All books from Thomas Heneage Art Books

Argan, Giulio Carlo

Argan, Giulio Carlo: Sculture e disegni di Umberto Mastroianni. Venice: Cavallino Venezia, 1958. xxiii, plus 3 colour and 73 monochrome plates, and 38 figures. Inscribed by the artist: 'Alla galleria Roland Browse e del Banco - con viva simpatia. Mastroianni'. Gilt cloth. 30 x 23.5cms. Main work on the Italian contemporary artist. With lists of: one-man andcollective exhibitions; public works; works in private collections; bibliography. From an edition limited to 1000 copies.

Arisi, Ferdinando

Arisi, Ferdinando: Natura Morta Tra Milano e Parma in Eta Barocca. Felice Boselli, Rettifiche e Aggiunte. Piacenza: 1995. 542pp with 25 colour and 55 monochrome plates, 81 colour and 546 monochrome illustrations. Cloth, 30.5x23.1cms. In-depth survey of still-life painting in and around Milan and Parma during the 17th and 18th century, with much new information, particularly on Felice Boselli, and contemporaries Crivelone, Arbotori, Crivellini, Rizzi, Cipper and other local artists. With sources, bibliography and index. Text in Italian.

Arisi, Ferdinando, Anna Coccioli Mastroviti, Raffaella Colace, et al

Arisi, Ferdinando, Anna Coccioli Mastroviti, Raffaella Colace, et al: Roberto de Longe. Piacenza: 2013. 480 pages, illustrated throughout in colour. Hardback. 31.5 x 22.5cms. Text in Italian.

Armstrong Percy III, William

Armstrong Percy III, William: Pederasty and Pedagogy in Archaic Greece. University o Illinois Press, 1996. With a dedication from the author to Sir John Boardman. 260 pages. Hardback. 24 x 18cms.

Armstrong, Sir Walter

Armstrong, Sir Walter: Sir Joshua Reynolds, First President of the Royal Academy. London: Heinemann, 1900. 251 pages, with seventy-eight photogravures and six lithographic facsimiles in colour. Bound in elaborately gilt brown calf by the Chiswick Art Guild. Limited to 1100 copies. With the Ascott book plate, ex libris Alfred de Rothschild. Provenance Alfred de Rothschild.

Armstrong, Walter

Armstrong, Walter: Alfred Stevens, a biographical study. Paris: Librairie de l'Art, 1881. 47 pages, numerous black and white illustrations. Covers marked, some slight foxing to edges of pages, otherwise good clean copy. Boards. 39 x 27.5cms.

Arribas, Antonio, Gloria Trias, Damian Cerda, and Javier de Hoz

Arribas, Antonio, Gloria Trias, Damian Cerda, and Javier de Hoz: El Barco de El Sec (CalviÃ, Mallorca): Estudio de los materiales.. Majorca: Universitat de les Illes Balears, 1987. 659 pages, numerous black and white illustrations throughout. Paperback. Text in Spanish.

Artcurial

Artcurial: Une Passion Marocaine. Collection Pierre Berge et Yves Saint Laurent. 2015. 206 pages, fully illustrated throughout. Paperback. 28 x 22cms.

Artemenko, I. I. et al

Artemenko, I. I. et al: Historische SchÀtze Aus Der Sowjetunion. Exhibition: Zurich, Kunsthaus, 1967. 122pp with 74 plates. Wrappers, 21x19cms. Includes jewellery, metal work, pottery, etc. Text in German.

Aruz, Joan and Elisabetta Valtz Fino

Aruz, Joan and Elisabetta Valtz Fino: Afghanistan: Forging Civilizations along the Silk Road. New York: 2012. 160 pages, 138 colour illustrations. Wrappers. A meeting point of the Silk Road trading routes, Afghanistan became a bustling artistic centre for coins, ivories, gold jewellery and new stone and terracotta architecture. This illustrated publication collates essays presented at a recent symposium at the Metropolitan Museum looking at these pieces, as well as links with China, Rome, Iran and India and relations between nomadic and sedentary populations.

Arveiller-Dulong, VÃronique and Jacques Arveiller

Arveiller-Dulong, VÃronique and Jacques Arveiller: Le Verre d'Ãpoque Romaine au MusÃe ArchÃologique de Strasbourg. Paris: RÃunion des MusÃes Nationaux, 1985. 320 pages with 486 monochrome illustrations and line-drawings, 5 maps and plans and 7pp diagrams. Paperback. 24x15.5cms. The first study of this extensive collection. 393 pieces of Roman glass are fully documented, backed up by line-drawings and many illustrations. With index of inventory numbers, bibliography, table of shapes and forms. Text in French.

Asche, Sigfried

Asche, Sigfried: Balthasar Permoser. Leben und Werk. Berlin: Deutscher Verlag fÃŒr Kunstwissenschaft, 1978. 226pp plus 1 tipped-in, 3 colour plates and 207pp with 349 monochrome illustrations. Cloth. 28.5x21.5cms. Text in German.

Aston, David

Aston, David: Pottery recovered near the tombs of Seti I (KV 17) and Siptah (KV 47) in the Valley of the Kings. Basel: Schwabe, 2014. Series: Aegyptiaca Helvetica. 24. Hardback. 30x21.5cms.

Asutay-Effenberger, Neslihan; Arne Effenberger

Asutay-Effenberger, Neslihan; Arne Effenberger: Die Porphyrsarkophage der ostroemischen Kaiser : Versuch einer Bestandserfassung, Zeitbestimmung und Zuordnung. Wiesbaden: 2006. Series: Spaetantike, fruehes Christentum, Byzanz. Reihe B, Studien und Perspektiven 15. 220 pages; illustrated. Hardback. 24.2 x 17.8cms. Text in German.

Atasoy, Nurhan

Atasoy, Nurhan: Otag - 1 HÃŒmayan: The Ottoman Imperial Tent Complex. Istanbul: 2000. 306pp with 150 colour and monochrome illustrations. Cloth. 28.8x30.5cms. Exhaustive survey on the subject, with chapters covering topics such as; the corps of Imperial tent pitchers and tentmakers, structural characteristics of the tents and Ottoman tent collections in Europe and the Topkapi Palace. Plus a tent glossary and tent typology.

Attenborough, David

Attenborough, David: Tribal Encounters: An Exhibition of Ethnic Objects Collected by David Attenborough. Exhibition: Leicester, Museum and Art Gallery, 1981. 90 pages, illustrated in colour. Paperback. 19.5 x 20cms.

Augusti, Andriana, Amalia Donatella Basso, Gino Benzoni

Augusti, Andriana, Amalia Donatella Basso, Gino Benzoni: Lo Statuario Pubblico Della Serenissima. Due Secoli di collezionismo di antichita. Biblos Edizioni, 1997. 326 pages. illustrated throughout in colour. Paperback. 30.5 x 21cms.

Auld, Sylvia

Auld, Sylvia: Renaissance Venice, Islam and Mahmud the Kurd a metalworking enigma. London: Altajir World of Islam Trust, 2004. 350pp with 210 monochrome illustrations. Cloth. 26.8x20.7cms. The name of Mahmud the Kurd (probably an itinerant master craftsman working in the second half of the 15th century) has been found on ten small, domestic objects of brass. All are exquisitely worked with intricate arabesques. On one, his signature appears in two forms in Arabic (or Persian), and in transliterated Roman script. Why? For whom was he working, and where? These are the questions which this book tries to answer. The widespread links between Renaissance Europe and Islam, which emerge as part of the trail, may come as a surprise to some readers. The objects listed in this book are not only fascinating in themselves but can be seen as a microcosm of the international exchanges and excursions of the period. Later, in 19th-century Europe, it was even assumed that Mahmud (and others working in the same style) were employed in Venice . This seems improbable following research in the archives, but so far no satisfactory explanation has been offered for Mahmud's double-language signature. Close examination of the objects shows that there are in fact three distinct styles. In the 15th century, against a backdrop of diplomatic intrigue in the face of Ottoman victories, Venice promoted links with their rivals, the Turcoman 'White Sheep' dynasty, whose capital then was at Tabriz . This explains a Persian element in the decorative detail of the first stylistic group. Some of the objects of a second group include a European shield as part of their decoration. Despite renewed papal bans, European trade with Islam continued unabated in the Eastern Mediterranean; Venice was the prime port for this commercial activity, and this accounts for the appearance of this second, Mamluk, group. The admiration in Europe and more particularly in Italy for the high quality of Islamic inlaid work explains the details of a third, western, group. Men like Benvenuto Cellini not only set out to emulate this technique, which they called 'azzimina, but to prove that they could do better.

Aurigemma, Maria Giulia

Aurigemma, Maria Giulia: Carlo Saraceni. Un veneziano tra Roma e l'Europa 1579-1620. Exhibition: Rome, Palazzo Venezia, 2013-14. 432 pages, with 216 colour and 28 black and white illustrations. Paperback. 28 x 24cms. A major survey of the Venetian born follower of Caravaggio, from his earliest paintings through the twenty years of success and commissions he enjoyed in Rome at the start of the seventeenth century. Also discusses the propagation of his style and compositions through his own workshop, variations, copies and engraving after his work. Text in Italian.

Auzas Pierre-Marie

Auzas Pierre-Marie: L'OrfÚvrerie Religieuse Bretonne. Picard, 1955. 156 pages, 28 black and white plates. Paperback. 28.5 x 22.5cms.

Avagnina, Maria Elisa; Margaret Binotto, Giovanni C. F. Villa.

Avagnina, Maria Elisa; Margaret Binotto, Giovanni C. F. Villa.: Pinacoteca Civica di Vicenza. Scultura e arti applicate dal XIV al XVIII secolo. Volume 3. Venice: Musei Civici di Vicenza, 2005. Series: Catalogo Scientifico delle Collezioni. 351 pages, 22 full page colour illustrations at front, 384 black and white illustrations. Hardback. 31 x 25cms. Catalogue of the sculpture and applied arts dating from the 14th to the 18th century in Venice's Pinacoteca Civica. Text in Italian.

Avery, Victoria

Avery, Victoria: Vulcan's forge in Venus' City : the story of bronze in Venice, 1350-1650. British Academy, 2011. First edition. 496 pages. 161 colour illustrations and 263 black and white illustrations. Hardback. 28x21cms.

Avramidou, Amalia, Denise Demetriou eds.

Avramidou, Amalia, Denise Demetriou eds.: Approaching the Ancient Artifact: Representation, Narrative, and Function. Berlin: De Gruyter, 2014. 590 pages, 51 colour illustrations. Hardback.

Aye, Gisela and Axel Kronenberg,

Aye, Gisela and Axel Kronenberg,: Taufbecken und Taufengel in Niedersachsen: Vom Ende des DreiÃigjÀhrigen Krieges bis zur Mitte des 19. Jahrhunderts. Regensburg: 2006. Cloth, 28x21cm.cms. Fonts and Baptismal furniture (including angels, often full size, suspended above the font used for holding baptismal water) from churches in Lower Saxony from the 30 years war to the middle of the 19th Century. Text in German.

Aymonino. Adriano amd Anne Varick Lauder

Aymonino. Adriano amd Anne Varick Lauder: Drawn from the Antique: Artists & the Classical Ideal. Exhibition: Haarlem, Teyler Museum and London, Sir John Soane's Museum, 2015. 256 pages, illustrated throughout in colour. Hardback. 29 x 21.5cms. A careful selection of thirty-nine drawings, prints and paintings from the 16th to the 19th centuries. Examines the long-held artistic tradition of drawing 'after the antique'; the practice of studying and copying the classical statues which provided training and inspiration to both young and established artists, from Agostino Veneziano, through Rubens to Turner.