Art History

Hardcover. US, NBM Publishing, 1st, 2008, Book: Very Good, Dust Jacket: Very Good, Hardcover, 110 pages, illustrated throughout in color and b&w. Opper was already a quite successful cartoonist/illustrator for the prestigious Puck magazine when William Randolph Hearst lured him out to create a comic strip for the New York Journal. While a step down from (relatively) high to low brow, Opper jumped at the chance and out came ?Happy Hooligan" an un-heroized vagrant who ends up very badly at the end of each strip, no matter how much good he might mean. His perennial demise surely went on to inspire Wile E. Coyote or Mr. O, especially as his own cowardice and unworthiness contributes to his hilarious woes. This second entry in ?Forever Nuts' presents a collection of the better early full color Sundays. Clean, tight copy.

Hardcover. US, NBM Publishing, 1st, 2008, Book: Very Good, Dust Jacket: Very Good, 110 pages, illustrated throughout in color and b&w. Clean, tight copy.

Hardcover. New York, Harry N. Abrams, 1st, 1986, Book: Very Good, Dust Jacket: Very Good, 288 pages, illustrated throughout in color and b&w. Brown cloth, pictorial dust jacket. Beautiful copy in shrinkwrap. Like new. The first biography of the couple who created the landmark collection that is still the base of most American museums.

Softcover. Universtity Park PA, Pennsylvania State University Press, 1st, 1998, Book: Very Good, Dust Jacket: None, Softcover, pictorial wrappers, 280 pages. This easily accessible volume, which grew out of a series of lectures presented at the Smithsonian Institution in 1991, aims to provide a coherent introduction to Byzantine culture with a focus on the interconnected realms of art and religion. The eight participants have revised their lectures into chapters on Byzantine history, theology, icons and icon theory, church architecture, monumental painting, silver church furnishings, illustrated liturgical books, and pilgrimage. In addition to presenting current research on this range of topics, the chapters each contribute original scholarship from authors who are recognized experts in their respective fields. The Introduction, by Linda Safran, deals with views and definitions of Byzantium over the course of its long history and considers why that civilization deserves our attention today. Illustrated in b&w and color.

Hardcover. Munich/NY, Prestel, 1st, 1996, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket. 143 pages with 100 color and 79 b&w illustrations. In 1750 the Venetian painter Giambattista Tiepolo arrived in Wurzburg, capital of the small German principality of Franconia. Its ruler, Prince-Bishop Carl Philipp von Greiffenclau, had commissioned him to decorate the Kaisersaal, one of the state rooms in his palace, the Residenz. Later extended to include the decoration of the Residenz's staircase, the commission resulted in a series of frescos that are numbered among the greatest glories of Baroque painting. Created by the last major representative of the Venetian tradition in painting, the frescos in the Wurzburg Residenz are a truly epochal work of art. They form the culmination of a venerable tradition of fresco decoration initiated by Giotto over four hundred years earlier and, in their marriage of mythological and historical subject-matter, constitute a monument to the dying age of absolutism. In his highly readable text Peter O. Kruckmann tells the story of how Tiepolo came to receive the commission, explores in detail the thematic and artistic intricacies of the frescos, and documents their genesis as a continuous process, from the preliminary sketches to the finished works. Clean copy.

Hardcover. NY, Delano Greenidge Editions, 1st, 2003, Book: Very Good, Dust Jacket: Very Good, Hardcover, 396 pages, lavishly illustrated throughout in color and b&w. Light shelf-wear to dust jacket, else a clean, tight copy. Guimard is the pre-eminent architect of Art Nouveau in France. He influenced French architecture and design in the first half of the 20th century. He was also the architect of a number of Paris Metro entrances. He was regarded as an architect who wielded the greatest influence on the popular imagination in Paris during the late 19th- and early 20th centuries.

Softcover. Washington DC/NY, National Gallery of Art/Abrams, 1st, 1986, Softcover, large exhibition catalog, white wraps, 367 pages. Profusely illustrated with color and bw plates. A coherent group of major paintings representing that period when Matisse gave up his primary artistic residence in Paris to watch him settle in Nice. First as a temporary visitor and then as a permanent citizen, we watch him respond to the Mediterranean and the constancy of its light. Bookplate on inside fron cover, otherwise a clean, bright copy. Heavy volume. DOMESTIC SHIPPING ONLY.

Hardcover. NY, Abbeville Press, 1st, 1998, Book: Very Good, Dust Jacket: Very Good, Hardcover, 600 pages. Henry Frick, remembered by art lovers today for his splendid collection of old-master paintings by Rembrandt, Bellini, and others that make up New York's Frick Museum, was one of the 19th century's worst robber barons. Brutal with workers, he never hesitated to hire mercenary armies to kill railway and mine strikers. Frick's was such a bloody and vicious climb to a pot of gold that his descendents have been understandably reluctant to allow historians full access to his papers. Finally, his great-granddaughter, Martha Sanger, a noted steeplechase and hunting enthusiast, decided to write about the life of her ancestor, and was allowed full use of the archives.Sanger's publisher, Abbeville, has done her proud with a luxuriously produced volume in which Sanger offers many theories about why Frick bought certain works of art. And although art historians may dismiss her black-and-white analyses of a collector's motivations--based, as she admits, on her own years in psychoanalysis--they at least reflect how Frick's own family saw him. Among the reproductions are famous pictures by Goya, Greco, and Gainsborough, but also many others rarely reproduced, perhaps because they are typically bad-taste 19th-century art, showing that even Frick bought some duds. Whether or not he acquired paintings, as Sanger asserts, because they reminded him of a daughter who died in early childhood, Frick was still a major historical figure, and his life needs this kind of voluminous treatment in order to complement harsher portraits by professional historians like Samuel Schreiner, who subtitled his own 1995 book from St. Martins Press The Gospel of Greed.

Hardcover. Justin Duerr, 1st, 2017, Book: Very Good, Dust Jacket: None, Hardcover. large oversize volume. Crowley was an artist who created the "Wigglemuch" over 100 years ago. Hi intricate and obsessive drawings and sculptures have not been seen in many years. This book has loads of color and b&w drawings and paintings and photographs of sculptures along with biographical details.

Hardcover. Baltimore, Johns Hopkins University Press, 1st US, 2012, Book: Very Good, Dust Jacket: Very Good, Hardcover, 394 pages, b&w illustrations. The adventures of Tintin and his dog, Snowy, have captivated people worldwide since they first appeared as an insert in the Belgian Catholic newspaper Le Vintieme Siecle in 1929. Available for the first time in English, this insightful biography delves deep into the psyche of Tintin creator Georges Remi and his public persona Herge. Author of the critically acclaimed Tintin and the World of Herge and the last person to interview Remi, Benoit Peeters tells the complete story behind Herge's origins and shows how and why the nom de plume grew into a larger-than-Remi personality as Tintin's popularity exploded. Drawing on interviews and using recently uncovered primary sources for the first time, Peeters reveals Remi as a neurotic man who sought to escape the troubles of his past by allowing Herge's identity to subsume his own. As Tintin adventured, Herge lived out a romanticized version of life for Remi.

Softcover. NY, Metropolitan Museum of Art, reprint, 2015, Book: Very Good, Dust Jacket: None, Softcover, 257 pages, This lavishly illustrated volume is the first comprehensive publication on the Brooklyn Museum's internationally renowned historic costume collection. The nearly 25,000-object collection comprises fashionable women's and men's garments and accessories from the 18th through the 20th century.

Hardcover. Boston, Museum of Fine Arts, 1st, 2013, Book: Very Good, Dust Jacket: None, Hardcover, pictorial boards. The 1960s saw a revolution in fashion that was born, like most things new and hip in that era, of youth rebellion in the streets. For the first time, designers didn't dictate the trends. Instead, the latest looks trickled up into the top fashion houses (Halston and Yves Saint Laurent among them), by way of bohemian boutiques and avant-garde labels with names like Granny Takes a Trip and Cosmic Couture, and musicians like the Beatles, Janis Joplin and Jimi Hendrix. Defying easy definition but becoming an international phenomenon all the same, hippie fashion twisted and turned from trippy to retro and crafty to ethnic. The accompanying idea that one can express a personal style with clothing went against everything about the previous generation's notion of matching suits or ladylike ensembles dictated by social class or profession. Sumptuous photography, dynamic design, and far-out images from the era make Hippie Chic a must-have book that goes past peace signs and patchouli to unearth how hippies forever changed the way fashion functions. Still in publisher's shrinkwrap.

Hardcover. Spain, Editorial Labor, 1st , 1955, Book: Very Good, Dust Jacket: None, Spanish editions. 1,080 pages. Black & white photos, drawings. Both with 3/4 leather, spine with gilt lettering. Vol I with stain to endpapers. Vol. II page 1029 with bottom corner crease. Both with browning to black leather spines, bottom edgewear.

Hardcover. New York, Rizzoli, 1st, 1989, Book: Very Good, Dust Jacket: Very Good, 160 pages. Hardcover with dust jacket. Clean, unmarked copy with only minor wear to dust jacket. Color and Black and white pictures throughout.

Softcover. New Haven CT, Yale University Press, 3rd pr., 1995, Book: Very Good, Dust Jacket: None, Softcover, illustrated wrappers. 558 pages, 240 b/w + 20 color plates. In this engrossing book, an eminent art historian surveys the ways that historians have made use of visual sources--sculptures, paintings, coins, and other relics--in their attempts to understand and visualize the past. Francis Haskell examines the specific objects that were used and discusses a wide range of historians - from the sixteenth and seventeenth centuries to later writers such as Michelet, Burckhardt, and Huizinga who made inferences from the visual arts to indicate the whole mentality of an age. Clean copy.

Hardcover. London/NY, John Lane/ Harper & Brothers, 1st UK, Book: Very Good, Dust Jacket: None, Hardcover, red cloth with embossed rules, gilt decoration and lettering. The letter code D-D appears on copyright page, probable first English edition. B&w halftones throughout, 306 pages plus additional pages with index, synoptic tables. Small signature on front fly leaf otherwise clean. Well preserved copy.

Hardcover. Geneva, Edito-Service, 1st English Ed., 1968, Book: Very Good, Dust Jacket: None, Hardcover, pebbled red cloth with gilt decoration and color label on front cover. Good general overview of painting in Western Europe during the later Medieval period. Illustrated in color and b&w. Clean copy.

Hardcover. Kent, U.K., Midas Books, 1st, 1978, Book: Very Good, Dust Jacket: None, Hardcover, 407 pages, with b&w illustrations throughout. Very slight foxing on top edge and minor edge wear, otherwise, very clean and tight copy.

Hardcover. New York, Abbeville Press, 1st, 1992, Book: Very Good, Dust Jacket: Very Good, 496 pages. Hardcover with dust jacket in slipcase. A very clean, unmarked copy with only minor wear to slipcase edges. A tight copy. Color illustrations throughout.

Hardcover. Boston, MA, C. E. Goodspeed & Co , Revised, 1918, Book: Very Good, Dust Jacket: None, New Edition, Illustrated with three volumes. 391+403+418 pages. 174 b&w full-page illustrations. Ruff cut paper edges. Dark green cloth, some bumps to corners. No dust jackets as issued. Light edge wear, otherwise a very nice, tight set. DUE TO WEIGHT, DOMESTIC SHIPPING ONLY.

Hardcover. NY, Walker and Company, 1st US, 1967, Book: Very Good, Dust Jacket: Very Good, Hardcover, 224 pages, illustrated throughout in b&w and with 17 full color plates. Previous owner's signature on front fly leaf, dust jacket edge wear and minor foxing on top and fore edge. Otherwise, very clean and tight copy.

Hardcover. New Haven, Yale University Press, 1st, 1971, Book: Very Good, Dust Jacket: Good, Hardcover set. Volume I: 558 pages. Cloth boards. Illustrated with black & white reproductions of works by Hogarth. Dust jacket quite worn along edges with some tape repair to small tears. Clean, tight copy. Volume II: 557 pages. Cloth boards. Illustrated with black & white reproductions of works by Hogarth. Fore-edge shows slightest foxing. Dust jacket worn along edges with small tears and creases. Clean, tight copy. NOTE: DUE TO WEIGHT AND SIZE, DOMESTIC SHIPPING ONLY.

Hardcover. Boston, MFA Publications, Museum of Fine Arts, 1st, 2014, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 256 pages, profusely illustrated. From the 1890s through the turn of the century, there was a flourishing of new, imaginative art and craft throughout Europe that we now know as Art Nouveau. The Netherlands experienced an inventive variant of this art and design phenomenon, but until now it has been largely overshadowed by its counterparts in other countries, especially France. This richly illustrated book is the first in English to celebrate the Dutch contribution to Art Nouveau through a tour of more than 100 works on paper--posters, decorative calendars and illustrated books, as well as prints and drawings. These innovative works of graphic design reveal the progressive Dutch artists' conscious reaction against the past, their inspiration in natural forms and exotic cultures, and their embrace of the principle that art should transform everyday life. They also show how the New Art--Nieuwe Kunst in Dutch--coexisted and sometimes intertwined in the Netherlands with other artistic strands, including persistent realist trends, Symbolism and the emergence of modernism. Included here are early drawings by well-known artists Vincent van Gogh and Bart van der Leck, as well as new discoveries from Jan Toorop, Theo Nieuwenhuis, Samuel Jessurun de Mesquita, Theo Hoytema, G. W. Dijsselhof and C. A. Lion Cachet. This beautifully illustrated book is the first in English to celebrate the Dutch contribution to Art Nouveau through a tour of over one hundred posters, decorative calendars, and illustrated books, as well as prints and drawings. With text by Clifford S. Ackley, one of the leading specialists on Dutch prints and drawings, Holland on Paper in the Age of Art Nouveau provides a fascinating and visually rewarding introduction to a rich and creative artistic era.

Hardcover. Buffalo NY, Firefly Books, 1st, 2024, Book: Very Good, Dust Jacket: None, Hardcover, pictorial boards, pages illustrated in color and b&w. Hollywood Fashion explores the art and legacy of the cinematic costume designer, starting with the birth of the modern motion picture industry on a prime piece of California real estate known as Hollywood. Readers will discover how film clothing evolved from actors selecting items from their home wardrobes to outfits customized for their roles -- everything from suits of armor to ball gowns to office attire to lingerie, all created by a studio designer and a dedicated staff of costumers.