Published by MFA Publications. Text by Winston S. Goodfellow and Beverly Rae Kimes. Foreword and Interview by Darcy Kuronen. Introduction by Ralph Lauren. Photographs by Michael Furman.
Bugatti and Bentley, Alfa and Aston, Mercedes and McLaren—these are not merely cars, they are some of the most exquisite automobiles ever assembled, selected by Ralph Lauren, one of the foremost designers of our time. This breathtaking volume features 29 of these wonders—from such unparalleled masterpieces as the 1930 Mercedes Benz “Count Trossi,” the 1938 Alfa Romeo Mille Miglia, and the 1938 Bugatti Atlantic Coupe to marvels from Jaguar, Aston Martin, Ferrari, Porsche and even a Ford “Woody”—each of these vehicles is lovingly photographed and presented with authoritative elegance. Complementing the images are sketches of these and other cars—rarely seen drawings that give insight into the conceptual and development stages of the automobiles. Now in its fourth printing, Speed, Style, and Beauty is the first book on cars to center its discussion squarely on the car's role as an art object. The 29 chapters, by two of the best known and most respected authors writing about cars today, gives the indispensable background information, but also approaches the cars the way an art historian would approach fine sculpture—treating them as consummate works of decorative art for the modern age. With over 160 color images by world-renowned photographer Michael Furman, plus an introductory interview with Ralph Lauren who discusses the links between the cars and his overall design philosophy, this is an elegant yet informative book that will delight both the rampant car enthusiast and aficionados of great design in any form. The sleekly curved chrome and steel of these timeless dream machines conjures the glamour of the 1930s, the opulent ease of the 1950s and the charged excitement of the 1980s—the perfect marriage of speed, style and beauty.
The 300 SL (W 194) is the first racing car with which Mercedes-Benz renewed its participation in international automobile racing in the postwar period. The car has proven itself in top-ranking racing positions, such as in the 24-hour endurance race in Le Mans, or the Carrera Panamericana in Mexico. Since 1952, this Stuttgart-based make has secured a place in the worldwide motor sports scene. The racing car achieved particular fame for its unusual gull-winged doors, which turned the production sports car 300 SL, introduced in 1954 and directly derived from the W 194, into a lasting icon of automobile history. This exclusive publication is the second installment of the Milestones of Motor Sports series, and it draws from the numerous archives of Mercedes-Benz Classic. The complete profiles and driving histories of each car are presented in great detail, with some images and documentation that have never before been published.
The horse has a long and rich history as a subject in the visual arts. In sculpture and painting, in the decorative arts and most recently in photography, the horse has been celebrated for its cultural and social importance. Horse Power is a compelling photographic portrait of the horse today. During one week in September 2009, Bolofo documented life on the grounds of esteemed racehorse trainer Christiane Head-Maarek at Chantilly, France's famous racehorse town. Rising early each morning to make the most of the rare access he had gained, Bolofo photographed charming everyday occurrences--a blacksmith forging a horse shoe; filing a horse's hoof; grooming, walking and riding the animals--as well as making candid portraits of ambitious teenage jockeys-to-be. Bolofo explores every aspect of horse power--the physical strength of these million-dollar animals, their cultural and sporting status and their noble beauty.
Published by Wakefield Press. By Pierre Mac Orlan. Translation by Napoleon Jeffries.
Pierre Mac Orlan’s 1920 Handbook for the Perfect Adventurer was at once a paean to the adventure story, a tongue-in-cheek guidebook to the genre’s real-life practitioners and a grim if unspoken coda to the disasters of World War I. “It must be established as a law that adventure in itself does not exist,” Mac Orlan stipulates. “Adventure is in the mind of the one who pursues it, and no sooner is he able to touch it with his finger than it vanishes, to reappear much farther off in another form, at the limits of the imagination.” This handbook outlines two classes of adventurer: the active adventurer (sailors, soldiers, criminals) and the passive adventurer (sedentary parasites who draw sustenance from the exploits of the former). Roaming from battlefields to pirate ships to port-town taverns, and offering advice on reading, traveling and eroticism, Mac Orlan’s Handbook is ultimately a how-to manual for the imagination, and a formulation of the stark choice all would-be adventurers must face: to live or write. Generally known as the author of Le Quai des brumes (the basis for Marcel Carné’s film of the same name), Pierre Mac Orlan (1882–1970) was a prolific writer of absurdist tales, adventure novels, flagellation erotica and essays, as well as the composer of a trove of songs made famous by the likes of Juliette Gréco. A member of both the Académie Goncourt and the Collège de ’Pataphysique, Mac Orlan was admired by everyone from Raymond Queneau and Boris Vian to André Malraux and Guy Debord.
Published by Editions Xavier Barral. Introduction by George Lucas.
Jabba the Hut lurks in the shadows of a decrepit, abandoned warehouse, his toady eyes glowing; Boba Fett looms up from the fluorescent glare of an indoor car park, poised to kill; Yoda peers out inquiringly from the window ledge of some otherwise untenanted institutional building; Han Solo's cryogenically frozen form on a slab stands, installed bizarrely in an anonymous concrete plaza. Of the many scenarios to which Star Wars fans have dispatched the films' protagonists over the years, none--not even Seth McFarlane's Family Guy homages--are as unlikely as Cédric Delsaux's. In Dark Lens, Delsaux transports Darth Vader and the whole gamut of Star Wars iconography to a post-apocalyptic, urban-suburban landscape of endless parking lots, highrises and wasteland interzones, vacant of ordinary human life. Delsaux's “mythology of banality” (as he describes it) produces images that are not just funny or preposterous, but also weirdly compelling; in their photographic plausibility they successfully incorporate Star Wars into an everyday reality that we can all recognize, but in ways that make both worlds seem strangely real and absurdly false. Delsaux's Dark Lens will captivate both film and photobook fans alike with its fantastically bizarre recasting of Star Wars on planet Earth after the apocalypse.
Published by Wakefield Press. By Honoré de Balzac.
Honoré de Balzac's 1830 Treatise on Elegant Living was a keystone text on dandyism, preceding Jules Barbey d'Aurevilly's Anatomy of Dandyism (1845) and Charles Baudelaire's “The Dandy” (in The Painter of Modern Life, 1863), and marking an important shift from the early dandyism of the British Regency to the intellectual and artistic dandyism of nineteenth-century France. The Treatise is the first true philosophical expression of dandyism, and is full of well-crafted aphorisms: “Elegant living is, in the broad acceptance of the term, the art of animating repose,” runs one classic definition of dandyism, and “One must have studied at least as far as rhetoric to lead an elegant life” asserts the importance of verbal pirouette and dexterous quipping to the dandy. Further embellished with anecdotes and historical and personal illustrations, Balzac's Treatise even features a fictitious encounter with the original dandy himself, Beau Brummell. Never before translated into English, this witty tract makes for an illuminating cornerstone to Balzac's Human Comedy (which was originally to have included a never-completed four-part philosophical “Pathology of Social Life”). Above all, it represents a decisive moment in the history of dandyism, and an entertaining exposition on the profundities of what lies deepest within all of us: our appearance.