Antique Collectors Club

'Contemporary Designers' Own Gardens' offers a rare opportunity to view twenty gardens not generally open to the public.'The outstanding gardens featured in 'Contemporary Designers' Own Gardens' are all designed by innovative, influential, award-winning designers. Fascinating text and sumptuous photography profile each garden, analysing the relationship between the garden and its setting, planting schemes, the aims of the designers, and their achievements. In addition, the book examines the ways in which the designers' personalities affect their creations, and how their own gardens differ from those of their clients. 'Contemporary Designers' Own Gardens' is an inspirational, informative and beautiful work, which will appeal to anyone who is interested in landscape architecture or garden design, be they a beginner or a professional. The gardens featured belong to and have been designed by: Patrick Blanc, Fernando Caruncho, Kate Cullity, Jim Fogarty, Ludwig Gerns, Adriaan Geuze, Isabelle Greene, Bunny Guinness, Ron Lutsko, Shunmyo Masuno, Dan Pearson, Antonio Perazzi, Tony Smith, Ted Smyth, Tom Stuart-Smith, Andy Sturgeon, Jacques Wirtz, Ute Wittich, Made Wijaya and Stephen Woodhams. The book presents the gardens of designers from the UK, France, Spain, Germany, Italy, The Netherlands, Belgium, Australia, New Zealand, The United States, Japan, and Indonesia.

This book divides the Galle cristallerie's vast production of light fixtures into two basic categories: those created before Galle's death in 1904 and those produced by the firm from then until its closure in 1931. Curiously, many of the firm's most desirable models in today's market were introduced as late as the 1925 Exposition Universelle, Paris, still in the Art Nouveau high style at the very moment that it had been replaced by the era's ascendant Art Deco movement.

A fresh approach to nineteenth-century European painting; lusciously illustrated, it offers a comprehensive overview of the century's artistic innovation This extensive survey also includes biographies for each of the artists Nineteenth-Century European Painting: From Barbizon to Belle Epoque represents a comprehensive guide to the range of stylistically diverse genres of nineteenth-century European painting. Accessible and insightful, this exquisitely illustrated volume presents the historical context behind the century's essential artistic movements including Romantic Painting, The Pre-Raphaelite Brotherhood, Realist Painting, Academic Painting, and Impressionist Painting. Influenced by an overwhelming wave of political, military and social change, nineteenth-century Europe represented an era more diverse in painterly subjects and styles than any before it. Indeed, it was a period that saw many European painters moving away from the strictures of the academy system, choosing instead to use their training to develop new techniques and traditions. A collection of independent stories, this book also outlines the unique progression between the different movements, exciting and enlightening the reader about the most magnificent period of art the world has ever known. Contents: Foreword; Dr. Vern G. Swanson; Introduction; Author's Note; STYLES: The Barbizon School; Romantic Painting; Orientalist Painting; The Pre-Raphaelite Brotherhood; Realist Painting; Academic Painting; Impressionist Painting; The Newlyn School; Post-Impressionist Painting; SUBJECTS: Landscape Painting; Venetian View Painting; Maritime Painting; Sporting Painting; Animal Painting; Genre Painting; Cardinal Painting; Costume Painting; British Neoclassical Revival Painting; Belle Epoque Painting; Conclusion; Endnotes; Bibliography. Considered one of the world's foremost experts on 18th and 19th century European and American antiques, fine art and jewelry, Bill Rau has worked in his family-owned gallery, M.S Rau Antiques, for over 30 years. An avid collector and authority in his field, Bill has helped place several items in museums around the world. In addition to being a prominent member of many local business organizations, he was the youngest senior member ever accepted to the American Society of Appraisers. In addition to writing numerous articles published in a wide variety of national magazines and antique journals.

The Dress of the Year is a deluxe study of exquisite fashion from 1963 to the present, drawn from the renowned collection at the Fashion Museum, Bath. Each year, a fashion-world luminary is invited to capture the definitive moment in an international whirlwind of creative style by choosing the outfit that truly represents that year's mood in fashion. The announcement of each winner is widely covered in the British press, and the resulting Dress of the Year collection is a treasure trove of international design. Among the extraordinary roll-call of design names are Mary Quant, Jean Muir, Ossie Clark, Biba, Calvin Klein, Karl Lagerfeld, Margaret Howell, Katharine Hamnett, Giorgio Armani, John Galliano, Paul Smith, Jean-Paul Gaultier, Ralph Lauren, Donatella Versace, Tom Ford, Marni, Prada, Alexander McQueen, Kate Moss for Top Shop, Vivienne Westwood and Sarah Burton. The choices are made and explained by a Who's Who of great style writers, including Felicity Green, Prudence Glynn, Beatrix Miller, Grace Coddington, Suzy Menkes, Colin McDowell, Liz Tilberis, Isabella Blow, Iain R. Webb, Alexandra Shulman, Hilary Alexander, Paula Reed and Hamish Bowles. Through specially-commissioned new photography, unseen archive material and contemporary media images, this sumptuous book reveals the Dress of The Year collection in all its glory for the first time. The book champions an important and fascinating fashion project, offering a detailed insight into our ever-changing styles and tastes since the early 1960s, and revealing the complex interplay between haute couture, celebrity endorsement and the High Street.

The emergence in recent years from their original homes of many of Galle's deluxe furniture commissions — seemingly lost forever — provides today's connoisseur with the opportunity at last to examine and assess the Nanceien's work in this his third artistic discipline, cabinetmaking. Included for the first time under one cover are all his major works of furniture, both those he designed as unique pieces for an exclusive clientele and those he displayed at two World Expositions and at the annual Paris Salons between 1889 and his untimely death in 1904. Included also in these pages is the encyclopedic range of models created in the Galle workshops both during his lifetime and then well into the 1920s. Presented by furniture category — wardrobes, tables, dressing tables, desks, commodes, consoles, etc. — the seemingly infinite number of different furnishings that bear the Galle imprint overwhelms the reader in their diversity.

As one of the few decorative arts about which little has been written, japanning is today fraught with misunderstandings. And yet, in its heyday, the japanning industry attracted important commissions from prestigious designers such as Robert Adam, and orders from fashionable society across Europe and beyond. This book is a long overdue history of the industry which centred on three towns in the English midlands: Birmingham, Wolverhampton and Bilston. It is as much about the workers, their skills, and the factories and workshops in which they laboured, as it is about the goods they made. It tells of matters of taste and criticism, and of how an industry which continued to rely so heavily upon hand labour in the machine age reached its natural end in the 1880s with a few factories lingering into the late 1930s. Richly illustrated, it includes photographs of mostly marked, or well-documented, examples of japanned tin and papier mache against which readers may compare — and perhaps identify — unmarked specimens. 'Japanned Papier Mache and Tinware' draws predominantly upon contemporary sources: printed, manuscript and typescript documents, and, for the period leading up to the closure of the last factories in the 1930s, the author was able to draw on verbal accounts of eyewitnesses. With a chapter on japanners in London, other European centres, and in the United States, together with a directory of japan artists and decorators, this closely researched and comprehensive book is the reference work for collectors, dealers and enthusiasts alike.

'Liberty's Furniture 1875-1915' provides the clearest and most comprehensive account of early Liberty furniture to date. A definitive work of reference, the volume outlines the company's unique contribution to the British Arts and Crafts style. Throughout the history of the Arts and Crafts Movement, Liberty & Co. always enjoyed a prominent position. With imaginative design, high quality construction, and state of the art marketing, the company was responsible for some of the most beautiful and enduring pieces of furniture from that period. Drawing on archive material and reviews in contemporary journals and magazines, Liberty's Furniture 1875-1915 examines the key features and different styles of Liberty's furniture design, as it evolved through a variety of genres including Oriental, Arts and Crafts and 'modern country cottage'. Illustrations from the Liberty catalogues enable readers to see how both the products and promotional styles of the company developed, whilst the many colour photographs show a wide selection of items — from the Athelstan suite and Culloden sideboard to the Thebes stools and Witlaf chairs. Giving particular attention to the work of Leonard Wyburd, the man responsible for some of the most important elements of the Liberty style, this volume represents an invaluable evidence base for collectors and auction houses alike.

This beautiful book is a nostalgic glance astern at the glory days of P&O both at sea and on shore. Drawing on personal recollections in the archives of P&O Heritage, Ruth Artmonsky looks back at the influence of the company during the age of empire and a bygone time when travelling P&O captured the imagination of writers from Thackeray to Noel Coward. In addition the book takes a curator's tour of the company's art collection which dates back to P&O's foundation in 1837. The result is an engaging and richly illustrated homage to one of most famous companies afloat, in its 175th anniversary year.

Pop! Design, Culture, Fashion 1955 — 1976 covers all aspects of Pop design in Britain and America, from early rock n roll to punk. It looks at record covers and packaging designs by Pop artists such as Andy Warhol, Peter Blake and Richard Hamilton, and the work of fashion designers such as Mary Quant, Barbara Hulanicki from Biba, Vivienne Westwood and John Stephen of Carnaby Street fame, as well as their contemporaries in America such as Betsey Johnson of Paraphernalia.

'Masterpieces of Russian Stage Design 1880-1930' examines the Lobanov-Rostovsky collection of stage design, in turn outlining the history of modern Russian art: one of the most important interludes within the cultural renaissance of the early twentieth century. Unique in size, scope, and composition, the collection is unequalled; artists include celebrities such as Bakst, Benois, Goncharova, Larionov, Malevich, Popova, Rodchenko, and Tatlin as well as less familiar names such as Anisfeld, Lissim, Remisoff, and Soudeikine. This volume (the first of a two-part set) includes over 200 colour illustrations of selected designs as well as an introduction, interview, indices (to artists, theatre companies, and primary productions), a glossary of terms, and a comprehensive bibliography for the visual and performing arts in Russia. From Neo-Nationalism and Symbolism through Cubo-Futurism and Suprematism to Constructivism and Socialist Realism, Masterpieces of Russian Stage Design guides the reader through the movements, styles, productions and projects that attracted many of Russia s early twentieth-century artists to the stage. The companion volume, 'Encyclopedia of Russian Stage Design' ISBN: 9781851497195 (to be published in 2013), is the catalogue raisonne of the Lobanov-Rostovsky collection.

The development of textiles as an art form between 1945 and 1970, and the extent of collaboration between artists and textile manufacturers at this time, is unrivalled in modern art history. This book presents a comprehensive survey of this art form in Britain and America.

In this book, Jake Rajs' amazing eye has captured seventy-five of New York City's most-celebrated landmarks in ways never seen before. Each image is accompanied by a short text, written by Francis Morrone, offering the full details of the monument — the date built, the location, the architect/designer — as well as a comprehensive history and anecdotal tidbits.

Art and science are both expressions of human culture. This Yearbook of Dutch Art History examines their complex relationship and presents a rich and interesting approach to anatomy, nature studies, theories of light and colour, curiosity collections and unknown forms of life.

This volume spans more than 35 years and includes both iconic and rarely seen pictures of celebrated women taken by photographer Rose Hartman.

A monograph of the work of acclaimed womens wear designer, Caroline Charles.

Terry O'Neill is one of the world's most celebrated and collected photographers. No one has captured the front line of fame so broadly — and for so long. For more than 50 years, he has photographed rock stars and presidents, royals and movie stars, at work, at play, in private. He pioneered backstage reportage photography with the likes of Frank Sinatra, David Bowie, Sir Elton John and Chuck Berry and his work comprises a vital chronicle of rock and roll history. Now, for the first time, an exhaustive cataloguing of his archive conducted over the last three years has revisited more than 2 million negatives and has unearthed unseen images that escaped the eye over a career spanning 53 years. Similarly, his use of 35mm cameras on film sets and the early pop music shows of the 60s opened up a new visual art form using photojournalism, to revolutionise formal portraiture. His work captured the iconic, candid, and unguarded moments of the famous and the notorious — from Ava Gardner to Amy Winehouse, from Churchill to Nelson Mandela, from the earliest photographs of young emerging bands such as the Beatles and the Rolling Stones to her Majesty the Queen at Buckingham Palace. O' Neill spent more than 30 years photographing Frank Sinatra, amassing a unique archive of more than 3,000 Sinatra negatives. Add to that the magazine covers, album sleeves, film poster and fashion shoots of 1,000 stars, and Terry O'Neill: The Complete Works — comprises the most compelling and epic catalogue of the age of celebrity. Terry O'Neill has worked for the most prestigious magazines in the world including Time, Newsweek, Stern, Bunte, Figaro, The Sunday Times, Vanity Fair, People, Parade, Vogue and many others. And his award launched to showcase the work of young emerging photographers is now one of the most highly prized global competitions in art. The Royal Society of Arts has honoured him with the rare Centenary Medal for his lifetime achievement. Only a dozen have ever been awarded in recognition of 'outstanding contributions to the art and science of photography.'

The sheer complexity of the subject of European furniture, ranging through an enormous variety of styles with often only small regional differences, makes it unrealistic to cover it adequately in anything less than the detailed and lavishly illustrated work we have here. France dominated the European furniture scene as her extraordinary cultural influences were much encouraged, if not created, by the aspirations of the two Napoleons who wished to recreate that country's earlier grandeur. This is not to underestimate, however, other influences such as Turkish, Moorish, African, Far and Mid-Eastern, which filtered in through neighbouring European countries and were often incorporated into furniture designs throughout the Continent. It was inevitable that such a vast area, with its strong external and internal influences, and at the same time undergoing great political and industrial change, should be responsible for a confused mixture of styles with much of the furniture frankly bizarre or mass-produced. Yet the period also saw the manufacture of the excellently crafted and beautifully designed pieces, which are so sought after and appreciated today. This pioneering reference work discusses the period 1830-1910 in great depth, and with great clarity.

Hollywood Dogs showcases a fine selection of photographs taken from the famous John Kobal collection. Taken between 1920 and 1960, during the 'Golden Age of Hollywood', they feature stars including Humphrey Bogart, Buster Keaton and Audrey Hepburn posing with dogs of every shape and stature. In almost every case, these stunning photographs have never been seen before. John Kobal was an authority on Hollywood portrait photography, who established a preeminent collection of works featuring iconic stars of the day. Many of his photographs were used for publicity purposes, often featuring the stars with their dogs. This book brings together a fabulous collection of these superb black and white photographs showing some of the greatest movie stars of the twentieth century in enduring poses that you will never have seen before.

Conceived of and written by seven-time FiFi Award winner, internationally renowned packaging designer Marc Rosen, 'Glamour Icons' is a book that both recognises and celebrates perfume bottle design as an art form. Rosen calls them small pieces of glass architecture.

The House of Boucheron represents one of the great Parisian jewellers of the last 150 years. Founder, Frederic Boucheron opened his first shop in 1858. Many of his clients were not women of society, but femmes fatales of the demi-monde. Nonetheless, his skill with precious stones and his absolute discretion made him a favourite of both courtesans and princes. In turn his business flourished allowing him to move to the famous Place Vendome in 1892. Having been given unprecedented access to the Boucheron vaults, the book's author, Vincent Meylan, made some remarkable discoveries. Perhaps the most significant was a register labelled 'Book of Stones'. It is a record of all the precious stones that have entered Boucheron's stock; diamonds, emeralds, sapphires, rubies and pearls are all indexed according to weight, price and, most importantly, who bought and sold them. Meylan also uncovered almost 200 order books and 150 letters. It is these 'Secret Archives' that have enabled him to reveal the fascinating history of Boucheron and his extraordinary, colourful clientele. From the 'Ladies of Sin' to the 'King and Queens of the World' Meylan reveals the riveting stories behind the jewels that the Parisian jeweller sold; the desires they aroused, the madness they provoked, the love they formalised, and the deaths they caused. Boucheron's clients included Tsar Nicholas II of Russia, La Belle Otero, King Farouk of Egypt, and the Shah of Iran. The demands of these wealthy individuals led to the sensational orders that elevated Boucheron to highest level of creativity. This captivating and revealing publication includes original design sketches, black and white archive images and sumptuous colour photographs of the exquisite Boucheron creations, including Tsarina Alexandra's pearl and diamond coronet and The Queen Mother's tiara.

Suzanne Belperron was one of the most talented and influential jewellery designers of the 20th century. Inspired by the discovery of her personal archives in 2007, the authors of this book have created thefirst volume dedicated to the life and works of this renowned Parisian jeweller. In 1919 Belperron was employed as a model maker and designer by Germaine Boivin. She contributed enormously to the success of the Maison Rene Boivin, but in 1932 she decided to leave the company. It was with her associate Bernard Herz, a well known precious stone and pearl dealer, that Belperron first found the freedom to reject traditional jewellery design and manufacture. Fascinated by coloured stones, regardless of their value, she created highly innovative pieces, in contrast to the standard creations of the time which were mostly angular and set in platinum. Her jewellery was so original that she never signed her pieces, instead insisting 'my style is my signature'. Indeed, Belperron's avant-garde style was adored by the 'fashionistas' of her time. Her work frequently appeared in Harper's Bazaar and Vogue, and her clientele included most of Europe's royalty and aristocrats as well as bankers, fashion designers, intellectuals and American movie stars. The Duke of Windsor, the Rothschilds, Elsa Schiaparelli, Nina Ricci, Colette, Malet Stevens, Ganna Walska, and Gary Cooper are all known to have frequented Belperron's Parisian workshop. Belperron is often imitated today, and the lack of signature on her pieces can make identifying and dating them very difficult. The discovery of her personal archives was therefore of enormoussignificance, and makes this publication an essential reference book for enthusiasts of Suzanne Belperron and jewellery in general.

Through a series of candid photographs taken over the last 7 years and covering all the different elements that make up the catwalk shows — Backstage, Front Row, Catwalk and Street Style — the more casual viewer will get an insight into the chaotic world that makes up the apparently glamorous fashion shows! Unlike many shots from the shows published in women's fashion magazines the book will have a much more documentary style feel to it. Quotes from different people from the industry will be mixed in and printed next to the images. For example make up artists, hair stylists, models, editors, designers and finally Bloggers who are the newest kids on the block bringing the book right up to the present day in the way fashion is being reported on with the birth of the internet. Firmly in tune with the current vibe and with a definite London edginess this book will be a sensational design statement. The book will be launched in November 2011 alongside an Exhibition at The Fashion and Textile Museum.

Max Dudler's architecture stands for a rationalistic language which combines basic modernistic ideas with normative aesthetic and contextual overall concepts in a large city architecture. This also includes high-rise buildings in Frankfurt am Main: the residential and commercial high-rise Romeo and Julia as well as the Westend First High-Rise. Both buildings are located next to each other in Frankfurt's best neighbourhood, in the immediate vicinity of the downtown, the Alte Oper and the banking district. The building task consisted of refurbishing, modernizing and fusing the building shells into a satisfying unified figure. The result is an urban ensemble whose components play off each other which are able to make their own contribution to the whole through their mutual reference to the unity and quiet elegance of the district. This publication documents in word and image Dudler's two Frankfurt high-rises, and in addition compares them to his high-rise projects in Zurich: The Sunrise Tower (the former IBM high-rise) and the Hagenholzstrasse high-rise ensemble.

This is the only western study of the renowned Russian landscape painter, Isaak Levitan (1860-1900). This third, expanded edition is further enhanced by new images and extra chapters about his portraits, still lifes and cityscapes; it also discusses his working methods and assesses the influence of his output on later artists. Born into a poor Jewish family in Lithuania, Levitan was able to enrol at the Moscow School of Painting aged only thirteen. He made rapid progress, the great merchant collector Pavel Tretyakov buying one of his early paintings. In 1886 he sketched in the Crimea and from 1887 spent several summers painting in the Volga region. Levitan's paintings commemorate the arrival of the Russian spring and celebrate the quiet beauty of her lakes and rivers, fields and forests, often pictured at twilight. In doing this he sought simple, well-loved motifs of the countryside, using an increasingly refined and laconic technique. His work was greatly admired by Diaghilev, while his lifelong friend Anton Chekhov spoke of its 'astonishing simplicity and clarity'. Levitan's later compositions have a mystical quality achieved by few other artists. Before illness claimed him at the age of 39, Levitan was able to travel briefly, but extensively, to Berlin, Paris, the Alps, north Italy, Munich and Vienna. His awareness of painterly developments in Europe was to some extent reflected in his own art. Towards the end of his life he was responsible for revitalising the teaching of landscape painting in Moscow and exhibited regularly with the Munich Secession.