A Marquetry Odyssey

This rich history of marquetry is presented in cintext by one of its most ardent and taslented proponents - Silas Kopf. A distinguished cabinetmaker for more than thirty years, Kopf identifies the origins and influences of numerous decorative arts and architectural elements taht have and continue to have an impact on his own work. AUTHOR: Forword by Glenn Adamson, Head of Graduate Studies abd Deputy Head of Research, Victoria ALbert Museum, London. 320 colour illustrations

This unique study examines the interface between contemporary philosophy and literature through Alexander Pope’s majestic translation of the Odyssey of Homer. Employing the lens supplied by the philosopher Graham Harman in his development of Object-Oriented Ontology, it explores the beautiful (and sometimes dazzling) figurative language of both Pope’s English and Homer’s Greek; in so doing, it uncovers something of the vast withdrawn and subterranean reality to which the poems can only allude, setting this against a contrasting sensual world—a world encrusted with shimmering images and objects that range from the quotidian to the metaphysically bizarre.

Focusing on some of the most interesting conceptual technical trends in wood working today, Against the Grain includes approximately 65 vessels, sculptures, furniture, and installations, created since 2000, which provocatively defy categories and celebrate the visual dynamics of wood. The book demonstrates how contemporary creators have engaged the medium of wood in strategies that might be described as “postmodern,” employing mimicry, assemblage, virtuosity, and whimsy (with a serious purpose). Environmental issues also are prominently addressed. Artists represented include Derek Bencomo, Gary Carsley, Hunt Clark, Piet Hein Eek, David Ellsworth, Sebastian Errazuriz, Bud Latven, Mark Lindquist, Thomas Loeser, Sarah Oppenheimer, William Pope.L, Martin Puryear, Marc Andre Robinson, Laurel Roth, Betye Saar, Courtney Smith, Elisa Strozyk, Alison Elizabeth Taylor, and Ursula von Rydingsvard.

Christophe Pourny learned the art of furniture restoration in his father’s atelier in the South of France. In this, his first book, he teaches readers everything they need to know about the provenance and history of furniture, as well as how to restore, update, and care for their furniture—from antiques to midcentury pieces, family heirlooms or funky flea-market finds. The heart of the book is an overview of Pourny’s favorite techniques—ceruse, vernis anglais,and water gilding, among many others—with full-color step-by-step photographs to ensure that readers can easily replicate each refinishing technique at home. Pourny brings these techniques to life with a chapter devoted to real-world refinishing projects, from a veneered table to an ebonized desk, a gilt frame to a painted northern European hutch. Rounding out this comprehensive guide is care and maintenance information, including how to properly clean leather, polish hardware, fix a broken leg, and replace felt pads, as well as recipes to make your own wax, shellac, varnish, stain, and more.

For centuries the art of marquetry has been centered in Paris, where the tradition has been transmitted only within workshops concentrated in the Faubourg Saint-Antoine. The outside world, therefore, has had very limited knowledge of the techniques used by the masters of this art. The publication of this English-language edition of La Marquetrie gives amateurs, art historians, creative woodworkers, and conservators access to an invaluable body of knowledge of the techniques of marquetry, covering the history of the craft as well as explanations of how a marqueter's studio is organized and the materials, instruments, drawing, preparation, and procedures used in the craft. It combines a thorough explanation of the craft techniques with detailed analysis of period examples, thereby giving readers a better understanding of marquetry pieces and new insights into shop practices. The book is an invaluable resource both for the art historian and the practicing craftsperson.

In this memoir, Fraenkel writes as a member of an enclosed minority: German Jew within a predominantly Lithuanian Jewish community which was part of a white settler community, itself a minority in a predominantly black African territory. A young settler reprimanded him for stepping out of the way of an African family on a narrow bush path: “Walk straight on. They must know who is the master in the land.” Fraenkel found himself whistling the Nazis’ anthem “Clear the streets for the brown battalions. The storm troopers are marching.” He was coming to learn the importance of not conforming. “A vivid account of a childhood in a middleclass, non-observant Jewish family in Nazi Germany, forced to emigrate to Zambia (then Northern Rhodesia) in 1939.” — Trevor Gundry, Jewish Chronicle “Peter Fraenkel... and his family emigrated in 1939 from Breslau to Northern Rhodesia, where he forged a successful career... in the Central African Broadcasting Service. Fraenkel was thus given the opportunity of using his undoubted skills as a broadcaster to help in the education of black people, using new methods of mass education... his sojourn in Northern Rhodesia came to an end in 1957, a few years after the country was refashioned by the British government as the Federation of Rhodesia and Nyasaland — a big mistake, Fraenkel thinks, and one that wasn’t undone until much later when the independent state of Zambia was created. His love affair with Africa came to an end, and he felt impelled to leave, because of his ‘dislike of racist politics in this bastion of white privilege’... Peter Fraenkel’s account of the 20 years in Northern Rhodesia is absorbing... there are riveting chapters on his activities as a somewhat subversive broadcaster, working together with like-minded whites and Blacks... The book is written in a very lively manner and there are countless anecdotes, many of them in direct speech... I recommend it strongly.” — Leslie Baruch Brent, Association of Jewish Refugees “The book bursts with life. Countries like these Central African territories are... far more exciting than countries with a settled structure. Here a new society is emerging. This excitement is lost in official reports and academic studies and one of Fraenkel’s achievements is that he conveys it in full measure. I know of no book which more vividly describes the variety and throb of a modern African township.” — Max Gluckman, The Observer “He brings out the formation of the new African metropolitan and rural societies... I know of no book which describes this surging varied vitality so well.” — Africa

Illuminating the entangled histories of the people and commodities that circulated across the Atlantic, Sharika D. Crawford assesses the Caribbean as a waterscape where imperial and national governments vied to control the profitability of the sea. Crawford places the green and hawksbill sea turtles and the Caymanian turtlemen who hunted them at the center of this waterscape. The story of the humble turtle and its hunter, she argues, came to play a significant role in shaping the maritime boundaries of the modern Caribbean. Crawford describes the colonial Caribbean as an Atlantic commons where all could compete to control the region's diverse peoples, lands, and waters and exploit the region's raw materials. Focusing on the nineteenth and twentieth centuries, Crawford traces and connects the expansion and decline of turtle hunting to matters of race, labor, political and economic change, and the natural environment. Like the turtles they chased, the boundary-flouting laborers exposed the limits of states' sovereignty for a time but ultimately they lost their livelihoods, having played a significant role in legislation delimiting maritime boundaries. Still, former turtlemen have found their deep knowledge valued today in efforts to protect sea turtles and recover the region's ecological sustainability.

The first comprehensive catalogue of the Getty Museum’s significant collection of French Rococo ébénisterie furniture. This catalogue focuses on French ébénisterie furniture in the Rococo style dating from 1735 to 1760. These splendid objects directly reflect the tastes of the Museum’s founder, J. Paul Getty, who started collecting in this area in 1938 and continued until his death in 1976. The Museum’s collection is particularly rich in examples created by the most talented cabinet masters then active in Paris, including Bernard van Risenburgh II (after 1696–ca. 1766), Jacques Dubois (1694–1763), and Jean-François Oeben (1721–1763). Working for members of the French royal family and aristocracy, these craftsmen excelled at producing veneered and marquetried pieces of furniture (tables, cabinets, and chests of drawers) fashionable for their lavish surfaces, refined gilt-bronze mounts, and elaborate design. These objects were renowned throughout Europe at a time when Paris was considered the capital of good taste. The entry on each work comprises both a curatorial section, with description and commentary, and a conservation report, with construction diagrams. An introduction by Anne-Lise Desmas traces the collection’s acquisition history, and two technical essays by Arlen Heginbotham present methodologies and findings on the analysis of gilt-bronze mounts and lacquer. The free online edition of this open-access publication is available at www.getty.edu/publications/rococo/ and includes zoomable, high-resolution photography. Also available are free PDF, EPUB, and Kindle/MOBI downloads of the book, and JPG downloads of the main catalogue images.

From cities to quaint towns and everything in between, Provence has something for everyone. Swim in the crystal clear waters of the Calanque de Sormiou in Marseille. Drive with the top down through fields of lavender in Valensole. Experience a bite of just-out-of-the-oven fougasse, a Provençal classic. Stand in awe of the beautiful, white Camargue horses native to the area. Located in the South of France, Provence is uniquely positioned to be a cultural blend of the Mediterranean. Roman landmarks still prevail from the 1st century AD alongside châteaus from medieval times—a varied legacy brightened by the indigenous mimosas and cypresses.