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384 pages, hardcover11 ¼ 5 9 ½ in$60.00isbn: 978-88-99765-56-9ISBN 88-99765-56-9

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Gianlorenzo Bernini’s (1598–1680), architect, painter, but above all sculptor, had a career that spanned almost seventy-five years. He worked under six different popes and was instrumental in the making of Baroque Rome, from the colonnade of St. Peter to the fountains in piazza Navona and piazza di Spagna, from the many stunning sculptural groups in the churches and palaces of Rome to the dozens of “speaking portraits” of cardinals, popes, kings and intellectuals of his times. The Galleria Borghese, home of many works by Bernini, including some of his world-famous groups such as Apollo and Daphne, The Rape of Proserpina and the David, hosts a major exhibition on the sculptures of Bernini. Exceptional in scope and scholarship, the catalogue analyses many different aspects of Bernini’s output, focusing on the many innovations he introduced. It also devotes studies to the critical reception of Bernini and to his relationships with friends and pa-trons (a biographical dictionary at the end of the book).

Berniniedited by Andrea Bacchi and Anna Coliva

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www.officinalibraria.com$45.00 38,00 € £35.00

ISBN 88-99765-31-6

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THE BARBERINI TAPESTRIES

Woven Monuments of Baroque Rome

James Gordon Harper

James Gordon Harper

The Barberini Tapestries Woven Monuments of Baroque Romewith a text by Marlene Eidelheit, photos by John Taylor and Dianne Dubler

ISBN 88-99765-31-6

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160 pages, hardcover9.8 5 12 in, 126 col. ill. $45.00isbn: 978-88-99765-31-6

This book is the first treatment of the tapestries of the Life of Christ, commissioned by Pope Urban VIII’s nephew Car-dinal Francesco Barberini. Covering over 2800 square feet, the series is one of the grandest monuments of 17th cen-tury Rome. A close reading of each panel sets the tapestries into a number of contexts, including the stylistic advances of the high baroque and the political and social agendas of the patron. The introduction lays out the context of Urban VIII’s Rome. Subsequent chapters reconstruct the history of Cardinal Barberini’s private manufactory and the activity of G. F. Romanelli, the designer of the set. The use and display of the series in the time of the Barberini are also treated, as is the transfer of the series to the US and its display in New York’s Cathedral of St. John the Divine, against the backdrop of the history of collecting in Amer-ica’s “gilded age.” The final chapter discusses technical as-pects of the panels and recounts their recent conservation.

photo by John Taylor

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dessins italiens du musée du louvredessins italiens

du musée dulouvre

dessins génoisxvi e-xviii e siècle

dessinsgénoisduxvie- xviie

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Federica Mancini

Genoese Drawings 16th–18th century

496 pages, hardcover8 5 10.6 in, 630 col. ill.$110.00isbn: 978-88-99765-52-1ISBN 88-99765-52-1

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Since 1972, the Prints and Drawings Department of the Musée du Louvre has been publishing the catalogues rai-sonné of its Italian drawings. This volume is dedicated to Genoese drawings fro the 16th to the 18th century. Genoa was an independent republic, open to trade and with a vigorous economy, and this condition allowed the birth of local art school permeated by a variety of foreign influences presente in the city. The renown of its school soon spread behind its borders and several Genoese painters had important careers in other cities.The book catalogues and illustrates the 500 drawings held in the Louvre’s collections, with works—marked by an elegant and refined style spanning over three cen-turies—by Luca Cambiaso, Andrea and Ottavio Semi-no, Giovanni Battista Castello, Giovanni Battista Paggi, Giulio Benso, Giovanni Andrea De Ferrari, Bernardo Strozzi, Bartolomeo Biscaino, Giovanni Benedetto Cas-tiglione, Domenico Piola and the De Ferraris.

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Donatella Calabi

VENICE AND ITS JEWS500 Years Since the Founding of the Ghetto

Donatella Calabi

Venice and its Jews500 Years since the Founding of the GhettoTranslated by Lenore Rosenberg

Venice: 500 years ago by order of the Senate the first ghet-to was born. It was the first of many “Jewish enclosures”. A place to confine, it soon became an important cos-mopolitan and commercial center of the Republic. The architectural structure of its housing, which became ex-traordinarily high to accommodate the increasing num-ber of inhabitants, is strictly interlaced with the history, economy and culture of Venice. The city played a crucial role in the Jewish world, in the exchanges throughout the Mediterranean and in Italian art and culture.The Vene-tian word geto. from gettare, to throw away, named the area of Venice where foundries’ scraps were accumulated. This was the area assigned to the Jews. The word, in the course of time, has become a synonym for segregation.Donatella Calabi has been professor of History of the City and its Territory at the IUAV University of Venice for thirty years (1974-2014).

208 pages, paparback7.5 5 4.75 in24 col. + 8 b&w illustrations$16.95isbn: 978-88-99765-29-3ISBN 88-99765-29-3

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“Leaving aside personal facts and clearing the field of memories, the subject of Mongiardino cannot be filed away amid the silence of the historians of architecture and the cult of the disciples. It is a necessary to have at hand the instruments that serve to avoid those superlatives that cover empty criticism. Almost as if it were a master-key, the traditional praise of the artisans who, day after day, followed the career of the architect paved with success can no longer be used. Hand in hand with this success there was an exclusion from history, the like of which has no comparison. At most a mention among fashionable trends of the period. And what is the reason for this? No public buildings? No enlistment in the ranks of Rationalism, and of Postmodernism then? The sin of having worked in the houses of some of most powerful people in the world? Why did this not happen to Tommaso Buzzi? Or why is it not happening to Peter Marino? What a subject for a contemporary Francis Haskell.”

Giovanni Agosti

Renzo Mongiardino (Genoa, 1916 – Milan, 1998) graduated in architecture with Gio Ponti in 1941 and, from the early fifties, he gained a reputation as the creator of some of the most fascinating interiors in houses of the second half of the twentieth century. His clientele included learned collectors and great entrepreneurs among which the Agnellis, Hearsts, Onassis, Rotschilds, Safras, Valentino, Versaces, Zanussis, etc. At the same time he carried out his work as a set designer for theater and cinema, working with Liliana Cavani, Peter Hall, Giancarlo Menotti, Raymond Rouleau and Franco Zeffirelli.

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Donatella Calabi

Venice and its Jews500 Years since the Founding of the GhettoTranslated by Lenore Rosenberg

Renzo Mongiardino

RoomscapesThe Decorative Architecture of Renzo MongiardinoPreface by Giovanni Agosti

Mongiardino (1916–1998) is universally acclaimed as one of the greatest architects of interiors of the 20th century. His clientele included many distinguished families such as the Agnellis, Rotschilds, Thyssen- Bornemiszas, Radziwills, Zanussos, and modern coutu-riers like Versace, Valentino, and Jil Sander. Roomscapes, originally published in 1993 and long out of print, is not only a beautiful testament to Mongiardino’s imaginific creations, the magnificent rooms he re-shaped and decorated in ancient Italian and Parisian palaces, En-glish houses, New York apartments, but it is an important text that analyses space, function, decoration and lighting of rooms. It is meant as a guide to conceive spaces that are inhabited through time and by time. Sketches, draw-ings, and models by Mongiardino, next to the images of the finished rooms, make the creative process clear and showcase his extraordinary ability and taste.

240 pages, hardcover with jacket 11.24 5 9 ½ in

$60.00isbn: 978-88-97737-76-6

“The mention of Mongiardino still elicits instant reverence. With his alchemic blurring of eras, the sheer scope and committment of his massive projects and insistence on valuing ambience above so-called authenticity, he attained mythic stature.”The New York Times Style Magazine

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276 pages, hadrcover 13 5 10 ½ in381 col. ill. and 15 b&w $75.00isbn: 978-88-97737-64-3

Robert J. Ross

The Selous in AfricaA Long Way from Anywheretexts by Rolf D. Baldus, Waler R. Jubber, and Benson O. KibondeAfrica

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“Rarely written about and rarely photographed, the Selous is a vast wild place in southeastern Tanzania. A stronghold of large animals, it is the largest wildlife sanctuary on the African continent (larger than Switzerland). It is also one of the least accessible and the least known. With Robert J. Ross’ The Selous in Africa, this is about to change. An American photographer, Ross has travelled to this extraordinary wilderness numerous times documenting its great array of wildlife with some of the most beautiful photographs ever taken there.” —Peter Matthiessen, National Book Award-winning author and naturalist

“The Selous was my very first Africa experience, and it remains my favorite. Robert J. Ross’ extraordinary photographs take us into a natural world unlike any other on earth. A world of elephants. Of wild dogs. Of nature as it should be, can be, might be—if we keep these breathtaking images firmly in mind. A triumph!” —bryan Christy, Director, Special Investigations Unit, National Geographic

“The Selous is a national treasure for Tanzania and a snapshot of heaven for the rest of humanity. The preservation of their patrimony is a critical right for future generations of Tanzanians. But its very existence, as these extraordinary photos illustrate, enriches us all.” —Robert F. Kennedy, Jr., attorney and environmental activist

“The Selous is one of the largest wild areas left on earth. Robert J. Ross is a dedicated conservationist and tenacious photographer—just the combination needed to bring this wilderness to the light. Rob’s book appears at a critical time when the attention it brings is most needed.” —Michael “nick” nichols, photographer, conservationist, and editor-at-large, National Geographic A L o n g W A y F R o M A n y W h e R e

The Selous Game Reserve in Tanzania is one of the last remaining great wilderness

areas in Africa. Encompassing more area than Switzerland and proclaimed a

UNESCO World Heritage Site in 1982, the Selous is Africa’s oldest and largest

protected area and remains one of the continent’s greatest undisturbed ecosystems.

Teeming with life—including elephants, giraffe, more lions than any other protected

area on the continent, large packs of wild dogs and vast herds of buffalo—the Selous

is a crown jewel of biodiversity and wilderness preservation.

The Selous in Africa: A Long Way From Anywhere by Robert J. Ross, features

nearly 400 photographs of this extraordinary place. Not only the large mega-fauna

typically seen in a photographic book on African wildlife, but also the fantastic

and often overlooked smaller creatures, birds, insects, and dramatic landscapes are

captured in these breathtaking images.

Original essays on the history and ecology of the Selous as well as words

focused on the clear and present threats facing the Game Reserve including

elephant poaching and human encroachment are complimented by generous

excerpts from Sand Rivers, Peter Matthiessen’s beautifully written book about

a safari he undertook in the Selous. But the story of the Selous Game Reserve is

best experienced through Ross’ photography. Culled from more than 100,000

photographs shot over four years, the images offer an intimate glimpse into the

diverse landscapes, flora, and fauna to be found in this cherished reserve.

Robert J. Ross is a native New Yorker who has spent the

past fifteen years capturing colorful moments in Africa and

elsewhere around the world after wisely leaving a career

in property finance and development. Rob’s work has been

published in National Geographic Adventure, National

Geographic Traveler, Condé Nast Traveler, Getaway Magazine,

Africa Geographic, Islands, Travel Africa, GQ, House & Garden,

and many other leading travel and environmental journals. Rob has also undertaken

photographic assignments for the Wildlife Conservation Society, the World Wide

Fund for Nature, and the Global Fund for Children. Rob now divides his time

between bases in the mountains of Colorado and at the southern tip of his beloved

Africa in Cape Town.

Rolf D. baldus was the German manager of the Selous Conservation Program

in Tanzania from 1987 to 1993. In 1998 he returned to Tanzania as Government

Advisor for Community Based Natural Resources Management and he was

involved in revising the Wildlife Act and in assisting the creation of the new Saadani

National Park and the Selous-Niassa Wildlife Corridor in southern Tanzania. Rolf is

the author of many papers on the Selous as well as editor of Wild Heart of Africa, a

comprehensive collection of essays on the Selous published in 2009.

Walter R. Jubber has worked as a walking safari guide in his native South Africa,

in Namibia and until recently in the Selous, where he was the head guide at Beho

Beho for five years. Walter has published a number of scientific papers including

work on several species of Oxpeckers and another on the distribution of the Forest

cobra. Walter has a love for conservation and specializes in biodiversity ecology

and trail guiding.

benson o. Kibonde has worked in the Selous for much of the past thirty years.

Benson has been the Chief Warden of the Game Reserve from 1994 to 2008 and

from 2012 through 2015.

Photographs © 2015 Robert J. Rosswww.rjrossphoto.comJacket and book design by Gregory Wakabayashi

Published by Officina Librariawww.officinalibraria.comPrinted in Italy

the Selous in Africa

R o s s

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“The African elephant, an iconic symbol of Africa’s extraordinary natural wealth, is being liquidated across the continent by a corrupt few who seek profit from an illegal ivory trade, which impoverishes us all. This bloody violence respects neither the sanctity of Africa’s National Parks nor the global importance of a magnificent World Heritage Site such as the Selous. Enjoy this book and share it, for its message is important, and a reminder the natural world is ours to protect.” —Alexander Rhodes, CEO, Stop Ivory

“The Selous Game Reserve in southern Tanzania is Africa’s oldest and largest protected area. Proclaimed in 1896, and bigger than Switzerland, the Selous is a UNESCO World Heritage Site. The Selous remains one of Africa’s largest and greatest undisturbed ecosystems, teeming with life includ-ing one of the two largest elephant populations remaining on the African continent, probably half of all of the wild dogs in Africa, vast herds of buffalo as well as more lions than any other protected area on the continent as reported by National Geographic in August 2013. The game reserve is becoming more important by the day as the pressure on elephants and other species grows—problems that are ad-dressed here in this book. New-York born photographer Rob Ross has spent much of the past four years photo-graphing in this vast and difficult to access reserve. He has compiled more than 100,000 images showing all aspects of the reserves varied landscapes, seasons, flora and large and small fauna. The spectacular large-format photography book features a selection of the very best images including landscapes, wildlife portraits and behavior, night photog-raphy, impressionist style work and breath-taking aerials.

“The Selous was my very first Africa experience, and it remains my favorite. Robert J. Ross’s extraordinary photographs take us into a natural world unlike any other on earth. A world of elephants. Of wild dogs.Of nature as it should be, can be, might be—if we keep these breathtaking images firmly in mind. A triumph!” Bryan Christy, Director, Special Investigations Unit, National Geographic

“Selous is also a record of what is at stake, a set of portraits of the extraordinary wildlife we are losing. One senses, more strongly than in other books of this kind, that Ross wants to bring us into a fast disappearing world and keep us there.”The New York Review of Books

“His (Ross’) stunning images inven-tory the magnificent biodiversity of the continent’s oldest protected wilderness as well as the threats it now faces.”NPR

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304 pages, hardcover17 5 12 in$135.00isbn: 978-88-99765-02-6

Ernest Beck and George E. Harlow

Buried TreasureThe Gillepsie Collection of Petrified WoodPreface by John Gillepsie, photography by John Taylor and Dianne Dubler

This stunning book documents a collection of 66 ex-traordinary pieces of petrified wood, mainly from West-ern United States (Arizona, Oregon, Washington). Spe-cially photographed they are shown in their entirety and in magnificent details. Petrified wood is formed from fallen trees that in absence of oxygen and microbes and with water containing minerals, through a replacement process called permineralization, slowly transform in vi-sually spectacular fossils. But Nature often uses a paint-brush in its preservation magic, splashing the wooden canvas with an array of colors and hues before fixing it in matrix of hard durable quartz, thereby creating splendid works of art. Petrified wood has been found throughout the world, but actual petrified forests are truly noteworthy in the United States, the most famous being the Chinle Formation forest of Arizona.

ISBN 88-99765-02-6

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carnets et albumsDessins du musée du Louvre

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En 1922, Léon Bonnat, portraitiste réputé et grand collec-tionneur, légua au Louvre un recueil de vingt-trois dessins intitulé Disegni di A.  Pollaiuolo  (?) 1429 † 1498. Malgré l’intitulé de l’album, les historiens se sont interrogés sur son auteur et ont préféré, au nom du célèbre peintre et sculpteur, celui d’un orfèvre et nielleur florentin passé à la postérité pour avoir inventé l’art de la gravure : Maso Finiguerra. Son album apparaît aujourd’hui comme l’une des plus belles sommes d’études d’après le modèle vivant qu’un artiste du xve siècle ait jamais accomplies.

L’album des « Disegni di A. Pollaiuolo (?) 1429 † 1498 » étude

CouvertureFolio 2 recto (RF 5527), plume et encre brune, lavis beige

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Le carnet dit « des Pyrénées », classé « trésor national » en 2003 et acquis par le musée du Louvre en 2004, fait ici l’objet pour la première fois d’une reproduction intégrale. Il a été commencé par Delacroix en juillet 1845, lorsqu’il se rendit en cure aux Eaux-Bonnes, une station thermale des actuelles Pyrénées-Atlantiques. Ébloui par le spectacle des montagnes, l’artiste a couvert ses pages d’études de paysages parfois rehaussées d’aquarelle et reproduit les costumes traditionnels revêtus par les paysans de la vallée d’Ossau. Ce carnet est l’un des plus remarquables du fonds Delacroix du Louvre.

Eugène Delacroix Carnet « des Pyrénées » étude

CouvertureFolio 33 recto, détail, crayon graphite et aquarelle

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Laura Angelucci, Dominique Cordellier

L’Album des “Disegni di Antonio Pollaiuolo”

2 volumes in a slipcase80 pages 12 5 7.75 in$35.00 FRENCHisbn: 978-88-97737-86-5

Donated in 1922 to the Louvre by Léon Bonnat, these 23 drawings are one of the best ensemble of life studies of a model by a 15th-century Florentine artist. Despite being entitled after Pollaiuolo, modern critics have at-tributed it to Maso Finiguerra, goldsmith and niellist, but known to posterity for being credited by Vasari as the inventor of engraving. The booklet is reproduced here for the first time as a quasi-facsimile. The commen-tary that accompanies it presents the profile of the two artists and the relationship of the carnet to workshop practices. The analysis of the single drawings focuses on the images, materials and techniques.

Marie-Pierre Salé

Eugène Delacroix Carnet «des Pyrénées», 1845

Eugène Delacroix, (1798-1863), France’s leading Ro-mantic painter, spent the summer of 1845 in Eaux-Bonnes, a little spa on the Atlantic side of the Pyrenees. Struck by the grandiose sight of the mountains incum-bent on the Ossau valley, Delacroix reproduced the land-scapes – amongst his best – with quick pencil sketch-es and, in some cases, with watercolors. On the same sketchbook, he drew the traditional costumes of the in-habitants. Finally, upon his return in Paris, alerted by the novelist George Sand, he discovered the Ojibwe tribe. Eleven of his members had been brought to Europe by American painter George Catlin and Delacroix was por-trayed them on several pages of this carnet in moving sketches. The Carnet des Pyrenées was acquired by the Louvre in 2004 and classified as a “national treasure”.

2 volumes in a slipcase224 pages4.75 5 8 in$45.00 FRENCHisbn: 978-88-97737-85-8

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Le « Livre de croquis de Gabriel de Saint-Aubin » Xavier Salmon

Le « Livre de croquis de Gabriel de Saint-Aubin »2 volumes ne pouvant être vendus séparémenti. « fac-similé » du carnet ii. étude par Xavier Salmon

De Jacopo Bellini à Eugène Delacroix, six cents carnets d’artistes et albums de collectionneurs, conservés au musée du Louvre, permettent de mieux comprendre le processus créatif des maîtres qui les ont exécutés et d’apprécier le goût des amateurs qui se sont attachés à les constituer. Ces œuvres précieuses et fragiles demeurent pour la plupart méconnues. Certaines d’entre elles, reproduites pour la première fois dans leurs dimensions d’origine, accompagnées d’une étude inédite, invitent désormais le public le plus large possible au plaisir de la découverte.

Connu sous le titre de « Carnet Groult », du nom de son propriétaire au début du xxe siècle, le livre de croquis de Gabriel de Saint-Aubin (1724-1780) est un des joyaux des collections du musée du Louvre. Acquis en 1941, il n’avait jusqu’à ce jour jamais été intégralement reproduit et n’avait donné lieu à aucune étude exhaustive. Tout le génie du merveilleux dessinateur que fut Saint-Aubin marque pourtant chacune des pages de ce petit ouvrage, véritable invitation à redécouvrir le Paris du xviiie siècle et ses figures demeurées plus ou moins familières.

ISBN 88-99765-38-5

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Xavier Salmon

Livre de Croquis de Gabriel de Saint-Aubin Peintre, 1760-1778

2 volumes in a slipcase196 pages4.75 5 8 in$50.00 FRENCHisbn: 978-88-99765-38-5ISBN 88-99765-38-5

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Gabriel de Saint-Aubin (Paris, 1724-1780) was “never seen without a pencil in his hand, intent in sketching all that appeared in front of his eyes.” His Livre de Croquis (sketchbook )is a veritable chronicle of Parisian life in the 18th century. Compiled between 1760 and 1778 it contains views of the streets and monuments of the ville lumière, scenes at the theatre or of a grand ball, portraits of young workers writing, sewing or playing an instrument. Saint-Aubin’s minute annotations are deciphered and explained in the commentary volume. The sketchbook, acquired from the heirs of Saint-Aub-in, was guarded jealously in a private collection - and was, therefore, almost unknown – until 1941 when it was acquired by the Louvre. It has never before been reproduced in its entirety.

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Jefferson and PalladioConstructing a New Worldedited by Guido Beltramini and Fulvio Lenzo

Giuliano da Sangalloedited by Amedeo Belluzzi, Caroline Elam, Francesco Paolo Fiore

Thomas Jefferson throughout his life practiced architecture, in the public domain (Virigina State Capitol, the University of Virginia cam-pus) and private (Monticello, Bremo). Jefferson was guided by his admiration for Palladio’s Four Books on Architecture, which provided him with

key architectural forms and ideas. Palladio showed him how the admired building types of the ancient Romans could be adapted to modern purposes and provide a rational, harmonious framework for living and for building a new society. The book shows us that Jeffer-son was not only an extraordinary political figure, but also a great and influential architect.

176 pages, paperback11 5 8.25 in, 32 col. pl. and 114 b&w ill.$29.90isbn: 978-88-97737-78-0

JEFFERSON AND PALLADIO constructing a new world

Founded in 1958, the Centro Internazionale di Studi di Architettura Andrea Palladio is an organisation devoted to research and discussion in the fi eld of the history of architecture. The activities of the Centre are guided by a scientifi c committee of international specialists, and include conferences, publications and exhibitions not only on Palladio but on architectural history in general, from antiquity tothe modern age.

The Palladio Museum is a museum-workshop, an interface between research and the wider public. The Museum lets Palladio speak for himself; it neither modernises him nor presents him as a formal model for today. It explores the past, using the tools of modern historical investigation to map the “site” and context of Palladio’s activity. It examines the origins of themes and concepts present in today’s architecture, and seeks to contribute to the creation of the architectural culture of tomorrow.

Guido Beltramini is Director of the Centro Internazionale di Studi di Architettura Andrea Palladio, Vicenza.

Fulvio Lenzo is Associate Professor in the history of architecture at the Università IUAV di Venezia, Venice.

Filippo Romano, a photographer, lives and works in Milan.

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I like the dreams of the future better than the history of the past. So good night. I will dream on…

Thomas Jefferson to John Adams, 1816

www.officinalibraria.com

Thomas Jefferson (1743-1826), a cosmopolitan fi gure with rural roots, was a master of the knowledge of his time. He drafted The Declaration of Independence (1776), and thus founded a new view of the proper relation between governed and government. Jefferson was the architect of the new America, not just in a political sense, but in a literal sense as well. Architecture had an important place in his personal and public agenda. Jefferson was guided by his admiration for Palladio’s Four Books on Architecture, which provided him with key architectural forms and ideas. Palladio showed him how the admired building types of the ancient Romans could be adapted to modern purposes and provide a rational, harmonious framework for living and for building a new society. This exhibition lets us see that Jefferson was not only an extraordinary political fi gure, but also a great and infl uential architect.

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“Jefferson’s Virginia Capitol in Richmond defines what will become the prototype of the seat of government in the New World: an ancient temple … remodeled as the space for the new democracy.” Il Sole 24 Ore

480 pages, paperback10 5 8 in$55.00isbn: 978-88-99765-20-0texts in Italian, English,French, and German

Giuliano da Sangallo (1443–1516) was the head of a dynasty of Florentine architects which played a central role in the development of Renaissance architecture. Giuliano introduced many innovations that were devel-oped further by Bramante, Michelangelo and Palladio. For Lorenzo il Magnifico he built the “humanistic” Villa of Poggio a Caiano, in which he was the first to employ the façade of a classical temple in a residential architecture, a model that will lasts for at least three cen-turies. His church of Santa Maria delle Carceri in Pra-to remains one of the key examples of the central-plan Renaissance church. Giuliano’s buildings––fortresses, palaces, villas and churches––can be found in Savona, Pisa, Florence, Prato, Loreto, Rome and Naples. In the Eternal City, with the help of his nephew Antonio the Younger, he was instrumental in the building of the new basilica of St. Peter and of Palazzo Farnese.

giuliano da sangallo

Giuliano da Sangallo è uno dei maggiori architetti del primo Rinascimento.

Erede di Brunelleschi e Alberti, a lui si deve l’introduzione di temi che saranno fondamentali per la grande stagione dei Bramante, Raffaello, Michelangelo, Palladio.

Realizzò la prima villa umanistica per Lorenzo il Magnifico nelle campagne fiorentine a Poggio a Caiano, dove usò per primo il frontone tipico dei templi antichi sulla facciata di un edificio civile, un motivo che segnerà l’architettura classicista nei secoli successivi. Il suo oratorio di Santa Maria delle Carceri a Prato rimane un esempio chiave della chiesa rinascimentale a pianta centrale.

Fiorentino per nascita e formazione, fu il capostipite di una dinastia di architetti e costruttori che, con il nipote Antonio da Sangallo il Giovane, sarà determinante nella costruzione della basilica di San Pietro e di palazzi quali il palazzo Farnese a Roma.

A questa figura centrale della storia dell’architettura il Centro Internazionale di Studi Andrea Palladio e il Kunsthistorisches Institut in Florenz – Max-Planck-Institut hanno dedicato un importante seminario di studio a Firenze e Vicenza.

Gli esiti sono raccolti in questo volume che esce in occasione del V centenario della sua morte. I saggi, basati su nuove ricerche, riflettono ogni

aspetto della multiforme carriera di Giuliano – progettista, scultore, legnaiolo, modellista, architetto, ingegnere di fortificazioni, rilevatore, disegnatore e studioso di antichità – e tutti i luoghi in cui lavorò: Roma, Savona, Pisa, Napoli, Loreto, Prato e naturalmente la sua città natale, Firenze.

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The Bernard and MaryBerensoncollecTionof european painTings aT i TaTTiCarl Brandon Strehlke and Machtelt Brüggen Israëls

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www.officinalibraria.com$145.00 - £90.00 - €100.00

Officina LibrariaVia Carlo Romussi, 420125 MilanItalywww.officinalibraria.com

Villa I Tatti – The Harvard University Center for Italian Renaissance StudiesVia di Vincigliata, 2650135 FlorenceItalywww.itatti.harvard.edu

When in early 1901 Bernard and Mary Berenson, newlyweds who had been longtime companions, moved to I Tatti—now the Harvard University Center for Italian Renaissance Studies, they proudly installed the first fruits of their collecting: Domenico Veneziano, Sassetta, and Giambono. The gathering soon expanded to include other great Renaissance masters like Giotto, Pietro Lorenzetti, and Signorelli. The Berensons even kept some of their early mistakes like fakes by Federico Icilio Joni, and Bernard made forays into modern art buying Matisse and Picasso. This catalogue, written by an international team of scholars, contains new original art historical investigations of about 140 paintings still at I Tatti and essays about the Berensons and their ambient. The texts take full advantage of new archival research and of technical studies of each work conducted in collaboration with the Opificio delle Pietre Dure in Florence. The catalogue, including 101 paintings formerly at I Tatti listed in an illustrated appendix, is a remarkable window into the Berensons’ intellectual concerns, the early world of connoisseurship in which they were principal players, and the importance of that practice in the development of twentieth-century Italian art history and criticism.

carl Brandon strehlke, Curator Emeritus of the John G. Johnson Collection at the Philadelphia Museum of Art, is a scholar of early Italian painting and has published on many topics in the field including the Sienese Quattrocento, Fra Angelico, Pontormo, and Bronzino.

Machtelt Brüggen israëls, Lecturer at the University of Amsterdam, is a scholar of Sienese Renaissance art and has also written on Piero della Francesca. She is the editor of a two-volume book on Sassetta’s Borgo San Sepolcro Altarpiece published by Villa I Tatti.

Cover: Giambono, Saint Michael Archangel (Pl. 41)

The Bernard and Mary Berenson Collectionof European Paintings at I Tattiedited by Carl Brandon Strehlke and Machtelt Brüggen Israëls

The fully illustrated scientific catalog of the collection of Bernard Berenson, the major American art historian of the 20th century, held at Villa I Tatti.

Edited by Carl Brandon Strehlke and Machtelt Brüggen Israëls, The Bernard and Mary Berenson Collection of Eu-ropean Paintings at I Tatti surveys the 149 works assem-bled by the Berensons for their home in Florence from the late 1890s through the first decades of the twentieth century at the time that they were making their mark on the world as connoisseurs. The catalog presents a priv-ileged window on the Berensons’ intellectual interests through the objects they owned. The entries, written by an international team of art historians, take full ad-vantage of the extensive correspondence from the Ber-

ensons’ friends, family, and col-leagues at I Tatti as well as the couple’s diaries and notations on the backs of their vast gathering of photographs. All the entries are lavishly illustrated with full scholarly and technical account-ings of the objects. There are also 17 illustrated reconstruc-tions of the original contexts of panel paintings. The catalog in-cludes essays on the progress of the Berensons’ collecting, their love for Siena, the Sienese forg-er Icilio Federico Joni, the critic Roger Fry, and René Piot’s mu-rals at I Tatti, as well as a listing of more than 100 pictures that were once at I Tatti including donations made to museums in Europe and America.

824 pages, hardcover10 5 12 in, 400 col. ill. $145.00isbn: 978-88-97737-63-6

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m a r t i n b a r n e s l o r b e r – r e b e c c a m c n a m a r ap h o t o g r a p h y b y j o h n b i g e l o w t a y l o r a n d d i a n n e d u b l e r

a token of elegance c i g a r e t t e h o l d e r s i n v o g u e

a token

of eleg

ance

A Token of Elegance: Cigarette Holders in Vogue showcases a select group of about 125 cigarette holders from the unique collection of Carolyn Hsu-Balcer. Rare, one-of-a-kind, exquisite and luxurious, these small gems of design represent the artistry of the finest artisans and jewelers of the nineteenth and twentieth centuries.

Fabergé, Cartier, Tiffany, Van Cleef & Arpels, Alfred Dunhill, Buccellati —all are represented here in specially commissioned photography by masters John Bigelow Taylor and Dianne Dubler that makes these diminutive objects pop off the pages with brilliant color and form. Within these pages are early nineteenth-century cigarette holders, Princess Margaret’s well-used enamel-and-amber cigarette holder; and disposable holders given as promotional gifts by the top nightclubs of Roaring Twenties New York.

The book’s illustrated essay written by Asian arts specialist Martin Barnes Lorber and rising art and design writer Rebecca McNamara—takes the reader through the history of smoking from its pre-Columbian roots in the Americas, where it was a sacred ritual, through to the present-day worldwide e-cigarette craze. Entertaining and informative, the essay keeps its artistic eye focused on smoking’s accoutrements as expressions of the day’s dominant design trends, from sinuous Art Nouveau to the costume jewelry craze to sleek midcentury black, and more.

www.officinalibraria.com$50.00 - £35.00 - €48.00

front cover:Cigarette holder. Bagués-Masriera, Barcelona, c. 1910 [cat. 14]

spine:Cigarette holder. Kano Tessai (1845-1925), Japan, Meiji (1868-1912)

or possibly Taisho Period (1912-1926) [cat. 52]

back cover (from left to right):Cigarette holder. India or Japan, c. 1930–4 [cat. 120]Cheroot holder. Possibly France, c. 1890–1910 [cat. 32]Cigarette holder. Edward Wilhelm Schramm for Fabergé,

St. Petersburg, 1899–1908 [cat. 3]Ejector cheroot holder. Possibly United States, c. 1920–30 [cat. 40]Cigarette holder. Probably Ivan Lebedkin, Russia, c. 1900–1910 [cat. 31]

Martin Barnes Lorber and Rebecca McNamara

A Token of Elegance Cigarette Holders in Voguephotography by John Taylor and Dianne Bubler

192 pages, hardcover with jacket9.75 5 10 in, 137 col. pl. and 43 ill.$50.00isbn: 978-88-97737-62-9

This book showcases a select group of nearly 140 cig-arette holders from the unique collection of Carolyn Hsu-Balcer. Rare, one-of-a-kind, exquisite and luxuri-ous, these small gems of design represent the artistry of the finest artisans and jewelers of the 19th and 20th cen-turies.Fabergé, Cartier, Tiffany, Buccellati—all are rep-resented here in specially commissioned photography.The book’s illustrated essay takes the reader through the history of smoking, but is mainly focused on smoking’s accoutrements as expressions of the day’s dominant de-sign trends, from sinuous Art Nouveau to the costume jewelry craze to sleek midcentury black, and more.

“Designer and collector Carolyn Hsu-Balcer’s impressive and informative cigarette holder collection will get the recognition that it deserves” Artnet News

Multiple Exposures is the catalog for the exhibition held at the Museum of Arts and Design, New York in 2014, the first to study the use of photographic images by jewelers.

The works included, both historical pieces and recent creations by over eighty international art jewelers, tra-verse a remarkably wide range, from traditional and even sentimental formats (such as the locket) to entirely new formats, realized with a great diversi-ty of materials and innovative jewelry-mak-ing approches.

Ursula Ilse-Neuman

Multiple ExposuresJewelry and Photography

ISBN: 978-88-97737-29-2

9 788897 737292

256 pages, hardcover10 5 11 in, 250 col. pl. and 10 b&w$49.95isbn: 978-88-97737-29-2

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www.officinalibraria.com$40.00 - £24.95 - €30.00

Between Sea and Skyroy L

ichte

nste

inroy LichtensteinBetw

een Sea and Sky

Clare Bell and Avis Berman

Roy LichtensteinBetween Sea and Sky

In 1964, Lichtenstein began to explore the genre of seascape, using both paint, plastic, enamel, drawings, collage, print and even film to realize his various works. Guild Hall hosted an extraordinary gathering of these work beginning with his Pop-inspired explorations of setting suns, a recreation of his since destroyed Super Sunset billboard commission (1967). Optical collages and films from the mid to late 1960s, his gently calibrat-ed brushstroke water views in paintings and prints of the 1980s culminating with his 1990s water lily series in homage to the Nymphéas of Claude Monet.The publication includes an interview to Lichtenstein’s assistant, James de Pasquale, on his recollections of working with the artist on his landscapes in his studio in Southampton.

112 pages, hardcover8.25 5 11 in, 31 col. pl. and 60 ill. $40.00isbn: 978-88-97737-66-7

Phyllis Tuchman

Robert Motherwell The East Hampton Years, 1944-1951

120 pages, hardcover8.25 5 11 in, 40 col. pl. and 10 ill. $45.00isbn: 978-88-97737-34-6

“An effective portrait of the artist … it posits Motherwell as an overlooked innovator rather than a follower” The New York Times

The book is a monograph dedicated to Robert Moth-erwell, pioneering Abstract Expressionist, who enjoyed early recognition: at 29 years, he had his first solo show at Peggy Guggenheim’s gallery; a year later he moved to East Hampton, New York. None of the exhibitions ded-icated to Motherwell have focused on this period. He produced paintings, collages, and drawings that brought abstraction into the lingua franca of art created on the American side of the Atlantic. Motherwell possessed a Minimalist sensibility and many of his finest works from this period have only a few colors and shapes.

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Thom Gilbert

Soul Memphis’ Original Soundforeword by Dan Aykroyd

Michele PaoliDe Paris et d’ailleurs Photographies | fotografie | photographies 1985-2015preface by Edoardo Albinati

256 pages, hardcover9.5 5 12 in, 167 col. and b&w pl. $65.00isbn: 978-88-97737-47-6

also available LIMITED EDITIONBoxed set with signed printISBN 978-88-97737-48-3 $300.00 non returnable

Photographer Thom Gilbert set up a photo studio at the Royal Studios in Memphis, home of the famed Hi Records that launched the careers of Al Green, Ann Peebles, and dozens of others, and photographed the soul music royalty. Bobby «Blue» Bland in his signature nautical cap, several of the Hodges brothers who make up the incomparable Hi Rhythm Section were on hand, Stax Records musicians Bobby Manuel, Lester Snell were actually recording, but pausing to have their portraits tak-en. He also shooted what seems like every living person related to Memphis soul music: from Rev. Jesse Jackson to Sam Moore of the indelible soul duo Sam & Dave, Carla Thomas, Steve Cropper, B.B. King, Bobby Rush, and many others.

MICHEL PAOLI | DE PARIS E T D’AILLEUR S

photographies | fotografie | photographs 1985-2015

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Il n’est pas facile d’identifier au premier coup d’œil l’élément caractérisant qui unifie, en une série construite et close, les photographies de Michel Paoli : leur sujet, leur cachet, leur tonalité chromatique, ou les angles, les cadrages. Ce n’est qu’après les avoir observées attentivement l’une après l’autre et les avoir parcourues toutes plusieurs fois que l’on saisit un fait surprenant : cet élément caractérisant existe bel et bien dans les photos, mais il leur est extérieur, il est éloigné des images mais proche de celui qui les regarde, peut-être même dans les yeux de ce dernier.

Non è a prima vista facile individuare il tratto che unifica, in una serie compiuta, le fotografie di Michel Paoli. Per soggetto o timbro o tono coloristico, per taglio o inquadratura. Solo dopo averle guardate attentamente una per una e scorse tutte insieme più volte, si coglie un fatto sorprendente: e cioè che quel tratto nelle fotografie esiste, sì, ma è esterno a esse, lontano dalle immagini ma assai vicino a chi le guarda, o forse nei suoi stessi occhi.

At first glance, it is no easy task to determine what binds the photographs of Michel Paoli into a complete series, whether that link is their subject, tone, angle or framing. Only after having looked at them closely one by one and viewed them as a whole several times do we grasp a surprising fact: the link does exist in the photographs, but it is outside of them, far from the images but up close to the viewer, or perhaps in the their eyes.

Edoardo Albinati

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couverture | copertina | cover

paris, rue durantin | parigi, rue durantin | paris, rue durantin | 03.2015

quatrième de couverture | quarta di copertina | back cover

paris, station du métropolitain | parigi, stazione di metrò | paris, metro’s station | 03.1991

Michel Paoli’s eye records each and every manifestation of beauty it stumbles upon: from the visages of kids im-mersed in reading to the supine bodies of bathers, from the bales of hay on Tuscan hills to the fleeting legs of Parisian passersby. This collection of 120 images focuses on Paris and Montmartre, Les Petites-Dalles and France, in a lesser measure, on Italy and other countries such as Brasil.Michel Paoli, born in Montmartre (Paris) in 1966, is professor of Italian Literature and Civilizaton at the Université de Picardie Jules Verne in Amiens. His main field of study is the Renaissance and he has written on Leon Battista Alberti and Ariosto.

128 pages, hardcover12.5 5 9 in, 121 col. pl. $39.00isbn: 978-88-97737-94-0

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A wonderful selection for all who love cats and books.

From medieval manuscript to Japanese prints, from Steinlen’s splendid drawings to 17th century prints, the author introduces the reader to the hundreds of books and manuscripts (belonging to the Bibliothèque Natio-nale de France in Paris) in which the lovely feline is rep-resented. The cat has been the main character of many tales, but also the inhabitant of the most diverse books: from natural histories to household manuals, from me-dieval prayer books to famous writers’ manuscripts.212 pages, hardcover

6.5 5 9.5 in, 135 col. pl. and 10 b&w$24.95isbn: 978-88-89854-56-3

Michèle Sacquin and Pierre Rosenberg

The Well-Read Cat

“This delightfully candid, witty mem-oir about cat love gone mad will ap-peal to readers of every stripe.” Houston Pet Talk

160 pages, hardcover6.75 5 9.5 in, 32 col. pl. and 12 b&w$21.99isbn: 978-88-89854-98-3

Diane Lovejoy

“Beautifully rendered in full color” CatFancy.com“Impressive coffee table volume” Dayton Ohio Daily News

128 pages, hardcover8.25 5 11 in, 28 col. pl. and 10 b&w$19.95isbn: 978-88-97737-17-9

Paola Gallerani (text) and Gabriella Gallerani (illustrations)

Paola Gallerani

A great gift for animal lovers, this book presents 40 works of Pieter Boel (1626-1674).

88 pages, hardcover11.8 5 9.8 in, 47 col. pl. and 3 b&w$29.95isbn: 978-88-89854-74-7

The Menagerie of Pieter BoelAnimal Painter in the Age of Louis XIV

Cat Lady ChroniclesAlphacat

18

rab hatfield

In this study Rab Hatfield provides a thorough, no-nonsense analysis of Leonardo da Vinci’s Mona Lisa or La Gioconda. The book begins with a consideration of the generally known sources and documents and a careful look at the painting as we know it now. There follow discussions of rarely examined laboratory photographs and of a recently discovered annotation by Ser Agostino Vespucci in a book he owned of letters by Cicero, from which we learn that Leonardo left a portrait of “Lisa del Giocondo” unfinished no later than October 1503. The book concludes with a hitherto unknown letter written in 1515 by Filippo Strozzi to Lorenzo de’ Medici, Captain General of the Florentine Armies and soon to become Duke of Urbino, describing some supposed advances these two men made to Mon(n)a Lisa. The laboratory photographs and newly discovered sources make it clear that the Mona Lisa has probably been reworked twice, that it in fact depicts Mon(n)a Lisa del Giocondo, and that it would be better if we spoke of it as La Gioconda rather than the Mona Lisa.

Rab Hatfield was born in 1937 in New York City. He received his higher education at Harvard and the University of Munich. From 1966 to 1971 he taught at Yale and from 1971 to 2012 at Syracuse University in Florence. A three-time Fellow of Villa I Tatti, he has also been a Member of the Institute for Advanced Study at Princeton. His recent books are The Wealth of Michelangelo (2002); Finding Leonardo: The Case for Recovering the Battle of Anghiari (2007); and Botticelli and Herbert Horne, of which he was the editor and to which he contributed an essay on Botticelli’s Primavera (2009). He is also the author of a recent essay on Michelangelo’s fortifications that appeared in Michelangelo e il linguag-gio dei disegni di architettura, edited by Golo Maurer and Alessandro Nova (2012). Now retired, Professor Hatfield lives outside of Florence.

rab

hatfield

What do we really know about Leonardo da Vinci’s Mona Lisa or La Gioconda? Why is it known by two different names? Does it show the likeness of a real person? If so, do we really know who she is and why Leonardo should have painted her?

www.officinalibraria.com£ 25.00 $ 39.95 € 30.00

the

THREEMONALISAS

TH

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HR

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LISA

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Rab Hatfield

The Three Mona Lisas

248 pages, hardcover6.75 5 9.5 in, 82 col. pl. $39.95isbn: 978-88-97737-39-1

A new reading of Leonardo da Vinci’s masterpiece La Gioconda, certainly the most famous painting in art history.

Saint AnneLeonardo da Vinci’s Ultimate Masterpieceedited by Vincent Delieuvin

448 pages, paperback9.5 5 11.5 in, 411 col. ill. $65.00isbn: 978-88-97737-02-5

Waxing EloquentItalian Portraits in Waxedited by Andrea Daninos

157 pages, hardcover6.75 5 9.5 in, 59 col. pl. $27.95 isbn: 978-88-89854-83-9

“Fascinating exhibition...[The] busts are so realistic that they appear unreal... as if escaped from a scene of Barry Lyndon” Le Figaro

ParmigianinoDessins du Louvreedited by Dominique Cordellier

Diffusion Vilo : 35,00 € Parmigianinoarmigianinodessins du louvre

armigianino

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Surdoué du dessin et de la peinture, Francesco Mazzola, dit Il Parmigianino (le petit Parmesan), semble être né, au temps du

maniérisme, sous le signe de la facilité. Fils de peintre, il a fait son miel dès l’enfance

de toutes les nouveautés artistiques du nord de l’Italie, mais aussi de celles de Florence et de Rome et ainsi que de celles de Parme, sa ville natale. Muni de ce bagage (Corrège, Michel-Ange, Raphaël…), il s’est rendu dans la Ville éternelle où, à peine âgé de dix-neuf ans, il sembla à tous la réincarnation de Raphaël. Il toucha au sublime dans ses innombrables esquisses et projets, mais, exigeant et jamais satisfait, ne vint au bout de rien. Trop soucieux d’atteindre la grandeur de ses aînés, inconscient d’y être parvenu, il manqua son objectif d’homme de métier en n’achevant que rarement ses grandes entreprises picturales.

Introduit par des essais sur la personnalité de l’artiste, sa technique, son style et ses amateurs, cet ouvrage présente ses plus belles œuvres conservées au Louvre qui « font tomber amoureux quiconque les regarde » (fanno innamorar chiunque le riguarda, Ludovico Dolce, 1557).

192 pages, paperback9.7 5 11 in, 143 col. ill. $45.00isbn: 978-88-97737-73-5

Méroéedited by Michel Baud288 pages, paperback$55.00 isbn: 978-88-89854-50-1

Anne Varick-Lauder

Battista Franco

Françoise Viatte

Baccio Bandinelli

Catherine Loisel

Dessins bolonais du xviie siècle576 pages, hardcover$135.00 isbn: 978-88-89854-88-4

416 pages, hardcover$140.00 isbn: 978-88-89854-45-7

320 pages, hardcover$110.00 isbn: 978-88-89854-63-1

Franz Xaver Messerschmidtedited by Guilhem Scherf and Maria Pötzl-Malikova224 pages, paperback$35.00 isbn: 978-88-89854-62-4

Books in French

256 pages, paperback$50.00 isbn: 978-88-97737-11-7

Giotto e compagni edited by Dominique Thiébaut

256 pages, paperback$50.00 isbn: 978-88-97737-37-7

Masques Mascarades Mascaronsedited by Françoise Viatte, Dominique Cordellier and Violaine Jeammet

19

Andrea Alemanno

A Surprise for Lady Lily

Kathrin Schärer

All Aboard with Johanna!

34 pages, hardcover11.5 5 9.25 in$16.99isbn: 978-88-97737-09-4

16,99 $

Amélie Galé (text) andJack Tow (illustrations)

Up All Night with Howie

Amélie Galé (text) andJack Tow (illustrations)

Who’s Afraid of Howie?

Libby Gleeson (text) and Freya Blackwood (illustrations)

Look, A BOOK!

Howie+

£ 10.99 $ 16.99

Who’s Afraid of

A threatening shadow looms over the piglets Squiggly and Pigglyand the bunnies Hip and Hop

as they play in the farm…It’s Howie, the wolf-cub,

looking for friends “for snack time”!

A story full of suspense that unfolds to reveal that wolves aren’t always big or bad!

Howie?

Who’s Afraid of?Up all night withHowieUP all night withHow

ie

£ 10.99 $ 16.99

He wakes up late, he falls asleep in school and his favorite pastime is taking an afternoon nap:

who is he? A dormouse? A bat? No, it is Howie, a little wolf who doesn’t want

to go to sleep… at night! What keeps him awake, and, more importantly,

how to convince him to go to sleep when the moon shines in the night sky?

The animals in the forest are desperate,

a good idea must be found…

+

48 pages, hardcover7.5 5 11 in$16.99isbn: 978-88-89854-93-8

40 pages, hardcover7.5 5 11 in$16.99isbn: 978-88-97737-22-3

40 pages, hardcover9.75 5 9.75 in$16.99isbn: 978-88-97737-30-8

32 pages, hardcover8.5 5 9.5 in$16.99isbn: 978-88-89854-89-1

SOCCERSindelarMeazzaSchiaffinoDi StéfanoPuskásYashin

GarrinchaCharltonG. BanksPeléEusébioRivera

G. MüllerBeckenbauerBestCruijffKeeganZico

PlatiniRummeniggeMaradonaMatthäusVan BastenBaggio

MaldiniZidaneRonaldoIbrahimovicC. RonaldoMessi S

OCCER“Do you like soccer? This book is for you.

You don’t like soccer? ...This book is for you.”GIORGIO MARTIGNONI ROBERTO RONCHI

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$ 2

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Giorgio Martignoni (text)and Roberto Ronchi (illustrations)

Watch: Soccer

144 pages, hardcover7.5 5 11.5 in$29.95isbn: 978-88-97737-43-8

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