The exhibition Mapping the Tube: 1863-2023 at The Map House in London shows the evolution of one of Britain’s top 10 design icons: the London Tube map. Today it is the template for other subterranean railway systems worldwide and is famous as an archetypal example of information abstraction where what the traveller needs to know is reduced to the bare essentials.

Although there were earlier attempts to simplify the map for the burgeoning London Underground system, most notably by MacDonald Gill and Fred Stingemore (Beck’s predecessor), it was Beck who realised that for passengers, the physical location of the stations in terms of the surface geography was inconsequential; they only needed to know which lines to travel on, and where, if necessary, they needed to change.

In 1931, Beck created the first diagrammatic London Underground map while being laid off from the Signalling Department for the Underground Electric Railways of London. While drawing an electrical circuit diagram he realised a map could be drawn that was based upon the same schematic in which all the stations were more-or-less equally spaced using straight lines of different colours, with 45-degree angles. Although Beck’s design was initially rejected, the Publicity Office of London Transport eventually changed its mind, and the map was first issued as a pocket edition in January 1933. Immediately popular, the Underground has used many variations to illustrate the network ever since.

Left, Harry Beck with his London Underground schematic from 1963, shortly before he would give up on his lawsuit concerning the proprietary rights over the Tube map. Right, annotated unpublished proof of Harry Beck’s 1933 first edition Tube Map, Harry Beck, 1932. Courtesy of The Map House.

Beck had a fractured relationship with the London Underground throughout his career. He was reportedly paid just five guineas for the map (around £20 in today’s money) and 10 guineas for the card edition. Understandably, he tried to regain control threatening legal action, but 1965 he abandoned the attempt. Posthumously, in 1997, his importance was recognised, with a citation statement now printed on every London Underground map.

Marlboro Road (Marlborough) Tube station in 1933 (left) and today (right). Closed in 1939-40 when a new stretch of the Bakerloo opened, it now operates as a nondescript power substation to support Metropolitan line trains.

What makes the exhibition so captivating, especially for Londoners, is the range and extent of variations in the Tube map over the decades since its initiation. There are lost names and forgotten stations, such as Mark Lane or Marlboro Road. The exhibition includes some of the most significant Beck manuscripts, where some were the result of gifts to his friend and biographer Ken Garland, and the first time they have been seen outside of private collections.

Left, the Wonderground Map of London, Macdonald Gill, 1914. Courtesy of The Map House. Right, The Londoner’s Transport Throughout the Ages, R.T. Cooper, 1928. Courtesy of The Map House.

The highlight is arguably a one-of-a-kind draft copy of Harry Beck’s first Underground map, annotated by Beck and Stingemore, which highlights some of the tricky design questions he had to overcome, such as whether to use the official name of Willesden Junction (New Station) or stick with a simplified Willesden Junction. There is also an exceedingly rare 1st Edition Underground poster map (1933), of which only five copies – of the original 2,000 – are known to still exist, along with a unique, unfinished sketch from 1950, drawn in coloured pencil, showing a proposed new layout for the District Line to Richmond, where the station Walham Green has been changed to its current name: Fulham Broadway.

Unfinished sketch showing a proposed new layout for the District Line branch to Richmond, Harry Beck, 1950. Courtesy of The Map House (cropped from the original).

The exhibition is a fascinating insight into the evolution of London through a single stylised map of its underground rail network, and the triumph of distinctive and innovative cartographic design.

Mapping the Tube: 1863-2023

The Map House, 54 Beauchamp Place, Knightsbridge, London, SW3 1NY.

Monday – Friday, 10:30 am – 6 pm; Saturday, 10.30 am – 5 pm. Until 30th November 2024.

Author: Andrew Hildreth

Leading image: Cropped lower section of Beck’s First Edition Double-Crown Tube Map, Harry Beck, August 1933. Courtesy of The Map House.

Tanween 2024, Saudi Arabia’s most important design conference, comes back to Ithra this month. Running between 31st October and 6th November 2024, Tanween celebrates the very best in global design and innovation. 

Shahad Alwazani, programme lead for the conference, explains why Tanween is such a significant event in the world of design. “Its success is largely due to its diverse and impactful programme that prioritises cross-cultural dialogue and concrete opportunities to innovate.

“Over the years, Tanween has welcomed more than 150,000 participants of all backgrounds, from design experts, and established and promising creatives of the region to design students, but also local audiences including families, schools and design enthusiasts. 

“We pride ourselves in offering an event that not only attracts the global design community but also inspires new audiences to join this open dialogue connecting creativity and innovation.”

Routes to Roots, an exhibition co-curated by Ithra and Isola, was inaugurated at Tanween 2023. Photo courtesy of Ithra Studio.

Manar Aldhwila, Head of Creativity and Innovation at Ithra, also emphasises the huge breadth of areas covered at the conference, “Tanween offers a diverse programme ranging from architecture to fashion, design, innovation and entrepreneurship that nurtures idea-sharing and allows for tangible creative collaborations to flourish. I think this is the key to the continued success of Tanween.”

Aldhwila also explains how, throughout the last six editions, Tanween has become a catalyst for innovative and sustainable design solutions, fostering cultural connections and enriching communities worldwide. 

The theme for Tanween 2024 is “Fail Forward.” It focuses on the astonishing opportunities for progress and innovation that can often emerge from creative setbacks. Alwazani outlines the inspiration behind the theme. “With Tanween this year, we wanted to explore and celebrate the opportunities for growth that challenges and obstacles bring about. Some months ago, a dear and wise friend said, ‘Sometimes you win, sometimes you learn, but you never fail’, and I took that as inspiration for the theme ‘Fail Forward.’

“Failure, or challenges, don’t hold you back; they can propel you forward and enable new and improved creations to flourish. So we are hoping that this year’s conference can lead participants to relish the entire design process, and not just the end product.”

“Tanween is more than a moment set in time and space. It triggers conversations and collaborations that resonate far beyond the conference.”
– Shahad Alwazani

Highlights this year include such distinguished global contributors as internationally acclaimed designer Ross Lovegrove and Lebanese artist Rana Salam. The programme also features “A Day with an Expert” masterclasses which invite a group of people with similar passions to spend a day with a top expert in their field. This year’s group experts are world-renowned tech designer Sebastian Errazuriz and Forbes Award-winning entrepreneur Farah Al Humaidhi.

What do the organisers hope that participants will take away from this very influential conference, then? Alwazani comments: “Tanween is more than a moment set in time and space. It triggers conversations and collaborations that resonate far beyond the conference. Our international exhibition, Routes to Roots, developed with Italian design platform Isola and inaugurated at last year’s Tanween, has travelled to Milan Design Week and will also be showcased at the upcoming Dutch Design Week.

“With these initiatives instigated during Tanween but now travelling around the world, we can promote Arab heritage to new audiences and spotlight the next generation of regional designers internationally.”

Tanween 2023 workshop. Photo courtesy of Ithra Studio.

Aldhwila adds,”Tanween 2024 promises to stimulate creativity and empower talented designers to experiment with their creative setbacks to reach new breakthroughs and advance global design practices. All of this brings together our overarching aim of conceptualising solutions to the challenges we see around us. 

“We are excited to see as many of you as possible at Tanween 2024 and hope that attendees leave inspired, refreshed and invigorated to face challenges head-on!”

Surely that’s an offer you can’t refuse.

Tanween 2024
31st October -6th November 2024
Ithra Theater, King Abdulaziz Center for World Culture
Saudi Arabia
Find more information about Tanween 2024, HERE.
More articles about Saudi Arabia: Design Space Alula, Diriyah City of Earth, Diriyah at Harrods.

Author: James Rampton

Opening image: Iwan Pavilion, winning project of the Tanween 2023 Pavilion Challenge, Courtesy of Ithra Studio.

If Jewels Could Talk is an original history of humanity through jewellery. Carol Woolton writes with authority and passion, both of which make this book an easy and interesting read, taking us from cave times to the present through the objects we have used for self-adornment.

Woolton has chosen seven items: hoops, rings, beads, charms, brooches, cuffs and head ornaments. In each chapter she reveals fascinating stories that reflect the various meanings of jewellery. From protective amulets to tribal identity, religious beliefs or self-ratification, jewellery has always been a way to identify and communicate.

In If Jewels Could Talk, Woolton explains not just the origins of jewellery and their presence in different civilisations, but she also explores their profound meaning for humans.

Looking back over the history of jewellery, I can only conclude that it fulfils a primal urge to decorate themselves.

           – Carol Woolton

She credits gold hoops with being the world’s first fashion accessory, with the earliest having been found in Nubia, dating from around 2500BC, probably worn as symbols of power and social status. The circle shape is intimately connected to humans since the invention of the wheel in the Bronze Age. Every civilisation has a strong link to circles, from Greeks, Romans and Egyptians to the Arabs, Celts and Vikings. In our time, most designers have come out with different forms of hoop jewellery, among them Dolce & Gabbana, whose Sicilian Cart Loops in gold with rubellite, amethyst, tourmaline, emerald and multicoloured sapphires paid homage to the colourful carretto siciliano, introduced by the Greek during the 8th century BC.

Dolce & Gabbana Sicilian Cart hoops, from their Alta Gioielleria Collection 2018, haute couture translated to jewels.

In the chapter dedicated to rings, Woolton emphasises their meaning as bonds with other people, may that be a partner (wedding ring), a family (signet ring) or to discreetly indicate the position within a society – as in ancient Egypt and Rome. But rings have also been used in history for sinister purposes, as is the case with “poison rings” which reached their peak of popularity in the Renaissance, often used by wealthy families to eliminate obstacles in their quest for power.

Another captivating story is that of beads, which seem to have evolved alongside humans, having been used as protection, currency, art and even for praying, as in the Catholic rosary, the Hindu and Budhist japamala and the Muslim tasbih. Heavily coloured by superstition, the history of charms is that of human fear of the unknown, and as such, they have been used from the beginning by our species as ways to ward off evil and attract good luck. Coco Chanel was very superstitious, so always wore a bracelet with items she believed would protect her and bring her good fortune. There were old coins, Maltesse crosses, camellia flowers, interlocking ‘C’s and her lucky number, five.

Left, a Victorian “Essex crystal” bumble bee brooch, circa 1880 (Hancocks), set in rock crystal and yellow gold. Right, engagement ring from De Beers Classic collection set in rose gold with a round brilliant diamond and fancy pink diamonds.

Brooches may have started to be used for practical reasons, just to hold two pieces of fabric together, but soon became an adornment too, with intricate designs found in pieces dating back as early as the time of Celtic settlers. Woolton also argues that brooches are markers of identity, mentioning as an example how Coco Chanel thought that “Brooches elevated both the custom and the woman wearing it, and they form a key part of a woman’s wardrobe who wants her views known.” Throughout history they have evolved and assume strong meaning, such as the red-ribbon pin we wore in support of HIV/AIDS epidemic or the Black Lives Matter movement; or the patriotic brooches worn by women during the First and Second World Wars to express patriotism and their commitment to the war effort.

In the sixth chapter, we discover the ancient iconographic power of cuffs, whose wide form gives an immediate feeling of supremacy. They were also an easy way to identify members of the same group and convenient for artists to show off their skill. Woolton believes that cuffs emerged from Africa in the Middle Stone Age era, when humans started to use animal skin as clothing and leather items as other apparel. In modern times, we have seen cuffs in the arms of Hollywood divas, and superheroes and in many high jewellery houses, such as the De Beers, which in 2002 brought the leather cuff back into fashion with a stunning leather wristlet cuff studded with a diamond, designed by Reem Pachani.

Left, Galaxy Cuff by Robinson Pelham in yellow gold dotted with diamonds. Right, Hancocks Anglesey Tiara (circa 1890), originally owned by the 5^th Marquess of Anglesey, Henry Ciril Paget.

Last, Woolton takes us through the history and meaning of head ornaments, possibly the item of jewellery more connected to religious symbolism, political power and social status. Woolton argues that “A person wearing a head ornament inspires awe as they appear to float about anybody else.” It is in this last chapter that the author introduces us to wreaths, diadems, tiaras, cameos, turbans, warbonnets, hairpins, crowns and even Russian kokoshniks, a headdress worn by the peasant that was adopted by the royal family. Initially made of colourful fabric, they eventually evolved into sophisticated items embellished with all kinds of precious gems. Master jewellers like Fabergé and Bolin were commissioned to create extraordinary kokoshniks and even Cartier, Chaumet and Garrard produced versions of them. In London, Garrard made a Russian fringe tiara for Queen Alexandra’s 25th wedding anniversary in 1888. Queen Alexandra was the sister of Dowager Empress Maria Feodorovna, mother of Tsar Nicholas II.

If Jewels Could Talk by Carol Woolton is published by Simon & Schuster UK.  Hardcover. £14.25 from Amazon and other retailers.

These and many more captivating stories wait for you in Carol Woolton’s If Jewels Could Talk, a book that you’ll probably often quote at dinners, as it is peppered with interesting facts about the role of jewellery in human history that very few people would know about. I can’t think of any other author who would have Woolton’s knowledge of the subject and the narrative skill to make it so amenable to all kinds of audiences.

Word: Julia Pasarón

Leading image: Engin Akyurt
Picture of Carol Woolton: David Montgomery

Newport Street Gallery brings us the first exhibition of Wes Lang in the U.K. Wes Lang: The Black Paintings is a deeply moving, emotional show that lets the viewer take a glimpse into the world of the celebrated American artist.

Lang’s creativity draws from a wide range of sources, from childhood memories and ephemera he gathered and treasured as his “talismans” to icons and symbols from ancient philosophies and cultures. He is influenced by artists as diverse as Vuillard, Munnings, Bacon and Basquiat.

All these elements fuse in Lang’s art creating a dramatic universe full of playful steganography. At the centre of it all, is the wish of the artist to motivate audiences to lead fulfilling lives and to believe in themselves. The Black Paintings series in fact was created in reaction to what Lang calls “The prevailing narrative of negativity” in the world.

Left, Wes Lang, Ballad, 2023. Acrylic on linen. Right, Cloud, 2023. Acrylic on canvas.

Wes Lang: The Black Paintings features an extensive collection of works, all of them produced between 2022 and 2024. Like in a storybook, we found in this show a narrative thread that takes the viewer from one canvas to the next. The protagonists are often his signature skeletons, who he considers the heroes of the story, and who “are forced into scenarios where evil keeps popping up but never looks the same.” Through his work, Lang rejects the “Divisive Faces of Evil” in our society: money, political affiliation, commerce…

The Black Paintings show is organised so the viewers can let themselves be taken by Wes Lang onto a memorable journey of positive affirmation.

Room by room, the viewer feels increasingly hypnotised by Lang’s narrative and provocative style. Dark, sinister backgrounds alternate with lush landscapes in which the characters get increasingly together to identify and repudiate evil, regardless of the face it chooses to present.

It is here that we see the influence in Lang’s art of eastern spiritual philosophies to which his mother introduced him, mainly Tao Te Ching, the central Taoist text, and the lectures of the American spiritual guru, Ram Dass. At the end of viewing The Black Paintings, Lang says his intention is that we realise “that all this noise and all these divisive faces of evil that we’re told matter, don’t have to consume your mind and the way you feel about the world.”

The positive message in the series is underpinned by Lang’s deep belief that “we are born as vessels of love, and we are all just one gigantic soul that’s all interconnected. And so I set out to make this body of work show this belief.”

Author: Julia Pasarón

Wes Lang: The Black Paintings
Newport Street Gallery
1 Newport St. London SE11 6AJ. More details, HERE.

Read our full interview with Wes Lang in our winter issue, available in our online store and quality newsagents in the UK. A shorter version is available HERE.

Alongside the shot at Newport Street Gallery, 96 works on paper by Wes Lang are on show at HENI Gallery (6-10 Lexington St. London W1F 0LE) until 22nd November 2024. More details, HERE.

Opening image: from Wes Lang, Global Resurrection, 2022. Acrylic on canvas. Image cropped from the original.

Brighton-based textile artist, Kate Jenkins – well known for her witty forays into knitting and crocheting depictions of food – brings her one-of-a-kind fish counter show, Fishy Business, to the London Design Festival at Soho’s Air Contemporary Gallery.

The artist spent months tirelessly knitting, crocheting, and stitching her knitted fish counter and oyster cart which was first presented in May as part of “The Vintage Supermarket” at Merchant & Found’s pop-up as part of London Craft Week. If you missed it then, this is your chance to grab a unique fishy treat.

Kate developed her love of knitting, embroidery and crochet from her mother and grandmother. Inspiration for her works comes from her travels around the world and the way food is presented, consumed and loved.

Artist Kate Jenkins at her studio in Brighton.

With a fashion background, a love of knitting, food and fun, and having studied fashion at the University of Brighton, Kate decided to start her own business 20 years ago. Her first solo show took place in London in 2008. She created an exhibition entitled Kate’s Cafe where she crocheted an entire greasy spoon, filled with fried breakfasts and plates of bangers and mash. Other solo exhibitions in places like Barcelona, Hong Kong, New York, Dublin and a highly acclaimed three-month show in Rijswijk Museum, Netherlands, brought her worldwide success and recognition. After the London Design Festival, her work will next be shown in December in New York, at Eerdman’s Gallery NYC. Visitors can expect a whole range of New York-inspired goods, including knitted bagels.

Clients include Chaos 69 x Chanel, Viking Cruises, Harper’s Bazaar, Prudential Insurance, Anthropologie and many private individuals – Jamie Oliver is a fan as are many global art collectors, who keep her book of commissions healthily fat. Kate already has another solo show scheduled at Air Contemporary Gallery in September 2025 and Yorkshire Sculpture Park has commissioned her for an installation in 2027.

At Kate Jenkins’s Fishy Business, visitors will find not only a full seafood counter but also small plates and delicate canapes.

At the opening of Fishy Business, the artist commented, “I was overwhelmed by the response to the Vintage Fish Counter during London Craft Week. Since then, we have been inundated with clients looking for bespoke artwork for their homes or commercial clients looking to make a statement. We have some very exciting launches in the pipeline. Each artwork is made with love, crafted by hand using cutting edge techniques and with sustainable yarn.”

At Fishy Business during London Design Festival, you can order directly from the counter either a range or individual pieces of hand-sequinned and knitted seafoods such as sea bream, anchovies, prawns squid in ink, embroidered oysters and mussels and much more…. and have it mounted on a choice of predesigned plate or platter cards – choose from a range including bone china and Le Creuset; each one signed and numbered, priced from £100. Customers can also buy new seafood-themed artworks at the exhibition which are framed and signed, starting at £5,000.

Grab yourself a fishy morsel!

Author: Linda Hunting

Kate Jenkins Fishy Business
Air Contemporary Gallery, 4 Ham Yard Soho, W1D 7DT
Open to the public from 20th September – 5th October
@kjcardigan @aircontemporarygallery

Images courtesy of Byrne Communications @byrnecomms
Opening image: Kate Jenkins, Vintage Fish Counter. “The Vintage Supermarket” at Merchant & Found’s pop up, London Craft week 2024.

The Female Perspective II exhibition at El Prado Museum follows on the success of the edition from 2022-23. With this original initiative, El Prado pays homage to the women who played a key role in building the museum’s stunning collection of art through an innovative approach: an itinerary around the museum that allowed visitors to discover the importance of these women as collectors and patrons within the context of other great artworks of the same time. The first edition covered the period between the end of the Middle Ages to the early 17^th century. The Female Perspective II focus only on this century and in three key figures: Elizabeth of Bourbon, Mariana de Austria and Christina of Sweden.

Thanks to these women, El Prado Museum is home to outstanding paintings by masters like Dürer, Rubens, Titian and Velázquez, and sculptures of the relevance of The Muses. The show comprises 34 works of art, each located in its usual place within the permanent collection of   the museum. There are four parts to this exhibition.

Velázquez, Queen Elisabeth of France on Horseback, ca. 1635. Bourdon, Queen Christina of Sweden on Horseback, 1653-54.
© Museo Nacional del Prado.

Patrons of the museum (1602-1700) present portraits of these women, revealing how much thought went into building these paintings to reflect, state and impose their power. It is here that we meet face-to-face with queens, regents and empresses, who controlled most of Europe.

The other sections bring us closer to Mariana de Austria, Elizabeth of Bourbon and Christina of Sweden, who, together with Elizabeth Claire Eugenia (daughter of King Philip II of Spain), were leading patrons of the arts and had a close relationship with El Prado Museum.

After the death of her husband, King Philip IV, Mariana de Austria reigned from 1665 to 1675 on behalf of her son, Charles II. Foreign, female and without political experience, she had to fight with tooth and nail to legitimise her position. Cleverly, she used art to forge the image she wanted to project to her opponents, to the people of Spain and to other European courts.

Rubens and Brueghel the Edler, Infanta Isabel Clara Eugenia, ca. 1615. Velázquez, Queen Mariana of Austria, ca. 1670.
© Museo Nacional del Prado.

In the third section, we find Elizabeth of Bourbon, queen consort to King Philip IV of Spain, who commissioned the largest group of paintings of the time for the Tower of the Queen at the Alcázar of Madrid, which brought together some of the most respected masters of the time, such as Rubens, Brueghel the Elder and Snyders among others. It is also in this section where we can explore the artistic exchanges between three of the most fascinating women of the 17^th century: Marie de’ Medici, Elizabeth Claire Eugenia and Elizabeth of Bourbon.

Brueghel the Elder and Momper II, Isabel Clara Eugenia on a Visit to the Countryside,1600 – 1625, one of the paintings commissioned to decorate for the Tower of the Queen at the Alcázar of Madrid. Thalia/Melpomeme, one of the seven muses from ancient Rome (c. 130AD) acquired by Christina of Sweden and restored by Ercole Ferrata, who gave this one Queen Christina’s face.
© Museo Nacional del Prado.

Last, the itinerary takes us to Queen Christina of Sweden, considered one of the most erudite women of the century and one of the greatest art collectors. She was also a bit of a rebel. She refused to marry, often dressed in men’s attire and converted to Catholicism. Eventually, she abdicated and moved to Rome. She sought support from Philip IV of Spain and lavished him with gifts, such as Dürer’s panels, Adam and Eve.

The Female Perspective II exhibition at El Prado Museum is an invitation to discover a group of fascinating and powerful women who not only played a fundamental role as international art patrons but also contributed significantly to the political stage of the 17^th century.

Author: Julia Pasarón

The Female Perspective II
El Prado Museum, Madrid
8^th May – 8^th September, 2024
Book your tickets HERE.

Opening image: Albrecht Dürer, Eve, 1507 (Oil on canvas). © Museo Nacional del Prado. Image cropped from the original due to formatting restrictions.

The exhibition A World of Care: Turner and the Environment illustrates the environmental and social developments of the 19th century that changed Britain and the world’s climate forever through the art of J.M.W. Turner. It is the first time that his work has been displayed with such a theme in mind, where it becomes noticeable that his paintings are representations of the changes in the landscape and atmosphere, depicted in plumes of smoke, burning furnaces, urban sprawl, deforested landscapes, overfishing and extreme weather.

Shields on the River Tyne, engraved by C. Turner, 1823. © Tate. A scene showing the use and burning of fossil fuels by “keelmen” who were often required to work 24 hours a day on ships.

If you journey out of central London on one of the tributary railway lines that structured the south-west environs of the city in the later part of the 19^th century, you will come across the relatively unknown station of St. Margrets. The area was – until the arrival of the locomotive – a rural backwater of the rapidly growing metropolis. The exhibition at Sandycombe Lodge, the artist’s former home near St. Margret’s station, is a study of Turner capturing the industrialisation of the world around him, and in the mix and myriads of colours of his creations, how countryside and meadows were consumed into the fire and smoke of machine-made progress.

Sandycombe Lodge, originally called Solus Lodge, was intended as a country retreat, and as a home for his father. Designed by the artist, with influence from his friend Sir John Soane, and built-in 1813, the artist lived there from 1814 until 1826 as a rural idyll. It is the only surviving building designed by Turner. The house is small and modest, beautifully restored, and a fitting reminder of what life was like for the artist during his rise to fame. The art that is on display is on loan from the Tate and various private collections.

Turner’s house was at 40 Sandycoombe Lane in 1812 (left) and is still open today. Left, print from a watercolour by William Havell, 1814. © Lucinda MacPherson.

It is telling that Sandycombe Lodge is now part of Greater London. What was once a scenic view from the back windows to the river Thames, is now a swathe of housing and offices, with the ability to watch planes on approach to Heathrow. Cleverly, superimposed on the back window of the house is an artist’s impression of what Turner would have seen, against what exists now.

The exhibition A World of Care: Turner and the Environment, is on the upper floor of the house, ordered around themes designed to illustrate how the artist depicted the early visible signs of environmental change. The first is “Pollution”, where the pictures are of the “murky veil” over the cities in England. The exhibition points out that in the 19^th century, pollution was not necessarily seen as a negative, as it indicated prosperity. For Turner’s exhibition of London in 1809, he composed a poem that described how the landscape of the city had changed, the final line of which gives the current show its title: “Save where thy spires pierce the doubtful air, As gleams of hope amidst a world of care.”

A representation of how natural disasters are capable of destroying society’s achievements, Fire at the Grand Storehouse of the Tower of London, watercolour by J.M.W. Turner, 1841. © Tate.

Next comes “Industrialisation”. During the early 19th century, the cities grew at an accelerated rate, with people migrating to work at the newly established factories. Coupled with industrialisation are other themes, such as fossil fuels, deforestation, species loss, and global warming. The final theme, “Transport”, finds a constant depiction in Turner’s most famous paintings, from the arrival of the railway locomotive in Rain, Steam, Speed, where a train chases a hare out of the mist, to his most admired piece, The Fighting Temeraire in which the pride of the Royal Navy’s sailing fleet, essentially an environmentally friendly form of travel, was being hauled away for scrap by a small engine-driven tug boat, the very embodiment of the industrialisation around him.

As the world currently searches for conservation and carbon neutrality, A World of Care: Turner and the Environment, is a timely reminder of how two centuries after Turner observed the effects of man-made changes on the lives of people and the environment around him, the consequences affect us all to this day.

Author: Dr Andrew Hildreth

A World of Care: Turner and the Environment
Sandycombe Lodge
40 Sandycoombe Road, Twickenham TW1 2LR

Opening times: From July 6th until October 27^th, 2024. Wednesday to Sunday 12 pm to 4 pm (guided tours at 12:30 pm, 1:30 pm, and 2:30 pm only when a guide is available). Buy your tickets HERE.

Opening image: excerpt from “Sunset”, oil on canvass, by J.M.W.Turner, 1830-35 © Tate

Books enhance a house as much as they enhance our intellect. Whether they are stacked up on a coffee table, or tucked in perfect order on shelves, books are aesthetically beautiful, act as reminders of special memories and add a cultural sophistication vibe to any room. This selection of coffee table books range from wildlife to architectural projects that never materialised. I hope you’ll enjoy them.

Wild Horses by Alfie Bowen

Fascinated by wildlife from an early age, Alfie Bowen developed his love for photography in 2015, when he was given his first DSLR camera as a Christmas gift. It was a seminal moment in his life, as he realised that the camera could be the method of expressing himself that he had been yearning for all his childhood.

From the left, cover of Wild Horses, “Sanctuary” and “Peek-a-Boo”. Images © Alfie Bowen

Bowen’s gift lies in his unique ability to capture the spirit of wildlife with mesmerising depth and maturity. Some say this “power” comes from his autism, which gives him a perception of the world very different to most of us. And although that may very well be one of the contributing factors, to me, he is simply very talented.

Wild Horses took Bowen two years of shooting. Looking for places in the British countryside where he could find free-roaming horses, he travelled across the country, from the rolling hills of Northern Wales all the way to the New Forest and Norfolk to mention but a few. In Bowen’s compelling images, one can feel the connection between subject and the photographer, and take a glimpse at the artist’s wonderful mind.

Wild Horses is published by ACC Art Books available from Awsome Books and Hive Books among other retailers. From £23.87

Ford Mustang – 60 Years by Donald Farr

From flesh horses to mechanical ones. Launched on 15^th April 1964, the Ford Mustang was an immediate hit, selling a staggering 400,000 units in its first year.

Cover of Ford Mustang – 60 Years by Donald Farr, published by Motorbooks and photo of the first production Mustang, with VIN 100001. The car still survives. Images © Motorbooks.

Mustang is a symbol of young America, of the time in life when everything is possible and the world is an infinite expanse of wonder. Its iconic status has been reinforced by its appearances in cult films such as Bullitt and Diamonds are Forever among many others.

In Ford Mustang – 60 Years, author Donald Parr puts to excellent service his 40 years of knowledge and expertise about Mustangs. He brings us 60 stories that chronicle milestones in the history of this car, from the 1962 initial designs all the way to the creation of the 2005 Mustang and much more.

Ford Mustang – 60 Years is published by Motorbooks and available from retailers such as Awsome Books and WHSmith. From £28.38.

Passolini in Chiaroscuro by Guillaume de Sardes and Bartolomeo Pietromarchi

Created by Flammarion to accompany the exhibition running at the Nouveau Musée National de Monaco until 29^th September, Passolini in Chiaroscuro explores the influences of classical painting that influenced the work of Pier Paolo Passolini, possibly one of the most enigmatic and charismatic film directors of the 20^th century

Cover of Passolini in Chiaroscuro and photogram from Passolini’s La Ricotta, 1963. Courtesy of Compass Film, from Pasolini in Chiaroscuro, published by Flammarion. Images © Flammarion

Passolini was a very controversial figure. His predilection for “bad boys” and his unapologetic attitude towards the establishment and the social constraints prevalent in Italy in the 1950s and 1960s probably contributed to his brutal murder in 1975. His work was equally controversial, culminating in Salò, or the 120 Days of Sodom, a hugely radical and political film that puts in evidence the consumerist society of his time.

His love of art permeated his entire body of work. Frames, lighting, shooting angles, composition, even backgrounds reference the masters, from Andrea Mantegna to Fernand Léger. Passolini’s use of “chiaroscuro” in films like Accattone, clearly recalls paintings by Caravaggio. Whether you are attending the exhibition in Monaco or not, this book is a unique opportunity to understand the mind of Pier Paolo Passolini and his legacy, which still infiltrates the work of many of the most charismatic artists of our day.

Passolini in Chiaroscuro is published by Flammarion and available to pre-order from Waterstones and Amazon among other retailers. From £24.45.

Atlas of Never Built Architecture by Sam Lubell and Greg Goldin

Any architect you may talk to will tell you – if they are honest – that their biggest frustration is the amazing projects they never got to realise. Atlas of Never BuiltArchitecture is an unusual opportunity to discover extraordinary architectural conceptions that for one reason or another, never came to be.

From the left: cover of Atlas of Never Built Architecture by Sam Lubell and Greg Goldin, published by Phaidon; and BBC Music Centre, Foreign Office Architects (FOA), London, 2003. Picture © Alejandro Zaera-Polo and Farshid Moussavi (FOA).

Organized geographically and spanning nearly 80 countries, this monumental homage to architectural ambition includes buildings of all kinds and purposes. In the pages of this book you’ll find museums, cemeteries, churches, bridges, skyscrapers, theme parks, casinos, government buildings, and even a floating theatre boat that resembles a UFO.

This unusual atlas though is not just about the buildings, but about the cities and societies where for which they were conceived. Its pages take the readers to the student protests of the 1960S in America and Western Europe to the crisis of 2008, which killed in the bud some amazing architectural projects such as the Copenhagen Gate, Gate L and Gate M, two intelligent structures at the entrance of the harbour, that used sun, wind and seawater to provide all the energy necessary for their full operability.

The book also includes unpublished prints, paintings, and etchings, preparatory sketches, and images that bring these alternate histories to life.

The Atlas of Never Built Architecture is published by Phaidon and available from Awsome Books and Amazon among other retailers. From £74.03.

Graphic Classics by Phaidon Editors

Dive into the world of graphic design from Buddhist texts printed in 1377 and Guttenberg’s Bible to the Black Lives Matter logo, The Times Roman typeface or the covers of Joy Division’s albums. Explore the work of designers across six continents and 600 years in a book that serves as a visual survey of this often undervalue form of art.

From the left: cover of Graphic Classics, published by Phaidon; and Anthology of Great Buddhist Priests’ Zen Teachings, 1377, Heungdeok-sa Temple, South Korea. Image © Bibliothèque Nationale de France.

The book is organised by categories (advertising, logos, books, etc) and colour-coded, which makes very easy to find any specific entries.

Something about this book that I particularly like is the fact that the Phaidon editors have gone well beyond the line of duty to reflect as many voices and disciplines as possible. Unfortunately, the world of graphic design, like many others, has been traditionally dominated by white men. Graphic Classics breaks the mould by bringing 40 per cent of the entries from female or mixed male/female design teams, and 30 per cent from non-white artists.

Graphic Classics is available to pre-order from WHSmith and Amazon. It retails at £69.95.

Author: Julia Pasarón

Opening image: Pixabay.

Beautifully narrated by jewellery journalist Richa Goya Sikri, this collection of short stories is a truthful and emotional account of coloured gemstone mining in Africa since the 1960s. The stories have been compiled through personal interviews with the adventurous men and women who have shaped an industry that is now worth US$ 32.38 billion*.

Richa is a great storyteller and in this, her first book, she has devised a very clever plot. Although each story is independent from each other in No Stone Unturned, you’ll realise soon enough that many of them are connected by the people, the gemstones, the places and events surrounding this industry at the time.

Gemfields commissioned this book in 2020 for that very reason. Its CEO, Sean Gilbertson, explained to me, “The industry certainly has a rich past and it’s fair to say that it’s the people that make it so. We didn’t want to see these stories lost in the sands of time.”

Some stories will get you biting your nails, others will make you laugh and on occasion, your eyes may feel watery with emotion… or with contained laughter. For Gilbertson, the intention is clear, “I hope that the book goes some way to impart the sense of adventure, the thrill of the find and the raw passion that gemstone explorers have in order to do what they do. It makes each gemstone so special.”

Campbell Bridges feeding the camp mascot (Friday), which he had rescued himself, at Scorpion camp. Photo © Bruce Bridges

I was particularly touched by the story of Campbell Bridges (“Grossular Green”), considered the father of tsavorite mining in Kenya and Tanzania, who was brutally murdered in August 2009. “Scorpions and Raiders” introduced me to Naushad, and “For a Good Life” to Joseph Mbiri, a Kenyan, who, through sheer determination and grit, made a name for himself in the mining business against all odds.

Other individuals that impressed me in the book include Julius Petsch, arguably the man responsible for the value of tourmalines today and Shiv Shankar Gupta, without whom the emerald business in Zambia wouldn’t be where it is now. Gupta appears again in “The Panidars of Kagem”, a story that narrates how Gemfields came to be. In his candid interview with Sikri, Gilberston shares how difficult it was to get the company off the ground and build it into the successful business it is today.

In fact, his first gems auction as CEO of Gemfields in 2008 was a bit of a disaster and so he describes it. When I asked him about it, he admitted he had felt utterly frustrated that “it hadn’t run smoothly – kicking myself for not having seen the hurdles that would need to be overcome in order to do so.”  He brought in Ian Harebottle as CEO. His skill and expertise were critical to the company’s development.

Emerald sort house team at Kagem Mining Ltd (February 2009), with former CEO, Ian Harebottle (in the middle, back row). Photo © Gemfields.

Today, things are very different. Gilbertson tells me that “Gemfields auctions are attended by some 50-60 of the most highly regarded gemstone professionals in the world. The gems are sold in a fully transparent manner, and taxes are paid in full on the sale price, not on a value assigned at the point of export. This means that auctions held by Gemfields have returned millions of dollars to the gemstone’s place of origin, and for the first time, these countries are seeing the true value of their mineral resource.”

Gemfields leads the way when it comes to environmental and social responsibility, even if that means higher costs and continuous lobbying for full transparency in the industry. “We are keen to instil in the industry a “mine-of-origin” model rather than the prevailing “country-of-origin” model. I would also like to see more companies publishing their “G- Factor for Natural Resources” – a measure of the percentage of a company’s revenue that is paid to the host country – and demonstrating their commitment to responsible business practices.”

From the left, rough Zambian emeralds and a cushion cut Zambian emerald. Photo © Gemfields.

After reading No Stone Unturned, not only you’ll learn a lot about gems but next time you are admiring a piece of jewellery adorned with colourful stones on a window display, you are likely to feel a connection – I did.

No Stone Unturned is available on Amazon and Waterstones among other retailers

Author: Julia Pasarón

(*) Value of the gemstone market in 2023. Data from Future Market Insights.
Opening image: Unheated Mozambican ruby.  Photo © Richa Goyal Sikri.