‘Bee Wilson is one of my favourite writers and this may be her best book’ CHRIS VAN TULLEKEN

This strikingly original account from award-winning food writer Bee Wilson charts how everyday objects take on deeply personal meanings in all our lives.

One ordinary day, the tin in which Bee Wilson baked her wedding cake fell to the ground at her feet. This should have been unremarkable, except that her marriage had just ended.

Unsettled by her own feelings about the heart-shaped tin, Wilson begins a search for others who have attached strong and even magical meanings to kitchen objects. She meets people who deal with grief or pain by projecting emotions onto certain objects, whether it is a beloved parent’s salt shaker, a cracked pasta bowl or an inherited china dinner service. Remembering her own mother, a dementia sufferer, she explores the ways that both of them have been haunted by deciding which kitchen utensils to hold on to and which to get rid of when you think you are losing your mind.

Looking to different continents, cultures and civilisations to investigate the full scope of this phenomenon, Wilson blends her own experiences with a series of touching personal stories that reflect the irrational and fundamentally human urge to keep mementos. Why would a man trapped in a concentration camp decide to make a spoon for himself? Why do some people hoard? What do gifts mean? How do we decide what is junk and what is treasure? We see firsthand how objects can contain hidden symbols, keep the past alive and even become powerful symbols of identity and resistance; from a child’s first plate to a refugee’s rescued vegetable corers.

Thoughtful, tender and beautifully written, The Heart-Shaped Tin is a moving examination of love, loss, broken cups and the legacy of things we all leave behind.

Contemporary ceramicists working in Britain, including Rachel Kneebone, Grayson Perry and Edmund de Waal, are part of a broader international group of artists experimenting with clay, considering how it intersects and works in dialogue with other art forms and with culture at large. Recent experimentation with the medium owes much to the rapid evolution of ceramics into an expanded field, and to the work of mid- to late 20th-century potters and their reinvention of ceramics as a radical and contemporary art practice. The pioneering methods and rethinking of form in the work of exponents such as Bernard Leach, Michael Cardew, Lucie Rie, Hans Coper and Alan Caiger-Smith – whose reference points were drawn from East Asia, Africa, the ancient Mediterranean and the Middle East as much as from their own heritage – continue to influence and inspire contemporary makers. In his introductory essay, Alun Graves, Senior Curator at the Victoria and Albert Museum, London, provides all lovers of ceramics – collectors, practitioners, historians and those interested in modern and contemporary art and crafts – with the historical context, documenting the medium’s shift into an expressive, and sometimes interventionist, art form. An extensive visual catalogue, Studio Ceramics is the primary reference for 20th-century and contemporary British studio ceramics, and a record of the national collection of British ceramics held at the V&A.

In today’s throwaway culture, there’s a counter movement growing that urges us to ‘make do and mend’. The BBC’s The Repair Shop has brought this waste-conscious message to an even wider audience, with its regular viewing figures of 7 million in the UK alone, cementing itself as a classic series in the vein of Antiques Roadshow.

This new book concentrates on the show’s much-loved experts, including woodworker and furniture restorer Will Kirk, clock restorer Steve Fletcher, metalworker Dominic Chinea, silversmith Brenton West, leatherworker Suzie Fletcher, upholsterer Sonnaz Nooranvary, and seamstresses Julie Tatchell & Amanda Middleditch – aka The Teddy Bear Ladies. Each of the experts shares their own stories and their repairs, capturing in the process the magic and ethos of the barn. Includes quotations and Q & As from the experts as well as Jay Blades on some unique restoration collaborations.

With the focus on the experts themselves, readers will feel as though they’re stepping straight into the ‘workshop of dreams’ and experiencing first hand the magic of the barn.

The first illustrated book on mudlarking that tells the captivating stories of forgotten people through objects recovered from the river Thames.

Combining insights from 200 eclectic objects discovered on the Thames foreshore, meticulous historical research and contextual illustrations, Mudlark’d uncovers the hidden histories of forgotten people from all over the world. Beginning in each case with a particular find, Malcolm Russell tells the stories of the people who owned, made or used such objects, revealing the habits, customs and crafts not only of those living in London but also of those passing through, from continental Europe, the Americas, Africa, Asia and Australia.

In the 18th and 19th centuries London was the busiest port in the world, exchanging goods, ideas, people and power with every continent. The Thames long acted as London’s water source, shipyard, thoroughfare and rubbish dump. Its banks have been densely packed with taverns, brothels, markets and workplaces, and scavengers – known as mudlarks – have scoured them since at least the 18th century. Consequently, the Thames today offers a repository of intriguing objects that evoke ways of life long forgotten. A delicate bone hair pin uncovers the story of Roman ornatrices – enslaved hairdressers. A counterfeit coin reveals the heritage of millions of Australians. Glass beads expose the brutal dynamics of the transatlantic slave trade. Clay tobacco pipes uncover the lives of Edwardian women parachutists and Victorian magicians. A scrap of Tudor cloth illuminates the stories of Dutch and French religious refugees.

The book also includes a primer, giving step-by-step advice on how to mudlark on tidal rivers and how to identify commonly made finds.

Comprehensive sections cover Ceramics, Asian Antiques, Furniture, Glass, Silver and Metalwares, Jewellery and objets de vertu, Clocks and Watches, Books, Textiles, Toys, Decorative Arts and Modern Classics. Special features explain why one piece is worth more than another, show how to value an item and teach you to be your own valuer. Biographies of designers and factories give the background information you need to help date and value objects, while special ‘Judith Picks’ sections give fascinating background and valuation details for particularly interesting or unusual objects.

You don’t need much to make your first pot, just a piece of clay and an idea. At the same time, it’s a craft one develops over a lifetime. Making Pots is a handbook both for the beginner and more experienced potter.

Basic skills are taught along with a background explanation of the rich history of pottery. Step-by-step the potter, Stefan Andersson, guides us on the potter’s wheel, glaze manufacture and firing, sharing his techniques and know-how. Stefan also describes how to set up your own workshop, make your own tools, and design, stone-by-stone, your own kiln. What happens if there’s a pocket of air in your clay? If the potter’s wheel slips when you centre the clay? Or if the pots fall apart as you decorate the slipware? For each section there are also solutions to common problems.

The book is founded on Stefan’s enterprise and production of wood-fired ceramics with photos and diagrams describing the tasks and techniques.

Chapters include:
Clay Preparation
Drying
Glazing
Firing
Kilns
Tools
Forming Techniques