Woodbridge, ACC Art Books, 2013. Cm. 33x28, pp. 358, tavv. e ill. a col. n. t., cart. in cof. col.
In this handsomely illustrated volume, artist and teacher Eric Broug analyses and explains these complex designs for the first time in their historical and physical context. His own original drawings accompany magnificent photographs of mosques, madrasas, palaces and tombs from the Islamic world, ranging from North Africa to Iran and Uzbekistan, and from the 8th to the 19th centuries. The creators of these patterns were usually anonymous and there is little evidence for their working practices, but a close and detailed study of the designs can tell us much. Combining wide-ranging empirical research with his own artistic skills and sensibility, Eric Broug shows how, over the centuries, craftsmen were able to adorn beautiful buildings with wonderful geometric patterns using the simplest of tools and without recourse to mathematical calculations. Design elements created from straight lines and circles were placed in grids and then repeated and varied to generate seemingly limitless arrays of dazzling patterns. Chapters are devoted to each of the main ‘families’ of geometric design – fourfold, fivefold and sixfold – and to the complex ‘combined’ patterns. Every design is carefully explained, and illustrated with a wealth of stunning photographs and clear, meticulously detailed drawings.
London, ACC Art Book, 2016. Cm. 30x24, pagg. 256, numerose ill. prevalentemente a colori, cartone e sovracop,
London, ACC Art Books, 2016. Cm. 30x24, pagg. 254, numerose belle foto in nero e a colori n.t., legatura in cartone e sovracop.
Una panoramica sulle creazioni dei più importanti gioiellieri del Novecento per attrici e principesse.
Woodbridge, 2016. Cm. 30x23, pp. 223, tavv. 153 a col. e figg. in nero n. t., tela e sovrac.
Carpets of Afghanistan is without a doubt one of the most detailed analysis of Afghanistan rug production ever published. Author Richard Parsons, for many years a buyer in Afghanistan for the well-known firm O.C.M (London) Ltd, treats the reader not only to a veritable feast of carpets and rugs, all with their attendant tribal origins and motifs vividly explained, but also to a fascinating journey through the history of a diverse and colorful country. The author shares his respect and admiration for Afghanistan's stoic people, who, somehow, despite political upheavals, forced resettlement, a harsh climate and often primitive nomadic conditions, manage to fashion exquisite works of art which reflect their pride in their many-faceted heritage. Afghan rugs, which are instantly appealing due to their traditional colours and bold designs, open up a whole vista for the collector, from sumptuous piled purdahs to flat woven prayer rugs, all of them well illustrated in the 154 color and 90 black and white plates. On completing his National Service in Egypt, Richard Parsons spent some time with the Colonial Service, before joining a mining finance house and working for several years in West Africa. He was then posted to Tehran where he fell in love with Oriental carpets. On completion of his assignment in Iran and faced with the prospect of a London office, he abandoned his career for the carpet trade to the consternation of family and friends. He subsequently joined the prestigious firm of Oriental Carpet Wholesalers in the UK, whose agents buy from all over the carpet-making world for sale in the UK and redistribution throughout the world. After training at the London warehouse and in Iran, he was sent to Afghanistan as assistant buyer. He soon took over full responsibilities staying on in Afghanistan until 1979 when it was occupied by the Soviet Union. He then went as a buyer to Pakistan where he lived and worked until 1981, before moving to Hong Kong. His knowledge and love of Afghan rugs has prompted him to devote a great deal of time researching, writing and recording for posterity the details of rug production and tribal history in that remote but beautiful country. Richard Parsons died in February, 2002.
Woodbridge, 2016. Cm. 31x24, pp. 223, tavv. e figg. 262 a col. e in nero n. t., tela e sovrac.
The artists in the Hardy family, Heywood, James, Frederick Daniel and several others, have always been popular with collectors. However, this is the first comprehensive assessment of their work, based on previously unpublished material and with illustrations of all their major paintings. Heywood Hardy was a remarkably versatile artist who did much to advance a more realistic portrayal of animals, landscapes, portraits and sporting scenes over a long and productive career from 1860 to 1927. His elder brother James Hardy junior became one of the most accomplished sporting artists of his day. And their cousin Frederick Daniel Hardy painted some of the most accurate and sympathetic pictures of life in country towns and villages. The book's author, Kimber Hardy, a descendant of the Hardy painters, has called upon a significant collection of letters and documents about the artists. His revealing, intelligent narrative on their lives and works provides engaging accompaniment to the wealth of colour reproductions featured in the book.
Woodbridge, 2016. Cm. 26x19, pp. 223, figg. a col. e in nero n. t., mz. tela e sovrac.
Before he became celebrated as the writer and illustrator of nonsense poetry, Edward Lear was a prolific painter of natural history subjects who earned near-universal praise for the accuracy, originality and elegant style of his animated depictions of birds and other wildlife. His best remembered scientific contribution is his magnificent monograph on parrots, the first English natural history book to focus on a single family of birds, which he began to publish when he was just 18. His depictions of "species hitherto unfigured" of that gaudy group of birds dazzled the world and established Lear as the artist of choice for many of the leading ornithological publishers. In that golden age of colour-plate books, an era still celebrated for the great volumes created by John James Audubon and John Gould, Lear created some of the most spectacular natural history illustrations ever published. He did so without the benefit of any formal training in art, and with neither independent funding nor institutional support. The original watercolours for his scientific paintings - many reproduced here for the first time - confirm Lear's place among the greatest natural history painters of all time.
With a foreword by David Attenborough.
The Russian Vision: The Art of Ilya Repin presents the life and work of the most celebrated Russian painter of his generation. A comprehensive survey of Repin's oeuvre, featuring a wealth of little-seen paintings; dramatic, distinctive images that evoke the hardships, pleasures and everyday routines of Russian society in the twilight years of Tsarist rule. Having declined in the twentieth century, Repin's reputation is growing again.
Combining close readings of all his major canvases, as well as many of his lesser-known works, within the broader context of Russian art, society and culture, written in an accessible style, David Jackson's book, featuring more than 100 colour plates of Repin's work, and telling the story of his life, will do much to help restore his stature.- See more at: http://www.accdistribution.com/uk/store/pv/9781851497744/the-russian-vision/david-jackson#sthash.kp3gouzl.dpuf
Ilya Repin (1844-1930) is a key figure of Russian nineteenth-century realism; his career spanned a period of huge cultural, social and political change, bearing witness to the challenge to the Russian autocracy, the coming of the October Revolution and the dawn of the Soviet Union. From humble peasant beginnings Repin rose to a place of artistic pre-eminence and international acclaim and was the most important influence in shaping a distinctly Russian school of art. Through a series of successful but controversial works he addressed such issues as the hard lives of the peasants, the fate of revolutionary activists and Russian history, as well as painting some of the nation's greatest cultural figures, many of whom - such as Tolstoy, Mussorgsky and Gorky - he counted as personal friends.
The Russian Vision: The Art of Ilya Repin presents the life and work of the most celebrated Russian painter of his generation. A comprehensive survey of Repin's oeuvre, featuring a wealth of little-seen paintings; dramatic, distinctive images that evoke the hardships, pleasures and everyday routines of Russian society in the twilight years of Tsarist rule. Having declined in the twentieth century, Repin's reputation is growing again. Combining close readings of all his major canvases, as well as many of his lesser-known works, within the broader context of Russian art, society and culture, written in an accessible style, David Jackson's book, featuring more than 100 colour plates of Repin's work, and telling the story of his life, will do much to help restore his stature