Now back in print, "the ultimate book-lover's gift book" (Los Angeles Times) In 1561-62 the master calligrapher Georg Bocskay (died 1575), imperial secretary to the Holy Roman Emperor Ferdinand I, created Mira calligraphiae monumenta (Model Book of Calligraphy) as a demonstration of his own preeminence among scribes. Some thirty years later, Ferdinand's grandson, the Emperor Rudolf II, commissioned Europe's last great manuscript illuminator, Joris Hoefnagel (1542-1600), to embellish the work. The resulting book is at once a treasury of extraordinary beauty and a landmark in the cultural debate between word and image. Bocskay assembled a vast selection of contemporary and historical scripts for a work that summarized all that had been learned about writing to date-a testament to the universal power of the written word. Hoefnagel, desiring to prove the superiority of his art over Bocskay's words, employed every resource of illusionism, color, and form to devise all manner of brilliant grotesques, from flowers, fruit, insects, and animals to monsters and masks.

Expand, inspire and invigorate your calligraphy practice today. Packed with fresh ideas for calligraphy techniques, styles and subjects, this book is a visual feast of inspiration for all abilities, whether you're new to calligraphy or looking to reinvigorate your practice. Boost your creativity with the help of more than 80 artworks by contemporary, international calligraphers, each demonstrating an interesting or innovative approach. Techniques include hot foiling, laser cutting and brush calligraphy, as well as general inspiration such as practising calligraphy on baubles, making calligraphy wrapping paper and customising your own tools. Explore both new and old methods and discover the basic skills to excel at this ancient art form. The art of calligraphy is the ultimate way to relax, restore and create beautiful pieces of art - and this book is sure to renew your creativity.

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 multi-hued 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 hand-wrought 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 pave-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.

Founded in 1925 in Santa Fe, the Spanish Colonial Arts Society has become central to the collection and promotion of traditional Hispanic arts in New Mexico. Its extraordinary collection of some twenty-five hundred objects, both secular and religious, comprises the finest of its kind. Serving as the Society's 'museum on paper' this exceptional two-volume set includes vividly illustrated essays on New World santos, furniture, straw applique, tinwork, and textiles. Essays on historical arts, the revival period, Spanish Market, and contemporary masters of traditional Spanish arts record the development of this historic collection from the early Spanish New Mexicans to today's working craftsman. Books with slipcase.

An American Library Association Notable Book
When he proposed to his girlfriend, Tom Zoellner gave what is expected of every American man--a diamond engagement ring. But when the relationship broke apart, he was left with a used diamond that began to haunt him. His obsession carried him around the globe; from the "blood diamond" rings of Africa; to the sweltering polishing factories of India; to mines above the Arctic Circle; to illegal diggings in Brazil; to the London headquarters of De Beers, the secretive global colossus that has dominated the industry for more than a century and permanently carved the phrase "A diamond is forever" on the psyche. An adventure story in the tradition of Susan Orlean's "The Orchid Thief, ""The Heartless Stone" is a voyage into the cold heart of the world's most unyielding gem.

Meticulous reproduction of rare portfolio (1925-30) contains over 700 dazzling designs and motifs for buckles, clips, belts, mirrors, pendants, cigarette cases, rings, chains, necklaces, watchbands, brooches, studs, and charms. Invaluable, copyright-free source of authentic Art Deco designs for artists, jewelers, and period specialists.

Overlooked in the history of artistic endeavors are the contributions of female writers, painters, and crafters of the Caribbean. The creative works by women from the Caribbean proves to be as remarkable as the women themselves. In Caribbean Women and Their Art: An Encyclopedia, Mary Ellen Snodgrass explores the rich history of women’s creative expression by examining the crafts and skill of over 70 female originators in the West Indies, from the familiar islands—Jamaica, Haiti, Cuba, Puerto Rico—to the obscurity of Roatan, Curaçao, Guanaja, and Indian Key. Focusing particularly on artistic style during the arrival of Europeans among the West Indies, the importance of cultural exchange, and the preservation of history, this book captures a wide variety of artistic accomplishment, including Folk music, acting, and dance Herbalism and food writing Sculpture, pottery, and adobe construction Travel writing, translations, and storytelling Individual talents highlighted in this volume include dancer Katherine Dunham, storyteller Louise Bennett-Coverley, paleontologist Sue Hendrickson, dramatist Maryse Condé, herbalist and memoirist Mary Jane Seacole, ballerina and choreographer Alicia Alonso, and athor Elsie Clews Parsons. Each entry includes a comprehensive bibliography of primary and secondary sources, as well as further readings on the female artists and their respective crafts. This text also defines and provides examples of technical terms such as ramada, slip, hematite, patois, and mola. With its informative entries and extensive examinations of artistic talent, Caribbean Women and Their Art: An Encyclopedia is a valuable resource for students, scholars, and anyone interested in learning about some of the most influential and talented women in the arts.

Glass is a magical material through which light can shine. Throughout its millennial history, its colourful splendour and malleability have always exerted a particular fascination and a creative attraction. The book offers a profound and lavishly documented panorama of artistic glass design in Europe and the United States since the 1870s. Over many years Renate und Dietrich Götze have assembled one of the world’s most important collections of glass vessels, comprising some 500 exclusive objects. It reflects not only the collectors’ passion for this luminous material and its unlimited opportunities for inspiring the imagination, but also their tremendous expertise. The volume is a compendium of glass art with numerous artist biographies, a directory of the glass foundries, their techniques and symbols – and, above all: a feast for the eyes!

After World War I, artists without formal training "crashed the gates" of major museums in the United States, diversifying the art world across lines of race, ethnicity, class, ability, and gender. At the center of this fundamental reevaluation of who could be an artist in America were John Kane, Horace Pippin, and Anna Mary Robertson "Grandma" Moses. The stories of these three artists not only intertwine with the major critical debates of their period but also prefigure the call for inclusion in representations of American art today. In Gatecrashers, Katherine Jentleson offers a valuable corrective to the history of twentieth-century art by expanding narratives of interwar American modernism and providing an origin story for contemporary fascination with self-taught artists.

This catalogue of the Wyvern sculpture collection, which is not open to the public, comprises outstanding European sculptures of the medieval period, as well as some Late Antique and Byzantine pieces and related works of the post-medieval era. Objects are made from wood, stone (including alabaster and marble) and terracotta. Also included are medieval works of art in metal, mostly consisting of crucifix figures (corpora), and other functional metalware such as aquamanilia (water vessels for the washing of hands) and candlesticks. This sumptuous publication will interest all those concerned with the material culture of the Middle Ages.

More than any other piece of furniture, the chair has been subjected to the wildest dreams of the designer. The particular curve of a backrest, or the twist of a leg, the angle of a seat or the color of the entire artifact; each element reflects the stylistic consciousness of an era. From Gerrit Rietveld and Alvar Aalto to Verner Panton and Eva Zeisel, from Art Nouveau to International Style, from Pop Art to Postmodernism, the history of the chair is so complex that it requires a comprehensive encyclopedic work to do it full justice. They are all here: Thonet's bentwood chairs and Hoffmann's sitting-machines, Marcel Breuer's Wassily chair and Ron Arad's avant-garde armchairs. Early designers and pioneers of the modern chair are presented alongside the most recent innovations in seating. This dedicated compendium displays each chair as pure form, along with biographical and historical information about the pieces and their designers. An illuminating tome for design aficionados and an essential reference for collectors! About the series Bibliotheca Universalis - Compact cultural companions celebrating the eclectic TASCHEN universe!

Discover the gorgeous jewelry that can only be created with kumihimo wirework!

Whether new to kumihimo or looking to take your skill to the next level, Kumihimo Wirework Made Easy is the companion you need. Author Christina Larsen will show you how easy it can be to transition from traditional kumihimo materials to wirework with her expert guidance, comprehensive instruction, and inspiring designs. In this must-have resource, you'll find:

- A complete guide to understanding wireworking tools and materials specific to kumihimo wirework.

- Full step-by-step tutorials for 3 basic kumihimo braid structures perfect for wirework jewelry designs.

- Project instructions for 20 inspiring kumihimo wirework designs including earrings, bracelets, and pendants.

Kumihimo Wirework Made Easy has everything you need to bring the ancient art of traditional Japanese braiding to your modern jewelry designs.

For over 142,000 years, beads have played an important role around the world as the oldest form of personal adornment. Joyce J. Scott has revolutionised and transformed the potential of the ubiquitous bead as a relevant, contemporary art form. For over 51 years, wielding beads as a vision, she has devoted her aesthetic practice to waking up the world, expanding beadwork's boundaries, with powerful in-your-face social commentary. While addressing society's ills, her visual and performance conversations on cultural stereotypes and racial injustices, elucidate her vibrant brilliant works of art. The publication Messages features Joyce J. Scott's dynamic images with scholarly essays from experts in their field, as well as museum curator's comments. Each individual provides deeper insights into the influences and extraordinary work of Joyce J. Scott, astutely capturing the essence and spirit of this icon of contemporary art. With contributions by Jacqueline Copeland, Henry John Drewal, Valerie Hector, and Joyce J. Scott, and a foreword by Libby Cooper & Joanne Cooper.

This beautiful illuminated manuscript, now in Vienna, Osterreichische Nationalbibliothek, is one of the earliest surviving examples of a unique group of Bibles containing the most extensive cycles of biblical illustrations juxtaposed with theological and allegorical interpretative images. The present moralized Bible was produced in Paris in the first half of the 13th century, and contains over 1000 exquisitely illuminated medallions accompanied by textual extracts and commentaries that act as captions to the illustrations and thus reveal, by word and image, the relevance of the Bible to contemporary life. They reflect the rapidly-changing world of the thirteenth century and highlight the many ideological problems prominent in the intellectual and political milieu of the time. It is a book that has long fascinated both historians and art-historians, since it stands out not only as one of the major artistic achievements of its time, but also as an important historical document for an understanding of medieval Europe. All illuminated pages of Codex 2554 are reproduced in full colour in this volume. In his commentary to the manuscript, Gerald Guest explains the origins of this type of Bible manuscript; he compares the work with other surviving examples, examines the style and meaning of the illuminations, poses the likely patrons and puts the creation of the moralized Bible in its intellectual and artistic context. The author has also translated all the French texts that accompany the illuminations into English.

A major new look at the work of one of America's foremost self-taught artists Bill Traylor (ca. 1853-1949) came to art-making on his own and found his creative voice without guidance; today he is remembered as a renowned American artist. Traylor was born into slavery on an Alabama plantation, and his experiences spanned multiple worlds-black and white, rural and urban, old and new-as well as the crucibles that indelibly shaped America-the Civil War, Reconstruction, Jim Crow, and the Great Migration. Between Worlds presents an unparalleled look at the work of this enigmatic and dazzling artist, who blended common imagery with arcane symbolism, narration with abstraction, and personal vision with the beliefs and folkways of his time. Traylor was about twelve when the Civil War ended. After six more decades of farm labor, he moved, aging and alone, into segregated Montgomery. In the last years of his life, he drew and painted works depicting plantation memories and the rising world of African American culture. Upon his death he left behind over a thousand pieces of art. Between Worlds convenes 205 of his most powerful creations, including a number that have been previously unpublished. This beautiful and carefully researched book assesses Traylor's biography and stylistic development, and for the first time interprets his scenes as ongoing narratives, conveying enduring, interrelated themes. Between Worlds reveals one man's visual record of African American life as a window into the overarching story of his nation. Published in association with the Smithsonian American Art Museum

From the white plastic bed for the Prisunic catalogue (1966) to the Culbuto armchair issued by Knoll, and from the Lip watch to the private apartments of the Elysee Palace, Paris, (1983), the furniture and objects conceived by Marc Held have been emblematic of the renewal of French design, following the line of Scandinavians such as Alvar Aalto and Arne Jacobsen...With his gallery L'Echoppe on the rue de Seine, Paris, and then with his agency, the designer and architect Marc Held also took part in major projects for IBM and Renault. This book traces fifty years of design, whose success with the public at large has contributed to a great liberation in our style of life. The generosity of his vision has remained faithful to the humanist values that guided his childhood in Bagnolet, where he was born in 1932. Having settled in Greece, on the island of Skopelos, over twenty years ago, Marc Held still continues to build houses and furnish them with his creations, working closely with Greek craftsmen.

Folk art was neither widely collected nor highly valued in the early 1900s, when globetrotting Chicago socialite and philanthropist Florence Bartlett (1881-19540 began buying indigenous works encountered on her travels and dreamed of founding a museum to celebrate cultural diversity. Beartlett realised her goal in 1953, when the Museum of International Folk Art opened in Santa Fe near her long-time summer home. 50 years later, Bartlett's vision lives on in an ever-expanding museum collection that includes contemporary pieces as well as centuries old textiles, woodwork, pottery and ethnic garb.

Practical archive of extraordinarily beautiful and decorative letters of the alphabet splendidly ornamented with geometric and curvilinear motifs interwoven with royal and saintly figures, mythical creatures, knights in battle, exquisite florals and much more. A wonderful glimpse of the ancient art of manuscript illumination.

With the first decade of the twenty-first century behind us, it is time to reassess the concept of "modern," a term that dates to the Middle Ages, when it signified current or recent events. Not until the eighteenth century did it become a stylistic term; more recently it has generally referred to the aesthetic that evolved from the Bauhaus and flourished in the mid-twentieth century. Though proclaiming freedom from the limitations of style, it became as formulaic as most of its predecessors, as Modern architecture and furnishings conformed to prescribed specifications: geometric forms, industrially fabricated, unadorned, and studiously ahistorical. Those guidelines are no longer relevant. As Midcentury Modernism has receded into history, Modernism has been redefined, reenergized, and in the process transformed. Today it embraces a cornucopia of design in an almost limitless range of materials: design studios are laboratories for experimentation; design concepts can be as important as finished objects; and furniture has crossed barriers to become a new art form. Tools and technologies never before possible have provided new approaches to decoration, and may incorporate influences from the past. The design profession has broadened its horizons; interiors and furniture are being created by architects, interior designers, furniture makers, industrial designers, artisans, artists, and even fashion designers. Design After Modernism offers an overview of developments in design over the past four decades-some evolutionary, some expected, and some extraordinary. It identifies the diverse influences that have generated new directions in design and illustrates many of the most characteristic, most noteworthy, and most innovative objects in this rich and variegated mix. All are representative of their time, and many of the earlier designs have already gained iconic status. Of the more recent ones, whether or not they will be admired in decades to come is something that only time will tell.