Washington, DC — When photography was introduced to the world in 1839, society and culture were poised to undergo profound change. In the 180 years since the French invention of the daguerreotype and the rival British photogenic drawing, the medium has undoubtedly created new ways of seeing, experiencing, and understanding the world. The Eye of the Sun: Nineteenth-Century Photographs from the National Gallery of Art explores the range of subjects that photographers embraced during the medium's first 50 years through a selection of some 140 photographs from the Gallery's rich holdings of 19th-century photographs, one of the finest collections in America. On view in the West Building of the National Gallery of Art from September 8 through December 1, 2019, the exhibition presents more than 80 recent acquisitions, many not previously on view, including a large group acquired from the collection of Charles Isaacs and Carol Nigro.

The exhibition begins with the earliest examples of photography—daguerreotypes and photogenic drawings and salted paper prints by William Henry Fox Talbot—and continues with thematic sections ranging from portraiture to landscape. Featured photographers include Anna Atkins, Édouard Baldus, Lewis Carroll, Gustave Le Gray, Charles Marville, George Barnard, Roger Fenton, Francis Frith, Amélie Guillot-Saguez, Hill and Adamson, Viscountess Jocelyn, John Moran, Eadweard Muybridge, Charles Nègre, Andrew Russell, Augustus Washington, and Carleton Watkins.

"Today photography is so omnipresent in our lives that it can be hard to imagine a world without it. This exhibition takes us back to the exciting nascent years following the birth of the medium, and the many ways that early practitioners explored its possibilities," said Kaywin Feldman, director, National Gallery of Art, Washington. "The Eye of the Sun is possible due to a series of recent strategic acquisitions of 19th-century photography, allowing us now to offer a deep view of work from this period."

Exhibition Support

The exhibition is made possible through the generous support of the Trellis Fund.

Exhibition Organization and Curators

The exhibition is organized by the National Gallery of Art, Washington.

The exhibition is curated by Diane Waggoner, curator of 19th-century photographs, with Kara Fiedorek Felt, Andrew W. Mellon Postdoctoral Curatorial Fellow, both National Gallery of Art, Washington.

Exhibition Highlights
Photography's early use for portraiture and self-presentation is the focus of the first gallery of the exhibition, which opens with William Edward Kilburn's Queen Victoria and Children (1852). The daguerreotype is the second of two that Kilburn took of the Queen and family in the garden of Buckingham Palace in January 1852. Unhappy with her appearance in the first, she chose to pose in profile with a bonnet obscuring her face when she was photographed two days later. This section also presents a group of four photographs by Talbot, including the recently acquired Winter Trees, Reflected in a Pond (1841-1842) as well as a large selection of daguerreotypes by both French and American photographers such as Augustus Washington, one of the few known African American daguerreotypists.

A section on landscape photography includes three cloud studies—Cloud Study over the Pantheon, Paris (1856) by Charles Marville; Brig on the Water (1856) by Gustave Le Gray; and Sunset at Sea (1860s) by Colonel Henry Stuart Wortley—which illustrate early experiments in photography's ability to capture light and reflections. The section on the urban environment and industrialization examines the use of photography to document architectural and industrial innovations such as Hyacinthe César Delmaet and Louis-Émile Durandelle's Workers on Girders of Auditorium, New Paris Opera (c. 1867) and Philip Henry Delamotte's Steam Engine near the Grand Transept, Crystal Palace (1851).

Cameras enabled photographers to share the world with an accuracy of detail that had not previously been possible. A section on travel abroad includes photographs of extraordinary places, from John Murray's Taj Mahal from the East (c. 1858–1862) to Dunmore and Critcherson's The Arctic Regions: No. 36 (1869). Other photographs like Carleton Watkins's Piwyac, Vernal Fall, 300 Feet, Yosemite (1861) revealed the wonders of western America. Photographers also documented the realities and horrors of war. In addition to portraits of soldiers, such as Gayford & Speidel's image of an African American soldier, Christopher Anderson (1860s), the exhibition includes images of the war's aftermath: Alexander Gardner's A Sharpshooter's Last Sleep, Gettysburg, Pennsylvania, July 1863 (1863) and Andrew Joseph Russell's Stone Wall, Rear of Fredericksburg, with Rebel Dead (May 3, 1863).

The Eye of the Sun closes with examples by photographers who explored the artistic potential of the medium. Still-lifes like Roger Fenton's Fruit and Flowers (1860) and Henri-Victor Regnault's Nature Morte (c. 1852) are joined by nude studies such as Frank Chauvassaigne's Nude (c. 1856) and Guglielmo Marconi's Nude Study (1870s), and works by Victorian art photographers Julia Margaret Cameron, Oscar Gustaf Rejlander, Lewis Carroll, and Henry Peach Robinson. The exhibition concludes with an 1888 photograph of a fishbowl taken with the Kodak, the first snapshot camera, which brought photography to the masses.

Los Angeles — Throughout the Middle Ages (about 500-1500), texts and images were disseminated primarily through handwritten and hand-drawn materials. In the 15th century, with the invention of new printing technologies, a revolution swept through Europe giving rise to a rich cross-fertilization between mechanical innovation and painterly tradition.

Including both printed and illuminated masterpieces, Blurring the Line: Manuscripts in the Age of Print (on view from August 6 through October 27, 2019 at the J. Paul Getty Museum at the Getty Center) challenges the assumption that printed media immediately replaced the production of handmade books, revealing instead a convergence of technology and artistry during the Renaissance.

“An innovation of the medieval world, print was a medium that grew and changed in response to those who created and consumed it,” says Timothy Potts, director of the J. Paul Getty Museum. “This is especially evident in the medieval and Renaissance periods, but the dynamic interaction between technology and artistic change is timeless—as we see in the transition from painting to photography, film to digital, and paper books to eReaders.”

In a world before print, text and images were manually copied in books and on panels by skilled artists, inevitably introducing variations. Exact replication was associated with divine intervention, perceived as a miraculous transfer of likeness through a saintly intermediary. The printed image opened new and more straightforward possibilities for precise reproduction while drawing heavily on medieval conventions of composition, such as iconography, two-dimensionality, added color, and portable size.

Just as many different technologies overlap in today’s world, printing did not immediately eclipse all other forms of book art in the 15th century; it was a much more complex relationship. Printers and illuminators readily shared ideas, frequently borrowing compositions from one another. Printers recognized the importance of enhancing their new products by imitating the craftsmanship in illuminated manuscripts, a form associated with wealth and prestige. Nevertheless, the illuminator’s skill continued to be valued by those with the means to commission luxury handmade books. As a result of the competition and coexistence of these two media, the 15th century saw an expansion of pictorial literacy and a new era of affordable images at the same time the art of illumination was pushed to new levels of creative achievement.

The exhibition includes a selection of handmade books produced in the centuries after the introduction of the printing press. Though production of illuminated manuscripts slowed, handmade books were valued for their specialized craftsmanship and the prestige of the tradition they represented. They were treasured in religious, courtly, governmental, and other exclusive circles. Such personalized, made-to-order books attested to the wealth, high social status, and good taste of their patrons and owners. While print increasingly became the dominant mode of book production, illuminated manuscripts were preserved and reinvented in the post-medieval era.

According to Larisa Grollemond, assistant curator in the department of Manuscripts and curator of the exhibition, “The late 15th century is a fascinating moment in terms of artists experimenting with manuscript illumination and print, often fusing the two media in the same book. We tend to think that when print was introduced in Western Europe, illumination became a thing of the past. There’s actually a really complex artistic negotiation between these two forms that I think is similar to what’s happening today between digital and print media. I hope that visitors will be able to find some (perhaps surprising) parallels between the 15th and 21st centuries!”

Blurring the Line: Manuscripts in the Age of Print will be on view August 6 through October 27, 2019 at the J. Paul Getty Museum. Related programming will include gallery talks, lectures, and more. Additional information can be found at getty.edu/360.

Chicago — Potter and Potter Auctions' midsummer sales event was one hot ticket indeed. After a dramatic and exciting day of bidding, 75 lots realized $500-1,000; 19 lots made $1,001-$1,999; and eleven lots broke the $2,000 mark. Prices noted include the company's 20% buyer's premium.

This auction offered a world series caliber selection of baseball cards and related sports merchandise, with several lots taking MVP status. Lot #551, a 1951 PSA VG 3 Bowman Mickey Mantle rookie card, No. 253, was estimated at $1,000-2,000 and made $5,040. Lot #611, a storage box of NY Yankees cards including 98 autographed cards from the 2004 Upper Deck Classic Scripts; 100+ autographed cards from the 2003 Upper Deck Yankees Signature Series; and 44 autographed cards from the 2000 Upper Deck Chirography series was estimated at $500-1,000 and traded hands at $2,880. Lot #565, a 1968 PSA NM—MT 8 Topps Mets Rookies Jerry Koosman / Nolan Ryan card, No. 177, was estimated at $1,000-2,000 and sold for $3,120. Lot #616, a 2000s storage box of 250+ NY Yankees cards loaded with relic and limited-edition inserts from Upper Deck, Donruss, and Topps was estimated at $300-500 and rose to $2,640. And lot #615, a 2000s—2010s a Topps NY Yankees baseball card collection, individually sleeved and neatly organized by year or series, was estimated at $300-500 and realized $2,400.  

Fine selections of pop culture ephemera also left a lasting impression on bidders. Lot #658, A "Yellow Submarine" production pencil drawing signed by all four members of the Beatles reached its crescendo at $7,800. Lot #721, a collection of seven 1939 World’s Fair pornographic Tijuana bible booklets was estimated at $50-100 and made $330.  They were illustrated by Wesley Morse, an American artist best known as the creator of ‘Bazooka Joe’ for Topps’ chewing gum as well as the creator of the Copa Girl which is still the logo for the New York City nightclub Copacabana. And lot #524, five pulp issues of PEP/Ginger Stories - published in Wilmington, Delaware by King Publishing from 1929-1932 - sold for $300 on their $50-100 preauction estimate.

Shifting into fifth gear, this sale produced extraordinary prices on a number of pristine Corgi character vehicles. Lot #276, The James Bond Aston Martin DB5 #261A, in perfect condition, had a number of determined bidders chasing it to $1,146. Lot #277, a Rocket Firing Batmobile #267 in its original box traded hands at $960. Lot #278, a Bat-Boat and Trailer #107 in its original box made $720. Lot #279, A beautiful Monkeemobile #277A was driven to $480, while another favorite, lot #283, the Chatty Chatty Bang Bang #266A finally landed at an impressive $420.  

Vintage comic books were another key category in this seriously impressive sale. Lot #405, Fighting Yank, number 23 from Nedor, battled its way to $1,680 on its $250-350 estimate. Lot #356, Batman number 65 from DC Comics, made $780 on its $150-250 estimate. And lot #412, Iron Fist number 1 from Marvel Comics, put the pedal to the metal. This comic, featuring the epic fight between Iron Fist and Iron Man, accelerated to $300 on its $50-100 estimate.

Entertainment posters and works of art framed this sale in the best possible way. Lot #49, a matted and signed Stan Lee print of Peter Parker turning into Spider-man was estimated at $50-100 and sold for $270. All eyes were on lot #66, a Jimi Hendrix “Flying Eyeball” Concert Poster from 1968. This example, one of the most desirable images from the ‘60s psychedelic era of Rock & Roll, sold for $1,020 -  over five times its low estimate. And collectors went ape over lot #102, a three sheet color lithograph for King of Jungleland from 1949. Estimated at $50-100, this poster, featuring a gorilla and Clyde Beatty AKA the “World’s Greatest Animal Trainer," made $360.

Potter & Potter's midsummer Pop Culture event closed the loop with exciting selections of archives, scripts, cels, mascots, and other items that defied, or transcended, collecting categories. Lot #220, two signed Jerry Mahoney character hand puppets from 1966 sold for $270 on their $50-100 estimate. Lot #680, a Paul Reed Smith “Corazon” SE Santana solid body electric guitar, signed by Carlos Santana, hit its high note at $2,400.  And lot #969, a library of astronaut signed books and photographs from the 1960s/2010s shot the moon at $5,040. This extraordinary archive included signatures of all twelve astronauts who have walked on the moon, the first American woman in space, the first African-American woman in space, and other notable astronauts, as well as an official NASA photograph taken and signed by Neil Armstrong showing Buzz Aldrin descending the ladder of the Apollo 11 Lunar Module on July 20, 1969.

According to Tom Miano, Director of the Toys and Pop Culture Department at Potter & Potter Auctions, "This was my first opportunity to work with the Potter & Potter crew, and they overdelivered on every level. Every person is smart, dedicated, and absolutely team focused. They made this sure that every aspect of this huge sale's preparation and execution was seamless. I am proud of many of the prices we achieved for our consignors, with strong bidding across so many categories. We are already accepting quality items for our Spring 2020 sale. Please contact me right away if you are considering selling one fine item or even an entire collection - this sale is certain to fill up quickly!"

Boxborough, MA — Flamingo Eventz is pleased to announce the return of the popular Boxborough Paper Town – The Vintage Paper, Books & Advertising Collectibles Show. This is the original Boxborough Paper Show where you’ll find all things Paper – from classic Ephemera to Books, Board Games, Postcards, Advertising, Classic Vinyl, and more! A long time favorite of both dealers and customers, we continue to make changes and improvements to ensure continued growth and success. We’re bigger, better, more diverse, and with lots of new dealers…this is the paper show to attend for the rare, unusual and hard-to-find treasure!

Scheduled for Saturday, September 21, 2019 at the Boxboro Regency Hotel & Conference Center in Boxborough, MA, and proudly featuring members of the Southern New England Booksellers (SNEAB), exhibitors from across the Northeast will gather to present an outstanding array of fine, rare & unusual old books, maps, postcards, autographs, prints, posters, advertising, and much, much more. Plus, we have appraisals by well-known appraiser John Bruno, star of the PBS series Market Warriors, and guest appraisers from 12-2pm. Interested parties – both dealers & customers – should contact Flamingo Eventz at 603.509.2639 / info@flamingoeventz.com.

Exhibitor Specialties include: Advertising Covers, African American, Americana, Architecture, Art, Art Deco, Auctions, Autographs, Aviation, Baseball, Books, Bibles, Black History, Black Power, Calendars, Calling Cards, Christmas, Circus, Civil War, Cook Books, Charts, Children’s Books, Cocktails, Design, Dogs, Die Cuts, Documents, Engineering, Engraving, Ephemera, Erotica, Esoterica, Fantasy, Fashion, Fishing, Floridiana, Folklore, Folk Music, Foreign Language, Furniture, Games, Gardens & Horticulture, Graphics, Historic Documents, Horses, Hunting, Illustrated Books, Interior Design, Japan, Judaica, Letters, Logbooks, Manuscripts, Maps, Maritime, Medicine, Middle East, Military, Modernism, Music, Native American, Natural History, Nautical, Naval, New York City, New York State, New Jersey, Novelties, Olympic Games, Pacifica, Photographs, Photography, Pochoir, Polar, Pop-Ups & Moveable Books, Poetry, Postcards, Posters, Presentation Copies, Presidential Archives, Press Books, Prints, Pulitzer Prize Winners, Psychedelica, Puppetry, Puzzles, Railroad, Reference, Revolutionary War, Russia, Scholarly, Science, Science Fiction, Sports, Sporting, Technical, Theatre, Theology, Trade Cards, Trade Catalogues, Travel & Exploration, Travel Brochures, Typography, U.S. Coastal History, Vanity Fair Prints, Valentines, Voyages, Watercolors, Whaling, Wine, Yachting. These, and many other specialties, will be found at this event. Be sure to check our website, FlamingoEventz.com, for complete details and easily downloaded Discount Coupons.

Date/Hours: Saturday, September 21, 2019, 9am-3pm
Location: The Boxboro Regency Hotel & Conference Center, 242 Adams Place, Boxborough, MA 01709. Directly off I-495, exit 28.
Admission: Adults: $7 ($1 Discount with Ad or Website Coupon), Young Collectors 12-21: $4, plenty of free parking.
Appraisals: By John Bruno, Star of Market Warriors, and guest appraisers 12-2pm at $5/Item.
Directions: I-495 Exit 28, East on Massachusetts Ave (Rt. 111), right on Adams Place to Hotel. Check our website: flamingoeventz.com for easily downloaded maps.
Miscellaneous: Food & refreshment available at the Hotel restaurant during show hours.
Information: For Dealer or Customer information, please call or click 603.509.2639 / info@flamingoeventz.com

Background: Flamingo Eventz, LLC presents the finest, most innovative, successful, and respected Book & Ephemera Fairs, Antiques Shows, and Vintage Flea Markets in the Northeast. The Brunos have over 35 years experience as antique dealers and over 25 years experience as professional show promoters. They are members of the Antiques & Collectibles National Association (ACNA), and John Bruno is an antiques appraiser and television personality who can be seen on the PBS series Market Warriors.

New York — Swann Galleries is poised to offer a rare look at Herman Melville’s personal library in a timely sale announced on the eve of the author’s bicentennial. Two volumes of Greek & Roman classics owned—and heavily annotated—by Melville are set to come across the block in Fine Books & Manuscripts on October 10.

In March of 1849, a year prior to Moby Dick’s publication, Melville purchased a 37-volume set of classics from the publishing company Harper and Brothers. Here, making their market debut, are Euripides, Juvenal and Persius, in the only two known surviving volumes from the set once owned by the author. Melville’s autograph can be found in the volume containing Juvenal and Persius, and all are marked with numerous annotations illuminating which passages were of interest to the author. Also featured throughout are brief observations, most notably his annotation to Samuel Johnson’s The Vanity of Human Wishes, an imitation of the Tenth Satire in Juvenal, which reads: "Prose is uncertain, verse still more so. But the meaning here would seem to be—Virtue, tired with contempt, gives it up, and latches herself for self-support to Pride & Prudence; but fails here; i.e., perishes, probably, on the gallows—of slander, most likely."

Possibly the most interesting revelation from the volumes is that the author brought them shipboard on an 1860 New York­–to­–San Francisco trip aboard the Meteor. The names of places often appear in the books Melville traveled with. The present classics are annotated with the initials C.H and C. Horn., marking his time as he rounded Chile’s Cape Horn. From his letters we know that Melville occupied his time during the long trip with the study of poetry, the marginalia found within the volumes provides a more complete understanding of the author and the poetic literature that became the focus of his later works. Expected to bring $40,000 to $60,000, the discovery is the first works from Melville’s library to come to auction in more than a decade.

The full catalogue, which in addition to Autographs will feature 19th & 20th Century Literature and Art, Fine Press & Illustrated Books, will be available in September. Exhibition opening in New York City October 5. For further information visit swanngalleries.com or download the Swann Galleries App.