Paul Holberton

  • Architecture and anarchism : building without authority Nouv.

    Architecture and Anarchism documents and illustrates 60 projects, past and present, that key into a libertarian ethos and desire for diverse self-organised ways of building.
    They are what this book calls an 'anarchist' architecture, that is, forms of design and building inspired by the core values of most forms of anarchism since its emergence as a distinct kind of socialist politics in the 19th century. These are autonomy, voluntary association, mutual aid, and self-organisation through direct democracy.
    As the book shows, there are a vast range of architectural projects that can been seen to refl ect some or all of these values, whether they are acknowledged as specifi cally anarchist or otherwise.
    Anarchist values are evident in projects that grow out of romantic notions of escape - from isolated cabins to intentional communities. Yet, in contrast, they also manifest in direct action - occupations or protests that produce micro-countercommunities.
    Artists also produce anarchist architecture - intimations of much freer forms of building cut loose from the demands of moneyed clients; so do architects and planners who want to involve users in a process normally restricted to an elite few. Others also imagine new social realities through speculative proposals. Finally, building without authority is, for some, a necessity - the thousands of migrants denied their right to become citizens, even as they have to live somewhere; or the unhoused of otherwise affl uent cities forced to build improvised homes for themselves.
    The result is to signifi cantly broaden existing ideas about what might constitute anarchism in architecture and also to argue strongly for its nurturing in the built environment. Understood in this way, anarchism off ers a powerful way of reconceptualising architecture as an emancipatory, inclusive, ecological and egalitarian practice.

  • La Collection Courtauld. Le parti de l'impressionnisme accompagne l'exposition majeure du printemps 2019 à la Fondation Louis Vuitton à Paris qui mettra en lumière l'industriel et mécène anglais Samuel Courtauld (1876-1947), l'un des plus importants collectionneurs du XXe siècle. Le catalogue et l'exposition présenteront son extraordinaire collection d'art impressionniste, qui n'a pas été vue à Paris depuis plus de soixante ans.
    Courtauld constitua l'une des plus importantes collections d'art impressionniste au monde. Au cours des années 1920, il rassembla un ensemble exceptionnel de tableaux de tous les plus importants peintres impressionnistes, du chef d'oeuvre de jeunesse de Renoir, La Loge, à la dernière grande toile de Manet, l'emblématique Un Bar aux Folies-Bergère. Sa collection comprenait également Nevermore, le grand nu tahitien de Gauguin, et l'un des plus célèbres tableaux de Van Gogh, Autoportrait à l'oreille bandée, dont ce sera la première présentation à Paris depuis l'exposition organisée en 1955 au musée de l'Orangerie.

  • Charleston : the bloomsbury muse Nouv.

    Ce somptueux catalogue, accompagnant l'exposition à la galerie Philip Mould & Company, raconte l'histoire du grand attachement que Vanessa Bell et Duncan Grant portaient à leur maison de Charleston Farmhouse et présente le travail produit par les artistes entre les deux guerres mondiales. Cette magnifique collection d'oeuvres est merveilleusement présentée aux côtés d'essais éclairant et illustrés, d'un entretien et d'un catalogue complet.

  • Modern drawings: the karshan gift Nouv.

    Ce magnifique catalogue regroupe pour la première fois de remarquables dessins modernes réalisés par des maîtres européens et américains et assemblés par feu Howard Karshan et sa femme, Linda, qui a récemment présenté les oeuvres à l'Institut Courtauld. Le catalogue, qui accompagne leur exposition à la Courtauld Gallery, inclut les dessins d'artistes renommés tels que Paul Cézanne, Wassily Kandinsky, Paul Klee, Willem de Kooning, Philip Guston, Sam Francis, Cy Twombly, Gerhard Richter et Georg Baselitz.

  • This publication is a highly visual celebration of the massively popular, but now largely forgotten, Britain Can Make It exhibition. Organized by the Council of Industrial Design, it was held in empty ground-floor galleries of the Victoria & Albert Museum, from September to December 1946.

  • Towards the sun - the artist - traveller at the turn of the twentieth century Nouv.

  • The yorkshire tea ceremony : W. A. Ismay and his collection of british studio pottery Nouv.

    W.A. Ismay amassed over 3,600 pieces by more than 500 potters between 1955 and 2001.
    Surrounded by his family of pots, he lived in a tiny terraced house in Wakefi eld, Yorkshire, and left his collection and its associated archive to the city of York upon his death. This eclectic collection contains objects created by many of the most signifi cant potters working in the UK, such as Lucie Rie, Hans Coper, Bernard Leach and Michael Cardew, as well as examples of work by lesser-known makers. Once he discovered a potter, Ismay supported them throughout their career, carefully assembling groups of work that off er succinct visual overviews of development in style and skill.
    What would become known as Ismay's Yorkshire Tea Ceremony encapsulates all the aspects of collecting handmade pottery which were important to him. Seeing himself as a temporary custodian of his collection, rather than the owner, he was keen to allow access and share it. Ismay enjoyed inviting people into his home, encouraging them to pick up items and experience them haptically. This social side of collecting generated close friendships which are revealed through the anecdotes, gossip, obsessions, opinions and touching gestures of support documented within Ismay's archive. The archive is a monumental and unique creation, which documents his extraordinary life and reveals intriguing glimpses into the development of his character, as well as the personal and societal changes that impacted his interests and activities.
    New academic research into a little-studied collection and archive explores Ismay's journey as a collector. This book off ers fresh perspectives on a marginalized area of British modernism. Tracing the collection's journey from private to public ownership illuminates issues surrounding the acquisition by a museum of a large personal collection and archive, revealing the transformative eff ect it has had on both curatorial practice and the ambition of regional public institutions. The W.A. Ismay Collection off ers a well-documented example of the valuable contribution collectors can make to the British studio ceramics movement.
    The publication of this research marks 20 years since the W.A. Ismay Collection moved from private to public ownership and to celebrate that anniversary, an exhibition of the collection will take place at York Art Gallery's Centre of Ceramic Art (CoCA).

  •  Fra Angelico transformed painting in Florence with his pioneering images.
    Reuniting for the fi rst time his four ingenious reliquaries for Santa Maria Novella, this publication explores his celebrated talents as a storyteller and the artistic contributions that shaped a new ideal of painting.
    Accompanying the exhibition at the Isabella Stewart Gardner Museum, Boston, this catalogue explores one of the most important artists of the Renaissance. Fra Angelico (c. 1395-1455) transformed painting in Florence with pioneering images, rethinking popular compositions and investing traditional Christian subjects with new meaning.
    His altarpieces and frescoes set new standards for quality and ingenuity, contributing to Angelico's unparalleled fame on the Italian peninsula. With the intellect of a Dominican theologian, the technical facility of Florence's fi nest craftsmen and the business acumen of its shrewdest merchants, he shaped the future of painting in Italy and beyond.
    The exhibition reunites for the fi rst time Fra Angelico's four reliquaries for Santa Maria Novella (1424-34; Isabella Stewart Gardner Museum and Museo di San Marco, Florence). Together they cover key episodes in the life of the Virgin Mary and capture in miniature some of his most important compositional innovations. Assembled at the Gardner with exceptional examples of Angelico's narrative paintings from collections in Europe and the United States, this exhibition explores his celebrated talents as a storyteller and the artistic contributions that shaped a new ideal of painting in Florence.

  • Call of the blue

    Philip Hamilton

    The 300 spectacular photographs in Call of the Blue are the culmination of a five-year project by photographer and ocean conservationist Philip Hamilton to witness and photograph marine life around the world. This groundbreaking and inspirational book showcases contributions from acclaimed scientists and notable ocean 'guardians' who share their lives, passions and exploits on, in or under the ocean and reveal what drove them to answer the call of the blue.

  • Suzanne Valadon : model, printer, rebel Nouv.

    Ce somptueux catalogue accompagnera la première exposition sur le modèle et peintre français, Suzanne Valadon (1865-1938), qui se tiendra dans un lieu américain important. Malgré la popularité et le succès que Valadon connut de son vivant, son travail a été négligé depuis sa mort. Suzanne Valadon : Model, Painter, Rebel reconsidère la vie et l'héritage de l'artiste révolutionnaire.

  • The Dresden Kupferstich-Kabinett (Museum of Prints, Drawings and Photographs of the Staatliche Kunstsammlungen Dresden), which has one of the greatest collections of prints and drawings in Europe, has particularly important and unique holdings of the work of the outstanding German graphic artist Käthe Kollwitz (1867-1945). Kollwitz formed a long association with Max Lehrs (1855-1938), a leading art historian and then the director of the Dresden Kupferstich-Kabinett, and Lehrs became Kollwitz's discerning supporter.
    From 1898 Lehrs began buying Kollwitz's work systematically - which, in the Germany of Kaiser Wilhelm II, was a remarkable thing for a man in his position to do, considering that she was a woman artist with marked socialist leanings. Indeed the fi rst work he purchased for the Dresden Museum was her provocative cycle entitled The Weavers' Revolt. Lehrs went on to purchase more than 200 works for the Kupferstich-Kabinett, taking care to document their evolution. The Kupferstich-Kabinett holds a rich correspondence between Lehrs and the artist, which has been newly researched and analysed. Since Lehrs collected contemporary graphic art internationally - for example Whistler, Munch and Toulouse- Lautrec - the signifi cance he attached to Kollwitz's work is all the more telling: this renowned print scholar called her «one the greatest talents in the fi eld of the graphic arts».
    The exhibition - and especially the catalogue - tell the circumstances and story of the earliest public holding of Kollwitz's work to be established and of Kollwitz's full development of her major themes - of war and death, of motherhood and love, and not least of self-portraiture, one of the most fascinating aspects of her oeuvre.
    This relationship between artist and curator was and is exemplary for its time and our time, while the historical perspective and contextualization of these newly re-examined and freshly assessed works reveals new aspects of the artist, who should be much better known in the English-speaking world.

  • Keeping in the present - 300 years of the dresden kupferstich-kabinett Nouv.

  • Accompanying an exhibition at Les Enluminures, New York, this lavish catalogue presents an extraordinary collection of diamonds from the king of gems, Benjamin Zucker, one of New York's leading dealers in diamonds and precious stones. Benjamin Zucker's remarkable story unfolds over three generations of diamond dealers. Arriving in New York in 1941, he had the benefit of the training of his grandfather, a leading expert in uncut diamonds in Antwerp, and his uncle, one of the foremost dealers of diamonds in the Far East. Some of the world's most famous diamonds, such as the Wittelsbach Diamond, passed through the hands of the Zucker family. Armed with the family "know-how", Benjamin Zucker formed a collection that "has taken a lifetime of patience, money, and unquenchable enthusiasm", according to Diana Scarisbrick. As Mr. Zucker himself says "diamonds will always be a magical window facing the invisible world." Put together over more than forty-five years, this truly rare and immensely valuable collection includes thirty-five precious jewels mostly made for European patrons - rings, brooches, hairpins, earrings. It tells the story of the Indian diamond over a period of nearly 600 years, ending before the discovery of mines in Brazil, a source that displaced India and inaugurated a new age of diamonds. Starting with the octahedral diamond, the collection includes outstanding examples of world-class importance showing how jewellers gradually captured more and more of the allure of these indomitable gems, evolving from point to table to rose to brilliant cuts. The success of the brilliant cut (close to our cuts today) eclipsed the earlier shapes, many of which were recut to "modernize" them, with the result that the earlier cuts of "old mine" diamonds included here are exceedingly rare. Most of these jewels are published. Many of them have been exhibited in prestigious museums such as the Walters Art Museum, the Yale Peabody Museum of Natural History, the Museum of Fine Arts, Houston, and most recently the Metropolitan Museum of Art. As assembled in the present collection they have never been displayed together and have never been offered for sale. This lavish publication by the leading scholar in the field accompanies the exhibition. It is written by Diana Scarisbrick, celebrated jewellery historian and author of Diamond Jewelry: Seven Hundred Years of Glory and Glamour (September 2019).

  • Cet important catalogue est le dernier d'une série de trois volumes qui explore une collection remarquable de feuilles et de miniatures provenant de manuscrits du Moyen-Age. Débordant d'illustrations, cette contribution notable aux recherches médiévales décrit avec une abondance de détails des oeuvres françaises du XIème et le XVème siècles, avec l'accent mis en particulier sur les XIIIème et XIVème siècles.

  • The distinguished private collection, known as the Griffin Collection, comprises in its entirety examples of every category of ring - signet, devotional, memorial, decorative - dating from antiquity to modern times. This catalogue, focusing on about 150 rings in the collection, is concerned with perhaps the most personal rings of all, those associated with love and marriage. Some can be recognised by the figure of Cupid armed with his quiver of golden arrows, others by the symbols of heart and clasped hands.
    However, the majority are gold bands, sometimes plain and occasionally decorated, that are inscribed with mottoes in English expressing the admiration, affection, and pledges of fidelity which bind humankind together. Known as posies or little poems because they often rhyme, these mottoes were current on rings from the late Middle Ages until the middle of the 19 th century. Through these rings, Ms.
    Scarisbrick engagingly tells the long story of the relations between the sexes from the fifteenth century, when the cult of courtly love was superseded by an idealization of monogamous marriage, to an end in the twentieth century as a result of a different moral outlook. Scholars would agree that the Griffin Collection of posy rings makes an important contribution to English social history and connects with the national literature from Chaucer to Byron.
    Small though they are in scale, their significance was appreciated by Victorian collectors, and they are well represented in the leading museums, notably the Victoria and Albert Museum, the British Museum, and the Museum of London, as well as the Ashmolean and Fitzwilliam museums in Oxford and Cambridge. Yet none of these institutions have ever published fully illustrated catalogues of their posy rings, nor has there been an up-to-date study since the seminal monograph by Joan Evans entitled English Posies and Posy rings (1931).
    In this respect, the catalogue of the Griffin Collection, which illustrates the rings and sets them in context, using wide-ranging literary and historical sources, breaks new ground. It also contains posy rings with inscriptions hitherto unrecorded and others with identified maker's marks.

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