Do you know what the oldest horse race in Britain is, where the term 'gee-gee' comes from, or who is credited with bringing racing to Ascot? Fact-packed but light-hearted in style, this reliable reference book and quirky guide reveals little-known facts, details of classic races, famous riders, racing records, amusing anecdotes and criminal goings-on. A compendium of the fascinating, strange and entertaining, The Little Book of Horse Racing can be dipped into time and time again to reveal something new about this ancient sport.

Among the significant projects of the last year of his life, Richard Avedon (1923-2004) completed a book of his photographs of women. Always transcending categorization-he was both a fashion photographer and known as a "poet of portraiture"-Avedon was interested in seeing how elemental facts of modern life and human existence were reflected in his work. And what could be more elemental than women, who have mesmerized artists across the centuries?Looking at his work in this way, Avedon was able to create an unparalleled view of women in his time, a tumultuous half century of rapidly changing social facts, cultural ideals, popular styles, and high fashion. As an artist, Avedon was deeply responsive to nuances of expression, gesture, and comportment, and his photographs unfailingly opened a window to the interior lives of his subjects. These ranged from celebrities (Marilyn Monroe), artists (Marguerite Duras, June Leaf), and high-fashion models (Suzy Parker, Dovima) to anonymous people that simply drew his attention. Like the best of art and literature, they evoke rich lives and complex experiences.An incisive essay by art historian Anne Hollander offers an overview of a half century of Avedon's images of women.

In this generously illustrated book, Anne Hollander examines the representation of the body and clothing in Western art, from Greek sculpture and vase painting through medieval and renaissance portraits, to contemporary films and fashion photography. First published ahead of its time, this book has become a classic.

Clothing appears in all forms of figurative painting, often taking up two thirds of a frame; yet it can often go unnoticed. Far more than a simple means of identifying the status or occupation of a figure, clothes and cloth are used creatively by artists to hint at ambiguities in character, adjust the emotional temperature, direct the eye or make subtle allusions. Drawing on works by artists over a period of six centuries, from Giotto to El Greco, Matisse to Cindy Sherman, the author reveals through paintings, fashion plates, photographs and film stills how drapery in art evolved from Renaissance extravagance to Neoclassical simplicity at the end of the 18th century, and has extended to infinite uses in all genres of Modern art. First published in 2002 to accompany an exhibition of the same name at the National Gallery, London, this beautifully illustrated - and beautifully written - book by pioneering art historian and critic Anne Hollander, is reissued with a new Foreword by Valerie Steele. As penetrating and insightful as when it was first published, it remains a must-read for today's generation of students and anyone with an interest in art and fashion.

Monday's Child is fair of face; Tuesday's Child is full of grace. Wednesday's Child is full of woe; Thursday's Child has far to go. Friday's Child is loving and giving; Saturday's Child works hard for a living. But the child who is born on the Sabbath Day Is bonny and blithe, merry and gay. A medieval fortune describing the life-long luck one should have by the day of the week one was born illuminates the days within the walls of a small-town Texas wine bar. Each day tells its own story from its own voice and its own set of characters, and though the women are strong and men good-looking, it is nothing but love - in all its forms, uses, and definitions - which bind these stories together, from passionate inception through peaceful retirement.

Since the advent of cinema, visual art has tended to be perceived as if it were in motion. Artists now create less often in fresco or carved stone and more on film and tape, on the dance stage, or in the ever changing, ever moving medium of clothes. In this remarkable collection, Anne Hollander ranges over art of the twentieth and other centuries with unusual depth of historical insight to explore these rich, diverse visual treasures and the underlying themes that connect them.

Every year the Grand National produces very different stories from jockeys and horses alike; uplifting scenes from a victor and heartbreak when a mere inch divides the loser from the winner at the end of nearly four-and-a-half miles and thirty challenging fences. In 1839 the first winner was aptly named Lottery. Back then, huge crowds rode to Aintree by horseback, in carriages, carts or on foot. Today the Grand National is probably the world's most famous horse race, with a global television audience of some 600 million in 140 countries. This richly informed book focuses on the race's various record-breakers, rather than being a purely chronological history of this greatest of all steeplechases. Many records have stood the test of time: in 2019, Tiger Roll's second consecutive victory was the first time that the feat had been achieved since Red Rum in 1973-74. Anne Holland's authoritative history celebrates one of the world's greatest sporting spectacles. 'A well-organised and cheerily anecdotal volume' Spectator

Since the dawn of western fashion in the Middle Ages, women's dress has never stopped evolving, yet menswear has seen far fewer style revolutions. At the centre of the male wardrobe is the suit: relatively unchanged since the 17th century, its cut and cloth suggest athleticism, seriousness, sexuality and strength - qualities which contrasted with the perceived superficiality and frivolity of female dress, and eventually led to the adoption of the suit into the female wardrobe where it remains to this day. In Sex and Suits brilliant essayist and art critic Anne Hollander charts the development of men's and women's fashion from their divergence in the medieval period to their convergence through to the late 20th century. Challenging the idea that the suit's success is merely down to its practicality, this trailblazing book argues that men have been fashion's true style-setters and that as women's fashion has taken on elements of men's style through tailoring, so men have reclaimed the embellishment and colour of past eras. First published in 1994 to great acclaim, this classic text is as fresh and provocative as ever and remains a must-read for students, scholars and anyone fascinated by the history of fashion and gender.