As Australian cities undergo a period of rapid densification, many home buyers are facing the stark reality that they may have to settle for an apartment rather than a house. We’re living in smaller places in increasingly crowded cities; access to outdoor spaces is becoming ever more important.
Urban Sanctuary really addresses that need: ‘To find refuge from our busy lives is one of the most significant requirements of home … the inventive and careful design of outdoor space is increasingly paramount, and, in fact, essential.’ It acknowledges ‘the standard backyard is long gone’.
This book is the follow-up to Living in the Landscape, also by Richard Black and Anna Johnson, and features 25 distinctive urban properties across Australia and New Zealand, each of which offer something unique with regard to their outdoor space. I find the homes both inspiring and practical – and surprisingly accessible. These look like real homes with concepts that could be applied to your own property with relative ease.
One cool little feature is that the houses are ordered according to their respective sizes, from smallest to largest. The first property, the Waterloo House in Sydney, is just 129 sqm, while the final property, The Red House in Titirangi, New Zealand, closes out the book at 5487 sqm. The architectural drawings for each home are presented as well, which is handy when you’re thinking about the application to your own property.
As a publisher, I think the cover of this book is pretty special. Such an inviting image that draws the eye in through the garden to the heart of the home, revealing a warm and welcoming indoor–outdoor living area. An urban sanctuary. The cover is printed on a beautiful woven stock and the text pages are printed on a sturdy matt paper, which adds to the book’s authenticity.
I snapped up an advance copy and took it home to proudly display on my coffee table. I am pleased to say that the rest of you can now get your hands on your own copy of this stunning book.
To celebrate the publication this week of the stunning Garden Love, we caught up with photographer, gardener, dog lover and bestselling author Simon Griffiths, to discover a little more about his fabulous new book, his approach to photography, how he got started and, of course, dogs, plants and country gardens.
How did you first start as a photographer, and what was your earliest inspiration?
I got my first camera when I was about 5 years old – a funny plastic ‘Diana’ camera, but it used real film, and I was hooked. At school I was good at art and science, and I suppose that’s why I was drawn to photography, as it’s that creative mix of both. After high school, I went to study photography at RMIT, which is still probably considered one of the best photography courses in the world.
Who are your favourite photographers?
I love Eugène Atget, a French 19th-century photographer, who was one of the first people to photograph gardens. His work documented French streetscapes and gardens around Paris, and also the French people. His body of work is still amazing all these years later. He had special times of the year when he would shoot gardens, such as when the buds were just about to burst in spring, which he said made the trees glow. He created stunning images, all on an early plate camera.
John Dugdale is another photographer whose work inspires me. His beautiful still lifes and portraits are shot on a plate camera and printed using early photographic techniques. They have a quiet, fragile beauty to them, which is different to the clinical properties of digital photography.
How many books have you been involved in, and do you feel that the process has changed at all?
I have worked on over 70 books now. They really are a passion of mine and I have been lucky enough to travel all over the world shooting for different authors and publishers. Garden Love is the fourth book I have both written and photographed.
The process has changed a lot over the years. I used to shoot on film and it was always stressful to be travelling with 400 or 500 rolls of film and going through x-ray machines, worrying the film would be damaged. Digital is fantastic and has helped free up the creative process for me: I can shoot as many images as I want as there is no film budget now for books. When I started, the books I worked on had a limited number of colour photographs, with many still printed in black and white, as printing in colour was much more expensive. Now there seems to be no limitation to the number of photographs a book can contain.
What draws you to photographing plants and gardens?
I’m a gardener at heart, so I approach shooting gardens from that perspective. I’m interested in plants, in how they grow and in documenting that. You can learn something from every garden you visit. It might be a colour combination or a plant you have never seen before, or it might be the way a gardener has grown a plant, pruned or shaped it. If you lived for 1,000 years, you would still not learn everything about gardening and that’s what fascinates me. And when I’m not photographing gardens, I’m gardening at home.
What is your favourite part of your own garden?
I love the topiary in our garden – the Buxus (English box) shapes I have been clipping for 10 years now, which act like punctuation marks in the garden in the same way that full stops or exclamation marks complete a sentence. The topiary gets clipped twice a year and helps give the garden structure. I actually think I might add some more as it’s very effective.
Was there anything uniquely Australian that connected all of the gardens in the book?
Yes – all the incredible stories the garden owners had about snakes and other garden critters. One gardener, who thought she had picked up the garden hose, had actually picked up a snake. And nearly all the garden owners had stories like it. Gardening in Australia is a difficult process – we have a climate of extremes, and lengthy periods of drought – and you could only be in Australia with all those snake stories.
What inspired you to feature the dogs (and other animals in your new book)?
The dogs and cats or other animals we choose to surround ourselves with become part of our gardens, bringing them to life – they are as much a part of the garden as the plants themselves. I have two whippets and our garden wouldn’t be the same without them. Animals bring life and warmth to a garden.
If there was one garden from Garden Love that you would like as your own, which one would it be?
I have to say probably ‘Foss’. It’s a really magical place, and you always feel great whenever you wander around the garden there. It’s six parts magic, four parts garden. Last time I was there, the Manchurian pear trees were in flower, and it was incredible. The blossom was so thick on the trees, it was like walking through a large white fluffy cloud.
Plants, Dogs and Country Gardens … what else do you need to add to the list, for complete happiness?
A cottage and books, then life would be perfect.
Garden Love, priced $59.99, is available now in all your favourite book shops across Australia.
John Russell was a close friend of Vincent van Gogh and Auguste Rodin, taught impressionist colour theory to Henri Matisse and dined with Claude Monet. Watch this fascinating short video to learn a little more about the particular bond he shared with Van Gogh.
John Russell: Australia’s French Impressionist has been published by the Art Gallery of NSW to accompany the exhibition of the same name which runs until November.
Bringing together 120 paintings, drawings and watercolours – including a number of works by his contemporaries – this major retrospective is the first survey of Russell’s work in 40 years. It offers fresh perspectives on French impressionism, reintroducing Russell’s extraordinary painting to today’s audiences.
Author Jaqui Cameron on the unique appeal of the Southern Highlands of NSW, and its community.
I am not a horticulturist. At this point in my life I am barely even a gardener, but I grew up with a large country garden and understand the dedication such a space demands. Having lived on a farm in the Southern Highlands with my young family for nearly a decade, growing and selling trees, I have come to know the dedication and passion of garden owners in this area. I also know that every garden comes with a tale as unique as its design and I’m incredibly inquisitive – some would say nosy! I love writing, I love a good story and I have always loved a great romance.
Over the years I have learnt that the Southern Highlands is an area with a gardening history as rich and deep as the local soil. Well known for its beauty, it has long attracted garden enthusiasts because the climate provides the opportunity to celebrate the beauty of a garden across the four distinct seasons. What is not so well known is the extraordinary variety of gardens that exist across the region, nor that it can deliver four seasons in a single day, with a clear summer morning quickly transformed by a thick wintry mist rolling in.
I have spent countless happy days driving along the quiet village streets and country laneways of the Southern Highlands, looking over gates and hedges, desperately trying to get a glimpse of whatever hidden gem might lie beyond.
I have met a wonderfully eclectic community of gardener owners, garden specialists and artists, and I have been lucky enough to visit some of the most breathtaking landscapes. I have found the beauty and the very personal love affairs people have with their gardens inspiring and delightful, and with each new discovery the idea to create a book telling the stories behind Southern Highlands properties began to grow. I wanted to uncover hidden, previously unseen gardens and explore the passions of the owners who had dreamt and worked hard to create their own private oases. My challenge was to find these private gardens and convince their owners to allow me to share their stories.
That’s where the strength and generosity of the local community came to the fore. It quickly became evident to me that there is no ego in a garden. At each site I visited, the owner would recommend another garden they considered to be an equal, if not grander, triumph with its own amazing story.
This serendipity led me to the wonderful characters, beautiful gardens and amazing stories that fill this book. I was overwhelmed with suggestions and never disappointed.
You never can tell what lies beyond the garden gate.
In this extract from his new bestselling book Chromatopia, author and master paint maker David Coles looks at the origin of ochre – believed to be the first pigment used to create human artworks.
The oldest human artworks still in existence are vivid depictions of animals, humans and spirits that were created using ochres. There is evidence of their use as far back as 250,000 years ago. Ancient ochre artworks are found all over the world, from the earliest cultures of India and Australia to the famous cave paintings of Lascaux in France.
Naturally occurring iron-containing ochres of the earth provide a wide range of yellow, red and brown colours.
The natural mineral could be collected or dug-up and then simply ground against a harder rock and water added to make fluid. Later civilisations refined this process to include washing the ochre of impurities, drying and then grinding to a fine powder.
Yellow ochres are an impure form of iron oxide called limonite. They can also be roasted to produce other hues
by placing on a fire or in an oven. A moderate heat turns the yellow to orange; stronger heat makes the colour turn red. These roasted red ochres are often called ‘burnt’ (for example, burnt sienna). Naturally occurring red ochres are richer in anhydrous iron oxide called haematite. They also vary widely in shade, hue and transparency.
There are many earth pigments whose specific colour comes from natural mineral admixtures. The pigments known as ‘umber’ contain iron plus manganese oxide that lends a greenish hue. Iron-oxide-free earths are not strictly ochres, but it is important to include them here as their use alongside the true ochres is significant throughout history; white earths from pipe-clay, black earths of manganese and the light green pigment terre-verte (green earth) from mineral celadonite.
This is the first full-colour publication of some of the most extraordinary botanical prints of the 18th century. Banks’ Florilegium is not only a great scientific record, but also a major achievement of collaborative Enlightenment art, and a work of botanical illustration of outstanding beauty.
Joseph Banks accompanied James Cook on his first voyage around the world between 1768 and 1771. A gifted and wealthy young naturalist, Banks collected exotic flora from Madeira, Brazil, Tierra del Fuego, the South Pacific, New Zealand, Australia and Java, bringing back over 1,300 species hitherto unknown to science.
On his return, Banks commissioned over 700 superlative engravings as a scientific record. Known collectively as Banks’ Florilegium, they are some of the most precise and exquisite examples of botanical illustration ever made – yet they were never published in Banks’ lifetime.
The present selection has been made from a unique limited colour edition of the prints, with expert botanical commentaries provided by Professor David Mabberley. Mel Gooding describes the Endeavour voyage and the making of the Florilegium. An afterword by Joe Studholme outlines the history of the modern printing.
Mel Gooding is an art historian, writer and curator. He has taught at Edinburgh and Wimbledon Schools of Art, among others, and contributes regularly to the art press.
Professor David Mabberley has served as Executive Director of the Royal Botanic Gardens and Domain Trust in Sydney. He is an Emeritus Fellow at Wadham College, Oxford, Adjunct Professor at Macquarie University, Sydney, and Professor Extraordinary at the University of Leiden, The Netherlands.
Joe Studholme co-founded Editions Alecto and undertook the printing of Banks’ Florilegium from the original copper plates between 1980 and 1990.
‘Splendid … much to enjoy for the general reader’ Apollo
‘A stunning piece of history, art and botany in one’ The Field
‘This magnificent modern compilation is quite breathtaking in its beauty and detail’ This England
‘Beautifully crafted and lovingly presented … a joy to behold’ The Garden, Royal Horticultural Society’s magazine
The Making of Banks’ Florilegium I: The voyage of Endeavour, Mel Gooding • The Plates, David Mabberley • The Making of Banks’ Florilegium II: The Florilegium, 1772–1990, Mel Gooding • The Modern Printing of the Florilegium, Joe Studholme
Format:Hardback with tipped on colour plate to front board (without jacket)
Ever since his first show for the house in 1983, Karl Lagerfeld’s Chanel collections have consistently made headlines and dictated trends the world over. For the first time, the key looks of every Chanel collection ever created by Lagerfeld are gathered in a single volume, offering a unique opportunity to chart the development of one of the world’s most influential fashion brands and rediscover rarely seen collections.
This definitive publication opens with a concise history of the house of Chanel, followed by a brief biographical profile of Karl Lagerfeld. It goes on to explore the collections themselves, which are organized chronologically and introduced by a short text unveiling each collection’s influences and highlights.
Each collection is illustrated with carefully curated catwalk images, showcasing hundreds of spectacular clothes, details, accessories, beauty looks and set designs – and of course the top fashion models who wore them on the runway, from Claudia Schiffer and Linda Evangelista to Kate Moss and Cara Delevingne. A rich reference section, including an extensive index, concludes the book.
Man about town and author of Saturday Night Fever Pitch Simon Doonan introduces five charismatic geniuses who changed footballer fashion forever.
Footballers exist for our vicarious pleasure. We ordinary mortals might not be winning trophies, growling through the streets in a Lamborghini Aventador, or executing bicycle kicks, or wearing $800 Saint Laurent jeans, or zipping about on private planes snuggling under Hermès blankets with top-shelf tottie, or pouring artisanal tequila down our throats, but somebody sure as hell better be doing it. In their strange meteoric footballing lives we need to see all our hopes and fantasies distilled and writ large, exploding and imploding.
The wage cap was officially lifted in 1962, and suddenly British footie players began coining it. They became part of the Swinging Sixties and began to live like rock stars, or at least to aspire to. Chief among them was raven haired stallion and Manchester United winger, Mr. George Best, the guy the press dubbed The Fifth Beatle, the guy who famously declared, “I spent a lot of money on booze, birds and fast cars. The rest I just squandered.”
Paul ‘Gazza’ Gascoigne
In the 90s men’s designer fashion went global, and footballers were first in line: ‘I went out and bought ten Versace suits – but in all the brightest colours…and I got my hair bleached. I can’t remember why. It must have seemed like a good idea at the time.’ Thus spake footballing folk hero Paul Gascoigne, “the most naturally gifted footballer of his generation” and the poster child for footballer excess, and post-retirement struggles.
In 2001, David Beckham, complete with Mohawk, appeared on the cover of The Face, the now-extinct bible of fashion esoterica, thereby achieving something unprecedented for a footballer: complete fashion legitimacy. No longer just a consumer of clothing and a popularizer of blokey trends, Becks becomes a bona de inspirational icon of cool. In the subsequent decade Beckham took his cool and his fashion legitimacy and made it into a brand that could sell anything from Brylcream to undies. Especially undies.
It’s just ‘andbags. In the 21st Century metrosexual footballers like Italian national Mario Bolatelli take their accessories very seriously. Carrying the latest Gucci or Louis Vuitton washbag into the changing room becomes an important moment of bravado and status. In addition to his appreciation for a good handbag – and his athletic skills – Bolatelli is also known for his camouflage-painted Bentley which racked up thirteen thousand dollars in parking tickets during his time at Manchester City.
At the 2013 FIFA Ballon d’Or awards Lionel Messi – many would argue that the Barcelona forward is one of the greatest players of all time – makes fashion history. Signor Messi wears an extraordinary suit made from shiny red shantung silk, a raging, blazing disco-inferno of red bespoke Dolce & Gabbana. The social media reaction is brutal, many accusing Messi of nicking his gran’s curtains. I, for one, think he looks damn good.
Photo by Joe Gaffney
Simon Doonan is the Creative Ambassador for Barneys New York. He has worked in fashion for over 35 years, and is the author of six books, including the tongue-in-cheek style guides Eccentric Glamour and Gay Men Don’t Get Fat.
To celebrate the release of Retro Cameras, photographer Bill Knight delights in the inestimable charms of Leicas, Rolleiflexes, and the Nikon F1.
Will anyone ever care about outdated digital cameras the way they do about film cameras? Maybe, but it is difficult to believe that they will. The D1 was Nikon’s first digital single lens reflex camera, introduced in 1999. It may find its way into a museum but who is going to love it? It would be like loving an IBM PC. My D5 – its modern successor – is a wonderful thing, built like a brick, fast as lightning, sees in the dark, intuitive autofocus, you can work it with gloved hands in a freezing rainstorm. It is one of the finest picture-taking machines ever made. But when the D6 comes along I will trade up without a second thought. It’s just a toothbrush really. Keep it while it does the job and chuck it out when something better comes along.
But film cameras have magic, and provided you want to work with film they don’t really go out of date. Look at the pictures of the Exaktas Contaxes, and Rolleiflexes in this book and the years roll away. I used to look at pictures like these when I was supposed to be doing my homework. By the time I could afford any of these cameras their time was passing, but they are still beautiful, in the way an old Rolex watch is beautiful. I did come to own one of the cameras illustrated – a Pentax ME Super – and jolly good it was too.
And then there’s the Leica – a piece of history in a class of its own. Henri Cartier Bresson had one; any serious photographer had one or wanted one. Small, beautifully made, with incomparable lenses, they have always been ludicrously expensive and I put off buying one for years. Then I read an article by a hospice nurse who recorded her patients’ dying regrets. You know the sort of thing – ‘I wish I hadn’t worked so hard.’ ‘I wish I had lived the life I wanted instead of the one expected of me.’ I wasn’t worried about any of those things but it did occur to me that I wouldn’t want to be lying there saying, ‘I wish I had owned a Leica.’ The man in the shop said that was quite a common reason for buying one.
So what is that about? Does my Leica M10 really take better pictures. Is that why I love it, even though it’s digital? Weirdly, the answer seems to be yes. I have taken my favourite pictures with a Leica, but it is hard to say why. When I get it out sitters sometimes think they are not getting their due. ‘Oh, you are using the little camera.’ Such ignorant fools.
Looking at these cameras you have to think that there is a lot of history there, some of it quite dark. The best models are German and Japanese, countries with whom we had a certain amount of political difficulty in the 20th century. What have those cameras seen? Some of the German brands were manufactured in the east and one imagines the Stasi were pretty good customers.
But so what. The camera is innocent. Even if you are not a collector you have to be impressed by the sheer range and number of the precision instruments so beguilingly laid out across the pages of this book. But it’s not just the mechanical beauty of these machines that gives them their charm. The Leica, the Nikon F1 and all the rest gave us our memories of the 20th century. Of course they have picked up a patina along the way. They were there. They saw.
Thames & Hudson Australia was awarded the Australian Book Industry AwardsSmall Publisher of the Year. This is an award for an Australian publisher whose program (including sales, promotion, editorial and production) demonstrated excellence throughout 2017, and who has contributed to the overall success of the industry.
While we are celebrating the award here in Port Melbourne, we wanted to extend our congratulations to all of the authors, editors, designers, illustrators, photographers, distributors and booksellers who have helped make this possible. Your creative vision, professional skills and incredible talent have helped us to produce and sell the innovative high-quality illustrated books that are synonymous with the Thames & Hudson brand.
We are immensely proud of the award, and we hope that you are too.