art landscape

Hardcover. Los Angeles, CA, J. Paul Getty Museum, 1st, 2012, Book: Very Good, Dust Jacket: Very Good, 112 pages. Hardcover with dust jacket. Very clean, unmarked copy with only minor wear to dust jacket edges. Like painters and draftsmen before them, photographers turned to the landscape as a source of inspiration after the invention of the medium in 1839. Since then, changing artistic movements and technical advancements have provided opportunities for camera artists to approach the subject in diverse and imaginative ways, as illustrated by the wide range of works from the extensive collection of the J. Paul Getty Museum in Landscape in Photographs.

Softcover. New Haven CT, Yale School of Architecture/Norton, 1st, 2010, Book: Very Good, Dust Jacket: None, Softcover, 194 pages illustrated in color and b&w. The fifth in a series documenting the Edward P. Bass Visiting Fellowship in Architecture at Yale, this book chronicles the collaboration of Fellow Chuck Atwood, the former vice chairman of Harrah's board of directors, with Davenport Visiting Professor David M. Schwarz, assisted by Brook Denison and Darin Cook. Focusing on Las Vegas's lack of pedestrianism, they asked the students to investigate vital urban sites around the world and then apply theses lessons learned to the automobile-centric Strip. The students met with Las Vegas Mayor Oscar Goodman, Harrah's CEO Gary Loveman, and private-equity managers David Bonderman and Marc Rowman as they devised ways to transform the world's premiere themed playground into a livable and pedestrian-oriented city. Documents the development of plans for a campus of resorts on the Las Vegas Strip by a studio of ten Yale students. Clean copy.

Hardcover. NY, D.A.P./Distributed Art Publishers, 1st, 2008, Book: Very Good, Dust Jacket: None, Hardcover, 89 pages, large format. Tipped-on front board. Slight bump to bottom right corner. In publisher shrink wrap. A natural chronicler of all things uniquely American, photographer Lee Friedlander here puts his lens to the work of Frederick Law Olmsted (1822-1903), designer of many of this country's most iconic public landscapes and the father of North American landscape architecture. Olmsted was responsible for a staggering number of America's greatest parks, including the Niagara reservation (North America's oldest state park), Washington Park, the Biltmore Estate, the U.S. Capitol building landscape and entire parkway systems in Buffalo and Louisville. His most famous work remains New York City's Central Park, a pioneering egalitarian gesture that, at the time, was very unusual for its ready accessibility. No dust jacket issued. DOMESTIC SHIPPING ONLY.

Hardcover. NY, Rudd and Carleton, 1st US, 1860, Book: Good, Dust Jacket: None, Hardcover, embossed brown cloth with gilt lettering on spine, 407 pages plus publisher's ads. A collection of correspondence written in the 19th century. This compilation features Humboldt's letters to his friend Varnhagen von Ense, reflecting their intellectual friendship and offering insightful glimpses into Humboldt's thoughts, scientific inquiries, and the sociopolitical landscape of his time. The letters encapsulate Humboldt's legacy as a pioneering scientist and thinker, showcasing his multifaceted contributions to various fields of knowledge. At the start of the work, we are introduced to Humboldt as he begins his correspondence with Varnhagen, exemplifying their close friendship and the candid nature of their exchanges. Humboldt expresses gratitude for Varnhagen's acknowledgement of his literary endeavors and shares details about his scholarly work, specifically discussing the titles and themes of his upcoming publications. The initial letters highlight Humboldt's artistic and scientific pursuits, while also touching on broader social issues of the era, providing a rich context for readers interested in the intersection of science, literature, and personal relationships among intellectuals of the time. Light edgewear to covers, faint marginal water stain to first 10 pages along foredge.

Hardcover. New York/Milano, Skira, 1st, 2003, Book: Very Good, Dust Jacket: Very Good, 224 pages, duotone photographs taken between 1904 and 1914 by a missionary working in China. In publisher's shrinkwrap. Leone Nani (1880-1935) lived in central China from 1904 to 1914. His missionary work took him to remote villages where he captured a world beyond the reach of other Westerners. Working in large format (mostly on glass plates he developed and printed himself in his mobile studio), Nani portrayed young couples, dignitaries, peasants and artisans. Equally gifted as an observer and reporter, he recorded everyday life scenes, religious ceremonies, architecture, and landscapes. 

Hardcover. NY, Prestel, 1st, 2017, Book: Very Good, Dust Jacket: None, Hardcover, 160 pages. This photographic homage to Los Angeles presents a timeless depiction of the great city. In his book New York Sleeps, Christopher Thomas traveled the empty streets of New York City shooting dreamy cityscapes with a large-format Polaroid camera. For this new book he focuses his lens on Los Angeles, capturing in duotone images of the iconic buildings and spaces in the city: the Chinese Theatre without tourists, the Griffith Observatory peacefully alone, the Hollywood Boulevard without celebrities or onlookers. Around the city's artdeco buildings and mid-century drive-ins, sidewalks, and parking lots are vacant. Shot in the early morning, with the sun's rays just hinting between buildings, or at dusk, when the light is inchoate and mournful, these pictures are a tender valentine to Los Angeles. Fans of New York Sleeps will be thrilled to encounter another sublime project by Thomas. And residents and lovers of Los Angeles will be awestruck at this new interpretation of the City of Angels.

Hardcover. NY, Abrams, 1st, 1978, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 263 pages. Louis Michel Eilshemius was a born poet-visionary. His paintings reveal a gift for lyrical expression, an ability to impart an unearthly, dreamlike quality to canvas, and an extraordinary originality. The abundant illustrations in this first comprehensive volume on the artist attest to the importance of his contribution to American art at the turn of the century. In his sensitive text, Paul J. Karlstrom illuminates the contradictions that provide the key to understanding Eilshemius's life and art. Thoroughly trained in the academic manner, Eilshemius later became known primarily as the painter of bizarre, 'primitive' nudes. His early paintings, landscapes influenced by the Barbizon school and Camille Corot, differ dramatically from his late works, which are naive and often disturbing fantasies. At his best, Eilshemius was a magician of the canvas, yet his unstable character and unrealistic ambitions prevented him from fully realizing his talent.

Hardcover. NY, Metropolitan Museum of Art, 1st, 2014, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 240 pages. A new account of Cezanne's complex relationship with his wife, who served as the subject of some of his most iconic portraits. Paul Cezanne's (1839-1906) portraits of Hortense Fiquet (1850-1922), his wife and the subject of some of his iconic portraits, rank among the most powerful of their kind in French modernism. Yet, posterity has not been kind to Madame Cezanne. She was called a distraction, blamed for her husband's "lackluster" landscapes, and disdained for her impenetrable expression in the paintings. The reality is more complex, for while Fiquet may not have been the passion of Cezanne's lifetime, she was a willing accomplice, as model, mother of his only son, and unwavering partner against all odds. Still in publisher's shrinkwrap.

Hardcover. Bowdoin College Museum of Art , 1st, 2020, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket. 144 pages. During the nineteenth century, Americans celebrated their towns and cities through printed landscapes. In Maine, lithographs were commissioned from such leading artists as Fitz Henry Lane and talented, lesser known local artists, such as Esteria Butler. This book reproduces many of these works and provides insights into how these growing centers of commerce and industry viewed themselves and wished to be viewed by others. Still in publisher's shrinkwrap.

Hardcover. New York, Random House, 1st, 2001, Book: Very Good, Dust Jacket: None, Blue grey pictorial slipcase with ink smudging on bottom, with fold-out illustrations accordion style from west side to east side and folds out the other side for eastside to westside view of city. Light wear to slipcase, otherwise very good condition.

Hardcover. Santa Monica CA, RoseGallery/DAP, 1st, 2007, Book: Very Good, Dust Jacket: None, Red and burgundy cloth boards with yellow stamped lettering. 144 pages. Color and b&w illustrations, portraits. Eyes in His Eyes reintroduces some of the artist's overlooked masterpieces, and reveals, for the first time, a broad selection of never-before-seen images from his private archives. In his 80-year career, Alvarez Bravo printed, published and exhibited only a thousand images. This portfolio, culled with the help of the artist himself, and completed after his death, is full of unfamiliar abstractions, portraits, landscapes and street photography.

Hardcover. Ostfildern, Hatje Cantz, 1st, 2007, Book: Very Good, Dust Jacket: None, Hardcover in a white cardboard slipcase, 352 pages. One of the best-known Japanese artists of the international scene, Mariko Mori, born in 1967 in Tokyo, envisions fantastical worlds and beings in spectacular photographs and videos--frequently casting herself amid these scenarios as a Bjork-esque avatar in biomorphic and technological symbiosis. Mori studied fashion design in Tokyo, worked briefly as a model and later studied fine art in England, and this early education is visible in her elaborately produced photographs, videos and sculpture that are as reminiscent of Hollywood as they are of contemporary art. Her recent work involves exotic landscapes, computer-generated images and choreographed performances for which the artist designs her own costumes and plays the central characters.This extraordinary and substantial publication offers a retrospective of Mori's entire oeuvre, and is the first to present the complete Beginning of the End: Past, Present, Future, a photographic cycle produced over a period of 11 years, in which Mori presents herself as a time traveler in a plexiglass capsule at significant symbolic locations, from Giza to New York to Shanghai.

Hardcover. NY, powerHouse, 1st, 2005, Book: Very Good, Dust Jacket: None, Hardcover, pictorial boards, 128 pages. During the early 80s, New York's Lower East Side was a hotbed of creative activity. Unknown artists were synthesizing the fertile ground at the legendary New York nightclubs Studio 54, the Mudd Club, Club 57, Palladium, and Danceteria while on their way to international fame and acclaim. Among those emerging were Madonna, Jean-Michel Basquiat, Grace Jones, Keith Haring, Kenny Scharf, Vincent Gallo, Anna Sui, Exene Cervenka, Kid Creole, and Diego Cortez. Maripol was part of a collective of artists, graffiti writers, street dancers, and performers who all thrived together in the explosive downtown eccentricity. As an image maker and stylist for Madonna during her "Like a Virgin" days, jewelry designer, art director, and producer Maripol relentlessly documented the movers and shakers of the early 80s scene through the lens of her instant Polaroid SX-70. Collected for the first time in Maripolarama, Maripol's photographs vividly depict the extraordinary personalities that inhabited the "forever" hip, arty Manhattan clubland during the post-punk era when hip hop was in its earliest stages and graffiti covered the landscape. Whether it's Andy Warhol, Debbie Harry, Basquiat, or Madonna modeling a bright pink wig, Maripolarama provides lively and inspiring insight into a time long gone.

Hardcover. New Haven CT, Yale University Press, 2007, Book: Very Good, Dust Jacket: Very Good, Hardcover, 208 pages, color plates. Considered to be among the greatest early American modernists, the painter Marsden Hartley (1877-1943) traveled the United States and Europe in his search for a distinctive American aesthetic. His stay in New Mexico resulted in an extraordinary series of landscape paintings--created in New Mexico, New York, and Europe between 1918 and 1924--that show an evolution in style and thinking that is important for understanding both Hartley's oeuvre and American modernism in the postwar years. Marsden Hartley and the West examines this pivotal stage of the painter's career, drawing upon his writings and providing illustrations of rarely seen and previously unpublished works. The author considers Hartley's involvement with the Stieglitz circle and its "soil-and-spirit" philosophy, the Taos art colony, New York Dada, and the impact of historical events such as World War I. Within this setting she analyzes the pastels and oil paintings that suggest Hartley's increasingly ambivalent response to the land. Beginning with optimistic, naturalistic views, the New Mexico works grew progressively darker and more tumultuous, increasingly reflecting a sense of loss brought on by war. The paintings become a site where the landscapes of memory, self, and nation merge, while reflecting broader modernist debates about "American-ness" and a usable past.

Softcover. Tokyo/NY, Kodansha USA, reprint, 1999, Book: Very Good, Dust Jacket: Very Good, Softcover with a dust jacket, 152 pages. Highlights over 130 outstanding examples from the vast holdings of the Victoria and Albert Museum in London. Strikingly original and sumptuously colored, the ukiyo-e in these pages recapture the spirit of the period in which they were created. Here can be found the glamorous courtesans of the Yoshiwara pleasure quarters, the flamboyant vigor of kabuki theater, and the diversities of the Japanese landscape. Clean copy

Softcover. Philadelphia PA, Philadelphia Museum of Art , 1st, 1984, Book: Very Good, Dust Jacket: None, Softcover, 397 pages, 127 color plates, many bw plates. Issued in conjunction with a series of 1984 exhibitions. "The Dutch in the seventeenth century placed a premium on naturalistic accounts of their surroundings, be they in the form of portraits, landscapes, still lifes, or scenes of everyday life -- what we have come to call 'genre' painting. With this art, the painter recorded the look, the manners, the character of those quotidian events, which comprise day-to-day existence." This book features essays on both the artists and on life and culture during this time. The catalogue addresses 127 paintings: first, in color plates, and secondly, with lengthy annotations and small BW illus. The concluding bibliography is substantial. Clean copy.

Softcover. Wasgington DC, International Arts & Artists, 1sy, 2005, Book: Very Good, Softcover in a bright dust jacket, 75 pages. Color illustrations. Clean copy.

Hardcover. Edition Stemmle, 1st, 2001, Book: Very Good, Dust Jacket: Very Good, Hardcover, 136 pages. Bauhaus photography is well served by this first monograph on Max Baur, with many of the previously unpublished photographs also serving as a new source for Bauhaus studies. Working in Germany, at first providing images for postcards, Baur expanded his efforts to encompass landscape, portrait, and architectural images. In each of these genres, his work reflects the cool, objective approach of the Bauhaus style combined with the artist's elegant handling of light and perspective. In photos of stairways and colonnades, factories, and everyday objects, Baur was able to eliminate the extraneous and offer the essential nature of his subject. The book covers a period of vast changes in the world and in the life of the artist, but throughout there is a consistency of vision. An essay by William Ewing, director of the Mus e de l'Elys e (which specializes in photography), gives a brief description of the life and career of Baur with enthusiasm and warmth, while Edelmann-Pomplitz writes movingly about her experience as his student. In a letter to her, Baur expresses his credo most eloquently: "it is with light alone that we create images." This lovely work is a fine example of excellent printing and composition in harmony with content.

Softcover. Hanover NH, Dartmouth College, 1st, 1996, Book: Very Good, Dust Jacket: None, Softcover, 24 pages illustrated with color and b&w photos. An overview of recent projects, both small scale and large architectural commissions. Clean, bright copy.

Hardcover. NY, Free Press, 1st, 2005, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, unclipped dust jacket. No artist looms so large in Western consciousness and culture as Michelangelo Buonarroti, the most celebrated sculptor of all time. And no place on earth provides a stone so capable of simulating the warmth and vitality of human flesh and incarnating the genius of a Michelangelo as the statuario of Carrara, the storied marble mecca at Tuscany's northwest corner. It was there, where shadowy Etruscans and Roman slaves once toiled, that Michelangelo risked his life in dozens of harrowing expeditions to secure the precious stone for his Pieta, Moses, and other masterpieces. Many books have recounted Michelangelo's achievements in Florence and Rome. Michelangelo's Mountain goes beyond all of them, revealing his escapades and ordeals in the spectacular landscape that was the third pole of his tumultuous career and the third wellspring of his art. Eric Scigliano brings this haunting place and eternally fascinating artist to life in a sweeping tale peopled by popes and poets, mad dukes and mythic monsters, scheming courtiers and rough-hewn quarrymen. In showing how the artist, land, and stone transformed one another, Scigliano brings fresh insight to Michelangelo's most cherished works and illuminates his struggles with the princes and potentates of Carrara, Rome, and Medici Florence, who raised intrigue to a high art.

Hardcover. Swan Isle Press, 1st, 2008, Book: Very Good, Dust Jacket: Very Good, Hardcover, 180 pages. Spanish filmmaker Luis Bunuel (1900-83), known for his surrealist themes and unflinching social criticism, was an artist defined by intellectual ambition and controversy. An exile who produced some of his most famous work in Mexico and France during Franco's dictatorship, he left a complicated imprint on the creative landscape of the twentieth century and on generations of younger filmmakers--including his Mexican friend Claudio Isaac. Drawn from Isaac's personal papers, Midday with Bunuel: Memories and Sketches, 1973-1983 is an intimate and unconventional portrait of this cinematic icon--and memoir of Isaac's own artistic development.The text includes sketches, vignettes, and anecdotes from Isaac's notebooks, revealing his perspective first as a precocious boy and then as a young man. Isaac reflects on Bunuel's presence among a community of exiles, artists, actors, writers, and intellectuals in Mexico City. These are at once touching, perceptive, and critical glimpses into Bunuel's roles as husband and father, friend and colleague, surrealist, philosopher, and iconoclast during his last years. Throughout, Isaac's words reveal his deep admiration and affection for an older friend full of contradictions. Intimate photographs from the Isaac family archive complement the writing, and Bryan Thomas Scoular's careful translation makes this text available for the first time in English.

Hardcover. NY, Harry N. Abrams/Hood Museum of Art, 1st, 1988, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, unclipped dust jacket. A beautiful and intimate treatment of the architecture of the early industrialization of New England. 108 pages of color plates. Essays by Noel Perrin & Kenneth Breisch. Clean copy.

Hardcover. Munich/NY, Prestel, 1st, 1995, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 120 pages. 110 illustrations with 68 in color. From his childhood on, Mallorca was a second home for Joan Miro. His mother was from the island, as did his wife Pilar Juncosa. It became his permanent home in the mid-fifties and he built a large studio there. He died there on the 25th of December 1983 at the age of 90. This book is about the varied themes and techniques of the artist's later works painting, sculpture, and ceramics. It was the clear light of Mallorca which especially fascinated Miro - the poetic blues of the sky and sea. In his sculpture, he was especially inspired by the artistic creativity of the island inhabitants, not to mention the agriculture and precipitous cliffs which give the landscape of Mallorca its unique quality. Remainder dot to top edge, otherwise clean copy.