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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.

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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.

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.
 

The appearance of the Rörstrand porcelain factory from Stockholm at the 1900 world exhibition in Paris was brilliant: the world had never seen such expert handling of porcelain mass – some in the form of waferthin petals – and an underglaze colour palette with such subtle nuances. The critics were full of praise and the economic success was soon to follow.
The foundation for this laid in the cooperation between Rörstrand and the painter Alf Wallander, who had worked for the manufacturer from 1894/1895. By 1896 Rörstrand had his first big success with the porcelain designed by Wallander at exhibitions in Stockholm, Malmö and Gothenburg. Its artistic rise finally began in 1897 with the Art and Industry Exposition in Stockholm and found its crowning moment in Paris, the International Exhibition of Modern Art in Turin in 1902 and the World Exhibition in St. Louis in 1904. Rörstrand could now compete on an international level alongside the two significant Danish manufacturers Royal Copenhagen and Bing & Grøndahl.
Wallander combined the underglaze painting cultivated in Copenhagen with a plastic modelling. The reliefs of the famous Rörstrand vases were all carried out by hand and are unique pieces. Other artists who worked with Rörstrand included Per Algot Eriksson, Nils Lundström and Karl and Waldemar Lindström, who all advocated a naturalistic Art Nouveau style (ca. 1895 to 1910).
Rörstrand’s porcelain factory had already been founded in 1726 as a faience factory. For over 120 years it produced fine stoneware; later majolica, bisque porcelain and Parian ware were added, and also the porcelain production from around 1895, with which Rörstrand rose to world renown.
Finest underglaze painting and delicate free-formed relief and a jour decoration helped establish the Rörstrand porcelain factory’s rise to international fame. With approximately 170 objects the publication shows outstanding examples of the Rörstrand production at the time of Art nouveau.
Exhibition in the International Ceramics Museum,Weiden (branch of Die Neue Sammlung Neue Sammlung, Munich) from 16.10.2011 – Mid-January 2012
 

Illustrating the extraordinary range of colour, texture and form, over 200 colour photographs provide a stunning visual reference of objects-both useful and decorative, chosen for their visual power, their historical significance, or their appeal to collectors and practitioners.

This book focuses on the art deco ceramics that were produced by the British pottery industry during the late twenties and early thirties. It covers all the important aspects of the popular style from its origins in France, its breakthrough in Britain and how the style took on during the early thirties.

The background of art deco is examined and how it developed in France during the early part of the twentieth century: how European designers created new shapes and patterns and how these ideas eventually made their way into British design.

Art Deco Ceramics in Britain looks at the well-established factories such as Josiah Wedgwood and Sons Ltd and Minton who produced the top of the range wares for the upper classes and how they were forced, due to market forces, to produce art deco styled wares. At the same time the smaller factories were able to respond quickly to the art deco style, using hand painted decoration, which was an important feature of art deco patterning with the big names such as Clarice Cliff and Susie Cooper still being well known today.

Also documented in the book are concise, yet comprehensive biographies of many smaller factories that are not so well known today. This listing provides an invaluable source of ideas for new areas of collecting.

Andrew Casey has been collecting art deco ceramics for over twenty years. He specialises in and collects the works of Susie Cooper. Andrew is the author of many other books including Twentieth Century Ceramic Designers in Britain, Starting to Collect Twentieth Century Ceramics and, with Ann Eatwell, Susie Cooper: A Pioneer of Modern Design, all published by the Antique Collectors' Club.
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Peter Siemssen, a creative businessman, is the driving force behind this entirely personal publication – a book informed by profound knowledge of the subject as well as passion. Siemssen presents a selection of works from his collection against a backdrop of decades of experience and encounters with the most important contemporary ceramicists. Arranged geographically, the book presents Japanese, German, Scandinavian, Western European, North American and Mediterranean ceramics. The high point is the work of Gilbert Portanier, with whom Peter Siemssen has particularly intensive artistic contacts and ties of friendship. Documentary photographs faithfully reproducing the works lead into interpretative texts, artist biographies and Peter Siemssen’s entertaining reminiscences to provide access to art ceramics in the latter half of the 20th century. Distinguished specialists in the field contribute high-profile essays on various aspects of the subject. One of the best collections of top-quality contemporary studio ceramics worldwide! Artists (a selection): Gilbert Portanier (France) Karin Bablok (Germany) Hans-Theo Baumann (Germany) Antje Brüggemann-Breckwoldt (Germany) Nino Caruso (Italy) Antoni Cumella (Spain) Elisabeth Fritsch (England) Dorothy Hafner (USA) Shoji Hamada (Japan) Bernhard Leach (England) Stig Lindberg (Sweden) Sonngard Marcks (Germany) Renée Reichenbach (Germany) Lucie Rie (England) Ursula and Karl Scheid (Germany) Tatsuzo Shimaoka (Japan) Björn Wiinblad (Denmark)

 

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The Hinder/Reimers Collection – which has been owned by the state of Rhineland-Palatinate since 1993 – is one of the most important collections of modern ceramics in Germany. It was built up from the early 1950s through the combined efforts of Jakob Wilhelm Hinder (1901–1976) and Lotte Reimers (* 1932). The focus of this large collection is on West German ceramics from the 1950s to about 1990. Since the mid-1970s it has been enlarged by Lotte Reimers to include outstanding works from outside Germany. These 1,587 objects provide insights into the crucial trends and stylistic movements in art ceramics after the Second World War as represented by the most distinguished ceramicists of the day.
Featuring explanatory texts and colour illustrations, the present publication presents the entire collection and, therefore, goes beyond the scope of “Ceramics in Germany 1955–1990. The Hinder/Reimers Collection”, published in 1997, which dealt with only a selection of works from the collection. The new publication, on the other hand, draws on the Hinder/Reimers Collection to survey the broad field of developments in studio ceramics in the latter half of the 20th century in western Germany while looking well beyond the borders of Germany.
An exhaustive catalogue of works presenting 1,587 works by world-famous ceramicists in text and picture, moreover an index of all signatures used – a new standard work in the field of international studio ceramics as well as a documentation of the most important era of modern ceramics.
In this book : "Moderne keramik des 20 Jahrhunderts" written by Ingrid Vetter we can find artists : Ingeborg and Bruno Asshoff | Richard Bampi | Jan Bontjes van Beek | Antje Brüggemann-Breckwoldt | Dieter Crumbiegel | Hubert Griemert | Horst Kerstan | Beate Kuhn | Klaus Lehmann | Otto Lindig | Thomas Naethe | Signe Pistorius-Lehmann | Walter Popp | Lotte Reimers | Reinhold Rieckmann | Karl and Ursula Scheid | Robert Sturm | Rita Ternes | Fritz and Vera Vehring (all Germany) | Aage Birck | Heidi Guthmann Birck (Denmark) | Claude Champy | Gilbert Portanier (France) | Édouard Chapallaz | Jean-Claude de Crousaz | Aline Favre (Switzerland) | Bernard and David Leach | Colin Pearson | Joanna Constantinidis (England) | Ruth Duckworth (USA) | Kurt Spurey (Austria) | Frank Steyaert (Belgium) | Jindra Viková (Czech Republic) | Ulla Viotti (Sweden)
 

French Pottery of the 50
Burgeoning well describes French pottery of the post-ward period. A new generation of potters emerged from the country’s long-established history of pottery-making and still-active Potteries. Without cutting their ties with vernacular traditions, these young potters explored the multifarious potential of an art previously perceived as solitary and Promethean. The creativity of 1950s French pottery ranged from the exhaltation of colour to the rigour of stoneware, from vehement sculptural forms to a quest for self-evident simplicity, from mass-production to one-off pieces. Its vitality and regained liberty reflected the birth of a new society. In this book, Pierre Staudenmeyer shows how traditional pottery-making practices adapted to a changing world and engaged with modern art, a decisive move initiated by Picasso at Vallauris, which revolutionized forms and techniques. The wealth and diversity of 1950s French pottery is illustrated by the careers of some forty potters _Roger Capron, Jean Derval, Elisabeth Joulia and Suzanne Ramié among them. Some achieved timelessness, others represent high points in a past era, yet all have a bearing upon our own modernity.
 

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Horst Makus’s book “Ceramics in the Fifties”, which we published in 1998 and has long been out of print, succeeded in lifting the anonymity of object and designer. Its successor follows a completely new concept and is much enlarged to provide an impressive handbook with many new illustrations and important information about the ceramics of the 50s, at the same time highlighting their significance within a broader development with even greater clarity.
A long introductory essay discusses the novelties of the period (e.g., sgrafo and gemmo porcelain, terra sigillata). Some 500 colour illustrations of objects together with reproductions from contemporary journals, manufacturers’ catalogues and advertisements convey a lively picture. The handbook, arranged by headwords, contains many new biographies of artists and companies as well as ceramic terminology. Indices of more than 3200 model numbers and about 1350 names of designs with dates together with a digest of marks and signatures rounds off this new standard handbook.
A handbook for collectors of ceramics and a treasure-trove for enthusiasts of the 50s! With much new information about ceramics of the 50s. A reference work for identifying and dating the mostly unsigned objects.
 

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A comprehensive survey of German ceramics between 1955 and 1990 collected by Jakob Wilhelm Hinder and Lotte Reimers.

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This double project is linked to the «th general meeting of the Académie internationale de la céramique (AIC) being held in Paris from 14 to 16 September 2010, the first time it has been held in France since 1981. It is against this background that Sèvres - Cité de la céramique is hosting the traditional exhibition by members of the AIC, selected by their peers in each country and invited to submit a recent piece of work for display in the exhibition. About 200 members have taken up the invitation. This extraordinary collection of a broad spectrum of work acts as a world view of contemporary
ceramic art in a single exhibition.
 

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As in the previous volumes in the series (jewellery and furniture) the author has produced a complete visual record of the ceramic and glass wares produced as the 19th century turned into the 20th century. One has only to open the book at random to appreciate the enormous and diverse output of both independent artist-craftsmen and commercial manufactories. For the former, each piece a work of art in its own right; for the latter, standardisation was paramount.

Study of the individual firms' wares illustrated here shows the contrast between the late 19th century craftsman and his early 20th century counterpart. In the field of glass, this is no better epitomised than in the work of Emile Gallé, whose technical and artistic genius astounds today's connoisseurs even more perhaps than his original audience, and that of René Lalique, whose career as a manufacturer of mass-produced glass began around 1904, the year of Gallé's death.

Of the independent firms making up the ceramics industry, these were widely scattered throughout the country and encompassed an infinite number of small ateliers, and the pictorial evidence in these pages clearly illustrates not only the craftsmen's enthusiasms for materials, shapes and glazes, but also the outstanding work they produced.

The turn of the century saw a remarkable rejuvenation at the Sèvres manufactory when it produced an extraordinary volume of pieces in the Modernist idiom. Many of the finest works were commissioned by the State and as a result the limited circulation has delayed collector recognition of their beauty. This volume will serve, therefore, as an encyclopaedic reference for original source material.

With some 950 ceramic and over 300 glassware illustrations, many of them showing several pieces, this book will aid recognition of items by designer, and serve as an indispensable guide and inspiration for scholars, artist-designers and dealers in these two key areas of the decorative arts.

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Around 1920 ceramicists in Flanders were beginning to experiment with modern forms and new glazes. Unlike the neighbouring countries, Belgium did not look back on a tradition of art ceramics. Pioneering Belgian ceramicists included the artist Joost Maréchal and Jan Cockx. Rogier Vandeweghe, a pupil of Maréchal´s, co-founded a workshop with his brother Laurent in 1947. Later the brothers went their separate ways; their workshops, Perignem and Amphora, are among the most important in Flanders. This book documents ceramics in Belgium, a previously neglected field. It is exciting to discover the high quality and superlative craftsmanship Belgian art ceramics had attained by the 1950s and 1960s.

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