The unique cultural landscape of southern Africa (Nambia, Zimbabwe, Botswana, Mozambique and South Africa) is a highly dynamic and complex area where old traditions are confronted by explosive social and political upheavals. The resulting contradictions and conflicts stimulate a directions as well as ancient roots. The collection of highly varied essays by knowledgeable experts on Africa ranges from historical and political problems to questions of artistic production and of how to deal with culture and nature in the face of industrialisation and globalisation. Art is one of the major subjects, and the contemporary artistic activities, including photography. The publication presents a picture of a vigorously alive southern Africa, contradicting common western Cliches which regard the region as having no art and solely being riddled with problems of post-apartheid, crime and AIDS.

Tracing the Rainbow: Art and Life in Southern Africa

Arts & Photography

Stefan Eisenhofer

History & Criticism

Arnoldsche Art Publishers

In 1932 Antonio Seguso and his sons Archimede and Ernesto joined forces with Napoleone Barovier and Luigi 'Olimpio' Ferro to found Vetretia Artistica Barovier &amp; C.; the name of the firm was changed to Seguso Vetri D'Arte in 1937. The turbulent era of the company's history - marred by some severe economic downturns - ended in 1973 when it was taken over by Maurizio Albarelli. On entering the firm in 1945, Flavio Poli turned the program around to make it fresh and contemporary. Thus Seguso Vetri D'Arte became the leading glass factory on Murano. Flavio Poli's designs chimed perfectly with the 1950s and '60s zeitgeist. We are indebted indeed to Marc Heiremans for devoting years of hard work at various Murano sites to tracking down almost all the Seguso archive material: an incredible treasure trove which he has been evaluating, working up and subjecting to meticulous scholarly treatment. The fruits of his labors are presented in this book, which is essentially a catalogue of works.

Seguso Vetri d'Arte: Glass Objects from Murano (1932-1973)

Heiremans, Marc

Collections, Catalogs & Exhibitions

With contemporary advertising and sales catalogues as its sources, this book represents the first exhaustive survey of the Ikora and Myra lines in glass produced between the 1920s and 1950s by the W rttembergische Metallwarenfabrik AG (WMF) at Geislingen/Steige. At the instigation of the then WMF director general, Hugo Debach, WMF had been making high-quality art glass (called Unika pieces, indicating that they were one-of-a-kind) as well as lines in mass-produced art glass (Ikora and Myra). First presented to the public to great acclaim at the W rttembergisches Landesmuseum in Stuttgart by museum director G. E. Pazaurek, these pieces are now much sought-after as valuable collector's items. Ikora and Myra Glass by WMF not only deals exhaustively with the history of this glass but also provides aficionados and collectors of Ikora and Myra glass for the first time with a complete catalogue of WMF products. The availability of this information makes it possible, first, to distinguish from the origin

Ikora and Myra Glass by WMF: One-of-a-Kind and Mass-Produced Art Glass from the 1920s to the 1950s

Scheiffele, Heinz

History

This publication draws on sales catalogues and advertising brochures documenting the entire range of Ikora metalwork produced by WMF (W rttembergische Metallwarenfabrik AG, Geislingen) from the early 1920s until the 1960s. Even during the first world war, Hugo Debach, who would later become director-general of WMF, took the initiative in having experiments conducted in chemical and thermal tinting of metals. Shortly before 1927 he founded the Neue Kunstgewerbliche Abteilung (NKA: New Division for the Applied Arts) at WMF for upgrading metals. The brilliant colours and the boundless possibilities for design arising from this new technique met with resounding success at the time. Now pieces of Ikora metalwork by WMF are coveted as valuable collectors' items. The name Ikora, borrowed from a plant with brilliantly-hued flowers endemic to South-east Asia and sacred to the goddess Ixora, was designed to express the costly and exclusive quality of this line in metal products. Text in English and German

Ikora Metalwork by WMF

Graphic Design

Pressure exerted by America in 1854 caused Japan to open its doors after 260 years of isolation. Wide receptiveness to everything Western was the driving force behind the modernization of Japan initiated by the Meiji government, yet it also induced a rapid rediscovery of indigenous cultural values. At early Paris and London international exhibitions, the Japanese decorative and applied arts sparked off the Western fascination with all things Japanese japonisme. In Japan, on the other hand, new technologies were eagerly adopted the government realized that increasing production for export would be an excellent means of promoting Japanese economic growth and thus enhancing Japan's status worldwide. Meiji Ceramics represents the first in-depth study of the development of Japanese export porcelain against a highly charged background of political, economic and cultural factors. Includes 180 artists's signatures. Text in English.

Meiji Ceramics: The Art of Japanese Export Porcelain and Satsuma Ware 1868-1912

Crafts, Hobbies & Home

Gisela Jahn

Antiques & Collectibles

An extensive history of the Austrian ceramics firm with an exhaustive index of artists as well as a complete overview of marks.

Goldscheider: History of the Company and Catalogue of Works

Filipp Goldscheider

Robert E. Dechant

Individual Artists

Die Dalai Lamas

Krings, Ulrich

Hercule Poirot doesn&rsquo;t need all his detective skillsto realize something is troubling his secretary, MissLemon&mdash;she has made three mistakes in a simpleletter. It seems an outbreak of kleptomania at thestudent hostel in which her sister works isdistracting his usually efficient assistant. Deciding that desperate times call for desperatemeasures, the great detective agrees to investigate.Unknown to Poirot, however, desperation isa motive he shares with a killer. . . .

JOSEF EMIL SCHNECKENDORF JUGENDSTIL GLAS

Ulmer, Renate

Josef Emil Schneckendorf

Gabriela Koschatzky-Elias writes absorbingly on the life and work of Fritz Maierhofer, one of the most important contemporary Austrian jewellery artists, whose international career took off in late-1960s London. Under the sway of that throbbing city, he had arrived at a conception of jewellery and a language of forms that were distinctively his own. Maierhofer places jewellery on an equal footing with painting, sculpture and architecture. What is crucial to him is the artistic intention rather than the market value of the materials used. Maierhofer keeps coming up with new statements - using acrylic glass and precious metals in the 1970s, pewter and gold in the 1980s and, in the 1990s, aluminium, steel and computer technology while his most recent work features the new material CORIAN?. A new publication in our Art Jewellery Series , this is the first comprehensive monograph surveying Fritz Maierhofer's work from the 1960s to the present. With superlative colour illustrations and texts by a group

Fritz Maierhofer: Jewellery and More!

Koschatzky-Elias, Gabriela

Discusses the uses of water in science, art, architecture and design.

Water: Unity of Art and Science

Oliver Herwig

Axel Thallemer

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Books by Arnoldsche Art Publishers