20th Century Pewter outlines the development of pewter design from the Art Nouveau movement up to the Modernist period. The first book to examine the artists and manufacturers working in this versatile material, it highlights the important factories and workshops of Germany, Britain, France, the Netherlands, Austria, Scandanavia, Japan, and America.

This publication completes the series: HISTORIC CUTLERY III – From the Early Period until around 1600. Using a synoptic and fundamentally new concept of presentation, the author provides a fascinating overview over his entire collection. The astounding diversity of forms, especially of knives from the Late Middle Ages, is presented in this overview for the first time in an impressive and artistic arrangement, with full-page colour plates. The Hamburg photographer Helge Mundt succeeded in taking brilliant photos, showing the objects in their full splendour.
In this volume, as already demonstrated in his publications in 2002 and 2007, the author Jochen Amme shows his impressive ability to structure the collection and to present it alongside impressive photographs. In his compilation of the objects he proves once again his comprehensive knowledge at the highest scientific level.

The Benezit has been traduced in English, in a new version revised and expanded for a wider audience. This first English-language edition of the Benezit, an incomparable source of art-historical information. When it was first published in 1911, the Benezit immediately became the vital source of documentation for art historians and dealers. Today, it owes it reputation partly to its staying power, but mainly to the quality of its information. Since the 1920s, a highly skilled and dedicated team has been working on it full-time, and thousands of entries have been added to reflect current art trends and innovations. this new English-language edition has taken 5 years to create, and runs to over 20,600 pages with over 175,000 entries, including thousands of new or updated entries since the last edition (1999) that bring it right up to date. BIOGRAPHICAL ENTRIES : Each entry conveys at-a-glance essential information ; name, nationality and dates, field of expertise, media, genre and subject matter, broad art-historical classification, movement, group of school. This is followed by a critical biography, which is concise and specific, and concentrates on training, influences, exhibitions and works. GRAPHICS: Around 11,000 signatures, monograms and stamps of sale are included where relevant, to help with identification and authentication. AUCTION RECORDS: Never intended to be an exhaustive directory of sales, these listings have been very significantly updated to provide an invaluable record of the movements in prices of an artist's work. Prices are given in the currency of the country of sale. BIBLIOGRAPHIES: these have been updated and improved, and concentrate on English texts. They range from books, periodicals and exhibition catalogues to essays, dissertations and multimedia. MUSEUMS AND GALLERIES: The main public collections where the works of an artist can be found are listed, together with brief details of the work.  

Le Verre provides a comprehensive overview of the history of French glass making.
Glass makers can be compared to alchemists in the way that they transform sand and ashes into precious objects of great beauty. This book explores the value given to glassware throughout French history, focusing on the Ancient Régime from the 15th to 18th Centuries, when royally appointed glassmakers were considered more important than their artistic counterparts within the court: painters, musicians and actors.
In the middle of the 19th Century, glassware was subjected to mass industrial production and as a result the benchmark of quality that had previously been set was no longer adhered to. However, it was out of frustration with this situation, that Emile Gallé, a glassmaker who employed many experimental techniques, started his own workshop to produce incredibly high quality original glassware, a move that revolutionised glass making and placed it once again at the forefront of contemporary artistry. Le Verre argues that glass never left this pedestal, and that today, more than ever, 'the world is living in the age of glass.'
 

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Sin and temptation, wisdom and deceit, death and damnation, but also eternity and renewal, protection and healing power - the symbolic meanings of the snake are as manifold as the myths, sagas and legends in which it plays a significant role. The snake led Adam and Eve into temptation in the Garden of Eden, the Uraeus snake was the symbol of the pharaohs in ancient Egypt, the Midgard serpent inhabited the ocean of Germanic mythology, it was the ancient symbol of the art of healing, was worshipped as the snake spirit in India and as a deity in African and Central American cultures.
In all eras and in all cultures, the snake has fascinated humankind and inspired the creation of striking works of art. Serpentina is dedicated for the first time to the whole spectrum of the snake in jewellery, for few artists, jewellers or even the jewellery industry could resist the temptation to incorporate this creature into jewellery design. The examples span everything from Hellenistic snake bangles to the glittering art nouveau creations by Lalique and Fournet, from the luxurious creations by Cartier and Fabergé to the playful objects of contemporary jewellery artists, from snake motifs from Mexico and the golden snakes of the Akan in Ghana to Indian snake jewellery and Japanese snake netsukes. In jewellery the seductive power of the snake is unfailing. Let it put you under its spell!
 

A paraître en Novembre 2011