New York's Tenth Street Studio Building (1857-1956), designed by Richard Morris Hunt, housed some of the most important artists in the United States, notably Frederic E. Church, Albert Bierstadt, Winslow Homer, John La Farge, and William Merritt Chase. The tenants worked, taught, exhibited, promoted, and sold their work from their studios and the gallery. This book examines not only the architecture and functions of the building, illustrating a number of the studios, but also the marketing of art in the 19th century. Excerpts from diaries, letters, and autobiographies provide a sense of the congeniality and collaboration among the tenants. A roster of tenants from 1857 to 1895 is included.

Describes how late Victorian culture encouraged the evolution of art as a career, discussing such "inventions" as art therapy and bohemianism, and exploring artists' complicated and confused gender roles

How much do you actually know about New York City? Did you know they tried to anchor Zeppelins at the top of the Empire State Building? Or that the high-rent district of Park Avenue was once so dangerous it was called "Death Avenue"? Lively and comprehensive, Inside the Apple brings to life New York's fascinating past. This narrative history of New York City is the first to offer practical walking tour know-how. Fast-paced but thorough, its bite-size chapters each focus on an event, person, or place of historical significance. Rich in anecdotes and illustrations, it whisks readers from colonial New Amsterdam through Manhattan's past, right up to post-9/11 New York. The book also works as a historical walking-tour guide, with 14 self-guided tours, maps, and step-by-step directions. Easy to carry with you as you explore the city, Inside the Apple allows you to visit the site of every story it tells. This energetic, wide-ranging, and often humorous book covers New York's most important historical moments, but is always anchored in the city of today.

Somebody’s killing the most glamorous models in Gilded-Age New York, but intrepid Genevieve Stewart is up to the task in Kate Belli’s third Gilded Gotham mystery, for fans of Victoria Thompson and Andrea Penrose. As a heat wave engulfs New York in the summer of 1889, the city’s top models begin turning up dead, one by one, suggesting the work of a single killer. Society girl turned investigative journalist Genevieve Stewart is drawn into the case when Beatrice Holler, one of her friend Callie’s fellow models, is found with her throat cut. Genevieve and her compatriot, wealthy Daniel McCaffrey, are joined by Callie to seek out the suspects, which leads them to search for answers from the members of the elite, notorious gangsters, and the city's most prominent painters. In an era when London’s Jack the Ripper murders have everyone on edge, the police want to keep the killings quiet. But the bodies are piling up as fast as the suspects—and unless the killer is found, the simmering New York summer could boil over into madness.

This extensively revised edition of Thurman Wilkins’s masterful and engaging biography - well illustrated in color and black-and-white - draws on new information and recent scholarship to place Thomas Moran more securely in the milieu of the Gilded Age. It also portrays more fully the controversies that surrounded the art of Moran’s time, as he became "the Dean of American Painters." The American West was the subject of Thomas Moran’s greatest artistic triumphs - Yosemite, the Grand Canyon of the Colorado, Zion Canyon, the Virgin River, Colorado’s Mountain of the Holy Cross, and the Grand Tetons - but his travels with Ferdinand V. Hayden’s geological surveys of the Upper Yellowstone were matched by trips to his native Britain and to Venice, Florida, the Spanish Southwest, and Old Mexico. These scenes inspired memorable landscapes and seascapes, as did the sojourns of the Moran family in Pennsylvania, New Jersey, and East Hampton, Long Island, when they retreated from the demands of the New York art scene. In the 1880s Moran and his artist wife, Mary Nimmo Moran, also threw themselves into the etching craze of the period, creating some of the finest prints produced in the United States. Moran was an artist happy in his work. He wrote, "I have always held that the grandest, most beautiful, or wonderful in nature, would, in capable hands, make the grandest, most beautiful, or wonderful pictures." The New York Times said of the first edition of this unique account of his life, "Moran’s mastery comes through clearly and awesomely and often, pleasurably." Readers will find the new edition equally enjoyable.