European Bronzes from the Quentin Collection is not only an essential tool of reference for university and museum libraries as well as curators, but also for collectors and dealers. The Frick Collection in New York City will be the only venue for the first public presentation of this distinguished private collection devoted to the art of the statuette of the fifteenth through eighteenth century. The bronze sculptures all share an exceptional level of quality, and this catalogue will also set a new standard of excellence among exhibition catalogues.
In addition to the exemplary works by Italian masters of the genre, such as Giambologna, the Susini and Hendrick de Keyser, the collection is notable for the number of meticulously beautiful compositions that still await attribution. Together the sculptures in the Quentin Collection reveal the extraordinary range of artistry, invention and technical refinement characteristic of works made when the tradition of the European statuette was at its height.
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From bird, cat and horse to ape and camel, Animals in Bronze examines and illustrates the work of hundreds of sculptors and founders who have worked in this highly popular and much-collected field.
The definitive animal bronzes, renowned for their vigour and authenticity, are those of Antoine-Louis Barye, and there is full coverage of his work here, along with that of others of his school. However, the scope of the book extends well beyond the confines of Les Animaliers to include the output of artists such as Troubetzkoy, Bugatti, Pompon, Haseltine, John Willis Good and Sir Joseph Edgar Boehm. Space is also devoted to several of today's practitioners.
The main body of the book is arranged by subject matter, enabling the reader to observe trends in the portrayals of different animals from the 1830s onwards. In addition, the biographical index of artists gives page references to illustrated pieces, so that the work of particular sculptors can also be followed across different subject areas.
Other sections of the book offer practical information on subjects including the casting process, later casts and substitute materials, and the importance of colour and patination.
Animals in Bronze is already established as the ideal companion for all lovers of animals in art, and as an indispensable working reference for the collector and the dealer.

Christopher Payne joined Sotheby's from university, where he was a director of the Furniture Department. He is director of Phoenix Hire and a freelance writer, lecturer and consultant. He writes regularly for Antique Collecting.

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A comprehensive explanation of Swiss wood carving, known as Black Forest, from 1820-1940. Written by experts on the subject. For many years 'Black Forest' carvings were thought to have been produced in the Bavarian Black Forest, in Germany, but it has now been established beyond all doubt that they were the sole province of the Swiss.

The wood carving industry of Switzerland originated in the picturesque town of Brienz. From humble beginnings as a cottage industry in the early 1800s it grew by the turn of the twentieth century to become the industrial driving force of a whole community. By 1910 there were some thirteen hundred carvers plying their trade in the locality of Brienz. The carving industry was driven by the tourist industry; Brienz, Luzern, Interlaken and other such picturesque resorts were in vogue with the wealthy Victorians.

Bears were particularly popular, being the symbol for the city of Berne, but musical boxes, musical chalets, furniture large and small, all figured in Swiss carving. The variety was immense, ranging from the religious, faithful reproductions of Leonardo da Vinci's Last Supper to the amusing and whimsical. Swiss 'Black Forest' carvings were exhibited at the London Great Exhibition of 1851, Chicago 1893, Paris 1900 and at many of the other great international exhibitions of the late nineteenth and early twentieth century. Carved wooden bears, stags and other furniture and works of art from the Swiss 'Black Forest' carvers stood alongside such great exhibitors of the time as Tiffany, Gallé and Linke. 'Black Forest' carvings were appreciated as truly great works of art at the time of their creation and indeed enjoyed royal patronage. Today there has been a tremendous revival in interest for them and the best pieces are highly sought after..

From the end of the Civil War until the explosive popularity of the cigarette in the early twentieth century. the cigar was king. For the pleasure and convience of cigar smokers a wide variety of smoking accessories were manufactured, including cigar cutters and lighters. The cutters range from simple vest pocket models to ingenious mechanical contraptions that would occupy a prominent place on the counter of the local tobacconist. In between are beautifully sculpted Vienna bronze and wooden desk models. In many cases these are combined with lighters, to offer the smoker full-service convenience. The lighters range from alcohol dips to electric devices. They are sometimes cast as stunning figures or are elegantly formed lamps, using blown glass or pierced tin. Beautiful color photographs document these wonderful objects, accompanied by concise, informative descriptions. The text places the cutters in their historical context and contains helpful information. A value guide is included.
 

Medallists such as Chaplain, Roty and Charpentier renewed medallic art in France during the nineteenth century, leading to a revival that attracted worldwide interest. This volume examines the background to this revival and investigates its development down to the 193os. The wide range of subjects addressed by the artists is evident from the numerous illustrations. In addition, the book provides substantial insights into the medal society founded by Roger Marx, the Société des Amis de la Médaille française (1899-192o). Short biographies are given for a total of 73 artists who decisively influenced French medallic art during the periods of Art Nouveau, Symbolism, Naturalism and Art Deco.

Johann Philipp Ferdinand Preiss (1882-1943) was the most prolific sculptor of the Art Deco period in Germany; he combined ivory, bronze, onyx and marble to create the most dazzling sculptures of his day.

Preiss entered into an apprenticeship with his uncle, a master ivory carver, at the age of sixteen, following the death of his parents. He went on to become the most important Art Deco sculptor in Germany, and indeed one of the most accomplished in the whole of Europe during the Nazi period.

This book, the only work devoted entirely to this subject, follows the development of ivory carving in Erbach, Germany, focusing on the life and work of one of the country's most talented and prodigious sons. The political climate which Preiss and other artists were forced to endure during this time, its difficulties, constraints and influences on their work, is also explored. Extensive research into Nazi archives, interviews with family members, recently unearthed documents and the most comprehensive collection of sumptuous colour illustrations truly enable the extraordinary talents of this formidable artist to shine.

Alberto Shayo was born and raised in Buenos Aires. He lived in England for ten years, during which time he earned a degree in economics and politics at the University of Birmingham. After returning to Buenos Aires, he became a medical doctor before owning an art gallery in New York for fourteen years. He is also the author of Chiparus, Master of Art Deco.
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This important book, now available in a revised edition, contains the most complete range of art deco figures ever published. It is based partly on the original importers' catalogues and partly on the wide range of pieces handled by the author Bryan Catley - the leading specialist in the subject.
Between the wars an entirely modern style of decorative sculpture emerged which was a complete break with the heavy romantic late nineteenth century schools, and was totally in sympathy with the vibrant young society of the 1920s.
The use of bronze and ivory for a great number of these sensual figures in no way obscures the fact that many are of exceptionally high quality; add to this their sense of movement and rhythm and one realises that the large sums they now command is a reflection of a discriminative international collectors market.

Bryan Catley's original interest in the subject was fired when he inherited an art deco figure from his late grandmother's art collection. During his student days at engineering college and after he was inspired to go on and buy every figure he could afford. Later he and John Sparrow set up the business known as 'Catspa' which, for many years before their retirement, was synonymous with Art Deco sculpture.

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