Brian Sewell

oder Wie man eine Eselin um die halbe Welt schmuggelt

Pawlowa

Always Almost: Never Quite

The Complete Outsider

Charles Rolls understood cars - how they were made and how to sell them - but Henry Royce didn't want to design just any car; he was determined to create the best car in the world. The meeting of these two great minds, 110 years ago this year, resulted in one of the most iconic feats of engineering then or indeed since: The Rolls-Royce Silver Ghost. Critic and car enthusiast Brian Sewell strays from the art world to tell the story of Henry Royce and the creation of the Silver Ghost. Beautifully illustrated and instructive, 'The Best Car in the World' is the perfect book for children and adults alike, a collector's item to keep and to cherish.

The Man Who Built the Best Car in the World

Morgan Falconer

Barbra Streisand

Romain de Tirtoff (1892-1990), who changed his name to Erté (?R? and ?T? in French) when he left his native St Petersburg for Paris in 1912, became one of the most sought-after artists of the twentieth century. His illustrations for Harper?s Bazaar and Vogue remain classics of the genre, while his work as stage, costume and fashion designer in Europe and America combined an eye for fashion and elegance with a sense of theatricality. In the early days Erté worked closely with the couturier Paul Poiret, before producing numerous designs for the revues and shows that were so popular at the time, as well as for film with his work for MGM. Mata Hari, Lillian Gish, Anna Pavlova and George Balanchine were just some of those whose costumes were designed by Erté. 0Just over a hundred years after the twenty-year-old Erté left St Petersburg, his work returned to the city of his birth, with an exhibition at the Hermitage. This book is a record of that unique event, charting Erté?s extraordinary career and confirming him as a true genius of Art Deco. With text by the son of Erté?s long-term collectors, Michael Estorick, and Hermitage curator Mikhail Dedinkin. 00Exhibition: Grosvenor Gallery, London, UK (15.11.- 15.12.2017).

Romain De Tirtoff

To many people, the "Evening Standard" art critic, Brian Sewell, is the most well-informed, articulate and consistently direct of contemporary art critics, a man who gives praise when he thinks it is due but who does not equivocate in his condemnation of the second-rate. Such people enjoy his prose and revere him as a lone voice in an otherwise crazy world.;For others, principally members of the contemporary art establishment, Sewell's reviews frequently deride their art and the exhibitions they put on. On 5th January 1994 the "Evening Standard" published a letter from members of this group demanding that Sewell be sacked on grounds of philistinism and "social and sexual hypocrisy". Thus began a furore which still continues - Sewell and his opponents traded insults on television in the course of which Sewell was described as vicious, ill-informed, misogynist and homophobic. The editor of the "Evening Standard" and hundreds of readers, came out in support of Sewell. Two months later Sewell was voted Art Critic of the Year for the second year running by his fellow journalists.

The Reviews that Caused the Rumpus and Other Pieces

"At a time when figurative painting has long been out of fashion in British art schools and among the curators of the nation's galleries of modern art, its acknowledgement limited to Freud, Hockney and a handful of other grandees, Richard Harrison has been one of the very few younger contemporary artists to hold to this ancestral tradition. His early work was essentially abstract, and abstract values have formed the armature of all of his later work, but in subject he has moved from a convincing interest in the texture and manipulable qualities of the simple materials of a painting to biblical and mythical narratives that were common among European painters from the High Renaissance to the High Olympus of Victorian art. In becoming a history painter, however, he has abandoned nothing of his interest in canvas, the importance of its warp and weft, or in the qualities of the best hand-ground oil paints, their rich colour, translucence, and reflective and refractive characteristics." "This affectionate but dispassionate and critical book - part analysis of Harrison's unconventional work, part account of a tumultuous and often alarming life - is the most comprehensive record of his intellectual and aesthetic development to date. Generously illustrated with numerous reproductions of his work, the book also represents the most comprehensive collection of his work in any one place." --Book Jacket.

The Paintings of Richard Harrison

Nothing Wasted

Travels in Aegean Turkey

South from Ephesus

A collection of more than 100 reviews and articles about 20th century artists by Brian Sewell, art critic for The Evening Standard. Originally published as The Reviews That Caused the Rumpus, this is a revised edition which also features the best of Sewell's work.

An Alphabet of Villains

"[This] is the record of one man's passionate affection for the dog, rooted in his early childhood and lasting undiminished into his dotage. These were for the most part dogs discarded and left to fate - tied to the railings of Kensington Gardens, found with a broken leg in the wilds of Turkey, adopted from an animal rescue home, passed on by the vet - but there was also a whippet of noble pedigree and three generations of a family of crossbreeds in which the whippet strain was strong. They were not pets, but indulged friends and companions, with all of whom he shared his bed, and who richly rewarded him with loyalty and affection. This is not a sentimental or determinedly anthropomorphic book - the dogs remain steadfastly dogs. It is observant and records the canine society of dog and dog as much as the relationship of man and dog. It is, at the same time, a deeply touching account of the lives and very different characters of seventeen dogs over eighty years or so, ranging from Jack Russell to Alsatian through half-boxer, half-pointer and half-Karabas, to purest indecipherable mongrel."--Book jacket.

A Peripheral Autobiography

Sleeping with Dogs

Weary of what he called the "tyranny" of western art, Brian Sewell first visited Turkey - a country that had captivated him since he was a boy - in 1975. He thought that there, anything he found would have no relevance to the European art that he had so compulsively "stitched into the dense fabric of my art-historical memory" and that he could therefore enjoy the art for its own sake. But Turkey surprised him and he delighted in the unexpected wealth of Greek, Roman, Byzantine and Islamic cultures there, returning three of four times a year until 1990. The main bulk of this book focuses on his journey from Ephesus to Side one winter. With typically acerbic commentary, Sewell describes (not always favourably) the archaeological and historical sites he comes across, the landscapes that so clearly thrilled him, the encounters he has along the way and the fractious, though wonderfully funny, relationship he forms with Ayhan, his driver. South from Ephesus is an incomparable portrait of Turkey and its artistic heritage - a book that could only have been written by Sewell and which has become a quirky classic of travel literature.

'One of the most striking books of the year' - Mark Lawson, BBC Radio 4's Front Row

Always Almost, Never Quite : an Autobiography

Outsider

This selection of Brian Sewell's criticism from the London Evening Standard is his first collection to be published in nearly twenty years and has been selected from his art reviews of exhibitions by English contemporary artists. Most first appeared in the newspaper for whom he has written regularly since 1984. The reviews are gathered chronologically under artist or institution and discuss nearly every important contemporary English art exhibition for the past quarter of a century. Besides being a record of one man's developing response to the explosion of blockbuster contemporary art shows and multi-millionaire artist escapades of the past two decades, the reviews' sequence also reveal how much this often maligned critic did, at first, wish the new art establishment well. How he came to see so much as dross or fiddle-faddle is written with such knowledge, style and humour, readers will also come to understand why mugs with 'Brian Sewell is Fab!' are still on sale in gallery gift shops.

Criticisms of English Contemporary Art from the London Evening Standard

Naked Emperors

The first volume of Brian Sewell's scandalous and haunting memoir was met by riotous applause in the press. 'Outsider is a delicious read...I want more - much more, ' wrote Rachel Cooke in the Guardian. 'This book records an extraordinary life and will, I hope, soon be continued, ' added Lynn Barber in the Sunday Times. Outsider II will certainly not disappoint. With the first instalment ending tantalisingly in 1967 - after exploring Sewell's childhood, adolescence and early adulthood - this next chapter charts his path to becoming, as the Spectator noted, 'Surely the funniest art critic of our time

Always Almost

Mr. B, an English historian in Pakistan working on a documentary, spies a young donkey that has been abused and, leaving his film crew behind, sets out to take the donkey to his home in London.

Brian Sewell

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