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July – December 2018

Contents Popular Culture






Art Biography






General & Ancient History


The British Museum


Victoria and Albert Museum


Fashion & Jewelry



74, 82















Recent Highlights


Picture Credits




Sales & Distribution Contacts


This catalogue is also available to view at: All descriptions in this catalogue are correct at the time of going to press. Prices, which apply in the UK only, are net, provisional and subject to alteration without notice. For Value Added Tax (VAT) purposes, books are zero rated in the UK.



The Big Idea A primer for the 21st century

Optimism and growth returned to most of the world during the mid 2000s, when it was believed that a new era of permanent stability had emerged. However, the global financial crisis of 2008 caused a shuddering reverse (see Chapter 3). It remains, even after a decade, the most important shaping force of the contemporary economy.

Innovative and informative, provocative and persuasive, The Big Idea series takes a brand new look at the fundamental ideas that make such a big impact on our lives and our world today. The unique visual approach and layered text make complex concepts easy to understand and give you all the tools you need to join the debate.

The new millennium began with recessions in most of Europe (Britain was an exception and the USA, and continued economic problems in Japan. A B

At the March for Health, Homes, Jobs and Education in London in 2016, demonstrators demanded an end to the Conservative Party’s austerity policies. In 2012 thousands gathered in London to protest against government cuts. Some wore the stylized Guy Fawkes mask that has become a hallmark of many protest groups.




The growing ubiquity of the Internet led to the value of shares in IT companies increasing rapidly after 1995. But between 1999 and 2001, the dot-com bubble collapsed and wiped out $6 trillion of shares. Shares in, a social networking service, indicate how dramatic this collapse was. When they were first offered for sale on 13 November 1998, their value increased by more than 600% in one day to $63.50. By 2001 they were worth less than one dollar and could be purchased for as little as 7 cents. The company ceased operations in 2008.


In accordance with Einstein’s theory of general relativity, mass warps and distorts spacetime, thus creating the effects we experience as gravity. The greater the mass and the denser its concentration, the more extreme the distortion and the stronger the gravity. A common analogy to help visualize the distortions of general relativity is to discard one of the three space dimensions and imagine space instead as a two-dimensional membrane like a rubber sheet. Masses located on the sheet pull it out of shape, creating depressions known as gravitational wells, which deflect the motion of anything that passes too close. Black holes are an extreme example – a steep gravitational well around an infinitely dense point mass called a singularity, into which objects and radiation fall with no hope of escape. A B

Questions about the Universe’s shape always seem to lead back to this one deceptively simplesounding question – how much mass does it contain?

Neutron star


A series of computer simulations of black holes model the effects of intense gravity warping spacetime on the three dimensions of space. Colours in these images reveal the amount of red shift –

the stretching of light as it passes through warped space close to the black hole. The central black region, meanwhile, is the event horizon – the boundary beyond which even light cannot escape.

Despite being a relatively smallscale phenomenon, models of black holes can reveal how the mass of the Universe itself, on the largest scale, can warp and distort the space it occupies.

These ‘rubber sheet’ models show distorted spacetime around a Sunlike star, a dense neutron star (the superdense, city-sized remnant left behind by a supernova) and a black hole. In each case, space has been reduced to a flat twodimensional membrane.

Black hole






• Opinionated reference books: Each can be read as a narrative that explains the principles and concisely evaluates the arguments relevant to each subject. • Quick, recognition text hierarchy: Paragraphs are prioritized using different font sizes – the larger the font size, the more fundamental the paragraph is to the understanding of the overall concept or general argument. • Provocatively illustrated: Juxtaposes historical gems with the latest visual images. • Timelines: An extended back cover flap folds out to reveal a timeline, providing an at-a-glance overview of the topic’s key concepts and events. • Expert authors: High-quality narrative text provides a comprehensive introduction to, and concise analysis of, each subject. • Top-ranking general editor: Matthew Taylor, Chief Executive of the RSA, ensures consistency of quality and approach and most apposite question formulation across the whole series.



Is Capitalism Working? 2

Jacob Field Since the near-meltdown of the world economy in 2008, capitalism has been in crisis. Is it time to call time on a system that continues to destabilize the world economy? Have the deregulation and free-trade policies of the last forty neoliberal years made capitalism toxic? This engaging book presents the benefits and disadvantages of capitalism in all its forms and asks if there is a viable alternative. ISBN 978 0 500 293676

Jacob Field, a research associate at the University of Cambridge, is the author of four history books, most recently London, Londoners, and the Great Fire of 1666.

Is Democracy Failing? Niheer Dasandi Only four countries around the world do not currently define themselves as democracies, but many more do not fulfil the four basic requirements of democracy. Since 2015, populist politicians have been on the rise in the West. Is populism the new face of democracy? Is democracy simply the will of the people? Can any existing government claim to be truly democratic? Is Democracy Failing? interrogates contemporary forms of democracy and questions whether they remain fit for purpose today. ISBN 978 0 500 293652

Niheer Dasandi is a Fellow in the School of Government and Political Science at the University of Birmingham.


General Editor

Matthew Taylor is Chief Executive of the RSA, a 250-yearold British institution devoted to enriching society through ideas and action to deliver a 21st-century enlightenment. A writer, public speaker and broadcaster, he has written widely on policy, politics, public service reform and cultural theory, and frequently appears on Newsnight, The Daily Politics, and Radio 4’s Today and The Moral Maze. He was previously General Secretary and Chief Executive of the Institute for Public Policy Research, Britain’s leading think tank.

Each book: c. 150 illustrations 22.9 x 15.2cm 144pp paperback September £12.95

Coming in spring 2019 Will AI Replace Us? 978 0 500 294574 Is Medicine Still Good for Us? 978 0 500 294581

What Shape Is Space? Giles Sparrow 3 If the edge of the observable Universe is not the edge of everything, where does it end? If we were to stand on the edge of our observable Universe, would we see another stretching before us? If the Universe is infinite, what kind of infinite do we mean? Does it consist of myriad bubble universes, each containing its own infinite universe? Or is it an evolving series of parallel universes or multiverses? Discover answers to all these questions and more in this lucid, revelatory and innovative volume. ISBN 978 0 500 293669

Giles Sparrow is a Fellow of the Royal Astronomical Society, and author of many books, including the bestselling Cosmos and Mars: A New View of the Red Planet.

Is Gender Fluid? Sally Hines Why is it that some people experience such dissonance between their biological sex and their inner identity? Is gender something we are or something we do? Are the traditional binary male and female gender roles relevant in an increasingly fluid and flexible world? This perceptive, stimulating volume assesses the connections between gender, psychology, culture and sexuality, and reveals how individual and social attitudes have evolved over the centuries. ISBN 978 0 500 293683

Sally Hines is Professor of Sociology and Gender Identities at the University of Leeds, where she was also Director of the Centre for Interdisciplinary Gender Studies from 2009 to 2014.


A timely, panoramic portrait of China by Magnum’s legendary photographers, spanning the pre-revolutionary years to contemporary China Colin Pantall has written and photographed for a wide range of publications, including The British Journal of Photography, Foam and The Far Eastern Economic Review. Zheng Ziyu is a photo editor, curator and researcher of visual culture based in Guangzhou, China. He has held positions as senior photo editor at the Southern Metropolis Daily and as managing editor of their Vision Weekly newspaper. Jonathan Fenby is an authority on Chinese history and politics. He edited both the Observer and the South China Morning Post, and has written nine books on China, including Tiger Head, Snake Tails: China Today, How It Got There and Where It Is Heading and The Penguin History of Modern China. 369 illustrations 29.5 x 24.5cm 368pp + 1 x 8pp gatefold ISBN 978 0 500 544549 October £48.00

Features work by forty world-class photographers, including:


Abbas Eve Arnold Bruno Barbey Jonas Bendiksen Werner Bischof René Burri Henri Cartier-Bresson Chien-Chi Chang Martine Franck Stuart Franklin Hiroshi Hamaya Lu-Nan Martin Parr Gueorgui Pinkhassov Chris Steele-Perkins Patrick Zachmann

Magnum China Edited by Colin Pantall and Zheng Ziyu Additional texts by Jonathan Fenby Many of Magnum’s most renowned photographers, beginning with Robert Capa and Henri Cartier-Bresson on assignment in the 1930s, have photographed China, returning time and again, their fascination growing in line with China’s burgeoning accessibility and international influence. Magnum China – both an outstanding photobook and a fascinating social history – illustrates the agency’s evolving relationship with China to give a rich photographic account of the country, its people and the changes over the last nine decades. Chronologically organized by key periods in the development of the modern state and its associated territories, Magnum China presents in-depth portfolios by individual photographers, with introductory commentaries on the featured projects, and group selections illustrating the diversity of Magnum’s interaction with the region. Supplemented with introductory essays by Jonathan Fenby, historical timelines, lists of photographers’ travels and a fold-out map of China, it offers detailed socio-political, geographical and historical context to complement the outstanding photography of some of the world’s finest documentary, art and street photographers.


The first introduction to and study of Japanese photography since 1945 to be published in English Lena Fritsch is a specialist in 20th- and 21st-century Japanese art and photography, and Curator of Modern and Contemporary Art at the Ashmolean Museum (University of Oxford). Her publications include The Body as a Screen: Japanese Art Photography of the 1990s and an English-language edition of Moriyama Daido’s Tales of Tono.

218 illustrations 27.5 x 23.0cm 288pp flexibound ISBN 978 0 500 292877 October £35.00

Ravens & Red Lipstick Japanese Photography Since 1945 Lena Fritsch 6 Top: Ninagawa Mika, 17 9 '97, 1998 Bottom: Light of, 2015


Top: Ninagawa Mika, a piece of heaven, 2002 Bottom: Liquid Dreams, 2003

Girls' Photography


Araki Nobuyoshi, untitled, 1971, Sentimental Journey series


New Photographic Freedom


While major exhibitions of Japanese photography have become steadily more frequent over the last thirty years, Ravens & Red Lipstick offers one of the first overviews of the subject to be published in English. Visually bold and richly detailed, this volume traces the development of Japanese photography from the severity of post-war Realism to the diversity and technical ingenuity of photography in contemporary Japan, via movements and groups such as Vivo in the 1960s and ‘girls’ photography’ in the 1990s. Interleaved are new interviews with some of the most influential practitioners in photographic history, from Moriyama Daido to Araki Nobuyoshi and Kawauchi Rinko. Lena Fritsch writes with imagination and clarity, interrogating a crosssection of photographic movements and works against the vivid, shifting backdrop of Japanese social, cultural and political history. The result is both an accessible introduction and an illuminating work of analysis, for general readers and aficionados alike.


An in-depth look at the entire body of work of one of the outstanding figures in postwar photography Margit Erb is the founder and director of the Saul Leiter Foundation, which is dedicated to preserving Leiter’s art and legacy. Pauline Vermare is Cultural Director at Magnum Photos. Motoyuki Shibata is a scholar and translator of American literature.

232 illustrations 21.0 x 14.8cm 296pp paperback ISBN 978 0 500 294536 July £19.95

All About Saul Leiter Saul Leiter With texts by Margit Erb, Pauline Vermare and Motoyuki Shibata I spent a great deal of my life being ignored. I was always very happy that way. Being ignored is a great privilege.


Saul Leiter (1923–2013) pioneered a painterly approach to colour photography in the 1940s and produced covers for fashion magazines such as Esquire and Harper’s Bazaar before largely withdrawing from public attention in the 1980s. The publication in 2006 of his first collection, Early Color, inspired an avid ‘rediscovery’ that has since led to worldwide exhibitions and the release of a documentary, In No Great Hurry: 13 Lessons in Life with Saul Leiter (2013). This collection reveals the secrets of his appeal, from his masterful colours and compositions to his lyricism and life philosophy. Over 200 works – including early street photographs, images for advertising, nudes and paintings – cover Leiter’s career from the 1940s onwards, accompanied by quotations from the artist that express his singular world view.

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Untitled, c. 1950

Shoes of the Shoeshine Man, c. 1 9 5 1

26/02/2018 10:44


A collection of images of shorelines as seen through the lens of Magnum photographer Harry Gruyaert

Harry Gruyaert has been a member of Magnum Photos since 1982. Thames & Hudson has published two other collections of his work, Harry Gruyaert and Harry Gruyaert: East/West. Richard Nonas is an American artist. His most recent exhibitions include The Man in the Empty Space at MASS MoCA, Massachusetts and Richard Nonas: ridge (out, away, back) at the Art Institute in Chicago.

Harry Gruyaert: Edges Harry Gruyaert • Foreword by Richard Nonas The ‘edges’ that Harry Gruyaert, a pre-eminent member of the Magnum photo agency, explores in this incredibly lush, full-colour book, are the oceans, seas and rivers where humans meet the edge and the water begins. This unusual volume, which opens from the top up, takes the reader to Israel’s Dead Sea, the Mali River in Niger, the North Sea of Iceland, South Korea and Biarritz, as Gruyaert’s sensitive photos record the subtle chromatic vibrations of the edges of the Orient and the Occident. Gruyaert opposes the hustle of the city with a pared-down, yet intense, nature. His landscapes are never empty; they are inhabited places where light, colour, objects, people and situations weave a serene, sublime tableau. This beautifully produced photographic manifesto reveals the profoundly poetic character of Harry Gruyaert’s work, and the sensual elegance of his faultless compositions.

89 photographs 23.0 x 30.0cm 144pp ISBN 978 0 500 545058 September £40.00





Also available

978 0 500 544488 £45.00



Our world today, as seen through the lens of contemporary photography William A. Ewing has been an author, lecturer, curator of photography and museum director for more than forty years. His many publications on photography include The Body, Landmark and Edward Burtynsky: Essential Elements, all published by Thames & Hudson. Holly Roussell is a curator and art historian specializing in photography and contemporary art from Asia.

485 illustrations 29.5 x 24.5cm 352pp ISBN 978 0 500 021705 October ÂŁ39.95


Published in association with an internationally touring exhibition, which opens at the National Museum of Modern and Contemporary Art, South Korea, on 18 October 2018, and then travels to the National Gallery of Victoria, Melbourne, in September 2019.

Civilization The Way We Live Now William A. Ewing and Holly Roussell We hurtle together into the future at ever-increasing speed – or so it seems to the collective psyche. Every day and every hour, human civilization expands, evolves and mutates. While we frequently lapse into celebrating the individual at the expense of the group, in science and art, at work and at play, at home and in transit, we increasingly live the collective life. Civilization shows how contemporary photography, notably art photography, is fascinated by, and attempts to decode and communicate, the way we live today. It is presented through eight thematic chapters, each led by breathtaking imagery and accompanied by essays, quotes and captions to provide a deeper understanding of its theme. Visually epic and ambitiously popular in approach, it will reach out beyond the boundaries of the photography world to connect with audiences worldwide.


An entirely fresh perspective on the history of photography that uses timelines to trace the medium’s development from its inception to the present Paul Lowe is an award-winning photographer whose work has appeared in a range of publications, including Time, Newsweek, Life, the Sunday Times Magazine and the Observer. He is Course Director of the Masters programme in Photojournalism and Documentary Photography at the London College of Communication, University of the Arts London.

c. 350 illustrations 25.4 x 21.6cm 272pp ISBN 978 0 500 545034 November £19.95

A Chronology of Photography A Cultural Timeline from Camera Obscura to Instagram Edited by Paul Lowe 12

Also available

978 0 500 239810 £19.95

A Chronology of Photography offers a fresh viewpoint on the medium by taking a purely chronological approach to its history, tracing the complex links between technological innovations, social changes, and artistic interventions. Structured around a central timeline that charts the development of photography from early experiments with optics right up to the present-day explosion of digital media, it features sumptuous reproductions of key photographs, together with commentaries and contextual information about the social, political, and cultural events of the period in which they were taken. Special technical sections explain how the development of new camera technology impacted the practice of photography, while feature spreads highlight important themes and influential practitioners. Covering a wide selection of genres, styles, and artists, it is invaluable as a comprehensive guide to photography in all its different forms and functions.


Attractive, immersive, compact: in the first of the new Pocket Photo Books series, Harry Cory Wright explores one of the most beautiful libraries in the world Harry Cory Wright is a leading landscape photographer whose work is concerned with the sense of place. He has had many solo exhibitions, and in 2013 his work was included in the major exhibition Landmark: The Fields of Landscape Photography at Somerset House, London. Helen Shenton is Librarian and College Archivist at Trinity College Dublin.

111 illustrations 17.0 x 12.0cm 176pp paperback ISBN 978 0 500 294598 Available now £12.95

The Library of Trinity College Dublin

About the Pocket Photo Books series


The Pocket Photo Books series, devised by photographer Harry Cory Wright, offers the reader compact, immersive photo guides to individual visitor attractions, conjuring up the experience of place. Forthcoming titles in the series will explore Tower Bridge and the Barbican, both in London.

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Harry Cory Wright • Introduction by Helen Shenton The Old Library at Trinity College Dublin, designed by Irish architect Thomas Burgh (1670–1730), opened in 1732 and was expanded in 1860. Dividing Library Square to the north and Fellows’ Square to the south, the Old Library’s stone exterior has a rhythmic simplicity, but little prepares the visitor for the classical magnificence of the building’s main chamber. The timber-lined Long Room, housing 200,000 beautifully bound volumes that represent six centuries of scholarship and publishing, is one of the most impressive and harmonious architectural spaces in the world. Each year it attracts almost a million visitors, who arrive to see the 9th-century Book of Kells, one of the greatest surviving works of Medieval art and Ireland’s greatest cultural treasure. This exquisite album of photographs by Harry Cory Wright allows us to experience the Long Room as if for the first time, revealing the monumentality of the space, the finely wrought details of its architecture, and some of the secrets that lie between the leather-bound covers of its rare-book collection. With an introduction by Librarian and College Archivist Helen Shenton, who shares with us her own daily experience of the Long Room’s magic, this is a book that conjures up an extraordinarily vivid sense of ‘being there’.


Rachel Moss is associate professor of the history of art at Trinity College Dublin, where the Book of Durrow is held. She is a specialist in the art of early medieval Ireland and has published widely on the subject, including Art and Architecture of Ireland: Medieval, c. 400–c. 1600 (2014).


c. 115 illustrations 24.8 x 19.0cm 96pp paperback ISBN 978 0 500 294604 October £14.95


An illuminating guide to one of the great masterpieces of Celtic manuscript art, published to coincide with a major exhibition at the British Library



Published to coincide with the British Library’s exhibition Anglo-Saxon Kingdoms (19 October 2018– 19 February 2019), where the Book of Durrow will be on display.

Also available

978 0 500 480243 £12.95

The Book of Durrow Official Guide Rachel Moss The Book of Durrow is among the earliest-surviving decorated manuscripts in north-western Europe. A masterpiece of Celtic art, it is believed to be the oldest fully decorated Insular Gospel that survives, pre-dating the Book of Kells by more than a century. Created in a monastery associated with the Irish saint Colum Cille (St Columba), its text and artwork reflect the formative years of a distinctive ‘golden age’ of artistic production in Ireland and Britain. This richly decorated introductory guide explores the manuscript’s distinctive artwork, providing a fascinating view of the eclectic sources drawn upon by the scribe/illuminator to adorn this sacred text. An introduction to the art and text of the manuscript is accompanied by an examination of some of the practical challenges that faced its maker, such as working on and binding with vellum, and early inks and pigments. Issues around the provenance of the manuscript are explored, as is the extraordinary story of its preservation in the Irish monastery at Durrow, and what its pages reveal about its changing status, first as sacred text, then as relic, over a lifetime of almost 1300 years.



A sumptuous monograph that celebrates one of the greatest portraitists of the Italian Renaissance Enrico Maria Dal Pozzolo is Associate Professor in the History of Art at the University of Verona, specializing mainly on Venetian painting of the Renaissance and Baroque periods. He has published widely on Renaissance art, and has curated a number of acclaimed exhibitions, most recently on Andrea Schiavone at the Museo Correr di Venezia. Miguel Falomir is director of the Museo Nacional del Prado

Illustrated throughout 30.0 x 24.0cm 384pp paperback ISBN 978 0 500 970935 August £29.95

Accompanies the exhibition showing at the Museo del Prado, Madrid, from 19 June to 30 September 2018, and then at the National Gallery, London, from 5 November 2018 to 19 February 2019.

Lorenzo Lotto Portraits Edited by Enrico Maria Dal Pozzolo and Miguel Falomir One of the leading Venetian-trained painters of the early 16th century, Lorenzo Lotto uniquely portrayed a cross section of middle-class sitters, among them clerics, merchants and humanists. Lotto depicted men, women and children in compositions rich in symbolism and imbued with great psychological depth. The prominent addition of objects which hinted at the social status, interests, and aspirations of his subjects added meaning to each work. With the inclusion of documents that have survived from Lotto’s own account books, this catalogue provides extraordinary insight into the artist’s individualistic style and the people he portrayed.


Federica Ambrosini


« VENETIE MD» Thanks to the spectacular imago urbis by Jacopo de’ Barbari [fig. 1.1] published in 1500 – as the date carried at the top centre of the woodcut, Venetie MD, attests – we know what Venice looked like when Lorenzo Lotto spent his early years there. Amid the labyrinthine meanderings of the lagoon city’s houses, canals, squares, bridges, and calle alleyways, our gaze is drawn to the image of Neptune, one of the city’s two divine guardians. Seated astride a sea-monster in the Basin of San Marco, the marine deity watches over the port traffic, epitomised by the ships crowding the waters of the lagoon, extending from the tip of the customs authorities and the outskirts of the city, marked by San Pietro di Castello, at the time Venice’s cathedral. The vast complex of the Arsenal, the largest industrial establishment in Europe at the time, looms large in the vicinity. The other protective divinity of Venice depicted in De’ Barbari’s topographic veduta is Mercury, the patron god of trade – not Mars, the warrior god whose statue reportedly appeared alongside that of Neptune on the staircase leading to the courtyard of the Palazzo Ducale in the second half of the sixteenth century.1 Everything contained in this bird’s-eye view speaks of a city that acknowledged the sea as the primary, and almost exclusive, source of its prosperity. Indeed, it was from the sea that the Venice of that era continued to draw a significant part of its power and its wealth. Its Stato da mar – a term that encompassed the entirety of its overseas possessions – was still flourishing, albeit in a more vulnerable and precarious position than in the past. Between the second half of the fifteenth century and the beginning of the sixteenth, the Ottomans seized important Venetian strongholds in the Levant, although the city compensated for those losses with other acquisitions in the same waters. These included an ancient Crusader kingdom, namely that of Cyprus, in 1489. Further cause for concern for Venice came with the opening of the new oceanic route in those years, which granted the Portuguese a form of maritime access to the Asian countries producing the spices that constituted the primary source of Venice’s trade, and therefore income. In the early sixteenth century, patrician diarist Girolamo Priuli reported the panic that broke out in the city at the news of a Portuguese fleet arriving in Lisbon with







A major monograph on the artist widely regarded as the 16th century’s greatest Netherlandish painter, published to mark the anniversary of his death 450 years ago

Manfred Sellink is the director of the Royal Museum of Fine Arts Antwerp, and is the author of Bruegel: The Complete Paintings, Drawings and Prints. Ron Spronk is a professor (by special appointment) specializing in Hieronymus Bosch and Early Dutch painting at Radboud University. Sabine Pénot is Curator of Netherlandish and Dutch Paintings, Kunsthistorisches Museum (KHM) at Vienna, Austria, and Elke Oberthaler is Head of Painting Conservation at the same institution. c. 150 illustrations 28.0 x 24.0cm 304pp ISBN 978 0 500 239841 October £42.00

Accompanies the exhibition at the Kunsthistorisches Museum in Vienna, showing from 2 October 2018 to 13 January 2019.

SaniePénot, Manfred Sellink

Bruegel’s life in Antwerp and Brussels and Bruegel’s afterlife and fortuna critica EINE KAPITELÜBERSCHRIFT

Als Kaiser Karl V. (1500–1558) im Jahr 1539 auf dem Weg nach Gent durch Frankreich zog, wurde er nicht nur in Paris angemessen empfangen, sondern er machte auch einen Abstecher nach Fontainebleau. Der französische König François Ier (1494–1547, Abb. 1), der kurzzeitig ein entspanntes politisches Verhältnis zum Kaiser pflegte, hatte großen Wert darauf gelegt, die Innenausstattung seines ca. 70 km vor Paris gelegenen, von einem weitläufigen Jagdgebiet umgebenen Schlosses bis zur Ankunft des Kaisers fertigstellen zu lassen. Beim zentralen Raum des Schlosses handelte es sich um die noch heute populäre, von italienischen Künstlern gestaltete Grande Galerie, durch die der König den Kaiser persönlich führte; dabei erläuterte er ihm das komplexe Bildprogramm dieses Raumes. Karl sollte in Folge bei der Schilderung der Begebenheiten in Frankreich den aufwendig inszenierten Empfang im Schloss von Fontainebleau sowie die Ausstattung der Grande Galerie, auf die der Franzose so großen Wert gelegt hatte, keines Wortes würdigen.1 Ein Grund hierfür könnte der Umstand sein, dass die Galerie mehr als nur eine dekorative Architektur war. Sie fungierte vielmehr als politisches Medium mittels dessen der französische König seinen Kunstsinn, aber auch seinen Anspruch auf Macht und Überlegenheit gekonnt in Szene setzte. Dass die Innenausstattung des Schlosses von italienischen Künstlern entworfen wurde, ist nicht verwunderlich, war François doch in einem Umfeld groß geworden, in dem Italien und seine Kunstschätze stetig präsent waren. 1499 war die Lombardei von französischen Truppen erobert worden, und François selbst reiste in den Jahren 1515 sowie 1524– 1525 nach Italien. Die gewonnenen Eindrücke sollten sich – trotz der Niederlage gegen das deutsch-spanische Heer in der Schlacht von Pavia 1525 und seiner Gefangennahme – als prägend für seinen Kunstsinn erweisen, und die Vorliebe für die Kulturlandschaft Italien begleitete ihn zeitlebens. Neben der von ihm selbst zusammengetragenen Kunstsammlung verfügte er über eine umfassende Sammlung von objets d’art aus dem ehemaligen Besitz von Charles VIII. (1470-1498), die dieser seit seinem Italienfeldzug sein Eigen nannte,2 sowie über den großen Bestand italienischer Gemälde der Frührenaissance von Louis XII. (1462–1515). Agenten vermittelten François zusätzlich die Werke bedeutender italienischer Künstler wie Michelangelo, Raffael und Tizian. Einige von ihnen folgten dem Ruf des Königs an seinen Hof, so etwa Leonardo da Vinci (1452–1519), der von 1515 bis zu seinem Tod in Frankreich weilte. Wenn auch keine Werke dieses sich bereits im




Bruegel The Master Manfred Sellink, Ron Spronk, Sabine Pénot and Elke Oberthaler On the occasion of the 450th anniversary of the death of Pieter Bruegel the Elder, the Kunsthistorisches Museum Vienna is mounting the first-ever large monograph exhibition of the leading Netherlandish painter of the 16th century. Only around forty paintings by Bruegel survive, and museums and private collectors count Bruegel’s paintings among their most precious and fragile holdings. Bruegel’s popularity continues to be informed by his often socio-critical but always varied, entertaining and powerful compositions. They invite the spectator both to begin an artistic discourse with the work and to reflect on the complexity of its content. This spectacular catalogue allows readers to immerse themselves in the world of the Netherlandish master. The results of recent research on materials and techniques allow us to focus on Bruegel’s creative process: his perfect handling and execution, his virtuoso use of colour and his draughtsmanship. Bruegel’s inventions and stories create artworks with a timeless power, and this book, presenting a full survey of the artist’s entire oeuvre, will be an indispensable resource for Bruegel fans and scholars alike.



A beautifully illustrated survey of the relationship between the development of books, the artist and Western pictorial art from the 15th to the 20th centuries

Jamie Camplin was editorial director at Thames & Hudson from 1979 to 2005, and managing director from 2005 to 2013. He is the author of The Rise of the Plutocrats: Wealth and Power in Edwardian England and 1914: The King Must Die. According to Michael Holroyd, in The Times, he writes with ‘skill and a wry romantic wit. I can see he is playing brilliantly.’ Maria Ranauro is a senior picture researcher at Thames & Hudson, and in January 2016 won the Longman-History Today Historical Picture Researcher of the Year award.

165 illustrations 24.0 x 16.5cm 256pp ISBN 978 0 500 252253 September £24.95





Books Do Furnish a Painting Jamie Camplin and Maria Ranauro ‘There is no writer … who is so much of a painter as Dickens’ Vincent van Gogh ‘I don’t invent it – really do not – but see it, and write it down’ Charles Dickens


federico zndomeneghi’s Young Girl Reading (1880s) was another indication of the view that sensitivity and intelligence went with reading. The Venetian-born Zandomeneghi, unlike his fellow Italian artists, embraced the Impressionists, becoming friends with Degas and Renoir after going to Paris in 1874. guguin ws noT Being misleding when he once confessed that he had practised his art at the expense of his family. Nevertheless, about the time of this portrait of his favourite son, Clovis (c. 1886), he observed that Clovis was ‘a hero’, who ‘asks for nothing, not even to play, and goes to bed quietly’.



 picTure Tells many stories. For the American missionary the

Reverend Hollis Read, railing against Satan in 1872, the novels favoured by young women were ‘garbage’, full of ‘a moral poison’ and inciting ‘carnal passion’. For the artist – Winslow Homer, the bachelor of the three Homer brothers, here with The New Novel (1877) – there is the sense that this is the red- or blonde-haired girl he coveted in the 1870s. No one has convincingly identified her, but when she disappears from his work, he becomes reclusive and solitary, warding off biographers and becoming misanthropic. But the girl sees it differently; like so many others, she has the joy of a good book out of doors.



What should you do at Christmas? In Edvard Munch’s Christmas in the Brothel, the artist depicts himself sleeping off the effects of drink while the Madame reads a book. Is it a girl or a boy who is denied control of the books in Renoir’s Portraits d’enfants? What was Gauguin hinting at when he painted Milton’s Paradise Lost into a portrait of a friend? And why were the Cumberland girls reading The Fashionable Lover in George Romney’s portrait of them? Thousands of fine paintings include books in their subject matter. Beginning with the question, ‘What is a book?’, this companionable survey explores the symbiotic relationship between the development of books and the emergence of our modern sense of the importance of the individual artist; it parades and interprets the work of many of the greatest artists of the last five hundred years; and it explains how and why books became the single most ubiquitous feature of our cultural lives and, in large measure, of our everyday existence. These paintings connect us with centuries of gender differences, religious systems, symbols, education, patterns of transport, social status, romance, the imagination of children, literary life, sex, friendship, civilized bathing, scientific discovery, aids to rest, aids to reflection, danger … Books tell us about ourselves – and they certainly do furnish a painting.



Showcases and analyses highlights from Van Gogh’s collection of Japanese prints, exploring the key role they played in his creative output

hastily. Their work is as simple as breathing, and they do a figure with a few confident strokes’

a time when Japanese art was the height of fashion. His initial motivation to acquire so many prints was commercial: he hoped to deal in them. But the exhibition he organized in the café-restaurant Le Tambourin turned out to be a complete failure. However, he now had the advantage of being able to study his collection at leisure, and he became slowly captivated by their colourful, attractive and unusual imagery. This book explores the precise nature and the history of Van Gogh’s Japanese print collection and reveals how these images became a true beacon for his own art.

Over 170 illustrations 29.0 x 21.0cm 224pp ISBN 978 0 500 239896 August £29.95

– Vincent van Gogh to his brother Theo, September 1888

Printed in Belgium

The Collection of Vincent van Gogh

Chris Uhlenbeck is Curator of the Japanese Print Collection at the Nihon no Hanga Museum and an independent writer. Louis van Tilborgh is Senior Researcher at the Van Gogh Museum and the Professor ‘I envy the Japanese extreme of Art History at the University clarity that everything in their of Amsterdam. Shigeru Oikawa is Emeritus work has. It’s never dull, and Vincent van Gogh bought approximately  Japanese Professor, Women’s University, prints during his stay in ParisTokyo. in –, never appears to be done tooJapanwoodblock

JAPANESE PRINTS The Collection of Vincent van Gogh

Japanese Prints The Collection of Vincent van Gogh Foreword by Axel Rüger and Marije Vellekoop Texts by Louis van Tilborgh, Chris Uhlenbeck and Shigeru Oikawa 20

Vincent van Gogh fell under the spell of Japanese printmaking in Paris, where he purchased more than 600 prints from a dealer. He hung them in his studio, and they taught him a new way of looking at the world. Van Gogh liked the unusual spatial effects, the expanses of strong colour, the everyday subjects and the attention to details from nature. He was also keen to find a modern, more primitive kind of painting that engaged directly with the viewer. Japanese prints showed him the way, with nature still as his starting point. Here is a beautiful exploration of Van Gogh’s obsession with Japan, revealing a selection of the prints he owned himself (all from the Van Gogh Museum), side by side with his own paintings and sketches, including the Almond Blossoms masterpiece, The Courtesan, Plum Blossom and Bridge in the Rain. This opportunity to share Van Gogh’s vision lends us a compelling insight into one of the most powerful creative influences behind his art.


Hokusai Manga Hokusai



In 1814, Hokusai’s sketches were published in a handbook of over 4,000 images: Hokusai Manga. Not only did this publication surpass its initial ambitions to serve as a reference for students, it became a bestseller at the time and eventually became an enduring favourite for readers’ pleasure and curiosity. Here, in an elegant, three-volume package, an expansive selection of these works are revealed, presenting all of the themes, motifs and drawing techniques found in his art. One volume explores the ‘Life and Manners of the Day’, studying habits and objects of the everyday, from architectural features to wrestling moves and facial expressions; the second, the ‘Whole Earth Catalogue’, is largely concerned with nature, from animals to rock faces and fish; and the third presents the ‘Fanciful, Mythical and Supernatural’, with images narrating myths and displaying fantastical creatures. The caricatures, satirical drawings, multi-panel illustrations and narrative depictions found on these pages can clearly be seen as the basis for manga as it is understood today.



A stylish three-volume boxed set of Hokusai’s renowned manga drawings Katsushika Hokusai (1760–1849) was a Japanese artist, ukiyo-e painter and printmaker of the Edo period. Born in Edo (now Tokyo), Hokusai is best known as author of the woodblock print series Thirty-six Views of Mount Fuji, which includes the iconic print, The Great Wave off Kanagawa.

Illustrated throughout 14.8 x 10.5cm 352pp in three volumes Slipcased paperbacks ISBN 978 0 500 294611 November £25.00



Men of lofty genius sometimes accomplish the most when they work the least, seeking out inventions with the mind, and forming those perfect ideas which the hands afterwards express and reproduce from the images already conceived in the brain -

Small, smart, essential...

Leonardo da Vinci c.1495

Art Essentials are for everyone who loves the arts and wants to know more. Each book in the series will give readers all the background Art is at the human experience, and an whether knowledge theycentre need foroftheir enjoyment and understanding, they’re avid gallery-goers, armchair enthusiasts or curious observers.

essential part of the cultural landscape for engaged of the 21st century. Yet, many, itforcan •citizens Affordable, responding effectively to for the demand low-priced introductory texts beyond reach. That doesn’t need seem tantalizingly

to be the case.

• Accessible and engaging, allowing the reader either to read the book from start to finish, or to locate and focus on topics of particular interest ART ESSENTIALS , Thames & Hudson’s new art series, presents • Richly illustrated for ease of understanding need-to-know expertise that will provide the keys to a richer

•understanding Expertly written on theguide strength of art and of allconceived, kinds. From building a no-nonsense to howand authority of Thames & Hudson’s reputation in the visual arts to look at pictures to an illuminating introduction to modern art, from a revealing overview of the art of the Impressionists to the • Practical – includes a glossary of art terms all-you-need-to-know guide to Street Art, the series will build

p o s t - wa r


VAN GOGH’S PORTRAIT OF DR GACHET SELLS FOR A RECORD PRICE 15 MAY 1990, NEW YORK, USA Before the late 1980s the most valuable paintings in the world were all Old Masters, mostly from the Italian Renaissance. The record price was $10.5 million for Mantegna’s Adoration of the Magi (1462), bought by the J. Paul Getty Museum at Christie’s auction house in London in 1985. That record was shattered in March 1987, when Vincent van Gogh’s Vase with Fifteen Sunflowers (1888) went for more than three times as much: $39.7 million. It was the first ‘modern’ painting to achieve such a high price and started a wave of speculation on PostImpressionist paintings. Many of these paintings were being bought by Japanese investors. Post-Impressionism was popular in that country, perhaps because of recognition of the influence of Japanese art on van Gogh and others. Another reason was Japan’s booming real-estate market, and many of these paintings were becoming trading chips in complicated financial deals. The peak of the boom came on 15 May 1990, when Ryoei Saito, the honorary chairman of his family’s paper firm, bought – apparently on a whim – van Gogh’s Portrait of Dr Gachet (1890) at Christie’s, New York. He paid $82.5 million and two days later spent nearly the same amount again on a painting by Auguste Renoir. With the collapse of the Japanese real-estate market in the early 1990s, the profligate spending came to end and Dr Gachet’s record stood for over thirty years, taking into account inflation. Despite claiming, apparently jokingly, that he would have the painting cremated with him, Saito probably sold it on in the mid-1990s to cover his financial losses. The current owner and location of the painting are unknown. The big sales of the 1980s radically changed the top of the art market. Although artworks had long been the prized trophies of states and aristocrats, now they are a new investment category, bought for their expected accumulation of value as much for their artistic worth.

Vincent van Gogh Portrait of Dr Gachet, 1890 Oil on canvas, 67 x 56 cm (26⅜ x 22 in.) Unknown location

KEY ARTIST Vincent van Gogh (1853–90), Netherlands

KEY ARTWORKS Vincent van Gogh, Vase with Fifteen Sunflowers, 1888,

Dr Paul Gachet looked after van Gogh in the last few months of his life. Gachet was a painter himself and had a special interest in treating artists.

private collection Vincent van Gogh, Portrait of Dr Gachet, 1890, private collection

CONNECTED EVENTS 27 July 1890 – Van Gogh shoots himself in the chest, dying thirty hours later, aged thirty-seven. Although not achieving success during his lifetime, his posthumous fame rose rapidly through exhibitions and the publication of his letters.



into a set of must-have companions for every curious enquirer and gallery visitor, making it possible for everyone to enjoy the

‘Art Essentials a really terrific their series, providing truly experience of theisvisual arts, whatever prior knowledgea of art. first-class introduction to many of the fundamental ideas, individuals and artworks that have shaped the way we see our world’


Will Gompertz, BBC Arts Editor In the future, everyone will be world-famous for fifteen minutes -


Andy Wa r ho l 1968

Already available

pop art

pop politics


A SHOCKING BULLET Switching to a more dramatic tone, Gerald Laing, in Lincoln Convertible (1964; below), captures the moment of JFK’s assassination. Television brought live to people’s homes the tragic unmaking of the ‘Kennedy years’ of optimism. On 22 November 1963 the President was fatally shot during an official visit to Dallas. Rather than focusing on the gruesome scene, Laing turns to the site of the murder, the Lincoln convertible. The presidential motorcade extends here beyond the limits of the green canvas. A series of boldly screenprinted Benday dots (of the kind redeployed by Lichtenstein) signal the presence of the President, First Lady and other characters on board. The car, however, is the only element of the painting that is properly in focus, as everything else is presented as a blurry memory.

978 0 500 293218 £10.95


Gerald Laing Lincoln Convertible, 1964 Oil on canvas, 185.4 x 281.9 cm (73 x 111 in.) Private collection

richest and most powerful country in the world proved to be vulnerable to the assassin’s bullet, it came as a terrible and fundamental shock, which forced us all to adopt more realistic attitudes towards the world about us.

Laing made use of shaped canvases, such as this one, to convert his paintings into objects.

Signalling a tidal change, JFK’s death became a metaphor for the world’s vulnerabilities, which became more apparent with the escalating death toll of the Vietnam War.

978 0 500 293225 £10.95

Coming in 2019 Impressionism Street Art Surrealism Women Artists

978 0 500 294369 978 0 500 294338 978 0 500 294345 978 0 500 294352

Recalling the making of Lincoln Convertible and the symbolical importance of the event itself, Laing stated: That November the shiny image of America cracked from side to side. I heard the news in my studio on Fournier Street, when radio broadcasts were interrupted to announce the events in Dallas. . . . In spite of the ghastly violence of the twentieth century we had been endowed with a sanitized version of the past, which produced in us a sense of stability, which was as deeply held as it was false. Thus, when the President of the 54



‘Lets the reader into the art world in a disarmingly simple way … you don’t have to be armed with anything more than curiosity’ Matthew Collings

Key Moments in Art Lee Cheshire Key Moments in Art describes fifty pivotal moments – some famous, others under the radar – from the Renaissance to the present day. Colourful vignettes capture the excitement of the times: the initial unveiling of Michelangelo’s David or Marcel Duchamp’s Fountain; the chance meetings that have spurred artists to create compelling new styles, such as Impressionism or Pop Art; or sensation-causing exhibitions, like Yayoi Kusama’s Anatomic Explosion. Lee Cheshire’s storytelling approach is both entertaining and enlightening. He celebrates artistic ingenuity and collaboration, but does not shy away from the arguments, fights and lawsuits that have dogged art’s often-turbulent course. A reference section includes an invaluable glossary of art terms.

Lee Cheshire is Senior Editor and Copywriter at Tate, where he also contributes to Tate Etc. magazine. He is the author of London in Paint, a survey of painting in London from the 17th century to the present.

100 illustrations 21.6 x 13.8cm 176pp paperback ISBN 978 0 500 293621 August £10.95

‘Brilliant and original … Flavia Frigeri provides a concise but authoritative and lively account of this key movement’ Nicholas Cullinan, Director, National Portrait Gallery, London

Pop Art Flavia Frigeri With its bold colours, flashy imagery and ironic spirit, Pop Art trespasses the traditional boundaries separating high from low culture. Flavia Frigeri introduces us to a movement that focuses on everyday objects, from its beginnings in the post-war consumerism of America and Britain to its fascinating rise on a global scale in the 1960s. The work of well-known artists, such as Andy Warhol, Roy Lichtenstein, Richard Hamilton and Peter Blake, is set in dialogue with that of Japanese Ushio Shinohara, Venezuelan Marisol and Argentinian Marta Minujín, among others. Organized around key themes common to all Pop Art, this is an essential introduction to the movement that transformed the ‘popular’ into art.

Flavia Frigeri is an art historian and curator, and Teaching Fellow at University College London. She co-curated the internationally acclaimed exhibition ‘The World Goes Pop’ at Tate Modern in 2015.

85 illustrations 21.6 x 13.8cm 176pp paperback ISBN 978 0 500 293584 August £10.95



A superbly written and tightly argued appraisal of the political and religious ramifications of one of the perennial topics in the history of art: the artistic encounter with the transcendent T.J. Clark is Professor Emeritus of the History of Art at the University of California, Berkeley. He is the author of the seminal The Painting of Modern Life: Paris in the Art of Manet and His Followers (1984) and Farewell to an Idea: Episodes from a History of Modernism (1999). He writes art criticism regularly for the London Review of Books. His other publications include Image of the People: Gustave Courbet and the 1848 Revolution (1983), also published by Thames & Hudson.

101 illustrations 23.4 x 15.3cm 288pp ISBN 978 0 500 021385 October £24.95

chapter 4

v e r o n e s e’s h i g h e r b e i n g s

they are dimensions of Veronese’s thought that exist in tension, not at odds. And this connects to my sense of Veronese’s distinctive qualities as a painter, which I see the Allegories as summing up. I


64. Paolo Veronese, Marcus Curtius, c.1550, 221.5 cm (87¼ in.) in diameter. Kunsthistorisches Museum, Vienna.


‘A good, stout, self-commanding, magnificent Animality,’ writes Ruskin, ‘is the make for poets and artists.’10 Again he has Veronese in view. I would state the case slightly differently. What seems to me the central feature of Veronese’s achievement – take the counterpoised bodies in Respect, for example, or the bride and naked goddess in Happy Union – is a unique completeness of empathy with the figures he paints, so that one feels him almost physically entering into them, male or female, and deploying their weight and balance as if from the inside. Even Titian cannot manage the business in quite the same way. The centre or anchor of Veronese’s vision was this: an internal, material, comprehensive inhabiting of bodies, and therefore an ability to depict their glittering outsides as manifestations of their weight, their mechanics: the set of their skeletons, their centres of gravity, their muscle tone. I really do not see any other painter who can do this as well; so that time and again facts of deep structure and self-propulsion appear wholly on the outside of things, in the fall of a drape or the lustre of a fold of fat. It seems strange that the gift is so rare. But it is rare, perhaps because human beings naturally (biologically) divide experience in two, the inhabiting of the body being something experienced from the inside, and ‘appearances’ being felt as detached from that lived totality. However we try to explain the norm, what Veronese does is extraordinary: he steps over the dualism as if the division of inside and outside did not occur to him. But of course he knows that outsides, if they are to manifest the whole feel of a complex solid in motion, will have to be somehow supercharged, almost hypertrophied. Hence the famous gaudiness of his surfaces – the shot silk, the rippling silver stripes, the impenetrable brocade, the special acidity of his greens and yellows. His treatment of 177

Heaven on Earth Painting and the Life to Come T.J. Clark The idea of heaven on earth haunts the human imagination. The day will come, say believers, when the pain and confusion of mortal life will give way to a transfigured community. Such a vision of the world seems indelible. Even politics, some reckon, has not escaped from the realm of the sacred: its dreams of the future still borrow their imagery from the prophets. In Heaven on Earth, T.J. Clark sets out to investigate the very different ways painting has given form to the dream of God’s kingdom come. He goes back to the late Middle Ages and Renaissance – to Giotto in Padua, Bruegel facing the horrors of religious war, Poussin painting the Sacraments, Veronese unfolding the human comedy. Was it to painting’s advantage, is Clark’s question, that in an age of enforced orthodoxy (threats of hellfire, burnings at the stake) artists could reflect on the powers and limitations of religion without putting their thoughts into words? At the heart of the book stands Bruegel’s ironic but tender picture of The Land of Cockaigne, but also Veronese’s inscrutable Allegory of Love. The story ends with Picasso’s Fall of Icarus, made for UNESCO in 1958, which already seems to signal – perhaps to prescribe – an age when all futures are dead.


An anthology of compelling essays by Marina Warner, one of our pre-eminent writers and critics Marina Warner’s study of the Arabian Nights, Stranger Magic (2011) won the Truman Capote Award for Literary Criticism and the Sheikh Zayed Book Award in 2013; in 2015 she was awarded the Holberg Prize in the Arts and Humanities and was made DBE. She is a Professor of English and Creative Writing at Birkbeck College, a Fellow of the British Academy and President of the Royal Society of Literature.

51 illustrations 22.9 x 15.2cm 288pp ISBN 978 0 500 021460 September £24.95

Judeo-Christian sense of the futility of human existence, redeemed only by God’s promises, finds expression in his extreme, inventive and grotesque figures, who appear in great numbers in all his work. 4 The triptych of The Haywain is organized on the same principles as an altarpiece, except that the central panel, which more usually would represent a scene of salvation – the Adoration of the Magi, the Resurrection of the Dead or Calvary – shows instead the huge wagon or wain occupying the centre of the scene (see opposite page), while the outer wings, when closed, present a wayfarer, grizzled and haggard, in ragged clothing out at one knee, making his way towards a footbridge across a stream as he looks over his shoulder with an expression of unmistakable anxiety on his sensitive face (see p. 198). Behind him, on the horizon, is a scaffold with a ladder and a loose rope; a small group of figures is approaching this gibbet. Another scaffold stands nearby, of the wheel variety erected by the Spanish for their executions. Elsewhere, a gang of footpads is tying a victim to a tree, ripping open his bundle and scattering his clothing. Further touches of menace and violence add to the disturbing effect: a man pulling along a woman with a kind of rough, dancing movement, and the carcass of a horse, with carrion crows and a snarling dog in a spiked collar. The whole scene is a compelling early example of genre observation, which also hints at allegory through the wayfarer himself and the rickety footbridge. In a rhetorical flourish, the painter underscores this sense of danger by splitting his protagonist in two when the wings are opened to reveal the picture within, of what, possibly, awaits him.5 He is an Everyman on the Way of Life, our alter ego, embodying a cautionary tale we need to tell ourselves. Bosch is a supreme storyteller, and here he is at his most commanding: in charge of his characters’ fate and as knowing as any tragic moralist about where they are so heedlessly headed.6 The future he depicts is so discouraging that many have suggested that Bosch lapsed into heresy: here the Fall leads to sin and then, inevitably, to damnation. Hans Belting writes, ‘… a linear history is introduced which secretly reverses the post-historic message of the Last Judgment’s apocalyptic panorama. The Fall of Man is the start of a sequence that ends in Hell’– not so ‘secretly’, one might add.7 The interior scenes of The Haywain offer one of Bosch’s boldest visions of the end times, and they’re expressed in primarily satirical terms, adapted 200


Forms of Enchantment Writings on Art and Artists, 1988–2017 Marina Warner

The Haywain (central panel), 1512-15


‘Warner’s scholarly knowledge is not just worn lightly but presented with a flourish’ Observer ‘Marina Warner is a veteran magus, and an adept mythographer of the vast global traditions of magic, metaphor and myth’ Harold Bloom, The New York Times

In this anthology of her most compelling essays, Marina Warner explores the layers of allusion, symbols and stories underlying art from the 16th to the 21st centuries. She makes the case for a uniquely writerly way of thinking with and about art and artists, setting out to share the dynamism, fluidity and passions of the objects of her enquiry. Approaching art and artists primarily through the fields of anthropology, mythology and fairy tale, Warner argues for art’s place in society as a site of enchantment; a realm in which imagination holds the key to knowledge and understanding. Metamorphosis features vividly across the imagery, media and subject matter of the artworks selected, including work by Paula Rego and Damien Hirst, Louise Bourgeois, Tacita Dean and Hieronymus Bosch. This collection engages with artists – particularly women artists – noted for reaching beyond the visible and transforming a rich inner life into uncanny, sometimes disturbing matter. Inspiring and highly engaging, Forms of Enchantment unites the imaginations of artist, writer and reader, forging a reading experience which parallels the intrinsic pleasure of looking at art.



A global overview of how contemporary artists incorporate text and the written word into work that speaks to some of the most pressing issues of the 21st century Michael Petry is an artist, author and Director of the Museum of Contemporary Art (MOCA), London, and Guest Curator for culture agency Futurecity. His latest book, Nature Morte: Contemporary Artists Reinvigorate the Still-Life Tradition, was also published by Thames & Hudson.

250 illustrations 27.5 x 23.0cm 288pp ISBN 978 0 500 239667 October £39.95

The British artist Nicole Polonsky co-opts found signage to make comic, surrealistic and confounding works. Each box set of different coloured laminate plaques re-presents original texts that in their intended environments make sense, but, freed from their context, become works of art. Polonsky’s minimal interventions speak of loss, allusion and public concerns. While some are tragicomic, the artist does not make fun of these concerns; rather, she highlights the ambiguity between words and meaning. The ceramic books made by the British artist William Cobbing are only coverdeep. Each cover is unique in terms of glaze colouration, and the series includes a wide variety of titles, among them Hans Ulrich Obrist’s Gilbert & George (published in 2007), Lucy R. Lippard’s Undermining (2014), Kenneth Goldsmith’s Wasting Time on the Internet (2016) and Chris Kraus’s cult novel of 1997, I Love Dick (opposite). Cobbing explains that his works consider the book as a fetish object, getting only ‘skin deep, as if the contents have become petrified’. His books, he says, echo tablet computers and ‘Bronze Age clay tablets imprinted with Cuneiform characters, exploring the tactile interplay between image and text’. left, toP • Nicole Polonsky Untitled (Zoo), 1999 3 limited-edition engraved laminate panels (verso: initialled and numbered in pencil on vinyl stickers; printed vinyl stickers bearing artist’s name); cardboard box with debossed lid (verso: printed type; initialled and numbered in pencil on vinyl sticker; printed vinyl sticker bearing artist’s name); stainless steel screws and resealable bag Each panel 10.7 × 15.4 × 0.3 cm (4¼ × 6 × ⅛ in.), box 12 × 18 × 3 cm (4¾ × 7⅛ × 1⅛ in.)


left • Nicole Polonsky Engraved laminate panel from Untitled (Abbey), 1999 10.7 × 15.4 × 0.3 cm (4¼ × 6 × ⅛ in.) oPPosite • William Cobbing Cover Version 2, Date? Glazed ceramic Dimensions?


The Word is Art • Three-Dimensional Words

Fred Eerdekens works with many different materials that cast shadows to spell out words. These include metal (see p. 86), clothes, food packaging, artificial trees and, in Neo Deo (above), clouds of synthetic material. The miniature floating clouds spell out the title by blocking the spotlight directed towards them. Eerdekens says that his work ‘is all about looking, reading and allowing the unexpected’.

120 The Word is Art • Light

The British artist Benjamin Carrick makes minimal conceptual works that question the act of making art and the context for its distribution. Untitled or: Confessions of a Post-Post-Modernist (2013) features simple black text on white paper, proclaiming ‘I USED TO MAKE CONCEPTUAL ART, NOW I JUST SAY I DO.’ At first glance, the work appears to be a poster slogan or a good one-liner, but the bold typeface and the unusual layout of the words lead the viewer to look again and see that it is itself a conceptual work. I Couldn’t Afford Neon (opposite) presents the titular phrase printed in black and pink ink on paper, and alludes to the plethora of neon work in the contemporary art world (as this chapter attests). The work makes a strong graphic statement, and the pink glows as if it actually were neon, but its selfproclaimed failure tugs at the viewer as much as it makes them smile knowingly.

above • Fred Eerdekens Neo Deo, 2002 Synthetic material and light projector 4 × 14 m (13 ft 1½ in. × 45 ft 11⅛ in.) oPPosite • Benjamin D. Carrick I Couldn’t Afford Neon, 2011 Acrylic on paper 59.4 × 42 cm (23⅜ × 16½ in.)

The Word is Art Michael Petry Digital communication has seen the word as text permeate life in ways that the poets and artists of yesterday could never have imagined. Presenting a history of word- and book-based art, and examining major areas where the word has dominated artistic practice, this book takes us on a fascinating and richly illustrated global tour of diverse contemporary art forms. What value can text hold in the sphere of visual art? How is such text different from poetry? Can the poetic itself be visual art, or is text in this context consigned to the realms of gimmick and catchphrase? Looking at the work of a broad range of artists including Bruce Nauman, Julien Breton, Jeremy Deller, Tracey Emin, Jenny Holzer, Shirin Neshat and many more, The Word is Art examines each of these questions, contending above all that in the digital age, words have become more important than ever. With the advent of texting and social media, many predicted the debasement of language, and some have pointed to evidence of this in our so-called ‘post-truth’ culture. Michael Petry demonstrates that, on the contrary, words remain critical, powerful and central to art practice.


A stunning survey of yarn work in contemporary art, illustrating the myriad ways knitting and crochet have been embraced as a form of creative expression Charlotte Vannier is a designer, copywriter and stylist. She is the author of several books on art and crafts for adults and children.

Over 400 illustrations 28.0 x 22.0cm 256pp ISBN 978 0 500 239889 August £29.95

Au fil de mes pensées entrelacées (maquette) 50 x 40 x 40 cm Fils tendus et tissage, laine, structure en métal 2016

Exposition “Reprise!” (détail) La Manufacture Roubaix 2016

Unravelled Contemporary Knit Art Charlotte Vannier 28

Au fil de mes pensées entrelacées 250 x 200 x 200 cm Fils tendus, tissage, laine, structure bois 2016 Au fil de mes pensées périphériques… Ø 700 cm Crochet, tapis de laine 2014

Le crochet est une technique qui l‘apaise avec son geste

main, son bras. Le geste est généreux et la technique satis-

répétitif. Elle se sent alors sereine, elle s’évade et se retrouve

faisante, certes lente mais offrant de nombreuses possibi-

dans un état proche de la méditation. C’est une sorte de plé-

lités par sa flexibilité et permettant à l’ouvrage d’être trans-

nitude, la lenteur de cette technique étant nécessaire dans

formé en cours de réalisation. Le travail se fait toujours

son processus créatif, où « maille après maille, sa pensée

d’une seule pièce : « Je peux commencer une pièce rang

se révèle et l’ouvrage prend forme ». Le crochet libère sa

après rang, puis la poursuivre ensuite en tournant autour.

Arrêter une méthode pour en juxtaposer une autre. Faire des jours, changer de points. » Pour chaque nouvelle pièce, l’artiste trouve des astuces, de nouveaux points à tester, même si sa forme générale est dessinée en amont. « Changer de procédé, modifier des données apporte une ouverture très satisfaisante. »







Gitata nonem sit qui ullectem rerecuptatur simusci alist


ORLY GENGER Orly Genger construit des piles, VILLE DE RÉSIDENCE

New York aux États-Unis


New York aux États-Unis


des murs, recouvre des salles entières avec de la corde. Ses sculptures imposantes et tentaculaires s’emparent des espaces intérieurs et extérieurs. Elle remodèle l’espace avec de la corde grossière

et engage le spectateur à être acteur de ses œuvres, l’invitant à les parcourir, à les toucher, à se laisser envahir par leurs couleurs vives. Diplômée de l’université Brown en 2001, puis de l’Art Institute Terra Corde à homard recyclée et peinture The Oklahoma Contemporary, Oklahoma City 2014

Big Boss Corde à homard recyclée et peinture Mass MoCA, Massachussets 2010

Showcasing forty international artists who incorporate knitting, crochet and more into their practice, this book provides a survey of yarn work in contemporary art, illustrating the huge range of ways in which these techniques have been embraced as a form of creative expression. Some artists evoke a kind of nostalgia, rediscovering skills that have fallen from fashion or promoting the value of ancient handicrafts in an industrialized world of massproduction. Others push the boundaries of knitting by using non-traditional materials such as rope or wire, or by using its sculptural potential to tackle themes that are political, personal or transgressive. Although often associated with feelings of warmth, enclosure and familial love, yarn can also represent the ties that bind us together or a membrane that protects us from the world. Packed with striking images, this book demonstrates how knitting needles and crochet hooks can creates works of art that are challenging and unique, forcing us to take a fresh look at our own lives and beliefs and at the objects that surround us every day.


An essential guide to the artists of tomorrow by one of the movers and shakers of the art world Omar Kholeif is Manilow Senior Curator and Director of Global Initiatives at the Museum of Contemporary Art, Chicago, and a professor in visual arts and art history at the University of Chicago. Douglas Coupland is the author of thirteen novels and a columnist for the Financial Times. In 2015 and 2016, he was artist in residence in the Paris Google Cultural Institute.

Over 230 illustrations 23.0 x 17.7cm 192pp ISBN 978 0 500 519967 September £18.95

The Artists Who Will Change the World Omar Kholeif • Introduction by Douglas Coupland With the birth of contemporary museum culture and the advent of digital technologies, the 21st century has brought a whole new means by which to access art and its histories. How do we engage with contemporary art in an ever-developing global context, without getting lost in a frenzied cult of novelty? The Artists Who Will Change the World is a new global map of art that points to the future. Unlike a traditional atlas, its cartography illustrates a world of international artists who may not yet be household names, but who will undoubtedly shape the art of tomorrow. These are artists whose work engages with the aesthetics of technology and the issues of tomorrow; artists who are developing concepts rarely tested before, or who are engaging with politics in new ways. Omar Kholeif takes us on a journey of discovery that will influence generations of artists and art lovers to come.



Top: Zachary Cahill, USSA Love Chapel (sign), 2017, installation with vinyl on acrylic panel; above: Zachary Cahill, USSA Cathedral of Lost Souls (mercy), 2017, acrylic and glitter on canvas; opposite: Zachary Cahill, USSA Love Chapel, 2017, installation

‘A bold and capacious compendium of recent artistic practices’ W. J. T. Mitchell


Casts fresh new light on some of the most famous works in the history of art by isolating in each an ‘eye-hook’: a single (and often overlooked) detail responsible for its greatness Kelly Grovier is a poet, historian and cultural critic. He is a regular contributor on art to the Times Literary Supplement, and his writing has appeared in numerous publications, including the Observer, the Sunday Times and Wired. He is co-founder of the scholarly journal European Romantic Review, as well as the author of 100 Works of Art That Will Define Our Age and Art Since 1989, both published by Thames & Hudson. 180 illustrations 27.0 x 22.6cm 256pp ISBN 978 0 500 239636 November £29.95

A New Way of Seeing The History of Art in 57 Works Kelly Grovier From a carved mammoth tusk (c. 40,000 bce) to Duchamp’s Fountain (1917), from Bosch’s Garden of Earthly Delights (1505–10) to Louise Bourgeois’s Maman (1999), a remarkable lexicon of astonishing imagery has imprinted itself onto cultural consciousness over the past 40,000 years. It is to these works that Kelly Grovier devotes himself in this radical new art history. Stepping away from biography, style and the chronology of ‘isms’ to focus on the artworks themselves, Grovier tells a new story in which we learn from the artworks, not just about them. Looking closely at each work, he identifies an ‘eye-hook’ – the part of the artwork that ‘bridges the divide between art and life, investing it with a palpable strangeness and elevating its value beyond the visual to the vital’ – and encourages us to squint through this narrow aperture to perceive the work’s truest meanings. This book serves as a rejoinder to a sensibility that conceives of artists as brands, and the works they create as nothing more than material commodities to hoard, hide and flip for profit. Lavishly illustrated with many of the most breathtaking and enduring artworks ever created, as well as many that inspired or took inspiration from them, A New Way of Seeing will spark a debate about how it is that artworks articulate who we are and what it means to be alive in the world.


By the same author

978 0 500 204269 £12.95

978 0 500 239070 £35.00


New in paperback

An invaluable primer on the state of painting today

Painting Now Suzanne Hudson Suzanne Hudson’s original survey offers a critical snapshot of more than 200 artists from around the world who are defining the painterly ideas and aesthetics of our time. She starts by mapping the history of painting in the modern and postmodern eras, and then goes on to explore in six chapters the themes of appropriation, attitude, production and distribution, the body, painting about painting, and painters who introduce performance, installation and textiles into their work to critique painting itself.

Suzanne Hudson is Associate Professor of Art History and Fine Arts, University of Southern California. Her writing appears in various art historical journals, and she is the author of three other books.

230 illustrations 28.0 x 21.0cm 216pp paperback ISBN 978 0 500 294055 August £24.95

‘Eloquent and erudite … essential reading’ Leisure Painting

Second edition


An authoritative survey of the diverse, dazzling and compelling art of Oceania

Oceanic Art Nicholas Thomas Nicholas Thomas’s survey of Oceania’s art has been revised to include a new chapter on globalization and contemporary art. It shows how each region is characterized by certain art forms and practices – among them Maori ancestral carvings, rituals of exchange and warfare in the Solomon Islands, Polynesian barkcloth – while also being shaped by influences from within the Pacific and beyond. The dynamism and diversity of Oceanic art are highlighted by the works accompanying the text.

Nicholas Thomas is the author of Islanders, which was awarded the Wolfson History Prize. He is also Professor of Historical Anthropology at the University of Cambridge.

186 illustrations 21.0 x 15.0cm 224pp paperback ISBN 978 0 500 204405 September £12.95

‘Excellent … exceptional and wide-ranging’ Pacific Arts


Revised and updated edition

An accessible and hugely popular history of art explained through many of the world’s most famous masterpieces Stephen Farthing is the Rootstein Hopkins Research Professor in Drawing at the University of the Arts, London. Richard Cork is an art historian, critic, curator and broadcaster. He has been an art critic for the Evening Standard, The Listener, The Times and the New Statesman, and is a past Turner Prize judge.

Over 1,100 illustrations 24.5 x 17.2cm 576pp flexibound ISBN 978 0 500 294468 September £19.95

‘The perfect present for someone preparing for an art-history course at university’ Sunday Times

‘A comprehensive, if concise, history of world art in a hefty but manageable tome’ RA Magazine ‘Perfectly designed as a one-stop reference guide: one to dip in and out of … indispensable’ Artists & Illustrators

Art: The Whole Story General Editor: Stephen Farthing • Foreword by Richard Cork Written by an international team of artists, art historians and curators, Art: The Whole Story gives readers unparalleled insights into the world’s most iconic artworks. Organized chronologically, this revised edition traces the evolution of artistic development period by period right up to the present, with the illustrated text covering every genre of art, from painting and sculpture to conceptual art and performance. Cultural timelines help the reader with historical context. Masterpieces that epitomize each period or movement are highlighted and analysed in detail. Everything from use of colour and visual metaphors to technical innovations is explained, enabling you to interpret the meanings of world-famous masterpieces – Mughal miniatures; Japanese prints in the 19th century; the colour theories behind Seurat’s remarkable La Grande Jatte; and why Picasso’s Les Demoiselles d’Avignon was so shocking in its day.

Also available

978 0 500 292761

978 0 500 291481

978 0 500 289471

978 0 500 292280

978 0 500 291733

978 0 500 291108

978 0 500 290453



New in paperback

Winner of the PEN Award for Biography 2016, this is the only biography of visionary artist Agnes Martin, one of the most original and influential painters of the postwar period Nancy Princenthal is a critic and former Senior Editor of Art in America, for which she continues to write regularly. She is co-author of two recent books on women artists, including The Reckoning: Women Artists of the New Millennium.

38 illustrations 24.0 x 16.5cm 320pp paperback ISBN 978 0 500 294550 August £18.95

‘Thorough and illuminating’ Apollo (Shortlisted for Book of the Year)


‘Scholarly, thoroughly researched … an accessible and fascinating story’ Aesthetica ‘Doggedly researched and gracefully written… [Princenthal] shines in describing Martin’s earthy good humour and dedication to her art and in capturing the atmosphere in which the artist came of age … it will remain definitive for a good long while’ The Wall Street Journal

Agnes Martin Her Life and Art Nancy Princenthal Over the course of a career that spanned fifty years, Agnes Martin’s austere, serene work anticipated and helped to define Minimalism, even as she battled psychological crises and carved out a solitary existence in the American Southwest. ‘I paint with my back to the world’, she claimed; when she died at ninety-two, in Taos, New Mexico, it is said she had not read a newspaper in half a century. Here, newly available in paperback, is an account of Martin’s extraordinary life and a critical discussion of her work. Nancy Princenthal tells her story chronologically – from Martin’s birth in Saskatchewan and her early days as an artist, living in derelict Manhattan shipping lofts with Jasper Johns, Ellsworth Kelly, Ad Reinhardt and other artists as neighbours; to the seven years she stopped painting, just as her career was taking off, and the months she spent roaming the country in a pick-up truck; and her last thirty years, in Taos some of that time, in an adobe house she built with her own hands. Martin did not achieve recognition until she was in her late forties. Her work – pencilled grids on square canvases, washed with pale or neutral colours – at last receives the critical appraisal it deserves.


The first full-scale biography of one of the 20th century’s great makers, theorists and painters Charles Darwent is an art critic and reviewer. He contributes regularly to the Guardian, the Art Newspaper and Art Review and was the Independent on Sunday’s chief art critic from 1999 to 2013. He appeared in the Netflix series, Raiders of the Lost Art, from 2014 to 2016. Darwent’s publications include Mondrian in London and The Drawing Book: A Survey of Drawing. He spent five years researching Josef Albers at the Josef and Anni Albers Foundation, Connecticut.

186 illustrations 24.0 x 16.5cm 352pp ISBN 978 0 500 519103 October £24.95

Josef Albers Life and Work Charles Darwent

‘Lively, lucid, compelling and revealing, offering fascinating insights into Albers – as artist and teacher – while convincingly reframing his place at the heart of modernism on both sides of the Atlantic’ Frances Morris, director of Tate Modern, London

While Josef Albers’ Bauhaus colleagues Klee and Kandinsky are household names, Albers himself has remained inscrutable. He is best known as the painter of the Homages to the Square, ‘the dish I serve my craziness about colour in’ – a series of over 2,000 seemingly tightly controlled experiments in the interaction of colour. Yet he did not begin these pictures until he was already several decades into his career as an artist, maker and theorist, much of it pursued in the USA following the Nazi dissolution of the Bauhaus in 1933. Misunderstanding of the Homages reflects a wider misreading of Albers’ life and work. Married to the influential textile artist Anni Albers, his papers include letters from fellow artists John Cage, Robert Rauschenberg, Richard Serra and Eva Hesse; colleagues such as Buckminster Fuller and Philip Johnson; and fans and collectors ranging from the composer Virgil Thomson to the cartoonist Saul Steinberg. If his network of influence was surprisingly wide, so, too, were his interests. Albers started life at the Bauhaus as a glassmaker, ran their wallpaper workshop and designed furniture that is still in production today. He pioneered the study of colour at Black Mountain College, organized its famed ‘Summer Sessions’ with guest tutors from Willem de Kooning to Merce Cunningham, and went on to head the design department at Yale. Drawing on extensive unpublished writings, documents and illustrations, Charles Darwent offers a broad view of not only the artistic and political currents, but also the friendships and rivalries that formed the backdrop to Albers’ creative output.



The first monograph on one of the most ambitious and idiosyncratic collections of 20th-century art, and its charismatic creator, Theodor Ahrenberg

Living with Matisse, Picasso and the New Decade Theodor Ahrenberg and His Collections

Monte Packham is the author of several books on art, including Concentric Circles and ABC Photography. Carrie Pilto is an independent curator and writer based in Amsterdam. Her most recent exhibitions and writings include Enrico Baj: Play as Protest, Cobra Museum for Modern Art (2017) and the forthcoming The First Million is the Hardest to Earn at the Museum Van Loon.

c. 350 illustrations 28.0 x 23.0cm 432pp flexibound ISBN 978 0 500 970607 September £30.00

Living with Matisse, Picasso and the New Decade Theodor Ahrenberg and His Collections Monte Packham • Edited by Carrie Pilto 36

With contributions by Staffan Ahrenberg, chairman and publisher Cahiers d’Art, Paris; Olivier Berggruen, art historian and member of the board of the Berggruen Museum in Berlin; Jeanette Bonnier, art collector and founder of Bonnierhallen, a private art museum in Stockholm; Daniel Birnbaum, director Moderna Museet Stockholm; Christo, artist; Jean-Louis Cohen, professor of architecture, New York University; Erling Kagge, Norwegian explorer and art collector; Eberhard W. Kornfeld, legendary Swiss auctioneer, Bern; Hans-Ulrich Obrist, artistic director of Serpentine Gallery, London; Simon de Pury, former chairman of Sotheby’s Europe.

Living with Matisse, Picasso and the New Decade explores one of the most ambitious and idiosyncratic – yet largely unknown – private collections of 20th-century Western art, and its complex, charismatic creator Theodor ‘Teto’ Ahrenberg (1912–89). Containing over 6,000 artworks, the collection featured key works by artists as distinguished and diverse as Picasso, Matisse, Chagall, Le Corbusier, Olle Bærtling, Sam Francis, Öyvind Fahlström, Tadeusz Kantor, Lucio Fontana, Christo, Jean Tinguely and Niki de Saint Phalle. Ahrenberg’s ever-renewing collection was shaped by his commitment to contemporary art, his intuition, his dedication to young and marginalized artists, and a self-declared conviction that he was not merely a collector but a ‘catalyst’ – one who facilitated exhibitions, collaborations and commissions, and who employed art as an instrument against conservatism and complacency. Ahrenberg passionately believed in meeting those artists whose works he acquired, and he accordingly established rich, long-term friendships that transcended the conventional artist-collector dynamic. Living with Matisse, Picasso and the New Decade, the first monograph on Ahrenberg’s fascinating collection and life, draws on a wealth of personal correspondence between Ahrenberg and ‘his’ artists, and presents much previously unpublished visual material including artworks, photographs and architectural plans.


New in B-format paperback

‘The best gallimaufry of gossip and scandal I have read in years’ Lynn Barber, Sunday Times

Judith Mackrell is the Guardian’s dance critic and a successful author of biographical non-fiction titles including Bloomsbury Ballerina and Flappers.

69 illustrations 19.8 x 13.0 cm 408pp paperback ISBN 978 0 500 294437 July £9.99

‘Rip-roaringly entertaining stories of three fascinating women’ The Times

The Unfinished Palazzo

‘Well researched, gloriously gossipy, a delightful, colourful story of reinvention and rebellion’ Observer

Judith Mackrell

‘Very clever and entertaining … Mackrell recounts the lives of three wildly ambitious yet vulnerable women with page-turning pace and intelligence’ Spectator ‘I gorged on the decadence and drama’ Helen Brown, Daily Telegraph

‘Stylish, sparky and packed with spicy anecdotes’ Miranda Seymour, Literary Review

Life, Love and Art in Venice Abandoned unfinished and left to rot on Venice’s Grand Canal, ‘il palazzo non finito’ was once an unloved guest among the aristocrats of Venetian architecture. Yet in the 20th century it played host to three passionate and unconventional women who would take the city by storm. The staggeringly wealthy Marchesa Luisa Casati made her new home a belle epoque aesthete’s fantasy and herself a living work of art; notorious British socialite Doris Castlerosse (née Delevingne) welcomed film stars and royalty to glittering parties between the wars; and American heiress Peggy Guggenheim amassed an exquisite collection of modern art, which today draws visitors from around the world. Each in turn used the Unfinished Palazzo as a stage on which to re-fashion her life, with a dazzling supporting cast ranging from D’Annunzio and Nijinsky, through Noël Coward, Winston Churchill and Cecil Beaton, to Yoko Ono. Individually sensational and collectively remarkable, these stories of modern Venice tell us much about the ways women chose to live in the 20th century.



The maps they love, the maps they use, the maps that set them dreaming: this is a spellbinding compendium of writers’ thoughts on the wild landscapes of their imagination Huw Lewis-Jones is a historian of exploration with a PhD from the University of Cambridge. He was formerly Curator at the Scott Polar Research Institute, Cambridge, and the National Maritime Museum, London. His books include The Conquest of Everest (winner of the History Award at the Banff Mountain Festival), The Crossing of Antarctica and Across the Arctic Ocean. He is the author, with Kari Herbert, of the bestseller Explorers’ Sketchbooks.

167 illustrations 30.0 x 21.0cm 256pp ISBN 978 0 500 519509 October £29.95

‘I wisely started with a map, and made the story fit…’ JRR Tolkien

38 Contributors include:

Cressida Cowell Joanne Harris Robert Macfarlane David Mitchell Philip Pullman Sandi Toksvig and more

The Writer’s Map An Atlas of Imaginary Lands Edited by Huw Lewis-Jones • Prologue by Philip Pullman Maps have the power to transport us, filled as they are with wonder and possibility. Here, internationally acclaimed writers and illustrators share their personal insights, encompassing not only the maps that appear in their books, but also the maps that have inspired them and the sketches they create in writing. Philip Pullman recounts a map he drew for an early novel; Robert Macfarlane reflects on his cartophilia, set off by Treasure Island; Daniel Reeve describes working on The Hobbit films; Miraphora Mina recalls creating ‘The Marauder’s Map’ for Harry Potter; David Mitchell leads us to the Mappa Mundi by way of Cloud Atlas. And there’s much more besides. Amidst a cornucopia of beautiful images, including unpublished sketches by authors, there are maps of the world as envisaged in medieval times, maps from classics of literature and cherished stories, as well as maps of adventure, sci-fi and fantasy, from Atlantis to Westeros, Narnia and Utopia, from Mercator to Tolkien. An enchanting visual and verbal journey through the wild landscapes of the imagination, The Writer’s Map will be irresistible for lovers of maps, and also for anyone who likes to get lost in a good book.


New in B-format paperback

A unique survey of seven great Asian empires: powerful forces on the world stage during a thousand years of history, they continue to resonate in regional and global politics today

Jim Masselos is Honorary Reader in the History Department of the University of Sydney, and has written extensively on South Asian history and culture. Jonathan Fenby is an authority on Chinese history and politics. He edited both the Observer and the South China Morning Post, and has written nine books on China.

27 illustrations 19.8 x 13.0cm 272pp paperback ISBN 978 0 500 294420 August £9.99


‘Winningly straightforward … a reliable and palatable introduction to a fascinating subject’

The Great Empires of Asia

Geographical Magazine

Edited by Jim Masselos • Foreword by Jonathan Fenby

‘Passionate … the authors go beyond scholarship to give a bountiful review of Asia’s kingdoms’

Asian empires led the world economically, scientifically and culturally for hundreds of years, and posed a constant challenge to the countries of Europe. How and why did those empires gain such power, and lose it? What legacies did they leave? This major book brings together a team of distinguished historians and 200 illustrations to survey seven great Asian empires that rose and fell between 800 ce and the mid-20th century: the Mongol Empire, Ming Dynasty of China, Khmer Empire, Ottoman Empire, Safavid Empire of Persia, Mughal Empire of India and the Meiji Restoration in Japan. Compellingly written, The Great Empires of Asia shows how those seven empires played a key role in forming today’s global civilization – and how, with the renewed ascendancy of Asia, their legacies will help shape the continent’s future.

The Oxford Times

Also available

‘Bold and intriguing ... deft and revelatory’ BBC History Magazine

‘Immaculately edited ... rich and multilayered’ History Today 978 0 500 293003 £9.99

How Asia’s Mighty Empires Challenged the World


New in B-format paperback

500 years of exploration told through a series of biographical portraits of forty pioneering men and women Robin Hanbury-Tenison is a well-known explorer, author, film-maker, conservationist and campaigner. A veteran of over forty expeditions, he is a leading member of the Royal Geographical Society and Survival International. His books include The Seventy Great Journeys in History and, as editor, The Oxford Book of Exploration.

25 illustrations 19.8 x 13.0cm 272pp paperback ISBN 978 0 500 293836 July £9.99

‘Absorbing, factually tight, sensitive to its Eurocentricity, it gathers together a host of valuable essays’ Guardian ‘A genuine contribution to modern thinking about the nature of exploration … nigh-on perfect’ Bookdealer

By the same author

‘Breathtaking accounts of expeditions from almost forty contemporary explorers’ Adventure Travel Magazine 978 0 500 516843 £24.95

The Great Explorers Edited by Robin Hanbury-Tenison What inspires explorers to push back the boundaries of the known world? Why do they risk their lives in unforgiving conditions far from home? How do they survive at the limits of human endurance? Who are the great pioneers of land, sea and space? Where next? This book charts the great expeditions of forty of the world’s most intrepid explorers, from da Gama to Gagarin. Gertrude Bell plotted the desert sands, politics and poetry of Arabia; Francis Garnier was driven almost insane on the banks of the Mekong; Edward Wilson twice tried to reach the South Pole with Scott; Nain Singh mapped the vast spaces of Tibet, counting every step. Written by a host of distinguished travel writers, broadcasters and historians, here are journeys to savour from every corner of the earth – and beyond.



New in B-format paperback

A brilliantly argued and elegantly written examination of the intricate web of belief, myth and society in the Neolithic period David Lewis-Williams is Professor Emeritus of cognitive archaeology at the University of the Witwatersrand, Johannesburg. Among his previous books are The Mind in the Cave, Believing and Seeing and, with Jean Clottes, The Shamans of Prehistory. David Pearce is Associate Professor and Director in the Rock Art Research Institute, School of Geography, Archaeology and Environmental Studies, University of the Witwatersrand.

104 illustrations 19.8 x 13.0cm 320pp paperback ISBN 978 0 500 294413 September £12.99

‘A literary and scientific tour de force’ Nature ‘An engaging, well-written and erudite book, which makes many suggestive observations and provides stimulating reading’ British Archaeology 42

‘Gives us as clear a picture as I’ve seen of how the people of the New Stone Age thought, of the myths that sustained them and of what they really believed’ Sunday Telegraph ‘Bold, provocative, scintillating … a brilliant synthesis of archaeology and human neurology … food for thought on every page’ Brian Fagan By the same authors

‘It is hard to praise this book too highly. I have read nothing more fascinating all year’ Sunday Times ‘A genuine masterpiece’ 978 0 500 284650 £16.95

Jean Clottes

Inside the Neolithic Mind Consciousness, Cosmos and the Realm of the Gods David Lewis-Williams and David Pearce This fascinating book continues the story begun in the bestselling and critically acclaimed book The Mind in the Cave. Drawing on the latest research and recent discoveries, the authors skilfully link material on human consciousness, imagery and belief systems to propose provocative new theories about the causes of an ancient revolution in cosmology, the origins of social complexity and even the drive behind the domestication of plants and animals. In doing so they create a fascinating neurological bridge to the mysterious thought-lives of the past and reveal the essence of a momentous period in human history.


Incorporating the latest information from cutting-edge DNA technology, this highly readable account sheds exciting new light on the origins and identity of the Anglo-Saxons – and the English Jean Manco was a building historian who trained within an archaeological unit and applied an interdisciplinary approach to her work. She is the author of Ancestral Journeys and Blood of the Celts, both published by Thames & Hudson.

137 illustrations 23.4 x 15.3cm 256pp ISBN 978 0 500 051924 October £19.95

xii (left)  The extraordinary pendant worn  by ‘The Saxon Princess’: cloisonné garnets  surround a central gem incised to form a  scallop shape.

xiii (below)  The Franks Casket or Auzon  Casket, made in Northumbria c. 700, is  a whalebone box carved in relief with  scenes from Roman, Jewish, Christian  and Germanic traditions, accompanied  by carved texts in Old English and Latin,  mainly in a runic alphabet. Pictured here is  the front panel, representing the Germanic  legend of Weland the Smith (left) and the  Adoration of the Magi (right). It graphically  demonstrates the fusion of cultures in  Middle and Late Saxon life.

xiv  The Alfred Jewel is about 6.4 cm  (2½ inches) long and was made of gold filigree,  enclosing a highly polished tear-shaped  piece of clear quartz. The dragonesque head  at the base of the jewel holds a socket which  probably held an ivory pointer. An inscription  around the edge reads AELFRED MEC HEHT  GEWYRCAN – ‘Alfred ordered me to be  made’. So this would be one of the precious  pointers (æstel) created to accompany Alfred’s  translation of Pope Gregory the Great’s  Pastoral Rule. 

Decoding the Ancestry of the English Jean Manco Who are the English? Their language and culture have had an impact on the modern world out of all proportion to the size of their homeland. But what do we really understand about their ancestry? Skilfully and accessibly blending together results from cutting-edge DNA technology with new research from archaeology and linguistics, Jean Manco reveals a long and adventurous journey before a word of English was spoken. Going beyond a narrow focus on the Anglo-Saxon period, she probes into the deep origins of the Germani and their kin, and extends the story to the language of Shakespeare, taken to the first British colony in America. The result is an exciting new history of the English people, and a groundbreaking analysis of their development. The Anglo-Saxon period was a key one for English history, witnessing the development of the nation state and the emergence of English literature and language. This book, illustrated with maps, diagrams and photographs of exquisite art, will be essential reading for anyone wanting to keep up to date with the most recent understanding of the identity of the Anglo-Saxons and the ancestry of the English.

By the same author

978 0 500 292075 £9.99

The Origins of the Anglo-Saxons

978 0 500 051832 £18.95



Compact edition

The ultimate book on the treasures of Tutankhamun, with breathtaking photographs of the most significant objects

Dr Zahi Hawass is one of our foremost living Egyptologists. His many major discoveries include the tombs of the pyramid builders at Giza, the Valley of the Golden Mummies at Bahariya and the identification of the mummy of Hatshepsut. He is the co-author of the groundbreaking Giza and the Pyramids, published by Thames & Hudson. Sandro Vannini is an acclaimed photographer who has worked closely with Zahi Hawass over many years.

324 illustrations, inc 13 x 8pp gatefolds 28.9 x 20.8cm 296pp ISBN 978 0 500 293904 July £29.95

Tutankhamun The Treasures of the Tomb Zahi Hawass • Photographs by Sandro Vannini 44

The tomb of Tutankhamun, with its fabulous treasures, remains the most sensational archaeological find of all time. This brilliantly illustrated volume takes the reader through Tutankhamun’s tomb room-by-room in the order that it was discovered and excavated by Howard Carter in 1922. Dr Zahi Hawass imbues the text with his own inimitable flavour, imagining how the uncovering and opening of the tomb must have felt for Carter, while Sandro Vannini’s extraordinary photographs reproduce the objects in infinitesimal detail. With stunning full-colour spreads and foldouts throughout the book, this sumptuous volume is the definitive record of Tutankhamun’s glittering legacy.

‘Unpack the treasures from Tutankhamun’s tomb as spread after glittering spread unfurls in this sumptuous book’ The Times ‘The ultimate book on the boy king … breathtaking’ Daily Express


A compelling insight into the search for ancient Egypt’s lost tombs, providing a completely up-to-date inside story of all the latest theories and discoveries Dr Chris Naunton is an Egyptologist, writer and broadcaster. An expert on Egypt in the first millennium bc and the history of Egyptology, he has published extensively on both subjects, and has presented numerous related television documentaries, including Tutankhamun: The Mystery of the Burnt Mummy (Channel 4, 2013) and King Tut’s Tomb: The Hidden Chamber (Channel 5, 2016). He worked for many years at the Egypt Exploration Society, London, acting as its Director between 2012 and 2016, and was elected President of the International Association of Egyptologists in 2015. 105 illustrations 23.4 x 15.3cm 304pp ISBN 978 0 500 051993 October £19.95

Right The silver coffin of Psusennes I.

Below The funerary mask of Amenemope.

Right The funerary mask of the General, Wendjebauendjed.

Below Patera of gold and silver embossed scene of four young girls swimming in a pool amidst fish, ducks and lotus flowers.

‘An absolutely essential book for those of us captivated by ancient Egypt’s enduring stories, and the modern quest to uncover its remaining secrets. Chris Naunton brilliantly walks the line between scholar and storyteller, balancing his deep knowledge with that tantalizing call to adventure which will keep you spellbound’ Dallas Campbell, broadcaster and author of Ad Astra: An Illustrated Guide to Leaving the Planet

Searching for the Lost Tombs of Egypt Chris Naunton Egypt boasts some of the most spectacular ancient ruins in the world, scattered across the entire country. Over the past two centuries, archaeologists have unearthed the burials of some of Egypt’s celebrated pharaohs, from the chambers deep within the famed pyramids at Giza to the tombs hidden away in the rocky hills of the Valley of the Kings. And yet, many of the most intriguing and notorious individuals remain unaccounted for. Where are Alexander the Great and Cleopatra, both said by the historians of the Greek and Roman empires to have been buried in Egypt? In this gripping account, Chris Naunton describes the quest for these and other great ‘missing’ tombs – those that we know must exist, but have yet to be found – and presents the key moments of discovery that have yielded astonishing finds and created the archetypal image of the archaeologist poised at the threshold of a tomb left untouched for millennia. He skilfully unravels the tangled threads surrounding the burials of the heretic pharaoh Akhenaten and his son Tutankhamun, and coolly assesses whether the boy-king’s celebrated tomb might still hold incredible secrets. The Valley of the Kings almost certainly guards hidden treasures. Could other such tombs lie undiscovered? Amazing finds of unsuspected tombs continue to occur throughout Egypt, making headlines worldwide, and renewing the hope that some of these mysteries might yet be solved.



New in paperback | Reduced format

A generously illustrated historical survey of a fascinating region, now available in a new format Dr Stephen Bourke is Research Associate at the University of Sydney. He currently directs Sydney University excavations at Pella in Jordan, and has written or contributed to over seventy archaeological publications over the last thirty-five years.

Over 510 illustrations 25.4 x 20.3cm 368pp paperback ISBN 978 0 500 294451 August £19.95

‘Expert text, generous design and shrewdly arranged pictures add up to the kind of accessibly erudite package that Thames & Hudson does so peerlessly’ Independent 46

‘Sumptuously produced … a wonderful and enjoyable home reference and study aid … Thames & Hudson render a real service to the general public’ Historical Association

The Middle East The Cradle of Civilization General Editor: Dr Stephen Bourke The Middle East: The Cradle of Civilization synthesizes the latest research and information from a range of disciplines to tell the compelling story, from the Neolithic period through to the Arab conquest, of how a group of linguistically disparate, nomadic tribes responded to specific social, economic and environmental factors to form the world’s first complex societies. This is an authoritative, detailed and accessible story, divided into six easily navigable parts arranged chronologically, and then into chapters exploring the history, religion, political and social organization, art, science and architecture of the peoples of the region. The text is illustrated with more than 500 superb full colour images – artifacts, artworks, statues, reliefs, buildings and landscapes – as well as six detailed maps, which bring the region’s dramatic past vividly to life.


An authoritative survey of Angkor and the Khmer civilization that incorporates revelations from new discoveries that are completely rewriting history Michael D. Coe is Professor Emeritus of Anthropology, Yale University. Damian Evans is founding Director of the University of Sydney’s Overseas Research Center at Siem Reap-Angkor, and a Research Fellow at the École Française d’Extrême-Orient (EFEO).

155 illustrations 23.4 x 15.3cm 336pp ISBN 978 0 500 052105 October £24.95

‘The best account of Angkor available in English … takes the reader on a panoramic tour of Cambodian history from earliest times to the latest finds’ Ben Kiernan, author of The Pol Pot Regime

‘An essential reference for both the layperson and the scholar’ John H. Stubbs, World Monuments Fund

Angkor and the Khmer Civilization Michael D. Coe and Damian Evans The ancient city of Angkor in Cambodia has fascinated scholars and visitors alike since its rediscovery in the mid-19th century. All are wonderstruck by the beauty and multiplicity of the sculptures that adorn its temples and structures and are overwhelmed by the sheer size of Angkor. There is nothing to equal it in the archaeological world. A great deal was already known about the history of Angkor and the brilliant Khmer civilization that built it thanks to pioneering work by archaeologists and scholars, but our knowledge has now been completely revolutionized by cutting-edge technology. Airborne laser scanning (LiDAR) has revealed entire cities that were previously unknown and a complex urban landscape with highways and waterways, profoundly transforming our interpretations of the development and supposed decline of Angkor. In this comprehensively updated edition of Angkor and the Khmer Civilization, respected archaeologist Michael Coe is joined by Damian Evans, who led this remarkable programme of scientific exploration, to present for the first time in book form the results and implications of these ground-breaking discoveries that are rewriting history.



New in B-format paperback

Are you ready to become a knight? Sharpen your sword and your wits, and arm yourself with the facts!

Knight The Medieval Warrior’s (Unofficial) Manual Michael Prestwich The Knight is the supreme warrior of the Middle Ages, his strength and valour the stuff of legends. Here, Michael Prestwich cuts through the myth and romance to bring you the real deal. His witty but informative guide to life on campaign and at court is packed with contemporary accounts and surprising details. Find out about the chivalric code; how to choose a coat of arms; the most efficient way to besiege a castle; joining a crusade; winning a lady’s favour – and more!

Michael Prestwich is Professor Emeritus at the University of Durham. He contributed to The Medieval World at War, also published by Thames & Hudson.

113 illustrations 19.8 x 13.0cm 208pp paperback ISBN 978 0 500 293843 July £8.99

New in B-format paperback

Romans, your Emperor needs you! Are you ready to become a Roman legionary? 48

Legionary The Roman Soldier’s (Unofficial) Manual Philip Matyszak The year is 100 ce and Rome stands supreme from the desert sands of Mesopotamia to the highlands of Caledonia. Far from the glittering centre of imperial power, the humble legionary holds back barbarian hordes and conquers new frontiers. On his armoured shoulders rests the might of Rome. Combining the latest discoveries with contemporary accounts, this book paints a vivid picture of life in the Roman legions.

Philip Matyszak is the author of numerous books, including Chronicle of the Roman Republic, The Enemies of Rome, The Sons of Caesar, Ancient Rome on Five Denarii a Day and (with Joanne Berry) Lives of the Romans, all published by Thames & Hudson.

92 illustrations 19.8 x 13.0cm 208pp paperback ISBN 978 0 500 293799 July £8.99


A unique collection of significant objects and works of art from across the Viking world Steve Ashby is Senior Lecturer at the University of York. He is a medieval archaeologist specializing in the archaeology of portable material culture, and recently recorded two series of documentaries in support of the History Channel’s popular drama, Vikings. Alison Leonard completed a PhD in Archaeology at the University of York before going on to teach medieval history and Viking Age archaeology at the University of Cambridge. 234 illustrations 18.2 x 14.0cm 288pp ISBN 978 0 500 052068 October £12.95

Pocket Museum: Vikings


Oak, various • Length: 21.5 m (70 ft)

Steve Ashby and Alison Leonard

viking ship museum, oslo, norway

Of all the archaeological discoveries of the Viking Age, the Oseberg burial is perhaps the best known. It is important for two reasons. First, the ship provides some of Scandinavia’s earliest evidence for the use of the sail. Second, the burial offers a glimpse into Norse belief systems, through the remains of what must have been an ostentatious and prolonged spectacle. Excavated in 1904, the burial contained a complete Viking longship. On the deck were a wagon and three sledges, all highly ornate items. They may relate to some sort of burial procession, and a tapestry from the burial records just such a procession. Also on the deck lay the remains of many animals, including fourteen horses, and a tent-shaped burial chamber containing the bodies of two mature women. The chamber is richly furnished with textiles, clothing and everyday objects, as well as agricultural and textile tools, and an ornate bucket of likely Irish origin.

Fitted with a tall mast and seating thirty oarsmen, the ship was a fast-moving vessel. Even below the waterline, it is ornately carved, which suggests whoever commissioned its manufacture was an aristocrat of some standing.





Pocket Museum: Vikings brings together 200 of the most remarkable artifacts that are held in museum collections around the world. Although the popular image of the Vikings is one of wild, violent raiders, the objects in this book reveal a more complex society composed of pioneering explorers and master metalworkers who established a far-reaching trade network. From the vast Oseberg Viking ship to a tiny valkyrie pendant, and from simple wooden panpipes to the unparalleled collection of silver items in the Spillings Hoard, each object provides an important insight into this most fascinating of cultures. Equally significant are the less familiar fragments of everyday life: a brooch, a woollen sock, even a loaf of bread. This juxtaposition of the elite and the everyday makes this volume unique in its field.

Also available

978 0 500 519844 £12.95

978 0 500 519585 £12.95

978 0 500 519592 £12.95



In collaboration with

A gift book to delight and inspire, brimming with beasts real and imagined, from every age and culture around the world

Christopher Masters is a writer and lecturer on art. He contributes to the Guardian newspaper and is the author of Dalí and Renaissance.

350 illustrations 19.0 x 17.0cm 256pp ISBN 978 0 500 480236 September £16.95

Bestiary Animals in Art from the Ice Age to Our Age Christopher Masters opposite Name of artwork


Artist Date Place of production Dimensions Medium

below Name of artwork

This fox-shaped porcelain cup was handed to British hunters while they were in the saddle, that is to say with their feet in the stirrups, in order to fortify them before they rode off. As the cup did not have to stand on a table, its base was not flat but in the form of an animal’s head, usually a dog or, as here, its quarry. Stirrup cups recall ancient Greek rhytons, which were also meant to be held and quaffed rather than placed on a table. This example also has a fox’s head, though rhytons could take the form of a variety of wild, fantastic or domesticated animals.

Artist Date Place of production Dimensions Medium


THE HISTORIAN HERODOTUS WROTE how the Persian forces of King Xerxes – or at least their camels – were attacked by lions as they invaded Greece in the early 5th century bc, but he also described the limits to their range. The European lion was already a species in decline: clearly the creator of the strange version on p. 114 had never seen one in the flesh. Many images of ‘exotic’ animals – the unfamiliar, the colourful and the unexpected, which people began to encounter in an increasingly connected world – were not based on direct observation. Artists, from Albrecht Dürer to Maruyama Okyo, relied on preserved and flayed specimens, other people’s impressions or even household pets of related species. This did not prevent their creations from embodying qualities that were appropriate to their settings, whether they were guarding a door or a tomb or simply adding a touch of glamour to an interior, as in the case of the Japanese tigers on pp. 116–17. Even when, more recently, ‘exotic’ animals became relatively common sights in European cities, they were often represented in fanciful compositions or were co-opted by satirists or caricaturists. It must be said that this fate was also met by creatures that are not nearly so outlandish (see p. 47). Notwithstanding the odd anatomical inaccuracy based on ignorance, exotic beasts were generally distorted, anthropomorphized and torn from their context in ways quite similar to the liberties artists took with other kinds of animals. Perhaps the most distinct genre to develop was the explorer’s specimen. Precise scientific images of creatures, from tiny invertebrates to ferocious reptiles, were made by Europeans soon after they began to colonize other continents. Admirable as these examples may be, they are not free of artistic stereotypes and conventions (pp. 120–21) or ulterior motives. The Elizabethan John White undoubtedly drew some of the animals that he encountered in the ‘New World’ because he was interested in eating them. Nonetheless, many of his striking studies, such as the hermit crab on p. 124, convey a sense of disinterested wonder – a desire to understand, rather than consume.

110 E X OT I C


Bestiary is a wonderfully visual, thematic exploration of animals – real, surreal and imaginary – as depicted on beautiful ritual objects and works of art. Famous artworks mix with little-seen artefacts from every age and around the globe, offering a fresh perspective and new comparisons to stimulate the mind. Art historian Christopher Masters is a clear and informative guide, illuminating familiar masterpieces and bringing lesser-known treasures into the light. Arranged thematically into five chapters, his book depicts animals in intelligent pairings and groupings of images that encourage the reader to find and learn the cultural context and connections between the origins of many different civilizations. An ancient Egyptian bronze divine cat sits next to a 19th-century print of English domestic feline bliss; a miniature Ice Age mammoth faces an ancient engraved drawing of a horse; the royal lion hunt is played across the walls of Ashurbanipal’s palace in Assyrian Nineveh; a Minoan acrobat leaps onto the back of a 3,500-year-old bull; while a Roman marble gives vivid life to the Persian legend of Mithras and the Bull.


In collaboration with

A thoroughly engrossing thematic study of the representation of the face on objects and in works of art from all cultures and throughout history Debra N. Mancoff is an art historian and a former Adjunct Professor of Art History, Theory and Criticism at the School of the Art Institute of Chicago. Her publications include Van Gogh’s Flowers, Monet’s Garden in Art, Danger! Women Artists at Work and Fashion in Impressionist Paris.

330 illustrations 19.0 x 17.0cm 304pp ISBN 978 0 500 518625 September £16.95

The Face Our Human Story Debra N. Mancoff WHEN A CHILD draws a picture of a person, the body may be no more than a suggestive summary of lines and volumes, but the face is dominant and well delineated. Even in the most rudimentary depiction, the head is large and facing front, framed by a strong outline and a halo of hair. The most mobile features – eyes, eyebrows and mouth – are emphasized, conveying energy and expression. Whether looking out with a wide-eyed stare, an open mouth, a grimace or a grin, that simple representation of a face carries a powerful message: here I am, and I am human. The face is small in proportion to the rest of the body – no more than the front of the head to the tip of the chin – but its features play an outsized role in human experience. The main receptors for our senses of sight, smell, taste and hearing are located in or around the face, and our facial skin is highly sensitive and responsive to touch. Forty-three muscles, supported on fourteen bones, control both the reflexive and the deliberate movements of our facial features; our faces are never completely still. Our facial appearance places us within broad divisions of humanity – age, race, gender – but no two faces are exactly alike. We distinguish one person from another by looking at their face. Our features change with our thoughts and moods, suggesting that our facial expressions are a window to our hearts and minds. We engage each other with our faces. Newborn babies will establish their first human connection by searching for their mother’s face. An infant’s limited but powerful ability to convey their wants and needs through facial expression led Charles Darwin to label smiling, laughing and crying as universal in his 1872 study The Expression of Emotions in Man and Animals. Later anthropologists, led by Franz Boas in the early twentieth century, refuted Darwin’s assertion, arguing that facial expression is culturally specific and a learned skill, rather than an innate response. Investigations of recent decades strike a balance between instinct and culture, nature and nurture. Studies reveal that within the first year of life, most infants acquire – and successfully employ – a basic repertoire of facial 6 I NTR O D U CTI O N

While deities are defined by their qualities, in some cases their powers are so vast and varied that they must incarnate in multiple forms. In Chinese traditions, for example, different individuals embody different aspects of affluence and prosperity; in the painting shown opposite, the robust and red-faced Xian Tian Guan is attended (on his right) by another god of wealth, the more aggressive Zhao Gongming. The Hindu mother goddess, Durga, has nine avatars, including Devi, Shakti and Parvati. Here, she is presented as a warrior goddess whose countenance remains serene, even in the heat of battle.



Painting depicting the goddess

Painting of Guan Yu and two


attendants Zhou Cang and Guan

c. 1790–1810




Gouache on paper

Guangzhou, China

H 21.1 cm, W 15.8 cm

H 39 cm, W 29 cm

14 0 FA I T H & R I T UA L

From sacred totems to playful caricatures, the face is the most revealing subject in the history of art: it defines our human identity. But how have different cultures depicted the face, and why has it been so central to artistic expression all over the world? Debra N. Mancoff explores the depiction of the human face through the full range of objects and works of art in the collection of the British Museum, and discovers how the face subtly conveys the full spectrum of human emotion. The book is arranged thematically, and each chapter begins with a brief introduction before depicting faces in various visually led pairings and groupings. Some of the juxtapositions speak for themselves; others are explored through brief narrative captions. Many pairings raise a smile; others are surprisingly affecting. This book will both fascinate and delight the reader, offering insights into experiences that we all share as human beings and that our faces inevitably reveal.



In collaboration with

A penetrating insight into the ancient Assyrian empire, explored through the life of the last great king of Assyria, Ashurbanipal Gareth Brereton is Curator of Ancient Mesopotamia, Department of the Middle East, at the British Museum, London.

250 illustrations 28.0 x 25.0cm 360pp ISBN 978 0 500 480397 November £40.00 A paperback edition is also available. ISBN 978 0 500 480441 £25.00

The BP exhibition

I am Ashurbanipal

Accompanies the exhibition at the British Museum from 8 November 2018 to 24 February 2019.

king of the world, king of Assyria Edited by Gareth Brereton


In 668 bc Ashurbanipal inherited the largest empire in the world, which stretched from the shores of the eastern Mediterranean to the mountains of western Iran. He ruled from his massive capital at Nineveh, in present-day Iraq, where temples and palaces adorned with brilliantly carved sculptures dominated the citadel mound, and an elaborate system of canals brought water to his pleasure gardens and game parks. Ashurbanipal, proud of his scholarship, assembled the greatest library in existence during his reign. Guided by this knowledge, he defined the course of the empire and asserted his claim to be ‘King of the World’. Beautifully illustrated, this book features images of objects excavated from all corners of the empire and highlights the British Museum’s unrivalled collection of Assyrian reliefs, which bring to life the tumultuous story of Ashurbanipal’s reign: his conquest of Egypt, the crushing defeat of his rebellious brother, and his ruthless campaign against the Elamite rulers of south-west Iran. Published to accompany a once-in-a-generation exhibition at the British Museum, I am Ashurbanipal: king of the world, king of Assyria gives an illuminating account of the Assyrian Empire told through the story of its last great ruler, and will highlight the importance of preserving Iraq’s rich cultural heritage for future generations.


Urartian art. Many of the figurative pieces were arm supports and other attachments to an elaborate ceremonial throne [figs 2-9], apparently associated with a susi temple. These were not studied systematically until the 1950s, however, by which time many extraneous pieces had come to market from looted cemeteries and other shadowy sources. In many cases bronzes bear dedicatory inscriptions naming specific kings, but for others, without this validation, there is less certainty about their provenance. More scientific excavations did not begin

until after the Second World War, and have modified earlier conceptions of what one may regard as typically Urartian. Urartian art, particularly as seen in bronzes, was initially considered to be a provincial Assyrian style. Certainly many of the artistic conventions of Assyria were shared with Urartu, but modern authorities now see a less direct connection and view the Urartian materials as reflective of larger themes characteristic of the Near East as a whole, with as much influence coming from northern Syria as from

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In collaboration with

A global history of the Islamic world, told through superb art objects and cultural artefacts dating from the 7th century to the present

4 | 27 Trade with Africa: the Salcombe Cannon site hoard ‘As a result of the conquest of the states of the Sudan, the Sultan of Morocco received so much gold dust… that from then on al-Mansur paid his officials in pure metal….and at the gate of his palace 1,400 smiths were daily engaged in making pieces of gold.’ (Bovill 1958: 197) In 1994, divers exploring Salcombe Bay off the coast of Devon, England, located evidence of a ship carrying gold from Africa. Over 400 gold coins, the majority struck by the Sharifs of Morocco, a major power in North Africa with their capital at Marrakesh during the 16th and 17th centuries. The hoard also contained ingots and fragmentary jewellery along with Dutch pottery, pewter and lead weights, all of which had lain on the sea bed since the ship had foundered sometime during the 1630s -1640s. The coins that date the wreck were struck by the ruler al-Walid (reigned 1631-6) in 1631. There are no physical remains of the ship itself and its origin is still a matter for debate. The three possibilities are that it was English, Dutch,or belonged to Barbary pirates active along the Devon coast. These finds open a window onto a fascinating era of international trade and diplomacy on the one hand and the gold trade on the other. The majority of the coins in the hoard were struck by Moroccan ruler Ahmad al-Mansur (r.. 1578-1603), a contemporary of Queen Elizabeth I (r. 1533–1603), known as al-Dhahabi, ‘the golden one’ on account of his conquest of Timbuktu capital of the gold–rich West African state of Sudan in 1591 and celebrated by historians for his wealth as noted above. There was correspondence between al-Mansur and Queen Elizabeth who had established the Barbary trading company in 1585. England’s main export was cloth and guns, while sugar and gold, as well as ostrich feathers, almonds dates and aniseed were much in demand in England. This period coincides with the visits by Moroccan ambassadors to the court. Closer in time to the possible foundering of the ship is the visit of the Moroccan ambassador Jaudar in 1638, greeted with much pomp and ceremony.


1. Gold ingot To make ingots, gold dust was heated and poured into moulds, in this case shaped like a finger. 17th century L:4.5 cm, 71.89 grammes 1999,1207.455

2. Broken and twisted earring In the hoard were several earrings of this type, many of them broken or twisted. This jewellery was being transported for its bullion value rather than the value of the individual piece. Length (max): 4.5 centimetres 1999,1207.482 3. Amulet case cut fragment This is one of the earliest pieces of jewellery in the hoard. The style of the filigree attributes it to the Fatimid period. Length: 4.4 centimetres; Width: 3 centimetres About 10th-12th century 1999,1207.466 4. Gold coin This is the earliest coin in the hoard. It was struck by the Almoravid ruler Ali ibn Yusuf (reigned 1106-1142) at Nul Lampta in AH 520/1126 AD 1999,1207.3 5. Coin This coin was struck by the Moroccan Sharif Ahmad alMansur ‘al-Dhahabi’ (reigned 1578-1603) in Marrakesh AH 1005/1597 AD. In the hoard there were over 100 coins struck by this ruler. 1999,1207.27

The Islamic world (600–1500)

Ladan Akbarnia, Venetia Porter, Fahmida Suleman, William Greenwood, Zeina Klink-Hoppe and Amandine Mérat all work in the Department of the Middle East at the British Museum, London.

400 illustrations 24.0 x 17.0cm 272pp ISBN 978 0 500 480403 October £29.95

Also available

978 0 500 519707 £29.95

4 | 27 Trade with Africa: the Salcombe Cannon site hoard


The Islamic World A History in Objects Ladan Akbarnia, Venetia Porter, Fahmida Suleman, William Greenwood, Zeina Klink-Hoppe and Amandine Mérat This illustrated introduction to the history of the Islamic world offers a fresh approach to the subject. Told in six chapters, arranged both chronologically and thematically, and richly enhanced with outstanding images, it sheds light on Islamic culture from West Africa to Southeast Asia through art and artefacts, people and places, from its origins to the present day. From pre-Islamic works that provided a foundation for the arts of Islam, to masterpieces produced under the great empires, and objects that continue to be made today, this expansive survey traces the development of civilizations at the forefront of philosophical and scientific ideas, artistic and literary developments, and technological innovations, exploring a wealth of cultural treasures along the way. Accessible and engaging texts are accompanied by a wide variety of objects, including architectural decoration, ceramics, jewelry, metalwork, calligraphy, textiles, musical instruments, coins, illustrated manuscripts, and modern and contemporary art, all of which shed new light on the Islamic world both past and present. This book will inspire and inform anyone interested in one of the most influential and diverse cultures of the world.



In collaboration with

A visual history of dissent, told through objects that challenge authority, published to accompany an exhibition at the British Museum co-curated by the satirist Ian Hislop Left Caption text

Right Caption text

badges are intended to attract attention. The ruder messages shown here, such as ‘Conservatives, putting the ‘n’ in cuts’, are printed on badges with text so small as to be barely visible. Perhaps, therefore, they are marketed at people who want to amuse their friends, rather than make a very public statement that might offend strangers.

‘Prepare for rebellion’ ‘Civil disobedience and peaceful resistance’ Protest placards, Syria, 2011 Grassroots movements are often unable to utilize common methods of advertisement such as poster and media campaigns because they lack funds and the necessary channels of distribution. From the 2000s onwards, the advent of social media made it easier for protest groups 38


Getting away with it

Ian Hislop is editor of Private Eye and a well-known broadcaster and writer. Tom Hockenhull is Curator of Modern Money in the Department of Coins and Medals at the British Museum.

150 illustrations 24.0 x 17.0cm 224pp ISBN 978 0 500 480410 September £25.00

Accompanies the exhibition at the British Museum from 6 September 2018 to 20 January 2019.

to circulate prohibited ideas, messages, and to organize demonstrations. Protestors against the regime of Bashar al-Assad in Syria in 2011 harnessed the power of social media to circulate posters. Digital files such as these were sent via Facebook, so that they could then be downloaded, printed at home and turned into placards for marches. However, social media has its limits as a mode of circulation. In the same year as the Syrian protests, the Egyptian government responded to negative reports in the international media about its bloody crackdown on protests in Cairo by cutting the country’s Internet connection. Even with access to modern communication tools, protest movements and disaffected individuals have continued to engage with more traditional modes of disobedience, defacing public buildings with graffiti and currency with messages, symbols and slogans. Getting away with it 39

The Citi exhibition

I object Ian Hislop’s search for dissent Ian Hislop and Tom Hockenhull I object gathers together some 180 objects that people have created, adapted and used to mock and attack the status quo in societies as varied as Egypt in the 11th century bc, 16th-century England and late 20th-century Afghanistan. The objects – ranging from badges, posters, prints and ceramics to items that contain messages hidden from first view, such as wooden doors from Nigeria, a cotton kanga from Kenya or a postage stamp from China – frequently illuminate lost or forgotten movements in history, giving voice to those who feel disenfranchised or have no other way to express their views safely. The objects have been chosen by satirist Ian Hislop, who also co-wrote the text with Tom Hockenhull. The book is organized into three sections: the first looks at overt challenges to authority, from defaced coins to visual satire; the second explores how subversive messages, codes and metaphors can be concealed in, for example, clothing and jewelry; the third investigates the role of the artist as activist. The result is a celebration of the wit and ingenuity of those who have questioned the establishment told through the objects that they have left behind, showing that the human spirit of rebellion is impossible to crush.


In association with

A beautifully designed gift book devoted to John Constable’s studies of skies Mark Evans is Head of Paintings in the Department of Word and Image at the Victoria and Albert Museum.

112 illustrations 19.0 x 17.0 cm 144pp ISBN 978 0 500 480328 July £14.95

Constable’s Skies Paintings and Sketches by John Constable Mark Evans

63. Study of Clouds above a Wide Landscape, 1830 Pencil and watercolour, 19 × 22.8 cm (71/2 × 9 in.) Inscribed by the artist on the back: about 11 – noon – Sepr 15 1830. Wind – W. Victoria and Albert Museum, London (V&A: 240–1888)

A sketch made from a south-facing window in Constable’s house at Hampstead. Howard’s observations record that the day was warm and ne with a westerly breeze and a temperature around 18°C. Patches of blue sky show through streaks of white cirrus, while a dark cumulus cloud dominates the top of the view.

11 8

64. Salisbury Cathedral from the Meadows, 1831 Oil on canvas, 151.8 × 189.9 cm (59 3/4 × 74 3/4 in.) Tate Gallery, London (T13896)

Based on a drawing made in 1829, this painting was rst exhibited in 1831. The rainbow was probably added in 1834 to commemorate Constable’s friend John Fisher. At the time of Fisher’s death in August 1832 a rainbow could have occupied the location where it is depicted it, but would not have been visible from this viewpoint with light falling from the right, as shown. This picture was exhibited again in 1836, with the added subtitle Summer Afternoon – A Retiring Tempest.

12 1

John Constable is one of the greatest painters of the English weather. His depictions of the sky are essential components of all his landscape paintings, from famous works such as The Hay Wain and Salisbury Cathedral from the Meadows to his numerous cloud studies painted on Hampstead Heath, culminating in paintings in which the landscape beneath the ever-changing sky is completely absent. Constable kept a weather diary and was endlessly fascinated by the sky. In a letter written in 1821 to his friend John Fisher, Bishop of Salisbury, Constable commented, ‘That landscape painter who does not make his skies a very material part of his composition, neglects to avail himself of one of his greatest aids … It will be difficult to name a class of landscape in which the sky is not the key note, the standard of scale, and the chief organ of sentiment.’ Written by Mark Evans, a leading authority on the work of John Constable, Constable’s Skies captures the artist’s fascination with the sky and brings together his depictions of the English weather from throughout his career. It will appeal to a broad readership of museum visitors and art lovers, as well as practising landscape painters keen to learn new skills by studying the work of one of the most enduringly popular English artists of all time.



In association with

An exploration of Scotland’s design history and its international significance from 1500 to the present day Philip Long is Director of V&A Dundee. Joanna Norman is Director of the V&A Research Institute, Victoria and Albert Museum, London, and Lead Curator for the Scottish Design Galleries at V&A Dundee.

201 illustrations 24.5 x 21.0cm 224pp ISBN 978 0 500 480335 September £24.95

The Story of Scottish Design

The Paisley Weaving Industry

Edited by Philip Long and Joanna Norman

The dramatic rise in the eighteenth century of Paisley, from a small rural town in Renfrewshire to one of Europe’s leading textile manufacturing centres, is one of the most remarkable stories in the history of Scottish design and production. From 1760 to 1870 the various fabrics designed and produced in Paisley were in vogue throughout Europe and beyond. At the same time the local spinning company J. & P. Coats went on to become the largest manufacturer of sewing thread in the world.


Local textile skills were developed from the seventeenth century by a small community of handloom weavers, producing linen cloth to be sold to Glasgow merchants at a weekly market in the town. Easier access to English markets after the Acts of Union in 1707 stimulated growth, and the Paisley weavers earned a high reputation for the production of fine linen fabrics, including plain, striped, spotted and figured lawns, and also gauze. The successful introduction of silk gauze weaving in 1759 induced several manufacturers to move to Paisley from Spitalfields, London. Elegant and richly ornamented Paisley gauzes were considered haute couture in Europe and were also exported to Russia and America. At this time weavers both designed and made the fabrics, the constant need to produce novel fashionable effects stimulating an unprecedented degree of creativity and technical innovation. With the introduction of industrial cotton spinning in the 1780s, weavers turned to the manufacture of muslin, producing an amazing variety of light, elegant figured designs to suit new fashions, and in 1805 the weaving of shawls was introduced. Originally known as the ‘imitation Indian’ shawl (in fact imitating those from Kashmir), this became the town’s main product throughout the nineteenth century, during which time its design developed and acquired its own unique characteristics. It was so successful that it became known as the Paisley shawl, its distinctive teardrop pattern referred to as the Paisley pattern. The complexity of these shawls demanded a division of labour and a high level of specialization at each stage of manufacture. Weavers were no longer involved in design but were confined to solely operating the loom. Just as the shawl had come into fashion in the late eighteenth century, however, it went out of fashion in the 1870s, marking a terminal decline in the long tradition of handloom weaving in Paisley. Dan coughlan 50

↑ Pattern book with figured silk gauze samples, made by Brown & Sharp Paisley, c.1770 Silk and cotton on paper, in a half-leather binding with paper sides PaiSley muSeum, renfrewShire council

It was standard practice for manufacturers to compile books containing samples of each fabric they produced, to be used for reference by buyers when ordering. A letter inside this book shows that another copy was held at the London premises of Brown & Sharp. Containing samples produced on various types of loom, it highlights the level of the weavers’ design and technological capabilities in late 18th-century Paisley.

→ Paisley shawl Paisley, c.1845–47 Wool V&a: T.213–1922

This shawl is typical of those woven in Paisley in the 1840s. The sophisticated design effect is achieved by a complex arrangement of ornate pines, scrolls and stylized floral motifs in a harmonious scheme of eight colours. Woven in one piece, on a draw loom or a jacquard loom, it is a fine example of the technical virtuosity of 19th-century handloom weaving.

The STory of ScoTTiSh DeSign

Christopher Dresser: Design Reform and Industry

In the early nineteenth century, as Britain continued to industrialize, many became aware that well-designed products gave manufacturers an edge in the face of increasing global competition. The British government attempted to reform the training of designers for industry by opening Government Schools of Design from 1837. One star pupil, Christopher Dresser (1834–1904), became Britain’s first independent industrial designer. Dresser’s inventive designs, for a multitude of manufacturers from Europe to the USA, earned him international recognition. Dresser was born in Glasgow, where his father, an English excise officer, had been posted. In 1847, aged just thirteen, he entered the Government School of Design in London, where his precocious talent blossomed over the next seven years. As part of his training Dresser learned to analyse plant specimens, developing a deep interest in botany. He supplied a plate depicting geometrically arranged flowers for The Grammar of Ornament (1856), an influential design manual by his mentor Owen Jones (1809–74), and Dresser’s botanical researches were acknowledged in 1860 when he was awarded a doctorate from the University of Jena in Germany. In the 1860s Dr Dresser, as he advertised himself, established a reputation as a commercial designer, running a large London studio. As a designer, Dresser had several key strengths: an ability to understand the properties of materials and the processes of production, and skill in adapting his designs and aesthetic ideas to them. He forged a new style based on his botanical knowledge and a diverse range of historic and international sources, including Egyptian, Greek and Gothic art as well as the arts of Asia and – unusually for the time – Peru. Early clients included leading firms, such as the ceramic manufacturer Minton in Stoke-on-Trent, and the cast-iron producer, Coalbrookdale Co., Shropshire. In time, Dresser’s studio supplied designs to scores of businesses across Britain, western Europe and the uSa, for everything from textiles, wallpapers, carpets, linoleum and lace to furniture, metalwork, ceramics, glass, stained glass and bookbindings. Dresser also devised complete interior schemes. A turning point occurred when Dresser became the first European designer to visit Japan, where he studied arts and industries for four months from 1876 to 1877. He greatly admired the simplicity of Japanese objects and on his return developed 82

The STory of ScoTTiSh DeSign

the groundbreaking designs for metalwork, ceramics and glass on which much of his subsequent reputation rests. In order to realize these designs Dresser worked closely with innovative and experimental manufacturers such as the Linthorpe Art Pottery, Middlesbrough, which he helped to establish in 1879. The resulting objects emphasized the qualities of particular materials and methods of manufacture, and many still appear surprisingly modern in contrast with much Victorian design. Some of these products were retailed in the showroom in New Bond Street, London, of the Art Furnishers’ Alliance, a short-lived venture of which Dresser acted as art adviser from 1881 to 1883. Dresser tirelessly promoted his theories through lectures, articles and books, and further extended his influence by acting as a consultant and adviser for governments, museums, manufacturers and retailers, and as a juror and critic at international exhibitions in Britain, Europe and the uSa. From the mid-1870s he began to stipulate that manufacturers put his name on his designs, sometimes in the form of a facsimile signature. This ‘branding’, as it would be called today, reassured consumers that they were buying well-designed products, helping to raise Dresser’s profile and elevate the status of the professional industrial designer. max Donnelly

→ Vase, ‘Clutha’ glass, designed by Christopher Dresser, made by James Couper & Sons Glasgow, c.1890 Glass, streaked and bubbled with silver flecks V&a: c.52–1972

This vase is from a range retailed under the name ‘Clutha’, the ancient name of the River Clyde in Glasgow, where it was made. Dresser’s glass designs drew on ancient Roman and Middle Eastern forms, while the manufacturing process, inspired by the work of Japanese craftsmen, exploited the accidental effects produced by bubbles and random streaks. ‘Clutha’ glass was retailed through Liberty & Co. in London and the etched mark on the underside states it was ‘DeSigneD by c.D.’

Published to coincide with the opening of V&A Dundee, this is the first major survey of Scottish design history from 1500 to the present day. This inspiring and hugely varied volume explores more than sixty disciplines, from early manuscripts and vernacular furniture to urban planning, textile design, the emergence of videogame development in Dundee, and Scotland’s role as a world leader in renewable technology development. Figures such as architect Robert Adam, engineer Thomas Telford, designer Christopher Dresser, architect and designer Charles Rennie Mackintosh, artist Eduardo Paolozzi and fashion designer Holly Fulton are testament to Scotland’s role as a major player in the story of design.


In association with

From découpage to paper jewelry: fifteen paper craft projects inspired by the V&A’s collections

Rob Ryan is a British artist whose intricate papercut works are hugely popular and widely admired.

Over 220 illustrations 26.5 x 20.5cm 176pp paperback ISBN 978 0 500 294185 August £16.95

10 Using strips measuring 23 cm (9 in.) in length, make twelve tight coils – six yellow and six orange – and glue these to the outside of the violet circle, alternating yellow and orange coils as shown in the photograph on p.97.

12 Make twenty violet diamond shapes using strips 14 cm (51/2 in.) long. Glue these to the outside of the dark pink circle you have just made, so that they run around the design, again using dots of glue applied to the smaller shapes.

11 Apply a dot of glue to the outside of each of the yellow and orange coils. Take five pink strips, each 30 cm (12 in.) long, and roll them tightly around the outside, fixing the ends in place with a dab of glue, observing the design template underneath. As before, use pins through the template sheet and cork board to hold each element in place while you are working.

13 Take five violet strips, each 30 cm (12 in.) long, and roll them tightly around the outside of the layer of diamond shapes to create a new circle, securing the strips with glue.

Paper Crafts A Maker’s Guide Foreword by Rob Ryan

12 Take twenty teal strips, each 30cm (12 in.) long, and roll them around the purple circle. Around the outside of this, roll seven light-green strips, each 30 cm (12 in.) long. 13 Using strips measuring 30 cm (12 in.) in length, make twenty-six tight coils — thirteen mid blue and thirteen dark blue — and glue these to the outside of the last, light-green circle, alternating mid blue and dark blue. 14 Take three dark blue strips, each 30 cm (12 in.) long, and place around the layer of blue coils to make a circle, observing the design template underneath. Around the outside of this, roll three yellow strips, each 30 cm (12 in.) long, as before. 15 Using fourteen yellow strips cut to 3.5 cm (13/8 in.) in length, make fourteen semicircles. The strips are simply curled over scissors, and then glued to the previous, yellow layer in semi-circle shapes, secured at each end of the strip by a small dab of glue, as shown in the photograph opposite. 16 Using strips measuring 15 cm (6 in.) in length, make fourteen tight yellow coils. Position these, one inside each yellow semi-circle, and glue in place using small dabs of glue applied to the outside edges of each coil.

Adding pink and violet heart shapes is the final step.

17 Make fourteen heart scrolls — seven pink and seven violet — using strips measuring 30 cm (12 in.) in length. To make the heart shapes, fold each strip in half and roll loose coils inwards from each end of the strip. These two coils are then released and glued together to form the heart. Position these between the semicircle shapes and glue in place.

18 Your artwork is now ready to frame. Remove the pins and carefully lift the quilled design from the template sheet. Glue it in place on your second sheet of white paper. Trim this sheet to size and position within your box frame, gluing or taping the white backing to the back of the frame if necessary, to make sure it stays in position.

Now try…

Different designs. you can use the basic quilled shapes from this project (and others – there are lots of online tutorials showing how to create different quilled shapes) to create any design you can think up. We have supplied two extra templates on p.103 for you to try, but you can also improvise and design your own!





Related titles

978 0 500 293270 £16.95

978 0 500 293263 £16.95

A modern maker’s guide to decorative paper-led traditions from around the world, this book is guaranteed to expand your crafting horizons. Paper Crafts: A Maker’s Guide contains fifteen beautiful step-by-step projects, each one taking its cue from a different tradition or technique, including origami, quilling, silhouette-cutting and fan-making, as well as contemporary paper sculpture and the art of paper-making itself. Designed by teachers and practitioners at the leading edge of today’s craft revival, the projects are functional, accessible and fashionable, and include tips on how to take the next steps towards developing your own designs. This inspiring book will give you the skill and confidence to express your passion for the handmade through the age-old crafts of cutting, sticking, folding and forming paper.



In association with

V&A Photography Library • Engaging, keenly priced introductions for a young, hip audience who want to get to know photography’s great works and practitioners. • Illustrations sourced from the Victoria and Albert Museum’s photography collection, the oldest held by a public museum and one of the largest and finest in the world. • Each book features some 100 photographs supported by extended commentaries and a concise introduction.

Announcing a new series of accessible books on the key themes, works, equipment and individuals in photography

Barbara & Zafer Baran (b. 1956 & 1955) ↑ Dahlia #120

from the series The Flower Cabinet, 2003 Ink-jet printing, digital imaging 31.9 x 31.9 cm

Despite the possibility for digital manipulation with scannergrams, Barbara and Zafer Baran rarely alter the images aside from basic cropping. The colours and compositions are formed directly on the scanner plate.

→ Ephemera #179 2002

Ink-jet printing, digital imaging 31.9 x 31.9 cm




Published to coincide with the launch of the V&A’s Photography Centre in autumn 2018

William Wegman (b. 1943) Dressed for Ball 1988

Polacolor II print 61 x 50.8 cm


Humour and wordplay are recurring motifs in Wegman’s staged portraits of his Weimaraner dogs. This was his first foray into dressing the dogs in human clothes, although the artist has explained that the dog, Fay Ray, was not actually wearing the dress. Instead, Wegman suspended it on a hanger around the dog’s neck and draped it over the table on which she was seated.

W.G. Campbell (active 1850s) The Lesson 1856

Albumen print 15 x 17.7 cm

This was Campbell’s contribution to the Photographic Album for the Year 1857, a collection of photographs by members of a club within the Photographic Society. Both sitters had to hold their poses for a seven-second exposure. An accompanying poem explains that the subject is not merely amusing but moralistic. The ‘lesson’ is in fact one humans might learn from canine obedience and differed gratification. 139


A concise historical survey of photographic images created without a camera

Cameraless Photography Martin Barnes Visually compelling and an on-trend subject for contemporary audiences, Cameraless Photography is an outstanding introductory overview of the major creative, cameraless processes running throughout the history of photography – including photograms, chemigrams, luminograms, dye destruction prints and more – illustrated by the cameraless work of some of photography’s greatest names. Some 100 photographs are supported by extended commentaries and a concise introduction. The book begins with the early photographic experiments of artists such as Anna Atkins in the 19th century through the avant-garde photograms of modernists such as Man Ray, to the work of contemporary artists, such as Susan Derges, nearly two centuries later. Martin Barnes is Senior Curator of Photographs at the Victoria and Albert Museum.

c. 100 illustrations 25.0 x 19.5cm 192pp ISBN 978 0 500 480366 September £24.95

A revealing introduction to the history of staged photography

Making It Up Photographic Fictions 59

Marta Weiss Presenting work from the earliest through to the most contemporary of photographers, Making It Up challenges the idea that ‘the camera never lies’. With about 100 photographs supported by extended commentaries and an introduction, the book illustrates that, though we often recognize the staged, constructed or the tableau as a feature of contemporary art photography, this way of working is almost as old as the practice itself. Remarkable in themselves, these photographic fictions, whether created by such early practitioners as Lewis Carroll or Roger Fenton, internationally renowned artists such as Cindy Sherman and Jeff Wall, or contemporary figures such as Hannah Starkey and Bridget Smith, find new and intriguing relevance in our so-called ‘post-truth’ age. Marta Weiss is Assistant Curator of Photographs at the Victoria and Albert Museum.

c. 100 illustrations 25.0 x 19.5cm 192pp ISBN 978 0 500 480373 September £24.95


C18 M81 Y75 K7

C58 M29 Y36 K10

C33 M24 Y54 K7

C45 M71 Y71 K70

C19 M20 Y38 K3

C75 M38 Y63 K31

C28 M68 Y87 K25

C19 M46 Y70 K7


In association with

A visual analysis of the colours used in furnishing fabrics and wallpapers from the 15th century to now, providing inspiration for designers Ros Byam Shaw is a journalist who writes on design and interiors for The World of Interiors and House and Garden. She is the author of Farrow & Ball Living with Colour and Farrow & Ball Decorating with Colour as well as numerous other books on historic houses and interiors. 240 illustrations including 100 colour-analysis charts 24.0 x 18.5cm 256pp ISBN 978 0 500 480267 August £24.95

Spectrum Heritage Patterns and Colours Introduction by Ros Byam Shaw C21 M100 Y100 K15

C53 M49 Y18 K1

C13 M73 Y30 K0

C29 M31 Y14 K0

C13 M98 Y73 K2

C14 M70 Y100 K3

C92 M84 Y29 K15

Furnishing fabric 1933 Calico Printers’ Association Roller-printed cotton UK

C46 M40 Y100 K16

T.100-1979 Given by the Manchester Design Registry


C71 M67 Y67 K84

The design of this fabric is of overlapping diamond shapes filled in with brushstrokes in bright colours. It resembles many French fabrics of the period, which were inspired by abstract art movements like Cubism.

20tH–21St CentuRY

Spectrum offers a fascinating visual analysis of the colour palettes used in furnishing fabrics and wallpapers from the 15th century to the present day. Presented in chronological order, the earliest detail is taken from an early 15th-century embroidery in brick red, dusky pink, sage green, mustard yellow and smoky blue, the last from a graphic wallpaper design of 2009 that combines orange and yellow on a dramatic, dark background. Next to each pattern is a colour grid, which shows the relative proportions of the colours used, each labelled with its CMYK number – a worldwide standard printing code for colour that precisely identifies it. The grid gives a clear understanding of the ways colours have been expertly combined at different periods to create the beautiful designs we admire and emulate today. This unique sourcebook will provide inspiration for all designers, both amateur and professional.


In association with

High-end 20th-century fashion explored through sumptuous detailed photography of some of the most luxurious garments in the V&A’s collections

Claire Wilcox is Senior Curator, Department of Furniture, Textiles and Fashion at the V&A and Professor in Fashion Curation, London College of Fashion, University of the Arts London. Valerie D. Mendes, formerly Head of Fashion and Textiles at the V&A, is a freelance fashion and textiles historian.

285 illustrations 29.0 x 20.5cm 224pp paperback ISBN 978 0 500 294109 September £24.95

20th-Century Fashion in Detail Revised and expanded edition Claire Wilcox and Valerie D. Mendes With Oriole Cullen, Jenny Lister and Sonnet Stanfill


20th-Century Fashion in Detail reveals the elaborate embroidery, intricate pleats and daring cuts that make up some of the most beautiful garments in the V&A’s outstanding 20th-century fashion collection. The reader is granted a unique opportunity to examine historical clothing that is often too fragile to display, and thereby to (re)discover the work of designers such as Mariano Fortuny, Madeleine Vionnet, Jeanne Lanvin, Paul Poiret, Charles James, Hubert de Givenchy, Mary Quant, Yves Saint Laurent and Vivienne Westwood. An updated introduction illuminates the history of fashion in the 20th century, followed by chapters dedicated to specific techniques and elements, including seams, gathers, tucks and pleats, fastenings, bows, and beads and sequins. Each garment is accompanied by a short text, detailed photography and front-and-back line drawings. A glossary, bibliography and index conclude the book. An extraordinary exploration of the techniques used by couturiers in the construction of these exceptional garments, 20th-Century Fashion in Detail will delight all followers of fashion.

In the same series

978 0 500 292631 £24.95

978 0 500 292648 £24.95


A beautifully illustrated exploration of the significance of the colour pink in fashion, art and culture from the 18th century to the present day

Valerie Steele is director and chief curator of The Museum at the Fashion Institute of Technology, New York, and co-author of more than twenty books.

120 illustrations 28.0 x 23.0cm 208pp ISBN 978 0 500 022269 August £39.95

Accompanies an exhibition at The Museum at the Fashion Institute of Technology, New York City, from 7 September 2018 to 5 January 2019.

‘In Pink, Valerie Steele brews a mesmerizing potion of historic and cultural intrigue emitting from the world’s most polarizing colour. I am always captivated by Dr. Steele’s work, but Pink is especially hypnotic. Like me, you won’t be able to put it down!’ Tim Gunn, Mentor, Project Runway

Pink The History of a Punk, Pretty, Powerful Colour Edited by Valerie Steele • Contributions by A. Cassandra Albinson, Regina Lee Blaszczyk, Dominique Grisard, Tanya Melendez, Masafumi Monden and Deborah Nadoolman Landis Today, with the advent of ‘millennial pink’, the colour formerly associated with Barbie has acquired a new identity. Nor is this the first time the symbolism of pink has been radically transformed. In this volume, in collaboration with a major exhibition at the Museum at the Fashion Institute of Technology, New York, fashion historian Valerie Steele explores the history and significance of pink in fashion, art and culture from the 18th century to the present. Steele and her co-authors tell the whole story of this controversial colour, emphasizing how its meanings changed throughout the centuries and across the globe. Pink is beautifully illustrated, with illustrations of stunning pink fashions given context by photographs, advertisements and works of art. It features essays by scholars across the disciplines, giving readers access to a wealth of research into subjects as diverse as Hollywood films and the symbolism of the pink triangle. This book will appeal to all those interested in fashion and culture, as well as those who love pink.


Aurélie Samuel is Director of Collections at the Yves Saint-Laurent museums in Paris and Marrakesh. Olivier Flaviano is the Director of the Yves Saint-Laurent Museum in Paris.

Illustrated throughout 27.8 x 18.5cm 208pp ISBN 978 0 500 022283 November £28.00

L’Asie rêvée d’Yves Saint Laurent

A unique visual journey exploring Asia’s influence on Yves Saint-Laurent

Yves Saint-Laurent: Dreams of the Orient


Yves Saint-Laurent Dreams of the Orient Aurélie Samuel and Olivier Flaviano 64

The Orient has always been an inexhaustible source of inspiration for painters, sculptors and, of course, couturiers. Yves Saint-Laurent was no exception. He proposed both a literal and imaginary vision of Asia, based on a thorough knowledge of its history, culture and arts, as evidenced by his personal library and the art collection he created with Pierre Bergé. Yves Saint-Laurent reinterpreted the sumptuous coats of India’s imperial rulers, creating elegant pieces made of precious golden silks, and embellished with metallic embroidery and jewelry. China not only inspired the heady fragrance Opium in 1977, but also sparked a collection influenced by the traditional ancestral clothing of the emperors and the country’s decorative arts and architecture. From Japan, Yves Saint-Laurent revisited the kimono, prompted by Hokusai prints. Published to accompany the first temporary exhibition at the Yves SaintLaurent Museum in Paris, this book showcases the designer’s stunning Asiainspired creations through fifty models, original drawings, jewelry and objects. The exhibition also features objects and clothes on loan from the Musée Guimet in Paris (Asian Arts Museum) and the Samuel Myers collection.


The first publication dedicated to Marc Jacobs’s highly influential creations, the epitome of downtown New York cool Born in London, Robert Fairer is an original pioneer of backstage fashion photography, shooting for Elle, Harper’s Bazaar and then American Vogue for over a decade. Sally Singer is the Creative Digital Director of American Vogue. André Leon Talley is a former editor-at-large of American Vogue. Rachel Feinstein is an artist and long time friend of Marc Jacobs. Iain R Webb is a fashion writer, curator and academic. Daniel Baer is a celebrated creative director and graphic designer.

280 illustrations 33.5 x 24.5cm 352pp ISBN 978 0 500 021606 September £48.00

Marc Jacobs: Unseen Photographs by Robert Fairer • Designed by Daniel Baer Preface by Sally Singer • Introduction by André Leon Talley Essay by Rachel Feinstein • Collection texts by Iain R Webb



Entering fashion history in 1993 with his notorious ‘grunge’ collection for Perry Ellis, Marc Jacobs would soon be hailed by American Vogue as ‘the dauphin of grungy, understated cool’. He quickly rose to become one of the most influential designers of his generation. Known for his collaborations with prominent artists, musicians and muses – from Stephen Sprouse to Sonic Youth, Debbie Harry, Sofia Coppola and Chloë Sevigny, Marc Jacobs ‘changed what it means to be a fashion designer, just as once upon a time Andy Warhol changed what it meant to be an artist’, fashion historian Valerie Steele once proclaimed. Opening with an essay on the designer’s work, Marc Jacobs: Unseen unfolds chronologically, revisiting the designer’s most iconic creations and revealing previously unseen behind-thescenes moments of models, hairdressers, stylists, make-up artists and Marc Jacobs himself at their most creative. Robert Fairer’s stunning and high-energy photographs capture the youth, glamour and spirit that defined Jacobs’s shows.


In the same series

978 0 500 519042 £48.00

978 0 500 519516 £48.00



The definitive book on Karl Lagerfeld’s pioneering and irreverent campaigns for Chanel, as photographed by the designer himself Patrick Mauriès is a Paris-based writer of many notable titles on fashion and design. Among his previous books are Chanel Catwalk, The World According to Karl, Jewelry by Chanel and Fornasetti, all published by Thames & Hudson.

600 illustrations 27.7 x 19.0cm 560pp slipcased ISBN 978 0 500 519813 September £55.00

Chanel: The Karl Lagerfeld Campaigns Patrick Mauriès • Photographs by Karl Lagerfeld When Karl Lagerfeld was named at the helm of the fashion house in 1983, he set out to radically shake up and update its image – not only through bold collections but also, from 1987 onwards, by choosing to shoot the house’s campaigns himself, a move that was unprecedented for a fashion designer. Conceived in collaboration with Karl Lagerfeld and the House of Chanel, this definitive publication opens with an essay by Patrick Mauriès before exploring the campaigns themselves, organized chronologically. A carefully curated selection of images showcases hundreds of spectacular clothes worn by the top fashion models – and personalities – of each era, from Inès de la Fressange, Claudia Schiffer, Kate Moss and Cara Delevingne, to Kirsten Stewart and Lily Rose Depp, captured in glamorous locations, from Coco Chanel’s Paris apartment to the French Riviera or LA. Presented in a high-end, slipcased package, Chanel: the Karl Lagerfeld Campaigns offers an unrivalled overview of the house of Chanel as seen through the eyes – and lens – of Karl Lagerfeld himself.


Also available

978 0 500 518366 £48.00

978 0 500 515815 £65.00


Compact edition

Karl Lagerfeld’s legendary maxims in a fashionable gift format Jean-Christophe Napias is an author, translator and editor of books on dandies, dance music and camp culture. Sandrine Gulbenkian is director of Parigramme, a Parisian publishing house. Patrick Mauriès is a writer and publisher of many notable titles on fashion and design, including Jewelry by Chanel, Androgyne and Maison Lesage (opposite), also published by Thames & Hudson.

c. 50 illustrations 17.0 x 12.0cm 176pp ISBN 978 0 500 293935 September £10.00

‘Lagerfeld has a mercurial, sometimes devastating way with words’ The Spectator ‘Mr. Lagerfeld, you’re a genius’ Marie Claire


‘Cultivated, unpredictable and sometimes shocking, Lagerfeld’s words are impossible to ignore’ Daily Mail ‘One-of-a-kind musings on the bonkers world of fashion … a must read for fashionistas and culture junkies alike’ Cent Magazine

Also available

‘Wonderful sartorial musings … beautifully illustrated by Christian Lacroix’ Daily Telegraph 978 0 500 518953 £12.95

The World According to Karl Jean-Christophe Napias and Sandrine Gulbenkian Edited by Patrick Mauriès Karl Lagerfeld is a modern master of couture. He is also famously outspoken: his wise, surprising statements pop up like offbeat news flashes. This compact collection of quotations pays homage to the legendary éminence grise of the fashion world. Lagerfeld’s pronouncements – on fashion, women, art, politics, love, and life high and low – are famously oracular, seized upon by fashionistas, acolytes and sages around the world. Created with the full approval of the designer himself, this cornucopia of Lagerfeld’s maxims is required reading for us all today as we negotiate the trickiest curves of modern life. Cultivated, unpredictable, provocative, sometimes shocking, Lagerfeld’s ‘bons mots’ are always impossible to ignore.


The definitive monograph on the most illustrious haute-couture embroidery house in the world, featuring specially commissioned photography of Maison Lesage’s Paris archive collections Patrick Mauriès is a Paris-based writer of many notable titles on fashion and design. Among his books are Chanel Catwalk, Maison Goossens: Haute Couture Jewelry, The World According to Karl (opposite), Jewelry by Chanel and Fornasetti, all published by Thames & Hudson.

130 illustrations 27.0 x 21.0cm 224pp ISBN 978 0 500 021538 November £40.00

Maison Lesage Haute Couture Embroidery Patrick Mauriès Founded in 1858 under the name of Michonet (then supplier to such fashion legends as the House of Worth) before being bought by the Lesage family in the 1920s, Maison Lesage has created exceptional embroidery motifs, often requiring hundreds, if not thousands, of hours of precise beadwork, for star fashion designers across the decades. Fashion legends such as Elsa Schiaparelli (with her famous ‘Circus’ and ‘Zodiac’ collections) and Yves Saint Laurent (whose ‘Van Gogh’ irisembroidered jackets number over 200,000 pearls and 250,000 sequins) worked exclusively with Maison Lesage, but the embroiderer also collaborated with a raft of international designers, including Balmain, the House of Worth, Vionnet and Lacroix. Perhaps best known today for the masterpieces it creates for Karl Lagerfeld’s Chanel collections, Maison Lesage was bought by Chanel in 2002 to ensure the survival of its unique history and extraordinary skills. Illustrated with specially commissioned photography of the house’s archives and illuminated with texts by Patrick Mauriès, Maison Lesage is both a tribute to exceptional craftsmanship and a journey through a hundred years of fashion at its most sumptuous and inventive.


Maison Lesage Haute Couture Embroidery Patrick Mauriès

Also available

978 0 500 517703 £40.00


A lavish survey of over twenty-five years of beautiful gems from Carnet, Michelle Ong’s Hong Kong-based boutique jewelry house Vivienne Becker is an award-winning jewelry writer, historian, journalist, broadcaster and author of many books on the history of jewelry design. Joel Rosenthal, aka JAR, is a worldrenowned jeweler. He lives and works in Paris.

Over 300 illustrations 32.0 x 25.0cm 272pp ISBN 978 0 500 021637 November £65.00

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20/04/2018 11:45

Carnet by Michelle Ong Vivienne Becker • With a foreword by JAR Michelle Ong established Carnet, her Hong Kong-based boutique jewelry house, over twenty-five years ago, and her unique one-off creations draw on Chinese motifs and her love of European culture and craftsmanship. Her multihued jewels crystallize natural forms with invisible mastery. The hovering translucency of dragonfly wings, the succulence of ripe fruits, the whisper-light touch of a feather, the seductive fragility of black lace, meticulously handwrought from silver, the velvet petals of an anemone, a voluptuously curled seashell, the evanescence of a floating cloud evoked in a scroll of diamonds: each jewel is a miniature sculptural work of art. Jade, China’s imperial gemstone, is reworked into an Art Deco-style cocktail ring. Her Chinese dragon, a fiercely benign creature, writhes in blackened gold and pavé-set emeralds, breathing a stream of fiery rubies. Ong’s work is now acknowledged among the greatest names in high jewelry, renowned for her sublime designs, idiosyncratic colour combinations and deft craftsmanship. This volume will be required reading by serious collectors and aficionados, and a source of deep delight for all those seeking inspiration from the finest of contemporary jewelry creators.


Introduction 20

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Vivienne Becker 21

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00 Title of piece, 2001, type of jewels, 00 × 00 mm

00 Title of piece, 2001, type of jewels, 00 × 00 mm

00 Title of piece, 2001, type of jewels, 00 × 00 mm




Pierre Le-Tan’s illustrations and Bertil Scali’s entertaining pen portraits tell the stories of the world’s most celebrated travellers, impeccably presented in a luxurious volume Bertil Scali is a writer, journalist and editor. He is the founder of literary agency Litcom. Pierre Le-Tan is a painter and illustrator. His work has appeared in many publications, including The New York Times Magazine, Vogue, Fortune, Madame Figaro, Tatler, Atlantic Monthly, Harper’s Bazaar, Town & Country and the World of Interiors, as well as on the cover of the New Yorker.

53 illustrations 30.0 x 22.0cm 448pp ISBN 978 0 500 022504 October £75.00


One fair lady

Whether seen in glossy magazines or in the world’s most drought-stricken regions, the multiple Oscar-winning actress was never without her natural modesty, her innate elegance, or her little monogrammed bag.

Also available

978 0 500 5189916 £75.00

Travellers’ Tales Bags Unpacked Bertil Scali • Illustrations by Pierre Le-Tan From heiresses to actors, aristocrats to pop stars, writers, composers, dancers and designers, here are the personalities who have travelled through our modern era, whether by train, plane, car or canoe, accompanied by luggage that defines good taste. With suitably glamorous style, over fifty individuals are described and illustrated in witty and perceptive detail. Everyone who’s anyone is here: from Madonna to Marilyn Monroe, from the Duchess of Windsor to Karl Lagerfeld, from Audrey Hepburn to Keith Richards, from the firm’s eponymous founder Louis Vuitton to artist Jeff Koons. Every traveller has a tale to tell: every bag reveals a personal secret. In her canvas Louis Vuitton bag Greta Garbo never kept more than a pair of blue espadrilles, flannel pyjamas and some pots of her favourite jam. (But she had a trunk specially made for her seventy pairs of Ferragamo shoes.) Ernest Hemingway, who owned and lost several Vuitton trunks, rediscovered in 1957 notes for a novel that he’d absentmindedly left in a trunk in the basement of the Paris Ritz some thirty years before. Richard Burton made sure that Elizabeth Taylor always had enough Louis Vuitton trunks (as well as furs and jewels), through both their marriages; in fact, the trunks outlasted her next two husbands as well.



Compact edition

A celebration of the craftsmanship and elegance behind the timeless French brands whose rich heritage is the cornerstone of men’s style Hugo Jacomet is a French columnist, screenwriter, artistic director and film producer best known for his online men’s style magazine, The Parisian Gentleman. His work has been featured in international magazines and periodicals, such as The Financial Times, GQ and Pen magazine.

Over 350 illustrations 25.9 x 20.6cm 272pp ISBN 978 0 500 293966 September £29.95

‘Sheds light on the histories of famous bespoke houses and little-known studios alike’ The Rake


By the same author

978 0 500 518571 £48.00

The Parisian Gentleman Hugo Jacomet Perfectly attuned to the rising interest and market for men’s style, The Parisian Gentleman presents the leading men’s style-makers, from hidden ateliers and little-known studios to internationally renowned names such as shirtmakers Charvet, shoe-makers Berluti and recently revived trunkmakers Moynat. The stories of each house, and the creatives and craftsmen behind them, bring alive the clothes, capture fading traditions, and celebrate an unceasing dedication to quality. Hugo Jacomet personally knows many of the leaders of these soughtafter marques, many of which are difficult to access, so the portrait he paints of each maker derives from first-hand knowledge. Impeccable photography, much of which was shot exclusively for this book, provides an exquisite complement to the words. The Parisian Gentleman is an essential addition to the well-dressed man’s private wardrobe and collection.


The first book of its kind: a dazzling overview of the overlooked art of male jewelry, an increasingly popular requisite of the well-dressed man James Sherwood is a London-based style journalist, and has been described as ‘the guardian of Savile Row’ by The Rake magazine. He is the author of Savile Row, Fashion at Royal Ascot and James Sherwood’s Discriminating Guide to London, all published by Thames & Hudson.

275 illustrations 25.9 x 20.6cm 256pp ISBN 978 0 500 519851 August £29.95

‘Jewelry is one of the things in which the best is always good enough’ Hardy Amies

James Sherwood • Foreword by HH Sheikh Hamad bin Abdullah Al Thani Men’s jewelry has a long and fascinating history, with storied houses, famous patrons and a diverse range of modern designers. Behind each tiny piece often lies a complex narrative of patronage, personality and craftsmanship. This is the first publication dedicated solely to a neglected subject. Drawing on his expertise on men’s style and insider’s knowledge of the jewelry industry, men’s sartorial aficionado James Sherwood tells the story of men’s relationship with jewelry and presents the contemporary artisans who keep the art alive. Through thematic chapters, works by key jewelers are profiled and richly illustrated, including pieces by Tiffany & Co., David Yurman, Cartier, Boucheron and Ara Vartanian. Hundreds of exquisite photographs, many specially commissioned – of rings, cufflinks, studs, pins, slides, bracelets, chains and pendants – chart changing fashions and evolving attitudes to men’s jewelry over the centuries. Pieces by great craftsmen and -women and the patrons who commissioned them, from the Maharaja of Kashmir to David Bowie, are brought to life through vivid texts and contemporary and archival portraits. This sumptuous guide to contemporary elegance sets men’s jewelry in its proper cultural context, offering an unexpected resource for jewelers and a trove of inspiration for anyone who wears or simply admires men’s jewelry.

By the same author

978 0 500 5185716 £48.00

Jewelry for Gentlemen

978 0 500 516317 £29.95



Revised edition

A revised edition of the ultimate coursebook for aspiring interior designers

The Interior Design Course Principles, Practices and Techniques for the Aspiring Designer Tomris Tangaz

‘The ultimate practical guide for aspiring decorators’ The Times ‘A bible for those hoping to get on the career ladder, it offers bags of inspiration and valuable insights into the world of the professionals’ Location, Location, Location

Here is the ultimate book for the aspiring interior designer, now revised and substantially updated to reflect the latest developments in digital design, best research and mapping practices, and the continued importance of hand drawing. Covering every possible aspect of interior design, this intensive course explains basic principles through tutorials, projects and case studies. Each project is a guide through the different challenges of the design process, teaching you how to develop and model ideas, construct technical drawings and illustrate design proposals with three-dimensional drawings. Whether you are decorating your home or taking up interior design professionally, you will find this book an invaluable and inspirational reference. Tomris Tangaz is Course Director and a senior lecturer in interior design at the prestigious Chelsea College of Art and Design, University of the Arts, London.

Illustrated throughout 22.2 x 22.2cm 144pp paperback ISBN 978 0 500 294475 August £16.95

New in paperback

Leaf through the personal sketchbooks of the most influential and inventive illustrators and typographers working today 74

Free Hand: New Typography Sketchbooks Steven Heller and Lita Talarico This show-all tour through leading graphic designers’ personal sketchbooks reveals the creative processes behind the creation of typefaces, word-images and logos. Arranged alphabetically by name, the world’s most exciting designers and typographers, including Philippe Apeloig, Ed Benguiat, Hoefler Type Foundry, Henrik Kubel, Toshi Omagari and Francesco Zorzi, present a staggering range of exciting ways to communicate through letters and words. Sketchbook pages reveal the designers’ creative processes across diverse briefs, concepts, languages and alphabets, from Roman to Cyrillic to Arabic. This rich compendium is aimed at all those who engage creatively with type.

‘Reveals a staggering range of unique ways to communicate’ Creative Review

Steven Heller is co-chair of the MFA Design: Designer as Author programme at the School of Visual Arts, New York. Lita Talarico is the founding editor of American Illustration & Photography.

Over 800 illustrations 24.5 x 18.5cm 352pp paperback ISBN 978 0 500 294277 July £19.95





Over 1,500 of the world’s most popular and influential patterns gathered together in a unique reference book

Elizabeth Wilhide is the author of many books on design and interiors, including William Morris: Décor and Design, Sir Edwin Lutyens: Design in the English Tradition, The Mackintosh The ultimate visual encyclopaedia, Style, Surface and Finish and Scandinavian ttern Design features more than 1,500 mages of the world’s most popular Home.and Most recently, she was consultant editor fluential patterns. Organized by theme and contributor to Design: The Whole Story, m flora to geometric, from pictorial to ychedelic, this invaluable resource also by Thames & Hudson. published

cludes in-depth features on the work key designers from the rich history of ttern-making, including William Morris, nia Delaunay, Charles and Ray Eames, 1,500 illustrations cienne Day and Orla Kiely. Over This inspiring urcebook is an essential creative tool 22.9 x 21.6cm or design professionals, students and aficionados alike.672pp


PATTERN DESIGN With over 1,500 illustrations

With over 1,500 illustrations

Edited by Elizabeth Wilhide

Edited by Elizabeth Wilhide

ISBN 978 0 500 021484 October £35.00 £35.00

Pattern Design


Kente cloth is a traditional Ghanaian weave, whose origins date back nearly 400 years. One of the most important centres of production is a village called Bonwire. Originally Kente cloth was a high-status product, worn exclusively by kings and tribal chiefs.

Edited by Elizabeth Wilhide

Specific patterns or motifs have individual meanings that correspond to Ashanti beliefs. The ‘king’s eye’ and the ‘golden stool’ are two motifs associated with power. Master weavers of Kente cloth must become fluent in such symbolic language. All Kente cloth patterns are bold geometrics, typically stripes, banding and zigzags. Traditional colors, derived from vegetable dyes, are black (for Africa), red (for ancestral blood), yellow (for gold) and green (for the forest). Although the fabric was originally woven from silk thread, a wider range of cheaper materials is used today, including cotton and rayon, and commercial applications include bags, sandals, and shirts.

372 373

FA U N A > S P E C I F I C > B I R D S

02 | Wallpaper design, Charles Voysey | 1897 This watercolour of owls on their nests is an original design for wallpaper, produced by Essex & Co.

01 | Avis, Marion Dorn | c. 1939 This machine-woven cotton, rayon and spun rayon furnishing fabric, with its stylized bird pattern, was designed for Edinburgh Weavers.

03 | Fool’s Parsley, Charles Voysey | 1907 Wallpaper design, executed in watercolour, depicting birds perching on green stems, produced by Sanderson & Sons.

04 | Owl, Charles Voysey | 1898 Furnishing fabric showing the same pattern as (2) in Jacquard-woven wool, designed for Alexander Morton & Co, Darvel, Scotland.

05 | Furnishing fabric, John Drummond | 1954 Drummond was a leading mid-century modern British textile designer. Screen-printed linen for Wemyss Weavecraft Ltd.

242 243

Throughout history, patterns have come in countless permutations of motif, colourway and scale. Yet what all have in common is the regularity of repetition, that insistent rhythm that animates a flat surface with a sense of movement and vitality and gives it depth. Evident in the arrangement of petals on a flower head, the branching growth of stems and vines, the spirals of a seashell – pattern is inherent in the natural world that surrounds us. Powerful and transformative, pattern has an irrepressible joie de vivre. With more than 1,500 illustrations of patterns from all ages and cultures, Pattern Design is a visual feast. This comprehensive compendium is arranged thematically according to type, with chapters on Flora, Fauna, Pictorial, Geometric and Abstract designs. These broad categories are supplemented by in-depth features highlighting the work of key designers from the rich history of pattern-making – such as William Morris, Sonia Delaunay, Charles and Ray Eames, Lucienne Day and Orla Kiely – along with sections detailing the characteristic motifs of key period styles from Baroque to Art Deco. This inspiring sourcebook is an essential creative tool for design students, professionals and aficionados alike.



Revised and expanded edition

Bio Design

The first book to address the thrilling new developments in the field of biological design

Nature • Science • Creativity William Myers Bioluminescent algae, symbiotic aquariums, self-healing concrete, clavicle wind instruments and structures made from living trees – biology applied outside the lab has never been so intriguing, or so beautiful. Bio Design examines the thrilling advances in the field, showcasing some seventy projects (concepts, prototypes and completed designs) that cover a range of fields – from architecture and industrial design to fashion and medicine. The revised and expanded edition features twelve new projects: Hy-Fi (by David Benjamin); One Central Park, Sydney (Jean Nouvel); Guard from Above (Sjoerd Hoogendoorn and Ben de Keijzer); Cell-laden Hydrogels for Biocatalysis (Alshakim Nelson et al); Zoa (Modern Meadow); Amino Labs (Julie Legault and Justin Pahara); Algae and Mycelium Project (Eric Klarenbeek, Studio Klarenbeek & Dros); Interwoven and Harvest (Diana Scherer); Concrete Honey (John Becker and Geoff Manaugh); Bistro In Vitro (Next Nature Network); Circumventive Organs (Agi Haines); Quantworm Mine (Liv Bargman and Nina Cutler). It also includes a new ‘how-to’ section at the end (Tips for Collaboration/FAQs/ Further Resources), as well as a fully revised introduction.

William Myers is a writer, curator and teacher based in Amsterdam. He has worked for The Museum of Modern Art, the Smithsonian Cooper-Hewitt National Design Museum and the Guggenheim. He is the author of one other book, Bio Art, also published by Thames & Hudson.

Over 500 illustrations 25.5 x 21.0 cm 304pp paperback ISBN 978 0 500 294390 July £22.50

‘Insanely weird and absolutely fascinating … I defy you to come away not knowing something new’ Biosphere


eCologiCAl obJeCt eNgiNeeriNg

eCologiCAl obJeCt eNgiNeeriNg




The grain of the biofabricated leather sample created for the Museum of Modern Art in New york resembles that of animal leather in appearance, texture, and durability.

ZOA Coaxing yeasts to make collagen, and mastering how it can be processed to exhibit the material properties of skin or muscle, without the need for animals or the limitations of their forms.


Knitted cotton, polyester spacer, biofabricated leather.



Close-up view of the combination of cotton, mesh, and biofabricated leather used in the prototype of Zoa, which is made entirely from plants or synthetic materials.

Suzanne lee (british) / Amy Congdon (british)—Modern Meadow (USA)


This project is a material prototype that may mark the beginning of the end of the vast waste resulting from the production of leather. The core component of leather that bestows its desirable texture, flexibility, and durability is collagen, the main structural protein found in connective tissues in animal bodies. Skin, tendons, and ligaments are held together with it, as a kind of biological glue. This is why we use the hides of large animals such as cows to make leather products, as they are abundant if inefficient sources of the compound. It has long proven difficult to find a substitute material that shares the material properties of animal collagen while reducing its environmental footprint. Synthetics often fall short, requiring significant quantities of petrochemicals or degrading much more quickly. Biological substitutes such as microbial cellulose show promise yet face obstacles—how best to make them durable, for example. Other lab-grown substitutes using mammalian cells have shown to be energyintensive and prone to infection by opportunistic microorganisms. Additionally, mammalian tissue in the lab requires the use of fetal bovine serum to thrive, and this is extracted from the blood of unborn calves. Thus, most of what is called lab-grown ‘meat’ is not really as innocent as it may sound. The scientists and designers at Modern Meadow have turned to the plant kingdom, and use genetically modified yeasts fed with sugar to produce collagen, which is in turn purified, pressed, and processed

using the firm’s own unique methods. As Zoa is free from the bounds of the animal form, it can assume shapes, thicknesses, and visual effects that have never before been possible. The prototype shown in these pages was commissioned by the Museum of Modern Art, New York, on the occasion of the 2017 exhibition ‘Items: Is Fashion Modern?’ curated by Paola Antonelli. Here Zoa is used in liquid form, which allows it to morph into shape, and combined with other materials without stitching. The tagline Modern Meadow attaches to the prototype is ‘A new animal is born’ to underline the flexibility of leather grain patterns in this process, allowing them to create forms unseen in the natural world.




Suzanne Lee, Chief Creative Officer at Modern Meadow, working with Amy Congdon, Senior Materials Designer.

195, 196, 197

Samples of biofabricated leather that are freed from the constraints imposed by animal skins. The material can be drizzled onto a surface or otherwise attached without traditional seams. Letters that can be discerned from the samples read, top to bottom, as ‘ZOA.’



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Qua n T worm mine imagining a future wormery that repurposes mines while healing the soil, reaping a bounty of nanoparticles that can, in turn, improve solar energy collection.

Digital renderings, props, film. Liv bargman (british) / Nina Cutler (british)—Central Saint Martins, London


This speculative project proposes creating a nanotech wormery on former coal-mining sites in South Wales through designing a fictional company, Quantworm Industries. The mine would utilize the earthworm’s natural ability to both bioremediate contaminated soil and biosynthesize nanoparticles called quantum dots (QDs) from heavy metals. In turn, these QDs are extracted from the worms and used to create spray-on photovoltaic cells that are installed on site as banners and flags. The designers imagine that the clean power generated by the flags is fed back to the surrounding areas, while additional QDs are sold to industry. In this thoughtful scheme, the former coal miner has the opportunity to become the worm miner, while the process reverses the environmental damage of the previous mining work, which left behind toxic heavy metals. The designers, in effect, translate recent scientific research into an application and context that prioritizes making positive social and ecological impacts on a local scale. Through props, images, and film, the project explores the role of the miner in this potential new industry. To inform the proposal, the designers visited a site called the Big Pit in South Wales, which was a coal mine for a hundred years before becoming a museum. There they were introduced to the scale and scope of environmental degradation that can result from a century of intensive industry, but also gathered a sense of the community that had developed around it, and the urgent need for alternative employment opportunities. They connected these

economic and social realities with the potential of QD production by worms, as described in research published in Biosynthesis of Luminescent Quantum Dots in an Earthworm (2012) by Professor Mark Green and his colleagues at King’s College London. While the actual implementation of such a project may be years away, the approach here underlines designers’ ability and responsibility in our age to find socially and ecologically sound initiatives. bELOw


The legacy of coal mining includes contamination from heavy metals, which can persist for decades. The system proposed for quantworm mining would accelerate cleaning while producing material to make solar energy collection more efficient.



The project envisions the quantworm miner equipped with new tools such as a tickler, designed to stimulate the worms into secreting their luminescent quantum dots, a precious material for renewable energy applications.




The designers presented their project at the museum of modern art in new York and became the winners of the annual Biodesign challenge hosted by the museum.


The use of worms to biosynthesize quantum dots was demonstrated by researchers at King’s college London. if they can be bred or engineered to be very large, they might be viable as biofactories, while simultaneously remediating soils laced with toxins.



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Revised and expanded | New in paperback

Quirky, poignant, astute, funny – a colourful collection of observations on visual culture and design, written and illuminated by Marian Bantjes Marian Bantjes is one of the world’s most acclaimed illustrators. She is the author/creator of Pretty Pictures and Certificates for Everyday Things, both published by Thames & Hudson.

‘An eccentric mix of musings, personal anecdotes and what she, herself, calls ‘harebrained ideas … rich, playful and often funny’ Wallpaper* ‘Lovingly typeset, illustrated, laid out and produced in a manner that resists a quick glance, a skim read or any easy generalization or summary … informed, witty and movingly personal’ Eye Illustrated throughout 24.0 x 15.5cm 224pp paperback ISBN 978 0 500 294383 August £18.95

I Wonder Marian Bantjes


we all share, that we all know for a certainty, is that we are going to die. As well, at some point in our lives, we will know people who have died: people who are close to us, people who we will miss so much we have trouble continuing to live without them. It is common, and comforting, to think that they still exist in some form, that they perhaps are aware of us in our continuing lives and that we will see them again in some kind of afterlife. Not being particularly versed in the specifics of common ideas of heaven, I had to do a little research on this subject – and I mean a little, because entire lives’ studies could be (and surely are) devoted to parsing all the nuances, contradictions and interpretations of heaven in


Marian Bantjes’s highly ornamental, craftsman-like word-pictures have earned her professional acclaim and a cult following around the world. There is, however, another side to Bantjes’s visual work: her thoughtful treatises on art, design, beauty and popular culture that belie the decorative nature of her best-known work. These reflections, which range in subject from the cult of Santa, roadside advertising, photography and memory, and heraldry to the alphabet’s letterforms and stars, are superbly showcased in this beautiful book, which is now available in an updated paperback edition. Intended to inspire creatives of any persuasion, this is more than a collection of ideas; it is an illustrated manuscript for the digital age.

even one of the world’s major religions. Islam seems to have a lot to say about the specifics of heaven, Christianity-as-per-the-Bible very few (though many Christians have very specific views of heaven), and Judaism almost none to the point that I’m not clear if there is a Jewish heaven. Hindus and Buddhists also seem to have versions of multiple heavens, or heavenly states of being, and it’s all incredibly varied and confusing. For the sake of my sanity, but not necessarily accuracy, I’m going to take as reference the Islamic and Christian versions of heaven as those are the most known in a Western folkloric sense, and the most tangible. Where I live, in North America, the most common belief is in the Christian heaven, where, in general, heaven is a collection of souls, living in everlasting love and harmony with each other and god. Most people who believe this assume that they will go to heaven and be reunited with their loved ones. Interestingly, one source (albeit a dubious one*) quickly dispels the notion of heaven as a place where ‘spirits sit on clouds playing harps or float around in nebulous space’ with the sensible question of ‘Why would the infinite Son of God take up finite human condition to offer up His life to die on a cross, only for *





Personally compiled and curated by Yoko Ono, Imagine John Yoko is the definitive inside story – told in revelatory detail – of the making of the legendary album and all that surrounded it: the locations, the artworks, the film, the documentary and the people who were there

Yoko Ono is a globally renowned multimedia artist, singer, songwriter and activist. She married John Lennon in 1969 and became his creative partner and muse. She continues to work to preserve his legacy, funding, among other projects, Strawberry Fields in Manhattan’s Central Park, the IMAGINE PEACE TOWER in Iceland and the ‘Imagine There’s No Hunger’ campaign.

1,362 illustrations 30.8 x 24.0cm 320pp ISBN 978 0 500 021842 October £35.00

Imagine John Yoko John Lennon & Yoko Ono With contributions from the people who were there

‘A lot has been written about the creation of the song, the album and the film of Imagine, mainly by people who weren’t there, so I’m very pleased and grateful that now, for the first time, so many of the participants have kindly given their time to “gimme some truth” in their own words and pictures’ Yoko Ono Lennon, 2018

In 1971, John Lennon & Yoko Ono conceived and recorded the critically acclaimed album Imagine at their Georgian country home, Tittenhurst Park, in Berkshire, England, in the state-of-the-art studio they built in the grounds, and at the Record Plant in New York. The lyrics of the title track were inspired by Yoko Ono’s ‘event scores’ in her 1964 book Grapefruit, and she was officially co-credited as writer in June 2017. Imagine John Yoko tells the story of John & Yoko’s life, work and relationship during this intensely creative period. Showcasing Yoko’s closely guarded archive of photos and artefacts, it transports readers to their home and working environments. Artfully compiled narrative film stills and digitally rendered maps, floorplans and panoramas recreate the interiors in evocative detail. John & Yoko introduce each chapter and song; Yoko also provides invaluable additional commentary and a preface. All the minutiae is examined: the locations, the key players, the music and lyrics, the production techniques and the artworks, including the creative process behind the double exposure polaroids used on the album cover. With a message as universal and pertinent today as it was when the album was created, this landmark publication is a fitting tribute to John & Yoko and their place in cultural history.



New in paperback | Updated compact edition

The definitive volume on the essence, experience and energy that is hip-hop and its massive and enduring impact over the last forty years DJ Semtex hosts the UK’s premiere hip-hop show on BBC Radio 1Xtra every Friday, and is currently the Director of Artist Development at Sony Music. Hip-hop giant Chuck D is Founder of Public Enemy and member of the Rock and Roll Hall of Fame.

c. 1,000 illustrations 27.7 x 21.6cm 448pp paperback ISBN 978 0 500 293959 August £24.95

‘DJ Semtex has nailed this’ Goldie

‘This book is worth bread’ Raekwon

‘This is an Illmatic book … a hip-hop bible’ 80

Ghostface Killah

‘Amazing – buying immediately’ Chase & Status

‘This is a time capsule’ DJ Green Lantern

‘The pictures tell a thousand words’ Salaam Remi

‘Big up DJ Semtex’ Rag ’N’ Bone Man

Hip Hop Raised Me.® DJ Semtex • Foreword by Chuck D In Hip Hop Raised Me.®, updated for 2018, DJ Semtex examines the crucial role of hip-hop in society today, and reflects on the huge influence it has had on his own life, and the lives of many others, filling in the gaps of education that school left behind, providing inspiration and purpose to generation after generation of disaffected youths. Taking a thematic approach and featuring seminal interviews he has conducted with key hip-hop artists, Semtex traces the characteristics and influence of hip-hop from its origins in the early 1970s with DJ Kool Herc’s Block parties in the South Bronx, through its breakthrough to the mainstream and the advent of gangsta rap in the late 1980s, with artists such as Run DMC, Public Enemy and Ice T, to the impact of contemporary artists and the global industry that is hip-hop today. Hip-hop artists have gone from hustlers to successful entrepreneurs and businessmen. Hip-hop has come of age.


A unique insight into, and record of, the 20th century’s most exciting and productive period of rock poster art and graphic design Peter Golding began collecting rock ’n’ roll art in 1967. He curated the first exhibition for Inspirational Times in London in 2003, and was a major lender to the Tate Liverpool exhibition ‘Summer of Love’ in 2005, and more recently the V&A’s ‘You Say You Want a Revolution’ exhibition in 2016–17. Barry Miles is the bestselling author of numerous biographies and countercultural histories. He was a founding contributor to International Times, a regular contributor to NME from 1975 to 1978, and editor of Time Out from 1978 to 1979.

750 illustrations 31.5 x 21.8cm 224pp paperback ISBN 978 0 500 293539 October £28.00

Rock Graphic Originals

GRIFFIN TAKES OFF Griffin may have made his name penning cartoons for Surfer magazine, but he experimented with a range of different styles throughout his career. He took a particular interest in nineteenthcentury photography and illustration, as well as Native American history and iconography, and experimented with boldly ambitious typefaces. He worked mainly for the Family Dog, although in 1967 he also set up the company Berkeley Bonaparte (with Stanley Mouse, Alton Kelley, Victor Moscoso, and Wes Wilson) to design and market psychedelic posters. Together, they represented the ‘Big Five’ of the genre.

Revolutions in Sonic Art from Plate to Print ’55–’88



Peter Golding with Barry Miles

�D Staged colored layers and finished prints for two Rick Griffin posters advertizing Avalon Ballroom concerts in April and May 1967. In both cases, the design and Family Dog Productions take precedence over the names of the headlining act (in this case, Quicksilver Messenger Service).





�D This page, clockwise from top left: another Webb’s poster (NR-13). Moscoso: ‘The Stockton light show wanted the title to read “Death and

�D This page: a poster (NR-8) for shows by Otis Rush at the Matrix. Moscoso himself summarized it as: ‘Photo by a surrealist and solarized with ideal use of vibrating colors.’


Transfiguration.” Finding the skull, which prints in yellow, was the hardest part.’ �D Blues Project at the Matrix (NR-6), based on a French

photo of the 1890s. �D A design (NR-7) for The Only Alternative and His Other Possibilities at the Matrix in February 1967. �D (NR-4)


Moscoso found the picture in a small advert in an old magazine. He blew it up and printed it both negative and positive so it would vibrate.

As part of the 60s fashion movement, Peter Golding’s famous ACE boutique in London’s Chelsea brought him into regular contact with the biggest names in rock ’n’ roll, and he went on to create one of the most comprehensive collections of rock ’n’ roll graphics in existence. Showcasing the cream of this collection, Rock Graphic Originals is packed with vibrant poster art, logos, stage set designs and promotional ephemera created for artists such as the Grateful Dead, Jimi Hendrix, Bob Dylan, Pink Floyd, The Doors, Bruce Springsteen, Eric Clapton, Kiss, Led Zeppelin, The Who and Alice Cooper. Organized chronologically into three sections, the book presents the evolution of highly wrought psychedelic poster art from its beginnings in the Beat era to its culmination in the vast stage sets of 1980s stadium rock. Barry Miles’s introduction places the key protagonists and their work within their cultural and political context, while reflections from the artists themselves lend unique perspectives on their influences and methods. Original drawings, paintings, separations and finished artworks are shown side by side, revealing the complete process involved in creating each printed poster and logo, and giving extraordinary insight into the creative minds of design giants such as Rick Griffin, Victor Moscoso, Stanley Mouse and Alton Kelley.



Master printmaker Anthony Burrill’s wonderful world of printed matter, presented through a personal selection of offbeat ephemera and typographic curiosities Graphic artist, print-maker and designer Anthony Burrill is known for his persuasive, up-beat style of communication. His work is held in the permanent collections of the Victoria and Albert Museum in London, the Cooper-Hewitt National Design Museum in New York, and has been exhibited in museums around the world, including the Barbican Art Gallery, the Walker Art Center and the Design Museum, London.

Illustrated throughout 24.5 x 19.0cm 288pp ISBN 978 0 500 022115 October ÂŁ25.00

Look & See Anthony Burrill


Look & See offers a very personal insight into the idiosyncratic influences and inspirations behind the creativity of Anthony Burrill, designer and letterpress guru. Selecting from his private collection of printed matter, lovingly gathered and curated throughout his career, this is a celebration of the pieces of paper that surround our everyday lives, offering a whimsical and, at times, almost philosophical perspective on how we view printed artefacts. Each piece is accompanied by an observation by Burrill that reveals his sensitive knowledge and understanding about design and its place it the real world. Complementing the printed works are sections of street photography Burrill has shot specially for the book and which give new meaning to the signs and words we take for granted. A treasury of visual inspiration, Look & See is a covetable printed curiosity in its own right. Beautifully crafted into a whole much greater than the sum of its delightful parts, this is a publication that will entrance and inspire in equal measure.


A beautiful and unique guide to Chinese movie magazines and movies from a period of vast cultural change in China Paul Fonoroff served as film critic for the South China Morning Post for more than a quarter of a century. He also hosted over 1,000 movie-related TV shows in Cantonese, Mandarin and English, and had roles in twenty movies. He is a member of the Hong Kong Film Critics Society and the Performing Artists Guild of Hong Kong, and is an advisor to the Hong Kong Film Archives. His unique collection of Chinese movie memorabilia was acquired by the University of California, Berkeley, in 2015, and housed in the C. V. Starr East Asian Library.

590 illustrations 27.5 x 21.5cm 288pp ISBN 978 0 500 519882 September £35.00

Chinese Movie Magazines From Charlie Chaplin to Chairman Mao 1921–1951 Paul Fonoroff



Showcasing an exotic, eclectic array of covers from more than five hundred movie publications from a glamorous bygone age, Chinese Movie Magazines sheds fresh light on China’s film industry from its early years through the highs and lows of a period of incredible social, political and economic change. With expertly curated covers, and authoritative and entertaining commentary, collector and Chinese cinema specialist Paul Fonoroff guides readers through the jewels of the genre, offering unique insights into the evolution of Chinese movies and the influence of Hollywood along the way. From a colourful Charlie Chaplin to earnest portraits of Chairman Mao, this extraordinary volume covers the oldest extant Chinese movie magazine – established in 1921 – and the last independently owned ‘fanzine’ of 1951. Chinese Movie Magazines is a must have for film, design and pop culture aficionados.

Yihua • 藝華 • “Yi Hwa” #1 • 1936.05.01 • Shanghai The Chin-Chin Screen Qingqing Dianying • 青青電影 #1 • 1937.03.05 • Shanghai (Revival issue) Yi Hwa’s most famous production, The Boy Is a Girl (Huashen guniang/ “Girl in Disguise”), reportedly rescued the studio from the brink of financial disaster. Yuan Meiyun created a popular sensation playing a Singaporean Chinese teenager who returns to the motherland to visit her grandfather, who has been led to believe she is a boy. The petite star in male garb quickly became a fashion icon, and was utilized by the studio to launch its first fanzine, Yihua (“Yi Hwa”) .

The following year, the release of The Boy Is a Girl’s first sequel was chosen as the topic for the re-launch cover of The Chin-Chin Screen . Two further sequels to the movie would be produced, with all four installments directed by Fang Peilin (1908–1948) and scripted by Huang Jiamo. Two decades later, Yi Hwa would produce a Hong Kong remake, which kept the original Chinese title but was known in English as Turnabout Girl. Yeshenghuo • 夜生活 “Night Life” #1 • 1937.06.15 • Shanghai In casting its upcoming movie Street Angel, Star had deemed Yi Hwa contract player Zhou Xuan the ideal

choice. In return for allowing Star to cast her, Yi Hwa was loaned the services of Bai Yang (1920–1996), Stars hottest new property following her impressive debut in At The Crossroad (see p. 65 ). The result was The Mystery Woman (Shenmi zhi hua), a melodrama by A-list director Yue Feng (Griffin Yueh, 1910–1999), whose career credits would comprise over eighty productions divided between Shanghai (in the 1930s and 1940s) and Hong Kong (after 1949). The movie gave its seventeen-year-old star an excuse to wear an array of alluring outfits, and one couture ensemble featured on the cover of Yeshenghuo (“Night Life”), a new magazine that would be shelved by the outbreak of war just a few weeks later.



A monumental, two-volume slipcased collection featuring nearly a century’s worth of New Yorker cartoons David Remnick has been editor of the New Yorker since 1998. Bob Mankoff was the New Yorker cartoons editor from 1997 to 2017.



Illustrated throughout 30.5 x 22.0cm 1,536pp, 2 volumes slipcased ISBN 978 0 500 022450 September £75.00

“I suppose, Muriel, that, in my own curious way, I’ve always loved you.”

The New Yorker Encyclopedia of Cartoons Foreword by David Remnick • Edited by Bob Mankoff x y z


CULLUM, JULY 31, 1978





The New Yorker Encyclopedia of Cartoons is a slip-cased, two-volume, A to Z collection of cartoons by the magazine’s artists from 1924 to the present. Bob Mankoff – for two decades the cartoon editor of the New Yorker – has organized nearly 3,000 cartoons into more than 300 categories of recurring BßK STORES New Yorker themes and visual tropes, including cartoons on banana peels, meeting St. Peter, being stranded on a desert island, snowmen, lion tamers, Adam andb Eve, the Grim Reaper – and dogs vs cats, of course. The result is hilarious and Mankoff’s commentary throughout adds both depth and whimsy. New Yorker editor David Remnick contributes a foreword. This is a stunning gift for the millions of New Yorker readers and anyone looking for some humour in the evolution of social commentary.


An exceptional volume bringing together 1,000 images representing the diversity and richness of the visual arts in Vienna at the turn of the 20th century Christian Brandstätter is the author of numerous books about Viennese art of the 20th century, and the leading publisher in the field. Rainer Metzger is an art historian and author, and has been a professor at the Kunstakademie Karlsruhe since 2004. His books include Gustav Klimt: Drawings and Watercolours, Berlin in the 20s and Munich: Its Golden Age of Art and Culture 1890–1920, all published by Thames & Hudson. Daniela Gregori studied Art History in Vienna and Hamburg. As an author and journalist she works especially in the field of applied arts.

1,000 illustrations 30.8 x 24.0cm 544pp ISBN 978 0 500 519301 September £85.00

Vienna 1900 Complete

The haGenBund

Christian Brandstätter, Rainer Metzger and Daniela Gregori Amid all the exciting comings and goings in the world of aesthetics, the Secession was not Vienna’s only artistic rebellion. In 1900 the higher echelons of the art world found themselves faced with another rebellion, this one led by Joseph Urban, an architect, set designer and illustrator. Together with his brother-in-law Heinrich Lefler (a landscape painter who was later to teach Richard Gerstl, among others, at the Academy) and the sculptor Wilhelm Hejda (who had decorated the Ministry of War building and the Urania obervatory), Urban tried to establish a new branch of the Künstlerhaus by mounting a separate show within its principal exhibition. This small group called itself the Hagenbund



or ‘Hagen Association’ – not after the warrior from Wagner’s Ring Cycle, but in honour of the landlord of an inn where they used to meet. So it was that in 1900 the Hagenbund exhibited their work at the Künstlerhaus, attempting to complete the circle by linking the forwardlooking impetus of the Secession with the tradition-orientated Association of Austrian Artists. The move resulted in failure, however, and the end of the year saw the inevitable break. The rebels found themselves a temporary headquarters: ‘The dissidents arranged a sort of protest exhibition in the Miethke art salon,’ said a laconic press report. In spring 1902 they acquired

Krakow. And, unlike its competitors, the Hagenbund had no fears about opening its doors to outsiders: Oskar Kokoschka, Anton Faistauer, Franz Wiegele and Anton Kolig – all from the up-and-coming generation of Expressionists – found a forum in the Hagenbund’s Zedlitzgasse exhibition rooms.

premises of their own. The city offered Urban an indoor market on Zedlitzgasse, in the city centre, which he converted into his own version of Olbrich’s Secession building, complete with a strikingly majestic entrance and a pragmatic ‘container’ within. The building’s nod to the Secessionist style was quite deliberate, as is shown by the Hagenbund’s emblem: a garland with three empty shields suggesting the three genres of painting, architecture and sculpture, just like those on the first cover of the Secessionist journal Ver Sacrum. The members of the Hagenbund did not contribute a great deal to Vienna’s artistic scene. There was some atmospheric Impressionism from Ludwig Ferdinand Graf, who became president of the association after Urban’s noisy resignation at the end of 1908. The group also included the book designer and calligrapher Rudolf Junk, a champion of Art Nouveau, who became the third president in 1911–12. Perhaps the most important of the artists was Oskar Laske, whose pictorial language was unique, a combination of panoramic as well as miniature scenes packed with figures and intricate details that could be gazed upon for hours. During the years of its existence (there was a hiatus in 1912 when the city ended the rental agreement, but it was revived after the First World War), the Hagenbund in effect represented an alternative to other artistic groupings. From the start it went out of its way to cooperate with other artists’ associations, especially those from other parts of the empire, such as Prague, Budapest and

painTinG and drawinG

Below Leopold Bauer, vase, 1906. Colourless glass, opalescent orange underglaze, covered with pulled-thread motifs in grass green on the lower two-thirds and silver on the upper third. Made by Johann Lötz Witwe, Klostermühle.

Right Kolo Moser, vase, 1900. Colourless glass, opaque yellow underglaze covered with silvery yellow, fused in orangered, with four large fused feet in silvery yellow. Made by Johann Lötz Witwe, Klostermühle, for E. Bakalowits Söhne, Vienna.

Opposite, above Heinrich Lefler, poster for the first Hagenbund exhibition, 1902. Colour lithograph. Printed by Christoph Reisser, Vienna

Above left Hans Rathausky, poster for the 11th Hagenbund exhibition, 1904. Colour lithograph. Printed by Christoph Reisser, Vienna

Opposite, below The Zedlitzhalle at 6 Zedlitzgasse, Vienna, built by Joseph Urban and opened as an exhibition hall for the Hagenbund in 1902.

Centre left Joseph Urban, illustration for the Hagenbund catalogue, 1904. Colour lithograph. Below left Otto Barth, poster for the Hagenbund spring exhibition, 1912. Colour lithograph.

The haGenBund

Centre right Kolo Moser, vase, 1900. Colourless glass, opalescent underglaze covered with silvery yellow, fused in silvery yellow, violet and salmon pink. Made by Johann Lötz Witwe, Klostermühle, for E. Bakalowits Söhne, Vienna. Bottom right Kolo Moser, vase, 1900. Colourless glass with opalescent underglaze, silvery yellow with a fused band of violet wave motifs around the middle. Made by Johann Lötz Witwe, Klostermühle, for E. Bakalowits Söhne, Vienna.


Left Koloman Moser, large vase, 1903. Colourless glass with applied iridescent colours. Made by Johann Lötz Witwe, Klostermühle, for E. Bakalowits Söhne, Vienna. Above right Jutta Sika, vase, 1905. Greenish glass grading to pink at the top, with a matt iridescent effect, three applied handles stretching between the rim and the base. Made by Johann Lötz Witwe, Klostermühle, for E. Bakalowits Söhne, Vienna, for the Vienna School of Arts and Crafts.. Below right Josef Hoffmann, vase, 1900. Opaque glass with applied blue, silver yellow iridescent spots, five applied teardrop-shaped feet. Made by Johann Lötz Witwe, Klostermühle, for E. Bakalowits Söhne, Vienna.


AppLied And decorAtive ArtS



At the turn of the 20th century, Vienna became an epicentre for new thought. A multi-disciplinary environment emerged where musicians, writers and intellectuals all flourished, often coming together in the capital’s famous coffee houses. This was the time of Freud and Wittgenstein, of Mahler and Schönberg, and of the Secession (1897–1905), the modern movement led by Gustav Klimt, Josef Hoffmann and Koloman Moser that aimed to bring different arts together in a ‘Gesamtkunstwerk’; of Jugendstil and of the Wiener Werkstätte. There have been many exhibitions and publications devoted to this effervescence of artistic creation, and even more monographs devoted to its key players. None, however, brings together a selection of visual material from across the different artistic disciplines as significant as this volume, curated and authored by three leading scholars of the period. The illustrations take the lead throughout, creating an invaluable visual reference point for all those eager to identify a given category of the arts within this period, particularly in the field of the decorative arts, from ceramics to glass, silverwork, furniture and jewelry; and graphic arts, from book design to posters and postcards. There are also many less familiar works in the field of fashion and photography, and a particular focus is given to the role of women practitioners of the time. This is an essential publication for anyone interested in fin-de-siècle Vienna, Viennese art and modern decorative arts more generally.


Elegant illustrations of classic pieces of mid-century modern design, presented in a compact single volume Here Design is a multidisciplinary design studio that dreams up and crafts whole brand worlds, rooted in authenticity and cultural knowledge. Frances Ambler is a guest editor at MidCentury Magazine.

96 illustrations 17.6 x 12.7cm 200pp ISBN 978 0 500 022030 July £9.95



The designs of Raymond Loewy, encompassing everything from cars and cigarette packets to the Coca-Cola bottle, had a huge influence on the look of modern America. He created products for more than 200 companies including, in the example of this tableware service designed with Richard Latham, the German brand Rosenthal. Rosenthal hired Loewy to update their image, as part of their bid to break into the American market. His design is up-tothe-minute, almost as futuristic as the name suggests. Its form echoes the silhouettes of 1950s fashion – particularly the coffee pot, which recalls the small-waisted, full-skirted designs of the period – and encompasses the smooth, streamlined appearance associated with Loewy’s varied designs. The result more than surpassed Rosenthal’s brief. In fact, the service proved to be so successful it remained in production until 1978.





The Artichoke is the Modernist’s chandelier, its 72-leaf layered petals making it one of the most commonly recognized pieces of mid-century design. Although Poulsen created more than 100 designs for lamps over his lifetime, this remains the best known – a stylish encapsulation of his desire to achieve ‘harmony in lighting’. It was the result of systematic experimentation – adjusting the size and shape of the shade, exploring different materials and colours – with the aim of disguising and softening the glare of electric bulbs. The Artichoke can claim to provide ‘100% glare-free light’ in addition to offering striking, sculptural design. The Artichoke was commissioned for the Langelinie Pavillonen restaurant in Copenhagen, where it still hangs. It also remains in production, continually sought after, with much of the production process still done by hand. Such is the collector’s market, there was even a limited edition gold leaf version produced in 2010.


Mid-Century Modern: Icons of Design Illustrations by Here Design • Text by Frances Ambler The mid-20th century was one of the most popular, collectable and dynamic periods of international design. Drawing on the inventive style of the era, this chic little book features scores of exclusive illustrations of classic mid-century designs, from Eames chairs to Poul Henningsen lamps and George Nelson clocks, all rendered in a distinctive graphic style. Featuring over ninety pieces by sixty designers and design duos, MidCentury Modern: Icons of Design is arranged chronologically, and includes chairs, tables, storage, lighting, and product and industrial design. Each spread includes a graphic depiction of the piece, while fact-filled and informative texts explain the designers’ influences and the products’ place in design history. The models, materials and designers index offers easy reference through the book. Brimming with the most recognizable and well-loved pieces from a period of design that is always in style, this book is the ideal gift for all design and interior enthusiasts.


An authoritative survey of the 20th century’s defining movement in design and the applied arts Dominic Bradbury is a journalist and writer specializing in architecture and design. He is the author of many books on the subject, including Mountain Modern, New Brazilian House, Vertical Living, Mid-Century Modern Complete, The Iconic Interior, Mediterranean Modern, New Natural Home and The Iconic House, all published by Thames & Hudson.

Over 600 illustrations 30.8 x 24.0cm 480pp ISBN 978 0 500 518427 October £60.00

Modernist Design Complete Dominic Bradbury

Also available

The powerful aesthetic and philosophical framework that Modernism ushered in during the early part of the 20th century revolutionized the built world, transformed our living spaces and lifestyles, and fundamentally changed the way we think about design. As they experimented with new forms, materials and techniques, Modernist designers rejected historical precedents to prioritize function over history and tradition. This comprehensive volume brings together all facets and scales of Modernist design, presenting the vast breadth of both towering and lesserknown figures, and revealing unexpected connections and new insights. With sections on furniture, lighting, glass, ceramics, textiles, industrial and product design, graphic design and posters, architecture and interiors, and featuring profiles of nearly a hundred influential creators, including such iconic figures as Bruno Mathsson, Charlotte Perriand and László Moholy-Nagy, as well as architects Alvar Aalto, Le Corbusier, Eliel Saarinen and Walter Gropius, the book’s scope is unprecedented. Complete with specially commissioned essays by established academics and subject specialists, and with over 600 illustrations, the majority in colour, Modernist Design Complete is set to become the definitive reference for a generation, indispensible for the designer’s studio, the library shelves or the collector’s desk.

978 0 500 519141 £65.00

978 0 500 238554 £60.00

978 0 500 517277 £65.00



New in paperback

A critically acclaimed survey of the work and legacy of the pioneering design duo Catherine Ince is Chief Curator, V&A East, Victoria and Albert Museum. She previously worked at the Barbican Art Gallery, where she curated ‘The World of Charles and Ray Eames’ (2015) and ‘Bauhaus: Art As Life’ (2012).

Life in Work



Illustrated throughout 32.0 x 24.0cm 320pp paperback ISBN 978 0 500 294628 August £29.95

‘A revelatory portrait of a hugely influential postwar creative duo’ Sunday Times ‘A great resource’ Creative Review ‘Magnificent’ Observer, Books of the Year

The World of Charles and Ray Eames Edited by Catherine Ince Charles (1907–1978) and Ray (1912–1988) Eames are among the most important designers of the 20th century, and the story of the Eames Office is that of visual and material culture in the post-war modern period. The World of Charles and Ray Eames charts the history of their inspiring and prolific world and brings together key works and ideas explored at the Eames Office throughout its extraordinary history. This definitive monograph explores the era-defining work of the Eames Office, a ‘laboratory’ active for over four decades, where the Eameses and their collaborators produced a vast array of pioneering and influential projects – from architecture, furniture and product design to film, photography, multimedia installation and exhibitions, as well as new models for arts education. Themes include ‘The Eames Office: Life in Work’, ‘At Home with the Eameses’, ‘Information Machines’, ‘The Seeing Eye’, ‘Office USA: Communicating “America” at Home and Abroad’, and ‘The Art of Living’. Alongside specially commissioned texts by leading design experts, The World of Charles and Ray Eames includes contemporaneous reviews and magazine articles, writings by Charles and Ray Eames themselves, personal correspondence and a comprehensive reference section.


A comprehensive design resource that reveals how the iconic chairs of the 20th and 21st centuries have been designed for mass production James Orrom is Professor for Product and Furniture Design at the Rosenheim University of Applied Sciences in Germany. He cofounded Umlauf & Orrom Studio for Industrial Design in 1987, producing furniture, film equipment, porcelain, glassware and other products for such international clients as BMW, Siemens and Villeroy & Boch.

Over 650 illustrations 25.5 x 21.0cm 240pp ISBN 978 0 500 021750 October £39.95

Chair Anatomy


Design and Construction James Orrom

This book provides young designers with a reference work about chairs. In photos and illustrations, it reveals the form and the construction details – the anatomy – of a selection of fifty chairs chosen from the last 150 years of modern chair design. It also introduces the designers behind these chairs, their backgrounds and their routes to creating the chairs. It is not intended as an instruction book or a how-to-build manual, or to steer young creatives towards using standard solutions. By showing in detail the way materials and constructional details have been used, the book provides a platform of knowledge upon which to move forward and develop new ideas. The wheel does not have to be invented anew every single time – to know that a particular dimension is not only possible, but is also an aesthetically pleasing one, can be the vital step towards new ideas and solutions. The short-cut to help jump from a creative concept to a workable prototype. Many young creative professionals have a limited experience of iconic chairs. Their visual repertoire has not had time to develop and they have not yet been in a position to study seating hands-on. Inevitably the scarcity, or value, of many well-known chairs, whether presented in a museum, exhibition setting or even a high-quality showroom, often prevent them from being touched, judged and sat upon, let alone dismantled, weighed and measured. This reference book supplies the missing technical information, down to the smallest screw, presenting it in a highly visual format. It offers the chance to learn about specific details in a manner previously unattainable, and to see elements of the chairs with unprecedented clarity. For example, in a new chair project a common drawback of many preliminary design experiments, whether in college or a design practice, is the oversizing of materials. Out of an uncertainty about the mechanical properties of the chosen materials the dimensions are often exaggerated to be on the safe side. Using this book, it can be seen how similar problems have been solved in the past, and answers to the following questions can be found for each of the chairs shown: ‚Which leg cross-sections were





Construction Seat and backrest: 2mm aluminium sheet, outline and holes laser cut, pressed and swaged in two-part pressing tool, then edge trimmed and fixing holes cut with a 6-axis laser. Seat-fixing: nine M6 x 12mm, two M6 x 17mm, all blackened cylinderhead socket screws. Rear four screws use nylon wedge-spacers to align, as all screwholes are threaded in one axis. Cast-on spacers at all screwholes, 1.5mm and 4mm high, ensure an even air-gap and support for the seat shell. Backrest-fixing: sideways two M6 x 40mm which also attach the legs, upwards two M5 x 10mm, all stainless dome-head socket screws. Front legs: Ø22.5mm aluminium tube, 2mm WT, later version steel tube same dimensions. Front fixing two M5 threadedinserts, nylon spacer, two M5 x 25mm slotted pan-head screws. Rear fixing nylon compression-insert with captive M6 nut, tube-end faced at 7° angle, located in Ø26.5mm x 2mm recess in frame. Rear legs and frame: high-pressure diecast aluminium, 44-45mm wide, 12.212.5mm thick, recessed sections on inside faces 8,5mm deep, 24-25mm wide. Y-shape sides joined by three stretchers, each joint positioned with wedge-tenons fixed with two M4 x 25mm (top stretcher M4 x 17mm), all stainless cylinder-head socket. Screws concealed by six push-fit die-cast caps. To reduce production costs the frame sections had to be cast in twopart-dies, resulting in each joint having different geometry and draw angles.





Chairs are the design pieces that most of us use most of the time, so the importance of good chair design to our well-being cannot be underestimated. Accordingly, designers and architects have grappled with making the perfect chair for centuries. But we only really see the end product, and have little idea of how our chair was made, or even why it is special. Chair Anatomy reveals in photos and illustrations the form and the construction details – the anatomy – of more than fifty chairs made in the last 150 years. In reducing chairs to their constituent parts, the book gets to the heart of each design: how pieces are designed and produced to fit together; why a certain material imparts a certain quality, functional advance or comfort level; and how the chair’s structure can withstand stress while being elegant and economical to produce. It also introduces the designers behind these chairs, their backgrounds and their routes to creating the chairs. ‘Exploding’ these chairs gives insight into the careful and detailed thinking that has gone into a piece of furniture that we take for granted, and offers designers and students, in a single reference source, a truly nuts-and-bolts perspective on masterpieces of design.



A celebration of the sofa through the work of more than 150 designers, from timeless design icons to future classics Agata Toromanoff is an art and design historian. She has worked for collectors and galleries, and has curated and managed numerous contemporary art projects. As well as writing features for the art press, she is the author of Chairs by Architects, also published by Thames & Hudson.

Over 450 illustrations 18.0 x 18.0cm 256pp ISBN 978 0 500 021262 August ÂŁ16.95

Sofas Agata Toromanoff


For many of us, the sofa is our favourite piece of furniture. But nowadays, with living space increasingly limited, it often plays more than one role in the home. The sofa becomes a decorative centrepiece, allowing us to put our own stamp on our living space; it may extend a child’s play area or double up as a bed. As a result, we expect multifunctionality, originality in form, and materials that are practical and long-lasting. This generously illustrated volume celebrates the creativity of more than 150 designers and brings together the very best in sofa design from the 20th and 21st centuries. As well as design icons by the likes of Josef Hoffmann, Eileen Gray, Le Corbusier and Arne Jacobsen, it showcases the most inventive creations of recent years from designers who continue to redefine and expand this field of design. Profiles are arranged alphabetically by designer. There is also practical advice on buying a sofa and styling a living space, and a timeline of sofa design. This treasure trove of exciting creations and handy tips will appeal to anyone in search of inspiration for their own home, or with an interest in furniture design in general.


A revealing look at new city living, featuring seventy of the world’s most innovative, extreme and ingenious houses Jonathan Bell is an Editor-at-Large at Wallpaper* magazine. He is also the author and editor of nine books, including Carchitecture, The 21st Century House, Penthouse Living and The Modern House. Ellie Stathaki is Architecture Editor at Wallpaper* magazine. She trained as an architect at the Aristotle University of Thessaloniki and studied architectural history at the Bartlett in London. She is the co-author of The New Modern House: Redefining Functionalism and Todd Saunders: Architecture in Northern Landscapes. c. 750 illustrations 23.5 x 22.0cm 352pp ISBN 978 0 500 021941 October £24.95

The Contemporary House Jonathan Bell and Ellie Stathaki







1 Front elevation 2 Rear elevation 3 Living room 4 Kitchen and garden 5 Section


LONDON BROWNSTONES The London terrace house is an evolving archetype that lends itself to almost infinite adaptation. Unsurprisingly, the past few decades have seen very little in the way of contemporary terraced housing built in the city, as lack of sites, strict planning legislation, and the sheer cost of construction hampers new development. The terrace has historically been the realm of the property speculator. In an Edwardian street in North Dulwich, a prosperous south London suburb, the entrepreneurial spirit is revived by a project that uses the terrace’s harmonious proportions and space efficiency to the best advantage. Architects Knox Bhavan were commissioned to design two new five-bedroom houses. The plan was for the client to live in one and sell the other to fund the project, with the typology easing the case for planning and a mirrored floorplan simplifying the design. In the end, the houses differ subtly, mainly due to the building line at the rear, which is cut back to preserve the rights to light of the 132


adjoining street. A timber frame allowed for flexible construction, and while the houses synchronize effectively with their neighbors in terms of overall proportion and tone, the careful detailing is thoroughly contemporary. Dubbed the “London Brownstones”—a nod to the ubiquitous terraced housing style of New York—the pair are clad in terracotta sandstone with elements like columns, lintels, and sills picked out in white sandstone. The attention to detail is evident throughout, especially in terms of the use of simple materials like brick, wood, and white plaster, and the junctions and joints. Polished concrete ground floors unify the spaces, which conform broadly to a conventional floorplan, with a three-story outrigger at the rear clad in larch, designed to bring light into the heart of the plan. The curved roof profile at the front is reflected in the curvaceous plaster ceilings and details throughout, showcasing how small shifts in an aesthetic approach can update a classic design for modern life. EUROPE


Building in the modern city is an architectural challenge on every level. Combining the demands of contemporary life with high levels of environmental performance and the need to address surrounding structures, every urban dwelling is a material, logistical and technical jigsaw puzzle. Featuring some of the world’s most innovative, extreme and ingenious urban interventions, The Contemporary House looks at the many ways in which modern residential design is integrated into the existing urban fabric. Every house represents a challenge, from new takes on traditional typologies through to radical proposals for unconventional sites. As well as the houses themselves, the book provides an insight into the conditions that shape the architecture of some of the world’s major cities, through recent history, signature styles and current conditions on the ground. With seventy spectacular houses from around the world, including London, New York, Paris, Tokyo, Cape Town, Sydney and beyond, this is a vital look at new city living.



A dazzling showcase of the best contemporary residential projects across Central and South America Philip Jodidio studied art history and economics at Harvard, and edited Connaissance des Arts for over twenty years. He is the author of numerous books, including monographs on Tadao Ando, Santiago Calatrava, Norman Foster, Richard Meier, Jean Nouvel and Zaha Hadid. His books for Thames & Hudson include The New Pavilions.

Over 250 illustrations 29.0 x 23.0cm 320pp ISBN 978 0 500 343296 August £38.00

Casa Moderna Latin American Living Philip Jodidio Since the sensuous Modernism pioneered by Oscar Niemeyer in Brazil, Latin America has become one of the most exciting locations for contemporary architecture in the world. Alejandro Aravena and Paulo Mendes da Rocha, both recent Pritzker Prize winners, are just two very different examples of the wide architectural range that has brought international attention to a continent making a name for itself as a centre for innovation and experimentation. From the dramatic plateaux of the Andes to the lush tropics of the Amazon to the world’s driest desert, the Atacama, the rich range of climates, terrains and cultural influences across Latin America offers significant opportunities to create new residential architecture. This overview showcases the most accomplished and rarely seen contemporary houses, by established names – Isay Weinfeld, Mathias Klotz and Marcio Kogan – as well as the rising talents now receiving recognition on the world stage, including Pezo von Ellrichshausen and Giancarlo Mazzanti. Following an introduction that sets out the development of Latin American architecture since Niemeyer, the book reveals how each house has gone beyond its brief in stunning and unexpected ways, resulting in buildings that transcend their time and place.


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Also available

978 0 500 293232 £24.95

978 0 500 517338 £24.95


Updated compact edition

The Iconic House

A handy resource for all lovers and enthusiasts of house design, featuring over 100 of the world’s most significant residential buildings

Architectural Masterworks Since 1900 Dominic Bradbury • With photographs by Richard Powers The Iconic House features over 100 of the most important and influential houses designed and built since 1900. International in scope and wide-ranging in style, the houses share a remarkable sensitivity to site and context, an appreciation of local materials and building traditions, and a careful understanding of clients’ needs. Each, however, has a unique approach that makes it groundbreaking and radical for its time. Concise, informative texts and fresh, vibrant illustrations, including specially commissioned photographs, floor plans and drawings, offer detailed documentation, while architect biographies, a bibliography, a gazetteer and list of houses by type provide further information. Whether Arts and Crafts or Art Nouveau, Modernist or Minimalist, HighTech or new vernacular, these unforgettable buildings from around the world will inspire and delight students and professionals, design aficionados and anyone who dreams of building a house of their own.

Dominic Bradbury is a journalist and writer specializing in architecture and design. He is the author of many books on these subjects, including Mountain Modern, Mid-Century Modern Complete, The Iconic Interior, Mediterranean Modern, New Natural Home and Modernist Design Complete (see p89). Richard Powers is a photographer who specializes in interiors and the built environment. His books include Beyond Bawa, New Natural Home and New Paris Style.

660 illustrations 22.4 x 20.8cm 376pp ISBN 978 0 500 293942 August £24.95

‘A pretty much definitive guide to the houses that have come to define “modern architecture”’ Wallpaper*

‘The ultimate handbook for those wanting to delve into the evolution of 20th-century architecture’ House & Garden



main floor

1 2 2 4



1 bedroom 2 bathroom 3 kitchen 4 dining room 5 living room 6 terrace




The surrounding views are best appreciated from the roof terrace, with its discreet sun shading and bold murals. It also acts as a lightwell, introducing sunlight into the semiopen-plan living spaces.







The most thorough photographic survey of nearly all of Le Corbusier’s extant projects and the ultimate visual document of the modern master’s work

Le Corbusier

The Buildings

Architectural photographer Richard Pare is the author of the seminal volume The Lost Vanguard: Russian Modernist Architecture 1922–1932. He was the founding curator of the photography collection of the Canadian Centre for Architecture and a consultant to the collection since 1989. Jean-Louis Cohen is a renowned architectural historian and founder of the Cité de l’architecture, a museum, research and exhibition centre in Paris’s Palais de Chaillot. He has extensively interpreted Le Corbusier’s work and Paris planning history.

475 illustrations 26.7 x 28.6cm 480pp ISBN 978 0 500 343449 October £95.00

Photographs by Richard Pare Text by Jean-Louis Cohen

Le Corbusier: The Buildings Photographs by Richard Pare • Text by Jean-Louis Cohen



Until the construction of the Unité d’Habitation in Marseille, Le Corbusier’s largest building project was located in Moscow; it is also perhaps one of the most complex of his entire built work. Invited in 1928 to participate in the competition to design the new headquarters of Centrosoyuz, the Central Union of Consumer Cooperatives of the USSR, Le Corbusier was awarded the commission—only after, in what must surely be a unique intervention, a successful petition on his behalf was mounted by a group of Russian architects also participating in the competition.


Le Corbusier imagined a great number of different schemes for this project, located on a lot on Miasnitskaia Street, which connects the center of Moscow to the northeast. Finalized at the end of 1928 after a decisive trip to the USSR, the project is composed of three rectangular blocks erected on pilotis, framing the curving volume of the club. Fascinated by the density of pedestrian traffic in Moscow, Le Corbusier concluded that “architecture is circulation” and developed an “architectural promenade” over six floors, using ramps of varying curvatures and slopes. On the building’s exterior, opaque red tuff alternates with fully glazed facades and walls pierced by ribbon windows. Unfortunately, Le Corbusier’s ambitions concerning his clients’ ability to erect his system of “neutralizing walls” and “exact respiration,” which anticipates air conditioning, were thwarted. Still worse, the building drew much criticism; before it was even completed, it was described by Hannes Meyer, former director of the Bauhaus, as an “orgy of glass and concrete” at a time when Russia was suffering from a terrible famine. It would take all of Izidor Lyubimov’s determination, first as director of Centrosoyuz, then as the People’s Commissar for Light Industry, for the building to be completed—but only after numerous alterations were made to the original design. Construction was directed by the Russian architect Nikolai Kolli, who had participated in the design of the project in Paris, with the assistance of Czech architect Frantisek Sammer. Charlotte Perriand also kept Le Corbusier informed of the problems encountered, including changes in the color scheme, ultimately far less bold than what had been decided in Paris. Sharply criticized by certain Bolshevik leaders—Lazar Kaganovich compared it to a “fat sow with stumpy legs”—the building was further altered when the pilotis supporting the club were replaced with fluted columns. Taken over during the 1960s by the Directorate of National Statistics of the USSR, the building was thoughtfully restored by Leonid Pavlov, who remained faithful to the spirit of the original. The same is not true of the reconstruction undertaken in 2012 (after the pictures shown here were taken), once the building was taken over by Rosstat, the Federal State Statistics Service and Federal Financing Monitoring Service. While the main circulation spaces and ramps were returned to their original dimensions, the club room is now unrecognizable. The glass walls of the facade were replaced by thick aluminum frames, going against Le Corbusier’s clearly stated original intentions.



Widely acknowledged as the most influential architect of the 20th century, Le Corbusier and his works have been extensively researched. As thoroughly documented as his works are, however, they have never been exhaustively photographically surveyed until now. Photographer Richard Pare has crossed the globe for years to document the extant works of Le Corbusier – from his first villas in Switzerland to his mid-career works, as one of the first global architects, in locations as far-flung as Argentina and Russia, and his late works, including his sole North American project, at Harvard University, and an extensive civic plan for Chandigarh, India. Le Corbusier: The Buildings provides numerous views of these projects to bring a fuller understanding of the architect’s groundbreaking concepts made manifest. Pare’s photographs bring these spaces into vivid relief, including buildings that have long been inaccessible to the public, detailing Le Corbusier’s command of space, sometimes surprising use of materials and colour, and the almost ineffable qualities that only result from a commanding synthesis of all aspects of design. With an authoritative text by scholar and curator Jean-Louis Cohen, Le Corbusier: The Buildings is a groundbreaking opportunity to appreciate the master’s work anew.




Thirty pioneering houses designed by architects for themselves over the past decade, revealing the ingenious ways they have addressed the challenges of creating a contemporary living space Michael Webb is a Los Angeles-based writer who has authored more than twenty books on architecture and design, most recently Building Community: New Apartment Architecture, while contributing essays to many more. He is also a regular contributor to leading journals in the United States and Europe. 357 illustrations 29.0 x 23.0cm 304pp ISBN 978 0 500 343401 July £36.00

Architects’ Houses Michael Webb Thirty of the world’s leading architects, including Norman Foster, Thom Mayne, Tod Williams and Billie Tsien, talk about the houses they designed for themselves over the past decade. What inspired them, what were the constraints, how did their concepts take shape? Michael Webb explores the creative process and traces the influence of architects’ houses over the past two hundred years, from Jefferson’s Monticello to the creations of Charles and Ray Eames, Toyo Ito and Frank Gehry. Texts, images, sketches and plans are interwoven to illustrate houses that differ widely, in size, material, character and location. There are urban infills, rustic retreats, experiments, and fusions of new and old. They all make a statement, modest or ambitious, and each reflects the personality and tastes of its owner. These architects have accepted the challenge of doing something out of the ordinary, turning constraints to advantage. They give different answers to a crucial question: how can a house enrich lives and its surroundings? Spacious or frugal, refined or rough-edged, daring or reductive, these adventurous dwellings will inspire other architects and everyone who would like to design or commission a house that is one-of-a-kind.



A selection of beautiful houses set amid the world’s most stunning landscapes, designed by award-winning New Zealand architect Andrew Patterson Andrew Patterson is the director of Pattersons Associates Architects. An Auckland University Distinguished Alumni, he is a Guest Professor at Unitec and a Fellow of the New Zealand Institute of Architects (FNZIA). He is currently a member of the Auckland and Queenstown Urban Design Panels and President of the Auckland Architecture Association.



300 illustrations 26.0 x 30.0cm 252pp ISBN 978 0 500 022191 October £48.00






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In Maori culture, architecture is approached as a construction of beliefs: a building must emulate and amplify personalities, hopes and aspirations, becoming the physical expression of those who inhabit it. These ideas and others are the inspirations behind the house projects of New Zealand architect Andrew Patterson, who has been designing houses and civic projects in the country for over thirty years and who was awarded the New Zealand Institute of Architects 2017 Gold Medal. This book showcases seventeen of Patterson’s recent houses, in some of the most dramatic locations in New Zealand, from stunning seascape retreats to hillside cabins. Each house reveals how Patterson’s architecture responds to the region’s breathtaking landscapes to tell the story of the country’s cultural history and to create a sense of place and belonging. This fully illustrated, large-format overview is interspersed with thematic sections that present Patterson’s key influences and the culture and lifestyles of New Zealand more broadly, particularly Maori language, history and mythology.


A new collection of Vincent Van Duysen’s works, featuring his most recent projects

Vincent Van Duysen Works 2009–2018 Vincent Van Duysen • Foreword by Julianne Moore Preface by Nicola di Battista • Photographs by Hélène Binet A companion to Vincent Van Duysen Works 1989–2009, this new overview presents Van Duysen’s most recent works. The projects featured include an array of elegant residences in New York, Paris and The Hamptons, and other private and public buildings, such as the Alexander Wang store in London. Van Duysen’s forays into product and interior design are also featured, including yacht interiors and furniture and homeware design for brands including the esteemed Italian house Molteni & C. This new collection of works also includes a foreword by close friend of Van Duysen, Julianne Moore, an insightful preface by the architect Nicola di Battista and newly commissioned photography by Hélène Binet. Vincent Van Duysen’s practice was founded in 1990 and is based in Belgium. Julianne Moore is an Academy-Award-Winning actor. Nicola di Battista is an acclaimed architect based in Rome, Italy. Hélène Binet is a celebrated architectural photographer.

300 illustrations 29.7 x 23.2cm 320pp ISBN 978 0 500 021644 November £48.00

Available again

Vincent Van Duysen: the first twenty years, over thirty projects

Vincent Van Duysen Works 1989–2009 Introduction by Marc Dubois • Photographs by Alberto Piovano Foreword by Ilse Crawford For over three decades, Belgian architect Vincent Van Duysen has created a body of work that is at once sublime and rich, minimal yet tactile. This monograph presents his complete works from 1989 to 2009, including his domestic architecture, office and commercial spaces, as well as furniture and decorative objects for such leading international manufacturers as B&B Italia, Poliform and Swarovski. Over thirty projects are presented in detail, each with a project profile, many accompanied by specially commissioned photographs taken by Alberto Piovano, along with a complete project chronology. Marc Dubois is a Belgian architecture critic. Alberto Piovano is a noted architectural photographer. Ilse Crawford is one of the world’s leading interior design consultants.

250 illustrations 29.7 x 23.2cm 288pp ISBN 978 0 500 343432 November £48.00



Buildings Nature Cities Andrew Bromberg at Aedas

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An architectural journey through the cityscapes and buildings of Andrew Bromberg’s career to date Andrew Bromberg is an American architect based in Hong Kong and global board director of Aedas, one of the world’s largest architecture firms. Aaron Betsky is dean of the Frank Lloyd Wright School of Architecture and a former practitioner, critic, curator and museum director. He has been deeply engaged with the world of architecture for almost fifty years and has written numerous monographs on the work of late 20th-century architects.

400 illustrations 24.0 x 19.2cm 288pp ISBN 978 0 500 519653 October £29.95

Buildings Nature Cities Andrew Bromberg at Aedas £00.00

With Aaron Betsky


China World Trade Center Beijing, China Status: Planning GFA: 57,000m² Site Area: 19,580² Building Height: 48m

The China World Trade Center has grown organically over the past 30 years and it will be the fifth and final phase for this development. Although it is highly visible and recognizable from a distance, when one approaches the masterplan it is evident there is no “Civic Focal Point” or a “front door” to the complex. This mixed use scheme will be the missing link that will unify the developments components. The proposal looks at doing this in two complimentary approaches. The first is by introducing a “Civic Green” for the entire masterplan. Secondly, the proposal wanted to develop a singular, powerful and obvious “front door” to the entire complex. This entrance was located at the most visible and accessible corners of the site. The new development will allow the basement retail to have continuous loop which also ties the current and future subway lines together. The intent is to enable and encourage connections over and under the Third Ring Road. As the new “front door” of China World, 3C will become a catalyst as a cultural center that brings people together from within and beyond China World Trade Center. The challenge and the motivation of the scheme is to allow the Civic Green, the Front Door and the Retail Loop to complement each other as they are seen as equally important. As the project is fundamentally a commercial development, a large portion of the site is needed to be money generating areas. Consequently, the “Civic Green” was lifted above the ground. However, it was important that this green space did not just become an unseen green roof. To allow the Civic Green to be viable, it becomes a sloped plane which dips down to the main entrance and is immediately accessible and visible from all levels of the development.


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Andrew Bromberg at Aedas: Buildings • Nature • Cities Andrew Bromberg • With an introduction by Aaron Betsky Andrew Bromberg, of global architecture and design practice Aedas, was born and raised in the Rocky Mountains of the United States and now lives and works in Asia. A leading light in the design of cutting-edge skyscrapers and large-scale development projects, he views cities not just as collections of buildings but as human-made landscapes shaped by social and economic forces as gradual or as abrupt as the erosions, accretions, uplifts and explosions that shape the natural world. Now inhabiting the craggy mixture of natural and human-made structures that define Hong Kong, Bromberg has long modelled his work on his knowledge of nature and his understanding of tectonic forces, natural and human. Drawing on a series of conversations and exploratory walks in major Asian cities – including Singapore and Ghuangzou – architecture critic Aaron Betsky reveals how Bromberg visualizes his settings and locates his designs within the complex and dynamic contexts in which they appear. Interspersed amid these urban reflections is a largely visual presentation of over twenty of Bromberg’s most exciting recent projects across Asia and the Middle East. Together these comprise a monograph–manifesto that offers a singular vision for the cities that will shape our future world.


Revised and expanded edition

A monograph on one of Britain’s most esteemed architects, expanded to include thirty-four new projects David Chipperfield is one of Britain’s most respected architects. Luis Fernández-Galiano is an architect, chair professor at Madrid’s School of Architecture (ETSAM) and editor of the journals AV/Arquitectura Viva. Fulvio Irace is a professor at the Politecnico di Milano. Bernhard Schulz has been editor of the culture section of the German newspaper Tagesspiegel for thirty years.

Illustrated throughout 32.0 x 25.0cm 392pp paperback ISBN 978 0 500 294543 Available now £49.95

‘A pretty tasty object’ Architects’ Journal

David Chipperfield Architects Texts by David Chipperfield, Luis Fernández-Galiano, Fulvio Irace and Bernhard Schulz

The section demonstrates how the building allows light to enter through the hollow centre, while the cuts into the building allow for generous views out 126


Sir David Chipperfield is of one of Britain’s leading architects. Renowned for his quiet and thoughtful style, he has a huge international reputation and has created works in China, Japan, Italy, USA, Spain and Germany. Chipperfield produces sophisticated buildings, from museums to homes, with an acute sensitivity for materials and a powerful awareness of their environment. This revised and expanded book presents projects spanning Chipperfield’s entire career. Each has a project profile, many accompanied by specially commissioned photographs, along with a complete project chronology. Among the featured works are the River and Rowing Museum in Henley-on-Thames, the Neues Museum Berlin, BBC Scotland at Pacific Quay, The Hepworth Wakefield, Turner Contemporary Margate, Naga Museum Sudan and Fayland House. This new edition includes thirty-four new projects, including One Pancras Square and the Royal Academy extension.



Second edition

The major monograph on Kengo Kuma, revised and expanded to include five new projects Kengo Kuma established Kengo Kuma & Associates in 1990 and went on to become Professor at the Graduate School of Architecture, University of Tokyo in 2009. Kenneth Frampton is a distinguished architectural historian and the author of many books, including Renzo Piano: The Complete Logbook and Le Corbusier, both published by Thames & Hudson.

420 illustrations 29.5 x 24.0 cm 352pp ISBN 978 0 500 343425 September £48.00

Published to coincide with the opening of V&A Dundee on 15 September 2018

Kengo Kuma Complete Works Kengo Kuma • Essay by Kenneth Frampton 104

Carbon-fibre rods, with seven times the tensile strength of steel, have been connected to curved steel beams, and embedded in the ground.






































































The three areas of the long, thin building are connected by a single roof. The incline changes, tilting upwards in some areas and sloping downwards in others, making it appear as if the roof is bowing.

Montreux Jazz Digital Project

Art & Science Pavilion



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Under One Roof




The quintessential Japanese architect of today, Kengo Kuma has forged a modern design language that artfully combines the country’s traditional building crafts with sophisticated technologies and materials. From his iconic Glass House (1995) to Dundee’s V&A (2018), this is the complete record of Kuma’s built work, comprising thirty projects to date. Kenneth Frampton’s updated essay frames Kuma’s work in the context of post-war Japan’s flourishing architecture scene and influential figures, and recounts the international acclaim that Kuma’s ideas and buildings have received. The heart of the book consists of projects presented in detail, accompanied by descriptive text and detailed drawings, and organized by the material themes that have come to define the architect’s output. This new edition includes five new projects: Komatsu Seiren Fabric Laboratory fa-bo, Under One Roof project for the EPFL ArtLab, Japan House São Paulo, China Academy of Art Folk Art Museum, and the V&A Dundee.


A personal reflection on the nature of the architectural imagination, from one of the great architects of our day Santiago Calatrava’s best-known works include the Milwaukee Art Museum, the Turning Torso tower in Malmö, Sweden, the Margaret Hunt Hill Bridge in Dallas, Texas, and the City of Arts and Sciences and Opera House in Valencia. Cristina Carrillo de Albornoz has written a number of books on leading artists and architects, including Calatrava and Ai Weiwei.

300 illustrations 25.5 x 18.5cm 224pp ISBN 978 0 500 343418 October £28.00


Sketches illustrating the plan of the garden levels within the tower and the atmosphere of the gardens around the podium base, where vistors will be able to enjoy the shade and observe the tower from below.

Drawing, Building, Reflecting With Cristina Carrillo de Albornoz

The lower observation balconies will have multiple terraces lined with perimeter planting to provide shelter. The structure draws influences from the traditional forms of Islamic art and architecture.




Cultural City Bridge (above) and the Al Sharq Bridge (opposite) push the limits of what is possible in bridge design

there are only five basic bridge typologies. Therefore the only way to be creative when building bridges is by combining and making different variations of existing elements. In some ways, the process is the same as for composing a musical symphony; one has to extend the form’s vocabulary, and to do so, one has to add notes. I have managed to expand the limited vocabulary of the bridge in multiple ways, by painting bridges in white, incorporating inclined arches, torsional forces, extremely curved structures, spans with unusual heights, arched pylons and so on. In my first buildings, my engineering background was evident. Engineering came first; now I don’t see any difference between architecture and engineering. In my experience as an engineer, it is true that



Santiago Calatrava

a bridge is the most difficult construction you can make. You are not working in the direction of gravity, but against it, so the problem opposes the solution. The same wind problems you have in a skyscraper are present in a bridge, too, so it’s technically very demanding. Only when these issues are resolved can the moment finally come to add the element of artistic creativity to your design. To summarize, the bridge embodies one of my strongest convictions: that there is no need to differentiate between architecture, engineering and art, as the construction of a bridge shows that all three disciplines can be fully and naturally merged, becoming one.


Santiago Calatrava first made a name for himself in the late 1980s with delicately designed structures in Zürich that seemed to grow out of the earth. He went on to create a series of highly innovative, iconic bridges across Europe, and in recent years he has drawn attention for such large-scale projects as the City of Arts and Sciences in his birth town, Valencia; the Museum of Tomorrow in Rio de Janeiro; and the World Transportation Hub at Ground Zero in New York. Originally trained as an engineer, Calatrava has, at heart, always leaned more towards artistic endeavours than purely structural ones: an entire floor of his residence in Zürich is devoted to creating paintings and sculpture, which he has pursued throughout his career. His influences range from art history and antiquity to natural philosophy, and he manages to combine his wide-ranging influences in buildings that are structurally highly stylized and iconic. Many books have documented Calatrava’s output over the years, but this is the first to offer his own thoughts, in his own words, in a reading format alongside drawings from his private notebooks. In this heartfelt memoir of an architect of singular conviction, Calatrava’s inspirations, lessons and achievements will touch every reader, whether aspiring architect or lover of art and nature.



Written by NASA’s former chief historian, here is an in-depth, fully illustrated history of space exploration Roger D. Launius has written or edited more than thirty books on aerospace history. Between 1990 and 2002 he served as chief historian of the National Aeronautics and Space Administration (NASA). He then proceeded to work in several positions at the Smithsonian Institution’s National Air and Space Museum in Washington, D.C., most recently as Associate Director for Collections and Curatorial Affairs.

Over 500 illustrations 25.4 x 21.6cm 400pp ISBN 978 0 500 022023 October £24.95

The History of Space Exploration Discoveries from the Ancient World to the Extraterrestrial Future Roger D. Launius 106

For centuries humanity has engaged in a virtual exploration of space through astronomical observation, aided by astounding scientific and technological advances. In more than sixty years since the launch of Sputnik 1 in 1957, more than 6,000 functioning satellites have been launched into Earth’s orbit and beyond – some to the farthest reaches of the Solar System – and more than 540 people have travelled into space. Unprecedented in its chronological and geographical scope, this book charts the history of space exploration from the first gunpowder rockets through the Moon landings, and into a future of space tourism. Numerous sidebars focus on the key individuals and inventions that brought us closer to the farthest reaches of the universe. Filled with astonishing images from the Smithsonian, NASA archives and other international collections, this is the most complete, fully illustrated survey of this universal human journey.


Internationally acclaimed aerial photographer Yann Arthus-Bertrand turns his lens on Morocco in this new collection of breathtaking images Yann Arthus-Bertrand is a world-renowned aerial photographer, journalist, reporter and environmentalist. He is especially well known for his book The Earth from the Air, which has sold millions of copies since its first publication in 1999. Ali Baddou is a journalist, radio and television host, and a lecturer in philosophy at Sciences Po, Paris.

109 photographs 28.5 x 22.0cm 168pp ISBN 978 0 500 021729 November £24.95

Morocco from the Air Photographs by Yann Arthus-Bertrand • Text by Ali Baddou


Also available

978 0 500 544846 £49.95

Seen from the sky, Morocco seems to be a vast chain of mountains, gradually lowering to the sea. The country’s rich farmlands are breathtakingly beautiful when viewed from above – abstract canvases painted in deep yellow saffron, while brown fields of wheat combine with the brilliant green of large groves of palm and olive. The sky over Morocco is of an unusually vivid blue, the mountains are crowned by snow peaks in winter, and the Mediterranean and Atlantic coastlines draw sun worshippers from all of Europe as soon as cold weather strikes the Continent. In Marrakech is concentrated all the culture of the south. Here is a city of a thousand and one nights, its streets teeming by day with magicians, fakirs and clowns, its luxurious palaces and hotels glistening at night with the multilingual babble of elegant visitors from abroad. In Fez, the intellectual centre of the north, are some of the most beautiful Islamic monuments in the world. But Morocco is changing. The country has become a pioneer in renewable energy, a revolution in progress that can be read in the wind farm near Tangier and the solar power plant Noor in the desert near Ouarzazate, one of the largest in the world. These images reveal a country of contrasts, and provide a revealing portrait of modern Morocco.


Published by Thames & Hudson Australia

Breathtaking photographs of landscapes and inhabitants of the most remote places on earth Peter and Beverly Pickford have been photographing Africa’s wildlife for over thirty-five years, and are among the most celebrated wildlife photographers and authors in the world. They are the authors of numerous books, including African Safari: Into the Great Game Reserves and Forever Africa: A Journey from the Cape of Good Hope to Morocco.

Illustrated throughout 32.6 x 25.0cm 336pp ISBN 978 1 760 760076 September ÂŁ39.95

Wild Land Peter and Beverly Pickford Four years. Seven continents. A unique trip to document and protect the last untouched wilderness. In more than 200 impressive photos, photographers Peter and Beverly Pickford tell an epic story and portray some of the most untouched places on our planet, from the arid, sun-scourged Geraam Coast in Namibia to the abundance of rivers and lakes in Alaska and Yukon, from the Arctic to Tibet. This is a unique book about wildlife, accompanied by fascinating texts by Peter Pickford in which he describes not only their adventures in search of untouched areas, but also expresses the urgent message that it is more than time to protect these areas, for the future of our planet and for the survival of humanity.





Global travel experts Mr & Mrs Smith showcase the very best hotel rooms around the world, from elegant country retreats to quirky hideaways and stylish city escapes Mr & Mrs Smith was founded in 2003 by James and Tamara Lohan and has evolved into a global travel club with a million members in more than 100 countries. Their specially selected experts, in London, Ibiza, New York, Los Angeles and Singapore, travel the globe to discover the finest hotels and travel experiences.

Over 300 illustrations 27.0 x 22.0cm 296pp ISBN 978 0 500 021781 November £24.95

Mr & Mrs Smith Presents the World’s Sexiest Bedrooms Mr & Mrs Smith

There are countless luxury hotels to choose from when planning a romantic getaway, but creating an unforgettable experience in a stunning location is a greater challenge. Mr & Mrs Smith was founded in 2003 by James and Tamara Lohan to discover the world’s finest hotels and travel experiences. Now, with a million members and counting, their global presence has made them leading experts on hotels and destinations, crafting bespoke journeys for their clients. This is an exclusive selection of thirty-five of the sexiest hotel bedrooms in the most stunning locations around the world. From a rustic safari lodge to a luxurious Venetian palazzo, this essential overview tells the story behind the design and decor of each unique room, the history of the hotel and the essentials for where to go when you visit. With reviews by trusted tastemakers, such as Lauren Laverne, Raymond Blanc and Stella McCartney, the featured rooms are presented with tips from those who have visited, with their recommendations for the unique features and experiences on offer for each hotel and within its surrounding area. With over 300 colour photographs of the rooms, hotels and locations, this is the ultimate insider’s guide, whether you are planning a honeymoon, mini-break or the romantic adventure of a lifetime.



liveden’s seduction begins before the bedroom: its metaphorical striptease starts as your car purrs down that rolling drive towards the Italianate mansion that awaits. As scandalous pasts go, Cliveden’s takes some beating: the estate was built as a love-gift for the Duke of Buckingham’s mistress, the Countess of Shrewsbury. The Countess’ enraged husband challenged Buckingham to a duel – losing his life in the process. Fast forward a few centuries and Cliveden’s walled garden is where John Profumo first clapped eyes on Christine Keeler as she put the hotel’s swimming pool to the test. (It passed with flying colours, if the politician and showgirl’s infamous ensuing affair is anything to go by.)


Have your own dissolute-or-otherwise romance at this magnificent manor, which has an aristocratic fun side: cue a snooker room, tennis courts, a boathouse with three boats, and a helipad. Added charms include a chandeliered, portraitlined restaurant and a whisper-quiet spa with two al fresco hot tubs, set in rose- and lavender-lavished gardens.

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‘The long, wide drive allows the view breathtakingly and Mrs Smith; we’ve just been made Lord and Lady…’ JAKE KNOWLES, INTREPID ADVERTISER

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The essential Chineasy guide to characters, words and phrases, culture and traditions for travellers of all types, in a pocket-size format ShaoLan Hsueh is a Taiwanese writer, entrepreneur and traveller based in London. She is also a member of the boards of the Saïd Business School of Oxford University, Asia House and the New School Network. Noma Bar is an acclaimed illustrator whose work has appeared in many publications and media outlets, including Time Out London, the BBC, the New York Times, Observer, Economist and Wallpaper*. He is the author of Bittersweet, also published by Thames & Hudson.

100 illustrations 18.0 x 12.0cm 96pp flexibound ISBN 978 0 500 294260 August £7.95

‘May revolutionize the teaching of Chinese around the world … In twenty-five minutes ShaoLan’s method had done more for me than had two weeks of headaches clutching Collins’s Easy Learning Chinese Characters’ Sunday Times

In the same series

978 0 500 650288 £14.95

Chineasy® Travel ShaoLan Hsueh • Illustrated by Noma Bar Whether you are planning a business trip, holiday or longer adventure, the Chineasy method provides a great starting point to broadening your knowledge of the language and culture. Chineasy® Travel teaches over 100 of the most used and useful Chinese characters, phrases and sentences for travellers, wherever they may find themselves in the Chinese-speaking world. Ingeniously illustrated throughout by Noma Bar, this guide breaks down the essentials in six themed chapters, from reading directions and using public transport, to ordering food off a menu. A chapter on culture explores the country’s history, philosophy and religion, including annual festivals. Including a list of useful phrases and instructions on Chinese pronunciation and basic grammar, this handy pocket guide brings the stories and myths behind the characters to life, providing a welcome primer for breaking down the barriers of language.

978 0 500 292266 £19.95 978 0 500 651216 £12.95

978 0 500 952047 £12.95

978 0 500 420126 £14.95



A celebration of 100 types of chillies in lively illustrations, presenting everything the aspiring chef or gardener needs to know to harness the heat Caz Hildebrand is a Creative Partner at Here Design and the award-winning designer of sumptuous best-selling cookbooks by Nigella Lawson, Yotam Ottolenghi and Sam and Sam Clark of Moro. In 2010 Caz created The Geometry of Pasta with leading chef Jacob Kenedy of London’s Bocca di Lupo. She is also the author of Herbarium and Grammar of Spice.

c. 100 illustrations 24.6 x 17.5cm 224pp ISBN 978 0 500 021835 September £16.95

An Anarchy of Chillies Caz Hildebrand Each chilli pepper is a little anarchist demanding to be known in its own right. With hundreds of varieties, and a dizzying array of flavours, shapes, sizes and colours, chillies are a key ingredient in everything from our favourite curries to drinks and desserts. But even the most experienced chilli fanatic needs a guide to which variety to choose and how hot to go on the infamous Scoville scale. This essential kitchen companion profiles 100 versatile chilli varieties, chosen to showcase their impressive range of shape, colour, flavour and heat, ranging from milder everyday favourites such as the jalapeño, ancho and bell pepper to exotic new superhots including the Dorset Naga and Carolina Reaper. Organized by heat level on the infamous Scoville scale, An Anarchy of Chillies tells the story of each variety and offers advice on how to identify, grow and prepare them. The striking illustrations, in a vivid graphic style inspired by the CMYK process and Mexican oilcloth prints, make this not only a go-to reference but also a beautiful art piece. Written and illustrated by Caz Hildebrand, author of the successful Herbarium and The Grammar of Spice, this is a wonderful gift book for any cook, gardener or chilli lover.


In the same series

978 0 500 518939 £16.95

978 0 500 519677 £16.95


Anarchy of Chillies Gift Wrapping Paper with Gift Tags Caz Hildebrand You’ve bought the book – now wrap it up with this gorgeous wrapping paper, which features illustrations taken from Anarchy of Chillies. This stylish set includes ten sheets of wrapping paper and twelve gift tags. The wrapping papers are folded to fit into the book; when removed and opened they measure 68.4 x 48.0cm. 10 sheets wrapping paper + 12 gift tags 34.2 x 25.0 cm Paperback ISBN 978 0 500 420942 September £12.95 inc VAT | £10.79 exc VAT

Anarchy of Chillies 16 Notecards Caz Hildebrand Now you’ve wrapped up your book, send it off with a matching card! All housed in a sturdy flip-top box, each of these sixteen notecards features its own individual illustration from Anarchy of Chillies. This delightful set includes envelopes. 113

16 notecards + 16 envelopes 16.4 x 12.3 cm Boxed ISBN 978 0 500 420935 September £10.95 inc VAT | £9.13 exc VAT

Also available

978 0 500 420652 £12.95

978 0 500 420669 £10.95

978 0 500 420645 £14.95

978 0 500 420911 £ 12.95

978 0 500 420904 £10.95


Published by Thames & Hudson Australia

An exhilarating visual deconstruction of what it means to live a truly bohemian life Robyn Lea is an acclaimed photographer, writer and director whose work has been published in Elle Déco, The New York Times, Vogue Italia, Architectural Digest, Wall Street Journal and The New Yorker Magazine amongst many others.

Over 400 illustrations 28.0 x 21.6cm 320pp ISBN 978 1 760 760090 November £29.95


‘One theme that has become quite clear is that all of the characters embrace, cultivate, or are naturally inclined to take a wonderful childlike view of the world. That is evident in their homes, as well as their work’ Robyn Lea

Bohemian Living Creative Homes around the World Robyn Lea Modern Day Bohemians sidesteps the world of carefully constructed interior design images and instead, dives into the liberated and nonconformist atmosphere of offbeat beauty and artistic delights. It asks the question: what does it mean to be bohemian in the modern world? Robyn Lea is an incredible storyteller – both visually and in the written form. She understands the creative spirit. Here, she profiles over twenty stunning and original homes and their owners across Italy, France, America and Australia. In each profile she traces the journey from unusual childhoods to creative, often unorthodox, adult worlds and along the way reveals the interesting twists of fate that have allowed each person to realise their full bohemian potential in the spaces they live and work in. Featured people and houses include: Barnaba Fornasetti, who shows neverbefore-published designs by his illustrious father; Marc Chagall’s granddaughter Bella Meyer, one of New York City’s most popular floral designers; Annabelle Adie, a ceramicist, colourist, artist, designer and all round wild and wonderful thinker; artist and designer for Anthropologie Rebecca Rebouche’s house in New Orleans; Helene and Simone, Parisian twins who dress identically and make paper art by hand; Claire Guiral in Bordeaux, the artist who wanted to be a fairy when she grew up, who now shares a house with the husband she divorced many years ago.


An intimate look at the interiors, lifestyles and houses belonging to a wide range of artists and makers Tom Harford Thompson is an interiors writer and photographer. His work has featured in both the Guardian and Art Review.

350 illustrations 25.0 x 19.5cm 288pp ISBN 978 0 500 021323 September £24.95

Artists’ Homes Live/Work Spaces for Modern Makers Also available

Tom Harford Thompson In Artists’ Homes, writer and photographer Tom Harford Thompson presents some thirty individual, eccentric houses and workspaces, from a music producer’s studio in Hackney to an eco-warrior’s treehouse on the Sussex Downs. His evocative photographs show how our live/work spaces, whether a tumbledown cottage, a country farmhouse or a reclaimed factory, are beautiful because of the lives we live in them. With work no longer separate from home life, we see how these artists function in the homes that inspire them, pursuing the life creative. Among the artists and craftspeople featured are Billy Childish, co-founder of the Stuckist art movement; Penny Rimbaud and Gee Vaucher, founding members of Crass and creative partners who set up their home and studio as an ‘anarchist-pacifist open house’ (Dial House, in Essex); music producer Liam Watson of the famed London studio Toe Rag; vintage motorcycle dealer Ian Hatton, of cult shop Verralls; vintner Peter Hall of Breaky Bottom Vineyard, one of the first wineries in the UK; and many more.

978 0 500 516973 £19.95

978 0 500 519097 £19.95

978 0 500 519226 £19.95



Floral Contemporary

Compact edition

The Renaissance of Flower Design

A vibrant celebration of the way in which perennially popular floral design has become the centre-stage art for interior decoration, public events and private spaces

Olivier Dupon Flowers are associated with all the important events in our lives, whether celebratory or commemorative, but they can also cheer our everyday existence and enliven the spaces around us. This book shows just how. Through the work of thirty-eight floral designers, we see ideas for flowers for every occasion, whether public – decorations for weddings, arrangements for banquets, installations for shops and hotels, accessories for fashion shows, exhibits for art shows – or private, in the form of simple but special displays for the home. Organized in alphabetical order, each florist is introduced with a short biography, then in their own words they explain the stories behind their floral arrangements. Illustrations include portraits of the florists, shots of works in progress and full-colour images of glorious finished displays. As a visual refreshment for stylists, florists and design professionals, and an indulgent treat for anyone who loves flowers or decorating their own space, this book is an inspirational confection.

Olivier Dupon is a 21st-century tastemaker and the author of six acclaimed books, all published by Thames & Hudson.

342 illustrations 31.1 x 23.4cm 288pp ISBN 978 0 500 022337 August £29.95

‘Nearly 300 pages dripping with blossom … floral arrangements to drool over’ House & Garden ‘Showstopping … a wonderfully indulgent treat’ Saga Magazine

“stuDying at an art acaDemy anD subsequently Working as an artist has helpeD me look at Design From a WiDe perspective. i oFten compare my proFession With liFe DraWing. one First neeDs to stuDy anatomy anD proportion. Without knoWing these, you can’t successFully Free yourselF anD make your oWn interpretation.”


“This series of ‘Engineered Hybrids’ was commissioned by the international trendforecasting magazine Provider, and was intended to inspire designers in general. I chose to dissect plants and reassemble them into new ‘hybrids’. Apart from being a proposal towards new varieties, the series was to be seen as a laboratory for shape, colour and texture in a broad sense, rather than just for the flower industry.”

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Floral Contemporary _01-45.CS5.5.indd 25

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“This composition was inspired by painting. In challenging myself to make an arrangement that looked like a painting, I used lilies, roses, peonies, spray roses and calla lilies.”

Floral Contemporary_94-137.CS5.5.indd 98

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Floral Contemporary_94-137.CS5.5.indd 99

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Published by Thames & Hudson Australia

Packed with ideas and inspiration for a life with flowers Fleur McHarg is one of Australia’s most renowned florists. She has designed for events in Australia and internationally and her work has been featured in magazines including Vogue Mexico, Inside Out and Vogue Living Australia.

Illustrated in colour throughout 27.0 x 20.0cm 248pp ISBN 978 0 500 501245 August £24.95

The Flower Expert Ideas and inspiration for a life with flowers Fleur McHarg


Fleur McHarg has been creating glorious and unique floral arrangements for over twenty-five years. With an unparalleled instinct for colour and endless creative conceptions, Fleur is the go-to florist for A-list clients. Here, she brings her years of experience in creating unique floral arrangements for every kind of event imaginable, and flavours it with her unique take on colour, the personalities of flowers, and why there are some things you should never do with floral arrangements. She shares her astute flower philosophy, including an analysis of over thirty of her favourite flowers and how to use them, why some combinations work and others don’t and how to select a base and blend colours for a flower arrangement.




How to Thrive in the Next Economy

Thinking Big

Tales of Our Times, From Apple to Isis Peter Conrad 256pp ISBN 978 0 500 293546 £8.99

Designing Tomorrow’s World Today John Thackara 192pp ISBN 978 0 500 292945 £9.99

How the Evolution of Social Life Shaped the Human Mind Clive Gamble, John Gowlett and Robin Dunbar 240pp ISBN 978 0 500 293829 £9.99



Significant Others

The Munich Art Hoard


Creativity and Intimate Partnership Whitney Chadwick and Isabelle de Courtivron 256pp ISBN 978 0 500 293812 £9.99

Hitler’s Dealer and His Secret Legacy Catherine Hickley 272pp 978 0 500 292570 £9.99

Writers and Artists under English Skies Alexandra Harris 432pp 978 0 500 292655 £10.99

The Battle for Home

Gay Life Stories

The Origins of the Irish

Memoir of a Syrian Architect Marwa Al-Sabouni 192pp ISBN 978 0 500 292938 £8.99

Robert Aldrich 304pp ISBN 978 0 500 292310 £12.99

J. P. Mallory 328pp ISBN 978 0 500 293300 £9.99

Ancient Rome on 5 Denarii a Day

Shakespeare’s London on 5 Groats a Day

England’s Forgotten Past

Philip Matyszak 144pp ISBN 978 0 500 293768 £8.99

Richard Tames 160pp ISBN 978 0 500 293867 £8.99

Richard Tames 192pp ISBN 978 0 500 293775 £8.99






Histories of Nations

The Great Cities in History


How Their Identities Were Formed Edited by Peter Furtado 272pp ISBN 978 0 500 293003 £9.99

Edited by John Julius Norwich 372pp ISBN 978 0 500 292518 £9.99

A Short History Norman Stone 304pp 978 0 500 292990 £8.99

Cracking the Egyptian Code

Women of the Raj

Islamic Civilization in Thirty Lives

The Revolutionary Life of Jean-François Champollion Andrew Robinson 304pp ISBN 978 0 500 294178 £9.99

The Mothers, Wives and Daughters of the British Empire in India Margaret Macmillan 320pp ISBN 978 0 500 293744 £9.99

The First 1000 Years Chase F. Robinson 288pp ISBN 978 0 500 293782 £9.99


The Romans Who Shaped Britain Sam Moorhead & David Stuttard 288pp ISBN 978 0 500 292600 £9.99

Ancestral Journeys The Peopling of Europe from the First Venturers to the Vikings Jean Manco 312pp ISBN 978 0 500 292075 £9.99

Digging for Richard III

The Neanderthals Rediscovered

How Archaeology Found the King Mike Pitts 248pp ISBN 978 0 500 292020 £9.99

How Modern Science is Rewriting Their Story Dimitra Papagianni & Michael A. Morse 208pp ISBN 978 0 500 292044 £9.99


Looking at Pictures

Modern Art

A Chronology of Art

Performance Now

Susan Woodford 103 illustrations 21.6 x 13.8cm 176pp 978 0 500 293218 £10.95 hb

Amy Dempsey 90 illustrations 21.6 x 13.8cm 176pp 978 0 500 293225 £10.95 hb

A Timeline of Western Culture from Prehistory to the Present Iain Zaczek Illustrated throughout 24.5 x 21.6cm 288pp 978 0 500 239810 £19.95 hb

Live Art for the 21st Century RoseLee Goldberg Over 260 illustrations 27.5 x 23.0 cm 272pp 978 0 500 021255 £32.00 hb






Curatorial Activism

Living with Leonardo

The Lives of the Surrealists

Modernists & Mavericks

Towards an Ethics of Curating Maura Reilly 107 illustrations 23.0 x 17.5cm 240pp 978 0 500 239704 £22.50 hb

Fifty Years of Sanity and Insanity in the Art World and Beyond Martin Kemp 105 illustrations 22.9 x 15.2cm 320pp 978 0 500 239568 £19.95 hb

Desmond Morris 72 illustrations 24.0 x 16.5cm 272pp 978 0 500 021361 £24.95 hb

Bacon, Freud, Hockney & the London Painters Martin Gayford 114 illustrations 23.4 x 15.3 cm 352pp 978 0 500 239773 £24.95 hb




The Militant Muse

Seeing Ourselves

Ravilious & Co

The Visual Representation of Misery in the 19th Century Linda Nochlin 128 illustrations 23.4 x 15.3 cm 176pp 978 0 500 239698 £24.95 hb

Love, War and the Women of Surrealism Whitney Chadwick 85 illustrations 23.4 x 15.3 cm 256pp 978 0 500 239681 £24.95 hb

Women’s Self-Portraits Frances Borzello 200 illustrations 22.9 x 15.2cm 272pp 978 0 500 294024 £18.95 pb

The Pattern of Friendship Andy Friend • Introduction by Alan Powers 239 illustrations 24.0 x 16.5 cm 336pp 978 0 500 239551 £24.95 hb




Rodin and the art of ancient Greece

Beyond the Great Wave Edited by Timothy Clark 286 illustrations 28.0 x 25.0 cm 352pp 978 0 500 094068 £35.00 hb

Celeste Farge, Bénédicte Garnier, Ian Jenkins 203 illustrations 28.0 x 25.0cm 240pp 978 0 500 480304 £35.00 hb

The Spirit of the Bauhaus

Modern Art in Detail

Olivier Gabet and Anne Monier Over 300 illustrations 30.2 x 23.7cm 264pp 978 0 500 021804 £40.00 hb

75 Masterpieces Susie Hodge Illustrated throughout 23.5 x 22.0 cm 336pp 978 0 500 239766 £24.95 hb





Vincent’s Portraits

May Morris

Ronnie Wood: Artist

Kyung An & Jessica Cerasi 76 illustrations 19.6 x 14.8 cm 136pp 978 0 500 292747 £9.95 hb

Paintings and Drawings by Van Gogh Ralph Skea 87 illustrations 23.0 x 16.0cm 112pp 978 0 500 519660 £12.95 hb

Arts & Crafts Designer Mason, Marsh, Lister, Bain, Faurby 210 illustrations 27.0 x 20.5 cm 224pp 978 0 500 480212 £24.95 hb

Ronnie Wood 377 illustrations 26.7 x 20.7cm 272pp 978 0 500 519899 £24.95 hb

Drawing and Painting

Drawing Masterclass 100 Creative Techniques of Great Artists Guy Noble Over 300 illustrations 24.2 x 19.9 cm 288pp 978 0 500 293393 £19.95 pb

The Thames & Hudson Dictionary of Photography

The Earth from the Air

Materials & Techniques for Contemporary Artists Kate Wilson Illustrated throughout 26.0 x 22.8 cm 288pp 978 0 500 293164 £19.95 pb

Who’s Afraid of Contemporary Art?

Edited by Nathalie Herschdorfer Illustrated throughout 30.2 x 19.6cm 438pp 978 0 500 544990 £29.95 pb

Yann Arthus-Bertrand 225 illustrations 36.4 x 28.5 cm 440pp 978 0 500 544846 £49.95 hb



Alex Prager: Silver Lake Drive Alex Prager Over 250 illustrations 30.5 x 24.5cm 244pp 978 0 500 544976 £40.00 hb

Stephen Shore: Solving Pictures Quentin Bajac 450 illustrations 22.9 x 26.7cm 336pp 978 0 500 544969 £60.00 hb

Double Take

Flora Magnifica

Reconstructing the History of Photography Jojakim Cortis and Adrian Sonderegger 88 illustrations 24.0 x 27.0cm 128pp 978 0 500 021224 £24.95 hb

The Art of Flowers in Four Seasons Makoto Azuma and Shunsuke Shiinoki Over 250 illustrations 29.5 x 22.0cm 256pp 978 0 500 545003 £35.00 hb




Magnum Manifesto

Magnum Contact Sheets

Wim Wenders

The Journal of a Skateboarder

Edited by Clément Chéroux Over 510 illustrations 29.5 x 24.5 cm 416pp 978 0 500 544556 £45.00 hb

Kristen Lubben 686 illustrations 29.3 x 24.0 cm 524pp 978 0 500 292914 £29.95 pb

Instant Stories Wim Wenders 403 illustrations 29.0 x 24.5 cm 320pp 978 0 500 544785 £40.00 hb

Thomas Sweertvaegher 145 illustrations 26.0 x 18.5cm 192pp 978 0 500 021736 £24.95 hb



Retro Cameras



The Golden Secrets of Lettering

The Collector’s Guide to Vintage Film Photography John Wade Over 250 illustrations 19.7 x 21.5cm 288pp 978 0 500 544907 £18.95 hb

The New Aerial Photography from Dronestagram Dronestagram Over 250 illustrations 21.0 x 25.0cm 288pp 978 0 500 544723 £24.95 hb

Contemporary Ceramic Artists Amber Cresswell Bell 231 illustrations 25.4 x 19.4cm 256pp 978 0 500 500729 £24.95 hb

Letter Design from First Sketch to Final Artwork Martina Flor Illustrated throughout 24.0 x 21.0cm 168pp 978 0 500 241523 £24.95 hb

D E S I G N , P O PU L A R CU LT U R E & L I FE S T Y L E H I G H L I G H TS eller


r tselle


Graphic Design School Sixth Edition David Dabner, Sandra Stewart, Eric Zempol Illustrated throughout 22.2 x 22.2cm 208pp 978 0 500 292853 £14.95 pb

The Field Guide to Supergraphics Graphics in the Urban Environment Sean Adams 375 illustrations 15.0 x 20.0cm 384pp 978 0 500 021347 £16.95 hb

The Illustrated Dust Jacket: 1920–1970

The Creative Shopkeeper Lucy Johnston Illustrated throughout 25.0 x 19.5 cm 288pp 978 0 500 519615 £29.95 hb

Martin Salisbury 371 illustrations 30.0 x 21.0 cm 200pp 978 0 500 519134 £24.95 hb



Bittersweet: Noma Bar

Album Art

Vinyl • Album • Cover • Art


Noma Bar 445 illustrations 28.8 x 23.0 cm 400pp 978 0 500 021293 £29.95 pb

New Music Graphics John Foster Illustrated throughout 26.1 x 19.1cm 320pp 978 0 500 294154 £18.95 flexi

The Complete Hipgnosis Catalogue Aubrey Powell • Foreword by Peter Gabriel Illustrated throughout 24.0 x 20.0 cm 320pp 978 0 500 519325 £24.95 hb

A Visual Document from 1978 – Tomorrow Terry Burrows with Daniel Miller Illustrated throughout 24.2 x 19.0 cm 322pp 978 0 500 519721 £28.00 hb

The Story of The Face


Tarantino: A Retrospective

The World Atlas of Street Food

The Magazine that Changed Culture Paul Gorman 379 illustrations 30.1 x 24.3cm 352pp 978 0 500 293478 £34.95 hb

The Definitive Guide to Asian Comics Paul Gravett Illustrated throughout 26.4 x 20.6 cm 320pp 978 0 500 292433 £29.95 flexi

Tom Shone Illustrated throughout 29.2 x 24.8 cm 256pp 978 0 500 519486 £24.95 hb

Sue Quinn & Carol Wilson Illustrated throughout 23.4 x 22.0 cm 400pp 978 0 500 519493 £24.95 hb











The Grammar of Spice


Escape by Bike

City Cycling USA

Caz Hildebrand 100 illustrations 24.6 x 17.5 cm 224pp 978 0 500 519677 £16.95 hb

Caz Hildebrand Illustrated throughout 24.6 x 17.5cm 224pp 978 0 500 518939 £16.95 hb

Adventure Cycling, Bikepacking and Touring Off-Road Joshua Cunningham Over 200 illustrations 24.0 x 18.0cm 264pp 978 0 500 293508 £19.95 flexi

Los Angeles, New York, Chicago, San Francisco Kelton Wright, Matt Seaton, Greg Borzo Illustrated throughout 17.5 x 11.5cm 256pp 978 0 500 293317 £25.00 slipcased pbs

Real Nordic Living


The New Creative Home

Plant Style

Design • Food • Art • Travel Dorothea Gundtoft Over 300 illustrations 23.0 x 17.7 cm 256pp 978 0 500 292792 £19.95 flexi

Design Solutions for Working from Home Anna Yudina 500 illustrations 18.0 x 18.0cm 272pp 978 0 500 519806 £16.95 hb

London Style Talib Choudhry and Ingrid Rasmussen 500 illustrations 25.0 x 19.5cm 288pp 978 0 500 519226 £19.95 hb

How to greenify your space Alana Langan and Jacqui Vidal Illustrated throughout 21.0 x 17.0 cm 160pp 978 0 500 501030 £14.95 hb





Warehouse Home

The Anatomy of Colour

Scandinavian Style at Home

Mid-Century Modern at Home

Industrial Inspiration for Twenty-First-Century Living Sophie Bush 375 illustrations 25.4 x 20.3 cm 320pp 978 0 500 519462 £24.95 hb

The Story of Heritage Paints and Pigments Patrick Baty Over 1,500 illustrations 26.4 x 20.6 cm 352pp 978 0 500 519332 £35.00 hb

A Room-by-Room Guide Allan Torp Illustrated throughout 21.0 x 16.0 cm 192pp 978 0 500 519561 £14.95 flexi

A Room-by-Room Guide DC Hillier Illustrated throughout 21.0 x 16.0 cm 192pp 978 0 500 519578 £14.95 flexi



Joseph Banks’ Florilegium


In the Footsteps of King David

Sacred Britannia

Botanical Treasures from Cook’s First Voyage Mabberley, Gooding, Studholme 181 illustrations 35.5 x 26.5 cm 320pp 978 0 500 519363 £65.00 hb

An Illustrated Biography Pramod Kapoor 275 illustrations 23.5. x 17.0cm 328pp 978 0 500 021439 £24.95 hb

Revelations from an Ancient Biblical City Yosef Garfinkel, Saar Ganor, Michael G. Hasor 107 illustrations 23.4 x 15.3 cm 256pp 978 0 500 052013 £24.95 hb

The Gods and Rituals of Roman Britain Miranda Aldhouse-Green 125 illustrations 23.4 x 15.3 cm 256pp 978 0 500 252222 £19.95 hb

The Norse Myths

The Human Past

Principles of Archaeology

Archaeology: The Whole Story

A Guide to the Gods and Heroes Carolyne Larrington 102 illustrations 19.5 x 12.9cm 208pp 978 0 500 251966 £12.95 hb

World Prehistory and the Development of Human Societies • Fourth Edition Edited by Chris Scarre 764 illustrations 27.6 x 21.5cm 768pp 978 0 500 294208 £45.00 pb

T. Douglas Price and Kelly J. Knudson 381 illustrations 27.7 x 21.6cm 448pp 978 0 500 293614 £50.00 hb

General Editor: Paul Bahn Foreword: Brian Fagan Over 100 illustrations 25.4 x 17.2 cm 576pp 978 0 500 292761 £24.95 flexi




Sentinels of the Sea

The Buccaneer’s Manual Stephen Turnbull 122 illustrations 19.8 x 12.5cm 200pp 978 0 500 252239 £12.95 hb

An Atlas of Vanished Lands Bjorn Berge Illustrated throughout 16.2 x 21.5 cm 240pp 978 0 500 519905 £16.95 hb

A Graveside Companion Joanna Ebenstein • Foreword by Will Self Illustrated throughout 26.4 x 20.6 cm 368pp 978 0 500 519714 £29.95 hb

A Miscellany of Lighthouses Past R. G. Grant 408 illustrations 29.7 x 19.0cm 160pp 978 0 500 519769 £19.95 hb






The Architecture Concept Book

Architecture Matters

Architecture Inside + Out


An Inspirational Guide to Creative Ideas, Strategies and Practices James Tait 565 illustrations 24.0 x 20.0cm 280pp 978 0 500 343364 £24.95 hb

Aaron Betsky 20.0 x 12.5cm 144pp 978 0 500 519080 £9.95 hb

50 Iconic Buildings in Detail John Zukowsky and Robbie Polley Over 400 illustrations 25.0 x 25.0cm 304pp 978 0 500 343371 £24.95 hb

Vernacular Architecture for a Changing Planet Edited by Sandra Piesik Illustrated throughout 36.0 x 28.0 cm 600pp 978 0 500 343241 £98.00 hb

David Adjaye

The Complete Zaha Hadid

Victor Horta

Jim Olson

Living Spaces Peter Allison 305 illustrations 26.0 x 30.0cm 304pp 978 0 500 343258 £40.00 hb

Expanded and Updated Aaron Betsky 680 illustrations 24.0 x 21.6cm 320pp 978 0 500 343357 £24.95 hb

The Architecture of Art Nouveau David Dernie and Alastair Carew-Cox 257 illustrations 29.5 x 24.0cm 240pp 978 0 500 343234 £45.00 hb

Building • Nature • Art Jim Olson 550 illustrations 30.0 x 25.5cm 324pp 978 0 500 343333 £48.00 hb

3D Thinking in Design and Architecture

Radical Matter

New Nordic Gardens

This Is Not Fashion

Rethinking Materials for a Sustainable Future Kate Franklin and Caroline Till Over 280 illustrations 25.5 x 21.0cm 256pp 978 0 500 519622 £32.00 hb

Scandinavian Landscape Design Annika Zetterman 291 illustrations 25.0 x 21.0cm 288pp 978 0 500 519455 £28.00 hb

Streetwear Past ,Present and Future King Adz and Wilma Stone 340 illustrations 25.0 x 19.5cm 304pp 978 0 500 292440 £24.95 pb

From Antiquity to the Future Roger Burrows 800 illustrations 28.0 x 20.5cm 328pp 978 0 500 519547 £39.95 hb





Louis Vuitton Catwalk

Dior Catwalk

Christian Dior

John Galliano Unseen

The Complete Fashion Collections Jo Ellison and Louise Rytter 1,350 illustrations 27.7 x 19.0cm 632pp 978 0 500 519943 £48.00 hb

The Complete Collections Alexander Fury 1,146 illustrations 27.7 x 19.0cm 632pp 978 0 500 519349 £48.00 hb

Designer of Dreams Edited by Florence Müller Over 280 illustrations 35.5 x 28.0 cm 368pp 978 0 500 021545 £50.00 hb

Robert Fairer Over 330 illustrations 33.5 x 24.5 cm 352pp 978 0 500 519516 £48.00 hb


Figures & Faces

Making the Cut

Savile Row

The King of Gems Joanna Hardy Illustrated throughout 34.5 x 25.2cm 328pp 978 0 500 519417 £75.00 hb

The Art of Jewelry Patrick Mauriès and Évelyne Possémé Illustrated throughout 24.0 x 16.9cm 128pp 978 0 500 021811 £16.95 hb

Stories of Sartorial Icons by Savile Row’s Master Tailor Richard Anderson 230 illustrations 29.0 x 19.0cm 208pp 978 0 500 021491 £29.95 hb

The Master Tailors of British Bespoke James Sherwood 445 illustrations 25.9 x 20.6cm 288pp 978 0 500 292617 £29.95 hb

The Fashion Designer’s Textile Directory

18th-Century Fashion in Detail

Fashion Photography


The Story in 180 Pictures Eugénie Shinkle 180 illustrations 29.0 x 24.0 cm 272pp 978 0 500 021392 £39.95 hb

Fashion + Gender Patrick Mauriès Illustrated throughout 33.6 x 24.0 cm 192pp 978 0 500 519356 £40.00 hb

The Creative Use of Fabrics in Design Gail Baugh Over 500 illustrations 23.5 x 20.0cm 320pp 978 0 500 294147 £22.50 flexi

Susan North 399 illustrations 29.0 x 20.5cm 224pp 978 0 500 292631 £24.95 pb



The Grammar of Spice: Giftwrap

The Grammar of Spice: 16 Notecards

Cyclepedia: Giftwrap

978 0 500 420911 pb £12.95 inc VAT | £10.79 exc VAT

978 0 500 420904 boxed £10.95 inc VAT | £9.13 exc VAT

978 0 500 420928 pb £12.95 inc VAT | £10.79 exc VAT

Herbarium: Giftwrap

Herbarium: 16 Notecards

Herbarium: Reference Cards

978 0 500 420652 pb £12.95 inc VAT | £10.79 exc VAT

978 0 500 420669 boxed £10.95 inc VAT | £9.13 exc VAT

978 0 500 420645 boxed £14.95 inc VAT | £12.46 exc VAT

Hirameki: 36 Placemats

Hirameki: 16 Notecards

Certificates for Everyday Things

978 0 500 420737 pb £9.95 inc VAT | £8.29 exc VAT

978 0 500 420898 boxed £10.95 inc VAT | £9.13 exc VAT

Marian Bantjes 978 0 500 420775 pb £12.95 inc VAT | £10.79 exc VAT

Vintage Travel Posters

Cats in Art: Notecards

Cats in Movies: Notecards

978 0 500 480281 pb £19.95 inc VAT | £16.63 exc VAT

978 0 500 420270 boxed £9.95 inc VAT | £8.29 exc VAT

978 0 500 420829 boxed £9.95 inc VAT | £8.29 exc VAT


Picture Credits On the cover Front: from Imagine (pp78–79). Photo by Yoko Ono © Yoko Ono Lennon Back: from The Writer’s Map (pp38–39). Swallows and Amazons, mapped dust jacket and endpapers, 1930 p5, Magnum China In front of the gate of the Forbidden City, Beijing, 1993. © Marc Riboud/Magnum Photos p7, Ravens & Red Lipstick Ishiuchi Miyako, Donor: Ogawa R., #9, 2007, Hiroshima series. Courtesy the artist and Third Gallery Aya, Osaka. © Ishiuchi Miyako p11, Civilization Times Square, New York, 2004 © Robert Walker p27, The Word Is Art Jonathan Horowitz, Untitled (Arbeit) Macht Frei), 2010, oil paint on steel p67, Chanel: The Karl Lagerfeld Campaigns Top: © Chanel Spring/Summer 2014 Ready-to-Wear Bottom: © Chanel Fall/Winter 2014–2015 Ready-to-Wear p78, Imagine Photo by Iain MacMillan © Yoko Ono Lennon p87, Vienna 1900 Complete Top: Josef Hoffmann, ‘Peaceful Countryside: June.’ Published in Ver Sacrum, vol. 4, no. 1 (1901), calendar issue. Colour lithograph. Centre left: Kolo Moser, ‘Woglinde the Rhinemaiden: July’.Published in Ver Sacrum, vol. 4, no. 1 (1901), calendar issue. Colour lithograph. Bottom left: Gustav Klimt. ‘Saturn: January’. Published in Ver Sacrum, vol. 4, no. 1 (1901), calendar issue. Colour lithograph. Above: Friedrich König, ‘The Ruler of the Year’, cover design for Ver Sacrum, vol. 4, no. 1 (1901), calendar issue. Woodcut (stereotype made from original). Above right: Kolo Moser, ‘Heavy Weather: April’. Published in Ver Sacrum, vol. 6 (1903), special issue. Woodcut (stereotype made from original) p95, Casa Moderna Casa Cher, Mar Azul forest, Argentina designed by Bak Arquitectos © Fernando Alda p98, Architects’ Houses Longbranch, Puget Sound, Washington State (Jim Olson) ©Kevin Scott


Index Akbarnia, Ladan 53 Josef Albers 35 Albinson, A. Cassandra 63 All About Saul Leiter 8 Ambler, Francis 88 Anarchy of Chillies: Notecards 113 An Anarchy of Chillies 112 Anarchy of Chillies: Wrapping Paper 113 Angkor and the Khmer Civilization 47 Architects’ Houses 98–99 Art Essentials 22–23 Art: The Whole Story 33 Arthus-Bertrand, Yann 108 The Artists Who Will Change the World 29 Artists’ Homes 115 Ashby, Steve 49 Ashurbanipal 52


Baddou, Ali 108 Baer, Daniel 65 Bantjes, Marian 77 Bar, Noma 111 Barnes, Martin 59 Becker, Vivienne 70 Bell, Jonathan 93 Bestiary 50 Betsky, Aaron 102 Big Idea 2–3 Bin Abdullah Al Thani, HH Sheikh Hamad 73 Binet, Hélène 101 Bio Design 76 Blaszczyk, Regina Lee 63 Bohemian Living 114 The Book of Durrow 15 Books Do Furnish a Painting 18–19 Bourke, Stephen 46 Bradbury, Dominic 89, 96 Brandstätter, Christian 86–87 Brereton, Gareth 52 Andrew Bromberg at Aedas: Buildings • Nature • Cities 102 Bromberg, Andrew 102 Bruegel 17 Burrill, Anthony 82 Byam Shaw, Ros 60–61 Santiago Calatrava 105 Cameraless Photography 59 Camplin, Jamie 18–19 Carnet by Michelle Ong 70 Casa Moderna 94–95 Chair Anatomy 91 Chanel: The Karl Lagerfeld Campaigns 66–67 Cheshire, Lee 23 Chineasy® Travel 111

Chinese Movie Magazines 83 David Chipperfield Architects 103 Chipperfield, David 103 A Chronology of Photography 12–13 Chuck D 80 Civilization 10–11 Clark, T.J. 24 Coe, Michael D. 47 Cohen, Jean-Louis 97 Constable’s Skies 55 The Contemporary House 93 Cork, Richard 33 Cory Wright, Harry 14 Coupland, Douglas 29 Crawford, Ilse 101 Cullen, Oriole 62 Dal Pozzolo, Enrico Maria 16 Darwent, Charles 35 Dasandi, Naheer 2 De Albornoz, Cristina Carrillo 105 Di Battista, Nicola 101 DJ Semtex 80 Dubois, Marc 101 Dupon, Olivier 116 Erb, Margit 8 Evans, Damian 47 Evans, Mark 55 Ewing, William 10–11 The Face 51 Fairer, Robert 65 Falomir, Miguel 16 Farthing, Stephen 33 Feinstein, Rachel 65 Fenby, Jonathan 4–5, 40 Fernández-Galiano, Luis 103 Field, Jacob 2 Flaviano, Olivier 64 Floral Contemporary 116 The Flower Expert 117 Fonoroff, Paul 83 Forms of Enchantment 25 Frampton, Kenneth 104 Free Hand: New Typography Sketchbooks 74 Frigeri, Flavia 23 Fritsch, Lena 6–7 Golding, Peter 81 The Great Empires of Asia 40 The Great Explorers 41 Greenwood, William 53 Gregori, Daniela 86–87

Grisard, Dominique 63 Grovier, Kelly 30–31 Harry Gruyaert: Edges 9 Gruyaert, Harry 9 Gulbenkian, Sandrine 68 Hanbury-Tenison, Robin 41 Harford Thompson, Tom 115 Hawass, Zahi 44 Heaven on Earth 24 Heller, Steven 74 Here Design 88 Hildebrand, Caz 112 Hip Hop Raised Me.® 80 Hislop, Ian 54 The History of Space Exploration 106–107 Hockenhull, Tom 54 Hokusai 21 Hokusai Manga 21 Hsueh, ShaoLan 111 Hudson, Suzanne 32 I object 54 I Wonder 77 The Iconic House 96 Imagine John Yoko 78–79 Ince, Catherine 90 Inside the Neolithic Mind 42 The Interior Design Course 74 Irace, Fulvio 103 Is Capitalism Working? 2 Is Democracy Failing? 2 Is Gender Fluid? 3 The Islamic World 53 Marc Jacobs: Unseen 65 Jacomet, Hugo 72 Japanese Prints 20 JAR 70 Jewelry for Gentlemen 73 Jodidio, Philip 94–95 Key Moments in Art 23 Kholeif, Omar 29 Klink-Hoppe, Zeina 53 Knight 48 Kengo Kuma 104 Kuma, Kengo 104 Lagerfeld, Karl 66–67 Launius, Roger D. 106–107 Le Corbusier: The Buildings 97 Le-Tan, Pierre 71 Lea, Robyn 114

Legionary 48 Leiter, Saul 8 Lennon, John 78–79 Leonard, Alison 49 Lewis-Jones, Huw 38–39 Lewis-Williams, David 42 The Library of Trinity College Dublin 14 Lister, Jenny 62 Living with Matisse, Picasso and the New Decade 36 Long, Philip 56 Look & See 82 Lorenzo Lotto Portraits 16 Lowe, Paul 12–13 Mackrell, Judith 37 Magnum China 4–5 Maison Lesage 69 Making It Up 59 Manco, Jean 43 Mancoff, Debra N. 51 Mankoff, Bob 84–85 Agnes Martin 34 Masselos, Jim 40 Masters, Christopher 50 Matyszak, Philip 48 Mauriès, Patrick 68, 66–67, 69 McHarg, Fleur 117 Melendez, Tanya 63 Mendes, Valerie D. 62 Mérat, Amandine 53 Metzger, Rainer 86–87 Mid-Century Modern: Icons of Design 88 The Middle East 46 Miles, Barry 81 Modernist Design Complete 89 Monden, Masafumi 63 Moore, Julianne 101 Morocco from the Air 108 Moss, Rachel 15 Mr & Mrs Smith Presents the World’s Sexiest Bedrooms 110 Myers, William 76 Nadoolman Landis, Deborah 63 Napias, Jean-Christophe 68 Naunton, Chris 45 A New Way of Seeing 30–31 The New Yorker Encyclopedia of Cartoons 84–85 Nonas, Richard 9 Norman, Joanne 56 Oberthaler, Elke 17 Oceanic Art 32

Oikawa, Shigeru 20 Ono, Yoko 78–79 The Origins of the Anglo-Saxons 43 Orrom, James 91 Packham, Monte 36 Painting Now 32 Pantall, Colin 4–5 Paper Crafts 57 Pare, Richard 97 The Parisian Gentleman 72 Pattern Design 75 Patterson 100 Patterson, Andrew 100 Pearce, David 42 Pénot, Sabine 17 Petry, Michael 26–27 Pickford, Beverly 109 Pickford, Peter 109 Pilto, Carrie 36 Pink 63 Piovano, Alberto 101 Pocket Museum: Vikings 49 Pop Art 23 Porter, Venetia 53 Powers, Richard 96 Prestwich, Michael 48 Princenthal, Nancy 34 Pullman, Philip 38–39 Ranauro, Maria 18–19 Ravens & Red Lipstick 6–7 Remnick, David 84–85 Rock Graphic Originals 81 Roussell, Holly 10–11 Ryan, Rob 57 Yves Saint-Laurent 64 Samuel, Aurélie 64 Scali, Bertil 71 Schulz, Bernhard 103 Searching for the Lost Tombs of Egypt 45 Sellink, Manfred 17 Shenton, Helen 14 Sherwood, James 73 Shibata, Motoyuki 8 Singer, Sally 65 Smith, Mr & Mrs 110 Sofas 92 Sparrow, Giles 3 Spectrum 60–61 Spronk, Ron 15 Stanfill, Sonnet 62 Stathaki, Ellie 93 Steele, Valerie 63

The Story of Scottish Design 56 Suleman, Fahmida 53 Talarico, Lita 74 Talley, André Leon 65 Tangaz, Tomris 74 Taylor, Matthew 3 Thomas, Nicholas 32 Toromanoff, Agata 92 Travellers’ Tales 71 Tutankhamun 44 20th-Century Fashion in Detail 62 Uhlenbeck, Chris 20 The Unfinished Palazzo 37 Unravelled 28 V&A Photography Library 58–59 Van Duysen, Vincent 101 Vincent Van Duysen Works 1989–2009 101 Vincent Van Duysen Works 2009–2018 101 Van Tilborgh, Louis 20 Vannier, Charlotte 28 Vannini, Sandro 44 Vermare, Pauline 8 Vienna 1900 Complete 86–87 Warner, Marina 25 Webb, Iain R. 65 Webb, Michael 98–99 Weiss, Marta 59 What Shape Is Space? 3 Wilcox, Claire 62 Wild Land 109 Wilhide, Elizabeth 75 The Word is Art 26–27 The World According to Karl 68 The World of Charles and Ray Eames 90 The Writer’s Map 38–39 Ziyu, Zheng 4–5


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Thames & Hudson Autumn 2018 Catalogue  
Thames & Hudson Autumn 2018 Catalogue