Roseville pottery is introduced, explained, examined, and surveyed in this beautiful, sweeping guide. This revised and expanded edition includes new research on Roseville shape numbers and terminology, as published in Bassett's Roseville Prices. Over 860 color photographs illustrate the many artistic products created by the Roseville Pottery Company during its long life from 1890 to 1954. Arranged alphabetically, each line and its most typical variations are presented, and each has been meticulously researched and dated. The various ware types produced for each line are enumerated. Previously unknown Roseville products are documented--most notably Early Velmoss. Also included in the text are discussions of experimental and trial glaze pieces, a glaze and shape identification guide, a timeline of Roseville products, and an examination of the company's factory marks and artist signatures. Guidelines for building a collection and tips on collector's etiquette round out the presentation. Values are provided for all of the items displayed. Finally, a selected bibliography and an index are included.

This book investigates the important antiquities collection formed by Henry Blundell of Ince Blundell Hall outside Liverpool in the late eighteenth century. Consisting of more than 500 ancient marbles-the UK's largest collection of Roman sculptures after that of the British Museum-the collection was assembled primarily in Italy during Blundell's various "Grand Tour" visits. As ancient statues were the pre-eminent souvenir of the Grand Tour, Blundell had strong competition from other collectors, both British nobility and European aristocrats, monarchs, and the Pope. His statues represent a typical cross-section of sculptures that would have decorated ancient Roman houses, villas, public spaces, and even tombs, although their precise origins are largely unknown. Most are likely to have come from Rome and at least one was found at Hadrian's Villa at Tivoli. Although most of the works are likely to have been broken when found, in keeping with the taste of the period they were almost all restored. Because of their extensive reworking, the statues are today not simply archaeological specimens but rather, artistic palimpsests that are as much a product of the 18th century as of antiquity. Through them we can learn what antiquarians and collectors of the 18th century-a key period in the development of scientific archaeology as a discipline-thought about antiquity. Steeped in the work of such writers as Alexander Pope, an educated Englishman like Blundell sought a visual expression of a lost past. Restoration played a major role in creating that visual expression, and I pay close attention to the aims and methods by which the Ince restorations advanced an 18th century vision of the "classical." The image of antiquity formed at this time has continued to exert a profound effect on how we see these pieces today. The book will be the first to examine the ideal sculpture of Ince Blundell Hall in nearly a century. In so doing it aims to rehabilitate the reputations of a collector and collection that have largely been ignored by both art-lovers and scholars in post-war Britain.

In Brave Birds, cut-paper artist and writer Maude White presents an entirely new collection of sixty-five stunning cut-paper birds. As a source of inspiration, each bird is paired with an original message of kindness and strength associated with its particular traits to encourage bravery and perseverance. Inside, you'll find birds for experiencing Joy, Creativity, Patience, Kindness, Resilience, Communication, Strength, Awareness, Action, and Transformation, and each composition, beautifully photographed by Laura Glazer, reflects thousands of intricate cuts, lending an astounding level of texture to these delicate and ethereal creatures. Appealing to any bird lover or collector of bird art, Brave Birds is a beautiful resource for those wishing to practice a life of kindness and empathy.

A compelling look at Doris Salcedo's works from the past fifteen years, exploring how the artist challenges not only the limits of the materials she uses but also the traditions of sculpture itself Colombian sculptor and installation artist Doris Salcedo (b. 1958) creates works that address political violence and oppression. This pioneering book, which focuses on Salcedo's works from 2001 to the present, examines the development and evolution of her approach. These sculptures have pushed toward new extremes, incorporating organic materials-rose petals, grass, soil-in order to blur the line between the permanent and the ephemeral. This insightful text illuminates the artist's practice: exhaustive personal interviews and deep research joined with painstaking acts of making that both challenge limits and set new directions in materiality. Mary Schneider Enriquez convincingly argues for viewing Salcedo's oeuvre not just through a particular theoretical lens, such as violence studies or trauma and memory studies, but for the profound way the artist engages with and expands the traditions of sculpture as a medium.

Gladys Kalichini (born 1989 in Chingola, Zambia) is a contemporary visual artist and academic who investigates how women have been portrayed in relation to a dominant, colonial past. For example, the artist sheds light on instances in which women have been deleted from historical narratives and the collective memory of society. As a result of her extensive research, Kalichini has demonstrated that women were intentionally marginalised in the official representations of Zambia's and Zimbabwe's struggles for independence. In her elaborate multimedia installations and video art, which she often develops on the basis of research material and photos from archives, Kalichini highlights the omissions in the dominant representations of the two countries' fight for freedom. She thus expands the history of their liberation struggle by drawing attention to the deletion and invisibility of female freedom fighters. By reminding the public of several of these women, Kalichini creates a diverse and complex alternative narrative of national independence.

Greg Tricker is a stone carver and painter. His profound and simple style of painting is deeply rooted in a mystical tradition of art. Qualities of myth, an innocence of spirit akin to the folk art tradition and a powerfully theatrical element feature in his work.

Zygotes and Confessions is a publication devoted to the work of London-based artist Nick Hornby, and has been produced to accompany his first solo exhibition in a public gallery. The exhibition, which shares its title with the publication, is presented at MOSTYN, Wales, UK, from November 2020 to April 2021. Hornby is known for his monumental site-specific works that combine digital software with traditional materials such as bronze, steel, granite and marble. In this publication he presents a substantial new body of smaller, more intimate work comprising three discrete yet interrelated series of works inspired by the history of sculptural busts, modernist abstractions and mantelpiece ceramic dogs. United by glossy photographic surfaces created by means of an industrial process in which his marble and resin composite sculptures are dipped into liquid photographs, these new works explore themes of portraiture, the body, identity, sexuality and intimacy in the digital era. A number of the works have been made in collaboration with fashion photographer Louie Banks. Along with a foreword by Helen Boyd, Head of Marketing and Publisher Relations at the Casemate Group, the publication features a text by MOSTYN director Alfredo Cramerotti and an essay by London-based publisher, editor and writer Matt Price. Price writes: "With one eye on the sculpture of the past and the other on that of tomorrow, technology is at the heart of London-based Nick Hornby's practice and is central to the production of his often imposing, mind-bending and futuristic-looking sculptures. Using materials such as bronze and marble, his work points back towards the Renaissance or the nineteenth century, yet his use of resin and digital technology positions him very much in the present, exploring languages both figurative and abstract, often simultaneously." The texts are presented in both English and Welsh. Newly commissioned studio photography of the works by Ben Westoby, along with installation views of the exhibition commissioned by MOSTYN from Mark Blower, illustrate the publication, which has been designed by Joe Gilmore / Qubik. The publication is co-published by MOSTYN, Wales, UK, and Anomie Publishing, London, and distributed internationally by Casemate Art, a division of the Casemate Group. Nick Hornby (b.1980) is a British artist living and working in London. Hornby studied at the Slade School of Art and Chelsea College of Art. His work has been exhibited at Tate Britain, Southbank Centre London, Leighton House London, CASS Sculpture Foundation, Glyndebourne, Fitzwilliam Museum Cambridge, Museum of Arts and Design New York, and Poznan Biennale, Poland. Residencies include Outset (Israel) and Eyebeam (USA), and awards include the UAL Sculpture Prize. His work has been reviewed in the New York Times, frieze, Artforum, The Art Newspaper, The FT, and featured in Architectural Digest and Sculpture Magazine.

00s is the first exhibition that explores the 2000s, taking as its starting point one of the most important European collections of contemporary art - the Cranford Collection. This accompanying catalogue selects 100 works from the collection, and includes pieces by artists such as Louise Bourgeois, Cindy Sherman, Damien Hirst, Gerhard Richter, Raymond Pettibon, and Josh Smith. With an introduction by Nicolas Bourriaud, the CEO of MO.CO, and interviews with Muriel and Freddy Salem, the Patrons of the Cranford Collection. Text in English and French.

An exciting new account of Irish high crosses This landmark study of Irish high crosses focuses on the carvings of an unnamed artist, the "Muiredach Master," whose monuments-completed in the early years of the 10th century-deserve a place alongside the Book of Kells as great works of their time. Drawing on a wealth of recent research, Roger Stalley describes in vivid detail how the crosses were made, where they were carved, and how they were lifted into place. His lively prose situates the works in their context, identifying patrons and exploring their motives, as well as venturing to understand what the crosses may have meant to those who gazed at them a millennium ago. In doing so, Stalley rejects preconceived notions about the imagery of the crosses, including the extent to which they were inspired by images from abroad. Distributed for the Paul Mellon Centre for Studies in British Art

Drawing especially on the encounters and relationships that defined her exceptional career, The Sustainable Legacy of Agnès Varda outlines a sustainable legacy for the celebrated director and visual artist. Over nine chapters, it unpacks how creation, connection, and environment form the core of Varda’s artistry, which centers foremost on relationships with her family, with other artists, even with passersby she would meet in her travels around the world. Also celebrating her feminist legacy, the chapters cover a wide range, from the classic Cléo from 5 to 7 (1962) to documentaries The Beaches of Agnès (2008) and Faces Places (2017) as well as selected art installations. The book’s final section is dedicated to teaching Varda’s work; here, ten scholars from around the world consider how Varda’s art and feminist pedagogies offer unique ways to bring crucial concepts into the classroom. By seeking a sustainable praxis to discuss and teach Varda’s work, and by making pedagogical concerns an explicit part of this approach, this book argues that Varda’s insights about the nature of creative work will inspire new generations of viewers and audiences.

This extensively illustrated book includes 435 images, featuring never-before-seen archival materials and newly commissioned photography of Burden s studio and property. Burden s work, whether realized or unrealized, was fundamentally driven by a speculative approach to artistic production, one that compelled him to interrogate the physical limits of his own body, social mores, institutional capabilities, and scientific forces. Above all, his work repeatedly sought to test the thresholds of presumed impossibility, making his unrealized works the ultimate example of such measures. The sixty-seven artworks included in this publication offer a unique and unprecedented perspective on the life and working process of this formidable artist.

This volume accompanies the largest exhibition of contemporary art from Australia to be presented outside the continent. It's characterised by a surprising richness and variety, offering a combination of personal stories, languages, ethnic origins, religions and traditions. The artists belong to many Aboriginal cultures and First Nations and those that arrived from the Pacific, Europe, Asian countries and America. Curated by Eugenio Viola, this project encompasses a broad constellation of cultural, political and social practices and perspectives, and takes into consideration different means of expression such as painting, performance, installation, sculpture, video, drawings and photography. Artists: Vernon Ah Kee, Tony Albert, Khadim Ali, Brook Andrew, Richard Bell, Daniel Boyd, Maria Fernanda Cardoso, Barbara Cleveland, Destiny Deacon, Hayden Fowler, Marco Fusinato, Agatha Gothe-Snape, Julie Gough, Fiona Hall, Dale Harding, Nicholas Mangan, Angelica Mesiti, Archie Moore, Callum Morton, Tom Nicholson (with Greg Lehman), Jill Orr, Mike Parr, Patricia Piccinini, Stuart Ringholt, Khaled Sabsabi, Yhonnie Scarce, Soda Jerk, Dr Christian Thompson AO, James Tylor, Judy Watson, Jason Wing and Nyapanyapa Yunupingu. Text in English and Italian.

This first ever monograph in English on Olga Jevric offers a unique opportunity to discover the work of a remarkable Serbian artist whose long and distinguished career established her as the most significant modernist sculptor from the former Yugoslavia. Despite gaining widespread acclaim from her contemporaries both in Europe and the USA, economic, social and geopolitical upheavals meant that her work has been little seen outside Serbia in the past four decades. As a witness to the Second World War and its aftermath, Jevric sought to give voice to the spiritual roots, cultural foundation and social conditions of the war-torn environment in which her work developed. Through her materials - primarily a mixture of cement, iron oxide, rods and nails - she created distinctive forms that communicate the relationship between matter and void; weight and weightlessness; containment and release. Though many of her works are modest in scale, they have an immensely powerful presence. This collection of texts and images provides a range of perspectives on, and a thorough contextual overview of, Jevric's work from some of the UK's most influential sculptors, alongside prominent art historians from the former Yugoslavia. It was produced in celebration of Jevric's exhibitions at London art platforms PEER (28 June-14 September 2019) and Handel Street Projects (28 June-13 December 2019), along with the acquisition of nine of her sculptures by Tate Modern.

The work of the artist couple Christo (1935-2020) and Jeanne-Claude (1935-2009) resists categorization. It is a hybrid of art, urban planning, architecture, and engineering, but above all an aesthetic uniquely their own: surreal and ethereal environmental interventions that have graced monuments, public parks, and centers of power alike. This compact book spans the complete career of the couple who were born on the very same day, met in Paris, fell in love, and became a creative team like no other. With rich illustration, it spans Christo and Jeanne-Claude's earliest projects in the 1950s right through to The Floating Piers, installed at Lake Iseo, Italy, in 2016. The book celebrates all of the couple's most famous environmental interventions, such as The Gates in New York's Central Park and the Wrapped Reichstag in Berlin, while also featuring early drawings and family photos unknown to the wider public. About the series Born back in 1985, the Basic Art Series has evolved into the best-selling art book collection ever published. Each book in TASCHEN's Basic Art series features: a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 illustrations with explanatory captions

With clear instructions and vivid color photographs, Al Streetman takes woodcarvers through all the steps necessary to release a wood spirit from a cypress knee. Using the shapes suggested by the forms of the knees themselves, Al carves both a complete Santa figure and a Santa ornament as the central projects of the book. Also included are a listing of tools used in the projects, directions for painting and antiquing the completed carvings, and a color gallery featuring additional cypress knee Santa figures to inspire the carver. This book will present interesting challenges to the novice and be a joy for the more advanced woodcarver.

Engraved shell-cases, bullet-crucifixes, letter openers and cigarette lighters made of shrapnel and cartridges, miniature aeroplanes and tanks, talismanic jewellery, embroidery, objects carved from stone, bone and wood - all of these things are trench art, the misleading name given to the dazzling array of objects made from the waste of war, in particular the Great War of 1914-1918 and the inter-war years. And they are the subject of Nicholas Saunders's pioneering study which is now republished in a revised edition in paperback. He reveals the lost world of trench art, for every piece relates to the story of the momentous experience of its maker - whether front-line soldier, prisoner of war, or civilian refugee. The objects resonate with the alternating terror and boredom of war, and those created by the prisoners symbolize their struggle for survival in the camps. Many of these items were poignant souvenirs bought by battlefield pilgrims between 1919 and 1939 and kept brightly polished on mantelpieces, often for a lifetime. Nicholas Saunders investigates their origins and how they were made, exploring their personal meaning and cultural significance. He also offers an important categorization of types which will be a useful guide for collectors.

Legend has it that the forest of the world are inhabited by elusive creatures known as "Wood Spirits." Tom Wolfe finds them everywhere and brings them to life in this delightful new instructional book. Using found wood such as driftwood, roots, and old beams from dilapidated barns, he leads the reader through the carving of wondrous, fanciful faces, that are both enchanting and beautiful. On a smaller scale, Tom also finds the Wood Spirits in walking sticks, creating treasures that are handsome and functional at the same time. Tom has been carving these Spirits for years, and they are constantly in demand. Now he leads the carver, step-by-step, through their creation, each step illustrated in beautiful color photographs. An extensive gallery is included, jam-packed with examples and ideas for the reader's own work.

A year ago Helen Gibson shared her techniques for carving the human figures of the nativity story: Mary, Joseph, Jesus, the wise men, and the shepherds. Now she returns to the story to complete the scene by carving the animals, of the nativity: camels, sheep, cattle, and donkeys. Helen has a highly detailed style of carving that is perfect for this subject. The reader is lead step-by-step through the process of carving one of the animals. Clear color photographs illustrate every cut. A gallery of the other animals shown from every angle and patterns help the carver complete the set.

Neither a particular style nor the product of one company, crackle glass has become one of the popular fields of twentieth century glass collecting. Crackling, a finish caused by dipping the hot piece of glass into cooling water, is the common feature that gives this type of glass its name. The majority of this glass was handblown by West Virginia glass companies such as Blenko, Pilgrim, Rainbow, Kanawha, and Bischoff. This volume shows thousands of crackle glass vases, pitchers, bowls, tumblers, and dishes grouped in more than 300 full color photos, with company histories, detailed captions, a current price guide, bibliography, and index. It will serve as a necessary reference for students, collectors, and dealers of this colorful glassware.

Auguste Rodin, the most famous and influential sculptor of the late nineteenth and early twentieth centuries, is also widely considered to be the successor to Michelangelo, whose genius was a lifelong inspiration to him. Though the astonishingly lifelike quality of his sculpture was in defiance of current academic conventions, Rodin was spared the prolonged and bitter hostility meted out to the Impressionists who were his contemporaries, and in later life he became a famous and widely respected figure.

Bernard Champigneulle discusses Rodin's great significance as an innovator in sculpture. For Rodin created an entirely new form -- the detail considered as finished work -- and in doing so exercised a lasting influence on future sculptors, who were profoundly affected by his emotional expressiveness, his power of characterization, and his subtle modeling. This authoritative monograph combines a searching reappraisal of Rodin's achievement with revealing account of his personality and his troubled private life.