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The German city of Weimar, home to illustrious Renaissance and Baroque artists such as Cranach and Bach, became a major place of pilgrimage in the 18th century. With her famous library and with distinguished literary circles, Duchess Anna Amalia laid the foundations for the flourishing of literary expression in the city. Her son, Duke Karl August, called Herder, Goethe and Schiller to his court. With them, Weimar became the center of German intellectual life, the "city of poets and thinkers"--a reputation Weimar has nurtured to the present day. For her libraries project, Candida Hofer photographed the Duchess Anna Amalia Library in 2004. Shortly afterwards it fell victim to a fire. In summer 2006, she focused on historic interior spaces: the Goethe National Museum, the Residential Palace and other castles, as well as various theaters. Hofer's photographic style perfectly captures Weimar's special aura. Her strictly composed pictures seem to contain the spirit of the Enlightenment.

Evelyn Hofer has photographed famous contemporaries and ordinary people in the Basque region, and recently, this passionate portrait photographer has turned married couples and people on the street into her subjects. But Hofer can also wait patiently for hours until her frame contains no people at all. Then she adds the pure beauty of the countryside or a venerable old building to a stark and timeless composition. Throughout her long photographic career, Hofer has sought both motion and stillness and balanced and revealed these qualities through the most diverse moments. This extensive monograph on the varied facets of her life's work shows her warm-hearted and incorruptible look at people and their surroundings. Containing photographs from Florence, London, Spain, New York, Washington, Dublin and Paris, along with a wealth of portraits, landscapes and architectural photography, this book concludes with Hofer's most recently completed work, a series of picturesque still lifes.

Mint condition, minimal shelf wear.

Candida Höfer’s works have something timeless about them, and opera is perhaps the most timeless cultural delight. Having dedicated a photographic series to the cathedrals of knowledge that are libraries, Höfer in her most recent cycle captures opera houses, the palaces of performing arts. Höfer’s earlier pictures of public spaces―libraries, lecture halls, museums, meeting rooms―forever devoid of people, made us sense the presence of those absent. Her opera photographs take us one step beyond: empty foyers, orchestras, stages, wings, and boxes make us imagine both theprotagonists―performers and audience―and the fictitious figures, plots, and places that populate these venues during a night at the opera. In her most recent publication Candida Höfer portrays two Paris opera houses that are exemplary for their age and time: the neoclassicist Palais Garnier (1875), original Phantom of the Opera site, and the modern-style Opéra Bastille (1989).

German-American photographer Evelyn Hofer (1922–2009) routinely spent several months in the cities she photographed for her books of the 1950s and ’60s, published with renowned authors such as Mary McCarthy and V.S. Pritchett. In titles such as New York Proclaimed (1965) and Dublin, A Portrait (1967), Hofer combines portraiture, city and country views, still lifes and larger interior shots to create complex images of these metropolises.From this perspective, Begegnungen / Encounters explores the idea of the “portrait” throughout Hofer’s oeuvre, in series on New York, Dublin and Washington; images of artists and their studios; selected photo-essays for magazines; the extended projects People of Soglio and Basque People; as well as previously unseen New York photos of Marlene Dietrich’s home and Andy Warhol’s Factory.

This is the last and final story of Kidd Hofer. Also the most important book on a US ace to emerge in some time. Here Hofer is given his rightful place in aerial history.

In 1347, during the seige of Calais, King Edward III agreed to spare the population of the town on the condition that six of the most important citizens leave Calais bareheaded and barefoot, with a rope around their necks, carrying the keys to the town and the castle. In 1884, the City of Calais commissioned August Rodin to create what is arguably his most famous bronze statue, The Burghers of Calais, a radically new type of monument devoid of all heroic transfiguration. In 1997, the twelfth and last cast of The Burghers was unveiled in Seoul, and the City of Calais thus decided to commission a new work on the subject by Candida Hofer. In her trademark austere, unpretentious and sensitively detailed photographs, the artist captured the twelve casts of the sculpture at their locations across the world: in museums and squares in Paris, Tokyo, Brussels, London, Copenhagen, Washington, Philadelphia, Basel, Mariemont/Belgium, Pasadena, Seoul and Calais.

This is the last and final story of Kidd Hofer. Also the most important book on a US ace to emerge in some time. Here Hofer is given his rightful place in aerial history.

Andreas Hofer's Phantom Gallery, exhibited simultaneously in 2008 at Hauser & Wirth in Zurich and an abandoned Los Angeles storefront on Sunset Boulevard, was devoid of artwork. Instead, there were pale traces on the walls suggesting that paintings had recently been removed after hanging for a long time.

After initial successes at the beginning of the 20th century held in episode three years of internment during World War skeletons, demons, masks, warning voice, black room, brittle outlines and harsh colors collection in its imagery. Karl Hofer in 1919 professor at the Academy of Fine Arts in Berlin, whose reconstruction he has been involved since 1945 as director. The years in between are marked by the stigma of degeneracy and of inner emigration. End of the 1940s Hofer gets more and more violent in the mills of a publicly discharged fundamental dispute between figurative and abstract painting. The photo of artistic loner hover between image gewordenem humanism and striking disillusionment. Volume 1: The main works. Volume 2: catalog raisonné. Volume 3: catalog of works, detailed bibliography, list of exhibitions and checklists

A facsimile of a letter from calligrapher, typographer, theoretician, and author, Jan van Krimpen, to Paul Hofer, Curator of the Department of Printing and Graphic Arts at Houghton Library, on certain problems connected with the mechanical cutting of punches.

After the invention of the printing press in the fifteenth century, the art of writing in manuscript took on fresh meaning. Printed manuals for the teaching of lettering and handwriting quickly appeared, marketed to a growing literate readership anxious to express humanistic values through fine writing. Mixing the aesthetics of calligraphy with innovative new means of printing, writing manuals thus reflect both the proliferation of print technology and the growing social value of a fine hand. Philip Hofer, Founding Curator of Printing and Graphic Arts in Houghton Library, was long fascinated with the printed works of writing masters, and amassed one of the great collections of early penmanship textbooks before his death in 1984. David P. Becker's catalogue tells the story of this collection while amply illustrating the diversity and expressive power of the arts of the pen.

The starting point for this publication is the 1965 book New York Proclaimed, which features an in-depth essay by V.S. Pritchett and photos by Evelyn Hofer (1922–2009), and which enjoyed great popularity upon its original publication. New York Proclaimed is an example of Hofer’s perhaps most important body of work, her city portrait collections: books that present comprehensive prose texts by renowned authors alongside her self-contained visual essays with their own narratives. This newly conceived New York focuses on Hofer’s photos of the 1960s as well as previously unpublished images from the early 1970s. In Hofer’s photos of the street and (semi-) public spaces, people and architecture become symbols of a particular time and place. New York contains a new essay by John Haskell that posits possible stories behind Hofer’s photos and draws connections between images taken over the course of ten years.

Andreas Hofer's Phantom Gallery, exhibited simultaneously in 2008 at Hauser & Wirth in Zurich and an abandoned Los Angeles storefront on Sunset Boulevard, was devoid of artwork. Instead, there were pale traces on the walls suggesting that paintings had recently been removed after hanging for a long time.

Evelyn Hofer has photographed famous contemporaries and ordinary people in the Basque region, and recently, this passionate portrait photographer has turned married couples and people on the street into her subjects. But Hofer can also wait patiently for hours until her frame contains no people at all. Then she adds the pure beauty of the countryside or a venerable old building to a stark and timeless composition. Throughout her long photographic career, Hofer has sought both motion and stillness and balanced and revealed these qualities through the most diverse moments. This extensive monograph on the varied facets of her life's work shows her warm-hearted and incorruptible look at people and their surroundings. Containing photographs from Florence, London, Spain, New York, Washington, Dublin and Paris, along with a wealth of portraits, landscapes and architectural photography, this book concludes with Hofer's most recently completed work, a series of picturesque still lifes.

The starting point for this publication is the 1965 book New York Proclaimed, which features an in-depth essay by V.S. Pritchett and photos by Evelyn Hofer (1922–2009), and which enjoyed great popularity upon its original publication. New York Proclaimed is an example of Hofer’s perhaps most important body of work, her city portrait collections: books that present comprehensive prose texts by renowned authors alongside her self-contained visual essays with their own narratives. This newly conceived New York focuses on Hofer’s photos of the 1960s as well as previously unpublished images from the early 1970s. In Hofer’s photos of the street and (semi-) public spaces, people and architecture become symbols of a particular time and place. New York contains a new essay by John Haskell that posits possible stories behind Hofer’s photos and draws connections between images taken over the course of ten years.

Candida Hofer DublinAn exhibition catalogue of a body of work photographer Candida Hofer made whilst on a working visit to Dublin in 2004. This work includes interior photography of many of Dublin's major landmark buildings.

German-American photographer Evelyn Hofer (1922–2009) routinely spent several months in the cities she photographed for her books of the 1950s and ’60s, published with renowned authors such as Mary McCarthy and V.S. Pritchett. In titles such as New York Proclaimed (1965) and Dublin, A Portrait (1967), Hofer combines portraiture, city and country views, still lifes and larger interior shots to create complex images of these metropolises.From this perspective, Begegnungen / Encounters explores the idea of the “portrait” throughout Hofer’s oeuvre, in series on New York, Dublin and Washington; images of artists and their studios; selected photo-essays for magazines; the extended projects People of Soglio and Basque People; as well as previously unseen New York photos of Marlene Dietrich’s home and Andy Warhol’s Factory.

The starting point for this book is Evelyn Hofer’s Dublin: A Portrait, which enjoyed great popularity upon its original publication in 1967, and featured an in-depth essay by the well-known British critic and memoirist V.S. Pritchett. Dublin: A Portrait is an example of Evelyn Hofer’s (1922–2009) perhaps most important body of work, namely her city portraits―books that present comprehensive prose texts by renowned authors alongside her self-contained visual essays with their own narratives. Dublin: A Portrait was the last book published in this legendary series.This newly conceived edition of Dublin focuses on the photos Hofer took on behalf of the publisher Harper & Row in 1965 and 1966. In Dublin Hofer repeatedly turned her camera to sights of the city, but mainly to the people who constituted its essence. She made numerous portraits―of writers and public figures, or unknown people in the streets. Her portraits give evidence of an intense, respectful engagement with her subjects, who participate as equal partners in the process of photographing.

Her first major retrospective. Candida Höfer, born in 1944, documents public buildings and urban environments. An early Becher student, Höfer depicts them without their visitors, thus capturing the intensity and intimacy of human occupation by the very absence of people. This monograph is the first comprehensive survey of her work to date.