Letters To Camondo

A tragic family history told in a collection of imaginary letters to a famed collector, Moise de Camondo Letters to Camondo is a collection of imaginary letters from Edmund de Waal to Moise de Camondo, the banker and art collector who created a spectacular house in Paris, now the Musée Nissim de Camondo, and filled it with the greatest private collection of French eighteenth-century art. The Camondos were a Jewish family from Constantinople, “the Rothschilds of the East,” who made their home in Paris in the 1870s and became philanthropists, art collectors, and fixtures of Belle Époque high society, as well as being targets of antisemitism—much like de Waal's relations, the Ephrussi family, to whom they were connected. Moise de Camondo created a spectacular house and filled it with art for his son, Nissim; after Nissim was killed in the First World War, the house was bequeathed to the French state. Eventually, the Camondos were murdered by the Nazis. After de Waal, one of the world’s greatest ceramic artists, was invited to make an exhibition in the Camondo house, he began to write letters to Moise de Camondo. These fifty letters are deeply personal reflections on assimilation, melancholy, family, art, the vicissitudes of history, and the value of memory.

A powerful history of Jewish art collectors in France, and how an embrace of art and beauty was met with hatred and destruction In the dramatic years between 1870 and the end of World War II, a number of prominent French Jews—pillars of an embattled community—invested their fortunes in France’s cultural artifacts, sacrificed their sons to the country’s army, and were ultimately rewarded by seeing their collections plundered and their families deported to Nazi concentration camps. In this rich, evocative account, James McAuley explores the central role that art and material culture played in the assimilation and identity of French Jews in the fin-de-siècle. Weaving together narratives of various figures, some familiar from the works of Marcel Proust and the diaries of Jules and Edmond Goncourt—the Camondos, the Rothschilds, the Ephrussis, the Cahens d'Anvers—McAuley shows how Jewish art collectors contended with a powerful strain of anti-Semitism: they were often accused of “invading” France’s cultural patrimony. The collections these families left behind—many ultimately donated to the French state—were their response, tragic attempts to celebrate a nation that later betrayed them.

An intimate narrative history of porcelain, structured around five journeys through landscapes where porcelain was dreamed about, fired, refined, collected, and coveted. Extraordinary new nonfiction, a gripping blend of history and memoir, by the author of the award-winning and bestselling international sensation, The Hare with the Amber Eyes. In The White Road, bestselling author and artist Edmund de Waal gives us an intimate narrative history of his lifelong obsession with porcelain, or "white gold." A potter who has been working with porcelain for more than forty years, de Waal describes how he set out on five journeys to places where porcelain was dreamed about, refined, collected and coveted-and that would help him understand the clay's mysterious allure. From his studio in London, he starts by travelling to three "white hills"-sites in China, Germany and England that are key to porcelain's creation. But his search eventually takes him around the globe and reveals more than a history of cups and figurines; rather, he is forced to confront some of the darkest moments of twentieth-century history. Part memoir, part history, part detective story, The White Road chronicles a global obsession with alchemy, art, wealth, craft, and purity. In a sweeping yet intimate style that recalls The Hare with the Amber Eyes, de Waal gives us a singular understanding of "the spectrum of porcelain" and the mapping of desire.

A dazzlingly original and ambitious book on the history of female self-portraiture by one of today's most well-respected art critics. Her story weaves in and out of time and place. She's Frida Kahlo, Loïs Mailou Jones and Amrita Sher-Gil en route to Mexico City, Paris or Bombay. She's Suzanne Valadon and Gwen John, craving city lights, the sea and solitude; she's Artemisia Gentileschi striding through the streets of Naples and Paula Modersohn-Becker in Worpswede. She's haunting museums in her paint-stained dress, scrutinising how El Greco or Titian or Van Dyck or Cézanne solved the problems that she too is facing. She's railing against her corsets, her chaperones, her husband and her brothers; she's hammering on doors, dreaming in her bedroom, working day and night in her studio. Despite the immense hurdles that have been placed in her way, she sits at her easel, picks up a mirror and paints a self-portrait because, as a subject, she is always available. Until the twentieth century, art history was, in the main, written by white men who tended to write about other white men. The idea that women in the West have always made art was rarely cited as a possibility. Yet they have - and, of course, continue to do so - often against tremendous odds, from laws and religion to the pressures of family and public disapproval. In The Mirror and the Palette, Jennifer Higgie introduces us to a cross-section of women artists who embody the fact that there is more than one way to understand our planet, more than one way to live in it and more than one way to make art about it. Spanning 500 years, biography and cultural history intertwine in a narrative packed with tales of rebellion, adventure, revolution, travel and tragedy enacted by women who turned their back on convention and lived lives of great resilience, creativity and bravery.

"Terrific."—Edmund de Waal, author of The Hare with Amber Eyes and Letters to Camondo "Makes you want to travel, do somersaults and stretches, drink champagne in evening dress, read, think ... Intoxicating."—Publishers Weekly Along the French Riviera in the early 1900s, an illustrious family in thrall to classical antiquity builds a fabulous villa—a replica of a Greek palace, complete with marble columns and frescoes depicting mythological gods. The Reinachs--related to other wealthy Jews like the Rothschilds and the Ephrussis—attempt to recreate a "pure beauty" lost in the 20th century. The narrator of this brilliant novel calls the imposing house an act of delirium, "proof that one could travel back in time, just like resetting a clock, and resist the outside world." The story of the villa and its glamorous inhabitants is recounted by the son of a servant from the nearby estate of Gustave Eiffel, designer of the Paris tower, and the two contrasting structures present opposite responses to modernity. The son is adopted by the Reinachs, initiated into the era of Socrates and instructed in classical Greek. He joins a family pilgrimage to Athens, falls in love with a married woman, and survives the Nazi confiscation of the house and deportation to death camps of Reinach grandchildren. This is a Greek epic for the modern era.

"Engrossing ... The book reads like a detective story."―The Washington Post It all started with a list of paintings. There, scribbled by a cousin she hadn't seen for years, were the names of the masters whose works once belonged to her great-grandfather, Jules Strauss: Renoir, Monet, Degas, Tiepolo, and more. Pauline Baer de Perignon knew little to nothing about Strauss, or about his vanished, precious art collection. But the list drove her on a frenzied trail of research in the archives of the Louvre and the Dresden museums, through Gestapo records, and to consult with Nobel laureate Patrick Modiano. What happened in 1942? And what became of the collection after Nazis seized her great-grandparents’ elegant Parisian apartment? The quest takes Pauline Baer de Perignon from the Occupation of France to the present day as she breaks the silence around the wrenching experiences her family never fully transmitted, and asks what art itself is capable of conveying over time.

Published to mark the display of library of exile at the British Museum, this beautifully produced new book reflects on the themes raised by de Waal's thought-provoking work of art. A preface by Booker Prize-nominated author Elif Shafak reflects on the importance of literature and its capacity to transcend language and borders. The introduction from Hartwig Fischer, Director of the British Museum, positions the artwork within the wider context of the Museum's collection, highlighting the dialogue between objects from across time and throughout history and the contemporary. Finally, de Waal concentrates on the work itself, its journey to the British Museum via Venice and Dresden, and its future role in the foundation of the New University Library in Mosul.

'A scintillating story superbly told... [Ostler] packs every paragraph with eye-opening detail' The Times 'A rollicking read... [Ostler] tells Elizabeth's story with admirable style and gusto' Sunday Times 'Terrifically entertaining: if you liked Bridgerton, you’ll love this...and her research is impeccable' Evening Standard 'Fascinating. Magnificent.​ Sensitively told' Hallie Rubenhold, author of The Five 'Catherine Ostler’s superb, gripping, decadent biography brings an extraordinary woman and a whole world blazingly to life' Simon Sebag Montefiore When the glamorous Elizabeth Chudleigh, Duchess of Kingston, Countess of Bristol, went on trial at Westminster Hall for bigamy in April 1776, the story drew more attention in society than the American War of Independence. A clandestine, candlelit wedding to the young heir to an earldom, a second marriage to a Duke, a lust for diamonds and an electrifying appearance at a masquerade ball in a diaphanous dress: no wonder the trial was a sensation. However, Elizabeth refused to submit to public humiliation and retire quietly. Rather than backing gracefully out of the limelight, she embarked on a Grand Tour of Europe, being welcomed by the Pope and Catherine the Great among others. As maid of honour to Augusta, Princess of Wales, Elizabeth led her life in the inner circle of the Hanoverian court and her exploits delighted and scandalised the press and the people. She made headlines, and was a constant feature in penny prints and gossip columns. Writers were intrigued by her. Thackeray drew on Elizabeth as inspiration for his calculating, alluring Becky Sharp. But her behaviour, often depicted as attention-seeking and manipulative, hid a more complex tale – that of Elizabeth’s fight to overcome personal tragedy and loss. Now, in this brilliantly told and evocative biography, Catherine Ostler takes a fresh look at Elizabeth’s story and seeks to understand and reappraise a woman who refused to be defined by society’s expectations of her. A woman who was by turns, brave, loving and generous but also reckless, greedy and insecure; a woman totally unwilling to accept the female status of underdog or to hand over all the power, the glory and the adventures of life to men.

A Good Morning America Buzz Pick A Can’t-Miss Beach Read For Summer 2021 from The Skimm A Best Beach Read of 2021 from Bustle A Best Summer Read of 2021 from PopSugar A family reunion for the ages when two clans convene for the summer at their beloved getaway in the Catskills—perfect for fans of Dirty Dancing and The Marvelous Mrs. Maisel—from the acclaimed author of The Floating Feldmans. In its heyday, The Golden Hotel was the crown jewel of the hotter-than-hot Catskills vacation scene. For more than sixty years, the Goldman and Weingold families – best friends and business partners – have presided over this glamorous resort which served as a second home for well-heeled guests and celebrities. But the Catskills are not what they used to be – and neither is the relationship between the Goldmans and the Weingolds. As the facilities and management begin to fall apart, a tempting offer to sell forces the two families together again to make a heart-wrenching decision. Can they save their beloved Golden or is it too late? Long-buried secrets emerge, new dramas and financial scandal erupt, and everyone from the traditional grandparents to the millennial grandchildren wants a say in the hotel’s future. Business and pleasure clash in this fast-paced, hilarious, nostalgia-filled story, where the hotel owners rediscover the magic of a bygone era of nonstop fun even as they grapple with what may be their last resort.

The Frick Collection presents a temporary installation of sculptures by acclaimed author and ceramist Edmund de Waal. Site-specific works made of porcelain, steel, gold, marble, and glass will be displayed in the museum's main galleries alongside works from the permanent collection, from May 30 - November 17, 2019.