Objects, USA, 2020

A brand-new monograph celebrating one of the most sought-after design studios working today nendo's extensive, idiosyncratic body of work flows seamlessly across disciplines, and is...

The definitive collection of this year's most inspiring — and acclaimed — new buildings and spaces around the world The Architizer A+Awards honor the year's most extraordinary architecture and building...

A curated list of more than 250 must-see destinations organized geographically from Maine to Florida Featuring architecture by some of the biggest midcentury names, including Mies ...

The first book to explore two of the biggest names in modern and contemporary art side by side, Marcel Duchamp and Jeff Koons In the first half of the 20th century, Marcel Duchamp re...

The most comprehensive monograph available on the internationally renowned Belgian floral artist and designer Daniel Ost. His masterful site-specific sc...

"The Cartier of our time." —Christies. "Exquisitely refined creations. Rosenthal made jewellery modern but infused it with the timelessness of perfection." —Telegraph. "The Faberge´ of our time." —Diane von Furstenberg. Volume I showcases a selection of the jewels made since the shop's founding in 1978 up to "The Jewels of JAR - Paris" exhibition, held at Somerset House in London (November 2002 - January 2003.) Volume II presents a selection of works created between 2002 and up to JAR's exhibition at the Metropolitan Museum of Art in 2014. About JAR Since opening JAR in 1978, with the help of his Swiss friend Pierre Jeannet, Joel Arthur Rosenthal, has become one of the world's most sought after jewellery designers. A native New Yorker, Rosenthal moved to Paris after graduating from Harvard and has lived in the city for most of his adult life. He experimented in scriptwriting and then needlepoint, opening a shop where he experimented with unusually coloured yarns. It's clientele included designers from Herme`s and Valentino. Rosenthal was one day asked if he could design a mount for a gemstone, setting his career in a new direction. His signature includes setting gems in pave arrangements, so finely wrought as to be virtually invisible. Rosenthal uses...

First edition of this scholarly study of the influential Florentine avant-garde architectural collective Superstudio, a driving force in the Radical architecture and design movement ...

Telescope with tripod. gold metallic antique finish Decorative use, not functional. Gilt metal telescope decorated with a dark band standing on...

Untitled print depicting various Egyptian objects including statues. Originates from the first Dutch editon of an interesting travel account of Northern Africa titled 'Reizen en Aanm...

A vintage wicker rattan ball sphere decorative object in the Chinoiserie style, circa mid to late-20th century. Dimensions: 5.25" Diameter.

F. Reuthes Patent percussion poached trap: 30 Caliber; 100mm (4") octagonal iron barrels with “ f. reuthe's patent may 12 1857”. Spring arrow. USA 1860 ca

by Sandra Dachs, Patricia De Muga & Laura Garcia Hintzo Focuses on Eileen Gray, a breakaway designer in a world dominated by male-centric style schools Besides an introductory essay, each title in the By Architects series is compiled by key modern architects through sketches, drawings, photos of the original productions, and ambient shootings A design-orientated book for a design-orientated series, Eileen Gray boasts an innovative layout and a special binding Neglected for most of her career, Eileen Gray (1878-1976) is now regarded as one of the most important furniture designers and architects of the early twentieth century and the most influential woman in those fields. Her work inspired both modernism and Art Deco. Eileen Gray was to stand alone throughout her career, first as a lacquer artist, then a furniture designer, and finally as an architect. At a time when other leading designers were almost all male and mostly members of one movement or another - whether a loose grouping like De Stijl in the Netherlands, or a formal one such as the Congrès Internationaux d'Architecture Moderne - Gray remained staunchly independent. Her design style was as distinctive as her way of working. Gray developed an opulent, luxuriant take on the geometric forms and industrially produced materials used by the International Style designers, such as Le Corbusier, Charlotte Perriand and Mies van der Rohe, who shared much of her ideology. Her voluptuous leather and tubular steel Bibendum Chair and clinically chic E-1027 glass and tubular steel table...