5 Continents Editions Catalogue 2018-2019 > English Titles

2018 2019 FASHION & DESIGN

PHOTOGRAPHY

PRE-COLUMBIAN ART

ISLAMIC ART

ASIA SOCIETY | NEW YORK

BAUR FOUNDATION | GENEVA

ASIAN 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

DRAWING GALLERY

MUSÉE DU LOUVRE

NEW TITLES

5CONTINENTS

Dear readers and booksellers, I’d like this year’s catalogue to be not just a way of providing information about our latest novelties, but something altogether more intimate that puts you more closely in touch with us and with what we like doing most: exuberantly and ceaselessly seeking beauty in all the forms and expressions art takes!

As a matter of fact, we are becoming more and more aware that beauty is all around us.

And that’s the message we are trying to convey with our books. Just consider nature, more specifically of the goats and sheep that Kevin Horan has photographed so sensitively, profoundly amazed by the primordial expressiveness that hurdles the barrier between species. Then there is the wonder of the gemstone out of which the Farnese Cup was modelled: the detailing and play of colours in the veining have been immortalised by Luigi Spina in an unparalleled collection of photos that makes this artefact a worthy addition to our Hidden Treasures series. The skilled craftsmanship displayed in ancient artworks then gives way to more modern approaches, which nonetheless never cease to amaze in their protean attempts to create a strong and wholly satisfying new identity, as emerges from the highly detailed works of the Danish Golden Age from the Ordrupgaard Collection, the expressivism of the New Weimar artists, and the ingenious innovations of Alexander Calder.

Bill Traylor, Carlo Zinelli, and Japanese Art Brut artists have produced works that are no less stunning and they, too, can be found among the books that we have dedicated to this “Outsider art”. Not forgetting Fernando Costa and the monograph that 5 Continents has dedicated to him in the Contemporary Art section.

Lastly, as always, we have a special, carefully curated place for non-Western art and its poetic vision, which we strive to communicate through tribal artefacts, Baga statuettes, Chinese ceramics, and sumptuous Oriental textiles.

Having said all this, our wish for this year can only be for you to curl up with a lot of good books!

Eric Ghysels Publisher

6 NEW TITLES

44 TAILORMADE

50

RECENT TITLES

56 CATALOGUE

[56] Modern and Contemporary Art

[57] Contemporary and Outsider Art | Applied Arts and Design

[58] Photography | Visions of Africa

[59] Visions of Africa | African Art

[60] African Art | Oceanic and Pre‑Columbian Art

[61] Pre‑Columbian and Asian Art

62 INDEX 64 DISTRIBUTION

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T H E FAR N E SE C UP H ID D E N TRE ASU R ES SER IES Text by Valeria Sampaolo Photographs by Luigi Spina

24 x 33.5 cm, 80 pages 70 colour illustrations Hardcover ISBN 9788874398515 £ 35.00 | US $ 50.00 | Can $ 67.50 | € 40.00

Co-published with the National Archaeological Museum of Naples

[8] NEW TITLES

The largest carved hardstone cup to have survived from the ancient world has come down to us through the ages probably without ever becoming an archaeological find: its peregrinations took it from Alexandria to Rome and thence to Constantinople, before it returned to Rome in the fifteenth century, where it was bought by the sharp-eyed connoisseur Lorenzo de’ Medici. It then joined the Farnese Collection, from where it reached the National Archaeological Museum of Naples.

The intriguing story of the cup’s vicissitudes as it passed from one glittering court to another is matched by the still not wholly resolved interpretation of the scene depicted on its inner face, which has been the subject of a number of different readings and continues to be a matter of debate. The work is a tour de force of the carver’s art, with the figures in the inner scene and the terrifying face of the Gorgon on the outside picked out with unerring skill, exploiting every shade of the sardonyx agate of which it is made.

Valeria Sampaolo has been conservator of the National Archaeological Museum of Naples. The author of several publications, she focuses in particular on research into the early excavations in the Vesuvius area and on establishing the provenance of the Museum’s frescoes, whose new display arrangement she curated.

Luigi Spina is a photographer. His work focuses on amphitheatres and the civic dimension of the sacred, the links between art and faith, the search for ancient cultural roots, and the physical impact of classical sculpture. His published works include L’Ora incerta (2014), The Buchner Boxes (2014), Hemba (2017), and Mythical Diary (2017). Spina has collaborated with Valeria Sampaolo and 5 Continents Editions to create the series Oggetti rari e preziosi al Museo Archeologico Nazionale di Napoli, whose titles to date embrace Memorie del Vaso blu (2016), Amazzonomachia (2017), Centauri (2017), Sette sapienti (2018), and Zefiro e Clori (2018). He has also published The Dancers at the Villa of the Papyri for 5 Continents Editions’s Tailormade series.

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I M P R E S S I ON I S T T R EA SUR ES TH E ORD RUP GA A R D CO LLECT IO N Paul Lang

30 x 25 cm, 144 pages 98 colour illustrations Hardcover Bilingual edition English/French ISBN 9788874398119 £ 30.00 | US $ 40.00 | Can $ 50.00 | € 30.00

Co-published with the National Gallery of Canada, Ottawa Exhibition National Gallery of Canada, Ottawa May 18 – September 9, 2018

[10] NEW TITLES

Accompanying a major exhibition at the National Gallery of Canada, this catalogue presents a broad selection of nineteenth-century and early twentieth-century French and Danish art from the celebrated Ordrupgaard museum near Copenhagen. Assembled for the most part between 1892 and 1931 by the Danish insurance magnate Wilhelm Hansen (1868–1936), the Ordrupgaard collection offers a spectacular overview of French painting from Eugène Delacroix through to Paul Cézanne, as well as magnificent examples from the Danish Golden Age. Fully illustrated and including an essay by Dr. Paul Lang, Deputy Director and Chief Curator of the National Gallery of Canada, the catalogue provides the opportunity to experience the highlights of the Ordrupgaard collection. It includes remarkable groupings of works that reflect various stages in the careers of painters such as Jean-Baptiste-Camille Corot, Gustave Courbet, Camille Pissarro, Claude Monet, Alfred Sisley, Paul Gauguin, C.W. Eckersberg, and Vilhelm Hammershøi. While French Impressionist and Danish works are a focus, other—often contradictory—art movements of nineteenth-century France, including the Barbizon School and Realism, are also well represented.

An expert in neo-classical European art, Paul Lang was, starting in 2011, Deputy Director and Chief Curator at the National Gallery of Canada, where he co-curated Gustave Doré (1832–1883): Master of Imagination, in collaboration with the Musée d’Orsay, Paris (2014), and Élisabeth Louise Vigée Le Brun (1755–1842), in collaboration with the Réunion des musées nationaux – Grand Palais, Paris, and the Metropolitan Museum of Art, New York (2015–16). He became the new director of the museums of the city of Strasbourg in April 2018. The author or co-author of catalogues, art historical studies, and articles, he was previously Chief Curator at the Musée d’art et d’histoire in Geneva (2000–11) and Research Associate at the Swiss Institute for Art Research in Zurich (1985–99).

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T H E P ON T-AV E N SCH O O L C RAD L E OF THE MO DER N SENSIBILIT Y Texts by Adrien Goetz, Estelle Guille des Buttes, Jean-Marie Rouart

24 x 28 cm, 76 pages 28 colour illustrations Hardcover with jacket ISBN 9788874398171 £ 27.00 | US $ 35.00 | Can $ 44.00 | € 28.00

Exhibition Musée de Pont-Aven, Pont-Aven February 2, 2018 – January 6, 2019

Pont-Aven has lent its name to one of the most famous schools of painting in modern art and is now automatically associated with Paul Gauguin and Émile Bernard. In 1888, in this Breton village in southern Finistère, the two painters set about inventing the features of a completely new style of painting: Synthetism. Breaking with academic orthodoxy and heavily influenced by Japanese prints, they introduced novel aesthetic principles distinguished especially by a belief in simple forms and the use of colour applied in large patches edged by a dark line. This approach further distanced itself from the art that preceded it in its taste for matt tones and the rejection of traditional perspective.

This new book reveals to a wider public the important collection that Alexandre Mouradian amassed in only a few years. The collection reflects its creator’s great passion for the artists of the Pont-Aven group, as well as others in Brittany and beyond who embraced the new ideas of Bernard and Gauguin without ever losing their individuality.

Whether in painting or printmaking, each of these was able to move beyond the imitation of observed reality to express the deepest aspect of his personality: his emotions.

The works selected by the collector eloquently show the international reach of what was not strictly speaking a school, in the full sense of the term. Since the private Paris academies were closed during the summer, artists from all over Europe went to PontAven and Le Pouldu to seek inspiration and “to dare” like Gauguin.

Written contributions by Jean-Marie Rouart of the French Academy and by the author and art historian Adrien Goetz are supported by detailed notes on the works by the museum curator Estelle Guille des Buttes, providing invaluable insights into this exceptional collection.

Adrien Goetz is a member of the Institute (Academy of Fine Arts), a former student of the École Normale Supérieure, and holds an agrégation in History and a PhD in Art History. At present, he teaches Art History at the University of Paris-Sorbonne. He has a special interest in the art of the nineteenth century. He is Chief Editor of Grande Galerie. Le Journal du Louvre, the museum’s official magazine. He writes a column for Le Figaro every Monday titled “Les Arts.”

Estelle Guille des Buttes obtained her diploma from the Institut National du Patrimoine in Paris and is Chief Curator of Pont-Aven Museum, which she has run since 2006, overseeing its extension and restoration. She has organized several exhibitions, including Maurice Denis et la Bretagne in 2009, earmarked by the Ministry of Culture as being of national interest, and in 2017 La Modernité en Bretagne (1870-1940). Estelle Guille des Buttes is also the author of numerous articles and other publications on the Pont-Aven School. She has been granted the title of Chevalier des Arts et Lettres.

Jean-Marie Rouart is a writer and journalist and published his first novel, La Fuite en Pologne, in 1974. His novel Avant-guerre won the Prix Renaudot in 1983. In addition to writing novels and essays, Jean-Marie Rouart has also pursued a parallel career in journalism, firstly at Magazine littéraire, then at Le Figaro and Quotidien de Paris, where he edited the literary section. Following his period as editor of Figaro littéraire, from 1986 to 2003, he started writing for Paris Match. He was elected to the French Academy on December 18, 1997.

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F R I E D R I C H N I E T ZSCH E A ND T H E A RT IST S O F T H E NEW W EIMA R Edited by Sebastian Schütze

20.5 x 24 cm, 80 pages 50 colour illustrations Softcover with flaps ISBN 9788874398546 £ 20.00 | US $ 25.00 | Can $ 34.00 | € 22.00

Co-published with the National Gallery of Canada, Ottawa Exhibition National Gallery of Canada, Ottawa April 18 – August 25, 2019

Around 1900, a small group of influential patrons, critics, writers, and artists turned Weimar, the capital of the small Duchy of Sachsen-Weimar-Eisenach in present-day Germany, into a utopian centre of modern art and thought. Artists like Max Klinger, Edvard Munch, and Ludwig von Hofmann, and writers like André Gide, Hugo von Hofmannsthal, and Rainer Maria Rilke sought to create a “New Weimar” and position Friedrich Nietzsche at its head as the radical prophet of modernity. Nietzsche’s profound thinking, expressive language, and poignant aphoristic style made him the ideal philosopher of modernism. “It is only as an aesthetic phenomenon that existence and the world are eternally justified.” With philosophical maxims, such as this from The Birth of Tragedy, Nietzsche became an extraordinary influence on artists and critics in their search for a “new art,” a “new man,” and, ultimately, a “new society.”

In 1902, two years after the philosopher’s death, Max Klinger was commissioned to carve his portrait for the Villa Silberblick in Weimar, where the cult of Nietzsche was organized. Starting from a heavily reworked death mask, he executed the famous marble herm that still today adorns the reception room of the Nietzsche Archive. Only three monumental bronze versions were cast, one of which is now in the collection of the National Gallery of Canada. With this sculpture in focus, accompanied by a series of paintings, drawings, plaster casts, and small bronzes, Radical Modernism will show how Klinger and his patrons invented the “official” Nietzsche, transforming a highly expressionist portrait into an idealized classical cult image.The exhibition and this catalogue will also include a comprehensive series of early editions of Nietzsche’s most influential books including luxury editions of Thus Spoke Zarathustra, Ecce Homo, and Dionysian Dithyrambs designed by Henry van de Velde. Finally, it will bring together work by the other protagonists of the “New Weimar,” including Auguste Rodin, Aristide Maillol, Edvard Munch, and Kurt Stoeving, in order to shed light on this extraordinary artistic and cultural constellation of modernism for the first time in North America.

Sebastian Schütze has been a long-standing research fellow at the Bibliotheca Hertziana (Max-Planck-Institut for Art History) in Rome. He is a member of the Austrian Academy of Sciences, a member of the scientific board of the Istituto Italiano per gli Studi Filosofici in Naples, and the Institute européen d’histoire de la République des Lettres in Paris.

From 2003 to 2009 he held the Bader Chair in Southern Baroque Art at Queen’s University in Kingston. Currently he is Professor of Early Modern Art History at the University of Vienna.

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NEW TITLES [15]

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AL E X AN D E R C A LDER . R A DIC A L INV ENTO R Edited by Anne Grace and Elizabeth Hutton Turner Texts by Anne Grace, Elizabeth Hutton Turner,W. Bernard Carlson, Linda Dalrymple Henderson, Pascal Jacob, Abigail Mack, Vanja Malloy, Eleonora Nagy, Arnauld Pierre, Claire Raymond, Emily C. Reed, Alex J.Taylor

24 x 28 cm, 256 pages 250 colour illustrations Softcover with flaps ISBN 9788874398287 £ 35.00 | US $ 48.00 | Can. $ 60.00 | € 40.00

Co-published with the Montreal Museum of Fine Arts Exhibitions Montreal Museum of Fine Arts September 22, 2018 – February 24, 2019 National Gallery of Victoria, Melbourne April 5 – August 4, 2019

[16] NEW TITLES

Alexander Calder (1898–1976) as a radical inventor: an artist who discarded convention and disrupted hierarchies, overturning the traditional basis of culture while revolutionizing the way people perceive and interact with art.

Calder’s “new line” was not simply an evolution of forms and styles. From the start, it was quite clear to all who witnessed him at work that–in his way of drawing attention and gaining notoriety–he was doing something radically new. This catalogue shows how Calder’s work emerged from expectations of change in American popular culture.

Calder, who was initially attracted by the structure and functions of the circus, looked for alternative models to triumph over respectability, public decorum, and the ambitions of industry. The catalogue, with twelve essays from major contributors, will examine how Calder, among the first college-trained artists, found techniques and inspiration in many disciplines and their development: technology, engineering, architecture, physics, and astronomy among others. All these contributed to the development of his wire sculptures, mobiles, and stabiles. More than 100 works and comparative illustrations will guide the reader through this innovative and unique path.

Anne Grace is the organizing curator of Radical Inventor: A Retrospective of Alexander Calder and Curator of Exhibitions and Education at the Montreal Museum of Fine Arts.

In her former role as Curator of Modern Art at the MMFA, she co-organized numerous exhibitions, most recently From Van Gogh to Kandinsky: Impressionism to Expressionism, 1900–1914 (2014).

Elizabeth Hutton Turner is Professor of Modern Art at the University of Virginia, former Senior Curator of the Phillips Collection, and a renowned scholar of Calder’s work. She was also a consultant for the Calder Museum Project in Philadelphia and project director, author, and editor for several exhibition catalogues of Calder’s work.

W. Bernard Carlson is a professor in the Department of Science,Technology, and Society and in the History Department at the University of Virginia.

Linda Dalrymple Henderson is David Bruton, Jr. Centennial Professor in Art History, Distinguished Teaching Professor, and Regents’ Outstanding Teaching Professor, Department of Art and Art History, University of Texas at Austin.

Pascal Jacob is a circus arts historian and teacher, and the artistic director of Cirque Phénix and the Festival Mondial du Cirque de Demain.

Abigail Mack is an independent conservator and advisor to the Calder Foundation.

Vanja Malloy is Curator of American Art at the Mead Art Museum at Amherst College.

Eleonora Nagy is Conservator of Three-Dimensional Works of Art at the Whitney Museum of American Art. Arnauld Pierre is Professor of Art History at the Université de Paris (Sorbonne IV). He is the author of the monograph Calder. Mouvement et réalité (2009).

Claire Raymond is lecturer for the program in Art History at the University of Virginia.

Emily C. Reed is a Ph.D. candidate in History of Art and Architecture at the University of Virginia.

Alex J.Taylor is a historian of modern art and visual culture.

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B I L L T R AY L OR Debra Purden and Valérie Rousseau

24 x 28 cm, 148 pages 134 colour illustrations Hardcover Bilingual edition English/French ISBN 9788874398218 £ 37.00 | US $ 50.00 | Can $ 63.00 | € 42.00

Co-published with AFAM – American Folk Art Museum, New York

[18] NEW TITLES

Born into slavery around 1853/4 on a cotton plantation in Benton, Alabama, Traylor has become one of the most important self-taught artists of the twentieth century, and certainly one of the most celebrated African-American artists, along with Thorton Dial and William Edmondson. The story of Bill Traylor’s life and work is a remarkable one. It is a story that deserves attention both nationally and internationally.

This publication, generously illustrated with full-page high-quality reproductions, will provide a close examination of Traylor’s recurrent themes, composition schemes, favoured iconography, and contextual information related to the artist’s biography, creative process and tools, visual environment, and artistic mindset.

Each artwork is considered in a context beyond that of an isolated image and in response to one another, forming a series of intricate and consistent narratives, intriguingly cinematic in its development. The elements of Traylor’s biography are the anchors of an individual mythology. Instead of merely being a basic depiction, the subject becomes a visual statement structuring Traylor’s mind, bringing together hidden symbols from Kongo Voodoo, Hoodoo, Southern Baptist, Freemasonry, and Blues sources, as well as layers of references: slavery, uncensored violence in the Jim Crow era, and turbulence within the black enclave known as “Dark Town” in Montgomery, Alabama.

Debra Purden is an American historian whose research has focused on the life and work of Bill Traylor. She has worked as a curator and registrar for many private collections in Chicago, among them the most significant private collections of Traylor. Previously part of the curatorial team at the Museum of Contemporary Art in Chicago, Purden has held positions at the Filed Museum of Natural History, The Art Institute of Chicago, and the Chicago Cultural Center.

Valérie Rousseau has been curator of self-taught art and Art Brut at the American Folk Art Museum, New York, since 2013, where she curated the AAMC Award-winning When the Curtain Never Comes Down on performance art (2015) and other critically acclaimed exhibitions. Rousseau holds a doctoral degree in art history and a master’s degree in art theory, both from Université du Québec in Montreal, and a master’s degree in anthropology from École des Hautes Études en Sciences Sociales, Paris. She is the author and editor of numerous publications, among them The Hidden Art: 20th and 21st Century Self-Taught Art (Rizzoli, 2017), Revealing Art Brut (Culture & Musées, 2010), and Vestiges de l’indiscipline (Canadian Museum of Civilization, 2007).

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C AR L O Z I N E L LI Edited by Anic Zanzi Carlo Zinelli, called Carlo (1916-74), is one of the leading figures in Art Brut, along with Aloïse Corbaz and Adolf Wölfli. The book devoted to him by the Collection de l’Art Brut–the public institution that possesses the largest body of work by the Italian artist– gathers together a series of articles on Zinelli by experts in different disciplines. This makes it possible to give due weight to relatively neglected aspects of a rich and diverse opus, such as Carlo’s writings, which mingle with his graphic compositions, well known for their characteristic accumulation of motifs, especially stylized human beings and animals, as well as vehicles.

The bilingual, French and English, book is lavishly illustrated throughout with reproductions of Zinelli’s paintings and many photographs, several of which by John Phillips, as well as previously unpublished archive material.

24 x 28 cm, 196 pages 130 colour illustrations Hardcover Bilingual edition English/French ISBN 9788874398522 £ 35.00 | US $ 50.00 | Can $ 67.50 | € 40.00

Co-published with the Collection de l’Art Brut, Lausanne Exhibition Collection de l’Art Brut, Lausanne June 7 – December 2, 2019

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Anic Zanzi is an art historian. She has been a curator at the Collection de l’Art Brut since 2003 and an exhibition organizer. She has edited several publications for the museum, including Véhicules in the Art Brut, The Collection series (5 Continents Editions, 2013).

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A RT B RU T F ROM JA PA N, A NOT H ER LO O K Edited by Sarah Lombardi, Edward M. Gómez, and Tadashi Hattori

21 x 27 cm, 184 pages 105 colour illustrations Softcover Bilingual edition English/French ISBN 9788874398478 £ 35.00 | US $ 45.00 | Can $ 60.00 | € 39.00

Co-published with the Collection de l’Art Brut, Lausanne Exhibition Collection de l’Art Brut, Lausanne November 30, 2018 – April 28, 2019

[22] NEW TITLES

This catalogue presents the works of new Japanese creators, subsequent to the catalogue Art Brut du Japon, co-published in 2008 by the Collection de l’Art Brut and editions Infolio.

It continues the exploration of the Art Brut creations in Japan initiated in the first book by presenting twenty-five new creators from different regions of Japan, whose works—drawings, paintings, photographs, sculptures, and textiles—have not yet been included in a themebased publication like this one. Edward Gómez and Tadashi Hattori are specialists of Japanese Art Brut whose essays discuss the subject and its assimilation in Japan since 2008 in the art of people suffering from a mental handicap. As they point out, whereas the notion of mental handicap resides in aesthetic and sociological criteria (the creators are self-taught, misfits, draft dodgers, prisoners, psychiatric patients, the elderly, etc., who create outside of the official art system), the condition–whether mental or physical–is not a criterion in itself. Their essays help clarify the concept of Art Brut from the standpoint of these new Japanese works.

Sarah Lombardi is an art historian and has been director of the Collection de l’Art Brut since 2013. Since her appointment as head of this Lausanne institution, she has placed emphasis on enhancing the prestige of the museum’s collections by creating biennials of Art Brut (theme-based exhibitions present works exclusively from the institution’s collection) and a new series of publications titled Art Brut, The Collection. Lombardi has published many works linked to the museum’s exhibitions and articles on Art Brut for exhibition catalogues and specialised reviews. She also writes the series of articles L’Art Brut begun in 1964 by Jean Dubuffet, and in November 2016 edited the Almanach de l’Art Brut, a project launched by Jean Dubuffet in 1948, a key work in the history of Art Brut.

Edward M. Gómez is a journalist, art critic, exhibition curator, and a specialist in modern art and Japanese culture, in particular with reference to Art Brut. He has written for The New York Times, International Herald Tribune, S. F. Gate/San Francisco Chronicle, Hyperallergic, Brooklyn Rail, salon.com, ARTnews, Art in America, Art & Antiques, Art + Auction, Metropolis, Interview, Modern Painters, Condé Nast Traveler, Eye (London), The Japan Times, Ikebana Ryusei.

Tadashi Hattori is an associate professor of art history and theory at the Konan University in Kobe, Japan, and a former curator at the Hyogo Prefectural Museum of Art in Kobe. He writes for numerous publications and curates many exhibitions about Art Brut and arts by the disabled. He collaborates with institutions for Art Brut in Europe such as abcd Art Brut, Adolf Wölfli-Stiftung, Musée de la Création Franche.

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F E R N AN D O C OSTA Text by Johan-Frederik Hel Guedj This is the first book dedicated to Fernando Costa, an eclectic, self-taught artist, born in France to a family that arrived in the country on foot from Portugal while fleeing the dictatorship of Salazar in 1970. Costa dissects enamelled street signs, cuts them up, smoothes them off, and reassembles the pieces by welding them onto large metal plaques to create works of extraordinary originality. The result is striking, as shown in this colourful monograph. Some are figurative, the cousins of Pop art, infused with a personal element, as they include tragic or comical moments and figures that have influenced the sculptor during his lifetime: the cyclist Tom Simpson, the Beatles, and Josephine Baker. Other works flirt with abstraction derived from Cubism and the mechanical music of Edgar Varèse. All display freedom, movement, energy, and the interplay of primary colours. Whether small in size or imposing triptychs, the works of Fernando Costa achieve a rare feat: imbuing metal with emotion.

27.5 x 35.5 cm, 184 pages 152 colour illustrations Hardcover with jacket Bilingual edition English/French ISBN 9788874398249 £ 55.00 | US $ 70.00 | Can $ 88.00 | € 60.00

Exhibitions Off FIAC, Paris October 18 - 21, 2018 DS World, Paris October 18 – December 1, 2018

[24] NEW TITLES

Fernando Costa (born 1972) lives and works near Sarlat in Périgord, France. The success of this self-taught artist was totally unexpected. Since 1998 he has collected damaged street signs in France and elsewhere, and transformed them into artworks.

In 2013, he was the eighteenth artist selected to create the “Art Car” for Le Mans 24 Hours car race: a recognition of his talent, in the footsteps of Calder, Warhol, César, Arman, and Jeff Koons.

Johan-Frederik Hel Guedj, a French writer, has published two novels (Le traitement des cendres, L’amour grave), a collection of short stories (De mon vivant), an account of polar exploration (Chercheurs d’éternité), and an essay on Orson Welles (La règle du faux). He lives in Brussels and writes on contemporary art in the daily newspaper L’Écho/De Tijd.

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C OL L E C TOR S’ V ISIO NS A RTS OF A F RIC A , O CEA NIA , SO U T HEA ST A SIA , A ND T HE A MER IC A S Christine Valluet

24 x 28.5 cm, 288 pages 277 colour illustrations Hardcover with jacket ISBN 9788874398157 £ 70.00 | US $ 95.00 | Can $ 119.00 | € 80.00

At the beginning of the twentieth century, at a time of turmoil when art was undergoing unprecedented upheaval, the West, and especially France, began to turn its eyes towards distant cultures until then largely neglected. Artists were in the throes of questioning all canons and were seduced by the freshness they found in the art of these cultures. The outcome is what we know today as “Primitivism.” But at the same time, through a sort of aesthetic empathy, art lovers, critics, poets, and dealers developed a passion for the intrinsic beauty of these objects, which began to arrive in Europe in large numbers, brought home by colonial administrators, missionaries, or officers on overseas postings.

The extraordinary expressiveness and at the same time great harmoniousness of the best of these works enchanted them. Guillaume Apollinaire was not afraid to talk of “the very principles of great art” when discussing African art.

This book acknowledges this art’s role in world art and looks at the way beauty was perceived through the “eye” of great art lovers. Some of these are mentioned in this publication, which discusses the works they painstakingly amassed. Many of these works are now famous and indeed have come to be regarded as “icons.” Others of the greatest artistic importance collected by these aficionados are reproduced here, highlighting the particular genius of peoples, the existence of which is testified only through their sculpture. Many of these have never, or in some cases only very seldom, been published.

The art of Africa, Oceania, Southeast Asia, and America are all represented, revealing the extraordinary variety of artistic forms developed in these four regions of the world.

Certain cultures were discovered and appreciated in the West in the early twentieth century, while others were brought to the attention of the international community in the 1950s.

This book tells the story of how discoverers, collectors, and dealers brought tribal art to France over a period of some eighty years. This is the first time a full survey has been attempted, especially as regards the post-war period, and many of the protagonists in this enthralling adventure are virtually forgotten.

One of this book’s great strengths is its double focus on art collecting, explored from both an aesthetic and a historical standpoint.

Christine Valluet has specialized in tribal art since the 1970s and ran a gallery in Paris until 2013. She has been a member of the Compagnie Nationale des Experts since 1986 and served as an expert witness at the Paris Court of Appeal from 2010 to 2016. She is always ready to offer her expertise at public auctions, such as the renowned sale of the Gaston de Havenon Collection, in 1994, and the sale of the B.H. (Bela Hein) Collection in 2005. Christine Valluet is also often on the acceptance committee at specialist fairs and shows and has provided contributions to several publications on tribal art.

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A F R I C A N SC U LP T UR ES A ND FO R MS Text by François Neyt Photographs by Hughes Dubois

24 x 28.5 cm, 312 pages 181 colour illustrations Hardcover with jacket Bilingual edition English/French ISBN 9788874398317 £ 52.00 | US $ 70.00 | Can $ 88.00 | € 59.00

At the turn of the twentieth century, Gauguin, Picasso, Matisse, and later the Surrealists in particular, then others right up till the present day, Western artists have drawn on the arts of Africa for inspiration. How can this constant impact ever be measured?

The same is true for the arts in Africa. Every sculpture carries within it the heritage of a people, culture, and artistic tradition in the originality of its forms. West Africa, Central Africa, and East Africa each has its own set of characteristics, within which the variety of the sculptures—always similar yet also always different—demonstrates the creativity of the ethnic group that created it.

This book presents a remarkable collection amassed by a knowledgeable and impassioned art lover that combines sensitivity with quality—a quality of forms meticulously selected among different African cultures. It includes masks and reliquaries carved in Gabon, effigies and statuettes from Congo-Brazzaville and Congo-Kinshasa, and astonishing objects from West Africa, from Mali to Cameroon, the Koro and Mossi peoples, the Ejagham and Ekoi in Nigeria, and the Gouro in the Ivory Coast. An extraordinary collection of artistic forms that well merits its place in the universal heritage of art.

François Neyt is an emeritus professor at the Catholic University of Louvain who has also taught at the Official University of the Congo. A Benedictine monk, he was president of the Alliance Inter Monastères that associates more than 450 communities around the world; he is also an emeritus member of the Académie Royale des Sciences d’OutreMer of Belgium. He has published many books on African arts, such as La grande statuaire Hemba du Zaïre, 1977; Arts traditionnels et Histoire au Zaïre, 1981; Luba. Aux sources du Zaïre, 1993; La redoutable statuaire songye d’Afrique centrale, 2009; Fleuve Congo, 2010; Fétiches et objets ancestraux, 2013; Trésors de Côte d’Ivoire, 2014. He has also curated several exhibitions: at the Musée Dapper in Paris, 1993; the Ethnografisch Museum in Antwerp, 1994; and in São Paulo in Brazil, 2000. More recently, the exhibition River Congo, which he curated at the Musée Quai Branly – Jacques Chirac in Paris in 2010, has also travelled to Shanghai, Seoul, Mexico City, and Moscow (Pushkin State Museum).

Hughes Dubois is a photographer who specializes in art objects. He lives and works in Brussels and Paris. An enthusiast of classical and “primitive” scupture, since 1986 he has worked on the majority of the catalogues for the Musée Dapper, which today is a reference point for the world of African art. For the Pavillon des Sessions, in 2000 his photos were used for the publication Sculptures under the direction of Jacques Kerchache, for the reintroduction of Tribal Art at the Louvre. He collaborates with various institutions and art collectors both in Europe and across the world, and as of today he has participated in over 150 art books and catalogues for exhibitions. With 5 Continents Editions he has published From Cordoba to Samarquand (2006), Solomon Island Art (2008), and African Impressions (2011). He has made photo reportages in Asia and Papua New Guinea.

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T R AV E L I N G WIT H CO RT ÉS A ND P IZA R RO D IS C OV E RIN G FINE P R E-CO LU MBIA N A RT Texts by Stuart Handler, Joanne Stuhr, Hugh Thomson Photographs by Edward Parrinello

25 x 31 cm, 400 pages 245 colour illustrations Hardcover with jacket ISBN 9788874398089 £ 70.00 | US $ 95.00 | Can $ 119.00 | € 80.00

[30] NEW TITLES

A Pre-Columbian art lover and noted curator journey into a fine art collection, describing the rich cultural context and artistic merits of each work. Along with 150 full-colour glossy illustrations of the terracotta, earthenware, stone, silver, and copper objects, the acclaimed author, explorer, and filmmaker Hugh Thomson gives a detailed, exciting narrative, based upon extensive research, of the role art played in the conquest of Mexico

by Hernán Cortés and of Peru by Francisco Pizarro.

It is rare that a collector takes such a personal, descriptive part in publishing his treasure trove, but in this lavishly illustrated book, Stuart Handler describes why he gathered PreColumbian art, what attracted him to the individual pieces, and, from his forty-five years of building art collections in various media and genres, what artistic attributes make these objects outstanding works of art.

Stuart Handler has been collecting art for forty-five years, building collections in the areas of American abstract expressionism, contemporary realism, Mexican folk art, Mexican festival masks, and Pre-Columbian art.

Joanne Stuhr is a distinguished art historian and independent curator who works with museums and private collections throughout the United States, Mexico, and Europe. She has curated over one hundred exhibitions, written or contributed essays to more than fifteen publications, and currently manages two major collections of Pre-Columbian art.

Stuhr’s books include Talking Birds, Plumed Serpents and Painted Women: Prehistoric Ceramics of Casas Grandes; Heaven, Hell, and the Places in Between: Latin American Folk Art from the Cecere Collection; Ritual Beauty: Art of the Ancient Americas; Pre-Columbian Inspiration in Mexican Silver Design; and The Figure Examined in American and European Art of the Nineteenth and Twentieth Centuries.

Hugh Thomson is an award-winning British writer and filmmaker, and an acclaimed explorer. He has led research expeditions in Peru exploring Inca settlements, which resulted in the discovery of Cota Coca in 2002 and an investigation of Llaqtapata in 2003. The three-part film Indian Journeys, which he made with William Dalrymple, won the Brierson Award for Best Documentary Series in 2001. His many books include The White Rock: An Exploration of the Inca Heartland (Weidenfeld & Nicolson, 2001) and Tequila Oil: Getting Lost in Mexico (Weidenfeld & Nicolson, 2009).

Edward Parrinello is a renowned photographer of jewellery and tribal art. He has had a long association with Sotheby’s and many dealers of tribal art. His clients in the jewellery field include Cartier and Van Cleef & Arpels. His photography and design studio, SquareMoose, is based in New York.

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VISIO N S O F A FR I C A Series directed by Constantine Petridis, Curator of African art and Chair of the Department of the Arts of Africa and the Americas at the Art Institute of Chicago 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.

Out of print in the same series: BAMANA 9788874393480 BAULE 9788874393862 BENIN 9788874394104 FANG 9788874392957 LOBI 9788874393503 PUNU 9788874394012 The Vision of Africa series won in 2016 the Tribal Art Book Prize (Pilat) for the Editorial Trajectory awarded by Tribal Art Magazine in association with Sotheby’s.

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B AG A V IS ION S OF AFR IC A SER IES Marie Yvonne Curtis

16.5 x 24 cm, 148 pages 54 colour illustrations and 18 b/w Softcover ISBN 9788874398201 £ 29.95 | US $ 39.95 | Can $ 49.95 | € 35.00

The Baga, along with the Nalu and the Landuma, are a small rice-growing community living along the coast of Guinea, in West Africa. They became famous following the discovery of their extraordinary sculptures by explorers, colonial administrators, ethnologists, collectors, and art dealers towards the end of the nineteenth century. Nowadays, the art of the Baga is admired in the public and private collections of Northern European countries.

Their works consist mainly of different types of wooden masks and statues of various sizes, as well as wonderful percussion instruments, chiefs’ seats, and other skilfully carved utilitarian objects. All these sacred objects were once created and used as important features in their ritual behaviour based on the manifestation of their divinities, ancestor worship, rites of passage, secret brotherhoods, and the performance of important social ceremonies like weddings, funerals, and harvesting.

But more recently they also included entirely new sculpted works created by talented, highly skilled craftsmen who were influenced by colonization and newly introduced religions, while at the same time finding inspiration in traditional myths and legends.

Fascinating examples of this eclecticism are the figures of colonists depicted standing, on horseback, or riding birds, the many different kinds of female busts representing Mami Wata, the sea goddess, winged figures, bestiaries associated with tales and legends, and the personifications of the heroic founders of their villages.

To this day, the young men of the Baga continue to make certain commemorative and emblematic objects, such as the large D’mba mask, and still produce other sculptures connected with their history and culture. All these artefacts have their place in the dances and events that play such an important part in village life and in relations between villages and beyond.

Marie Yvonne Curtis is a historian and holds a PhD in Ethno-Aesthetics from Université de Paris1 Sorbonne, where she presented her thesis on The Art of the Nalu and Baga of Guinea: A Comparative Approach, in January 1997. Since 2001 she has been actively involved in writing summaries and articles on the most emblematic objects in Baga art for various institutions, including the Pavillon des Sessions at the Louvre, the Menil Collection in Houston, and the African Art Institute in Chicago.

She was awarded a Rockefeller Foundation grant in 2007 to study at the Smithsonian Museums in Washington, DC, on the topic of Theorizing Cultural Heritage, especially at the National Museum of the American Indian, the National Museum of African Art, and the National Museum of Natural History, where she is an associate-researcher in the Anthropology Section. In 2008–11, she took part in fieldwork among the Baga with the Yale University Museum of Art (African Section) and worked with other anthropologists studying the Baga (Ramon Sarró from Oxford University).

Marie Yvonne Curtis has been a university lecturer and researcher at Laboratoire d’analyse socio anthropologique de Guinée (LASAG) since 2014–15.

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A M I L L E N N I U M O F MO NO CH RO MES F ROM T H E G R E AT TA NG TO T H E H IGH Q ING TH E B AUR AN D T HE Z HU YU ETA NG CO LLECT IO NS Monique Crick, Peter Y.K. Lam and Laure Schwartz-Arenales

21 x 27 cm, 400 pages 240 colour illustrations Hardcover Bilingual edition English/French with Chinese résumé ISBN 9788874398386 £ 80.00 | US $ 100.00 | Can $ 135.00 | € 90.00

Co-published with the Baur Foundation – Museum of Far Eastern Arts, Geneva, and the Zhuyuetang collection, Hong Kong Exhibition Baur Foundation – Museum of Far Eastern Arts, Geneva September 26, 2018 – February 3, 2019

[36] NEW TITLES

More than any other civilisation, China has won renown through its long tradition of ceramic production, from its terracotta and stoneware works in ancient times to the imperial porcelain manufactured at Jingdezhen from the end of the fourteenth century.These refined works have always been admired and collected for their outstanding quality. Two hundred masterpieces from prominent private collections around the world have been brought together for the first time in this book. The Baur collections in Geneva, formed between 1928 and 1951, and the Zhuyuetang collection (the Bamboo and Moon Pavilion in Hong Kong), which has been built up since the late 1980s, reveal the elegance and variety of imperial monochrome porcelain wares produced during the Ming (1368–1644) and Qing (1644–1911) dynasties, which followed on from theTang (618–907) and Song (960–1279) periods.These apparently restrained pieces, which partake of both the profane and the sacred, testify the return to the values of simplicity and modesty advocated by classical texts. With chapters dedicated to situating the works in their historical, cultural, and technical contexts, this book is an absolute reference on Chinese monochrome ceramics for all lovers of the subject, as well as students, researchers, and connoisseurs.

A graduate of the Université d’Aix-en-Provence, the École du Louvre, and Paris IV Sorbonne, Monique Crick is an independent researcher and art historian who specialises in the arts of the Far East. After having worked on projects at the Musée National des Arts AsiatiquesGuimet and the Musée Cernuschi in Paris, where in 1998 she founded the Société Française d’Études de la Céramique Orientale, she was appointed director of the Baur Foundation, Museum of Far Eastern Arts in 2003, where she remained until 2017. Her studies have principally concerned the cultural and commercial relations between China and Southeast Asia, between China and India, and between China and Europe.

Peter Y.K. Lam is an art historian. A graduate of the School of Oriental and African Studies at London University, he is currently an Honorary Fellow of the Institute of Chinese Studies,The Chinese University of Hong Kong. Before retiring in 2013, he worked for forty years at the Art Museum at the University of Hong Kong, which he directed for fourteen years. An expert in Chinese ceramics, calligraphy, and decorative arts, he has curated many exhibitions and published several books on these subjects. He is a member of the committee of the Palace Museum in East Kowloon, Hong Kong, of the Hong Kong Min Chiu Society, an association of leading collectors, and of the Chinese Society of Ancient Ceramics in Beijing. He is also an Honorary Fellow of the Beijing Palace Museum.

A graduate of the École du Louvre with a doctorate from Paris IV Sorbonne, Laure SchwartzArenales began her career at the Musée National des Arts Asiatiques-Guimet and at the École du Louvre where she taught Far Eastern arts.The recipient in 1998 of a grant from the Japanese Ministry of Education, she studied Buddhist painting at Tohoku University and the National Museum of Kyoto. Her thesis on the Otoku nehan zu, a masterpiece of painting from the Heian era, won her the prestigious prize awarded by the Kajima Foundation for the Arts in 2007. While pursuing her research with leading specialists in Far Eastern art, and teaching at Ochanomizu University and Sophia University in Japan, she organised several international meetings on the history of the reception given to Far Eastern arts in Europe. Since the start of 2018 she has been director of the Baur Foundation, Museum of Far Eastern Arts in Geneva.

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ASIAN CHIC OR H OW JAPA NESE A ND CHINESE T EXT ILES INFLU ENCED FA S H ION D URING T HE ROA R ING T WENT IES Estelle Niklès van Osselt European fashion was profoundly influenced in the early decades of the twentieth century by the style, textiles, patterns, and colour combinations of Asian clothing. The discovery of the kimono, in particular, with its loose cut, fluid lines, and broad range of decorations, captivated the great couturiers of the period. It enabled adventurous women in the Roaring Twenties to cast out their corsets and social straightjackets, while offering a new, daring kind of elegance with exotic overtones.

From the meeting of these two sartorial cultures has sprung an exhibition and this catalogue, in which the drawings of Paris fashion designers are compared with examples of contemporary East-Asian textiles from the Baur Foundation in Geneva. The wonderful garments discussed include the collections of kimonos and other Japanese clothes gifted by Sato Mariko (2008) and Sugawara Keiko (2015), as well as Chinese textiles that are the pride of the Foundation.

21 x 27 cm, 216 pages 210 colour illustrations Softcover with flaps ISBN 9788874398560 £ 40.00 | US $ 50.00 | Can $ 67.50 | € 45.00

Co-published with the Baur Foundation – Museum of Far Eastern Arts, Geneva Exhibition Baur Foundation – Museum of Far Eastern Arts, Geneva Spring 2019

[38] NEW TITLES

Estelle Niklès van Osselt is a sinologist and studied Asian art and archaeology at the universities of Geneva, London, and Beijing. She is at present curator at the Baur Foundation, Museum of Far Eastern Art, in Geneva, and was formerly employed by the Guy & Myriam Ullens Foundation for Contemporary Chinese Art and their UCCA art centre in Beijing. Her publications include: Five Blessings: Coded Messages in Chinese Art (2015) and L’Aventure chinoise. Une famille suisse à la conquête du Céleste Empire (2017).

She specializes in the wordplay underlying the composition of Chinese images and her present research explores the cultural links that gradually developed between Europe and Asia from the nineteenth century onwards.

[ P H OTO G R A P H Y ]

T H E E X T E N D E D MO MENT F IF TY Y E A RS OF CO LLECT ING P HOTO GR A P HS AT TH E N ATIO NA L GA LLERY O F C A NA DA Texts by John McElhone and Ann Thomas Interview by Marc Mayer and Ann Thomas with James W. Borcoman

23 x 29 cm, 336 pages 319 colour illustrations Hardcover ISBN 9788874398027 £ 38.00 | US $ 50.00 | Can $ 63.00 | € 43.00

Co-published with the National Gallery of Canada, Ottawa Exhibition National Gallery of Canada, Ottawa May 4 – September 16, 2018

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A sumptuous celebration of one of the world’s most striking photograph collections.

This publication celebrates fifty years of collecting photographs at the National Gallery of Canada. In 1967 when the collection was established the photography market was in its infancy and the collection reflects the availability of in-depth collections of work by some of the forefathers of the medium such as Charles Nègre, William Henry Fox Talbot, Gustave Le Gray, and Roger Fenton among others. Within a few short years of starting to build the collection the science of photographic preservation and conservation was making remarkable strides and influencing the acquisition and exhibition of photographs in museums.

This publication celebrates the collecting of photographs, the historical and art historical context of their making, and the deepening of our understanding of their physical nature.

164 artists, such as: Benoit Aquin; Diane Arbus; Eugène Atget; Nicolas Baier; Edouard Baldus; Brassaï; Julia Margaret Cameron; Henri Cartier-Bresson; Lynne Cohen; Benjamin John Dancer; Walker Evans; Robert Frank; Lee Friedlander; Isabelle Hayeur; Arnaud Maggs; Robert Mapplethorpe; John Max; Lisette Model; Eadweard Muybridge; Charles Nègre; William McFarlane Notman; Marc Ruwedel; Jospeph Sudek; William Henry Fox Talbot; vernacular and news photographs by unknown photographers will be included.

John McElhone, Chief, Conservation and Technical Research, Canadian Photography Institute, Ottawa.

Ann Thomas, Senior Curator of Photographs, National Gallery of Canada, Ottawa.

Marc Mayer, CEO and Director, National Gallery of Canada, Ottawa.

James W. Borcoman, founding Curator of the photographs collection, at the National Gallery of Canada, Ottawa.

[ P H OTO G R A P H Y ]

G OAT S AN D S HEEP A P ORTRA IT FA R M Kevin Horan Text by Elena Passarello

23 x 32 cm, 112 pages 60 colour illustrations Hardcover ISBN 9788874398409 £ 27.00 | US $ 35.00 | Can $ 47.50 | € 30.00

When American photographer Kevin Horan moved from city to country, his new neighbours—sheep—greeted him in a chorus of such different voices that he imagined they were individuals. In-depth experience in making portraits of humans made him wonder if the process could be applied to these creatures as well.

Treated as customers of the local photo studio, they seem to have personalities. Perhaps they do, and the photograph allows us to see them. Or perhaps the language of the photo cues us to see them as non-human persons. We respond to gesture in such an elemental way. It’s in our nervous system. It is what photography is so good at catching. It is what actors are good at producing. It is how we communicate with one another non-verbally.

This is a stunning work about portraiture: what it does and how it works. These pictures ask for engagement of our own feelings about the souls within other beings, human or otherwise, and how visible they are from out here.

The world around us is pulsing with life and intelligence, even if we don’t know what to make of it or how to connect. While it is plain to anyone carefully observing that these farm animals do indeed have individual personalities, Horan asks himself: How can I be certain I’ve captured them? Can I bridge the cross-species gap? Who’s in there? What is going on in that brain, inside the goat’s mind? Every portrait is a work of fiction. These farm species have lived alongside us—served us—from the earliest times. If we care enough to give our attention in a focused way, the result is beauty and homage. They are worthy of that. When we draw a hard line between humans and everything else, we make the world a smaller place—for us. A place where we spend all our efforts obsessed with our own tribe . . . a less interesting place.

Kevin Horan is an artist based in Langley,Washington, USA. He works on projects which look at animals as people, people as animals, and the planet as a very small place. His pictures are reality-based, and he enjoys finding the amazing revealed in the ordinary. His work from Chattel was selected for the Photolucida Critical Mass Top 50 in 2014. A recovering photojournalist, Horan has published his work in The New York Times Magazine, Smithsonian, LIFE, U.S. News & World Report, National Geographic, and numerous other magazines and books. Horan based himself in Chicago from 1976 to 2006 and then Whidbey Island beginning in 2006, with assignments ranging from presidential campaigns to small-town life in Russia to development issues in the Amazon to following a dollar bill for a week for LIFE Magazine. He was a presenter at Ampersand Live at Town Hall Seattle in November 2016; Artist in Residence, Glacier National Park, September, 2004; staff photographer for Chicago In The Year 2000; staff photographer for the Chicago Daily News and the Chicago Sun-Times, 1977–81.

Elena Passarello is an actor, writer, and recipient of a 2015 Whiting Award. Her first collection, Let Me Clear My Throat (Sarabande, 2012), won the gold medal for nonfiction at the 2013 Independent Publisher Awards and was a finalist for the 2014 Oregon Book Award. Her essays on performance, pop culture, and the natural world have been published in Oxford American, Slate, Creative Nonfiction, and The Iowa Review. Passarello has performed in several regional theatres in the East and Midwest, originating roles in the premieres of Christopher Durang’s Mrs. Bob Cratchit’s Wild Christmas Binge and David Turkel’s Wild Signs and Holler. In 2011, she became the first woman winner of the annual Stella Screaming Contest in New Orleans. She lives in Corvallis, Oregon and teaches at Oregon State University.

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The Tailormade project is the outcome of our passion for quality and the desire to increase appreciation of the vast and fascinating cultural heritage of the five continents by giving it a new, bespoke presentation.

Tailormade, the new publishing line offered by 5 Continents Editions, combines our extensive publishing experience with highest quality printing and brings together a professional team whose common desire is to fashion a work of excellence.

By creating elegant, unique, and numbered editions, Tailormade re-establishes the link with the expertise of the past. Every book is meticulously crafted and sewn by hand, and will attract the attention of bibliophiles on the look-out for beauty.

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Constantly in search of Hidden Treasures, Tailormade unveils outstanding works that have sometimes gone unnoticed. It also gives new life to Icons, works by great masters, by casting a new eye on the forms and details used and offering an exclusive perspective. Finally, Tailormade goes behind the scenes of Haute Couture, a creative tradition, and reveals the events that occurred in the workshops and studios of its artists.

[44] NEW TITLES

The outcome of the inspiration of a creator, the eye of a photographer, or the pen of an author, each book presents a different story woven around one or more unique works.

It features its own graphic design, exceptional print quality, and a unique binding so that the beauty of the content is matched by the excellence of its presentation.

Tailormade loves beauty, nature, man, and creativity.

The human component is fundamental throughout the creative process and production phases of Tailormade projects, which is why each book has its own very special spirit.

Production of the The Dancers from the Villa of the Papyri involved more than ten professionals. This unique book, box, and original photograph presentation-holder were conceived as a perfectly matching set. The metal box alone required the contributions of four different craftsmen.

The original photograph has been printed under the supervision of the photographer, Luigi Spina, in the city where the five young dancers are today kept.

[ TA I L O R M A D E ]

T H E DA N C E R S FRO M T H E V ILLA O F T H E PA P Y R I Photographs by Luigi Spina Text by Stefano De Caro

Special boxed edition of 100 numbered copies each featuring an original photograph by Luigi Spina 23.5 x 33 cm, 192 pages 70 colour illustrations € 950.00 This edition de luxe is available only at the publisher’s

This precious limited edition offers the first presentation of the group of five Dancers from the Villa of the Papyri in Herculaneum, discovered beneath the ashes of the Vesuvius by archaeologist Karl Weber between 1754 and 1756.

Adorned by more than one hundred marble and bronze sculptures and with a collection of over one thousand papyrus scrolls, the Villa of the Papyri is a unique discovery in the history of archaeology. The Dancers—today exhibited in the Archaeological Museum in Naples—were part of this enormous collection and displayed in the “villa of Otium” (villa of leisure) on the Gulf of Naples where the Roman aristocracy enjoyed the spirit of cultivated ease, literature, and philosophy. The legendary site was the setting for many stories interrupted by the eruption of the Vesuvius. The Dancers from the Villa of the Papyri takes us back in time to reveal one of these stories, that of the five fascinating bronze statues. Like many other archaeological finds at sites in Herculaneum and Pompeii, the Dancers have altered the way we consider art and architecture but also the way we look at aesthetics.

The expert photographer Luigi Spina offers a visual description of these five extraordinary and moving young women, while Stefano De Caro relates the historic and artistic context in which they were created.

The Dancers from the Villa of the Papyri is a timeless visual journey to discover the origin of beauty.

Luigi Spina (b. 1966) is a photographer from Naples. He participated at the ninth International Photography Festival in Rome and at MIAFAIR 2013 with his book-project The Buchner Boxes. With 5 Continents Editions he has published: The Buchner Boxes, Memorie del Vaso Blu, Amazzonomachia, and Centauri. He began his photographic portrayal of the Farnese collection of Classical sculptures for the Archaeological Museum of Naples in 2002.

Stefano De Caro, Director-General of ICCROM (International Centre for the Study of the Preservation and Restoration of Cultural Property) is an archaeologist, author, and lecturer.

He has taught in several Italian universities. A member of various professional cultural associations in Italy and abroad, including the Europae Archaeologiae Consilium, he has been Director-General of Antiquities with the Italian Ministry of Cultural Heritage and Activities.

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ON C E U P ON A T IME . . .

T H E WE S T E R N A N E W F RON TIER IN A RT A N D F IL M Edited by Thomas Brent Smith and Mary-Dailey Desmarais

P R ISO NER S’ O BJECT S CO LLECT IO N O F T HE INT ER NAT IO NA L R ED CRO SS A ND R ED CR ESCENT MU SEU M With contributions by Paul Bouvier, Roger Mayou, Martin Rueff, and Isabelle Schulte-Tenckhoff

Once Upon a Time . . . The Western: A New Frontier in Art and Film explores the genre and its attendant myths in the context of painting, photography, literature, and film from the mid-1800s to the present. This book is not a comprehensive history of Western film, but a story about the visualization, transmission, and transformation of an American myth across disciplines of artistic practice over time.

Wonderfully illustrated and published to accompany a major exhibition, the publication traces the development of the Western genre from its earliest beginnings in nineteenth century landscape painting through John Ford’s classic films and Sergio Leone’s spaghetti Westerns up to the most recent studio productions.The book includes more than fifteen essays by renowned specialists in fine art, film, and popular culture.

First illustrated book showcasing an international overview of prisoners’ works of art collected by the International Red Cross and Red Crescent Museum over the last century. The Museum houses an extraordinary collection of “prisoners’ objects,” made by prison inmates and presented to their delegates who visited them, as provided for by the Geneva Conventions. For over a century, these objects have borne mute witness to the numerous violent episodes that continue to ravage our planet, from Chile, Vietnam, Algeria and Yugoslavia to Rwanda and Afghanistan . . .

While some of these works touch us through their simplicity, others astonish us with their beauty or ingeniousness. Each bears the imprint of a personal story loaded with emotion, inviting us on a journey through time and collective history.

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24 x 30 cm, 304 pages 293 colour illustrations Hardcover ISBN 9788874397655 £ 35.00 | US $ 45.00 | Can $ 55.00 | € 40.00 Co-published with the Montreal Museum of Fine Arts, and the Denver Art Museum

19 x 24 cm, 160 pages 100 colour illustrations Hardcover ISBN 9788874397600 £ 29.99 | US $ 35.00 | Can $ 43.00 | € 30.00 Co-published with the International Red Cross and Red Crescent Museum, Geneva

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M ITC H E L L | R I O PE L L E NOT HI NG I N M O D E RATION Introduction by Michel Martin Texts by Kenneth Brummel and Yves Michaud

T H E N A R R AT IV E FIGUR AT IO N Edited by Jean-Paul Ameline and Yan Schubert

MULT IV ER SE A RT, DA NCE, DESIGN, T ECHNO LO GY: T HE EMER GENT CR EAT IO N Edited by Anna Yudina Texts by Diana Vishneva, Carlo Ratti, Toyo Ito, Francis Kurkdjian, Philippe Rahm, Angelin Preljocaj, John Neumeier, Ross Lovegrove, Iris Van Herpen, Enki Bilal, Carsten Nicolai, Marco Goecke, Bill Viola, Santiago Calatrava, Miguel Chevalier, Aes+F, Edouard Lock, Moses Pendleton, Aitor Throup, Olafur Eliasson, Raffaello D’Andrea, Nick Knight, William Forsythe, and Carolyn Carlson

First lavishly illustrated publication intended as a reference work synthesizing the creative relationship that united Joan Mitchell and Jean-Paul Riopelle.The catalogue is a tool for readers to hone their appreciation of these two major artists from the second half of the twentieth century and also highlights the formal, aesthetic, and biographical ties that fuelled their respective creative practice.

Consisting of some sixty masterly works, this volume explores how the two artists developed highly distinct bodies of work and studio techniques while engaging in a rich dialogue around abstract art. Whether drawing attention to the similarities and differences between works addressing the same subject, or motifs and inspirations specific to each, this book paints a splendid portrait of two remarkable figures of the international abstract movement.

A new kind of figurative art appeared during the 1960s in Europe and the United States.

While in New York pop art offered a fresh perspective on a fast-changing America, in Paris French painters and others from Italy, Spain, Portugal, Germany, and Iceland also began exploiting images that had their origins in the mass media, becoming the uncompromising critics of what was dubbed the consumer society. Once standard bearers, the Narrative Figuration artists have now been rediscovered by museums, which are dedicating increasing numbers of exhibitions to their work. Thanks to the acquisition of major works, the collection of the Fondation Gandur pour l’Art in Geneva now provides what is without doubt one of the most exhaustive selections of works.

This catalogue includes all key works, with commentary and analysis by curators and art historians specializing in a movement that left an indelible mark.

24 x 28 cm, 208 pages 134 colour illustrations Hardcover Bilingual edition English/French ISBN 9788874397914 £ 35.00 | US $ 45.00 | Can $ 55.00 | € 37.00 Co-published with the Musée national des beaux-arts du Québec, Québec, the Art Gallery of Ontario (AGO),Toronto, and the Fonds Hélène & Édouard Leclerc pour la Culture, Landerneau

24.5 x 27 cm, 336 pages 140 colour illustrations Hardcover ISBN 9788874397761 £ 50.00 | US $ 60.00 | Can $ 75.00 | € 55.00 Co-published with the Fondation Gandur pour l’Art, Geneva

Featuring visionary creators from various fields, from art and contemporary dance to architecture and robotics, this lavishly illustrated book reports from the forefront of the cross-disciplinary synthesis that creates new forms of art. The project was initiated

by Diana Vishneva, principal dancer for the American Ballet Theater in New York and the Mariinsky Ballet in St. Petersburg.

Included in the volume is a Blu-ray disc with an art film created for this project and using state-of-the-art technologies.

24 x 28 cm, 272 pages 258 colour illustrations Hardcover with jacket, with Blu-ray disc ISBN 9788874397792 £ 50.00 | US $ 65.00 | Can $ 79.00 | € 60.00

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G ODAI. B A M BO O A RT | ART DU B A M B O U TANAB E CHI K U U N SA I IV AND TA DAY U K I M I N AM OTO Photographs by Tadayuki Minamoto Text by Shinya Maezaki

I HAVE LONGED TO MOVE AWAY L AW RE N C E C A R RO LL, WO R KS 1985–2017 Edited by Gianna A. Mina Contributions by Roberto Borghi, Lara Conte, Gianna A. Mina

C A R LO S LUNA Texts by Barbaro Martinez-Ruiz, Henry Drewal, Carol Damian, and Jack Rasmussen

This book is dedicated to Godai, an installation by Japanese artist Tanabe Chikuunsai IV, who represents the fourth generation of a prestigious line of kagoshi (master wickerwork weavers) in Japan. Godai is a homage to nature and to a tradition of handcraftsmanship.

This monumental work, six metres high and nearly as broad at its base, was installed in 2016 in the Rotunda of the Musée des Arts Asiatiques Guimet in Paris and presented to the public from April 12 through September 19, when the artist still presented himself under the name of Tanabe Shouchiku III. The structure, composed of 8,000 small pieces of bamboo prepared in Japan, was extremely well received. It represents a world where the five elements, godai, that make up our world (wind, water, earth, void, and fire, according to Japanese tradition) intertwine.

This catalogue accompanied the exhibition that Museo Vincenzo Vela dedicated to the works of Lawrence Carroll, in 2017.

Born in Melbourne in 1954, Carroll moved to California in 1958 and then to New York in 1984, where he pursued his artistic development, having little concern for the fashions of the moment. As he understands it, painting abuts on many other art forms: in his hands it becomes the slow stratification of colour, materials, and objects, in which the surface of the painting interacts with the surrounding environment, blurring the borders between painting, sculpture, and installation.The catalogue offers the first ever overall assessment of the artist’s work as it has evolved during his life, and includes a full biography and comprehensive bibliography, as well as an engaging interview with the artist.

28 x 28 cm, 128 pages 90 colour illustrations Hardcover Bilingual edition English/French ISBN 9788874397815 £ 35.00 | US $ 45.00 | Can $ 57.00 | € 40.00 Co-published with Ethnic Arts - Galerie Mingei Japanese Arts, Paris

22 x 29 cm, 208 pages 156 colour illustrations Softcover Bilingual edition English/Italian ISBN 9788874397723 £ 40.00 | US $ 50.00 | Can $ 61.50 | € 45.00 Co-published with the Museo Vincenzo Vela, Mendrisio-Ligornetto

[52] RECENT TITLES

Carlos Luna, one of the foremost contemporary award-winning painters, is part of a generation of Cuban artists who embrace their strong heritage and traditions but have reinvented themselves along the way.

Luna’s works range from jacquard tapestries, works on metal sheets, and Talavera ceramic plates to mixed media on wood and large-scale oil paintings.

This monograph illustrates Luna’s blend of influences from living and working in Cuba, then in Mexico, and now in Miami. This publication will take readers through the artist’s amazing world made of bright colours and will show, by a selection of plates and details, some unpublished works as well as his celebrated masterpieces.

Carlos makes visible the invisible, conveying messages and lessons from his past to offer to the present and future.

30 x 29 cm, 180 pages 180 colour illustrations Hardcover with jacket Bilingual edition English/French ISBN 9788874397426 £ 50.00 $ 60.00 | Can $ 73.00 | € 55.00 ISBN| US 88-7439-742-6

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THE PH OTO G R A PH AL B U M S OF JE A N D U BU FFE T 1945 – 1 9 6 3 Edited by Sarah Lombardi assisted

by Vincent Monod Texts by Baptiste Brun, Nicolas Garnier, Karolina Lewandowska, Jean-Hubert Martin, Jérôme Pierrat, and Michel Thévoz

B ODY ART BRUT, THE COLLECTION SERIES Texts by Gustavo Giacosa and David Le Breton

In the years 1945–63, Jean Dubuffet set about documenting his collection of Art Brut. He had the pieces photographed by recognised photographers on the Paris art scene, but he also had others photographed that were not in his own collection, including works that interested him because, like Art Brut, they were marginal to the official art world. These notably include works of popular and naïve art, children’s drawings, tattoos, graffiti photographed by Brassaï, and graphic works from the Solomon Islands.

Dubuffet arranged these photographs of artworks by over a hundred ar tist, in extraordinary sequences contained in 14 albums (755 pages in total). These have been preserved since 1976 in the archives of the Collection de l’Art Brut, Lausanne.

This third volume (after Vehicles and Architecture) in the series titled Art Brut, The Collection includes only works from the Lausanne museum, some of which have rarely been exhibited.

The book contains a large number of drawings, paintings, photographs, and sculptures, reflecting the manifold representations of the human body in Art Brut, while paying close attention to the intimate relationship the artists have established with their creations. These works represent a sort of hand-to-hand combat; they are “battles” in which no quarter is asked or given between the creator and his own image and unique personal history.

Rarely exhibited or published, Jean Dubuffet’s prisoners’ tattoos reveal how creations lying on the margins of art’s traditional subject matter held a magnetic attraction for the founder of the concept of Art Brut, the core of the Lausanne museum’s collection.

28 x 21 cm, 824 pages 775 colour illustrations Hardcover Bilingual edition English/French ISBN 9788874397969 £ 85.00 | US $ 110.00 | Can $ 132.00 | € 100.00 Co-published with the Art Brut Collection, Lausanne

20.5 x 25.5 cm, 168 pages 130 colour illustrations Softcover with flaps ISBN 9788874397884 £ 25.00 | US $ 40.00 | Can $ 50.00 | € 32.00 Co-published with the Art Brut Collection, Lausanne

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M YTHIC A L D I A RY SC U LP T U R E S FRO M T H E FARNE S E CO LLE CT I O N Photographs by Luigi Spina Texts by Carmela Capaldi, Philippe Daverio, Giovanni Fiorentino and Luigi Spina

P R E T I OS A V I T R EA TH E ART OF G LA SS M AN UFAC TURING IN T HE M US E UM S AN D P R IVAT E C OL L E C TION S O F T U SC A NY Edited by Fabrizio Paolucci and Giandomenico De Tommaso Texts by Gabriella Capecchi, Luca Cappuccini, Giandomenico De Tommaso, Stefano Giuntoli, M. Cristina Guidotti, Fabrizio Paolucci, Mara Sternini

Mythical Diary is a visual journey through the classical sculpture of National Archaeological Museum of Naples. It is a physical engagement with the marble bodies of myth.

Through his black and white photography, Luigi Spina disassembles the limbs of the sculptures, emphasizing their curves and hidden eroticism, humanizing them to establish a dialogue with the observer.

The project takes the form of an imaginary diary covering fifteen days. But this is only an ephemeral period of time, a convention. The whole work developed over a period of days and months amounting to years, always in contact with the circumscribed space made of myriad lives and stories, which we call a museum.

27.5 x 34 cm, 160 pages 167 trichrome illustrations Hardcover with jacket ISBN 9788874398010 £ 50.00 | US $ 70.00 | Can $ 88.00 | € 59.00 Co-published with the National Archaeological Museum of Naples

[54] RECENT TITLES

Pretiosa Vitrea emphasizes the heritage of glass manufacturing through artefacts currently housed in the state museums of Tuscany and in important private collections within the region. The quality of these 100 works is comparable in excellence to the artefacts that can be found in the most renowned international museums.

The book brings together a wide variety of finds to illustrate the evolution of mass production techniques, from the use of moulds to the discovery of the glass blowing technique in the middle of the first century BC, which soon showed clear advantages compared to traditional ceramic production, in terms of lower cost and maintaining the taste of foods and liquids.

19 x 25.5 cm, 176 pages 124 colour illustrations, Softcover Bilingual edition English/Italian ISBN 9788874398041 £ 30.00 | US $ 45.00 | Can $ 57.00 | € 35.00 Co-published with the National Archaeological Museum of Florence

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_ KH A JUR A H O INDIA N T EMP LES A ND SENSU O U S SCU LP T U R ES Edited by Christophe Hioco and Luca Poggi Texts by Gilles Béguin Photographs by Iago Corazza A privileged visual journey through one of the most famous Indian heritage sites, Khajurāho is renowned as much for the elegance of its architecture as for the sensuality of its sculpture. Formerly an important political and religious centre, it is thought to have contained up to ninety-five temples, of which only twenty-five survive.The earliest mention of Khajurāho dates from the seventh century. After the collapse of the Candella kingdom, the site experienced several centuries of oblivion, until British hunters rediscovered it quite by chance at the beginning of the nineteenth century.

Since then the area has undergone several phases of restoration, as befits one of the leading sites of the world’s cultural heritage.

25.5 x 34 cm, 284 pages 280 colour illustrations Hardcover with jacket ISBN 9788874397785 £ 55.00 | US $ 80.00 | Can $ 97.00 | € 70.00

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HEMB A Photographs by Luigi Spina With a text by Constantine Petridis

I N T I M AT E C O NV ER SAT IO NS A F RIC A N MINIAT U R ES Texts by Bérénice Geoffroy-Schneiter, Nicole and John Dintenfass Preface by Heinrich Schweizer Photographs by Vincent Girier-Dufournier

KULA NGO FIGUR INES WILD A ND MYST ER IO U S SP IR IT S FRO M T HE P IER LU IGI P ERO NI CO LLECT IO N Alain-Michel Boyer

Expressing one of many Luba sub-styles, the tall, standing male figures created by master carvers of the Hemba culture in southeastern Congo since at least the mid-1800s arguably rank among the noblest sculptural depictions of the human figure in sub-Saharan Africa.

In this publication, through the perceptive lens of art photographer Luigi Spina, we discover nine of the most accomplished Hemba creations whose classical style has triggered comparisons with some kouroi sculptures of ancient Greece. Spina’s photographic interpretations help us understand why these proportionally balanced and symmetrically conceived ancestral figures have earned the admiration of African art lovers around the world.

24.5 x 34 cm, 144 pages 120 colour illustrations Hardcover with jacket Bilingual edition English/French ISBN 9788874398034 £ 55.00 | US $ 70.00 | Can $ 84.00 | € 60.00

A lavishly illustrated book tracing the origin of a collector’s interest in African art and analysing the psychological aspects driving the passions for collecting. More than 130 works from the collection assembled by Drs. Nicole and John Dintenfass over fifty years serve as a model and a source of inspiration for new and seasoned collectors alike, presenting a different slant on collecting, which is not actually just buying from dealers. Collecting, in fact, is a passion that often leads to intimate inner conversations or to emotional experiences with the objects themselves.

Focusing on pieces of the highest artistic quality, this book offers to readers anecdotes that provide an additional insight of this world to future and present collectors in their search for African art.

25 x 30 cm, 336 pages 220 colour illustrations Hardcover with jacket ISBN 9788874397464 £ 55.00 | US $ 75.00 | Can $ 91.00 | € 65.00

Kulango Figurines. Wild and Mysterious Spirits is designed to introduce various miniature works created by the Kulango in northeastern Côte d’Ivoire. Their extraordinarily varied art is relatively unknown.

Who are these enigmatic beings whose bulging eyes peer at the invisible? Is the sculpture confined to just these specimens?

The range of styles is simply astonishing, the forms beyond imagination. The collection includes over 100 figurines, none of which is over 10 cm tall: pendants, amulets, fortune tellers’ statuettes, or weights for gold. Introduced into our world through the metamorphosis of photography, transfigured by lighting and framing effects, these resurrected works have been revitalised, like apparitions from another world.

23 x 23 cm, 256 pages 180 colour illustrations Hardcover Bilingual edition English/French ISBN 9788874397808 £ 35.00 | US $ 55.00 | Can $ 66.00 | € 48.00

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SAMUEL HIERONYMUS GRIMM (1733 – 1794) A Very English Swiss 22 x 27 cm, 224 pages 75 colour illustrations softcover ISBN 9788874396627 £ 29.99, US $ 45.00, Can $ 52.00, € 35.00

MONET A Bridge to Modernity 30 x 25 cm, 104 pages 62 colour illustrations hardcover Bilingual: English/French ISBN 9788874397198 £ 19.99, US $ 30.00, Can $ 36.00, € 25.00

METAMORPHOSES In Rodin’s Studio 24.5 x 35.5 cm, 304 pages 475 colour illustrations hardcover ISBN 9788874397150 £ 30.00, US $ 45.00, Can $ 55.00, € 40.00

THE RISE OF ABSTRACTION IN RUSSIA 20 x 24 cm, 164 pages 139 colour illustrations softcover with flaps ISBN 9788874397471 £ 30.00, US $ 35.00, Can $ 40.00, € 32.00

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

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

ONOBRAKPEYA: MASKS OF THE FLAMING ARROWS 24 x 30 cm, 400 pages 475 colour illustrations hardcover ISBN 9788874396696 £ 65.00, US $100.00, Can $ 115.00, € 80.00

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PABLO REINOSO 27.5 x 35.6 cm, 280 pages 307 colour illustrations hardcover with jacket Bilingual: English/French ISBN 9788874397525 £ 65.00, US $ 90.00, Can $ 108.00, € 80.00

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ARTISTS OF NIGERIA 24 x 30 cm, 680 pages 1,158 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/French ISBN 9788874395644 £ 24.95, US $ 34.95, Can $ 41.95, € 29.00

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

ILLUSIONS The Art of Magic 25 x 31 cm, 248 pages 250 colour illustrations hardcover ISBN 9788874397587 £ 30.00, US $ 49.95, Can $ 59.95, € 40.00

THE CREATIVE GROWTH BOOK 20 x 25.5 cm, 208 pages 220 colour illustrations hardcover ISBN 9788874397266 £ 30.00, US $ 45.00, Can $ 55.00, € 40.00

ARCHITECTURE Art Brut, The Collection 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

VEHICLES Art Brut, The Collection 20.5 x 25.5 cm, 168 pages 130 colour illustrations softcover with flaps ISBN 9788874396580 £ 25.00, US $ 40.00, Can $ 48.00, € 32.00

TELLING TIME. L’ÉLOGE DE L’HEURE 21 x 26 cm, 224 pages 219 colour illustrations hardcover Bilingual: English/French ISBN 9788874397204 £ 30.00, US $ 45.00, Can $ 55.00, € 40.00

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

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

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

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

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LALIQUE 19.5 x 28.5 cm, 416 pages 360 colour illustrations 8 volumes in a boxed-set ISBN 9788874397402 £ 85.00, US $ 125.00, Can $ 152.00, € 120.00

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

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

THE GREAT WAR The Persuasive Power of Photography 28 x 28 cm, 144 pages 87 colour illustrations, hardcover ISBN 9788874396788 £ 25.00, US $ 40.00, Can $ 45.00, € 35.00

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

BAMUM 16.5 x 24 cm, 160 pages 64 colour and 15 b/w illustrations softcover ISBN 9788874395736 £ 29.95, US $ 39.95, Can $ 49.95, € 35.00

CHOKWE 16.5 x 24 cm, 144 pages 64 colour and 14 b/w illustrations softcover ISBN 9788874392933 £ 29.95, US $ 39.95, Can $ 49.95, € 35.00

GURO 16.5 x 24 cm, 152 pages 60 colour and 21 b/w illustrations softcover ISBN 9788874397327 £ 29.95, US $ 39.95, Can $ 49.95, € 35.00

IGBO 16.5 x 24 cm, 160 pages 62 colour and 21 b/w illustrations softcover ISBN 9788874396320 £ 29.95, US $ 39.95, Can $ 49.95, € 35.00

KOTA 16.5 x 24 cm, 168 pages 60 colour and 18 b/w illustrations softcover ISBN 9788874396078 £ 29.95, US $ 39.95, Can $ 49.95, € 35.00

KUBA 16.5 x 24 cm, 144 pages 62 colour and 14 b/w illustrations softcover ISBN 9788874394043 £ 29.95, US $ 39.95, Can $ 49.95, € 35.00

LUBA 16.5 x 24 cm, 148 pages 63 colour and 23 b/w illustrations softcover ISBN 9788874392971 £ 29.95, US $ 39.95, Can $ 49.95, € 35.00

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MOSSI 16.5 x 24 cm, 144 pages 46 colour and 20 b/w illustrations, softcover ISBN 9788874397006 £ 29.95, US $ 39.95, Can $ 49.95, € 35.00

PENDE 16.5 x 24 cm, 128 pages 46 colour and 9 b/w illustrations softcover ISBN 9788874393848 £ 29.95, US $ 39.95, Can $ 49.95, € 35.00

YAKA 16.5 x 24 cm, 136 pages 62 colour and 18 b/w illustrations softcover ISBN 9788874395156 £ 29.95, US $ 39.95, Can $ 49.95, € 35.00

YORUBA 16.5 x 24 cm, 160 pages 60 colour and 18 b/w illustrations softcover ISBN 9788874395873 £ 29.95, US $ 39.95, Can $ 49.95, € 35.00

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

SENUFO UNBOUND Dynamics of Art and identity in West Africa 24 x 28.5 cm, 288 pages 286 colour illustrations, hardcover ISBN 9788874396665 £ 45.00, US $ 75.00, Can $ 86.00, € 60.00

AFRICAN ART Portraits of a Collection 28 x 28 cm, 332 pages 237 colour illustrations hardcover Bilingual: English/French ISBN 9788874397440 £ 70.00, US $ 100.00, 88-7439-744-0 Can ISBN $ 122.00, € 90.00

VISIONS OF GRACE 25 x 30 cm, 256 pages 125 colour illustrations hardcover ISBN 9788874396863 £ 40.00, US $ 60.00, Can $ 69.00, € 50.00

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MICRO MONUMENTALITY 23 x 23 cm, 272 pages 245 colour illustrations hardcover Bilingual: English/French ISBN 9788874397167 £ 35.00, US $ 55.00, Can $ 66.00, € 48.00

WOODEN DREAMS East African Headrests 24 x 28 cm, 240 pages 268 colour illustrations hardcover with jacket ISBN 9788874397068 £ 35.00, US $ 50.00, Can $ 61.50, € 45.00

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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

THE SILENCE OF THE WOMEN: BAMANA MUD CLOTHS 20 x 26 cm, 320 pages 132 colour illustrations hardcover ISBN 9788874396702 £ 45.00, US $ 75.00, Can $ 86.00, € 55.00

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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

MUMUYE Sculpture from Nigeria 24.5 x 34 cm, 128 pages 80 colour and 30 b/w illustrations hardcover ISBN 9788874397433 £ 60.00, US $ 90.00, Can $ 118.00, € 75.00

MAKING HISTORY African Collectors and the Canon of African Art 24 x 30 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 30 cm, 320 pages 300 colour illustrations hardcover ISBN 9788874394760 £ 45.00, US $ 70.00, Can $ 84.00, € 59.00

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

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

EMBODIED SPIRITS Gope Boards from the Papuan Gulf 24 x 35.5 cm, 356 pages 222 colour and b/w illustrations hardcover with jacket ISBN 9788874397051 £ 90.00 | US $ 140.00 | Can $ 168.00 | € 125.00

THE WORLD OF SPIRITS IN PRE-COLUMBIAN ECUADOR 19 x 26 cm, 228 pages 257 colour illustrations softcover Bilingual: English/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

THE WORLD THAT WASN’T THERE 26 x 31 cm, 362 pages 210 colour illustrations hardcover ISBN 9788874397013 £ 48.00, US $ 75.00, Can $ 91.00, € 65.00

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

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

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

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

WOOD SCULPTURE IN NEPAL Jokers and Talismans 24 x 28 cm, 168 pages 140 colour illustrations hardcover with jacket 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

ASIA IMAGINED in the Baur and Cartier Collections 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

ALFRED BAUR Pioneer and Collector 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

TEXTILES FROM BORNEO Iban, Kantu, Ketungau, and Mualang Peoples 24.5 x 33 cm, 224 pages 181 colour illustrations hardcover ISBN 9788874396511 £ 50.00, US $ 75.00, Can. $ 86.00, € 59.00

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

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

RE-ENVISIONING JAPAN Meiji Fine Arts Textiles 24.5 x 33 cm, 248 pages 287 colour illustrations hardcover with jacket ISBN 9788874397396 £ 60.00, US $ 80.00, Can $ 97.00, € 75.00

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

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[INDEX]

New titles in bold

Fernando Costa (24)

Mythical Diary. Sculptures from the Farnese Collection (54)

Friedrich Nietzsche and the Artists African Art. Portraits of a Collection (59)

African Costumes and Textiles (60)

Goats and Sheep. A Portrait Farm (42)

Once Upon a Time... The Western:

African Fetishes and Ancestral Objects (59)

Godai. Bamboo Art | Art du bambou. Tanabe

Chikuunsai IV and Tadayuki Minamoto (52)

African Sculptures and Forms (28) Agustín Fernández. The Metamorphosis of

of the New Weimar (14)

Gold, Silver And Brass. Jewellery of the Batak in Sumatra, Indonesia (61)

Experience (56)

Narrative Figuration, The (51) A New Frontier in Art and Film (50)

Onobrakpeya: Masks of the Flaming Arrows (56) Pablo Reinoso (56) Pende – Visions of Africa (33, 59)

Alexander Calder. Radical Inventor (16)

Great War, The. The Persuasive Power

Peru. Kingdoms of the Sun and the Moon (60)

Alfred Baur, Pioneer and Collector (61)

Photograph Albums of Jean Dubuffet, The (53)

American Design – MoMA Design Series (57)

Guro – Visions of Africa (33, 58)

Ancient American Art. 3500 BC – AD 1532 (60)

Hemba (55)

Architecture – Art Brut, The Collection (57)

I Have longed to move away. Lawrence Carroll,

of Photography (58)

Works 1985–2017 (52)

Art Brut from Japan, Another Look (22)

Pont-Aven School, The. Cradle of the Modern Sensibility (12) Powerful Headdresses. Africa | Asia (61) Pre-Columbian Art. The Barbier-Mueller

Art of Daily Life, The. Portable Objects

Igbo – Visions of Africa (33, 58)

Illusions. The Art of Magic (57)

Pretiosa Vitrea. The Art of Glass Manufacturing

Impressionist Treasures. The Ordrupgaard

from Southern Africa (60)

Artists of Nigeria (57) Arts of Nigeria in French Private Collections (60) Asia Imagined in the Baur and Cartier Collections (61)

Indian Contemporary Art (56)

in the Museums and Private Collections of Tuscany (54)

Collection (10)

Prisoners’ Objects. Collection of the International

Intimate Conversations. African Miniatures (55)

Red Cross and Red Crescent Museum (50)

Isamu Noguchi | Qi Baishi / Beijing 1930 (56)

Re-envisioning Japan. Meiji Fine Arts Textiles (61)

Textiles Influenced Fashion during

Italian Design – MoMA Design Series (57)

Rise of Abstraction in Russia, The (56)

the Roaring Twenties (38)

Japanese Buddhist Textiles (61)

Samuel Hieronymus Grimm (1733–1794). A Very

Asian Chic. Or How Japanese and Chinese

Collection (61)

Babembe Sculpture (59)

Japanese Design – MoMA Design Series (57)

Baga – Visions of Africa (34)

Jewish Wardrobe, The. From the Collections

Bamum – Visions of Africa (32, 58)

Bill Traylor (18)

Khajurāho. Indian Temples and Sensuous

of the Israel Museum, Jerusalem (61) Sculptures (54)

Bismarck Archipelago Art (60)

English Swiss (56) Senufo Unbound. Dynamics of Art and Identity in West Africa (59) Silence of the Women: Bamana Mud Cloths,

The (59)

Body – Art Brut, The Collection (53)

Kota – Visions of Africa (33, 58)

Slash. Paper under the Knife (57)

British Design – MoMA Design Series (57)

Kuba – Visions of Africa (32, 58)

Solomon Islands Art. The Conru Collection (60)

Caravanserai (58)

Kulango Figurines. Wild and Mysterious Spirits

Telling Time | L’éloge de l’heure (57)

(55)

Carlo Zinelli (20)

Textiles from Borneo. Iban, Kantu, Ketungau,

Carlos Luna (52)

Laboratory Obsession (58)

Charlotte Perriand and Photography.

Lalique. The Genius of Glass, the Magic of Crystal

Traveling with Cortés and Pizarro. Discovering

(58)

A Wide-Angle Eye (58)

and Mualang Peoples (61) Fine Pre-Columbian Art (30)

Charms in Pre-Columbian Ecuador (61)

Looking UpTM... Yinka Shonibare, MBE (57)

Vehicles – Art Brut, The Collection (57)

Chokwe – Visions of Africa (32, 58)

Luba – Visions of Africa (32, 58)

Visions of Grace. 100 Masterpieces from

Collector’s Visions. Arts of Africa, Oceania,

Making History. African Collectors and the Canon

of African Art (60)

Southeast Asia and the Americas (26) Creative Growth Book, The. From the Outside to the Inside. Artists with Disabilities Today (57)

Metamorphoses. In Rodin’s Studio (56)

Tailormade (46)

Works of African Art (59) Millennium of Monochromes from the Great

Embodied Spirits (60) Extended Moment, The. Fifty Years of Collecting

(59) Wood Sculpture In Nepal. Jokers and Talismans

Micro Monumentality. A Tribute to Miniature

Dancers from the Villa of the Papyri, The –

Tang to the High Qing, A (36) Mitchell | Riopelle. Nothing in Moderation (51)

the Collection of Daniel and Marian Malcolm

(61) Wooden Dreams. East African Headrests (59) World of Spirits in Pre-Columbian Ecuador,

The (60)

World that Wasn’t There, The. Pre-Columbian Art

Photographs at the National Gallery

Monet. A Bridge to Modernity (56)

of Canada (40)

Mossi – Visions of Africa (33, 59)

Yaka – Visions of Africa (33, 59)

Farnese Cup, The (8)

Multiverse. Art, Dance, Design, Technology:

Yoruba – Visions of Africa (33, 59)

Fashioning Kimono. Dress and Modernity in Early

Twentieth-century Japan (61)

in the Ligabue Collection (60)

The Emergent Creation (51)

Mumuye Sculpture from Nigeria (60)

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[ P H OTO C R E D I T S A N D C O P Y R I G H T S ]

NEW TITLES

Montgomery, Alabama, 1939–1942. Poster

p. 29

© Hughes Dubois

pp. 6–9 © Luigi Spina

paint and graphite on cardboard.

p. 31

© Edward Parrinello

p. 10

Claude Monet, The Chailly Road through

38.9 x 24.5 cm. Blanchard-Hill Collection.

p. 35

© Musée du Quai Branly - Jacques Chirac,

the Forest Fontainebleau, 1865. Oil

Photo by Adam Reich, American Folk Art

on canvas. 97 x 130.5 cm. Ordrupgaard,

Museum, NY

p. 37

© Marion Gérard / Fondation Baur

Carlo [Zinelli], Untitled, s.d. Gouache on

p. 38

© Bibliothèque d’art et d’archéologie des

Copenhagen. Photo: Anders Sune Berg p. 11

Vilhelm Hammershøi, Interior with Piano

paper. 48.5 x 49.5 cm. © Arnaud Conne,

and Woman in Black. From the Artist’s Home

Atelier de numérisation – Ville de

p. 39

© Fondation Baur. Marian Gérard

Lausanne. Collection de l’Art Brut,

p. 41

Horst P. Horst, Mainbocher Corset, 1939.

at Strandgade 30, 1901. Oil on canvas.

63 x 52.5 cm. Ordrupgaard, Copenhagen.

Photo: Anders Sune Berg

p. 13

p. 20

Musées d’art et d’histoire Ville de Genève

Lausanne (cab-4346) p. 21

top: Émile Jourdan, Entrée de la rivière

(Entrance to the River), 1926. Oil on

Carlo [Zinelli], Untitled, 1968. Gouache

Vogue © Condé Nast (41644) p. 43

© Kevin Horan

on paper. 70 x 50 cm. © Claudine Garcia, Atelier de numérisation – Ville

TAILORMADE

canvas. 46 x 55 cm. Courtesy Alexandre

de Lausanne. Collection de l’Art Brut,

p. 45

© Luigi Spina

Mouradian bottom: John Peter Russell,

Lausanne (cab-4350)

p. 46

© Giovanni Battista Righetti, Milan, 2015

© Morgane Détraz, Atelier de

pp. 47–49 © Luigi Spina

Sunset over Morestil. Undated and unsigned.

Oil on canvas. 81 x 100 cm.

Courtesy Alexandre Mouradian

p. 15

Edvard Munch, Friedrich Nietzsche,

1905-1906. Drawing. Munch Museum, Oslo (MM.M.00254)

p. 17

Alexander Calder (Philadelphia

1898 – New York 1976), Little Spider, about

p. 23

numérisation – Ville de Lausanne. Atelier p. 24 p. 25 p. 27

1940. Sheet metal, wire, paint.

Dist. RMN - Grand Palais/Jean Gilles Berizzi

111.1 x 127 x 139.7 cm. National Gallery

of Art, Washington, D.C. Gift of Mr. and Mrs. Klaus G. Perls (1996.120.18) p. 19

Bill Traylor (United States, 1853–1949),

Untitled (Yapping Woman on Platform),

Yamanami

RECENT TITLES

Fernando Costa, Nicole Girard-Mangin,

p. 53

Carlo [Zinelli], Untitled, 1961. Gouache

2016. 100 x 180 cm. © Eric Corlay

on paper. 50 x 70 cm (cab-2128).

Fernando Costa, Autoportrait (detail), 2017.

© Henri Germond and Fondazione

90 x 90 cm. © Eric Corlay

culturale Carlo Zinelli

From top left to bottom right: © Vincent Girier Dufournier, © Archives Sotheby’s,

COVER

© Archives Alain de Monbrison, © Vincent

© Paul Starosta

Girier Dufournier, © Hughes Dubois,

© Vincent Girier Dufournier, © Vincent Girier Dufournier, © Hughes Dubois,

© Vincent Girier Dufournier

[67]

Eric Ghysels President | Publisher ghysels@fivecontinentseditions.com

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