eastern Art, she previously worked for the Guy & Myriam Ullens Foundation Collection and the Ullens Center for Contemporary Art (UCCA) in Beijing.

Hughes Dubois is a photographer who specializes in advertising and art objects. He has worked with various institutions and collectors around the world.

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[ M O D ERN A RT ]

M ETA MO RPH O SES IN RODIN’S ST U DIO Edited by Nathalie Bondil and Sophie Biass-Fabiani

24.5 x 35.5 cm, 304 pages 475 colour illustrations Hardcover ISBN 9788874397150 £ 30.00, US $ 45.00, Can $ 55.00, € 40.00

Co-published with the Montreal Museum of Fine Arts, Quebec

Here is a fresh look at August Rodin, one of the greatest sculptors of all time, thanks not only to his ability to capture the emotional and psychological complexity of human beings, but also his having profoundly renewed the very language of sculpture. Rodin’s unprecedented passion for the act of creation, rather than completion, changed the way the world thinks about sculpture. The ongoing interplay of accidents and chance in his work, his figures fragmented only to be reconstituted through his ingenious ‘cobbling together’, enabled him to interpolate his work in an endless flow of creation. The topic of metamorphosis is directly related to his work, without model or witness, in the privacy of his studio. Fragile plasters as well as bronzes, marble figures, drawings, watercolours, and photographs all attest to this creative ferment. But ‘studio’ must also be understood as the small art community that worked for and around the Master. It consisted of practitioners of specific trades to whom we owe the transformation of one material to another, one dimension to another, under his attentive guidance. This catalogue sheds light on the various processes of reprise and transformation, and takes stock of the sculptor’s prodigious creativity. It also features masterpieces like the two hundred or so figures fleeing The Gates of Hell — a work Rodin was to draw from for the rest of his career — and his celebrated Walking Man. Nathalie Bondil is director and chief curator at the Montreal Museum of Fine Arts.

Sophie Biass-Fabiani is heritage curator at the Musée Rodin, Paris.

Exhibitions Montreal Museum of Fine Arts, Quebec, May 26 – October 18, 2015 Virginia Museum of Fine Arts, Richmond, November 21, 2015 – March 13, 2016 Peabody Essex Museum, Salem, May 14 – September 5, 2016

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M ONET. A BRIDGE TO MO DERNITY Edited by Anabelle Kienle Ponka

30 x 25 cm, 104 pages 62 colour illustrations Hardcover Bilingual edition: English and French ISBN 9788874397198 £ 19.99, US $ 30.00, Can $ 36.00, € 25.00

Co-published with the National Gallery of Canada, Ottawa, Ontario

Exhibition National Gallery of Canada, Ottawa October 31, 2015 – February 15, 2016

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French painter Claude Monet (1840–1926) is one of the most popular artists of all time.

His paintings of water lilies, haystacks, cathedrals, and much more are all celebrated and beloved. For the first time, this book explores a new aspect of Monet’s work: his fascination, during the 1870s, with bridges. After moving to Argenteuil, a small town on the outskirts of Paris, Monet was drawn to the local footbridge near his house on the banks of the Seine. His painting of it, The Wooden Bridge, 1872, is a composition of startling modernity.The book begins with this work and explores Monet’s use of the bridge motif from 1872 to 1877 in the aftermath of the Franco-Prussian war and beyond.

Beautifully illustrated and published to accompany a major exhibition, the book explores how Monet sought to establish himself as a leader of the avant-garde and how his paintings of bridges played a pivotal role in this context. Focusing on twelve major paintings by Monet, the catalogue further examines the Impressionists’ response to their ever-changing environment and the late nineteenth-century transformation of Paris and its suburbs.

The publication consists of three sections featuring three essays followed by an illustrated chronology: Monet’s use of the bridge as a testing ground for his innovative ideas, the role of photography, illustrations, and contemporary influences; the expansion of Paris and the urban cityscape; the role of Impressionism in the context of the FrancoPrussian war.

Anabelle Kienle Ponka is Associate Curator, European and American Art, at the National Gallery of Canada.

Simon Kelly is Curator of Modern and Contemporary Art at the Saint Louis Art Museum, Missouri.

Richard Thomson is the Watson Gordon Professor of Fine Art at the University of Edinburgh.

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[ C O NTE M P O R A RY A RT ]

ON OB R A KPEYA : MA SKS O F TH E FLA MING A RROWS Edited by Dele Jegede

24 x 30 cm, 400 pages 475 colour illustrations Hardcover with jacket ISBN 9788874396696 £ 65.00, US $100.00, Can $ 115.00, € 80.00

Widely acknowledged as Africa’s master printmaker, Bruce Onobrakpeya is also a world renowned painter and sculptor, who stands in the vanguard of the first generation of contemporary artists who were educated in colonial Nigeria, but who set the pace and standards for innovation and professionalism in a new, post-colonial space. He has exhibited at Tate Modern, London, the National Museum of African Art, Washington, D.C. ,and at the Malmö Konsthall, Sweden.

In this unprecedented volume an astonishing array of sumptuous colour and black-andwhite reproductions of drawings, paintings, prints, and installations by Bruce Onobrakpeya are accompanied by insightful and critical texts by scholars and students of Nigerian art.

The full breadth of his more than five-decade career is represented with numerous examples of the many experimental painting, printmaking, and sculptural relief techniques that the artist has pioneered, including plastocasts and additive plastographs, and his diptilinen and triptilinen canvas treatments. A comprehensive time line details Onobrakpeya’s creative and professional activities from his first solo exhibition at Ughelli in 1959 to his ongoing Harmattan workshops held annually in Agbarha-Otor, his hometown. Interviews, incisive essays, an artist’s statement, and poems provide important context for this significant body of work.

Dele Jegede is a noted art historian, painter, cartoonist, art critic, and art administrator.

He is also a professor of art at Miami University, Oxford, Ohio.

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[ O U TSI D ER A RT ]

A R C HITE CTURE Pascale Marini-Jeanneret, Laurent Danchin

20.5 x 25.5 cm, 168 pages 130 colour illustrations Softcover with flaps ISBN 9788874397105 £ 25.00, US $ 40.00, Can $ 48.00, € 32.00

Co-published with the Art Brut Collection, Lausanne

Exhibition Art Brut Collection, Lausanne November 13, 2015 – April 17, 2016

In the same series:

Architecture, the second Art Brut Biennale, presents a selection of works from the Art Brut Collection (Lausanne), linked together by a common theme.The exhibition and the catalogue show the public new works by perhaps lesser-known authors, while taking a new slant on some historical pieces. Running the gamut from reality to utopia, Art Brut authors design architectures in resonance with their everyday lives or their memories, reorganising the space around them according to their own rules and needs.Their imagination and inventiveness carries them to distant, unexplored lands. Yet the vision of architecture that these Art Brut authors offer us here opens up a new dimension, escaping all practical considerations. Over 250 works by 52 creators of all origins — European, North American, or Asian — have been selected for the exhibition. This book presents colour illustrations, a short biography, and a bibliography for each artist. The diversity at the heart of this concept can be seen in the many different forms and techniques used, such as painting, drawing, sculpture, and embroidery.

Among the artists: Aloïse, Juliette Élisa Bataille, Filippo Bentivegna, Georges Berthomier, Gregory Lee Blackstock, Benjamin Bonjour, Édouard Boschey, Luigi Brunetti, André Car, Diego, Paul Duhem, Paul End, Samuel Failloubaz, Florent, Jacqueline Fromenteau, Willem Van Genk, Jules Godi, Heer, Magali Herrera, Stefan Holzmüller, Testuaki Hotta, Norimitsu Kokubo, F. Kouw, Helmut Nimczewski, Nikifor, Prinz Otto, Émile Ratier, Royal Roberston, Hans Saletmeier, Victorien Sardou, Yuri Titov, Johann Trösch, Yuji Tsuji, Berthe Urasco, Pepe de Valence, Pascal Verbena, Scottie Wilson, Adolf Wölfli.

Building on the legacy of some five thousand pieces collected by Jean Dubuffet between 1945 and 1971, the Art Brut Collection now owns over sixty thousand works, the fruit of nearly forty years of research. Architectures is the second volume in the series Art Brut – The Collection, published by 5 Continents and the Swiss institution, after Vehicles (2014).

Pascale Marini-Jeanneret is an art historian with a degree in museology and library science. In Paris she worked with the contemporary artist Thomas Hirschhorn for several years and wrote for the magazine Art Press. Since 2002, she has been a curator at the Art Brut Collection in Lausanne, where she manages the collection and curates exhibitions. She has written extensively about contemporary artists and Art Brut authors.

Laurent Danchin is a writer, lecturer, and art critic, a specialist in Art Brut, outsider art, and singular art. Graduating from the Ecole Normale Supérieure in Paris with an agrégation in modern literature, he taught in high schools in Nanterre and BoulogneBillancourt, near the capital, from 1972 to 2006. He is the French correspondent for the magazine Raw Vision and curated a series of exhibitions at Halle Saint Pierre, in Paris, from 1995.

ISBN 9788874396580 NEW t i t l e S [ 1 9 ]

[ 2 0 ] NEW t i t l e S

[ O U TSI D ER A RT ]

t h e C r eat iv e Grow t h BO O K Edited by Tom di Maria. Texts by David Byrne, Tom di Maria, Claire Daigle, Lucienne Peiry, and Matt Haber

21 x 25.5 cm , 176 pages 220 colour illustrations Softcover ISBN 9788874397266 £ 25.00, US $ 40.00, Can $ 48.00, € 35.00

Co-published with the Creative Growth Art Center, Oakland, California

For more than forty years, the Creative Growth Art Center in Oakland, California, has been giving disabled adults the opportunity to make art. As the world’s oldest and largest center of its kind, Creative Growth’s history mirrors the evolution of a growing disability rights movement and an increased interest in self-taught art. This book provides an expansive visual overview of the organization’s projects and artists, and contains new essays from international contributors including musician/artist David Byrne and Creative Growth Director Tom di Maria. From its humble beginnings in its founders’ home, to its current international design, museum, and fashion partnerships, the book is a visual history of Creative Growth’s most noted projects and artists, including Dan Miller, William Scott, and Judith Scott. Published with the support of The Andy Warhol Foundation for the Visual Arts, this publication provides critical information about how the art of people with developmental disabilities is being increasingly recognized as an important part of the contemporary art world.

Tom di Maria is the Director of Creative Growth Art Center and speaks around the world on outsider art and the relationship between artists with disabilities and contemporary art.

David Byrne is a noted musician, artist, and writer with a longtime interest in outsider art.

Claire Daigle is the Chair of the Graduate Studies program at the San Francisco Art Institute and a scholar and writer on the work of Cy Twombly.

Lucienne Peiry is the former Director of the Collection of Art Brut, Lausanne, Switzerland.

Matt Haber is a New York Times writer.

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[ t e s tat i n a ]

VISIO NS O F A F RI C A Series directed by Constantine Petridis, Head Curator of African Art at the Cleveland Museum of Art, Ohio ‘Visions of Africa’ is a series devoted to the arts of Africa, grouped according to the continent’s different peoples. Each volume follows two main themes: the first is visual and aesthetic, taking the form of a rich selection of approximately sixty-two photographs of masterpieces; while the second is theoretical and contextual, exploring the significance of these items within the population that created them. The series is meant both for readers wishing to discover the arts of these populations and for those who intend to learn more about them.

Highly accessible, avoiding the intimidating feel of scientific literature, the books nonetheless contain significant annotated bibliographies and the most current data based on relevant field research. Author texts explore the origin of the items as well as the context of their use within the various African cultures. Their evolution and longevity are equally taken into consideration, often up to the present-day. Contemporary and historical field photographs are reproduced throughout the body of the text.

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[ V i s i o n s of A f r i ca ]

M OSSI Christopher D. Roy

16.5 x 24 cm, 144 pages 46 colour and 20 b/w illustrations Softcover ISBN 9788874397006 £ 27.95, US $ 39.95, Can $ 47.95, € 35.00

The Mossi people of Burkina Faso have a rich and complex history that is mirrored by the several types and styles of figures and masks they create. They came into being around 1500 A.D. when a large group of horsemen from what is now northern Ghana rode north into the valley of the Volta River and conquered the local farmers. The descendants of the conquering horsemen became the ruling class and used political art in the form of royal figures to validate their authority. Meanwhile the descendants of the conquered farmers became the spiritual class and made masks to represent the spirits of nature. The stylistic diversity of this art mirrors the several geographically divergent peoples who were conquered in 1500 and eventually became the Mossi we know today.

Unlike several other West African peoples, the Mossi have not converted to Islam in large numbers, and so they continue creating brilliant art much as their ancestors did hundreds of years ago. Until the 1980s there was much confusion about the accurate attribution of Mossi art to the people who created it. This book makes clear that the Mossi have continued to create brilliant art that they use to this day to express ideas about politics and religion.

Christopher D. Roy is Professor of Art History and Elizabeth M. Stanley Faculty Fellow of African Art History at the University of Iowa. He has written extensively on African art and on the art of Burkina Faso. He has produced twenty-six commercial DVDs on art and life in Africa.

G u ro Anne-Marie Bouttiaux

16.5 x 24 cm, 160 pages 60 colour and 20 b/w illustrations Softcover ISBN 9788874397327 £ 27.95, US $ 39.95, Can $ 47.95, € 35.00

[ 2 4 ] NEW t i t l e S

Art lovers well know the works of the different groups of peoples generally referred to as ‘Guro’ who live in the centre of the Ivory Coast. Close to the Wan, Baule, Yaure, and Bete, the Guro have maintained close contacts with their neighbours, and reciprocal influences are apparent in their various artistic creations. Masks have a particular importance that goes well beyond the value attributed to them for their aesthetic qualities on the art market. These objects might even be considered emblematic, having till now allowed those who have defined themselves as Guro to lay claim to this identity.Whereas the French colonization largely weakened the prestige of those men whose power resulted from their hunting and war activities, the continuation of complex rituals that entailed the use of masks allowed the men to preserve a form of political and religious control. By diversifying the categories of masks between, on one hand, those that receive blood sacrifices to honour spiritual entities, and those, on the other hand, made more for entertainments given at funerals, political demonstrations, and tourist events, the Guro have reinvented, regalvanized, and readapted perfectly integrated rituals to a contemporary society in permanent change.

Anne-Marie Bouttiaux is an anthropologist and art historian. Today she works with the Laboratoire d’Anthropologie des Mondes contemporains (LAMC) at the Université Libre de Bruxelles and with the workshop Danse comme Objet anthropologique at the CNRS in Paris. She conducts field research in West Africa, mostly in the Ivory Coast, Guinea-Bissau, and Senegal. She organizes many exhibitions.

[ V i s i o n s of A f r i ca ]

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[ A f r i ca n A rt ]

WOOD EN DREA MS E A S T A F R IC A N HEA DR EST S Edited by Eduardo López Moreno

24 x 28 cm, 240 pages 268 colour illustrations Hardcover with jacket ISBN: 9788874397068 £ 35.00, US $ 50.00, Can $ 61.50, € 45.00

Headrests are simple, utilitarian objects. Widely used across Africa, they are predominantly found in the eastern, central, and southern part of the continent. Also known as ‘neckrests’ or ‘pillows’, headrests are valuable and very personal objects that are indispensable to everyday life. They are made to sleep on, to rest the neck, to sit on, and to protect the elaborate coiffure of their owners. At first sight, they appear to be devoid of any symbolic content. This functional utility has confined them through history to the realm of mere objects. Headrests are not that simple, though. They transcend their material purpose to become something more. In many instances, their design, inherent beauty, technical mastery, and uses give them a multi-purpose value and a multi-layered meaning. They are objects with ritual and magical intent concealed inside their utilitarian function. Headrests can be flaunted as status symbols that differentiate chiefs from ordinary people, rich from poor, diviners from healers, farmers from shepherds, and sedentary from nomadic. The volume features full-colour pictures of very rare and fine headrests that have never before been published. Short texts introduce selected pieces among the 230 works that have particularly interesting, well-documented backgrounds.

This book is a journey through ethnicity, anthropology, aesthetics, creativity, tradition, and spirituality. A journey to a part of Africa that materializes through a simple artefact that sometimes dreams to become art: a dream that starts with resting the neck on a piece of wood.

Eduardo López Moreno is a collector and expert on African art. Former Director of Research for the United Nations Human Settlements Programme (UN-Habitat), he has spoken at prestigious universities in Belgium, the US, and Mexico.

[ 2 6 ] NEW t i t l e S

[ A f r i ca n A rt ]

M I C RO MO NUMENTA LITY A TRIB UTE TO MINIAT U R E WO R KS O F A FR IC A N A RT Edited by Bérénice Geoffroy-Schneiter

23 x 23 cm, 264 pages 140 colour illustrations Hardcover Bilingual edition: French and English ISBN: 9788874397167 £ 35.00, US $ 55.00, Can $ 66.00, € 48.00

Micromonumentality is the first title in a new series, Micro-Africa, which aims to highlight the artistic and cultural value of miniature objects made in Africa. The whole series will be based on a single private collection. Forthcoming titles will be dedicated to different ethnic groups and/or varieties of objects (jewels, talismans, containers, boxes, fetishes). The first volume introduces the concept behind the series, offering a broad overview of objects and materials created and used by a large number of different African ethnic groups.

With superb full-page photographs and close-ups of single details, Micro Monumentality extols the wealth of expression found in talismans, weights, boxes, containers, fetishes, jewels, and other objects made from wood, ivory, bone, bronze, iron, aluminium, and stone.

None of these exceed 15 cm (just under 6 inches) in height or length, and though indeed ‘microscopic’, they are as expressive as much larger works, and are even ‘monumental’ in their own right. Showcased here are approximately 150 objects from a unique collection of 20,000 pieces, purchased from renowned art galleries, exchanged between collectors, or found in Africa during decades of enthusiastic research. Representing the quintessence of African thought, religiosity, and prodigious formal inventiveness, this private collection is a celebration of the union of the minuscule, the sacred, and the precious. Including a long interview in which the collector talks about the origin of his passion, this book plunges the reader into a poetic odyssey of materials, forms, and rituals composed on a smaller scale.

A graduate from the École du Louvre et de lettres classiques at the Sorbonne, Bérénice Geoffroy-Schneiter is an art historian and journalist who specialises in archaeology and ethnology. She has published many books on the art of costume and the primal arts and has been editor-in-chief of the review Tribal Art.

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SENU F O UNBO UND Dynamics of A RT and identity in west africa Susan Elizabeth Gagliardi

24 x 28.5 cm, 288 pages 286 colour illustrations Hardcover with jacket ISBN 9788874396665 £ 45.00, US $ 75.00, Can $ 86.00, € 60,00

Exhibitions the Cleveland Museum of Art, Cleveland February 22 – May 31, 2015 Saint Louis Art Museum, Saint-Louis June 26 – September 27, 2015 Musée Fabre, Montpellier November 28, 2015 – March 6, 2016

[ 3 0 ] NEW t i t l e S

In the early twentieth century, face masks and figurative sculptures from Africa captured the imagination of admirers of art in Europe and North America. Collectors, curators, dealers, and scholars soon began recognizing the sculptures as Senufo. By the midtwentieth century, connoisseurs and scholars included composite zoomorphic helmet masks carved with gaping maws, sharp teeth, and pointy horns in the category of art they labeled as Senufo. For Western twentieth-century art experts, the word Senufo designated a discrete style associated with the cultural group of the same name.

The multivalent Senufo label operates on many and at times contradictory levels.

Constructed and deployed over decades in different contexts and with different interests at play, the name is a product of history. The Senufo label informs and is shaped by not only the experiences of people who identify or are identified as Senufo but also by the arts these people create and support.

Drawing on archival, museum, and field-based data, Senufo Unbound: Dynamics of Art and Identity in West Africa explores historical foundations for the term Senufo and its use to label arts from western Burkina Faso, northern Côte d’Ivoire, and southern Mali. Richly illustrated with 281 colour and black-and-white photographs, the book re-examines the concept of Senufo-ness and expands the views of a dynamic region’s arts and identities.

Susan Elizabeth Gagliardi is assistant professor of art history at Emory University in Atlanta, Georgia. Her current research is based on twenty-two months of fieldwork in Senufo- and Mande-speaking communities of western Burkina Faso.

NEW t i t l e S [ 3 1 ]

[ A f r i ca n A rt ]

VISI ONS O F GRACE 1 0 0 M A S T ER P IECES FRO M T HE CO LLECT IO N OF DA N IEL A ND MA R IA N MA LCO LM Heinrich Schweizer

25 x 30 cm, 256 pages 125 colour illustrations Hardcover with jacket ISBN 9788874396863 £ 40.00, US $ 60.00, Can $ 69.00, € 50.00

This gorgeous book highlights one hundred works from the celebrated collection assembled by Daniel and Marian Malcolm. Built over more than four decades with discipline, curiosity, and passion, it is one of the finest private collections of pre-colonial African Art, and as such serves as a model and a source of inspiration for new and seasoned collectors alike. While any private collection can only reflect a subjective point of view, documenting personal responses and interpretations, the collection of Daniel and Marian Malcolm is so high in quality and encyclopedic in content that it can offer a capacious general introduction to the topic of African art and further our understanding of the artworks’ source cultures.

Focusing on pieces of the highest artistic quality, the Malcolms are especially fascinated by creative expressions reflecting the religious beliefs, social structures, and traditional values of sub-Saharan African peoples. The author concentrates on the diversity and depth of the collection, providing historical, sociological, and religious contexts while exploring the wellspring of the collectors’ love for African Art. Striking a balance between often published and lesser-known masterpieces from the collection, the present volume unveils to the public a number of key works for the first time.

Heinrich Schweizer is the head of African and Oceanic Art at Sotheby’s, where he is credited with introducing new cataloguing standards for African Art.

[ 3 2 ] NEW t i t l e S

hai fatto la correzione che mi avevi segnato sulla prova?

[ 3 4 ] NEW t i t l e S

[ A f r i ca n A rt ]

T H E SILEN CE O F TH E WO MEN: B A MA NA MUD CLOTH S Sarah Brett-Smith

20 x 26 cm, 320 pages 132 colour illustrations Hardcover ISBN 9788874396702 £ 45.00, US $ 75.00, CAN $ 86.00, € 55.00

The Silence of the Women: Bamana Mud Cloths is the first full-length scholarly book entirely devoted to an African art form created by women of the Bamana people in Mali, West Africa. These traditional mud-dyed textiles have typically been treated as craft but, here, they are presented as a complex art form. Sarah Brett-Smith sensibly explores the hidden cultural testimony written into the mud-cloth patterns, documenting women’s silent visual commentary on the events that dominate their lives — excision, arranged marriage, childbirth, and death. Combining art history with anthropology, she reconstructs with exquisite subtlety and patience the existence of a savoir-faire that has had to deny its own existence.

This book is a decisive contribution to our understanding of female knowledge and the ways in which this knowledge is preserved and transmitted to the next generation. It engenders an artistic and emotional understanding of the shadowy world and pregnant silences of Bamana women.

Sarah C. Brett-Smith is a professor at Rutgers University in New Brunswick, New Jersey.

She specializes in the study of Bamana ritual art and medicine with a focus on the muddyed cloths painted by Bamana women.

NEW t i t l e S [ 3 5 ]

[ O c e a n i c A rt ]

E M B OD IED SPIRITS G OP E B OA R DS FRO M T HE PA P UA N GU LF Edited by Virginia-Lee Webb. Essays by Thomas Schultze-Westrum and Robert L. Welsch

24 x 35.5 cm, 336 pages 210 colour and b/w illustrations Hardcover with jacket ISBN: 9788874397051 £ 90.00, US$ 140.00, Can $ 168.00, € 125.00

A fascinating collection of the wooden ritual objects called ‘spirit boards’ made in the Papuan Gulf of New Guinea. They represent spirits that protect clans from sickness, evil spirits, and death. The first book devoted exclusively to the subject sets the individual works in their local context with historical and field photographs. The sculptural forms called ‘spirit boards’ are known by different names in the numerous ethnic regions of the Papuan Gulf, and are called gope in several languages. Traditionally, boards were made with wood from discarded canoes, usually decorated with carved and painted designs on one side. The boards were carved by important men of an extended family or clan.

In the late nineteenth to early twentieth century, men lived apart from women and uninitiated boys. Their houses had designated areas or shrines created for the display of items that indicated personal status and clan identity. Multiple boards were placed in these shrines and served as reminders to their owners about their responsibility to the clan and the community.

Embodied Spirits is the first book devoted exclusively to the subject and presents the numerous styles of spirit boards. Full-page colour photographs illustrate the boards of each region, selected from noted international and private collections. The description includes detailed collection history, provenance, publication, and exhibition information for each work. Additionally, contextual historical photographs show the actual spirit boards in situ or similar examples from corresponding time periods.

Virginia-Lee Webb is former Research Curator and Senior Research Scholar at The Metropolitan Museum of Art, in the Department of the Arts of Africa, Oceania, and Americas, where she organized twenty exhibitions for the museum. She also worked at the Museum of Primitive Art, which merged with The Metropolitan Museum. She is currently a consulting curator for several museum projects.

[ 3 6 ] NEW t i t l e S

NEW t i t l e S [ 3 7 ]

[ p r e - co l umb i a n a rt ]

T H E WO RL D TH AT WA SN ’T TH ERE P RE - C OL U MBIA N A RT IN T HE LIGA BU E CO LLECT IO N Edited by Adriano Favaro Essays by Jacques Blazy and André Delpuech

26 x 31 cm, 362 pages 210 colour illustrations Hardcover with jacket ISBN: 9788874397013 £ 48.00, US $ 75.00, Can $ 91.00, € 65.00

Exhibition Museo Archeologico Nazionale, Florence September 19, 2015 – March 6, 2016

One of the first people in Europe to consider the gifts which the Aztec ruler Montezuma gave to Hérnan Cortés as works of art was Albrecht Dürer: ‘Nothing I have yet seen has given me such joy as the objects brought to the king from the new gold countries […] Some pieces display an extraordinary skill; I have been astonished by the ingenuity of the inhabitants of those far distant lands’, he wrote. It was 1520 and those works had been sent to Brussels.

The five centuries that have passed since the beauty of these objects was first noticed seem not to have been enough for the ancient cultures of Latin America to be fully understood. This catalogue of pre-Columbian art is a fresh attempt to examine and come to terms with artworks produced by a section of mankind that came to the attention of Europeans only after the voyages of Columbus and other explorers. It illustrates the collection of pre-Columbian art of Giancarlo and Inti Ligabue, one of the few collections of its kind in Italian hands: over 150 pieces from Mesoamerica and South America, an extraordinary corpus of objects that give testament to the excellence achieved by ancient artists. But it also tells the story of certain rare objects which belonged to the Medici Collection, one of Europe’s greatest treasures. Among these are two atlatls, spear-throwers covered in gold-leaf from the Aztec or Mixtec cultures, a Taíno necklace dating from the fourteenth or fifteenth century, and a Teotihuacan stone mask. These objects are accompanied by pieces from private European collections and a number of significant artworks from the Quai Branly Museum in Paris. Essays by leading scholars and archaeologists, such as C. Phillips, C.F. Baudez, J-M. Hoppan, J-J Leyenard, F. Kauffmann Doig, C. Cavatrunci, D. Domenica, and M. Polia, weave both scientific and humanistic interpretations of Amerindian thought.The Giancarlo and Inti Ligabue Collection of masterpieces of ancient Latin American cultures is part of a huge and broad-ranging hoard of objects gathered over a period of almost fifty years.

Adriano Favaro has been in charge of the culture section of the daily Il Gazzettino for years, as well as being editor of Ligabue Magazine.

Jacques Blazy is an internationally known expert in pre-Columbian art and the organizer of the exhibition.

André Delpuech is the heritage curator of American Collections at the Quai Branly Museum, in Paris, and the chairman of the scientific committee.

[ 3 8 ] NEW t i t l e S

NEW t i t l e S [ 3 9 ]

[ A PPLIE D A RT s A N D D ESI G N ]

TELLING TIME | L’ÉLO GE DE L’H EURE Edited by Chantal Prod’Hom and Lausanne Fabienne Xavière Sturm

21 x 26 cm, 224 pages 219 colour illustrations Hardcover Bilingual edition: English and French ISBN 9788874397204 £ 30.00, US$ 45.00, Can $ 55.00, € 40.00

Co-published with MUDAC, Musée de Design et d’Arts appliqués Contemporains, Lausanne

[ 4 0 ] NEW t i t l e S

The aim of this exhibition catalogue is to establish a dialogue between the historical past of the timepiece, the work of designers who produce watches or clocks, and visual artists who work with the concept of time. Each of these domains has its own particular resonance, its poetic baggage and aesthetic references. The intention is to create coherence and harmony between the past and the present.

The catalogue is divided in two main sections. The first one is an historical section presenting a look at six centuries of watches, from 1550 to 2015, chosen to show how the display of time has evolved, focusing on unusual formats and highlighting the watchmakers’ inventiveness and artistry. A series of further sections illustrate specific aspects of time display and make connections with the work of contemporary designers and visual artists: mystery time, night time, projected time, retractable hands, windows, etc. The second section is dedicated to designers and visual artists: what shapes, media, and spaces do designers and visual artists turn to when they want to show time, or hide it, play with it, or even stretch it out? From the conceptual design of Maarten Baas and his Real Time project to the monochromatic Orologio by Swiss artist Valentin Carron, with a section on the theme of the clock, the concept of time is brought right up to date, including the perspectives of practical ingenuity, humour, intelligent quotation, and poetry.

Chantal Prod’Hom is director of Mudac, Musée de design et d’arts appliqués contemporains, Lausanne.

Fabienne Xavière Sturm is honorary curator of the Geneva Museum of Watchmaking and Enameling.

[ P H OTO G R A P H Y ]

T H E G REAT WA R TH E P E R SUA SIVE P OWER O F P HOTO GR A P HY Texts by Anthony Petiteau, Ann Thomas, and Bodo von Dewitz

28 x 28 cm, 144 pages 87 colour illustrations Hardcover Bilingual edition: English and French ISBN 9788874396788 £ 25.00, US $ 40.00, Can $ 45.00, € 35.00

Co-published with the Museum of Fine Arts of Canada, Ottawa, Ontario

[ 4 2 ] NEW t i t l e S

World War I could be called the ‘war of the camera’. While earlier conflicts were documented using photography, WWI represented a turning point in how the medium was applied and by whom. Both the Allied forces and the Central Powers employed official photos to spy, to provoke, and to persuade—a study in strategy, censorship, and the constant need to whip up public support for the cause. In sharp contrast, the importance of photography for personal use was undeniable. For soldiers and those left behind, studio portraits and photo albums created permanent records of lives that were suddenly placed at risk. Published on the 100th anniversary of the beginning of WWI, this book brings together a diverse, remarkable selection of images that illustrates the beginning of photography’s inextricability from modern warfare.

Ann Thomas is curator of the Photographs Collection at the National Gallery of Canada, Ottawa.

Anthony Petiteau is responsible for documentary studies at the Musée de l’Armée, Paris.

Bodo von Dewitz, former assistant director, is chief curator of the Photographs Collection at the Ludwig Museum, Cologne.

NEW t i t l e S [ 4 3 ]

REFLECTIONS ON RENAISSANCE VENICE A Celebration of Patricia Fortini Brown 24 x 28.5 cm, 312 pages, 75 colour illustrations, hardcover ISBN 9788874396344 £ 42.00, US $ 65.00, Can. $ 75.00, € 60.00

A VERY ENGLISH SWISS Samuel Hieronymus Grimm (1733 – 1794) 22 x 27 cm, 224 pages, 75 colour illustrations, softcover ISBN 9788874396627 £ 29.99, US $ 45.00, Can. $ 52.00, € 35.00

RESONANT SPACE The Coloritmos of Alejandro Otero 21.5 x 26.6 cm, 256 pages, 86 colour illustrations, hardcover ISBN 9788874396658 £ 35.00, US $ 50.00, Can. $ 57.50, € 40.00

INDIAN CONTEMPORARY ART Contemporary, One Word, Several Worlds 24 x 28.5 cm, 248 pages, 210 colour illustrations, hardcover ISBN 9788874396276 £ 37.50, US $ 55.00, Can. $ 62.00, € 45.00

YVES KLEIN Incandescence 24 x 33 cm, 240 pages, 165 colour illustrations, with a DVD, hardcover ISBN 9788874396252 £45.00, US $ 65.00, Can. $ 75.00, € 55.00

AGUSTÍN FERNÁNDEZ The Metamorphosis of Experience 29 x 30 cm, 260 pages, 220 colour illustrations, hardcover ISBN 9788874396306 £ 48.00, US $ 75.00, Can. $ 86.00, € 59.00

ISAMU NOGUCHI / QI BAISHI / BEIJING 1930 23 x 28 cm, 144 pages, 75 colour illustrations, softcover ISBN 9788874396399 £ 25.00, US $ 40.00, Can. $ 45.00, € 30.00

ARTISTS OF NIGERIA 24 x 30 cm, 680 pages, 1158 colour illustrations, hardcover ISBN 9788874395477 £ 65.00, US $ 95.00, Can. $ 109.00, € 80.00

LOOKING UPTM...

Yinka Shonibare, MBE 21 x 21 cm, 176 pages, 100 colour illustrations, softcover Bilingual: English and French ISBN 9788874395644 £ 24.95, US $ 34.95, Can. $ 41.95, € 29.00

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[ M O D ERN A N D C O NTE M P O R A RY A RT ]

[ D ESI G N A N D A PPLIE D A RT | P H OTO G R A P H Y ]

CHARLOTTE PERRIAND AND PHOTOGRAPHY A Wide-Angle Eye 24 x 28.5 cm, 368 pages, 438 colour and duotone illustrations, hardcover ISBN 9788874395484 £ 45.00, US $ 70.00, Can. $ 84.00, € 59.00

BUCKMINSTER FULLER AND ISAMU NOGUCHI Best of Friends 23 x 29.5 cm, 256 pages, 264 duotone illustrations, hardcover ISBN 9788874395439 £ 45.00, US $ 65.00, Can. $ 78.00, € 50.00

SLASH Paper under the Knife 20.5 x 25.5 cm, 224 pages, 230 colour illustrations, softcover ISBN 9788874395293 € 35.00, US $ 45.00, Can. $ 58,50, £ 30.00

BÊTES DE STYLE / ANIMALS WITH STYLE 17 x 22 cm, 160 pages, 80 colour illustrations, softcover ISBN 9788874393459 € 30.00, US $ 35.00, Can. $ 39.00, £ 18.00

ITALIAN DESIGN 21 x 21 cm, 160 pages, 135 colour illustrations, softcover ISBN 9788874394906 £ 14.99, € 29.00

AMERICAN DESIGN 21 x 21 cm, 160 pages, 135 colour illustrations, softcover ISBN 9788874394913 € 29.00, £ 14.99

JAPANESE DESIGN 21 x 21 cm, 160 pages, 135 colour illustrations, softcover ISBN 9788874394920 € 29.00, £ 14.99

BRITISH DESIGN 21 x 21 cm, 144 pages, 100 colour illustrations, softcover ISBN 9788874395392 € 29.00, £ 14.99

SCOTTISH JEWELLERY A Victorian Passion 24 x 24 cm, 144 pages, 127 colour illustrations, hardcover ISBN 9788874395248 £ 30.00, US $ 45.00, Can. $ 58.50, € 35.00

VEHICLES 20.5 x 25.5 cm, 168 pages, 130 colour illustrations, softcover ISBN 9788874396580 £ 25.00, US $ 40.00, Can. $ 45.00, € 32.00

CARAVANSERAI 30 x 21 cm, 180 pages, 90 duotone and colour illustrations, hardcover ISBN 9788874396047 £ 32.50, US $ 50.00, Can. $ 57.50, € 40.00

LABORATORY OBSESSION 22 x 18 cm, 96 pages, 50 colour illustrations, hardcover Bilingual: English and Italian ISBN 9788874395408 £ 26.00, US $ 40.00, Can. $ 48.00, € 29.00

C ATA L O G U E [ 4 5 ]

ATTENZIONE A QST CODICE, l’aggiornamento era sbagliato

[ v i s i o n S O F A F RI C A ]

bamana 16.5 x 24 cm, 144 pages 62 colour and 16 b/w illustrations, softcover ISBN 9788874393480 £ 27.95, US $ 39.95, Can $ 47.95, € 35.00

BAMum 16.5 x 24 cm, 160 pages 64 colour and 15 b/w illustrations, softcover ISBN 9788874395736 £ 27.95, US $ 39.95, Can $ 47.95, € 35.00

BÉNIN 16.5 x 24 cm, 136 pages 53 colour and 16 b/w illustrations, softcover ISBN 9788874394104 £ 27.95, US $ 39.95, Can $ 47.95, € 35.00

Chokwe 16.5 x 24 cm, 144 pages 64 colour and 14 b/w illustrations, softcover ISBN 9788874392933 £ 27.95, US $ 39.95, Can $ 47.95, € 35.00

IGBO 16.5 x 24 cm, 160 pages 62 colour and 21 b/w illustrations, softcover ISBN 9788874396320 £ 27.95, US $ 39.95, Can $ 47.95, € 35.00

kuba 16.5 x 24 cm, 144 pages 62 colour and 14 b/w illustrations, softcover ISBN 9788874394043 £ 27.95, US $ 39.95, Can $ 47.95, € 35.00

kota 16.5 x 24 cm, 168 pages 60 colour and 18 b/w illustrations, softcover ISBN 9788874396078 £ 27.95, US $ 39.95, Can $ 47.95, € 35.00

LUBA 16.5 x 24 cm, 148 pages 63 colour and 23 b/w illustrations, softcover ISBN 9788874392971 £ 27.95, US $ 39.95, Can $ 47.95, € 35.00

PENDE 16.5 x 24 cm, 128 pages 46 colour and 9 b/w illustrations, softcover ISBN 9788874393848 £ 27.95, US $ 39.95, Can $ 47.95, € 35.00

punu 16.5 x 24 cm, 160 pages 62 colour and 18 b/w illustrations, softcover ISBN 9788874394012 £ 27.95, US $ 39.95, Can $ 47.95, € 35.00

Yaka 16.5 x 24 cm, 136 pages 62 colour and 18 b/w illustrations, softcover ISBN 9788874395156 £ 27.95, US $ 39.95, Can $ 47.95, € 35.00

Yoruba 16.5 x 24 cm, 160 pages 60 colour and 18 b/w illustrations, softcover ISBN 9788874395873 £ 27.95, US $ 39.95, Can $ 47.95, € 35.00

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[ A F RI C A N A N D O C E A NI C A RT ]

ARTS OF NIGERIA IN FRENCH PRIVATE COLLECTIONS 24 x 28 cm, 288 pages, 200 colour illustrations, hardcover ISBN 9788874395811 £ 42.00, US $ 65.00, Can. $ 75.00, € 55.00

AFRICAN IMPRESSIONS / EMPREINTES D’AFRIQUE Tribal Art and Currents of Life 24 x 28.5 cm, 288 pages, 160 colour illustrations, hardcover ISBN 9788874395972 £ 44.95, US $ 68.00, Can. $ 81.50, € 59.00

AFRICAN FETISHES AND ANCESTRAL OBJECTS 24 x 28.5 cm, 288 pages, 163 colour illustrations, hardcover Bilingual: English and French ISBN 9788874396542 £ 50.00, US $ 75.00, Can. $ 86.00, € 59.00

BABEMBE Sculpture 24 x 28.5 cm, 212 pages, 140 colour illustrations, hardcover ISBN 9788874395446 £ 50.00, US $ 90.00, Can. $ 117.00, € 60.00

FRAGMENTS OF THE INVISIBLE The René and Odette Delenne Collection of Congo Sculptures 21.6 x 30.5 cm, 120 pages, 141 colour illustrations, softcover ISBN 9788874396566 £ 20.00, US $ 30.00, Can. $ 33.00, € 25.00

THE ART OF DAILY LIFE Portable Objects from Southern Africa 24 x 28.5 cm, 112 pages, 100 colour illustrations, softcover ISBN 9788874395781 £ 20.00, US $ 30.00, Can. $ 36.00, € 25.00

POWERFUL HEADDRESSES Africa | Asia 24 x 28.5 cm, 200 pages, 142 colour illustrations, hardcover Bilingual: English and French ISBN 9788874395514 £ 55.00, US $ 85.00, Can. $ 102.00, € 55.00,

MAKING HISTORY African Collectors and the Canon of African Art 24 x 29.7 cm, 320 pages, 300 colour illustrations, hardcover ISBN 9788874395712 £ 45.50, US $ 70.00, Can. $ 72.00, € 59.00,

AFRICAN COSTUMES AND TEXTILES 24 x 29.7 cm, 320 pages, 300 colour illustrations, hardcover ISBN 9788874394760 £ 45.00, US $ 70.00, Can. $ 84.00, € 59.00

FACING AFRICA / L’AFRIQUE EN FACE 21.5 x 32.5 cm, 112 pages, 45 three-colour printed illustrations, hardcover Bilingual: English and French ISBN 9788874396368 £ 30.00, € 35.00

BISMARCK ARCHIPELAGO ART 27.5 x 35.5 cm, 328 pages, 210 colour illustrations, hardcover ISBN 9788874396597 £ 100.00, US $ 165.00, Can. $ 190.00, € 125.00

SOLOMON ISLANDS ART The Conru Collection 25 x 31 cm, 200 pages, 130 colour illustrations, hardcover ISBN 9788874394937 £ 60.00, US $ 125.00, Can. $ 135.00, € 80.00

C ATA L O G U E [ 4 7 ]

ATTE DIC sba

[ A SI A N A N D PRE - C O L U M B I A N A RT ]

ECUADOR The Secret Art of Precolumbian Ecuador 24 x 29.7 cm, 360 pages, 260 colour illustrations, hardcover ISBN 9788874393374 £ 50.00, US $ 85.00, Can. $ 95.00, € 80.00

CHARMS IN PRE-COLUMBIAN ECUADOR 21 x 21 cm, 148 pages, 140 colour illustrations, softcover ISBN 9788874395910 Bilingual: English and Spanish £ 24.95, US $ 34.95, Can. $ 41.95, € 29.00

THE WORLD OF SPIRITS IN PRE-COLUMBIAN ECUADOR 19 x 26 cm, 228 pages, 257 colour illustrations, softcover Bilingual: English and Spanish ISBN 9788874395965 £ 30.00, US $ 45.00, Can. $52.00, € 35.00

PERU Kingdoms of the Sun and the Moon 24 x 28 cm, 380 pages, 320 colour illustrations, hardcover ISBN 9788874396290 £ 42.00, US $ 65.00, Can. $ 72.00, € 55.00

ANCIENT AMERICAN ART 3500 BC – AD 1532 24 x 29.5 cm, 392 pages, 280 colour illustrations, hardcover ISBN 9788874395545 £ 60.00, US $ 90.00, Can. $ 108.00, € 80.00

PRE-COLUMBIAN ART The Barbier-Mueller Collection 23 x 30 cm, 644 pages, 663 colour illustrations, hardcover two volumes + Sotheby’s catalogue Bilingual: English and French ISBN 9788874396467 £ 125.00, US $ 200.00, Can. $ 230.00, € 150.00

WOOD SCULPTURE IN NEPAL Jokers and Talismans 24 x 28 cm, 168 pages, 140 colour illustrations, hardcover ISBN 9788874395095 £ 40.00, US $ 75.00, Can. $ 85.00, € 55.00

GOLD, SILVER AND BRASS Jewellery of the Batak in Sumatra, Indonesia 26 x 30 cm, 192 pages, 215 colour illustrations, hardcover ISBN 9788874396269 £ 35.50, US $ 55.00, Can. $ 62.00, € 45.00

TEXTILES FROM BORNEO Iban, Kantu, Ketungau, and Mualang Peoples 24.5 x 32.7 cm, 224 pages, 181 colour illustrations, hardcover ISBN 9788874396511 £ 50.00, US $ 75.00, Can. $ 86.00, € 59.00

JAPANESE BUDDHIST TEXTILES 22.5 x 28 cm, 336 pages, 410 colour illustrations, hardcover Bilingual: English and French ISBN 9788874396450 £ 100.00, US $ 160.00, Can. $ 185.00, € 120.00

FASHIONING KIMONO Dress and Modernity in Early Twentieth-Century Japan 24 x 28.5 cm, 328 pages, 190 colour illustrations, hardcover ISBN 9788874392711 £ 30.00, US $ 45.00, Can. $ 55.00, € 39.55

THE JEWISH WARDROBE From the Collections of the Israel Museum, Jerusalem 24 x 28 cm, 368 pages, 350 colour illustrations, hardcover ISBN 9788874396023 £ 48.50, US $ 75.00, Can. $ 86.00, € 60.00

[ 4 8 ] C ATA L O G U E

[ P H OTO C RE D ITS A N D C O P Y RI G H T ]

NEW TITLES

pp. 6-7 © Cartier / Nils Herrmann, Cartier Collection p. 11 © Baur Foundation, Geneva / Hughes Dubois p. 12 © Musée Rodin, Paris (detail) pp. 14-5 © The National Gallery, London p. 17 © Bode Olaniran and Monsuru Alashe – Ovuomaroro Studio and Gallery Lagos p. 18 © Adolf Wölfli, Collection de l’Art Brut, Lausanne p. 20 © Cedric Johnson, courtesy The Creative Growth Art Center, Oakland p. 25 © Hughes Dubois, courtesy Ana and Antonio Casanovas p. 27 © Eduardo López Moreno Collection / Jude Xavier Gichumbi p. 28 © Francesco Piché p. 30 Left : © Mina and Samir Borro, Brussels

Right: © Hughes Dubois, Paris-Brussels p. 31 © John Bigelow Taylor, New York

p. 33 p. 34 p. 35 p. 37 p. 39 p. 40

© Jon Lam © Douglas-Chew Ho (detail) © Sarah C. Brett-Smith © Tomkins Collection / Paul Mutino © Pierre Yves Dhinaut Left: © Musée Girard-Perregaux / David Baumann / Mathieu Bosa

Right: © Musée de l’horlogerie du Locle, Chateau des Monts / David Baumann / Mathieu Bosa p. 41 Top, left: © Bertrand Planes / Lucille Blanche

Top, right: © Christiaan Postma

Bottom, left: © Galerie Xippas, Geneva / Darren Almond

Bottom, right: © Bina Baitel pp. 43-44 © Library andArchives Canada / William Ivor Castle

C O VER :

© Baur Foundation, Geneva / Hughes Dubois

[49]

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[index]

New titles in bold

Embodied Spirits. Gope Boards from the Papuan Gulf (36)

Pre-Columbian Art. The Barbier-Mueller Collection (48)

African Costumes and Textiles (47)

Facing Africa / L’Afrique en face (47)

Punu – Visions of Africa (46)

African Fetishes and Ancestral Objects (47)

Fashioning Kimono. Dress and Modernity in Early

Reflections on Renaissance Venice. A Celebration

African Impressions / Empreintes d’Afrique.

Tribal Art and Currents of Life (47) Agustín Fernández. The Metamorphosis of Experience (44) Alfred Baur, Pioneer and Collector (10) American Design – MoMA Design Series (45) Ancient American Art. 3500 BC – AD 1532 (48)

Twentieth-Century Japan (48) Fragments of the Invisible. The René and Odette Delenne Collection of Congo Sculptures (47) Gold, Silver And Brass. Jewellery of the Batak in Sumatra, Indonesia (48) Great War, The. The Persuasive Power of Photography (42)

of Patricia Fortini Brown (44) Resonant Space. The Coloritmos of Alejandro Otero (44) Scottish Jewellery (45) Senufo Unbound. Dynamics of Art and Identity in West Africa (30) Silence of the Women: Bamana Mud Cloths,

Architecture – ART BRUT The Collection (19)

Guro – Visions of Africa (24)

Artists of Nigeria (44)

Igbo – Visions of Africa (46)

Slash. Paper under the Knife (45)

Art of Daily Life, The. Portable Objects from

Indian Contemporary Art (44)

Solomon Islands Art. The Conru Collection (47)

Southern Africa (47)

The (35)

Isamu Noguchi / Qi Baishi / Beijing 1930 (44)

Telling Time | L’éloge de l’heure (40)

Arts of Nigeria in French Private Collections. (47)

Italian Design – MoMA Design Series (45)

Textiles from Borneo. Iban, Kantu, Ketungau,

Asia Imagined in the Baur and Cartier

Japanese Buddhist Textiles (48)

Collections (8) Babembe. Sculpture (47) Bamana – Visions of Africa (46)

and Mualang Peoples (48)

Japanese Design – MoMA Design Series (45)

Vehicles – ART BRUT The Collection (45)

Jewish Wardrobe, The. From the Collections

Very English Swiss, A. Samuel Hieronymus Grimm

of the Israel Museum, Jerusalem (48)

(1733-1794) (44)

Bamum – Visions of Africa (46)

Kota – Visions of Africa (46)

Baule – Visions of Africa (23)

Kuba – Visions of Africa (46)

Bénin – Visions of Africa (46)

Laboratory Obsession (45)

Bêtes de Style / Animals with Style (45)

Looking UpTM... Yinka Shonibare, MBE (44)

Wooden Dreams. East African Headrests (26)

Bismarck Archipelago Art (47)

Luba – Visions of Africa (46)

Wood Sculpture In Nepal. Jokers and Talismans

British Design – MoMA Design Series (45)

Making History. African Collectors and the Canon

Buckminster Fuller and Isamu Noguchi.

Best of Friends (45) Caravanserai (45) Charlotte Perriand and Photography.

of African Art (47) Metamorphoses. In Rodin’s Studio (13) Micro Monumentality. A Tribute to Miniature Works of African Art – Micro-Africa (28)

Visions of Grace. 100 Masterpieces from the Collection of Daniel and Marian Malcolm (32)

(48) World of Spirits in Pre-Columbian Ecuador, The (48) World that Wasn’t There, The. Pre-Columbian Art in the Ligabue Collection (38)

Monet. A Bridge to Modernity (14)

Yaka – Visions of Africa (46)

Charms in pre-Columbian Ecuador (48)

Mossi – Visions of Africa (24)

Yoruba – Visions of Africa (46)

Chokwe – Visions of Africa (46)

Onobrakpeya: Masks of the Flaming Arrows (16)

Yves Klein. Incandescence (44)

Creative Growth Book, The (21)

Pende – Visions of Africa (46)

Ecuador. The Secret Art of Precolumbian

Peru. Kingdoms of the Sun and the Moon (48)

A Wide-Angle Eye (45)

Ecuador (48)

Powerful Headdresses. Africa | Asia (47)

[52]

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[53]

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[55]

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2015 2016

MODE & DESIGN

PHOTOGRAPHY

PRE-COLUMBIAN ART

ISLAMIC ART

ASIA SOCIETY | NEW YORK

BAUR FOUNDATION | GENEVA

ASIATIC ART

OCÉANIC ART

MUSÉE DU QUAI BRANLY | PARIS

VISIONS OF AFRICA

AFRICAN ART

HISTORIAL DE LA GRANDE GUERRE MODERN AND CONTEMPORARY ART

ARCHIVES ANTONIO SAURA

MAD | MUSEUM OF ARTS AND DESIGN | NEW YORK MUSÉE D’ART CONTEMPORAIN | LYON

PETIT PALAIS | PARIS | ARCHIVES CHARLOTTE PERRIAND THE ISAMU NOGUCHI FOUNDATION & GARDEN MUSEUM

MoMA DESIGN SERIES JEU DE PAUME | PARIS

MoMA | NEW YORK

CENTRE POMPIDOU | TATE MODERN | SCUDERIE QUIRINALE

MUSÉE D’ART ET D’HISTOIRE | GENÈVE

INSTITUT SUISSE POUR L’ÉTUDE DE L’ART

FONDATION FÉLIX VALLOTTON

MUSÉE JENISH | VEVEY

FONDATION DE L’HERMITAGE | LAUSANNE

MUSÉE CANTONAL DES BEAUX-ARTS | LAUSANNE

GALERIE D’ARTS GRAPHIQUES

LA PHOTOGRAPHIE AU MUSÉE D’ORSAY

ESSAYS ON ART MUSÉE D’ORSAY

ANCIENT ART

MUSEO THYSSEN-BORNEMISZA | MADRID

CABINET DES DESSINS

MUSÉE DU LOUVRE

NEW TITLES

5CONTINENTS