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Horses are very rare in Africa. The few to be found west of Sudan, from the lands of the Sahara and Sahel down to the fringes of the tropical forests, belong to the king, the chief warrior and to notable persons. Due to the dense humidity of the tropical rainforest and the deadly tsetse fly, only restricted numbers of horses survive. And yet rider and mount sculptures are common among the Dogon, Djenne, Bamana, Senufo and the Yoruba people. The Akan-Asante people of Ghana and the Kotoko of Chad produced a good deal of small casting brass and bronze sculptures. Some of the artists could barely even have caught a glimpse of a horse. This visually stunning book presents a wealth of African art depicting the horse and its rider in a variety of guises, from Epa masks and Yoruba divination cups to Dogon sculptures and Senufo carvings. In Mali, the Bamana, Boso and Somono ethnic groups still celebrate the festivals of the puppet masquerade. The final chapter of this book is dedicated to the art and cult of these festivals, which are still alive and well. It is not the habit of the African artist to provide intellectual statements for his work, yet his unique creative dynamic and far-searching vision does not conflict with that of his Western counterpart. It is fair to state that the African, who though not educated in Western art history, contributed his fair share to the shaping of modern art.Features works from museums in both Africa and Europe, including the Musée Royal de L'Afrique Central, Tervuren in Belgium; Afrika Museum, Berg en Dal, Netherlands; Musée du quai Branly, Paris; Museum Rietberg, Zurich; The British Museum, London; Museu National de Antologia, Lisbon and National Museum, Lagos, Nigeria.

"Miss Caroline Charles, aged 22 - youngest of the English designers whose fashions have captured New York - returns there to show her Spring collection. She is dark, beautiful and frail, with a small voice. But she is deceptive; she is made of iron; her energy is matched only by her persistence. Nothing will stop her. She is at the top now, and might stay there for 50 years." John Gale, Observer Oct 25th 1964Caroline Charles is one of London's most respected womenswear designers. She has developed her business over the past five decades and the label is sold and marketed throughout the world. Caroline Charles began in the world of fashion art school followed by a couture apprenticeship and a stint as a photographer's assistant; she then worked for Mary Quant and was inspired by couturiers as well as being a leading designer in the '60s youthquake and swinging London. Her first collections were kooky and fresh and included a white cotton dress made from a bedspread! Caroline Charles was one of the original designers to join what was later to become British Fashion Week. Caroline opened a shop in Beverly Hills in the '70s and in the '90s had many successes with shops and shows in Japan. Her clothes were quickly snapped up by celebrities, which over the years have ranged from Lulu, Marianne Faithfull and Cilla Black as well as special suits being made for Mick Jagger and Ringo Starr. Princess Diana became a regular client as did Emma Thompson who wore a Caroline Charles design to receive an Oscar. Caroline Charles has been invited over the years to be a design consultant to major brands such as Burberry and Marks and Spencer as well as having design collaborations with major accessories and textile companies. In the '90s Caroline Charles designed the official scarf to mark the 40th anniversary of the accession of the Queen. As she celebrated her own 40th anniversary, Caroline Charles was awarded an OBE for services to the British Fashion Industry. Celebrations followed at the Victoria & Albert Museum with another award from the British Fashion Council. Book contributors include: Alexandra Shulman - Editor British Vogue, Suzy Menkes - Fashion Editor International Herald Tribune, Harold Tillman CBE - Chairman of the British Fashion Council, Caroline Baker - Fashion Director, Bruce Oldfield - Designer, Sue Crewe - Editor of House & Garden, Jess Cartner-Morley - Fashion Editor The Guardian and Richard Knight - Christies, London, among others.

"Clive could always come up with a psychedelic vision to suit the current mood of far-out fantasy in fashion. In one sitting, he was able to capture not only the romance of a Dior coat but the futurism of Pierre Cardin." - Grace Coddington quoted from her book Thirty Years of Fashion at Vogue."Clive Arrowsmith is the Caravaggio of the 21st century. He creates magic and dreams, he is the master of light." - Marcella Martinelli, Fashion director."Clive is like the St. Francis of photography - he can charm the birds right out of the trees, but then tells better stories. His work combines not only a creative mind and technical excellence, but most importantly, a real connection with his subjects." - Michael Daks, Professor of Photography at Paris College of Art & Istituto Marangoni, Paris."Clive Arrowsmith's insightful portraits shimmer with artful lighting and technical mastery, reflecting his own deep humorous humanity." - Nicholas Vreeland.Clive Arrowsmith is a celebrated London-based international photographer. After leaving art school, where he studied painting and design, he began taking photographs whilst working as a graphic designer for television. Leaving television to work as a photographer, he soon gained commissions from leading fashion magazines, most notably, British and French Vogue, Harpers, The Sunday Times Colour Magazine, Vanity Fair, Esquire U.S.A., and F.T. "How to Spend It".Clive continues to work in this genre in both editorial and advertising photography and is equally known for his music and celebrity images: Paul McCartney, Wings, Mick Jagger, Jeff Beck, George Harrison, Daniel Barenboim, Anna Netrebko, Art Garfunkel, Def Leppard, Prince Charles, Michael Caine and Damien Hirst to name a few. Clive is also an accomplished landscape and still life photographer and is the only photographer to have shot the Pirelli Calendar two years in succession.Having worked on many major stills advertising campaigns, such as De Beers, Revlon, G.H.D. Morello, Caroline Castigliano, Lexus, Hassleblad etc, Clive has continued to broaden his creative scope moving on to direct commercials for Heinz, Revlon, Hamlet Cigars (winner of The Silver Lion Cannes Film Festival), Rapeed Sunglasses, Greenmail Whitney Beer, music videos for artists like Lee Griffiths, Jamiroquai, Jools Holland, ZTT and Def Leppard, and album covers such as Wings' 'Band on the Run.' This is the first book to celebrate his career.

Jacqueline Groag was probably the most influential textile designer in Britain in the post Second World War era. Although originally Czech, she studied textile and pattern design in Austria in the 1920s. During the late twenties and early thirties she designed textiles for the Wiener Werkstatte in Vienna and subsequently designed and produced unique hand printed lengths of fabrics for many of the leading Parisian fashion houses, including Chanel, Lanvin, Worth, Schiaparelli and Paul Poiret. She was awarded a gold medal for textile design at the Milan Triennale in 1933 and another gold medal for printed textiles at the Paris World Fair in 1937. Jacqueline was not only a serious and highly respected contender in the field of textile and pattern design but, with her husband, the Modernist architect Jacques Groag, was also deeply immersed in the intellectual life of Vienna. In 1938 the sophisticated world of Jacques and Jacqueline was brutally shattered when the Anschluss, the political unification of Austria and Germany, occurred and the German army entered Vienna. Faced with the actuality of the Nazi terror the Groags, who were Jewish, fled to Czechoslovakia and their home city of Prague. After a brief respite they were once more forced to flee in 1939, this time to London. On their arrival in England they were welcomed and championed by leading members of the British design fraternity, amongst whom were Sir Gordon Russell, the doyen of British architects Sir Charles Reilly and Jack Pritchard, founder of the modernist design company, Isokon. Much of the Contemporary style of the textiles and wallpapers shown at the 1951 Festival of Britain were heavily indebted to Jacqueline's influential designs of the 1940s. Many examples of her work were featured prominently at the Festival and from then on she became a major influence on pattern design internationally. She developed a large client group in the United States during the fifties and sixties, amongst whom were Associated American Artists, Hallmark Cards and American Greetings Ohio. In the later 1950s and throughout the 1960s she became increasingly involved with Sir Misha Black and the Design Research Unit (D.R.U.), working on the interiors for boats and planes and trains, particularly the design of textiles and plastic laminates for BOAC and British Rail. One of her last commissions from Misha Black, in the mid-seventies was a distinctive moquette for London Transport, for seating on both buses and tube trains. Her work and influence did not just extend to the large corporations and exclusive couturiers but was familiar to the general public through stores and companies such as John Lewis, Liberty of London, David Whitehead, Edinburgh Weavers, Sandersons, Warerite and Formica. Her remarkable achievement finally received public recognition in 1984 when, at the age of 81, she was made an R.D.I. - a Royal Designer for Industry - the ultimate accolade for any designer in Britain.

*Illustrates Brian Duffy's five different photographic shoots with David Bowie, documenting Bowie's career and pioneering reinvention, as well as Duffy's special relationship with the artist over almost a decade*Includes some of the most famous Bowie images together without takes and rare shots "Talking about a creative session is like talking about a boxing match. It happened because there was a little bit of magic in the room that night. I'll say it myself, it's a fucking great cover."Brian Duffy Brian Duffy defined the image of the 1960s, and was as famous as the stars he photographed. Together with David Bailey and Terence Donovan, he is recognized as one of the innovators of "documentary" fashion photography, a style which revolutionized fashion imagery and furthermore the fashion industry. Duffy's most famous photograph dates from the 1970s and is the iconic and revolutionary cover of David Bowie's album Aladdin Sane, a shot that became the defining look of Bowie's long career, and has been referred to as the Mona Lisa of pop.The photographer and the rock star collaborated on four other projects: Ziggy Stardust, The Man Who Fell to Earth, Scary Monsters (and Super Creeps) and Lodger. They worked together during the pivotal years of Bowie's career; when the king of glam was assuming and discarding extraordinary personas, Duffy was capturing them all. Written by David Bowie's biographer, Kevin Cann, Duffy Bowie: Five Sessions features anecdotes and stories from those attending the shoots-including Tony Defries (Bowie's manager at the time of Ziggy Stardust); Celia Philo (designer) & Philip Castle (airbrush artist) from the famous Aladdin Sane shoot; Francis Newman (Duffy's studio manager); May Routh (costume designer) from The Man Who Fell to Earth; Geoff MacCormack (musician and Bowie's childhood friend); Derek Boshier (art director of Lodger); Natasha Kornilof costume designer for Scary Monsters; Edward Bell (artist); Steve Strange (musician) and Duffy's son, Chris, who also worked on the Scary Monsters session. Included are many unseen images and behind the scenes photographs. "It wasn't until we saw the contact sheets the next day I remember thinking, God this is spectacular.You just knew you had cracked it, boy, did you know it."Celia Philo

In the late 1950s and early 1960s French New Wave cinema exploded onto international screens with films like Les quatre cents coups, A bout de souffle and Jules et Jim. They were radical, artistic, original and most importantly set up the director as a creative genius; at the forefront were Francois Truffaut and Jean-Luc Godard. Today these films are credited with changing cinema forever. For many film goers they command strong and passionate respect and became the foundations on which a lifetime of cinema-going is built. In the photographs of Raymond Cauchetier we bear witness to the great artistic genius that was central to the process of making these films. Cauchetier's photographs are a culturally important documentary of the director at work, his methods and processes. His photographs capture some of the most memorable moments in film; Jean-Paul Belmondo and Jean Seberg on the Champs Élysées in A bout de souffle, Jeanne Moreau in the race scene of Jules et Jim, Anna Karina in a Parisian Cafe in Une femme est une femme.But Cauchetier's genius lies also in the fact that his photographs are far above just a visual record of these films. They clearly show the same spirit, the same freedom and the same originality that made The New Wave so important. Cauchetier's photographs are as much a part of The New Wave as the films themselves. In the words of Richard Brody: In these images, Raymond Cauchetier, a witness to art, made art by bearing true witness.This is the first book published in English featuring the New Wave film photographs of Raymond Cauchetier.