Scheidegger & Spiess International Autumn 2021

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Scheidegger & Spiess

Art I Photography I Architecture

International New Titles Autumn 2021



Max Bill Global

4 / 5

Dear to Me

6 / 7

David Chipperfield Architects Berlin

and the Kunsthaus Zürich

8 / 9

Love, Fight, Feast

10 / 11

Aenne Biermann

12 / 13

Nicolas Party – Rovine

14 / 15

Luigi Pericle. Ad astra

16 / 17

Working & Living


Andrea Garbald


Henry Brand


Le Corbusier Ronchamp


Key Titles




Representatives and Agents


Migration of Form


Sur Papier. Su Carta


Raphael Ritz

Edited by Fabienne Eggelhöfer

and Nina Zimmer

Essays by Fabienne Eggelhöfer,

Heloísa Espada, María Amalia

García, Guitemie Maldonado,

Angela Thomas Schmid, and

Lynn Zelevansky

Book design by Sabine Hahn

In cooperation with

Zentrum Paul Klee, Bern


approx. 232 pages, 140 color and

20 b/w illustrations

21 × 28 cm

978-3-85881-877-5 English

978-3-85881-697-9 German

sFr. 49.00 | € 48.00

£ 42.00 | $ 50.00

OCTOBER 2021 (Europe)


ISBN 978-3-85881-877-5


9 783858 818775

ISBN 978-3-85881-697-9


9 783858 816979

New monograph on Max Bill,

Swiss master of modernism and

true renaissance man

Offers a fresh look at and comprehensive

survey of his remarkable

achievements in all fields of his

creative activity

Investigates Bill’s engagement in

politics and as an activist as well

as the network of fellow artists

around the world, with whom he

maintained a lifelong artistic and

political dialogue

Exhibition: Max Bill Global,

Zentrum Paul Klee, Bern (September

16, 2021 to January 9, 2022)

A key figure of

modernism in

Europe and globally


renaissance man

Max Bill Global

An Artist Building Bridges

Max Bill (1908–1994), a key figure of modernism in his native Switzerland and internationally,

was a true renaissance man. Equally accomplished as a painter, sculptor,

graphic and product designer, and architect, he was also an eminent theorist and educator,

curator, and prolific publicist. Moreover, he engaged in Swiss politics and was

an activist both in Switzerland and abroad. Throughout his career he connected with

fellow artists and other leading figures of modernism, maintaining a lifelong and

worldwide artistic and political dialogue.

This book, published in conjunction with a major exhibition at Zentrum Paul Klee in

Bern, Switzerland, takes a fresh look both at Bill’s remarkable achievements across his

diverse fields of creative activity and at his international network, highlighting his

contribution to art and society as a whole. Max Bill Global features some 80 of Bill’s

own works in all disciplines and a selection of his designed products that went into

industrial production, as well as work by some of his artist friends. It also includes

topical essays investigating Bill’s interaction and networking with fellow artists in

Dessau, Paris, Zurich, São Paulo, Buenos Aires, and New York.

Fabienne Eggelhöfer is chief curator and head of collection exhibitions

research at Zentrum Paul Klee in Bern.

Nina Zimmer is a scholar of art history and Director of Kunstmuseum Bern

and Zentrum Paul Klee.

Scheidegger & Spiess

Autumn 2021 3

In conversation,

Peter Zumthor explores

his own and his

guests’ passions

Edited by Peter Zumthor

Conversations with Anita Albus,

Aleida Assmann, Marcel Beyer,

Hélène Binet, Hannes Böhringer,

Renate Breuss, Claudia Comte,

Bice Curiger, Esther Kinsky,

Ralf Konersmann, Walter Lietha,

Olga Neuwirth, Rebecca Saunders,

Karl Schlögel, Martin Seel,

Rudolf Walli, and Wim Wenders

Book design by Kambiz Shafei

17 booklets and concertina folder

in slipcase

approx. 480 pages, 30 color and

10 b/w illustrations

12.5 × 21 cm

978-3-03942-010-0 English

978-3-03942-009-4 German

sFr. 160.00 | € 150.00

£ 140.00 | $ 180.00

USPs A collection of seventeen

conversations of Swiss architect

Peter Zumthor with seventeen

philosophers, curators, historians,

composers, writers, photographers,

collectors, and craftsmen

An inspirational reader that invites

to delve into the intellectual world

of Peter Zumthor and his guests

A set of seventeen beautifully

designed booklets and a concertina

folder in an exquisitely manufactured


SEPTEMBER 2021 (Europe)


ISBN 978-3-03942-010-0


ISBN 978-3-03942-009-4


9 783039 420100

9 783039 420094

Dear to Me

Peter Zumthor in Conversation

In summer 2017, celebrated Swiss architect Peter Zumthor curated the exhibition

Dear to Me at the Kunsthaus Bregenz, marking the twentieth anniversary of one of his

most famous designs. Part of the program were conversations with philosophers, curators,

historians, composers, writers, photographers, collectors, and craftsmen that

Zumthor had invited to contribute to the exhibition. His dialogues with them offer

insights into the thoughts and practice of fascinating personalities. Together with his

counterparts, he explores artistic preferences and practices, reasonings, as well as

practical knowledge from artisanal experience. Always charming and affectionate, he

follows up persistently, and with gentle determination takes his guests on mutual intellectual


In Dear to Me: Peter Zumthor in Conversation, Zumthor’s equally serious and serene

conversations with Anita Albus, Aleida Assmann, Marcel Beyer, Hélène Binet, Hannes

Böhringer, Renate Breuss, Claudia Comte, Bice Curiger, Esther Kinsky, Ralf Konersmann,

Walter Lietha, Olga Neuwirth, Rebecca Saunders, Karl Schlögel, Martin Seel,

Ruedi Walli, and Wim Wenders are collected in seventeen booklets held together in an

exquisitely manufactured box. An eighteenth complementary booklet documents the

Dear to Me exhibition in Bregenz through concise texts and images.

Peter Zumthor works with his Atelier of around thirty people in the alpine

setting of Haldenstein, Switzerland, producing architectural originals like

Kunsthaus Bregenz, Therme Vals, Museum Kolumba Köln, the Steilneset

Memorial in Vardø, and currently the new building for the Los Angeles

Museum of Art (LACMA).

Scheidegger & Spiess

Autumn 2021 5

Completed: the extension

of the Kunsthaus Zürich

Also available:

The Architectural History of the

Kunsthaus Zürich 1910–2020

978-3-85881-859-1 English

978-3-85881-860-7 French

978-3-85881-676-4 German

sFr. 19.00 | € 19.00 | £ 20.00 | $ 25.00

ISBN 978-3-85881-859-1

ISBN 978-3-85881-860-7

The New Kunsthaus Zürich

Museum for Art and Public

978-3-85881-875-1 English

978-3-85881-876-8 French

978-3-85881-696-2 German

sFr. 15.00 | € 15.00 | £ 18.00 | $ 20.00

ISBN 978-3-85881-875-1

ISBN 978-3-85881-876-8





ISBN 978-3-85881-676-4

9 783858 818591


9 783858 818607

ISBN 978-3-85881-696-2

9 783858 818751


9 783858 818768

9 783858 816764

9 783858 816962


Edited by Kunsthaus Zürich

In cooperation with Einfache Gesellschaft


Book design by Stefan Hunziker

Corti, Büro4


approx. 72 pages, 60 color and

20 b/w illustrations

19 × 23 cm

978-3-03942-027-8 English

978-3-03942-028-5 French

978-3-03942-026-1 German

sFr. 19.00 | € 19.00

£ 20.00 | $ 25.00

Traces the genesis of

David Chipperfield’s extension

for the Kunsthaus Zürich

Published to coincide with

the opening of the extension in

October 2021

Completes the three-part series

on the Kunsthaus Zürich’s

architectural history

OCTOBER 2021 (Europe)


ISBN 978-3-03942-027-8


ISBN 978-3-03942-028-5


9 783039 420278

ISBN 978-3-03942-026-1


9 783039 420285

9 783039 420261

David Chipperfield Architects Berlin

and the Kunsthaus Zürich

David Chipperfield’s new building for the Kunsthaus Zürich now stands in all its

splendor on Zurich’s Heimplatz, opposite the old museum building of 1910 designed

by Karl Moser. Its opening to the public in October 2021 will make the Kunsthaus

Zürich Switzerland’s largest art museum.

Following the two previous volumes on Kunsthaus Zürich’s architectural history and

the design for turning it into an art museum for the twenty-first century, this book

documents the genesis of David Chipperfield’s extension from proposal through political

debates about the entire project to completed structure. It features a foreword by

David Chipperfield and an essay by Christoph Felger, executive architect for the project

at David Chipperfield Architects Berlin, that discusses the design concept, the promise

made with it, and its fulfilment. A conversation between Christoph Felger, the director

of the City of Zurich’s Building Surveyor’s Office Wiebke Rösler, and Kunst haus

Zürich’s director Christoph Becker, and architecture critic Sabine von Fischer, as well

as numerous illustrations and plans sound out this new volume.

Kunsthaus Zürich is one of Europe’s leading art museums and Switzerland’s

largest art institution. Its permanent collection comprises masterpieces ranging

from medieval to contemporary art, with a focus on French impressionism,

postimpressionism, and classical modernism.

Scheidegger & Spiess

Autumn 2021 7

Telling stories through images:

Japan’s multifaceted narrative art

across eight centuries

Edited by Khanh Trinh

Essays by Sebastian Balmes,

Estelle Bauer, Jaqueline Berndt,

Melanie Trede, and Khanh Trinh

In cooperation with

Museum Rietberg, Zürich

Book design by Studio Marie Lusa

Flexicover (Paperback)

approx. 328 pages,

170 color illustrations

23 × 28 cm

978-3-03942-024-7 English

978-3-03942-023-0 German

sFr. 49.00 | € 48.00

£ 45.00 | $ 50.00

OCTOBER 2021 (Europe)


A uniquely comprehensive survey

of Japanese narrative art across

eight centuries

Highlights the vast variety of

picture worlds and of stories told

in Monogatari-e, or story pictures

Demonstrates the entire range of

artistic media and techniques used

for this type of Japanese art

Features some 100 rarely or never

before published art works, including

paintings, woodblock prints,

illustrated woodblock-printed

books, lacquer and metal objects,

porcelain, and textiles

Exhibition: Love, Fight, Feast:

The Multifaceted World of Japanese

Narrative Art, Museum Rietberg,

Zürich (September 10, 2021 to

December 5, 2021)

ISBN 978-3-03942-024-7


ISBN 978-3-03942-023-0


9 783039 420247

9 783039 420230

Love, Fight, Feast

The Multifaceted World of Japanese Narrative Art

The use of pictures to communicate a story has a long tradition in Japanese culture

that dates back more than a thousand years. Such narrative illustrations draw on

Buddhist texts, classic literature, poetry, and theatrical scenes to create rich visual

imagery realized in a wide range of media and formats. Quotations from and allusions

to heroic epics and romances were disseminated through exquisite paintings, woodblock

prints, and in pieces of applied arts such as lacquerware or ceramics, thus becoming

anchored in the collective consciousness. As story-telling art found expression

in a variety of materialities, it became an integral part of daily life. A fascinating

narrative space evolved that combined artistic excellence and aesthetic pleasure.

Love, Fight, Feast features some one hundred paintings, woodblock prints, illustrated

woodblock-printed books, as well as lacquer and metal objects, porcelain, and textiles

from the thirteenth to the twentieth century, alongside scholarly essays on a range of

aspects of Japanese narrative art. Published in conjunction with an exhibition at the

renowned Museum Rietberg in Zurich, the book offers a unique survey of the multifaceted,

colorful, and imaginative world of Japanese narrative art across eight centuries.

Khanh Trinh is curator of Japanese and Korean Art at Zurich’s Museum Rietberg

since 2015. Prior to this she worked as curator and lecturer in Japanese Art History

in Berlin (Museum für Ostasiatische Kunst, 1997–2004), Tokyo (Waseda University,

2006–07), and Sydney (Art Gallery of New South Wales, 2007–15).

Scheidegger & Spiess

Autumn 2021 9

102 103


78 79

84 85


60 61


90 91


Aenne Biermann: one of

the most significant European

avant-garde photographers

of the 20 th century

Edited by Raz Samira

Contributions by Simone Förster,

Bernhard Maaz, and Raz Samira

In cooperation with Tel Aviv

Museum of Art

Book design by Ornan Rotem,

Sylph Editions


approx. 144 pages, 100 color and

duotone illustrations

22 × 30.5 cm


English / Hebrew

sFr. 49.00 | € 48.00

£ 42.00 | $ 50.00

First new monograph in English

on the legendary avant-garde

photographer Aenne Biermann

since the 1930s

Features some 100 of Biermann’s

works in best color and duotone

reproduction, several of which

published in this book for the first

time ever

New essays on Aenne Bierman’s

photography in art-historical

context and on selected aspects

of her oeuvre

Exhibition: Tel Aviv Museum of Art

(from August 5, 2021)

SEPTEMBER 2021 (Europe)


ISBN 978-3-85881-882-9

9 783858 818829

Aenne Biermann

Up Close and Personal

Aenne Biermann (1898–1933) was one of the leading figures of photography in the

1920s and 1930s. Today, she is considered one of the most important avant-garde

photographers of the twentieth century. In just a few years of practice, the self-taught

artist became a well-known representative of German photography, participating in

almost all the important exhibitions of her time. She captured plants, objects, people,

and everyday situations in pictures that have to this day lost none of their allure and

poignancy. By means of clear structures, precise compositions of light and contrast, as

well as narrow framing, she drew a special kind of poetry out of the motifs of her

personal environment and developed her own, distinctly modern pictorial style.

This is the first substantial new book in English on this exceptional artist since the

1930s, published to coincide with a major exhibition at the Tel Aviv Museum of Art in

fall 2021. The large-format volume features some 100 of Aenne Biermann’s photographs

in color and duotone reproduction, several of them published here for the first

time ever. This impressive selection is complemented by essays on Biremann’s photography

in art-historical context and on selected aspects of her oeuvre.

Raz Samira is curator of photography at the Tel Aviv Museum of Art.

Simone Förster is curator of Ann and Jürgen Wilde Foundation,

Pinakothek der Moderne, in Munich.

Bernhard Maaz is Director of the Bavarian State Art Collections

in Munich.

Scheidegger & Spiess

Autumn 2021 11

The first survey of New York-based

Swiss artist Nicolas Party’s work

Edited by MASI Lugano

Contributions by Tobia Bezzola,

Nicolas Party, and Michele Robecchi

Book design by Studio Marie Lusa


approx. 176 pages, 70 color and

20 b/w illustrations

23 × 28.5 cm


English / German / Italian

sFr. 49.00 | € 48.00

£ 45.00 | $ 50.00

First ever substantial monograph

on Nicolas Party, a leading representative

of Swiss and international

contemporary art

Features Party’s well-known key

works as well as numerous

previously unpublished pastels,

sculptures, and paintings

Exhibition: Nicolas Party—Rovine,

MASI Lugano (June 27, 2021 to

January 9, 2022)

AUGUST 2021 (Europe)


ISBN 978-3-03942-035-3

9 783039 420353

Nicolas Party—Rovine

This book offers the first-ever survey of Swiss artist Nicolas Party’s entire body of

work. Born in 1980 in Lausanne, Party now lives and works in New York and has

established himself as one of the most important figures of international contemporary


Nicolas Party—Rovine (Italian for ruins) features pastels and sculptures that Party

has created since 2013. The book focuses on the core genres of painting: still life,

landscape, and portrait. Party’s works stand out in these genres due to his use of wild,

anti-naturalistic colors, as well as through his extremely precise rendering of the subjects.

The artist explains his fascination for each of these genres in accompanying

texts. The book also shows a large-format wall painting and a sculpture created especially

for Party’s major solo exhibition at MASI Lugano in the summer 2021. Contributions

by the art critic and curator Michele Robecchi and by MASI Lugano’s director

Tobia Bezzola supplement this beautiful volume.

Nicolas Party, born 1980 in Lausanne, Switzerland, lives and works in New York.

His most recent solo exhibitions were at the FLAG Art Foundation (New York,

2020), M Woods (Beijing, 2018/19), and the Magritte Museum (Brussels, 2018).

Tobia Bezzola is an art historian and director of MASI Museo d’arte della

Svizzera italiana in Lugano since 2018. Prior that, he was director of Museum

Folkwang in Essen, Germany, 2013–17.

Michele Robecchi lives and works in London as a writer and curator.

He is the editor of the Contemporary Artists Series published by Phaidon.

Scheidegger & Spiess

Autumn 2021 13









3 Schemadimeridiani energeticidella medicinacineseutilizzati ancheper l’agopuntura,

appuntatoamanodaLuigi Pericle/Schemader Meridiane aus derchinesischen Medizin,

diebei derAkupunkturzum Einsatzkommen,handschriftlich kommentiertvon LuigiPericle

1 EurythmicsexercisesonMonte Verità, MonteVerità

4 Luigi Pericle, Canone gotico/ Gothischer Kanon,s.d./o.J.,

matitasucarta/Bleistiftauf Papier,210×150 mm,ispiratoagli

studidiHansKayser, autore di AHarmonicDivisionCanon/

inspiriertvon denStudien Hans Kaysers, Autorvon

EinharmonikalerTeilungskanon.Zürich: Occident, 1946

ArchivioLuigi Pericle, Ascona




Ad astra




Scheidegger &Spiess

Edizioni Casagrande

die auch die Werke der aktuellen Ausstellung durchdringen

(siehe etwa Kat.-Nr. 33, 34und 36) –sowie

in seinen Schriften. Eine Untersuchung von Pericles

Werk kann nicht von seiner synkretistischen Herangehensweise

an die Welt abweichen, inder beispielweise

die Mechanik beziehungsweise Wirkweise des Motors

seines Ferraris, 3 des menschlichen Körpers (Abb.3)

und der künstlerischen Praxis (Abb.3–6) eine Einheit

ohne Hierarchie unter den verschiedenen Disziplinen

darstellt. So ist seine künstlerische Produktion inverschiedenen

Aspekten mit dem Konzept des Gesamtkunstwerks

identisch. Gemeint ist das Beseitigen der

Unterscheidung zwischen den Künsten zugunsten einer

Einheit von künstlerischen Ausdrucksweisen und dem

Leben und vor allem, was unseren Fall hier betrifft,

die perfekte Synthese der Künste und des Wissens.

Wenngleich dieses Konzept bereits im 19.Jahrhundert

in der deutschen Romantik bei Richard Wagner, Novalis

oder Friedrich Schlegel auftauchte, um nur einige der

Hauptvertreter zu nennen, breitete sich der Begriff

des Gesamtkunstwerks inder Avantgarde des 20. Jahrhunderts

4 aus und war auch noch inder Anfangszeit

des Bauhauses in Weimar (1919–1925) wie auch im Programm

des Black Mountain College in North Carolina

(1933–1957) zufinden. Diese Begrifflichkeit war

ohne Zweifel auch Luigi Pericle präsent, dessen Bezugspunkte

unter anderen Novalis, Paul Klee und die

Theosophie waren. 5 In diesem Zusammenhang kann

man auch die Entscheidung des Künstlers interpretieren,

abden 1960er Jahren sein Werk den «Matri

Dei d.d.d.» (Matri Dei dono dedit dedicavit) zu

widmen. Ineinem Dokument mit dem Titel Gebrauchsanweisung

für den Umgang mit dem Maler L.P., das

im Archiv in Ascona aufbewahrt wird, fordert Pericle

den amAnfang seiner Karriere stehenden Künstler

auf, auf das Signieren seines Werks zugunsten folgender

Widmung zuverzichten: «Dem ewigen und grössten

aller Künstler gewidmet» 6 .Inseinem Resümee betont

Pericle die Bedeutung einer Gesamtbetrachtung des

Werks, die eine Deutung ersten Grades überwindet:

«Es gibt nur einen Herkunftsort aller grossen Kunst:

das Überbewusstsein. Der Verstand kann weder Kunst

schaffen, noch beurteilen.» 7 Es taucht also erneut

der Begriff des Absoluten auf, der auch ein tragendes

Element der theosophischen Glaubenslehre ist. Das

Dokument liefert weitere Schlüsselelemente für das bessere

Verständnis von Pericles künstlerischem Schaffen.

ArchivioLuigi Pericle, Ascona 27

Cat. 5

Cat. 6

Senzatitolo, 1960

300×210 mm

PrimitiveCalligraphy (Matri Deid.d.d.),1961–1962


A new exploration

of Swiss artist Luigi Pericle’s

engagement with spirituality

and Zen philosophy

Cat. 24

Cat. 25

Cat. 34

Cat. 35

Creation Penetrating InertiaIV(MatriDei d.d.d.),1963–1964


Creation Penetrating InertiaVI(MatriDei d.d.d.),1964


Il segnodello Zen(MatriDei d.d.d.),1966


Senzatitolo (Matri Deid.d.d.),1964

600×420 mm

Cat. 59

Senzatitolo, s.d.

80×130 cm

What We Talk About When

We Talk About Art

Andrea and Greta Biasca-Caroni

The title of this essay isinreference to that of afamous

short story by American writer Raymond Carver, the

subject ofwhich is “love” instead of“art.” 1

The ideal universe of Luigi Pericle (Basel, 1916–

Ascona, 2001) is founded onaset of values that

he believed should govern the world; values that include

love and art, which in some cases are synonymous.

Pericle’s works exert aprofound impact on the viewer

who, in contemplating them, becomes fully immersed

in the loving embrace of art.

When, inDecember 2016,webought the house

where Pericle had lived with his beloved wife Orsolina,

we had noidea ofthe marvelous adventure that

awaited us, which would open up awhole new world.

We had wanted topurchase the house—named Casa

San Tomaso byPericle as atribute to St Thomas

Aquinas—for the fifteen long years during which it

remained uninhabited, abandoned todecay. When we

bought the property, we also acquired the artist’s paintings,

drawings, documents, and books found onthe

premises (ill.3). Itwas literally love atfirst sight, and our

passion for Pericle’s art has never faded—on the contrary,

it has grown day byday, fueled bythe amazing

discoveries weconstantly make about him and his work.

In 2019,the Associazione Archivio Luigi Pericle

was founded in Ascona and was entrusted with the

task of studying and giving due recognition toPericle’s


The first retrospective, Luigi Pericle. Beyond the

Visible, was held in the Area Carlo Scarpa of the

Fondazione Querini Stampalia during the 58th Venice

Art Biennale. It was organized under the auspices

of several cultural institutions, including the Council

of State ofthe Republic and Canton ofTicino, the its curation. We also owe adebt of gratitude tothe entire

Fondazione Monte Verità, and the Fondazione Eranos museum staff for the extraordinary work they have done,

(with which Pericle was associated and weourselves which will enable the public toexplore new facets of

collaborate). This exhibition also provided anopportunity

to establish various relationships with international The first scholarly catalog, published inconjunction

Pericle’s work and learn about the artist ingreater depth.

cultural institutions the artist came into contact with, with the exhibition held in parallel with the Venice Art

such as the British museums where he exhibited, which, Biennale, was an initial step in the broad-scope investigation

on Luigi Pericle’s art and thought, but it also left

like other museum in Switzerland, Italy, and the US,

own anumber ofhis paintings.

several questions unanswered.

This second retrospective, which coincides with This publication has been superbly edited byCarole

the celebrations for the twentieth anniversary of Haensler and enriched by her essay, which masterfully

Luigi Pericle’s death, will bring with itimportant new and rigorously sheds light onseveral aspects of Luigi

developments in the study of this artist’s work. Pericle’s poetics. Thanks to the renewed collaboration

Our thanks go to Museo d’Arte della Svizzera of Michele Tavola, Curator atGallerie dell’Accademia

Italiana (MASI), its Director Tobia Bezzola, the curator in Venice, italso offers amore in-depth analysis of

of the exhibition, Carole Haensler (Director of Pericle’s India ink drawings, which were first studied in

Bellinzona Musei and curator at Museo Villa dei Cedri), the catalog of the Querini Stampalia exhibition. The

who has created acompelling show with apowerful artist’s thought isanalyzed byAndreas Kilcher, Professor

ofLiterature and Cultural Studies atthe ETH in

impact, and Laura Pomari ofMASI for collaborating on

Zurich and Chair of the European Society for the Study

of Western Esotericism (ESSWE); his essay focuses on

Pericle’s novel, Bis ans Ende der Zeiten –Morgendämmerung

und Neuanfang statt Weltuntergang (Until

the end of times—dawn and new beginning, instead

of the end of the world), which, for anumber ofreasons,

is to be considered his spiritual legacy.

When Luigi Pericle made his entrance onthe international

art scene, hedisplayed his works alongside Karel

Appel, Antoni Tàpies, Jean Dubuffet, Pablo Picasso,

Asger Jorn, and Sam Francis; the success he enjoyed included

him among the most interesting artists of his day.

His art was bought by well-known collectors,

including British Member of Parliament Sir Basil de

Ferranti; Bennett Korn, achief executive ofMetromedia

Corporation, later bought by MGM; Brigitte Helm,

the female lead inthe cult movie Metropolis; and many

others. Hewas appreciated byleading figures in the

art world, such asSir Herbert Read, art consultant for

Peggy Guggenheim and trustee ofthe Tate Gallery;

the collector Peter G.Staechelin, who became his friend

and patron; and Peter Cochrane and Martin Summers

from the Arthur Tooth &Sons gallery inLondon.

In 1965, the renowned museologist and curator

of the York Art Gallery, Hans Hess, organized anexhibition

on Luigi Pericle with the support ofthe British

Arts Council—of which Read was the commissioner at

the time—that traveled toseveral British museums.

Foundation,HaraldSzeemann Fund 147

Edited by Carole Haensler

Contributions by Andrea and

Greta Biasca-Caroni, Carole

Haensler, Andreas Kilcher

and Michele Tavola. Preface by

Tobia Bezzola

In cooperation with MASI Lugano

Book design by Iza Hren


192 pages, 120 color and

7 b/w illustrations

24.5 × 28.5 cm


English / German / Italian

sFr. 39.00 | € 38.00

£ 35.00 | $ 45.00

The first book to explore Swiss

artist Luigi Pericle’s engagement

with spirituality and Zen philosophy,

and his understanding of abstraction

in art

Luigi Pericle’s fascinating work in

painting and drawing has recently

been rediscovered and is enjoying

increasing interest internationally

Luigi Pericle was a universally

interested and gifted personality,

self-taught illustrator and painter,

man of letters, mystic, theosophist,

and intellectual

Exhibition: Luigi Pericle: Ad astra,

MASI Museo d’arte della Svizzera

italiana, Lugano (until September 5,




ISBN 978-3-03942-022-3

9 783039 420223

Luigi Pericle. Ad astra

Luigi Pericle (1916–2001) was a rare talent—a self-taught illustrator and painter, a

man of letters, mystic, theosophist, and intellectual whose work and legacy eludes any

categorization. Under his proper name Pericle Luigi Giovanetti he had great success as

an illustrator and cartoonist in the 1950s. His cartoons were published worldwide in

daily newspapers, such as the Washington Post or Herald Tribune, as well as in satirical

magazines like Punch. His comic strip Max the Marmot, published in newspapers

and books, was hugely popular across Europe, the United States, and Japan.

In 1958, he turned to explore abstract expression through painting and ink drawing.

He quickly gained international recognition as an artist and his paintings were exhibited

in gallery and museum shows in Britain and Switzerland during the 1960s. Yet recognition

was not what he was looking for, and he disappeared voluntarily from the art

world to lead an increasingly secluded life dedicated entirely to his art and writing. His

home Casa San Tomaso on the legendary Monte Verità in Ascona, in southern Switzerland,

offered ideal surroundings for an artist so strongly drawn to spirituality.

Luigi Pericle. Ad astra, published to coincide with a major exhibition at the MASI

Museo d’arte della Svizzera italiana in Lugano, offers a fresh look at how the spiritual

environment and tradition of Monte Verità influenced Pericle as an artist and how

Asian calligraphy and Zen Buddhism were influential to his drawing practice. Moreover,

the book investigates Pericle’s understanding of abstraction in art and his own

syncretism of modern mysticism.

Carole Haensler is an art historian and director of

Museo Villa dei Cedri in Bellinzona, Switzerland.

Scheidegger & Spiess

Autumn 2021 15

Genossenschaft kurz nach Fertigstellung, Juni 1953. Genossenschaft kurz nach Fertigstellung, Juni 1953.

6 7 8 9





Studio House Wuhrstrasse 8/10

in Zurich: a unique working

and living space for artists

With art inserts by:

Georg Aerni

Marieta Chirulescu

Stephan Janitzky

Verena Kathrein / Ariane Müller

Adriana Lara

Christian Philipp Müller

Manfred Pernice

Zara Pfeifer

Erik Steinbrecher

Constantin Thun

Georg Winter

Edited by Painters & Sculptors

Building Cooperative Zurich

Contributions by Adam Jasper,

Caroline Kesser, Bruno Maurer,

Burkhard Meltzer, Gabrielle

Schaad, and Stefan Zweifel

Book designs by Teo Schifferli


approx. 256 pages, 130 color and

115 b/w illustrations

23 × 31 cm

978-3-03942-031-5 English

978-3-03942-030-8 German

sFr. 65.00 | € 58.00

£ 55.00 | $ 70.00

NOVEMBER 2021 (Europe)


ISBN 978-3-03942-031-5


ISBN 978-3-03942-030-8


The Atelierhaus Wuhrstrasse 8/10

in Zurich is a model example

of a living and working community

of artists that has been thriving

for almost seventy years

Swiss architect Ernst Gisel’s design

of 1953 has remained virtually

unchanged and its outstanding

qualities still meet the demands

of today’s inhabitants

Documents the building and its

history through texts and largely

previously unpublished archival

plans and documents as well as

historical and new photographs

Portrays the lives and works of the

artists who live and have lived in

the house and sheds light on the

philosophical, cultural, and social

aspects of this unique world

9 783039 420315

9 783039 420308

Working & Living

History and Presence of Studio House Wuhrstrasse 8/10

The studio and residential building at Wuhrstrasse 8/10 in Zurich is a unique place:

Commissioned by the Painters & Sculptors Building Cooperative Zurich, founded in

1948, eminent Swiss architect Ernst Gisel (1922–2021) designed this ensemble of

buildings comprising eight apartments and twelve artist studios in 1953. Thus, a utopia

of self-organized working and living space became reality. Since then, fifty-four artists

have left their mark on the artistic and cultural life of Zurich and Switzerland from

their home on Wuhrstrasse 8/10.

This book recounts the history of this extraordinary structure, illustrated with archival

plans and documents as well as new and historic photographs. It also examines the

political and social dimension of the Wuhrstrasse model and its international impact.

Further essays explore how the lives and works of the resident artists are interwoven

with contemporary events, and address the artist studio as both an idealized myth and

as a real place of work. In inserts created especially for the book, eleven Zurich-based

artists, all not members of the cooperative themselves, respond to the exemplary

model that is the “Atelierhaus.”

Adam Jasper is a postdoctoral researcher at ETH Zurich’s Institute

for the History and Theory of Architecture (gta Institute).

Caroline Kesser lives and works in Zurich as an art historian and critic.

Bruno Maurer is director of archives at ETH Zurich’s Institute for the

History and Theory of Architecture (gta Institute).

Burkhard Meltzer is a Zurich-based author, researcher, and curator.

Gabrielle Schaad is a lecturer and research associate at Zurich University

of the Arts (ZHdK) and the Technical University of Munich.

Stefan Zweifel is Zurich-based a philosopher who also works as

a writer and curator.

Scheidegger & Spiess

Autumn 2021 17

Edited and with a text by

Stephan Kunz

In cooperation with

Fondazione Garbald

Book design by Thomas Rhyner


180 pages, 93 color illustrations

16.5 × 22 cm


German / Italian

sFr. 35.00 | € 29.00

£ 25.00 | $ 40.00

ISBN 978-3-03942-025-4


Features a selection of portraits

of women from Val Bregaglia in the

Swiss canton of Grisons by photographer

Andrea Garbald (1877–

1958) in the manner of a personal


Shows a little-known part of

Andrea Garbald’s oeuvre and

presents his own view of his native

Val Bregaglia through portraits

of the valley’s women

Garbald’s artistic work, redis covered

in the 1980s, continues to attract

much interest

9 783039 420254

Andrea Garbald’s

portraits of women

from the

Val Bregaglia

Andrea Garbald


Photographer and artist Andrea Garbald (1877–1958) dedicated an important part of

his oeuvre to the women of his native Val Bregaglia, in the Swiss canton of Grisons.

As the first and, for a long time, the only photographer in the valley, he ran his own

photo studio in addition to an optician’s store in the village of Castasegna. Yet instead

of making his artistic work public, Garbald kept it in his attic. His estate was only

discovered in the mid-1980s and displayed in public for the first time in 2014 in a

major exhibition.

Andrea Garbald’s portraits collected in this volume show women of different ages and

social classes and go far beyond the stiff official portraits that were common at the

time. The sitters’ posture, clothes, faces, and their eyes speak volumes: the photographs

demonstrate a special intimacy and empathy towards the people portrayed. At

the same time, they reveal the development of the medium and its visual language.

This new book provides an in-depth look at Garbald’s unusual oeuvre and offers an

insight into the subtle creativity of this local pioneer.

Stephan Kunz is artistic director of Bündner Kunstmuseum Chur and a

member of the board of trustees of Fondazione Garbald in Castasegna,


Scheidegger & Spiess

Autumn 2021 18

Edited by Pierre-Emmanuel Jaques

and Olivier Lugon

Essays by Christophe Brandt,

Faye Corthésy, Roland Cosandey,

Caroline Fournier, Pierre-

Emmanuel Jaques, Aude Joseph,

Olivier Lugon, and Grégoire Mayor

Book design by Onlab


approx. 336 pages, 62 color and

188 b/w illustrations

19.5 × 26.5 cm

978-3-03942-049-0 French

sFr. 59.00 | € 58.00

£ 55.00 | $ 65.00

First monograph on the eminent

Swiss cinematographer and

photographer Henry Brandt

Presents the work of an important

figure in Swiss filmmaking through

essays by leading specialists and

numerous illustrations, many of

which published here for the first


Exhibition: Henry Brandt: Cinéma

et photographie, Musée d’art et

d’histoire, Neuchâtel (November 14,

2021 to May 29, 2022)

NOVEMBER 2021 (Europe)

ISBN 978-3-03942-049-0

9 783039 420490

Henry Brandt,

pioneer of

the “nouveau

cinéma suisse”

Henry Brandt

Cinéma et photographie

Henry Brandt (1921–1998) was a legendary figure in Swiss postwar filmmaking, a

photographer and a pioneer of the “nouveau cinéma suisse.” His second film Les

Nomades du soleil, an ethnographic documentary shot in 1953–54 about a nomadic

people in Niger, earned him international renown. At the 1964 Swiss national exhibition

Expo 64 in Lausanne, Brandt left his mark on the memory of an entire generation: his

five short films La Suisse s’interroge questioned the countries affluent Swiss society in

a hitherto unknown form and were the initial spark for the sociologically incisive

filmmaking in francophone Switzerland that later gave rise to masterpieces by Alain

Tanner and Claude Goretta.

This first monograph on Henry Brandt spans the entire oeuvre of this versatile cinematographer,

which includes numerous documentaries, photo reportages, and TV productions.

The essays investigate Brandt’s works and provide insights into his efforts to

combine the description of the local with the exploration of the distant. The book

highlights that Henry Brandt’s commissioned work as well as his own independent

productions are critical testimonies to global inequality and thus more relevant today

than ever.

Pierre-Emmanuel Jaques is a lecturer at the University of Lausanne,

where he is researching film history, particularly in Switzerland, as part

of a joint research project with the Lausanne-based Cinémathèque Suisse.

Olivier Lugon is a historian of photography, a professor at the University

of Lausanne, and co-editor of the journal Transbordeur: photographie,

histoire, société.

Scheidegger & Spiess

Autumn 2021 19

An entirely new artistic

approach to Le Corbusier’s

iconic chapel of Notre-Damedu-Haut

in Ronchamp

Text by Otto Kapfinger and

Claudia Kromrei

Book design by Bänziger Hug


approx. 120 pages, 80 color and

10 b/w illustrations

19.5 × 25.5 cm


English / German

sFr. 39.00 | € 38.00

£ 35.00 | $ 40.00

First-ever publication of Siegrun

Appelt’s Le Corbusier Ronchamp


Siegrun Appelt’s images highlight

Le Corbusier’s ingenious direction

of light as well as the spatial

structure, lines, and the passages

between materiel and immaterial

elements of his iconic chapel

NOVEMBER 2021 (Europe)


ISBN 978-3-85881-695-5

9 783858 816955

Le Corbusier Ronchamp

Photographs by Siegrun Appelt

Le Corbusier‘s chapel Notre-Dame-du-Haut in Ronchamp is arguably the most famous

modern religious building and a UNESCO world heritage site. It has been photographed

by millions of people, including some of the most distinguished architectural

photographers. In this book, Austrian artist Siegrun Appelt takes an entirely new

approach to looking at the iconic structure, distinct from all her famous predecessors.

Appelt focuses with an utter concentration on details, creating compositions of the

highest sensitivity and precision. Her images highlight the place’s spatial structure and

lines, Le Corbusier’s ingenious direction of light, as well as surfaces and passages. The

images can be read as hints to these details and at the same time invite a conclusion

from detail to the whole.

Published alongside the images is a dialogue between Claudia Kromrei and Otto Kapfinger,

in which they investigate the potential of photography to show Le Corbusier’s

means of expression and discuss the visualization and perception of material and immaterial

elements of this icon of twentieth-century architecture.

Siegrun Appelt is a Vienna-based artist whose work encompasses electronic

media, photography, light art, and objects.

Claudia Kromrei is an architect and professor of architectural history and

construction theory at Bremen’s City University of Applied Sciences.

Otto Kapfinger lives and works in Vienna as a scholar of architectural

history and theory and freelance publicist.

Scheidegger & Spiess

Autumn 2021 21

In cooperation with

Johann Jacobs Museum, Zurich

Book design by Bijan Dawallu


approx. 288 pages, 82 color and

24 b/w illustrations

23.5 × 29.5 cm


English / German

sFr. 49.00 | € 48.00

£ 45.00 | $ 50.00

DECEMBER 2021 (Europe)


ISBN 978-3-03942-003-2

9 783039 420032

A new study on migration of form

as curatorial method, based on the

practice at Zurich’s Johann Jacobs


Explores how exhibitions can contribute

to a broader understanding

of the complex global interdependencies

that shape our world

and life

Offers a topical and broadened,

and topical view of art and cultural


How can exhibitions

contribute to a

broader understanding

of the complex

global entanglements

that shape

our world and life?

Roger M. Buergel, Sophia Prinz

Migration of Form

Exhibitions for the Global Present

The term “migration of form” describes a curatorial method that takes aim at the

contradictions of the Western museum traditions and the ways exhibitions have been

conceived and designed. The method addresses transcultural entanglements in the

past and present from which objects emerge, rather than working with distinctions

such as art and non-art or cultural identities and concepts such as “Africa” or “Renaissance.”

It proposes a new type of museum for global audiences that serves as a

platform for discourses on urgent sociopolitical topics and as a space of experimentation

with new ideas and forms of display.

This book explains and applies the “migration of form” by offering insights into the

curatorial method Roger M. Buergel has experimented with at Zurich’s Johann Jacobs

Museum and other venues in Europe and Asia. Descriptions of single exhibitions on

global trade, raw materials, or artists such as Maya Deren and Allan Sekula are complemented

by concise texts which illuminate the theoretical foundations of the curatorial

process. Richly illustrated, the volume invites a timely and broadened view of art

and cultural history.

Roger M. Buergel is a curator and has staged and directed numerous

major exhibitions around the world, such as the documenta 12 (2007) in

Kassel, the Busan Biennale in 2012 and the Suzhou Biennale in 2016.

He has been director of the Johann Jacobs Museum in Zurich 2012–21.

Sophia Prinz is a scholar of cultural studies and cultural sociology.

She taught as a visiting professor of theory of design and gender studies at

Berlin’s University of the Arts 2018–20 and worked as a scientific advisor

at the Johann Jacobs Museum in Zurich 2013–21.

Scheidegger & Spiess

Autumn 2021 22

Edited by Antonia Nessi and

Marco Franciolli

Contributions by Marco Franciolli,

Madison Greenstone, Cecilia

Hurley, Domenico Lucchini, and

Antonia Nessi

In cooperation with the Musée d’art

et d’histoire, Neuchâtel, and the

Museo delle Culture, Lugano

Book design by Onlab


approx. 136 Seiten, 55 color and

5 b/w illustrations

24.5 × 32.5 cm


French / Italian

sFr. 49.00 | € 48.00

£ 45.00 | $ 55.00

AUGUST 2021 (Europe)

ISBN 978-3-03942-040-7

9 783039 420407

Features new art works made

on and out of paper by Chinese,

European, and American female


The previously unpublished works

illustrate the versatility of paper

as a medium and a material for

contemporary art

Images of the setting-up of in-situ

installations at the museum offer

insight into creative processes

Exhibitions: Sur Papier. Su Carta,

Musée d’art et d’histoire, Neuchâtel,

Switzerland (until September 5,

2021), Museo delle Culture, Lugano,

Switzerland (October 29, 2021 to

March 10, 2022).

Paper as a medium

of cross-cultural


Sur Papier. Su Carta

Mingjun Luo, Francine Mury, Jiang Zuqing, Sivan Eldar

Paper has been irreplaceable for centuries in the communication and transmission of

knowledge. In spite of the digital revolution, paper remains an essential vehicle for the

production of art, whether in drawings, painting, the creation of objects, or in the

context of site-specific installations. In the urgent need to give material substance to

our ideas and experiences, we capture them on paper. In the artistic treatment of this

medium, our cultural practices are transcribed onto the paper along with the intended


Sur Papier. Su Carta explores paper as a unifying element in the encounter and confrontation

of artistic practices with different cultural origins. It opens up a dialogue in

which hybrid identities and the cultural spaces between East and West are negotiated,

as illustrated by working processes and works on and with paper by Sivan Eldar

(USA), Mingjun Luo (Switzerland/China), Francine Mury (Switzerland), and Jiang

Zuqing (China).

Antonia Nessi is an art historian and co-director of the Musée d’art

et d’histoire, Neuchâtel (MahN).

Marco Franciolli is the former director of MASI Museo d’arte della

Svizzera italiana in Lugano and has been a freelance curator since 2018.

Scheidegger & Spiess

Autumn 2021 23

“Raphael of the Alps”:

the Swiss genre painter

Raphael Ritz

Edited by Céline Eidenbenz

Contributions by Alain Dubois,

Patrick Elsig, Marco Jalla, Laurent

Langer, Pascal Ruedin, Martina Sitt,

Maelle Tappy, and Sabine Zaalene.

Preface by Céline Eidenbenz

In cooperation with the

Musée d’art du Valais, Sion

Book design by Bonbon


approx. 216 pages, 110 color and

10 b/w illustrations

21 × 30 cm


French / German

sFr. 49.00 | € 48.00

£ 45.00 | $ 55.00

First new monograph in decades

on Swiss genre painter Raphael

Ritz (1829–1894), who became

famous as the “Raphael of the Alps”

Explores the Ritz’s work in the

context of nineteenth-century

European art

Exhibition: Raphael Ritz: Fabrique

d’un Valais éxotique, Musée

d’art du Valais, Sion, Switzerland

(October 16, 2021 to June 5, 2022)

NOVEMBER 2021 (Europe)

ISBN 978-3-03942-033-9

9 783039 420339

Raphael Ritz

Fabrique d’un Valais éxotique

Raphael Ritz (1829–1894) is one of the most important artists to have emerged from

the Swiss canton of Valais. In the 1850s, Ritz, who later became famous as the

“Raphael of the Alps,” studied at the renowned Academy of Art in Düsseldorf,

Germany, and perfected his technique in the genre of mountain painting, which focuses

on the relationship between landscape and man. Ritz, who felt a strong connection to

his roots, created landscape idylls in faraway Düsseldorf for an audience that appreciated

regional peculiarities. At times with a touch of irony, he put his works at the

service of a modern effort to illustrate the timeless character of everyday life.

This new monograph looks at the work of the Valais-born artist beyond national

borders and frames it in both the Swiss and international artistic contexts of the time.

Ritz’s correspondence with his father, Lorenz Justin Ritz, who was a painter as well,

is also comprehensively examined for the first time: it constitutes an important testimony

to his artistic self-discovery. Selected photographs by Swiss contemporary artists

from the museum’s collection show the Valais of today and establish a connection

between Ritz’s ethnographic view of his own origins and the present.

Céline Eidenbenz is director of the Musée d’art du Valais in Sion, Switzerland.

She has been curator of the Salon Suisse at the 2019 Biennale Art in


Scheidegger & Spiess

Autumn 2021 25

A highly enjoyable history of the

Bauhaus from an unconventional


“A difficult defense of the Bauhaus

against its worshippers”

(Philipp Oswalt)

An authoritative survey of Max Bill’s

career and wide-ranging work,

situating him in the context of his

cultural milieu

ISBN 978-3-85881-856-0

ISBN 978-3-85881-620-7

Philipp Oswalt

The Bauhaus Brand 1919–2019

The Victory of Iconic Form over Use

978-3-85881-856-0 English

978-3-85881-620-7 German

sFr. 39.00 | € 38.00 | £ 35.00 | $ 39.00

ISBN 978-3-85881-578-1

Max Bill

No Beginning, No End

978-3-85881-578-1 English / German

sFr. 49.00 | € 48.00 | £ 45.00 | $ 55.00



9 783858 818560

9 783858 816207

9 783858 815781

Paul Klee’s studies on polyphonic

painting: the beginning of a

new period

Oskar Bätschmann

Paul Klee—Ad Parnassum

Landmarks of Swiss Art

Exploration of a friendship:

Costantino Nivola, Le Corbusier, and

the development of Le Corbusier‘s

visual art

Le Corbusier

Lessons in Modernism

978-3-03942-011-7 English / German

sFr. 29.00 | € 29.00 | £ 25.00 | $ 29.00

OCTOBER (Europe)


ISBN 978-3-03942-011-7

978-3-85881-848-5 English

978-3-85881-853-9 Italian

sFr. 39.00 | € 38.00 | £ 30.00 | $ 39.00

ISBN 978-3-85881-848-5

ISBN 978-3-85881-853-9



9 783039 420117

9 783858 818485

9 783858 818539

ISBN 978-3-85881-829-4

ISBN 978-3-85881-830-0

The first-ever comprehensive

monograph on New York-based artist

Joel Shapiro, covering his entire career

and all of his artistic media

Richard Shiff

Joel Shapiro

Sculpture and Works on Paper


978-3-85881-829-4 English

978-3-85881-830-0 French

sFr. 85.00 | € 77.00 | £ 70.00 | $ 85.00

ISBN 978-3-85881-820-1

An intellectual panorama of the

significance and lasting effect of

Learning from Las Vegas in architecture

and urban design as well as in the

visual arts

Eyes That Saw

Architecture after Las Vegas

978-3-85881-820-1 English

sFr. 49.00 | € 48.00 | £ 45.00 | $ 49.00



9 783858 818294

9 783858 818300

9 783858 818201

The first comprehensive survey of

modern design from the transnational

and multilingual Alpine region

Tyrol—South Tyrol—Trentino

Design from the Alps 1920–2020

Tyrol South Tyrol Trentino


English / German / Italian

sFr. 49.00 | € 48.00 | £ 45.00 | $ 55.00

ISBN 978-3-85881-649-8

An insight into a vibrant scene:

portraits of around 50 innovative

modern Swiss fashion labels

Wild Thing

The Swiss Fashion Scene

978-3-03942-015-5 English / German

sFr. 29.00 | € 29.00 | £ 25.00 | $ 35.00

ISBN 978-3-03942-015-5

9 783858 816498

9 783039 420155

Scheidegger & Spiess

Key Titles 26

A unique insight into Marina

Abramovićs biography and art and

what connects the two

Jeannette Fischer

Psychoanalyst meets

Marina Abramović

Artist Meets Jeannette Fischer

978-3-85881-794-5 English

978-3-85881-546-0 German

sFr. 19.00 | € 19.00 | £ 18.00 | $ 20.00

The full scope of Sophie Taeuber-Arp’s

oeuvre in fine and applied art

Sophie Taeuber-Arp

Today Is Tomorrow

978-3-85881-757-0 English

978-3-85881-432-6 German

sFr. 59.00 | € 58.00 | £ 45.00 | $ 65.00

ISBN 978-3-85881-794-5

ISBN 978-3-85881-546-0

ISBN 978-3-85881-757-0

ISBN 978-3-85881-432-6





9 783858 817945

9 783858 815460

9 783858 817570

9 783858 814326

Equilibre: Sophie Taeuber-Arp’s

defining work as a painter

Walburga Krupp

Sophie Taeuber-Arp—Equilibre

Landmarks of Swiss Art

978-3-85881-662-7 English / German

sFr. 29.00 | € 29.00 | £ 25.00 | $ 29.00

An examination of not only the works

of American artist Kiki Smith, but of the

human body itself

Kiki Smith

Hearing You with My Eyes

978-3-85881-867-6 English / French

sFr. 39.00 | € 38.00 | £ 32.00 | $ 40.00

ISBN 978-3-85881-662-7

ISBN 978-3-85881-867-6

9 783858 816627

9 783858 818676

The first book ever to thoroughly

explore Sam Francis’s deep

involvement with Japan and Japanese

culture, and with Asian art in general

Richard Speer

The Space of Effusion

Sam Francis in Japan

978-3-85881-861-4 English

sFr. 75.00 | € 68.00 | £ 60.00 | $ 65.00

An artist to rediscover: the first

monograph to explore the entire body

of American photographer Jan

Groover’s highly original and

experimental work

Jan Groover, Photographer

Laboratory of Forms

978-3-85881-838-6 English

sFr. 49.00 | € 48.00 | £ 45.00 | $ 49.00

ISBN 978-3-85881-861-4

ISBN 978-3-85881-838-6

9 783858 818614

9 783858 818386

Charlie Koolhaas’s timely dialogue

between words and images about a

crucial moment in our recent history:

the apotheosis of globalization and its

current unraveling

From Constructivism to Art Deco and

back to avant-garde and the Bauhaus:

a unique survey of transformations

of Soviet interior design across six


Charlie Koolhaas

City Lust

London Guangzhou Lagos

Dubai Houston

978-3-85881-804-1 English

sFr. 59.00 | € 58.00 | £ 50.00 | $ 59.00

ISBN 978-3-85881-804-1

Kristina Krasnyanskaya and

Alexander Semenov

Soviet Design

From Constructivism to Modernism


978-3-85881-846-1 English

sFr. 99.00 | € 77.00 | £ 65.00 | $ 85.00

ISBN 978-3-85881-846-1

9 783858 818461

9 783858 818041

Scheidegger & Spiess

Key Titles 27

Scheidegger & Spiess

Art I Photography I Architecture

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Cover image

Nicolas Party, Still Life © Nicolas Party.

From the book Nicolas Party—Rovine

(see pages 12/13).

Scheidegger & Spiess is being supported

by the Swiss Federal Office of Culture with

a general subsidy for the years 2021–2024.

June 2021. Prices quoted in Euro are valid

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