Industrial And Applied Arts Books

LIVRE de Pri'eres, Tiss'e d'apr'es les Enluminures des Manuscrits du XIVe au XVIe Si'ecle. 1886-87 Lyon, R.P.J. Hervier, dessinateur; A. Henry, fabricant for A. Roux

1 half-page, 3 full-page miniatures, large historiated initials, numerous other smaller figurated and ornamental initials with imitation penwork scrolling, each page within variegated foliated and figurated borders. Woven entirely in pale gray, silver, and black silk. [50] pp. Small 4to. Contemporary burgundy crushed morocco with inner gold-ruled doublures and silk endpapers (by Kauffmann). In a burgundy morocco suede-lined matching slipcase.. Lyon, R.P.J. Hervier, dessinateur; A. Henry, fabricant for A. Roux, 1886-87. First ancestor of the modern computer, the only successfully woven book printed in an edition of fifty to sixty copies. A phenomenal vanity-piece of the Industrial Age, this technological tour-de-force was woven entirely in silk using the punch-card system of Jacquard looms, a process which was in essence a precursor of the computer programming. 'Programmed' perforations in the punch-cards controlled the minute movements of the hooks pulling the silk threads. The principles put to use in this process had already been applied by Charles Babbage in his experimental calculating machine. His ultimately unsuccessful twenty-year attempt (1834-54) to create an "analytic engine" used similar punch-cards to record the amounts and the nature of the operation to be run. Although his experiments ultimately proved fruitless, they paved the way for Hollerith's tabulating machine, and that, in turn, led to the computer. The production of the present work is viewed as the only successful attempt at weaving a book, and is bound to remain so due to the technological finesse and obvious costs of production. The detailed precision of the book is remarkable, and a period of two years and over fifty attempts were necessary to achieve success. Over a hundred thousand cards were needed, and the precision required to weave 400 woof threads per sq. inch for the lettering and design demanded machine-movements of not more than a tenth of a millimeter. The binding-process created problems as well. As recto and verso needed to be glued together, the result was a large majority of defective copies with glue-stains seeping through the leaves.- Our copy is in perfect state. - Paul Marais, "Livre de Pri'eres tiss'e", in: Bulletin du Bibliophile (1889), pp. 163-166; L.M.C. Randall, "Nineteenth-Century Medieval Prayerbook woven in Lyon", in: Art the Ape of Nature. Studies in Honor of H.W. Jackson, ed. Moshe Barasch and Lucy Freeman Sandler (1981), pp. 651-668; Vicaire V, 341. GRAPHIC ARTS:ILLUSTRATED BOOKS ; SILK BOOK ; SCIENCE:TECHNOLOGY ; RELIGION ;

[SW: GRAPHIC ARTS:ILLUSTRATED BOOKS ; SILK BOOK ;]

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Rense, Paige (editor). Architectural Digest 4/99 THE TWENTIETH CENTURY ARCHITECTURAL DIGEST 100 YEARS OF DESIGN. New York: Conde' Nast Pub Inc, 1999.

Architectural Digest- April 1999 Vol 56 No 4- 476 pages.The magazine is NEAR FINE condition with minor shelf and edge wear to front wrapper. JMVINTAGE specializes in Books, Magazines and Treasures related to the Duke and Duchess of Windsor ..and other curious people. Articles include: 1900 Gustav Stickley, Craftsman style architecture and furniture, Edith Wharton, Theodore Roosevelt (Sagamore Hill home), John Singer Sargent, Josef Hoffman (furniture), Mark Twain (Hartford, Connecticut residence of writer designed by Louis Comfort Tiffany and his firm Associated Artists), Antoni Gaudi, Paul Cezanne, Louis Comfort Tiffany, Bernard Maybeck (Leon L. Roos House in San Francisco), Louis Majorelle, Charles Rennie MacKintosh, Carlo Bugatti, Winslow Homer, The Elms, a 1901 Beaux Arts Mansion that Horace Trumbauer built as a summer "cottage" in Newport, Rhode Island, Adirondack Furniture, Edwin Luytens (Tigbourne Court, in Surrey England), Edith Wharton (summer house, The Mount), Charles A. Platt (Sylvania, on the Hudson River, on of the architect's American country houses), Rudyard Kipling (the writer's study at Bateman's, in England), Margaret MacDonald, Emile Galle, Edouard Vuillard, Mary Cassat, Victor Horta (Belgian architect), Joseph Maria Olbrich (living room of the artists' colony in Darmstadt, Germany), Henrik Ibsen (the study of his Oslo playwright), Frank Lloyd Wright (Robie House), Greene and Greene, Daum Freres, Van Briggle Pottery, Anton Checkov (Yalta house), Andre Derain, C.R. Ashbee, 1910 Pablo Picasso, Mennonite Quilt, Vizcaya (industrialist James Derring's Italianate estate on Miami's Bixcayne Bay, by architect F. Burrell Hoffman, Jr and designer Paul Chalfin), Charles Lindbergh (childhood farm on the Mississippi River near Little Falls), Juan Gris, (cubist Spanish painter), Henry Ford (Marion Mahony Griffin's Fair Lane, Ford's amsion in Dearborn, Michigan, in the Prarie syle, Emil Nolde, Carl Moon (photography), Peter Carl Faberge, Wassily Kandinsky, Henry Clay Frick Residence (built by Carrere & Hastings), John D. Rockefeller (the Rockefeller family home, Kykuit, in Newport, Rhode Island), Amedeo Modigliani (Italian artist), Childe Hassam, The Paris (the grand staircase of the transatlantic ship, launched in 1916), Alexander Rodchenko (Russian artist), Viennese Glass, Josef Hoffmann, Frank Lloyd Wright (Booth House and the furniture), Josef Hoffman (furniture), Josep Jujol (stair rail in a 1916 house in Barcelona), 1920 Art Deco Furniture, Mies van der Rohe, James Joyce, Eileen Gray, Pickfair (Mary Pickford and Douglas Fairbanks, Sr.'s Beverly Hills home), Frank Lloyd Wright (1924 Ennis-Brown house in Los Angeles), Addison Mizner (1927 Mediterranean-style house in Montecito California), Eugene O'Neill, Charleston, William Haines (legendary decorator to the stars and a movie star), Ruby Ros Wood (Swan House, a residence in Atlanta), Walter Gropius (1926 glass-and-concrete design for the main Bauhaus building in Dessu Germany), Bauhaus (architectural and school with early masters that included: Wassily Kandinsky, Nina Kandinsky, Georg Muche, Paul Klee, Gropius. The Nazi's closed the school in 1933), Robert Mallet-Stevens (architect, designer, artist with a Deco sensibility), Rudolph Valentino (Falcon Lair, the actor's Beverly Hills estate), Adolf Loos (the original modernist architect), The Ahwahnee (the 1920 Yosemite lodge designed by Gilbert Stanley Underwood), Eileen Gray (interior designer), Gio Ponti (architect), Joan Miro, Paul Klee, Pierre De Maria (art deco furniture), Le Corbusier, Ludwig Mies Van de Rohe (Tugendhat House in Czechoslovakia), Georgia O'Keefe, Woodrow Wilson (Georgian-style house in Washington, DC), James Joyce, Franklin Delano Roosevelt (the family's summer house on Campobello Island), Sonia DeLaunay, Louis Cartier (jeweler), Tamara de Lempicka (painter), Gloria Swanson, John Russell Pope (The Waves, the architect's Newport house), Gerrit Rietveld (architect's 1924 Schroder House in Holland), Charlie Chaplin , Colleen Moore (the star's Bel-Air house designed by architect, Harold Grieve), Gabriele D'Annunzio (his villa on Lake Garda), Stuart DAvis 1930 Katharine Hepburn, Marlene Dietrich, Donald Deskey (Art Deco apartment for S.L. "Roxy" Rothafel, designed by Deskey with architect Wallace Harrison), Cary Grant and Randolph Scott, Samuel Marx (furniture), Art Moderne, Mae West, Gilbert Rohde (furniture designer), David Adler and Frances Elkins (the architect's Pennsylvania German-style house on Chicago's North Shore, with interior design by his sister Frances Elikins), John Barrymore, Eliel Saarinen (Cranbrook living room of the architect and his wife, Loja's, home), David O. Selznick (Beverly Hills residence built by Roland E. Coate in 1934), Richard Neutra (The Stern house of 1934 and Neutra's 1932 Los Angeles house embodied California modernism), Gary Cooper, Claudette Colbert (Holmby Hills Georgian house), Marcel Breuer, Ernest Hemingway in Key West, Syrie Maugham (the English designer), Cole Porter (the studio of his Paris house designed by his wife, Linda Lee Porter), Edward Hopper, Elsa Schiaparelli (the fashion designer) Jean-Michel Frank, Le Corbusier (Villa Savoye, the celebrated residence in Poissy, France, completed in 1931), William Odom (his New York Pierre Hotel apartment), Jean-Michael Frank (Nelson Rockefeller's apartment with interior design by Frank), Alvar Aalto (Finnish architect and designer), Henri Matisse, Julia Morgan (Wyntoon, William Randolph Hearst's summer retreat and the architect of Hearst's San Simeon), Fallingwater a house commissioned by Frank Lloyd Wright by Edgar Kaufamann in Pennsylvania), The Photographs of George Hurrell, Rene Lalique (Franch glassmaker), Cedric Gibbons and Dolores Del Rio (the MGM art director's house with Art Moderne interiors), Syrie Maugham, Piet Mondrian (Dutch de Stijl painter), Walter Gropius (founder of Bauhaus, a group of artist s and craftsmen from throughout Europe who aimed to synthesize the fine and applied arts in Weimar Germany), George Gershwin (penthouse on Manhattan's Riverside Drive) 1940 Philip Johnson (the architect's 1949 Glass House on 40 acres in Connecticut), Elsie de Wolfe, Lady Mendl (interior designer and chatelaine, America's self-proclaimed first professional decorator who moved into Villa Trianon at Versailles), Harold Grieve (set designer and founding member of both AMPAS and the ASID), Eleanor Brown (Eleanor McMillen Brown), Jean Dubuffet, George Bernard Shaw, Erwin Blumnfield (fashion photographer), Eames Screen and Knorr Chair, Dorothy Draper (the famed interior designer and author), Winston Churchill, Rita Hayworth, Jean Royere, Gregory Peck, Nancy McClelland (interior designer who provided historic restoration for both Blair House and Mount Vernon), Henry Moore, Milton Avery, Edward Wormley (Dunbar Furniture Company), Humphrey Bogart and Lauren Bacall, Janet Gaynor and Adrian (the actress and her husband), Albert Frey (the architect who spearheaded modernism's move to the Desert, industrial designer Raymond Loewy's Palm Springs house), T.H. Robsjohn-Gibbings (British interior designer), Jimmy Stewart, Charles Eames 1950 Piero Fornasetti (the designer's summer villa living room on Lake Como), Dylan Thomas (Boat House residence in the coastal village of Laugharne in South Wales), Christian Dior (his converted 15th-century mill near Fontainebleau), Mark Rothko, Jacques Adnet (furniture design(, Thomas Molesworth (western furniture design), Nathaniel Owings (wood-and-glass A-frame structure that Skidmore, Owings & Merrill founding partner Nathaniel Owings built for himself and wife in Big Sur), Marlon Brando, Marilyn Monroe, Jean Prouve, Jean Cocteau (Cocteau's library at his house in Milly-la-Foret), Isamu Noguchi, Cliff May (Mandalay, a residence that the architect built for himself in Los Angeles which typifies the architect's pioneering ranch style), Jackson Pollock, Georges Geoffrey (Jansen designer's interior design at The ...

[SW: Architecture/Architectural Design]

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Just, Johannes: Meissen Porcelain of the Art Nouveau Period. Photographs: Jürgen Karpinski. Cincinnati: Seven Hills Books, 1985. ISBN: 091140306X
Archiv-Ex. VEB Edition Leipzig, sehr gutes Ex. - Amerikanische Ausgabe. - A Neglected Chapter in the History of Meissen Porcelain [] The Meissen Porcelain Manufactory on the Threshold of a New Century [] New Developments in Ceramic Technology [] Glazing and Pate-sur-pate Techniques [] High-temperature Colors [] The Conflict over the Artistic Concept [] The Effect of Dresden Art Politics [] The Paris World Exhibition of [] The Search for a New Art Director [] The Manufactory and the Artists [] Relations with Independent Artists [] The Young Artists of the Manufactory [] Shapes and Decorations [] Decorative Porcelain Vessels [] Porcelain Figurines [] Household Porcelain [] The Historical Significance of Meissen Jugendstil Porcelain [] List of Artists [] Notes [] Bibliography [] Sources of Illustrations. - There seems to be little need to justify a study of the Ju-gendstil, or art nouveau phenomenon. Its significance in opening up new perspectives for the decorative arts has been generally acknowledged for some time. What at first glance appeared as playful experimentation with certain shapes and forms has emerged as a highly significant endeavor within historical context, a necessary but contradictory confrontation of the artists with the Machine Age, particularly within the industrial and applied arts, where technical innovations had a direct impact on artistic performance. A generation of artists highly sensitive to contemporary problems perceived a variety of new aesthetic functions and called for new artistic forms, unencumbered by undue reverence for history. Art nouveau was an initial attempt and was pursued with great enthusiasm. Handicraft art and industrial design of the twentieth century are indebted to it for many of its innovative features. But we hardly need to underscore its historical significance. Many works of the Jugendstil, or art nouveau period still fascinate the observer of today. We conceive of them as bearing testimony to intense artistic search; we discover that we are familiar with their intent and appreciate the quality of their forms. However, the generation between the World Wars was not able to establish viable rapport with it. In seeking to develop their own means of artistic expression they were forced to abnegate the strong spell cast upon them by the art nouveau period. Greater historical distance was necessary before they could appreciate its true value. Thus, their own predecessors were repudiated and ignored. Serious study of the period started only in the mid-twentieth century with collecting, classifying and interpreting the historical data. As the widely dispersed works were gradually collected in museums and private galleries, the circumstances relating to their creation also came under closer scrutiny. This revealed that much knowledge about the period was lost and many traces had vanished. This was the case with works produced in the smaller shops, but even more so with the products of the larger enterprises. Tedious research in archives, contemporary art journals and exhibition catalogues was required in order to classify and identify the works according to their designers and artisans. In addition, it was necessary to lift the veil of anonymity shrouding the works and identify the creative talents of the pieces bearing only the factory mark. Many monographic studies were done on various aspects of art nouveau, and gradually, an overall picture of the period emerged. For a long time many facets of this picture which dealt with the porcelain manufacturing at Meissen were either excluded or dealt with too superficially. This is not the case with porcelain art in general. In accordance with its significance, it receives special attention in historical studies dealing with art handicrafts around 1900. But the emphasis is based more on the available knowledge than on the actual contribution of the individual artists and producers. (S.6) ISBN 091140306X - , ISBN-13: 9780911403060

164 S. mit zahlr. Fotos u. Abb., gebundene Ausgabe mit illustr. Umschl., im Schuber.

[SW: Jugendstil, Porzellan, Meissen, Kulturgeschichte, Kunsthandwerk, Porcelaine, Meissener Porzellan, Porcelain, Art Nouveau]

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Yelavich, Susan: Design for life. Our daily lives, the spaces we shape, and the ways we communicate, as seen through the collections of America's National Design Museum / Susan Yelavich ; edited by Stephen Doyle ; designed and produced by Drenttel Doyle Partners. London : Thames and Hudson, 1997. ISBN: 9780500279656
Einband leicht berieben. - The National Design Museum in New York is one of the largest repositories of design in the world, with a collection of nearly a quarter of a million objects such as typewriters, tea pots, architectural renderings, lace, wallpaper sample books and posters. This celebration of the Museum's 100th anniversary, draws on its experience of a century of collecting, documenting and studying design. It also displays thousands of the Museum's most prized exhibits. The collection is divided into four curatorial areas: applied arts and industrial design, textiles, wall coverings and drawings and prints, each overseen by a curatorial team responsible for its care, documentation and interpretation. Each section is accompanied by explanatory notes from the Museum's curatorial team. ISBN 9780500279656 - , ISBN: 0500279659

192 S. Mit zahlr. auch farb. Abb. Broschiert.

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