The last thing on Lizzie's mind is catching the bouquet When her best friend's wedding venue catches fire, Lizzie Martin is on the case to find somewhere new. By some miracle, a space opens up at Halesmere House, and it makes perfect sense to move the event to the Lake District artists' residence. But Lizzie has painful memories of Halesmere... And when she bumps into Cal, her first love, she is forced to confront the past. Now a sought-after blacksmith, Cal has his own studio at Halesmere and the two must find a way to get along if this wedding isn't going to be a complete disaster. It soon becomes apparent that their attraction hasn't waned, but can Lizzie put their shared past behind her and learn to trust the man who left her once before? An emotional and heartwarming romance for fans of Phillipa Ashley, Heidi Swain and Sue Moorcroft.

This is an open access title available under the terms of a CC BY-NC-ND 4.0 International License. It is free to read at Oxford Scholarship Online and offered as a free PDF download from OUP and selected open access locations, thanks to a generous grant from the Andrew W. Mellon Foundation. The histories of East and West Germany traditionally emphasize the Cold War rivalries between the communist and capitalist nations. Yet, even as the countries diverged in their political directions, they had to create new ways of working together economically. In Designing One Nation, Katrin Schreiter examines the material culture of increasing economic contacts in divided Germany from the 1940s until the 1990s. Trade events, such as fairs and product shows, became one of the few venues for sustained links and knowledge between the two countries after the building of the Berlin Wall. Schreiter uses industrial design, epitomized by the furniture industry, to show how a network of politicians, entrepreneurs, and cultural brokers attempted to nationally re-inscribe their production cultures, define a postwar German identity, and regain economic stability and political influence in postwar Europe. What started as a competition for ideological superiority between East and West Germany quickly turned into a shared, politically legitimizing quest for an untainted post-fascist modernity. This work follows products from the drawing board into the homes of ordinary Germans to offer insights into how converging visions of German industrial modernity created shared expectations about economic progress and living standards. Schreiter reveals how intra-German and European trade policies drove the creation of products and generated a certain convergence of East and West German taste by the 1980s. Drawing on a wide range of sources from governments, furniture firms, industrial design councils, home lifestyle magazines, and design exhibitions, Designing One Nation argues that an economic culture linked the two Germanies even before reunification in 1990.

In Conscious Crafts: Whittling, maker Barnaby Carder, aka Barn the Spoon, reveals the meditative nature of the whittling process and its empowering skill set for creating, and mindfulness. Making is mindfulness made practical, and whittling is a renowned and rewarding craft. Drawing on the traditions of green woodworking, Barn the Spoon has created 20 modern makes, ranging from simple tools including the classic spoon to decorative items such as animals and woodprints. He shares the basic techniques to whittling and shows how these can be developed for different projects, as well as reconnecting us to nature's raw materials. Packed with inspiring ideas and practical guidance, Conscious Crafts: Whittling gives you the simple skills to get started with this fulfilling craft, and explores how the joy of creating your own unique makes can enrich your well-being. Clean photography, contemporary step-by step illustration and heart-affirming text are neatly carved together to celebrate handwork and the act of crafting for a sustainable future. The projects: light pull; letter opener; chopsticks; pickle fork; spoon rack; toaster tongs; plant label; comb; hair pin; drop spindle; crochet hook; knitting needle; button; pliers; bird; horse; whistle; tent peg; walking stick; double ended hook; heart or floret decoration; and woodprint. The Conscious Crafts series places mindfulness and well-being at the heart of making. Picking out proven meditative crafts and bespoke authors, these practical, contemporary guides are an inviting introduction to reconnecting head, heart, and hands. Also available from the Conscious Crafts series: Pottery, Quilting and Knitting.

The patchwork is an apt metaphor for the region not only because of its colourfulness and the making of something whole out of fragments but as an attempt to make coherence out of disorder. The seeking of coherence was the exact process of putting together this book and foregrounds the process of Caribbean societies forging identity and identities out of plural and at times conflicting and contested groups that came to call the region home. Within the metaphor of the patchwork however is the question, where are the vernacular needlework artists within the visual art tradition of the Caribbean? The introduction sets out to both clarify and rectify this situation, and several common themes flow through the following essays and interviews. Themes include that that the land and colonization remain baseline issues for several Caribbean artists who stage and restage the history of conquest and empire in varying ways. That artists in the region amalgamate as part of their practice and seem to prefer an open-endedness to art making as opposed to expressing fidelity to a particular medium. That artists and scholars alike are dismantling long-held perceptions of what Caribbean art is thought to be, and are challenging boundaries in Caribbean art. These are among the issues addressed in the book as it looks at ecological concerns and questions of sustainability, how the practices of the artists and their art defy the easy categorization of the region, and the placement of women in the visual art ecology of the Caribbean. The latter is one of the most contested areas of the book. Readers should come away with the sense that questions of race, colour, and class loom large within questions of gender in the Jamaican art scene and that the book, dedicated to Sane Mae Dunkley, aims to insert vernacular needleworkers into the visual art scene in both Jamaica and the larger Caribbean. Audience will include researchers and scholars of Caribbean and African diasporic art, college students, those interested in post-colonial studies, Caribbean artists, art professionals interested in a wider, globalized view of contemporary art; students curious to know about the many phases of art production throughout the Caribbean. General readers interested in the culture of the region.

Victorian furnishers and decorators Collinson & Lock were a model of the art furniture business of the last quarter of the nineteenth century. This book is the first wide-ranging study of this once highly important company. It will give insights into the workings and productions of a London furnishing business in the period. It also provides information on a wide variety of topics including furniture design developments, interior design styles, business practices, working practices and techniques, and the firm's customers and competitors. Clive Edwards first considers the structure of the London 'art furniture' trade and its development to locate the firm in its community. He then traces the growth of the firm's business, its involvement with important international exhibitions, the designers they worked with, and the furniture and interiors they produced. This important book then outlines and discusses Collinson & Lock's creations ranging from seminal pieces that were designed for an exclusive clientele, to those displayed at national and international exhibitions between 1871 and 1900, through to batch produced objects that still maintained the quality and design that the firm was famous for. The involvement of the firm with both public and private interior decoration commissions is also examined through case studies, including those in the Anglo-Japanese, Queen Anne, Old English, and Renaissance styles used in the later Victorian period. Drawing on the author's extensive knowledge of nineteenth-century furniture and interiors, this book meets a need for a fully researched and illustrated reference work on this famous firm. If you have an interest in the history of furniture and interior design, if you are involved with furniture collections either on a private basis or professionally, or you simply have an interest in the decorative arts and culture of the period, this book should be on your shelves.

A tour through the Yale University Art Gallery’s holdings of American art, one of the most exceptional museum collections of its kind This volume presents an engaging selection of highlights and introduces readers to the richness and diversity of the Yale University Art Gallery’s holdings of American art. An introductory essay outlines pivotal moments in the three-hundred-year history of collecting, exhibiting, and teaching with American art at Yale and commemorates the fiftieth anniversary of the founding of the Friends of American Arts at Yale, whose support continues to ensure the excellence of the collection. The more than one hundred object entries that follow create a narrative that charts the multiplicity of experiences and accomplishments of artists and artisans living and working in North America—from the earliest days of European settlement to the present. Among the catalogued objects are works by some of the best-known names in American art as well as recent acquisitions and masterpieces that represent diverse American identities. A dazzling range of media is displayed, including paintings and sculpture, medals, prints and drawings, photographs, jewelry, furniture, and decorative arts. Each object is illustrated with a full-page image and is accompanied by a one-page discussion that focuses on its contribution to the history of American art.     Distributed for the Yale University Art Gallery

Disrupting Craft presents the work of Tanya Aguiniga, Sharif Bey, Dustin Farnsworth, and Stephanie Styjuco, four artists who take innovative approaches to their selected mediums. They share a fascination with themes of identity, and the practise of their art as a means of engaging socially with communities in collective activity. The featured artists work in a remarkable variety of media including earthenware pottery, textiles and weaving, sculptural materials and woven plastic fabrics, and wood, metal and mixed media. Their visual sensibilities range from traditional African beaded culture, to digital media, the products of modern-day capitalist economies in the developing world, to post-industrial rust-belt of the American Midwest. Each is actively engaged in an artistic dialogue within their local and wider community, presenting mementos of bygone cultural eras and making sense of it for the present moment. Disrupting Craft is the second publication, and exhibition, devoted to the work of contemporary American craft practitioners and artists since the Renwick Gallery re-opened in fall 2015, following a major restoration and renovation.

Design and Agency brings together leading international design scholars and practitioners to address the concept of agency in relation to objects, organisations and people. The authors set out to expand the scope of design history and practice, avoiding the heroic narratives of a typical modernist approach. They consider both how the agents of design construct and express their identities and subjectivities through practice, while also investigating the distinctive contribution of design in the construction of individual identity and subjectivity. Individual chapters explore notions of agency in a range of design disciplines and historical periods, including the agency of women in effecting changes to the design of offices and working practices; the role of Jeffrey Lindsay and Buckminster Fuller in developing the design of a geodesic dome; Le Corbusier's 'Casa Curutchet'; a re-consideration of the gendered historiography of the 'Jugendstil' movement, and Bruce Mau's design exhibitions. Taken together, the essays in Design and Agency provide a much-needed response to the traditional texts which dominate design history. With a broad chronological span from 1900 to the present, and an equally broad understanding of the term 'design', it expands how we view the discipline, and shows how design itself can be an agent for social, cultural and economic change.

Over the past 30 years, research on archaeological textiles has developed into an important field of scientific study. It has greatly benefitted from interdisciplinary approaches, which combine the application of advanced technological knowledge to ethnographic, textual and experimental investigations. In exploring textiles and textile processing (such as production and exchange) in ancient societies, archaeologists with different types and quality of data have shared their knowledge, thus contributing to well-established methodology. In this book, the papers highlight how researchers have been challenged to adapt or modify these traditional and more recently developed analytical methods to enable extraction of comparable data from often recalcitrant assemblages. Furthermore, they have applied new perspectives and approaches to extend the focus on less investigated aspects and artefacts. The chapters embrace a broad geographical and chronological area, ranging from South America and Europe to Africa, and from the 11th millennium BC to the 1st millennium AD. Methodological considerations are explored through the medium of three different themes focusing on tools, textiles and fibres, and culture and identity. This volume constitutes a reflection on the status of current methodology and its applicability within the wider textile field. Moreover, it drives forward the methodological debates around textile research to generate new and stimulating conversations about the future of textile archaeology.

Learn to create art with light, flexible floral wire. Detailed photographs and 26 easy-to-follow patterns show you how to make a variety of wire designs and airy sculptures. Basic wire-working techniques and the essential tools you will need to get started are here, plus 26 projects with clear, step-by-step instructions. You'll learn to make charming animals, flowers, leaves, bicycles, a Volkswagen bus, and more. Discover ideas for making projects like greeting cards and wall plaques from your wire sculptures. Learn to use mixed media in your designs, with instructions for combining wire with wood, paper, glass, and even recycled flatware. Once you have mastered the projects in the book, you can use the techniques you have learned as inspiration for your own wire designs.

• 36 projects for historic benches, chairs, tables, cupboards, chests, shelves, beds, and doors, all done with simple woodworking tools
• Detailed plans based on careful study and measurement of original pieces and accurate reproductions
• Step-by-step instructions, materials lists, and notes on woodworking, metalworking, and finishing
• Foreword by Roy Underhill of the PBS series "The Woodwright's Shop"

This book presents a wealth of images that will spark the imagination of all who see them. There are times when all artists struggle for inspiration. This can be particularly true when you try to create patterns, textures and designs with which to decorate your work. In this book, Carolyn Genders presents a wealth of images - of both natural and manmade objects - that will spark your imagination as soon as you see them. The book also highlights how these images can be visually abstracted, refined and developed to create other beautiful patterns, designs and forms. The result is not only a useful guide to how the creative process works but also a visually glorious sourcebook of images. This book is a must for all - whatever field you work in and whether you are an amateur or a professional artist.

A complete step-by-step guide to essential woodwork techniques, from choosing and cutting timber to planning, measuring, marking, cutting, shaping and joining. Essential troubleshooting tips are supplied throughout. Learn how to control power tools with accuracy, and select and use the 10 essential hand tools that will give your work a beautiful, hand-finished quality. Choose from a selection of projects - simple furniture and decorative items complete with cutting lists and full instructions - to practise the techniques. Be inspired by a gallery of finished examples from professional woodworkers to take your woodwork further. You will also find a wood identifier section that describes the key characteristics of different types of timber and suggests how to use them. Dip into this brilliant resource to build new skills, repair existing items and create fantastic projects.

Illuminated legal texts rank high among the most splendidly decorated medieval manuscripts. Their historical and artistic significance has largely escaped even specialists in art and legal history. The long-recognised discrepancy between the importance of the material and its relative inaccessibility, as well as the rich Cambridge collections, provided the incentive for an exhibition at the Fitzwilliam Museum. With the intention to bring this splendid material to the attention and the understanding of a wider audience, this catalogue offers introductory essays on the making and use of medieval legal manuscripts, detailed descriptions and analysis of representative examples, and rich illustrative material, aesthetically pleasing and thought-provoking. This catalogue offers introductory essays on the making and the use of medieval legal manuscripts in Cambridge collections, in order to call attention to the illuminated legal texts as splendidly decorated medieval manuscripts. ..".the handsome catalogue, Illuminating the law, with its generous quota of colour plates, does splendid justice to a small exhibition at the Fitzwilliam Museum (...), in which unexpected delights are found in apparently dry legal textbooks." (A. Payne in The Art Newspaper, December 2001).

Learn how to build premium cabinetry of superior quality in your own shop...from layout and design to installation and final adjustment. Jim Tolpin simplifies the process of building cabinets by using modern hardware and joinery systems that are fast and foolproof to execute. He shows how to construct easily handled cabinet modules and how to customize face frames, doors, and drawers in the style you choose. With the help of this book and basic shop tools, you can build a complete set of kitchen cabinets that will add beauty and value to any home.

Arkansas Made is the culmination of the Historic Arkansas Museum's exhaustive investigations into the history of the state's material culture past. Decades of meticulous research have resulted in this exciting two-volume set portraying the work of a multitude of artisan cabinetmakers, silversmiths, potters, fine artists, quilters, and more working in communities all over the sate. The work of these artisan groups documented and collected here has been the driving force of the Historic Arkansas Museum's mission to collect and preserve Arkansas's creative legacy and rich artistic traditions. Arkansas Made demonstrates that Arkansas artists, artisans, and their works not only existed, but are worthy of study, admiration, and reflection.

Although Ernst Grube has made the study of painting in the Muslim world a principal concern, he has also dealt with other aspects of Islamic art in some depth. Over the last three decades he has published a large number of studies dealing with specific materials: metal-work, stucco decoration, textiles, and especially pottery. Of the twelve selected articles from these areas of Professor Grube's research published in this volume, six are concerned with pottery, one deals with Ilkhanid stucco work as represented in the mausoleum of the Shaykh Muhammad ibn Bakran, near Isfahan, and four deal with the decorative arts of the Timurid period. This last group is accompanied by an extensive bibliography on Timurid decorative arts which should be particularly welcome as much of this material is difficult to access and much of it is originally in Russian. All articles are offered here with both additional notes and a considerably enhanced number of illustrations which greatly adds to the interest and value of the original publications. Contents: Preface Pottery: Three Abbasid Ceramic Bowls Islamic Sculptures: Ceramic Figurines Some Lustre Tiles from Kashan in American Collections Some Lustre Painted Tiles from Kashan of the 13th and 14th Centuries Raqqa Keramik in der Sammlung des Metropolitan Museum in New York The Art of Islamic Pottery Islamic Pottery and the Ceramic Arts of the Far East Ilkhanid Stucco Decoration: Ilkhanid stucco decoration: Notes on the stucco decoration of Pir-i Bakran The Decorative Arts of the Timurid Period: Notes on the Decorative Arts of the Timurid Period I Notes on the Decorative Arts of the Timurid Period II Notes on the Decorative Arts of the Timurid Period III. On a Type of Timurid Pottery Design: The Flying-Bird-Pattern Notes on the Decorative Arts of the Timurid Period IV A Bibliography of Timurid Decorative Arts Additional Notes Index