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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.

Daniel Kruger's (b. 1951) new monograph Jewellery-The unexpected meaning of curious things presents his jewelry art of the last ten years. Kruger, who grew up in South Africa, studied at the Academy of Fine Arts in Munich and taught at the University of Art and Design at Burg Giebichenstein in Halle. He gives things an unexpected meaning. Inspired by movement and his fascination with the visual quality of materials and objects, shapes and colors, he creates a synthesis of supposed opposites, and it is this new context that elevates these connections into something precious. Through his freedom of thought, he creates a world of objects to be contemplated, but above all to adorn the body and the human being.

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.

Contemporary gold- and silversmithing encompasses a vast range. Increasingly, a daring, (self-)critical, and inventive scene is edging its way to the fore, focusing on challenging the innovative expansion of classical forms and motifs of jewelry, vessels, and hollowware. Purpose, function, and our normative understanding of beauty are placed on a new footing through experiments with materials and performative stagings. Socially relevant considerations and artistic references inform the objects' designs and are an invitation to an entertaining yet recondite "tour de plaisir" featuring 120 works by 29 artists-proof once more of gold- and silversmithing's controversial creative potential today.

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.

"Color in Knitting: By Designers, for Designers" delves into the methods of constructing multicolor knits using knitting structures, techniques, and technologies. The book not only showcases the beauty of multicolor knitwear but also provides a solid foundation for readers to further explore and manipulate these methods for their own design work. The book begins with a color journey of fascinating patterns, designed and implemented by Stoll from both past decades and recent collections, which illustrate the different color effects of multicolor knitting. In the second part of the book, the authors provide insight into the specific structures and techniques used to create these patterns; the section also includes stitch diagrams written using basic knitting symbols to further elucidate the construction of a knit.

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.

The mashrabiya originated in the ancient world. As a scalable latticed window screen, whose intricate geometries developed with the spread of Islam, it provided ventilation, shade, and privacy to buildings. Today, as restoration efforts revive centuries-old architecture across Cairo and an interest in craft is rekindled by a global maker movement, the wood-turned mashrabiya are not only poignant metaphors for artists, architects, and writers but also sources of inspiration for nascent wood artisans. This publication, the first dedicated to the study of the mashrabiya, connects a culturally specific craft with contemporary artistic practice. Through photographs conveying the beauty and artistry of these wooden structures as well as contemporary works by leading artists, the complex beauty and meaning of the mashrabiya are brought to life.

For over 142,000 years, beads have played an important role around the world as the oldest form of personal adornment. JoyceJ. Scott has revolutionized and transformed the potential of the ubiquitous bead as a relevant, contemporary art form. For overfifty-one years she has devoted her aesthetic practice to waking up the world, expanding beadwork's boundaries, with powerfulin-your-face social commentary. While addressing society's ills, her visual and performance conversations on cultural stereotypes and racial injustices elucidate her vibrant, brilliant works of art.The publication Messages features Joyce J. Scott's dynamic images with scholarly essays from experts in their field as well asmuseum curators' comments. Each individual provides deeper insights into the influences and extraordinary work of Joyce J. Scott, astutely capturing the essence and spirit of this icon of contemporary art.

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.

The tubular steel furniture by Marcel Breuer (1902-1981) is considered an outstanding design object of the twentieth century.Yet widely unknown is the development of the first prototype to its early series production. Breuer's fellow compatriot KálmánLengyel (1900-1945), to whom this comprehensive publication is dedicated, played a significant role in this.In 1927, they founded the company Standard Möbel together, in order to organize the series production and distribution of thetubular steel furniture. The development of the company and the work of Breuer, Lengyel, and the later director Anton Lorenzare depicted here in-depth with hitherto unpublished archive material. As a prominent furniture designer and architect, Lengyelalso founded his own furniture brand, Ka-Le-Möbel, worked as an interior designer in Paris, and constructed buildings in Berlin,Szeged, and Budapest. This publication expands our knowledge about the early models and highlights the life and work of the protagonists of the tubular steel revolution!

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.

In Kari Steihaug's art, what is overseen plays a major role. The things that have been set aside, unfinished projects, objects that are worn or frayed are all solicitously brought into the light. This is also evident in the materials used by the textile artist: Steihaug's works feature worn out woollen garments as well as unfinished knitwear. By embracing imperfection, her creations become a counterbalance to the galloping consumer culture of our time, allowing us to see with fresh eyes what surrounds us in everyday life.This book brings together 25 years of her work. Contributions in poetry and prose introduce Steihaug's work and trace the lines of a diverse and rich practice.