NOVEDADES

In this stunning but sinister visual universe, beasts and birds are not mere aesthetic objects but dynamic actors in allegorical struggles: a wild turkey crushes a small parrot in its claw; a troupe of monkeys wreaks havoc on a formal dinner table; an American buffalo is surrounded by bloodied white wolves. In dazzling watercolor, the images impress as much for their impeccable realism as they do for their complex narratives.

The Book of Miracles first surfaced several ago and is one of the most spectacular discoveries in the field of Renaissance art. The near-complete illustrated manuscript, created in Augsburg around 1550, is composed of 169 pages of large-format illustrations in gouache and watercolor, depicting wondrous and often eerie phenomena. The mesmerizing images deal with both biblical and folkloric tales, depicting stories from the Old Testament and Book of Revelation as well as events that took place in the immediate present of the manuscript’s author. From shooting stars to swarms of locusts, terrifying monsters to fatal floods, page after page hypnotizes with visions alternately dreadful, spectacular, and even apocalyptic.

By the late 19th century, trademarks began to replace traditional emblems, like coats of arms, as identifying symbols for companies. At first, logos tended to be figurative, but over time they morphed into the abstract marks that we see everywhere today. Yet many iconic brands—like Rolex, BMW, Louis Vuitton, and the New York Yankees—still use logos designed 100 years ago. Bringing together two previous volumes—Logo Beginnings and Logo Modernism—into one compendium, design expert Jens Müller (dubbed “the logo detective” by Wired magazine) has trawled historical trademark archives and design publications to unearth 1000s of logos from as far back as 1870, including many forgotten designs and early versions of today’s brand identifiers.