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Whether it’s a culinary adventure in vibrant Mexico City, a historic and meditative train ride through Siberia, or a solo trip to Paris, get your bucket lists ready with the discoveries of Explorer a curated collection of 100 dream trips from the distinguished travel writers and photographers of The New York Times. In four volumes’ worth of adventures in one, the Times writers offer guidance, from the personal to the practical, along with a wealth of color photographs that capture the catch-your-breath awe of each destination. Motor past pink sands and bougainvillea in Bermuda with Andrew McCarthy, follow Virginia Woolf’s footsteps through the English countryside with Francine Prose, or dare to pilot a boat through the Venice lagoon with Tony Perrottet.NYT Explorer. 100 Trips Around the World takes travel beyond the obvious with adventures in exotic places and new perspectives in familiar ones, all based on the distinguished travel journalism of The New York Times. Each journey features a first-person narrative and postcard-perfect photography, capturing the unique personality of the destination—as well as practical information to help get you on your way. Edited by Barbara Ireland, whose 36 Hours travel series has been a TASCHEN best seller, Explorer features color-coded tabs and a ribbon to bookmark your favorite stops in each region. It's the perfect companion for hardcore globetrotters as well as inspiration for curious armchair travelers.

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From the Beatles to Beck, Sinatra to Sam Smith, a parade of era-defining artists have passed through the doors of the Capitol Records Tower, one of Hollywood’s most distinctive landmarks and home to one of the world’s most defining labels for the past 75+ years.To commemorate this extraordinary history of recorded music, TASCHEN presents this official account of Capitol Records, from its founding year of 1942 to today. With a foreword by Beck, essays by cultural historians and music and architecture critics, as well as hundreds of images from Capitol’s extensive archives, we follow the label’s evolution and the making of some of the greatest music of the 20th and 21st centuries. Through pop, rock, country, classical, soul, and jazz, the photographic and musical history includes the label’s most successful, cool, hip, and creative stars, as well as the one-hit wonders who had their all-too-brief moments in the spotlight.Along the way, we encounter the likes of Miles Davis, Nat King Cole, the Kingston Trio, and Frank Sinatra in Capitol’s first 20 years; the Beach Boys, the Band, and the Beatles in the 1960s; global rock magnets Pink Floyd, Wings, Steve Miller Band, Bob Seger, and Linda Ronstadt in the 1970s; Beastie Boys, Duran Duran, Radiohead, and Bonnie Raitt in the 1980s and 1990s; and such contemporary stars as Coldplay, Katy Perry, and Sam Smith. An unmissable milestone for music lovers, Capitol Records is a live and kicking celebration of the mighty giant of the industry that created the soundtrack to generations past, present, and future.

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Since TASCHEN released The Great American Pin-up, international interest in this distinctly American art form has increased exponentially. Paintings by leading artists such as Alberto Vargas, George Petty, and Gil Elvgren that sold for $ 2,000 in 1996 are going for $ 200,000 and more today. Pin-up—drawings, paintings, and pastels of an idealized female face and figure intended for public display—was produced between 1920 and 1970 for calendars, magazine covers, and centerfolds. The majority of original paintings were discarded by publishers and calendar companies after printing, making the surviving art that much more precious. Based on the formidably sized Art of Pin-up, this accessible edition gathers nearly 100 artists alongside in-depth showcases of the top 10 names in the game. Each chapter opens with a reproduction of an original calendar or magazine cover by that artist. The reproduction quality of the paintings, pastels, and preparatory sketches that follow—largely sourced from the original art—invites the viewer to trace the brushstrokes, while the exquisite period calendars, vintage prints, and original model photos document the artists’ creative process. Much of these ephemera were photographed on-site at the historic Brown & Bigelow Company, home to the world’s largest archive of vintage pin-up calendars. In addition to the chapters on the 10 featured artists, the book includes bios and art of 85 painters, the most complete compendium of pin-up artists ever compiled. All this adds up to a hard-to-beat book on this popular subject.

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“Holds many surprises for the reader who has seen the Cuban reality . . . only through the distorting prism of propaganda.” —The New York Times Book Review, 1967 On December 31, 1958, Lee Lockwood, then a young photojournalist, went to Cuba to cover what looked to be the end of Batista’s regime. He arrived the day before Fidel Castro took power and spent a week canvassing the island before finding the victorious leader. Castro immediately took to Lockwood and over the next decade invited him back many times, granting him special access to his inner circle and free rein to explore the island without the usual restrictions imposed upon American journalists. In 1965, Castro granted Lockwood a rare, in-depth interview but then missed appointment after appointment. Days turned into weeks turned into three interminable months, as Lockwood, like many journalists before and since, waited for Castro. But it was worth the anticipation, climaxing in a marathon seven-day interview that covered everything from racial issues in America to the Cuban Missile Crisis. It remains to this day one of the most penetrating portraits of the Cuban leader. Originally published in 1967, Lockwood’s interviews and observations are republished by TASCHEN alongside hundreds of photographs covering both the weeks Lockwood spent traveling with Castro and the years he documented Cuba’s transformation throughout the ’60s. From military encampments in the Sierra Maestra mountains to Havana street life and political rallies, many of these color images have never been published before. A foreword and afterword by Latin America expert Saul Landau contextualize Lockwood’s work.

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The Kisokaidō route through Japan was ordained in the early 1600s by the country’s then-ruler Tokugawa Ieyasu, who decreed that staging posts be installed along the length of the arduous passage between Edo (present-day Tokyo) and Kyoto. Inns, shops, and restaurants were established to provide sustenance and lodging to weary travelers. In 1835, renowned woodblock print artist Keisai Eisen was commissioned to create a series of works to chart the Kisokaidō journey. After producing 24 prints, Eisen was replaced by Utagawa Hiroshige, who completed the series of 70 prints in 1838. Both Eisen and Hiroshige were master print practitioners. In The Sixty-Nine Stations along the Kisokaidō, we find the artists’ distinct styles as much as their shared expertise. From the busy starting post of Nihonbashi to the castle town of Iwamurata, Eisen opts for a more muted palette but excels in figuration, particularly of glamorous women, and relishes snapshots of activity along the route, from shoeing a horse to winnowing rice. Hiroshige demonstrates his mastery of landscape with grandiose and evocative scenes, whether it’s the peaceful banks of the Ota River, the forbidding Wada Pass, or a moonlit ascent between Yawata and Mochizuki. Taken as a whole, The Sixty-Nine Stations collection represents not only a masterpiece of woodblock practice, including bold compositions and an experimental use of color, but also a charming tapestry of 19th-century Japan, long before the specter of industrialization. This TASCHEN XXL edition revives the series with due scale and splendor. Sourced from the only-known set of a near-complete run of the first edition of the series, this legendary publication is reproduced in the finest quality, bound in the Japanese tradition and with uncut paper. A perfect companion piece to TASCHEN’s One Hundred Famous Views of Edo, it is at once a visual delight and a major artifact from the bygone era of Imperial Japan.

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In 1947, Bill Gaines inherited EC Comics, a new venture founded by his legendary father M. C. Gaines, who was responsible for midwifing the birth of the comic book as we know it during his tenure at All-American Comics, bringing the likes of Wonder Woman and Green Lantern to the world. Over the next eight years, Bill Gaines and a “who’s who” of the era including Al Feldstein, Harvey Kurtzman, and Wally Wood would reinvent the very notion of the comic book with titles like Tales from the Crypt, Crime SuspenStories, Weird Science, and MAD. EC delighted in publishing gory, morbid horror and crime comics that had snap, ironic endings—but they also pioneered the first true-to-life war comics, the first “real” science-fiction stories, and a series of tales about such then-taboo subjects as racism, bigotry, vigilantism, drug addiction, police corruption, and anti-Semitism. Too good to last, they were eventually caught up by various 1950s guardians of morality, who were convinced that EC’s often over-the-top content was causing juvenile delinquency. A year or so after a full inquiry investigating horror and crime comics, the incredible EC Comics were no more. TASCHEN presents the full, fascinating story of this fabled company, written and expertly curated by EC-authority Grant Geissman. Even the most die-hard EC Fan-Addicts will find something new within these pages, with the Gaines family archives providing more than 100 rarities that have never seen print. Many of the cover images are reproduced from Gaines File Copies, which are widely regarded as the best surviving copies of the EC Comics. Gathering more than 1,000 illustrations that include the rarest and most notorious covers, interior pages and panels, photos, vintage original artwork, and some of the most celebrated stories ever to be printed in four colors for a dime, this is the ultimate EC Comics compendium and a must-have for any comics enthusiast or pop culture historian.

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By early 1963 the foundations of the Marvel Universe had been laid. Following the introduction of the Fantastic Four in 1961 came the amazing (Spider-Man), the astonishing (Ant-Man), the strange (Doctor, that is), the incredible (Hulk), the invincible (Iron Man) and the mighty (Thor). Still, Marvel editor in chief Stan Lee realized something was missing. “I was writing these characters and I thought it would fun to put them together in a team,” he recalled. So Lee and artist Jack Kirby assembled Iron Man, Ant-Man and the Wasp, Thor, and the Hulk to create the Avengers. Right away it was clear this team was different. If the Fantastic Four were family, then the Avengers were the co-workers you didn’t choose. Not everyone got along—the Hulk fought with everyone—but working together they could defeat the baddest of Marvel’s bad guys, like Loki, Kang the Conqueror, the Masters of Evil, and Immortus. The lineup was ever changing: The Hulk departed, Captain America joined, and Ant-Man grew up to become Giant-Man. Then, remarkably, villains Hawkeye, Quicksilver, and the Scarlet Witch became heroes—and Avengers—and the group’s founding members shockingly departed, leaving Captain America to lead the newly-minted heroes. Relive the classic early adventures of Avengers Nos. 1–20 in an XXL-sized edition that’s bigger than the Hulk’s fist, weightier than Thor’s hammer, and with more extras than Iron Man’s armor. TASCHEN has attempted to create an ideal representation of these books as they were produced at the time of publication. The most pristine pedigreed comics have been cracked open and photographed for reproduction in close collaboration with Marvel and the Certified Guaranty Company. Each page has then been digitally remastered using modern retouching techniques to correct problems with the era’s inexpensive, imperfect printing—as if hot off of a world-class 1960s printing press. Accompanying the stories are an original foreword by Marvel Studios President Kevin Feige and an in-depth history by the Eisner Award-winning writer Kurt Busiek that’s illustrated with original art, little-seen photographs, and rare documents. This mighty collection about Earth’s Mightiest Heroes is worthy of Tony Stark’s library—or yours. Also available in a Collector’s Edition of 1,000 numbered copies. © 2022 MARVEL

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A building by Frank Lloyd Wright (18671959) is at once unmistakably individual and evocative of an entire era. Notable for their exceptional harmony with their environment, as well as for their use of steel and glass to revolutionize the interface of indoor and outdoor, Wright's designs helped announce the age of modernity, as much as they secured his place in the annals of architectural genius.This meticulous compilation from TASCHEN's previous monograph assembles the most important works from Wright's extensive, paradigm-shifting oeuvre into one authoritative overview of America's most famous architect. Based on unlimited access to the Frank Lloyd Wright Foundation's archives at Taliesin West in Arizona, the collection spans the length and breadth of Wright's projects, both realized and unrealized, from his early prairie houses, the Usonian concept homes, and the extraordinary Fallingwater to the Tokyo years, his designs for administrative buildings and places of worsh

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Rewind back to the midcentury, before the age of Instagram and Snapchat, where people were using 35mm cameras loaded with color film to document both monumental and mundane moments in their lives. They took pictures of their loved ones, their vacations, their celebrations. They memorialized the births of babies; a child in a cowboy outfit; a new color television set; sightseeing in National Parks; fishing trips; lazing on the beach; weddings; office parties; family reunions; holding hands, kissing and dancing. Imagining these lives and the possible stories that lie behind the images is what makes The Anonymous Project such a compelling journey into our past. The passing of time is enhanced by the book’s narrative that begins with scenes of early childhood and ends with seniors, with all the stages of life in between.It all started with an innocent purchase on eBay. Filmmaker Lee Shulman bought a set of 35mm Kodachrome slides—anonymous family photos—and was so taken with what he calls “the emotional value of these slices of life” that he knew he had to have more. He launched The Anonymous Project in 2017 and has since acquired around 700,000 images either by donation or via vintage sellers. As noted photography critic Richard B. Woodward writes in the introduction: “It is significant—and fascinating—that in virtually every image here, photographer and subject seem to know one another. In this embracing album of humanity, no one exists in isolation. There are no strangers here.”This curated collection of around 150 images taken between the 1940s and ’70s offers an intimate glimpse into the lives of these anonymous subjects. The locations, dates, and the subjects may be unknown—but these shots taken by skilled amateur photographers, and the fascinating stories they contain, are universally familiar.

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In 1983, Japanese designer Issey Miyake told The New Yorker that he aspired to forge ahead, to break the mold. With the boundary-defying fashion lines that followed, he not only broke molds, but recast clothing altogether. With a unique fusion of poetry and practicality, his creations blur the boundaries between tradition, modern technology, and everyday function.This definitive history of Miyake's clothes from 1960 to 2022 offers expert insight into the designer's vision and daring. Initiated and conceived by Midori Kitamura, the book looks at the texture-driven originality of Miyake's materials and techniques from the very earliest days of his career, before he had even established the Miyake Design Studio. Drawing on nearly 50 years of collaborative work with Miyake, Kitamura creates an encyclopedic reference of his material and technical innovations through the clothes based on A Piece of Cloth conc

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Walt Disney dreamed for decades about opening the ultimate entertainment venue, but it wasn’t until the early 1950s that his handpicked team began to bring his vision to life. Together, artists, architects, and engineers transformed a dusty tract of orange groves about an hour south of Los Angeles into one of the world’s most beloved destinations. Today, there are Disney resorts from Paris to Shanghai, but the original Disneyland in Anaheim, California, which has been visited by more than 800 million people to-date, remains one of America’s most popular attractions. From the day it opened on July 17, 1955, Disneyland brought history and fairy tales to life, the future into the present, and exciting cultures and galaxies unknown to our imaginations. This intruiging visual history draws on Disney’s vast historical collections, private archives, and the golden age of photojournalism to provide unique access to the concept, development, launch, and enjoyment of this sun-drenched oasis of fun and fantasy. Disneyland documents Walt’s earliest inspirations and ideas, the park’s extraordinary feats of design and engineering, and each of its immersive “lands” from Main Street, U.S.A., to Tomorrowland. It is a treasure trove of original Disney documentation and expertise, with award-winning writer Chris Nichols drawing on his extensive knowledge of both Disneyland and Southern California history to reveal the fascinating tale of “the happiest place on Earth.”Copyright © 2024 Disney Enterprises, Inc.

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These extraordinary homes accentuate the cosmopolitan designs of such architectural talents as Gurjit Matharoo from India, Mohamed Amine Siana from Morrocco, and Mariko Mori from Japan. Building private houses, which can sometimes be quite small, they demonstrate creativity and technological inventiveness, shaping the architecture of tomorrow.

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Founded in 1928 as a “living diary” by the great Milanese architect and designer Gio Ponti, domus has been hailed as the world’s most influential architecture and design journal. With style and rigor, it has reported on the major themes and stylistic movements in industrial, interior, product, and structural design. This fresh reprint of the 1970s domus coverage brings together the most important features from an era marking seismic changes in architecture and design. It was a time when individualism gained momentum as a novel style, and we began to notice the first postmodernist tendencies. Faced with the global energy crisis, architects and designers imbued their methods with a new ecological awareness. For work to be featured in the magazine it had to offer function, spatial clarity, intellectual persuasion, relevant originality, and/or grace. Those groundbreaking projects and practitioners that made the cut include Shiro Kuramata, Verner Panton, Joe Colombo, Richard Meier, the modernist structures by Foster Associates and the Centre Georges Pompidou by Renzo Piano and Richard Rogers. domus distilled Seven volumes spanning 1928 to 1999 Over 4,000 pages featuring influential projects by the most important designers and architects Original layouts and all covers, with captions providing navigation and context Introductory essays by renowned architects and designers Each edition comes with an appendix featuring texts translated into English, many of which were previously only available in Italian A comprehensive index in each volume listing both designers’ and manufacturers’ names

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Published annually from 1906 until 1980, Decorative Art, The Studio Yearbook was dedicated to the latest currents in architecture, interiors, furniture, lighting, glassware, textiles, metalware, and ceramics. Since the publications went out of print, the now hard-to-find yearbooks have become highly prized by collectors and dealers.Decorative Art 1960s looks at the birth of pop in a decade of unprecedented social, sexual, and political change. All the restless energies bubbling throughout the world during the 1960s made their way into the design style of the decade. Liberation was in the air, men were rushing to the moon, and the sky was the limit as far as visual creativity was concerned. The concept of lifestyle really came into its own, and although the early years of the decade still saw a rivalry between the well-crafted object and the industrially manufactured, by its end both ethnic and pop iconography had gained equal foothold in the aesthetic. Light was also predominant in shaping interiors. Freedom of choice and personal expression were the buzzwords for the young consumer, and so the likes of Panton, Sottsass, Paolozzi, Parisi, Sarpaneva, and Lomazzi did what they could to oblige.

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Mert Alas, born in Turkey, and Marcus Piggott, born in Wales, met in 1994, at a party on a pier in Hastings, England. Piggott asked Alas for a light, the pair got talking, and rapidly discovered they had plenty in common, not least a love of fashion. Three years later, the duo now known as Mert and Marcus had moved into a derelict loft in East London, converted it into a studio, and had their first collaborative photographic work published in Dazed & Confused. These days, Mert and Marcus shape the global image of such renowned brands as Giorgio Armani, Roberto Cavalli, Fendi, Miu Miu, Gucci, Yves Saint Laurent, Givenchy, and Lancôme, and public figures including Lady Gaga, Madonna, Jennifer Lopez, Linda Evangelista, Gisele Bündchen, Björk, Angelina Jolie, and Rihanna. Their photographs encompass a wide range of styles and influences but are renowned particularly for their use of digitized augmentation of images, and a fascination for strong, sexually charged, confident female subjects: “powerful women, women with a meaning, a you-don’t-have-to-talk-or-move-too-much-to-tell-who-you-are kind of woman.” Bringing our best-selling Collector’s Edition to an affordable, compact format, this collection explores the unique vision of a creative partnership that has defined and redefined standards for glamour, fashion, and luxury. Approximately 300 images from the megawatt Mert and Marcus portfolio are accompanied by an introduction by Charlotte Cotton.

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Erased by bombing during the Korean War, North Korea’s trophy capital of Pyongyang was entirely rebuilt from scratch from 1953, in line with the vision of the nation’s founder, Kim Il Sung. Designed as an imposing stage set, it is a place of grand axial boulevards linking gargantuan monuments, lined with stately piles of distinctly Korean flavor, to be “national in form and socialist in content.” Under the present leader, Kim Jong Un, construction has ramped up apace—“Let us turn the whole country into a socialist fairyland,” declares one of his official patriotic slogans. He is rapidly transforming Pyongyang into a playground, conjuring a flimsy fantasy of prosperity and using architecture as a powerful anesthetic, numbing the population from the stark reality of his authoritarian regime.Guardian journalist and photographer Oliver Wainwright takes us on an eye-opening tour behind closed doors in the most secretive country in the world, revealing that past the grand stone façades lie lavish wonder-worlds of marble and mosaic, coffered ceilings, and crystal chandeliers, along with new interiors in dazzling color palettes. Discover the palatial reading rooms of the Grand People’s Study House, and peer inside the locker rooms of the recently renovated Rungrado May Day Stadium, ready to host a FIFA World Cup that will never come. This collection features about 200 photographs with insightful captions, as well as an introductory essay where Wainwright charts the history and development of Pyongyang, explaining how the architecture and interiors embody the national “Juche” ideology and questioning what the future holds for the architectural ambitions of this enigmatic country.

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Whether in his sumptuous images for advertising or his soft-hued nudes, Paul Outerbridge (1896–1958) was an alchemist of desire. Color was integral to his aesthetic allure, embracing the complex tri-color-carbro process to create a seductive surface of texture and tone. His quest was for “artificial paradises”—a perfection of form, with a surreal edge. This concise monograph introduces Outerbridge’s unique aesthetic and its commercial and artistic trajectory, from his professional peak as New York’s highest-paid commercial photographer through to his retreat to Hollywood in the 1940s after a scandal over his erotic photography. With key examples from his oeuvre, the book explores Outerbridge’s innovative style through Cubist still life images, magazine photographs, and his controversial nudes, as well as his interaction with other avant-garde photographers, such as Alfred Stieglitz, Paul Strand, and Man Ray. Along the way, we recognize Outerbridge’s particular ability to transform everyday objects into a quasi-abstract composition and his pioneering role in championing the expressionistic, as much as commercial, potential of color photographs.

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“We must remember that in the brutality of battle another such apocalypse is always just around the corner.” —Sebastião Salgado In January and February 1991, as the United States-led coalition drove Iraqi forces out of Kuwait, Saddam Hussein’s troops retaliated with an inferno. At some 700 oil wells and an unspecified number of oil-filled low-lying areas they ignited vast, raging fires, creating one of the worst environmental disasters in living memory. As the desperate efforts to contain and extinguish the conflagration progressed, Sebastião Salgado traveled to Kuwait to witness the crisis firsthand. The conditions were excruciating. The heat was so vicious that Salgado’s smallest lens warped. A journalist and another photographer were killed when a slick ignited as they crossed it. Sticking close to the firefighters, and with characteristic sensitivity to both human and environmental impact, Salgado captured the terrifying scale of this “huge theater the size of the planet”: the ravaged landscape; the sweltering temperatures; the air choking on charred sand and soot; the blistered remains of camels; the sand still littered with cluster bombs; and the flames and smoke soaring to the skies, blocking out the sunlight, dwarfing the oil-coated firefighters. Salgado’s epic pictures first appeared in the New York Times Magazine in June 1991 and were subsequently awarded the Oskar Barnack Award, recognizing outstanding images on the relationship between man and the environment. Kuwait: A Desert on Fire is the first monograph of this astonishing series. Like Genesis, Exodus, and The Children, it is as much a major document of modern history as an extraordinary body of photographic work.

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For seven years, photographer and artist Lena Herzog followed the evolution of a new kinetic species. Intricate as insects but with bursts of equine energy, the “Strandbeests,” or “beach creatures,” are the creation of Dutch artist Theo Jansen, who has been working for nearly two decades to generate these new life-forms that move, and even survive, on their own. Set to roam the beaches of Holland, the Strandbeests pick up the wind in their gossamer wings and spring, as if by metamorphosis, into action. As if it were blood, not the breeze, running through their delicate forms, they quiver, cavort, and trot against the sun and sea, pausing to change direction if they sense loose sand or water that might destabilize their movement. Coinciding with a traveling exhibition, Herzog’s photographic tribute captures Jansen’s menagerie in a meditative black and white, showcasing Jansen’s imaginative vision, as well as the compelling intersection of animate and inanimate in his creatures. The result is a work of art in its own right and a mesmerizing encounter not only with a very surrealist brand of marvelous, but also with whole new ideas of existence.

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Rembrandt van Rijn (1606–1669) never left his homeland of the Netherlands but in his massive body of painting, drawing, and etching, he changed the course of Western art. His prolific oeuvre encompasses religious, historical, and secular scenes, as well as one of the most extraordinary series of portraits and self-portraits in history. Rembrandt’s work foregrounds texture, light, and acute observation. Like sudden, startling apparitions in a shadowy street, his subjects are illuminated against deep, dark backgrounds and rendered with immense physical as well as psychological scrutiny. Whether biblical or mythological figures, powerful patrons, or fellow citizens, each subject is bestowed not only with meticulous facial features but also with the intrigue of thoughts and feelings so that even age-old narratives such as the bible story of David and Bathsheba find a new level of human drama. Rembrandt also left one of the most extensive series of self-portraits of any artist, chronicling his own face from his youth to the year of his death. Rembrandt’s rise coincided with the blossoming of the Dutch Golden Age, an era of prosperity in the Netherlands. He was encouraged by wealthy patrons, but was above all driven by a profound fascination with people. In this book, we tour some of Rembrandt’s key paintings, etchings, and drawings to introduce his techniques, inspirations, and exceptional achievements. From the Baroque Belshazzar’s Feast to the world-famous Night Watch we uncover a world of deep, rich tones, masterful draftsmanship, and a remarkable sensitivity for the human condition.

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A hairless, ghostly figure on a bridge. The sky orange-red above him. His hands raised to his ears, his mouth wide in a haunting wail. In painting The Scream, Edvard Munch (1863–1944) created Mona Lisa for our times. The shriek of his iconic figure reverberates around the world, its echo resounding in the work of Andy Warhol, Jasper Johns, Martin Kippenberger, Marlene Dumas, and Tracey Emin. This introductory book surveys Munch’s staggering capacity for psychodrama in The Scream and beyond. With rich illustration, it looks at the lurid, dark, and deeply modern visions that made up the artist’s response to relationships and emotions. These compelling images, regarded by the artist himself as a means of “free confession,” remain as magnetic today as they were on the brink of modernism.

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From Snow White to Cinderella, Rapunzel to Rumpelstiltskin, the Brothers Grimm bequeathed a canon of stories which have become literary and childhood classics. The most widely read story collection after the Bible, their magical tales are stalwarts of early learning and imagination, listed in UNESCO’s Memory of the World Register as a vital part of our history and culture. This beautiful hardback anthology is based on the Grimm’s popular 1857 edition and features 27 of their best-loved stories in a vibrant and meticulous new translation commissioned for this publication. The tales are accompanied by exquisite vintage illustrations from the past 200 years, including masterpieces from the legendary Kay Nielsen, British artists Walter Crane and Arthur Rackham, and giants of 19th-century German illustration Gustav Süs, Heinrich Leutemann, and Viktor Paul Mohn. Additional historic and contemporary silhouettes dance across the pages like delicate black paper lace. In addition to the tales and illustrations, the book contains a foreword on the Grimms’ legacy, brief introductions to each fairy tale, and extended artists’ biographies in the appendix. For adults and children alike, this precious edition brings the eternal magic of the Grimms’ stories to the heart of every home.The following fairy tales are featured in the book:The Frog Prince, The Wolf and the Seven Little Goats, Little Brother and Little Sister, Rapunzel, Hansel and Gretel, The Fisherman and His Wife, The Brave Little Tailor, Cinderella, Mother Holle, Little Red Riding Hood, The Bremen Town Musicians, The Devil with Three Golden Hairs, The Shoemaker and the Elves, Tom Thumb’s Travels, Sleeping Beauty, Snow White, Rumpelstiltskin, The Three Feathers, The Golden Goose, Jorinde and Joringel, The Goose Girl, The Twelve Dancing Princesses, The Star Coins, Snow White and Red Nose, The Hare and the Hedgehog, Puss n’ Boots, The Golden Key

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With his graphic style, figural distortion, and defiance of conventional standards of beauty, Egon Schiele (1890–1918) was a pioneer of Austrian Expressionism and one of the most startling portrait painters of the 20th century. Mentored by Gustav Klimt, Schiele dabbled in a glittering Art Nouveau style before developing his own much more gritty and confrontational aesthetic of sharp lines, lurid shades, and mannered, elongated figures. His prolific portraits and self-portraits stunned the Viennese establishment with an unprecedented psychological and sexual intensity, favoring erotic, exposing, or unsettling poses in which he or his sitters cower on the floor, languish with legs akimbo, glower at the viewer, and thrust their genitalia into the foreground. His models are at times skeletal and sickly, at other times strong and sensual. Many contemporaries found Schiele’s work to be not only ugly but morally objectionable; in 1912, the artist was briefly imprisoned for obscenity. Today, his oeuvre is celebrated for its revolutionary approach to the human figure and for its direct and particularly fervent, almost furious brand of draftsmanship. This book presents key Schiele works to introduce his short but urgent career and his profound contribution to the development of modern art, which reaches right through to such contemporary talents as Tracey Emin and Jenny Saville.

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Also available as Art Edition (No. 1–1,000) including an exclusive, square format reproduction of the Arlecchino coffee table and a set of four numbered ocean liner interior prints. To study Gio Ponti’s prolific body of work is to appreciate the clear, unifying vision behind a complex creative universe. A synthesis of the arts, his creations expand intuitively with the Italian grandeur and studied lightness that defined his iconic style. Ponti’s rare capacity to move seamlessly between scales allowed him to approach the design of a teaspoon with the same conviction as he did an entire city. He was as much an architect and designer as he was a publisher, poet, and man. A treasure in its own regard, his contribution is also a distinctive landmark of Italy’s mid-century Renaissance and the modernist values it sought to realize. This is the most comprehensive account of Ponti’s work to date, unprecedented in scale and scope. It tracks the development of his oeuvre over 6 decades, with 136 projects indexed and reproduced in high resolution, each object framed by the context in which Ponti had created it. Like windows onto his elusive life, unpublished materials and candid imagery create new dialogues between his famous masterpieces and his lesser-known feats. A rich layer of texts, featuring an extensive biographical essay by Stefano Casciani, was produced in close collaboration with the Gio Ponti Archives offering an intimate insight on his life’s work. Materializing Ponti’s core philosophy of modernity, this book presents architecture as a performing object, a "self-illuminating" stage for his humanistic art de vivre and boundless creativity.

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First published in 1963, James Baldwin's The Fire Next Time stabbed at the heart of America's so-called Negro problem. As remarkable for its masterful prose as for its frank and personal account of the black experience in the United States, it is considered one of the most passionate and influential explorations of 1960s race relations, weaving thematic threads of love, faith, and family into a candid assault on the hypocrisy of the land of the free. Now, James Baldwin's rich, raw, and ever relevant prose is reprinted with more than 100 photographs from Steve Schapiro, who traveled the American South with Baldwin for Life magazine. The encounter thrust Schapiro into the thick of the movement, allowing for vital, often iconic, images both of civil rights leadersincluding Dr. Martin Luther King Jr., Rosa Parks, Fred Shuttlesworth, and Jerome Smith

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