Sudpsuez Cloth That Changed The World by Sarah Fee
Edited by Sarah Fee
The story of India’s exuberantly colored textiles that made their mark on design, technology, and trade around the world
Chintz, a type of multicolored printed or painted cotton cloth, originated in India yet exerted influence far beyond its home shores: it became a driving force of the spice trade in the East Indies, and it attracted European merchants, who by the 17th century were importing millions of pieces. In the 18th century, Indian chintz became so coveted globally that Europeans attempted to imitate its uniquely vibrant dyes and design—a quest that eventually sparked the mechanical and business innovations that ushered in the Industrial Revolution, with its far-reaching societal impacts.
This beautifully illustrated book tells the fascinating and multidisciplinary stories of the widespread desire for Indian chintz over 1,000 years to its latest resurgence in modern fashion and home design. Based on the renowned Indian chintz collections held at the Royal Ontario Museum, the book showcases the genius of Indian chintz makers and the dazzling variety of works they have created for specialized markets: religious and court banners for India, monumental gilded wall hangings for elite homes in Europe and Thailand, luxury women’s dress for England, sacred hangings for ancestral ceremonies in Indonesia, and today’s runways of Lakme Fashion Week in Mumbai.
Sudpsuez English Furniture 1680 – 1760 by Christian Jussel and William DeGregorio
Words by Christian Jussel and William DeGregorio
Brings together a superb collection of over 650 detailed examples English furniture and needlework from 1600 to 1760
These volumes are dedicated to one of the finest collections of early English furniture and needlework, formed by Percival D. Griffiths (1861–1937). Together with the noted authority, Robert W. Symonds, Griffiths assembled a pioneering collection of early English decorative arts: furniture, domestic needlework and related objects all dating to the seventeenth and first half of the eighteenth centuries. The book illustrates nearly 700 pieces owned by Griffiths and includes images of his interiors, and biographical data on Griffiths. Catalogue entries provide color images, exhibition histories, references, and provenance. These volumes present a wealth of new information that will aid both the amateur and connoisseur alike.
Sudpsuez Majolica Mania
Words by Susan Weber, Eleanor Hughes, Catherine Arbuthnott, Jo Briggs, Earl Martin and Laura Microulis
Contributions by Paul Atterbury, Gaye Blake-Roberts, Claire Blakey, Julius Bryant, Miranda Goodby, Caroline Hannah, Kathleen Eagen Johnson, Martin P. Levy, Ben Miller, Sequoia Miller and Rebecca Wallis
The first comprehensive study of the most important ceramic innovation of the 19th century
Colorful, wildly imaginative, and technically innovative, majolica was functional and aesthetic ceramic ware. Its subject matter reflects a range of 19th-century preoccupations, from botany and zoology to popular humor and the macabre. Majolica Mania examines the medium’s considerable impact, from wares used in domestic settings to monumental pieces at the World’s Fairs. Essays by international experts address the extensive output of the originators and manufacturers in England—including Minton, Wedgwood, and George Jones—and the migration of English craftsmen to the U.S. New research including information on important American makers in New York, Baltimore, and Philadelphia is also featured. Fully illustrated, the book is enlivened by new photography of pieces from major museums and private collections in the U.S. and Great Britain.
Sudpsuez Painting in Stone: Architecture and the Poetics of Marble from Antiquity to the Enlightenment by Fabio Barry
Words by Fabio Barry
A sweeping history of premodern architecture told through the material of stone
Spanning almost five millennia, Painting in Stone tells a new history of premodern architecture through the material of precious stone. Lavishly illustrated examples include the synthetic gems used to simulate Sumerian and Egyptian heavens; the marble temples and mansions of Greece and Rome; the painted palaces and polychrome marble chapels of early modern Italy; and the multimedia revival in 19th-century England. Poetry, the lens for understanding costly marbles as an artistic medium, summoned a spectrum of imaginative associations and responses, from princes and patriarchs to the populace. Three salient themes sustained this “lithic imagination”: marbles as images of their own elemental substance according to premodern concepts of matter and geology; the perceived indwelling of astral light in earthly stones; and the enduring belief that colored marbles exhibited a form of natural—or divine—painting, thanks to their vivacious veining, rainbow palette, and chance images.