Bücher veröffentlicht von Arnoldsche Art Publishers

For almost 20 years, the artist and goldsmith Peter Bauhuis has been exploring a technique for which as yet there are hardly any references. Applying experimental curiosity and creative materials research, he has since worked on the simultaneous casting of different metals, plumbing the depths of the materials' limitations. He plays with chance, directing it so that the vessels emerge in ever new variations. As the metals oxidize, gradations of color emerge on the objects' surfaces, bringing to mind abstract drawings.The Hamburg-based photographer Hans Hansen, regarded as one of the most important product and still life photographers, has taken his own unique look at the objects, staging 18 current vessel works from Peter Bauhuis's Simultanea series.

"From Jewellery to Contextual Art" presents the work of the artist and professor Elisabeth Holder and showcases her unique evolution. Coming from a classical goldsmithing background, she placed jewelry in relation to ancient signs and the ornamentation that emerged from them, pursuing the examination of materials in the charged arena between mastery and dialogue, and posing the fundamental question of what jewelry is and can be. This led to a paradigm shift. Jewelry was recontextualized. Illustrated with examples from fields such as architecture and nature, it becomes clear that such jewelry forms are never excessive and are at once Contextual art.

With a passion for art in all its forms, Anthony Shaw has created an extraordinary art collection which focuses in particular on British sculptural ceramics. The collection features among its major artists Gordon Baldwin, Ewen Henderson, Gillian Lowndes, Bryan Illsley, and Sara Radstone, who all work intuitively and express the "felt" nature of their works, in doing so often transcending the limitations of their medium. The most recent additions include Nao Matsunaga and Kerry Jameson, who likewise invariably produce the unexpected. The works, skillfully staged by photographer Philip Sayer, are complemented with contributions by Anthony Shaw himself and David Whiting, who set this remarkable collection in its art historical context.

The name Johann Joachim Kaendler (1706-1775) is closely entwined in the eighteenth century with the golden age of the Meissen Porcelain Manufactory. His exceptional artistic talent, coupled with craftsmanship, enabled him to capture the daily life of the nobility in their palaces and residences in numerous figures and groups. In doing so, he did not limit himself to official events but reflected tastes and aspirations as well as current trends. In the publication Magnificence of Rococo impressive porcelain figurines from top-class European private collections are brought together for the first time: on over 300 pages, these magnificent, often unique objects provide insights into courtly life of the Baroque and Rococo periods.

Gabi Dziuba's jewelry is stringent, laid-back, fragile, minimalist, glamorous, and progressive. Blister packs, coins, beans, or letters are turned into willful creations. Collaboration with close artist associates is characteristic of her work, including those with Günther Förg, Hans-Jörg Mayer, Martin Kippenberger, Heimo Zobernig, Monika Baer, and Alexandra Bircken, whose works are included in this monograph. This highlights the openness of Dziuba's artistic approach to new trends-Pop Art, Minimal Art, punk, fashion. A fascinating biography results in which the visual artist, musician, designer, and entrepreneur has freely experimented with the traditional assignment of roles since the 1970s. Gabi Dziuba & Friends is a vivid survey of her extraordinary working methods and the exhibition activities in her Berlin studio.

Hollow goose eggs, natural sponges, packaging, balloons featuring smileys, shoe soles, scientific gauges, or even his mother's gallstones-the repertoire of things elevated to jewelry objects knows no bounds for the Norwegian artist Sigurd Bronger. His "portable objects" are turned into wearables by means of artful hanging mechanisms. For Bronger, jewelry is a means of communication. The questions he poses with his works relate to function and use, decoration, aesthetic, and beauty, and his works invite us to see things anew: does the beautiful really have to be useless and the practical aesthetically uninteresting? Through the witty yet subtle cosmos of this extraordinary artist, our own "world of things" is becoming a good deal greater.

The !Xun & Khwe Art Project was developed in 1993 in a refugee camp in Schmidtsdrift, South Africa. After being party to the struggles for liberation from colonial rule, endangered groups of San people from Namibia and Angola were relocated there. They eventually found their final home in the self-governing South African community of Platfontein. The art of the !Xun and Khwe came about during the short period of transition from a traditional way of life to a modern, globalized society. This is what makes them unique. The collection of Hella Rabbethge-Schiller reveals the remarkable creativity and visual expressiveness of the artists. Despite otherwise depending on oral transmission, the San have captured their stories for posterity here in images charged with energy.

Antoine Leperlier (b. 1953) is a trained visual artist and painter. He has been working as a freelance glass artist since the 1980s, developing his own glass technique based on casting and the lost-wax technique to create large-format translucent and painterly blocks. In this survey of work spanning more than 40 years, skulls float, snakes are frozen alive, and what looks like abstract watercolors are preserved forever. Time stands still, the universe speaks. His works explore transience and memory, past and future; he stops time, makes moments eternal. Enamel and ceramic inclusions, bubbles, colors, and engravings create colorful, expressive worlds reminiscent of organic forms floating in outer space. This endeavor to capture dynamic images in material form is an approach unique in contemporary glass art.

Gerti Machaceks Schmuck ist stark am Körper orientiert, an Bewegung und Perspektivenwechsel, als Metapher des Lebendigen. Trotz verschiedener Materialien fasziniert und erfreut die durchdringende Klarheit die Träger:innen. Die Monografiegewährt einen umfassenden Einblick in das Werk einer Pionierin der österreichischen Schmuckkunst. In ihren Ideen verschränken sich figurative Entwicklung, architektonische Entfaltung und vielschichtiger Humor auf spannende Weise. Essays der Kunsthistorikerin Anne-Katrin Rossberg, der Künstlerin und Philosophin Elisabeth von Samsonow, der Schriftstellerinnen Beatrix Kramlovsky und Lydia Mischkulnig zeigen einen persönlichen Zugang zu Machaceks Werk. Einen speziellen Bildbeitrag liefert Sophie Pölzl mit Fotogrammen von ausgesuchten Schmuckstücken.

With the Danner Prize, four further honorary awards, and an exceptional exhibition in Landshut's Heiliggeistkirche, the Danner Foundation acclaims outstanding arts and crafts achievements in 2023 for the fourteenth time. The artists and objects are the epitome of artisanal perfection and new design-based ideas. They are presented in the catalogue in expansive photographs and informative concept descriptions, while the significance and evolution of the arts and crafts are examined from various angles by authors of renown.

The Frenchman Claude Champy (*1944) brings together man and the cosmos in his ceramics. In his studio, mechanical, geological, and chemical processes fuse to form a ceramic total work of art-guided by the barely visible yet influential human gesture. Despite the ceramicist wishing to capture the great forces of the universe in his work, he consciously consigns this part to trial and error, to an intentional loss of control, relying instead on the inherent logic of the material and fire. In Stardust Champy permits insights into his studio practice, his more recent artworks, and his work philosophy by providing commentary on his own sculptures and having them contextualized by experts. What results is a personal book on a unique artist, a retrospective on an oeuvre that is as powerful as it is elemental.

In 1924, five young Italians founded the Studio Ars et Labor Industrie Riunite (SALIR) with the aim of modernizing the ancient art of glass-decorating: Giuseppe D'Alpaos, Decio Toso, Guglielmo Barbini, Dino Martens, and Gino Francesconi. In 1928, the emergence of Franz Pelzel, a Bohemian glass engraver, and Guido Balsamo Stella, an all-round artist, marked the start of the production for which SALIR is most remembered today: contemporary glass-engraving. After Balsamo Stella's departure in 1932, Franz Pelzel took the lead role of designer, occasionally also executing designs by other reputed artists. Based on the factory's archives, Marc Heiremans illustrates the artistic evolution of SALIR through numerous drawings and period photographs. As well as being a catalogue raisonné, it is also an in-depth study shedding light on paramount developments in Murano's glass-making history.

In the 1950s, a large number of internationally renowned artists created pictures made of ceramic. In 1956, in close collaboration with the artist and ceramicist Richard Bampi, Julius Bissier developed a ceramic work for the University of Freiburg. The abstract composition on a wall in the city center measures over 19.5 long by 2.6 meters high. Its restoration and relaunch is occasion to examine more closely the story of its genesis. The distinctiveness of the artwork becomes clear against a backdrop of the cultural politics oriented on France in Freiburg after 1945. Unexpected parallels in contemporaneous ceramic murals by Fernand Léger, Joan Miró, and Victor Vasarely are revealed and make the Freiburg ceramic picture a unique work in the post-war art of Germany.

The discovery of the Oberstein company Jakob Bengel as a prominent jewelry manufacturer has liberated Oberstein from the stigma of being the "underdog" of the German jewelry industry. Wilhelm Lindemann and Christianne Weber-Stöber document in this current study its independent contribution to the evolution of early German jewelry design between 1910 and 1933 using Bengel as an example. Highlights from the collection of Drs. Margarete and Heribert Händel, hitherto unpublished pieces of Bengel jewelry, and contemporary designs attest to the exceptional level of production as part of the reformist ideas of the Deutscher Werkbund, the German Schools of Art and Crafts, and the Bauhaus. With this book, the industrial monument Historische Uhrketten und Bijouteriewarenfabrik Jakob Bengel, Idar-Oberstein together with the Jakob Bengal Foundation marks the factory's 150-year anniversary.

Since the late 1980s, American jeweler Keith Lewis (*1959) has been consistently tackling issues of Queer identity and politics in his figurative and narrative jewelry, including a groundbreaking series of memorial jewels addressing the impact of the AIDS crisis on himself and his community. Often witty, sometimes shocking, frequently erotic, and surprisingly moving, his jewelry is an act of remembering and witnessing, and a joyous assertion that desire and pleasure, wonderful ends in themselves, can collapse historical distance and connect the past and the present. Written by Damian Skinner and featuring four of Lewis's artist talks documenting key preoccupations and series, this monograph surveys a bold, provocative, and ambitious body of work that deserves to be widely known.

The catalogue Tunnel presents works from 2018 to 2023 by ceramicist Johannes Nagel (*1979). The majority of the objectswere formed by the artist's hands digging into sand to form cavities, negative spaces, which were then molded and revealedusing liquid porcelain. By doing this, says co-author Esther Niebel, the artist imprints his own presence in to the objects. In addition to the extraordinary shapes thus created, expressive colors and the painting of the objects play a central role in Nagel'swork. Accompanied by essays, the excavated and cast pieces are presented in full-page photographs in a staccato portrayal ofobjects and ideas.

The essays in this lavishly illustrated volume offer a multifaceted portrait of American financier J. Pierpont Morgan (1837-1913) as a collector of art. A riveting exploration of Morgan's acquisitions from antiquities to medieval manuscripts to Old Master paintings and European decorative arts, "Morgan-The Collector" introduces the reader to how and why he amassed his vast collection. The lively essays also serve as a tribute to Linda Roth, curator at Wadsworth Atheneum Museum of Art, Hartford, CT, who dedicated much of her forty-year career to researching Morgan and the over 1,500 works from his collection now in the museum. This much-needed publication focuses on Morgan as a collector and is directed at both a scholarly and more general audience that is interested in the history of collecting, America in the Gilded Age, Pierpont Morgan, and European art.

"James Wilson Morrice: Paintings and Drawings of Venice" is the first comprehensive overview of the artist's images of Venice, Italy. Living in Paris for most of his life, Morrice (1865-1924) was the first Canadian painter to make regular trips to Venice from the mid 1890s to about 1908. This book situates Morrice within the history of Venice and Venetian art in the late nineteenth and early twentieth centuries by looking carefully at his more than one hundred modernist paintings and numerous drawings of "La Serenissima." During his lifetime, Morrice's Venetian pictures appeared in art exhibitions in Paris, London and other European countries, as well as in Montreal and the United States. Constantly cited in exhibition reviews, Morrice was praised for his modernity, and his Venice works have ensured his fame and importance for years to come.

Appreciation of the works by the German artist couple Annelies and Fred Stelzig from Besigheim in the discipline of art made forarchitecture has been a long time coming. To mark the 100th anniversary of them both, the town of Besigheim has made this itstask. For the large retrospective, a publication is launched that focuses on the incredible breadth of their production for the veryfirst time. Waiting or be discovered alongside wall ceramics and carpets are works in wood, glass, and enamel. Numerous contributions by authoritative experts present the personal backgrounds of the couple, trace lines of development, and highlightthe material specificities of their works. Over 500 illustrations additionally provide a lively impression of the couple's ability tobe versatile yet at the same time retain continuity during their long creative period, from the 1950s to their last work in 2006.

For almost 300 years, pocket watches were important accessories for the nobility and middle-classes. In order to store the watches securely and stylishly, artfully designed stands that matched the wearer's interior were developed and were an impressive reflection of the history of European art and culture from the Baroque to the early twentieth century. The stands ranged from miniature versions of grandfather and mantle clocks to one-off works of art made from wood, ceramic or metal.Until now, research on pocket-watch stands has attracted little attention. This publication provides a first representativeoverview of some 450 objects from a unique private collection in southern Germany, documenting its wealth of designs, whichencompass a large repertoire of Christian, mythological and political themes. Scholarly texts on the history of the objects,their designs, and restoration issues make this an indispensable standard work in this field.

William Underhill (1933-2022) was one of the great talents and enigmas of the modern American studio craft movement. Hebecame an acclaimed master of lost-wax casting, pursuing the sculptural potential of bronze vessels with unrivaled persistenceand virtuosity. He "molded and scratched the wax until the final bronze surface embodied all of the mystical connotations of aritualistic object," said Lee Nordness in his groundbreaking Objects USA (1969) survey of modern studio crafts. But Underhillthen left the limelight and went on to ceaselessly explore both the power of beauty and form-making as a way to shape the spirit. Underhill studied with the legendary ceramic artist Peter Voulkos and worked with the celebrated architect Buckminster Fuller at the University of California at Berkeley, School of Architecture. From 1969 until 1997 he taught at Alfred University, New York.

Johann Joachim Kaendler (1706-1775) is regarded as one of the most prominent personalities in the 313-year history of theMeissen porcelain manufactory. His first three workshop employees, Johann Friedrich Eberlein (1696-1749), Johann GottliebEhder (1716/7-1750), and Peter Reinicke (1711-1768), contributed significantly to the appearance of Meissen porcelain in thefirst half of the eighteenth century. The output of the workshop is the focus of the publication, which offers the first completetranscription of the work reports of the three modelers. A catalogue on some 995 models has thus emerged, whose individualentries act as a history of each model's creation. This catalogue makes it possible to view the porcelain figures in their chronological sequence of production, to comprehend their relationships, and to identify stylistic transformations.

The German silversmith Paula Strauss (1894-1943) was a pivotal figure in shaping the "Golden Twenties" and the creativedecades of the Bauhaus. Even early on, her jewelry objects and handmade items of silverware were reviewed with praise in thespecialist press, and national and international exhibitions followed. In joining the design studio of the silverware factoryPeter Bruckmann & Söhne, Heilbronn, in 1925, an unparalleled career began as Germany's first woman industrial designer. Thesilverware she designed-coffee and tea services-for handcrafted as well as machine production stands as an example of herown original style, which is defined by a purist idiom. Her professional success and her renown as a craftswoman and designer have been completely forgotten due to the nationalsocialist persecution of the Jews from 1933 on and her murder inAuschwitz. The time has now come to rediscover her work.

The Art & Times of Daniel Jocz präsentiert das faszinierende, herausfordernde, manchmal schöne und immer raffinierte Werkdes amerikanischen Schmuckkünstlers und Bildhauers Daniel Jocz. Jeannine Falino wirft einen detaillierten Blick auf dieWendungen in Jocz' langer Karriere, von seinen frühen geometrischen Skulpturen bis zur modischen "Candy Wear"-Kollektion,von seinen von Marlene Dietrich inspirierten Emaille-Zigaretten-Halsketten bis zu seinen neuesten Wandreliefs. Wendy Steinerbetrachtet Jocz' Stellung in der Avantgarde in Bezug auf Mode und Kultur, während Patricia Harris und David Lyon sein Engagement in der ausgelassenen Bostoner Schmuckszene des späten zwanzigsten Jahrhunderts untersuchen.

100 Jahre nach dem Niedergang des Osmanischen Reiches zeigt das Museum Fünf Kontinente die Sonderausstellung In trockenen Tüchern! Gewebtes und Besticktes aus dem Osmanischen Reich. Die begleitende Publikation gibt anhand ausgewählter Textilien und Alltagsobjekte aus der Sammlung des Museums Fünf Kontinente sowie der Privatsammlungen Ther und Middendorf einen Einblick in die verschiedenen Lebensbereiche der Bewohner:innen des spätosmanischen Reiches. Die kunstvoll mit Blüten, Früchten oder Architekturelementen bestickten Servietten und Handtücher aus dem 18. bis 20. Jahrhundert sowie ihre ländlichen Pendants mit gewebten rot-blauen Mustern begleiteten die Menschen von der Wiege bis zur Bahre und bezeugen eindrucksvoll deren Kunstfertigkeit. Heute sind diese textilen Objekte ein bedeutender Teil des kulturellen Erbes der Türkei.

Die Fotografin Monika Rittershaus gilt als inspirierende Interpretin des heutigen Musiktheaters in all seiner Vielfalt, Opulenzund Dramatik, aber auch in all seiner menschlichen Tiefe, Einzigartigkeit und Wahrhaftigkeit. Sie blickt als höchst sensibleBeobachterin auf das Bühnengeschehen und entdeckt leise, berührende und randseitige Momente. Individuell und entschiedenzeigt sie in klarer Bildsprache Werke prägender Regisseur:innen wie Achim Freyer, Barrie Kosky, Romeo Castellucci, Christof Loy, Claus Guth, Christoph Marthaler, Johannes Erath, Patrice Chéreau, Hans Neuenfels, Calixto Bieito, Silvia Costa, Andreas Homoki, Nadja Loschky, Mariame Clément, Dmitri Tcherniakov, Kirill Serebrennikow, Tobias Kratzer, R. B. Schlather und Robert Carsen.

The Museum of Applied Arts (MAK) in Vienna holds a unique collection of Italian maiolica from the fifteenth to the eighteenthcentury, which is now being published almost in its entirety for the very first time. Maiolica tableware, Italy's luxury export,spread to the courts of northern Europe from the early sixteenth century. Today, the MAK's holdings from former imperial, ecclesiastical, aristocratic, and private ownership enter into a dialogue with maiolica from well-known Austrian and Central European collections. Timothy Wilson, professor emeritus at Balliol College Oxford and former Keeper of Western Art at the Ashmolean Museum in Oxford, and Rainald Franz, curator at MAK, together with other experts provide an extensive insight into the development of maiolica in its cultural and historical context. Thus a scholarly exploration of one of the best collections of maiolica in the world has thus now been scientifically examined for the very first time.

The goldsmith and art dealer Johann Karl Bossard (1846-1914) is regarded as one of the key figures of Historicism in Switzerland. This publication focuses for the first time on not only the workshop's exceptional production and signature style butalso the appropriation and adaptation of historical paradigms as well as Bossard's international network. The productionof jewelry, cutlery, weapons, and commissions for the Church are particularly explored in further detail. In addition, anoverview is also given of the production by the successors of the Bossard goldsmithing atelier, extant until 1997. Theapproximately 500 images lend an impression of the immense workshop legacy, which is preserved by the Swiss NationalMuseum. Moreover, key objects from public and private collections are published for the first time and presented in a comprehensive catalog section.

Per Fronth is one of Norway's most distinctive contemporary artists, dynamically redefining the relationship between paintingand photography in influential and innovative works. Painting with photography as his raw material, Fronth's pictorial universeis captivating, bold, controversial, and seductive.Central to Fronth's overall artistic practice are the challenging aspects of the human condition. Fronth produces large-formatartworks in series and different disciplines that are politically, environmentally, socially, and highly emotionally charged:from the war zones in Afghanistan, to the indigenous peoples' fight for their own land in the Amazonas region, and back to his own life, in native Norway, where he explores visual narratives of innocence and the coming of age.In his most recent project Fronth creates controversy by introducing paid product placement into his artworks already acquiredby museums. In doing so he elevates the discussion as to what art's value-and the value of art-is.

Alongside Erasmus of Rotterdam, Johannes Reuchlin (1455-1522) is one of the most important European humanists whose works marked the transition from the Middle Ages to the modern era. The year 2022 marks the 500th anniversary of the Pforzheim-born jurist, Hebraist, and religious philosopher's death, cause indeed for an exhibition and publication to bring jewelry, writings, and language into a stimulating dialogue and to offer new meanings to the titular mystery of signs. At the fore stands the human quest for understanding and tolerance, which has lost none of its relevance today. One particular focal point comprises selected manuscripts and works by Reuchlin, highlighted from new perspectives.An additional emphasis is placed on objects that reflect Reuchlin's cognitive world through script and symbols from the resplendent collection of the Schmuckmuseum Pforzheim [Pforzheim jewelry museum].