Objects of Desire Book by Maria Hummer Tuttle

Dimensions:Dragons & Pagodas A Celebration of Chinoiserie By: Aldous Bertram A gorgeously illustrated survey of chinoiserie from the 18th century to today Chinoiserie is a term for ...

David Netto By: David Netto Illustrations by Mita Bland The first monograph of a distinctive voice in American design whose work, a blend of sophisticated...

G: Forever Green By: Carlos Mota An exuberant celebration of the color green, in nature, art, interiors, and design Green is like water: it is everywhere and we can’t live without i...

Tropical Light The Art of A. E. Backus By: Natasha Kuzmanovic Winner of the 2016 Florida Book Award Gold Medal for Visual Arts Surpassing all potential rivals, artist A. E. Backus (1906–1990) developed a masterful aesthetic for portraying Florida’s lush tropical landscape, and his works became the definitive images of the state. Displaying a Backus painting quickly became a mark of distinction for a certain set of affluent Floridians. Defining his own artistic roots as “part Cracker [a hardy, early Florida pioneer] and part Monet,” Backus’s primary subject matter was tropical nature as defined by light, which he rendered using complementary colors. His avant‑garde use of a palette knife to create entire compositions produced paintings that combined a sensitive observation of nature with gestural paint application. So skillful was Backus at depicting the light and atmosphere of a particular locale that the season and exact time of day, to the hour, can be identified in most of his works. Backus excelled at capturing the essence of traditional Florida: rustic fishing camps, magnificent beaches, tidal rivers fringed with palms and mangroves, and the abrupt changes in the weather that characterize Florida’s tropical light to both natives and visitors. Besides his exceptional artistic talent, Backus also possessed an extraordinary humanitarian spirit. He drew no lines of distinction between young and old, rich and poor, black and white, and his studio door in Fort Pierce was open to all. He developed enduring friendships with black musicians, artists, and authors, including Zora Neale Hurston, one of the leading figures of the Harlem Renaissance. The circle of African‑American artists known as the Highwaymen...

David Monn The Art of Celebrating By: David Monn Imagine seeing the world through event planner David Monn’s eyes for just one minute of your life. Imagine walking into a room and k...

The Gardens of Bunny Mellon By: Linda Jane Holden Photography by Roger Foley Introduction by Sir Peter Crane Rachel Lambert Mellon was born an heir to a great fortune—her grandfathe...

Objects of Myth and Mystery by Corson Hirschfeld. Self published, 1995. Softcover portfolio of photographs. Includes the dark green die-cut sleeve, bro...

These two separate sales were for the sales of Robert de Balkany which was in the hands of Sothebys in 2016 and The Princess Maria Gabriella of Savoy, who was the daughter of the last King of Italy...

The first book to explore two of the biggest names in modern and contemporary art side by side, Marcel Duchamp and Jeff Koons In the first half of the 20th century, Marcel Duchamp re...

by Sandra Dachs, Patricia De Muga & Laura Garcia Hintzo Focuses on Eileen Gray, a breakaway designer in a world dominated by male-centric style schools Besides an introductory essay, each title in the By Architects series is compiled by key modern architects through sketches, drawings, photos of the original productions, and ambient shootings A design-orientated book for a design-orientated series, Eileen Gray boasts an innovative layout and a special binding Neglected for most of her career, Eileen Gray (1878-1976) is now regarded as one of the most important furniture designers and architects of the early twentieth century and the most influential woman in those fields. Her work inspired both modernism and Art Deco. Eileen Gray was to stand alone throughout her career, first as a lacquer artist, then a furniture designer, and finally as an architect. At a time when other leading designers were almost all male and mostly members of one movement or another - whether a loose grouping like De Stijl in the Netherlands, or a formal one such as the Congrès Internationaux d'Architecture Moderne - Gray remained staunchly independent. Her design style was as distinctive as her way of working. Gray developed an opulent, luxuriant take on the geometric forms and industrially produced materials used by the International Style designers, such as Le Corbusier, Charlotte Perriand and Mies van der Rohe, who shared much of her ideology. Her voluptuous leather and tubular steel Bibendum Chair and clinically chic E-1027 glass and tubular steel table...

As a young man, Jean Prouvé (1901-1984) longed to become an engineer, but as his family could not afford the requisite training, at 15 he was apprenticed to a master blacksmith in Pa...

For too long forgotten because it was identified with the contemporary political regime, Italian furniture from the 1920s and 1930s re...