Good Luck tattoos are frequently worn by those who really need them: people you would not always call winners. Dices, eight-balls clover leaves, playing-cards, horse shoes: we use all of these symbols to appeal to lucky forces. And if they don’t help, at least you can say: you can’t win if you don’t play. This is the second volume in a series of publications dealing with major themes in tattoo art. They feature a superb selection of images covering the art and history of Western electric tattooing that are hand picked from the Schiffmacher Collection. These high quality, collectible publications elaborate on themes that can be admired, will inspire and educate, and be a source of tattoo motifs and designs.
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Henk Schiffmacher
Anchor
Literally a metal device that prevents a ship or boat from drifting, the anchor came to represent a sailor's last resort in stormy weather, a symbol of well-grounded hope. In early Christianity, hope was an anchor for the soul, as Christ was an anchor in life. The anchor as a synonym for steadfastness, strength, tranquility, and faithfulness: all these qualities help us to weather the storms of life. This is the fourth volume in a series of publications dealing with major themes in tattoo art. They feature a superb selection of images covering the art and history of Western electric tattooing that are hand picked from the Schiffmacher Collection. These high quality, collectible publications elaborate on themes that can be admired, will inspire and educate, and be a source of tattoo motifs and designs.kunst
Ton & Mies Becker
Twentieth Century Modernisms in Balinese Wood Carvings
'The Becker Collection - Twentieth century modernisms in Balinese wood carving' contains the private collection of twentieth century ?modern style? Balinese wood carvings, collected by Ton and Mies Becker, both retired medical specialists and collectors of Asian art. Between the 8th and 10th century Hindu influences spread to Bali and blended into the exiting Balinese mix of animistic and Buddhist styles and subjects, known as Bali Aga. Hence, in due time the craftsmen obtained the subjects for their works from the Hindu-Balinese religion and their heroes and demons from famous Hindu epics. This particular style became known in the Western art world as the ?Traditional or Old Balinese style?. In the 20th century the arts and crafts scene in Bali changed completely. First because of Western artist who visited Bali and stayed on to work there and, second, because of the gradual influx of increasing numbers of foreign tourists. In addition the Dutch colonial government started a military campaign to control the powerful kingdoms of central and southern Bali. As a result the local craftsmen lost their royal support and soon realized that foreign tourists were not particularly interested in gods and heroes. Hence, stimulated by some of the Western artists who had settled in Bali, they turned to secular subjects taken from nature and everyday life and became more impressionistic in the execution. This led to a range of new styles, often impressionistic and sometimes even minimalistic and caricatural with bizarre elongated shapes or solid compact forms. In this book we are concerned with this particular type of 20th century ?Modern Style? Balinese wood carving. The catalogue contains 40 objects of ?modern style? wood carving, representing different styles. Each object is photographed, both as an overview and in details if so requested. A brief description of each object is provided, together with the estimated date, and additional information is provided if considered useful. The catalogue is preceded by an essay on the history of Balinese wood carving.kunst
Ton & Mies Becker
Fabulous Dehua Monochrome Porcelain
Blanc de Chine' contains the private collection of monochrome porcelain from Dehua, collected by Ton and Mies Becker, both retired medical specialists and collectors of Asian Art. For many centuries the Chinese and Western elite adored the monochrome white porcelain wares made in Dehua, a district in the province of Fujian, bordering the south-easterly coast of China. The appeal being based on the combination of beautiful crafting and an aesthetic creamy glaze. It is this appeal which the authors experienced as an irresistible charm and the urge to start collecting this particular porcelain. A number of short essays has been included, not intended as an all-embracing academic account, but rather as introductory notes for those who develop an interest in collecting Blanc de Chine porcelain. These include considerations about the ?whiteness? of Blanc de Chine, the manufacture and main design categories of Blanc de Chine and the export to Europe. The catalogue of the collection is organised according to the main design categories and consists of photographs of each object, highlighting details if desired, a brief description of each item and explanatory notes to provide information about particular items that may need additional clarification, as well as the date of acquisition and provenance.kunst
