While lamenting the excesses of mass-production, in 1861 William Morris set up the firm of Morris, Marshall, Faulkner and Company. Soon it was producing a comprehensive range ofgoods, from hand¬woven tapestries, carpets and printed textiles to stainedglass, metalwork and furniture. What the company offered was not just a style eagerly embraced by a swathe of the populace, from country house to suburbia, but quite simply a way of life. `There is no excuse', Morris wrote, `for doing anything which is not strikingly beautiful.' Today, Morris's designs are more widely appreciated than ever, and his profound and radical ideas about taste, style and function continue to inform modern interior design. In the history of the decorative arts there has never been another designer who has achieved such lasting impact.
In WILLIAM MORRIS AND THE ARTS and CRAFTS HOME Pamela Todd
celebrates Morris's genius for decoration and design and shows how he envisaged and implemented schemes for interiors in his own homes and those of others, passionately believing that beautiful suboundings promoted creativity and happiness. A series of `Case Studies' explores six contemporary homes – from a modern London townhouse to a traditional Arts and Crafts house in Massachusetts – that have followed and adapted Morris's guiding principles in a variety of contexts, in order to demonstrate how the style can be applied to our living spaces today.
With a comprehensive style-sourcing section, including lists of suppliers both in the US and U K, as well as a gazetteer of places to visit for inspiration, this is the definitive source book for anyone interested in living with Arts and Crafts style.
 

In 1902 the magazine ‘Documents of Modern Applied Arts’ was introduced for the first time. It was published until 1908, comprising five series divided by content, without exception in lavish quality and with numerous splendid illustrations. Because of the small circle of subscribers the ‘Documents’ remained widely unknown until today. However, they are a unique art nouveau resource, presenting famous as well as less well-known designers and manufacturers, and furthermore presenting unknown works by famous artists.
This new edition finally makes this work accessible. Around 1,200 illustrations present more than 1,500 individual artistic items from the German and international art nouveau era in a new constellation: furniture, metal, glass, ceramics, jewellery as well as textile, poster and book art. An index comprising artists’ biographies and company histories now enables easy reference: targeted searches, finding and identification of objects.
The editor and author was Heinrich Pudor (1865–1943), known today only as a national literary man and publicist. His ‘Documents of Modern Applied Arts’ are however characterised by thorough evaluations and an ideological neutrality. Heinrich Pudor’s comprehensive journalistic and social activities around the turn of the century comprised nudism, vegetarianism, nutritional physiology, social and cultural policies, sexual science, the history of music, and theories about the history of language and prehistory.
This new edition of the ’Documents of Modern Applied Arts‘ provides an indispensable standard reference work for all those interested in art nouveau. The wide choice of illustrations and texts, which encompass otherwise undocumented designers and creators as well as unknown works by famous artists, make this publication an essential resource for art nouveau applied arts.
 

This book documents an important chapter in design history, reconstituting the evolution of lighting design in the thirties. Here reproduced in one volume are facsimiles of four related publications issued by Charles Moreau on the occasions of international design expositions held in Paris between 1925 and 1937. 144 artists and studios are presented with 500 lighting fixtures and designs. The original texts with the introduction of Raymond Guidot underscore the enduring importance of these twelve years of design evolution. The biographies of the artists and design studios complement the illustrations in this publication of almost 500 pages. Adnet Jacques et Jean Aeplund E.G. Alix Charlotte Andraud F Arrighi E. Astruc P. Ateliers du Bon Marché (voir Pomone) Baccarat (cristalleries) Bagues Barillet Louis Behne Adolf Bezault Frères Binquet Blanc Charles Boileau et Carrière Boileau et Saulnier-Duval Bonnet Bonvoisin L Bouvier E Brandt Edgar Bunte et Remmler Caillat Robert Capon Champion Georges Chareau Pierre Charles Albert Chaudières Jacques Chazelet (Atelier) Cheuret Albert Chevalier Compagnie des arts français Cottin et fils Damon (Etablissements) Daum Delisle Charles Desny Dilly D.I.M. (Décoration Intérieure Moderne) DJO-Bourgeois Dominique Droz Jacques et Sanlaville C. Ducret Dufrene Maurice Dunaime Dunaime et Corcket Dunand Jean, Etling Edmond Fabre G Fahrenkamp E. Fargette P. Favre Follot Paul Frechet André Gagneau Gagnon Galey Frères Ganeau F. Gate Simon Genet P. et Michon L. Gensoli Maurice Gerfaux Lucien Gigou Granet André Grange et Vallot Granger Groult André Guevrekian G. Guillard Marcel. Heinnigsen Paul Herbst René Herre Richard Herzog Oswald Hirschel – Protach Hold Edward Holophone Jonny et Leverrier Joubert et Petit Jourdain Francis Juget P. Kiss Paul Kohlmann E. Kotarbinski Koula J E. Kunstgewerbeschule Labouret A. Lacroix Boris Lahalle et Levard Lalique René La Maitrise (Ateliers) Laplanche E. Laprade Albert Le Bucheron Lecoq R. Lefevre et Saulnier Leleu Jules Lopienski Frères Maisonnier Mlle Malatre et Tonnelier Mallet-Stevens Robert Mallard, Vallenduck et Dubois. Marciniak A. Mare André Martin E. Martin E.H. Milde et Cie Charles Morand et cie Nics Frères Ort Karl Paul Francis Perzel Jean Poillerat Gilbert Pomone (Ateliers du bon marché) Pottier René, éditeur Preau J. et M. Printz Eugène Prou René Prouve Jean Quibel R. Ravesteyn S. von Remmler (voir Bünte et Remmler) Renaudot Lucie Renon Riphann Wilhelm Risch Hildegard Rosenthal Harry Ruhlmann Jacques-Emile Sabino Salomon André Schenck Edouard Schenck et Fils Schenck Marcel Section suisse Simonet Frères Socard Tony et Jacques Sognot Louis Sontag éditeur Straumer Heinrick Studium (Ateliers des Grands Magasins du Louvre) Stylus (Ateliers) Subes Raymond Sue et Mare (voir Sue Louis et Mare André) Tournon P. Tümpel Wolfgang Venini,Venise Zucker Paul

After the 1897 Munich Glass Palace exhibition – when Jugendstil was ‘born’ in Germany – the Stuttgart publisher Julius Hoffmann jr. had the brilliant idea of collating the most interesting illustrations from leading international specialist journals (including Art et Décoration, l’Art décoratif moderne, Revue des Arts Décorativs, La Lorraine artiste, Magazine of Art, Art Journal, The Artist, The Studio, The House, De Woning, Tidskrift for Kunstindustri, Magyar Iparmüvészet) and publishing them in a book entitled ‘Der Moderne Stil’. He also included reproductions of objects exhibited at the Paris Salons, by the La Maison Moderne and Art Nouveau Bing galleries and by artists and makers. The first magazine of ‘Der Moderne Stil’ [the modern style] was published in 1899; it would be followed until 1905 by 84 issues with several thousand illustrations. Thus an invaluable source of material on Jugendstil objects (with the names of their designers and makers), most of them unknown to this day, was created. We have put all issues into a single book, divided into sections on metal, ceramics, glass, furniture and jewellery. With approx. 2.000 objects reproduced, this reprint contains a wealth of source material. Authentic, for the most part unknown, illustrations from the heyday of European Jugendstil/Art Nouveau, with all designer and maker names. An indispensable reference work for art historians, dealers, auctioneers and collectors.

The Great Exhibition at the Crystal Palace in London in 1851 was the first of a series of international exhibitions that have continued, in one form or another, to the present day. The content of these exhibitions gave nations and individual companies of the world the opportunity to display their specialised skills and present new ideas and products to a much wider public.

In this book, Jonathan Meyer looks at major international exhibitions held during the nineteenth century and focuses on the important changes taking place at this time in both society and design. He examines the enormous impact of the Industrial Revolution and how it came to influence the decorative arts, through changes in machinery and scientific methods.

This book contains a wide-ranging and striking collection of illustrations, mostly from contemporary sources, providing the reader with a very good idea of the exceptionally high quality of inventiveness and workmanship displayed by the manufacturers and their exhibits. Examples discussed and illustrated cover most areas of manufacture and include ceramics; silver and metalwork; furniture; cast iron and garden furniture. chandeliers and candelabra; clocks; bronze ornament; textiles; chimney-pieces and interior design.

From sumptuously embellished glass vessels by Emile Gallé, Daum Frères and Louis Comfort Tiffany, subtly decorated pieces of the famous porcelain manufactories in Rozenburg, Kopenhagen, Nymphenburg and Meissen, hair combs richly adorned with blossoms and other extravagant jewellery pieces by the Parisian jeweller René Lalique to individually designed furniture by August Endell, Richard Riemerschmid and Henry van de Velde. The visitor to the collection of the Bayerisches National Museum in Munich has the pleasure of strolling through the fascinating, diverse times of Art Nouveau. These works comprise one of the most outstanding collections in a German museum that contains masterpieces of the Art Nouveau. The core consists of the collections, acquired by the Munich museum in 1983, assembled with the great expertise of Professor Siegfried Wichmann and Duke Franz von Bayern. From the more than 500 individual items, this richly illustrated publication presents 150 of the most beautiful and important works accompanied by insightful texts and magnificent reproductions. Following the character of the collection this publication displays the wide scope of the international Art Nouveau movement with works of first-class artists and examples from nearly all material genres. Artists and firms (a selection): Charles Robert Ashbee | Peter Behrens | Hans Christiansen | Wilhelm Lucas von Cranach | Pierre Adrien Dalpayrat | Daum Frères Verreries de Nancy | Christopher Dresser | August Endell | Lucien Gaillard | Emile Gallé | Léopold Gautrait | Archibald Knox | Max Laeuger | René Lalique | Johann Lötz Witwe, Klostermühle bei Unterreichenstein/West Bohemia | Clément Massier | Koloman Mose | Hermann Obrist | Bernhard Pankok | Bruno Paul | Michael Powolny | Richard Riemerschmid | Rörstrand Aktie Bolag, Stockholm | François Eugène Rousseau | Franz von Stuck | Louis Comfort Tiffany | Henry van de Velde | Vereinigte Werkstätten für Kunst im Handwerk, Munich | Heinrich Vogeler | Josef Wackerle | Philippe Wolfers

Munich’s status as the City of Art Nouveau is reflected in the passion of private connoisseurs, who collect and specifically dedicate themselves to the outstanding works of the last big artistic reform movement. The book presents rarely seen Art Nouveau treasures from high-quality private collections in Munich comprising works from the most important European and several American artists, designers and manufacturers. In these works, the whole dynamic of this movement is spectacularly revealed: art should be a way of life. More than 350 objects occupy the scope, which the leading artists of the day drew upon to create a “new style” for the twentieth century across all material and genre boundaries. Paintings, graphic works, and sculptures as well as furniture and wall hangings, and works in bronze, silver, enamel, glass and ceramic reflect the proclamation of the “new era”. The aim was to lead art to a new unity and so reform the life of a new era. Edmund Lachenal’s bowls with diving frogs (ca. 1888) introduces the chronology, which covers the years up to ca. 1913/14 . At this time Henry van de Velde designed a service for the porcelain manfacturer Ferdinand Selle in Burgau an der Saale – according to van de Velde, “the first factory whose business is solely focused on the fabrication of objects in the ‘modern style’.” The collection captivates through the quality and uniqueness of its pieces; focal points include objects from the Paris avant-garde galleries “L’Art Nouveau” of Siegfried Bing and “La Maison Moderne” of Julius Meier-Graefe as well as the Paris World Exhibition of 1900. Highlights of the Japonism, which unleashed a wave of enthusiasm not only in Europe, and objects, which illustrate the progressive development of the Art Nouveau in Munich, culminate in a multi-layered picture of the artistic development in the early twentieth century.
 

This sumptuous volume explores key aspects of Art Nouveau decorative arts, architecture, fashion, dance, advertising, and more with an in-depth approach and stunning illustrations.
The Art Nouveau movement became an international phenomenon at the beginning of the twentieth century that ushered in the era of modernity in almost every aspect of cultural life. For decades critics have argued that Art Nouveau was not an artistic period in its own right, but an amalgam of artists and styles that served as a bridge between neoclassicism and modernism. In this comprehensive, authoritative, and copiously illustrated book, art historian Norbert Wolf explores Art Nouveau as a logical outgrowth of the historic forces in which it arose. This book focuses on the movement’s wide variety of applications and reclaims its prominence in the pantheon of modern art history. Chapters on aesthetics, spirituality, and the cult of beauty offer luminous examples of works by Mucha, Gaudi, Hoffman, Klimt, Horta, Munch, and Tiffany, among many others. Wolf’s text is both informed and accessible, providing an exciting narrative that brings the Art Nouveau movement into clear focus. Beautifully produced to appeal to a wide range of readers, this new volume gives one of the world’s most popular styles the serious consideration it deserves.
 

Take a detailed look at the exciting and highly collectible modern furniture of the 1950s--furniture created by renowned designers, including Charles and Ray Eames, George Nelson, Harry Bertoia, Isamu Noguchi, and Eero Saarinen, and produced by companies such as Herman Miller, Knoll, and Heywood-Wakefield. Included in this new and improved third edition are over 450 colour and vintage black and white photographs bearing detailed captions for all the classic designs, plus accessories, 70 designer biographies and company histories, a construction case study, a source list, bibliography, values, and an index. This single volume is an invaluable reference.

The design, production and cultural path of Tecno has been one of the pillars of the Italian design culture for almost sixty years. Since the company was founded in 1953 by the Borsani twins (Osvaldo, architect, and Fulgenzio, economist), Tecno's production has always been admired with particular interest due to their choice to base their work on a clearly described industrialised organisation, which had evolved from a pre-existing and very productive artisanal activity, the famous “Atelier Varedo” founded in the early 1920s by their father, Gaetano Borsani.
Osvaldo Borsani, designer and deus ex machina of the company’s creative department, chose to focus on the subtle appeal of technical expertise, which intertwined partially with the “can-do spirit” learned during his long apprenticeship in his father’s shop. It was also inseparably linked to his collaboration and friendship with artists like Lucio Fontana and Arnaldo Pomodoro.
During the first heroic phase, from the 1950s through the early 1970s, other important professionals occasionally aligned with the precise and prolific line of action laid out by Osvaldo Borsani’s projects, including architect-designers such as Carlo De Carli, Vico Magistretti, Roberto Mango, Robin Day, Gio Ponti, Mario Bellini, Edoardo Vittoria, Albert Leclerc and Eugenio Gerli. This first glorious generation was followed by others who watched prestigious architects like Norman Foster enter the Tecno collection with the famous Nomos system. Others included Ricardo Bofill, Jean-Michel Wilmotte, Emilio Ambasz, Gae Aulenti, and designers such as Giorgetto Giugiaro, Justus Kolberg, Piero Lissoni and Giancarlo Piretti.

 

This is the first work devoted to the life and work of the designer and architect William Arthur Smith Benson (1854-1924). Renowned for imaginative and practical metal work designs, W. A. S. Benson is best known for his daring and innovative work in the sphere of electrical lighting. Examples of the latter have always been widely admired (even during his own lifetime) and are becoming increasingly rare and desirable.
Other aspects of Benson's life and work however are perhaps less well known and these have been given prominence in this extensively researched and visually stunning book. The scope of the work places Benson in his historical context (Peter Rose), present Benson's biography (Avril Denton) and discuss his commercial work: interior design (Mark Golding), metalware (Ian Hamerton), lighting (Ian Hamerton and Salah Ben Halim), architecture (Ian Hamerton) and also the steps taken by Benson to protect himself against design theft (Tony Hampton). Several appendices also contain invaluable information concerning Benson's designs (illustrated in his sales catalogue), registered designs and trademarks and a list of his architectural works.

Alastair Duncan introduces us to the work of more than eighty architects, furniture makers and interior designers. The colour and monochrome photographs – almost all of them specially commissioned for this book – form a valuable portfolio of Art Deco furniture for anyone seeking comprehensive information about this design movement. This volume will have lasting appeal for collectors as well as the general public.

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