A richly crafted tribute to the pioneering avant-garde artist, designer, and entrepreneur Sonia Delaunay (1885–1979), whose boundary-breaking approach is echoed in the volume’s interdisciplinary and inspired design. This catalogue sets a new standard for the study of Delaunay, eschewing traditional chronological structures to better showcase groundbreaking research unifying the artist’s timeless oeuvre across mediums. This publication demonstrates Delaunay’s innate versatility and willingness to create without material limitation using her unique language of light and color. Textiles, fashion, interiors, book art, and more are highlighted across twenty-six chapters by leading international scholars to give new insight into Delaunay’s strategies of self-promotion, entrepreneurial endeavors, legacy-building efforts, and vast network of collaborators. These in-depth analyses, including previously under-investigated material such as film, mosaics, tapestries, and interior design, offer a comprehensive perspective on Delaunay’s lifelong effort to unite art with life by harnessing the energy of technological advancement and the beauty of artisanal craftsmanship. Finally, an appendix provides a unique personal note—an epilogue by Patrick Raynaud (born 1946), the last living member of Delaunay’s atelier—as a touching firsthand account of the artist’s working practices toward the end of her life. The design, by award-winning book creator Irma Boom, embraces Sonia Delaunay’s own approach to layout and typography, rendering a book that unites past and present.

Irving Penn was among the most esteemed and influential photographers of the twentieth century. This indispensable book features one of the largest selections of Penn's photographs ever compiled—nearly 300 in all—including famous and beloved images as well as works that have never been published. Celebrating the centennial of Penn's birth, this volume spans the entirety of his nearly 70-year career. Lively essays acquaint readers with Penn's primary subjects and campaigns, including early documentary scenes and imagery; portraits of cultural figures and celebrities; fashion; female nudes; peoples of Peru, Dahomey (Benin), New Guinea, and Morocco; and still lifes. Rounding out the book are discussions of Penn's advertising pictures and his painstaking printing processes, as well as an illustrated chronology. Irving Penn: Centennial is essential for any fan of this artists work or of the history of twentieth-century photography.

The Grid presents works by renowned artists including Max Bill, François Morellet, Vera Molnár, Carl Andre, Sol LeWitt, Dennis Oppenheim, Esther Ferrer, Gina Pane, Christian Boltanski, Sherrie Levine, Claudia Andujar, Analívia Cordeiro and Anna Bella Geiger

Jasper Johns ranks among the major American artists of the twentieth century. His accomplishments as a collector, however, have been little known until now. Jasper Johns—The Artist as Collector is a beautifully produced volume that features a selection of more than one hundred drawings, inviting you to dive into the richness and depth of a truly unique collection. From Paul Cézanne to Pablo Picasso to Willem de Kooning, the collection of Jasper Johns offers surprising juxtapositions. The drawings’ consistently high quality is the result of his keen eye as a connoisseur, and many of the works are a testament to his friendships with other artists. In this catalog, works by nearly fifty artists enter into an inspiring exchange that will fascinate experts and art lovers alike.

Campo di Marte was devised in March 2020, at a time when Nathalie Du Pasquier was not painting. After cutting out photos of paintings produced between the 1980s and 2020, the French artist then placed them in a sequence as if they were a series of typefaces, focusing solely on their formal qualities and the scope for interpretation offered by their assembly. What comes out is an enchanting game of nonsense, an everyday surrealism in which the images make up sentences of sorts, interwoven with various elements taken from the world of books: titles, poems or mere calculations – times when the artist was lost for words. Campo di Marte will also be the name of an exhibition, curated by Luca Lo Pinto, due to be held at the MACRO in Rome at the end of 2020. As Du Pasquier states: "The book was supposed to come out at the same time as the exhibition opening. That won't be the case, but it doesn't matter as they really are two separate things. This paperback is not a catalogue at all: it's something you can browse through even while sitting on the underground." 144 p, ills colour & bw, 21 x 29 cm, pb, Italian/English

Massimo Gardone with Alessandra Muran has produced a volume that is many things: a living and vivid herbarium of nature's colors with elements collected and photographed while still fresh, but also an evocative photo book capable of enhancing with the eye of the graphic artist the colors and "pantone" of petals, leaves, branches and other elements of nature. The texts accompanying this research are an essay by Francesco Messina and reflections by landscape designer Matteo Lacivita who starts from the naturalistic observation of colors to also talk about painting, music and other art forms that color really cannot do without. 128 p, ills colour & bw, 22 x 32 cm, hb, Italian/English

Toshio Shibata’s large-format contemporary landscapes are distinguished by their haunting beauty, graceful composition, and meticulous detail. Using long exposures, and eliminating any references to people, horizons, or identifying geographic reference points, Shibata captures structures such as dams, bridges, reservoirs, and roads as they interact with their natural settings—mountainsides, rivers, and forests and fields. The results are highlighted by painterly composition; filled with patterns, lines, and fluid action; and unmistakably Japanese in their aesthetic. Curated and with commentary by Phillip Prodger, one of the most erudite and critical voices in contemporary photography, this book will appeal both to fans of Shibata’s work as well as an audience that has yet to discover his remarkable oeuvre. Prestel, 2024. Hardcover, 200 pages, 9.6 x 11.6 in

A beautifully illustrated history of the many inventive, poetic, and alluring ways in which color swatches have been selected and staged. Princeton University Press, 2024. Hardcover, 284 pages, 9.75 x 11.25 inches

Hardcover, 8.75 x 12 in. / 176 pgs / 110 color. Printed on paper made from Japanese shrubs, this fabulous work of book art documents Ann Hamilton’s fascination with tactility. "SENSE is a cloth's hand, its drape and fall, the density and structure of the weave, the twist and ply of the yarn, the fineness of the thread, the animal, plant or human-made fiber from which it was made. While its color and surface may catch our eye, we can only know a cloth's weight, its texture and warmth,by touch." Ann Hamilton

Devlin’s protean work is rooted in a lifelong practice of reading and drawing. From sketches in the margins of texts, be they poetry, drama, song lyrics, opera libretti, climate reports or endangered species lists, emerge the technically advanced, collectively imagined universes for which she is globally renowned. Devlin’s work is at once deeply personal and inherently collective. Over the past decade her art practice has engaged with biodiversity, linguistic diversity, and collective AI-generated poetry. She views the audience as a temporary society and encourages profound cognitive shifts by inviting public participation in communal choral works.

During his 2012 residency at the Isabella Stewart Gardner Museum, French artist Jean-Michel Othoniel (born 1964) delved into the archives of the magnificent garden that Isabella Stewart Gardner cultivated around her residence. Othoniel examined the Museum and photographed the flowers in the tapestries, ironwork, architecture, furnishings and paintings, in such masterpieces as van Dyck's Portrait of a Woman with its innocuous rose, Piermatteo d'Amelia's Annunciation with its majestic lily and Bartolomé Bermejo's Saint Engracia with its enigmatic palm. Actes Sud and the Isabella Stewart Gardner Museum, 2015. Hardcover, 192 pages, 5.25 x 8.25 in

Perhaps as ubiquitous as smartphones today, the books of hours were a private necessity in Europe during the Middle Ages. These manuscripts contained collections of texts that were meaningful to each owner, as well as an organized method of structuring the day around prayer by marking the passing of the canonical hours. Although highly personalized, with intricate miniatures and illuminations, all books of hours contained sections to be recited at regular intervals throughout the twenty-four hours of the day. The Book of Hours by Frida Escobedo is a modern exegesis of this extinct devotional practice: a project in which twenty-four objects were photographed at different intervals of time to capture their evolution, making a new calendar of matter and light. As humanity has transitioned to a secular understanding of time in which hours are organized and conceived in terms of productivity, The Book of Hours interrogates the place of contemplation in our era, its possibility and necessity.

Twenty-five trains are detailed, you shall forever wonder why your pillows are not as wonderful if you find yourself heading to bed on a train. All of the best are here- Including the Venice Simplon - Orient-Express, the British Royal Train, Le Train Bleu, the Pride of Africa. The perfect seats, the perfect bar, the journey as journeys dream.

A fine catalog of Mackintosh on his retreat to France, along the Roussillon Coast, in 1932. Mackintosh had left Scotland and England with his wife Margaret, for what at first was meant to be a holiday, away from some considerable turmoils at work. But they stayed on, for four years, in exile from England and in love with painting and the French coast. This is the catalog of those remarkable watercolours, from the remarkable landscape of the sea and the land.

Capturing Nature features a vast collection of images related to nature printing, a process that consists of surface impressions made by found objects like leaves, flowering plants, seaweed, snakes, and more into paper. Featured in this volume is cyanotype artist Anna Atkins, giving insight into alternative photo processes that predate photography. This volume explores Matthew Zucker's extensive collection of images related to nature printing from over a 150 year period. Princeton, 2022. Hardcover, 352pp., 9 x 12 inches

Sagmeister has been at this for a bit. Here, he wants it clear, now is better, and he brings graphs and data and work samples to prove it. Behind it all is a fine optimism, and hope, and a long term point of view. In the best of graphics. and art. Phaidon, 2023. Paperback, 264pp., 9 x 6 inches

The first woman to use the fledgling medium of photography for scientific purposes, Anna Atkins captured the delicacy of algae and ferns in her albums: pioneering examples of photographic practice in their own right. For the first time, this edition reprints her works British Algae and Cyanotypes of British and Foreign Ferns in their entirety. Famous First Edition: First printing of 7,500 numbered copies Hardcover in slipcase, 9.6 x 12.0 in., 5.62 lb, 660 pages

Exhibition catalogue for Donald Judd organized by the Tate Modern, London, and also shown at the K20 Kunstsammlun Nordrhein-Westfalen, Dusseldorf and Kunstmuseum, Basel. Essays include: Donald Judd (Artist at Work by Rudi Fuchs, Donald Judd, Safe from Birds by Richard Shiff, Everything as Colour by David Batchelor, Judd's Moral Art by David Raskin 284pp, cloth, full color

Noguchi and Greece, Greece and Noguchi examines the relationship between one of the 20th century’s most celebrated artists, Isamu Noguchi (1904–88), and the Mediterranean country he regularly visited for decades through the lens of Objects of Common Interest (OoCI). This two-volume set considers the influence of Greek culture on Noguchi’s work, and the metamorphosing identity he established from engaging with multiple cultures. 2 pb vol, 320pp, slipcased