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The author earned a graduate degree in History of Art from the Louvre School of Art, University of Paris IV Sorbonne and the Practical School of Graduate Studies (Ecole Pratique des Hautes Etudes). She avent on to successfully pass the competitive exam to become a Heritage Conservator, and worked as a conservator at the Carnavalet Museum for nineteen years, during which time she wrote, notably, a volume on the museum's furniture (published by Editions Faton). She has published other various works and articles, and was the organising curator for multiple exhibitions. She is now Head Conservator at the Museum of Decorative Arts, deputy of the department of the 17th and 18th centuries, and a professor at the Louvre School of Art and the National Heritage Institute (Institut National du Patrimoine).

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.
 

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"Italian ironwork. Medieval - Renaissance - Baroque - Neo classical" written by Giulio Ferrari Italian tells us about ironwork from Roman times, through Medieval centuries, and up to Neo Classical designs of the early nineteenth century comprise this collection of 100 photographs from Italian sources. They depict trellises, grilles, gates, fencing, household lighting, fireplace accoutrements, and door hardware that will inspire today's designers. Their origins in hill towns of Italy are recorded for many images. This is authentic ironwork for contractors, decorators, and homeowners to enjoy.

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A paraître en Novembre 2011

This is a re-issue of Owen Jones' classic book on design which was first published in 1856. It was then considered the definitive sourcebook on ornamental motifs and it has definitely stood the test of time. Beautiful and informative, this is a wonderful collection of diverse designs from around the world. This is the ideal reference book for anyone working in decorative design fields such as jewellery, fashion, interior design and textiles.
 

When Kunstwerke und Geräthschaften des Mittelalters und der Renaissance (1852–1863) was published, what purchasers in fact bought was a small printed museum of unusual treasures. With 216 hand-colored copperplate engravings, the publication gives a comprehensive overview of applied arts in Europe from the 9th to the 16th centuries. The objects presented comprise furniture, metalwork, jewelry, tapestries, and works of bookbinding. Carefully selected masterpieces such as the gilt Corvinus goblet, an enamelled saltcellar, and medieval ivory combs are depicted, along with a decorative sword, now lost.

The editor Jakob Heinrich von Hefner-Alteneck (1811-1903) was head of the Royal Cabinet of Prints and Drawings in Munich and later director of the Bavarian National Museum. His work helped influence the creation of new museums of art and design – the South Kensington Museum in London (today the Victoria and Albert Museum), founded in 1852, being the very first – in which artists could study the hand-crafted masterpieces of earlier epochs.
Although the co-editor Carl Becker (1794-1859) commissioned various artists to make drawings of the historical originals for Kunstwerke und Geräthschaften, the signatures on the plates show that most of the illustrations stem from the hand of artist Jakob Heinrich von Hefner-Alteneck and he can therefore be considered as the work’s main draughtsman; considering that Becker died before the completion of the work, the most influential figure behind it was undoubtedly Hefner-Alteneck. Before his collaboration with Becker, Hefner-Alteneck had previously published Trachten des christlichen Mittelalters (Costumes of the Christian Middle Ages).

 

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The silver box has fascinated and intrigued collectors for many centuries. It is perhaps safe to say that no other objets de vertu have attracted such vivid attention from maker and collector alike.

This book is a comprehensive study of the subject which concentrates on the development of the silver box in England from the sixteenth to the late nineteenth centuries. Because the interest of collectors lies not so much in the shape or type of boxes as in the wide variety of uses to which they have been put and the splendid enrichment lavished upon them, there is a penetrating analysis of the roots and derivations of ornament. The full colour illustrations show boxes with as many diverse forms and uses as possible.

The term box covers any receptacle (unless it is a vessel) whether it is a snuffbox, a pyx or a lancet case for use in phlebotomy, as long as it possesses a lid, hinged or otherwise. The usual snuffboxes and vinaigrettes appear in plenty but they have been carefully selected to show the ingenuity of silver craftsmen. More importantly perhaps we find the splendid variety of special purpose silver boxes: religious, dental and medical, skippet and seal, Masonic, jewel caskets, sweetmeat boxes, pomanders - there is even the unique sumptuous Henry VII Barber-Surgeon's case of circa 1512 with its glowing enamels.

There is much hitherto unpublished material including pieces from private collections and articles from Livery Companies and other institutions.

Eric Delieb was a London antique silver dealer, who conducted a highly successful business on both sides of the Atlantic and also devoted much of his time to research into Old English Silver. Author of a standard bibliography of books on hallmarks, many articles in antique journals and Investing in Silver, his name had become particularly associated with Collectors' Silver, a subject that formed the basis of his world-wide correspondence.