157-Newton copy.jpgNew York—Swann Auction Galleries held a successful sale of Early Printed, Medical, Scientific & Travel Books on Tuesday, October 18, with especial offerings of early scientific and mathematical material.

The top lot of the sale was a first edition, first issue of Sir Isaac Newton’s seminal Opticks, 1704, a treatise on light and color. This excellent copy of the groundbreaking work sold well above its estimate at $87,500. Another highlight of the sale was Euclid’s Elementa geometriae, 1482, the first major mathematical work to appear in print. The printing process used in the first edition, which includes extensive geometrical designs, influenced the design of subsequent editions and similar works into the sixteenth century; it sold for $62,500.

Each section of the sale performed well, especially the collection of mountaineering literature from the estate of Timothy Treacy, an adventurer from California. Works in the collection helped to stimulate interest in mountaineering, as well as later classics on the subject. Specialist Tobias Abeloff said, “It was an interesting collection to work on, with many uncommon items. 129 of the 131 Treacy lots sold, so the sell-through rate mirrored the sale as a whole at 98%. The top Treacy lot was Edmund Thomas Coleman’s Scenes from the Snow-Fields, 1859.” That work sold to a collector for $16,250. Other high sellers from the Treacy Collection included a first edition of Rambles and Scrambles: Across the Country from Thonon to Trent, 1865, by Douglas Freshfield ($12,350) and a series of published letters between William Windham and Pierre Martel titled An Account of the Glacieres or Ice Alps in Savoy, 1744 ($10,000).

William Shakespeare’s A Winters Tale, extracted from the First Folio, sold after steady bidding for $25,000, well above its high estimate. A fourteenth-century vellum manuscript Psalter from England, written in gothic hand and including contemporary calendars, litany and miscellaneous texts, sold to a lucky collector for $8,450. Early English bibles also garnered much attention: The Byble, 1551 ($15,600); The holie Bible, 1572 ($7,280); and The Holy Bible, 1617 ($13,000), all sold to collectors for more than twice their estimates.

Specialist Tobias Abeloff said, “Healthy phone and internet bidding sent prices for many items well beyond their estimates.” This was Swann Galleries’ top-earning dedicated Early Printed books sale since the house’s October 2012 offering of Aldine Imprints & Early Printed Books from the Library of Kenneth Rapoport, underscoring the continued strength of premium book collections at auction.

Hassam.JPGEXETER, N.H. - A gorgeous oil on canvas marine rendering by Thomas Buttersworth (Br., 1768-1842) and a diminutive watercolor work by Childe Frederick Hassam (Am., 1859-1935), mounted to the flyleaf of his 1899 book Three Cities, are expected top lots at a fine art estates auction planned for Friday, November 4th, at 5 pm Eastern time by John McInnis Auctioneers.

The event will be held at the historic Exeter Inn, located in the center of Phillips Academy, at 90 Front Street in Exeter. Around 300  market-fresh, original works of art will come up for bid, to include 19th and 20th century American and European paintings, watercolors and works on paper. Previews will be held Thursday evening, Nov. 3, from 6-8 pm, and on auction day from 1 pm on.

“Everyone is invited to join us for a fast-paced and entertaining evening, with some wonderful opportunities to acquire original fine art at attractive price points through auction,” said John McInnis of John McInnis Auctioneers, based in Amesbury, Mass. “Come early and enjoy a meal at the Epoch Restaurant, known for its fine dining and relaxing lounge. It’ll be a great night out.”

The Buttersworth oil painting is a signed work titled H.M.S. Queen Charlotte 11 Guns Passing Through the Straits of Messina. It measures 31 inches by 43 inches (framed) and is estimated to bring $20,000-$30,000. The Hassam watercolor, just 6 ½ inches by 6 inches, is titled Dandy and was a gift from Hassan to his close friend and artist, Rose Lamb. It should hit $10,000-$15,000.

Two paintings could conceivably top the $10,000 mark. The first is an oil on board by Gertrude Fisk (1878-1961), titled Falling Tide, signed twice and titled verso, in very good untouched estate condition (est. $8,000-$12,000). The second is an oil on canvas by George Inness (1825-1894), 24 inches by 29 inches, titled Landscape with Cow and a Figure (est. $8,000-$10,000).

A pair of works by Pablo Picasso (1881-1973) is in the auction. One is a lithograph, titled L’Ecuyare, signed in plate by Picasso and measuring 29 inches by 34 inches (framed). It’s expected to fetch $1,000-$1,500. The other is a linocut titled Exposition Vallauris 1952, signed in plate and in pencil by Picasso. The 29 ½ inch by 23 ½ inch piece should reach $500-$1,000. 

An oil on board by Anthony Thieme (1888-1954), titled Boston Harbor, that appears to be in its original 11 ½ inch by 9 ½ inch frame and under glass, is expected to sell for $5,000-$7,000; and an oil on canvas by Victor DeGrailly (1804), titled Hudson River Crow Nest from Bull Hill, West Point, unsigned and housed in a 29 ½ inch by 37 ½ inch frame, is estimated at $5,000-$8,000.

Two harbor-themed paintings carry identical estimates of $2,000-$3,000. The first is an oil on paper board by Samuel L. Gerry (1813-1891), titled Lake Winnipesaukee from Center Harbor, 9 ½ inches by 12 inches, signed and housed in an oval frame. The second is a 23 inch by 27 inch (framed) oil on canvas by Theodore Valenkamph (1868-1924), signed, titled Harbor in Winter.

Fans of the American School will be able to choose between an oil on board painting by Frank Anderson (1844-1891), titled Family at Rest, signed and 14 ½ inches by 16 ½ inches (framed), expected to rise to $2,000-$3,000; and a 24 inch by 30 inch (framed) oil on canvas work, signed “Cook” and titled Coastal Village, in good condition and with a pre-sale estimate of $500-$700.

A pair of artworks by Sonia Delaunay-Terk (1885-1979) will cross the auction block. One is a color lithograph titled Sans Titre, signed and dated 1969 and 20 inches by 17 inches in the frame (est. $800-$1,200). The other is a color etching, signed in 1970 and titled Color Abstraction, 29 inches by 25 inches (framed), with just some minor toning. It should command $500-$1,000.

An oil on canvas painting by Samuel Halpert (1884-1930), titled Fruit on a Table, signed and in a 21 inch by 28 inch frame, in good condition, is expected to realize $2,000-$3,000, and so is a gouache and ink painting by Theo Tobiasse (1927-2012), titled Arriving Immigrants, signed and in a 16 inch by 20 inch frame. Both works estimated alike and both are in very good condition. 

An oil on canvas by Suzanne Eisendieck (1908-1998), titled Petite Fille d’Honneur, presented in a 27 inch by 24 inch frame and in very good condition, should change hands for $2,000-$3,000; while an oil on wood composite by John Terelak (b. 1942), titled Hunter in a Marsh, signed and dated 1979 and in a 19 inch by 23 inch frame, in very good condition, should hit $1,000-$2,000.

A 19th century British School depiction of horses, titled The Country Farm, signed (possibly by “S. Allman”), 30 inches by 38 inches in the frame and exhibiting some scattered inpaint and loss, should still bring $800-$1,200; and an oil on paper board by George W. Whitaker (1841-1916), titled Road to the Shore, signed and in a 17 inch by 13 inch frame, should finish at $400-$600.

For those people unable to attend the exhibition, sale and auction in person, internet bidding will be provided by LiveAuctioneers.com. The full catalog, showing all the artworks being offered in the auction component, may be viewed online now, at www.mcinnisauctions.com. For those who do plan to attend, Exeter is located in southeastern New Hampshire, not far off of Interstate 95.

John McInnis Auctioneers is the largest full-service auction house on Boston’s North Shore. The company’s 12,000-square-foot gallery in Amesbury, Mass., is a retrofitted 1930s-era brick Art Deco building that once housed a grocery store. A staff of experts is proficient in 18th, 19th and 20th century fine art and decorative arts. The firm is a specialist in fine art, antiques and estates.

John McInnis Auctioneers is always accepting quality consignments for future auctions. To consign a single piece, a collection or an estate, you may call them at (978) 388-0400; or, you can e-mail them at mcinnisauctions@yahoo.com. To learn more about John McInnis Auctioneers and the upcoming November 4th auction in Exeter, N.H., please visit www.mcinnisauctions.com.

Image: Watercolor by Childe Frederick Hassam (Am., 1859-1935), mounted to the flyleaf of his 1899 book Three Cities (est. $10,000-$15,000).

Screen Shot 2016-10-21 at 9.30.37 AM.pngAccompanied by a publication by Drs. Sandra Hindman and Beatriz Chadour-Sampson “Rings Around the World” explores the eternal forms, inspirations, and aesthetics of finger rings across many cultures throughout history, with over forty rings deriving from China, the Middle East, Europe, and America. Covering over four millennia, from the Bronze Age to the present day, the exhibition will also feature pieces by celebrated contemporary jewelry artists Wallace Chan and Giovanni Corvaja.

Organized chronologically, the catalogue will include scholarly descriptions of each ring. It will also call attention to links between forms, periods, and cultures. For example:

*Renaissance Posy Rings from England inscribed with sentimental expressions find their parallel in a Chinese jade philosopher’s ring with an inscription “Quit Alcohol.”

*Included are rings of many periods and different origins that adapt forms from monumental media (sculpture in an Art Nouveau Ring and architecture in an Arts and Crafts ring and a Jewish Wedding Ring).

*Magic and belief in superior beings is reflected in Egyptian faience rings (which also resemble repousse rings of the early European Renaissance) and a Sumatran astrological ring.

These are just a few examples of some of the fascinating associations the exhibition and catalogue evoke between objects.

This all-encompassing exhibition will open in London (hosted by Sam Fogg, 15D Clifford Street) from 2nd to 11th November and travel to Les Enluminures New York (23 East 73rd Street, NYC 10021), from 17th November to 3rd December 2016.

Screen Shot 2016-10-20 at 10.13.44 AM.pngRoddy Newlands, Head of Books, and Clive Moss, Director and Book specialist, both from renowned auctioneers Bloomsbury Auctions, will be available in New York (24th - 25th October, 2016) and Boston (28th - 29th October, 2016) to meet with clients for provide free book valuations. To arrange a valuation in New York, Boston, or anywhere that falls in-between, please contact Clive Moss via email: cmoss@bloomsburyauctions.com or mobile: + 44 (0) 7824 017837 to arrange an appointment.

Bloomsbury Auctions have established a unique reputation as leading book specialists, with a highly knowledgeable and experienced team of experts at the helm and a tradition of delivering exceptional results at auction.

Established in 1983, the company has achieved excellent prices, notable examples of American interest including:

·         Thomas Paine, Rights of Man, 1791 'The clearest of all expositions of the basic principles of democracy' (Printing and the Mind of Man, PMM - survey of the impact of printed books on the development of western civilisation). The exceedingly rare suppressed first edition, first issue, bound with three other works by PaineSold for £161,200  

·         The North-American Pilot for New England, New York, Pensilvania, Maryland, and Virginia, 1776 Comprising charts of Boston Harbour, Hudson River, Delaware Bay, Chesapeake Bay, Cape Fear River, Charles-Town Bar and Harbour, Port-Royal, River and Sound of Dawfoskee, Amelia Harbour and Bar. Sold for £73,200

·         Thomas Edison, Printed patent application signed by Thomas Edison in autograph, 1882. The document is an overseas patent application relating to dynamos for electrical lamps, stating that 'I, Thomas Alva Edison of Menlo Park New Jersey United States of America am in possession of an invention for "Improvements in means for regulating the generative capacity of dynamo or magneto electric machines". Sold for £24,180

·         Dashiell Hammett, Red Harvest, 1929. The first edition in scarce dust-jacket, “A remarkable achievement, the last word in atrocity, cynicism, and horror.” (André Gide). Sold for £22,320

The Books Department will be re-locating to 16-17 Pall Mall, St James’s, London, this Winter. The address has a long and prestigious history as a home to booksellers and collectors of rare books and manuscripts.  In 1930 the distinguished firm W.H. Robinson took up residence at 16-17 Pall Mall with the specific intention of being close to the Athenaeum and other gentlemen’s clubs. They were regarded as the most prestigious book dealers of the day and in 1946 they acquired the books and manuscripts collection of the prolific collector Sir Thomas Phillipps. This was the single greatest collection of manuscripts to ever have existed and it included 60,000 manuscripts - more manuscripts than contained in the combined libraries of Oxford and Cambridge. From the proceeds of the collection W.H. Robinson was able to retire in 1956. At which point the book dealer Pickering and Chatto moved in to the premises continuing the long tradition of rare books and manuscripts being sold at this address.

For appointments in New York, Boston and neighbouring cities & States:

From Monday 24th - Saturday 29th October 

Contact: Clive Moss, Director, Book Dept., Bloomsbury Auctions

Email: cmoss@bloomsburyauctions.com

Mobile: +44 (0) 7824 017837

Image: Dashiell Hammett, Red Harvest, 1929. The first edition in scarce dust-jacket, sold for £22,320.

b9150557-2232-48a7-899e-d46e58edc399.jpg[ITHACA, NY] National Book Auctions, located in Ithaca, NY, announces the launch of their next auction catalog.  

This catalog features rare, antique and decorative books as well as select additions of artwork and ephemera. We will offer an array of period titles covering polar and arctic exploration, along with antique chronicles of the opening of the American West. Another antique collection includes desirable early printings of works on the exploration and history of Canada.             

Antique and rare books in this catalog feature numerous titles. Among the earliest examples are the 1607 first edition of Veen's "Q Horati Flacci Emblemata," featuring engraved plates, Alciati's "Emblematum Libellus," produced in 1545 with woodcuts, and the 1772 printing of Wise's "Vindication of the Government of New-England Churches." Other scarce titles include the 1952 first issue of Steinbeck's classic, "East of Eden," a 1919 printing of Kelley's "Book of Hallowe'en," and the 1928 first edition of Wanda Gag's signature title, "Millions of Cats."                   

Several pleasing collections will also be showcased. Highlighted is a collection of polar and arctic exploration titles, led by examples such as Weddell's "A Voyage towards the South Pole," produced in 1825 with folding maps and plates, and the 1867 printing of Hayes' "The Open Polar Sea," containing color maps and plates. Period works relating to the emerging American West feature titles such as the 1834 printing of Baird, Backe & Schenck's "View of the Valley of the Mississippi or the Emigrants and Traveller's Guide to the West," featuring color folding maps. Other important antique exploration chronicles cover areas such as Canada, Africa, Egypt, Central and South America, the Far East and the Middle East and present important works such as the 1802 first edition of Willyams' "Voyage up the Mediterranean in His Majesty's Ship the Swiftsure." Additional collections offer early theological works, including Quaker, and Americana.  

Found throughout this catalog are interesting offerings of ephemera. Included are several posters signed by Maurice Sendak, displaying illustrations from "Where the Wild Things Are."   

National Book Auctions is a public auction service specializing in books, ephemera, and art. National Book Auctions is a targeted service offering experience and expertise unique to marketing antique and modern books and ephemera for consignors and collectors alike. The upcoming auctions will feature a wide assortment of collectible, signed, and first edition books. For more information, please contact the gallery at 607-269-0101 or email mail@nationalbookauctions.com.

201-Mitchell-signed-page copy.jpgNew York— On Thursday, November 10, Swann Galleries will hold an auction of 19th & 20th Century Literature, featuring a number of signed first editions and association copies.

Notable is a run of signed first editions by H.G. Wells, inscribed to his friend, the poet W.E. Henley, to whom Wells dedicated The Time Machine. Offerings from this collection include The First Men in the Moon, London, 1901, a very rare first printing of the first English edition in the first state binding. Only three other signed copies have appeared at auction; this one is estimated to sell between $6,000 and $9,000. A first edition of Tales of Space and Time, 1900, is additionally embellished by an original drawing by the author to Henley: a charming rendering of Ugh-Iomi and Eudena, the protagonists of A Story of the Stone Age, one of the five short stories in the volume ($2,000 to $3,000). Further selections include The Invisible Man, 1897, and The Island of Doctor Moreau, 1896 ($6,000 to $9,000 and $5,000 to $7,500, respectively).

Further early twentieth century titles shine, including an unusual first edition of Gaston Leroux’s The Phantom of the Opera, in what is likely the only surviving example of the first state dust jacket, previously unknown to scholars ($25,000 to $35,000). Also available is a first edition of Joseph Conrad’s Lord Jim, inscribed by the author to his friend R.B. Cunninghame Graham in 1900, estimated to sell between $12,000 and $18,000. In its original dust jacket is a signed first edition of Ralph 124C 41+. A Romance of the Year 2660 by Hugo Gernsback, 1925. The book, one of the foundational texts in the science-fiction pantheon, is estimated at $8,000 to $12,000. Additional signed firsts include titles by authors Samuel Beckett, Ray Bradbury, William Faulkner and Ezra Pound. 

Making its auction debut is a first edition of Gone With The Wind, Margaret Mitchell’s landmark 1936 text that inspired the movie of the same name. The present edition is signed by 11 members of the supporting cast of the film, with several adding the name of the character they played; it is expected to fetch $8,000 to $12,000.

The selection of children's literature includes a signed copy of the first limited edition of Le Petit Prince, 1943, by Antoine de Saint-Exupéry ($4,000 to $6,000), and a complete set of the first editions of the Christopher Robin series by A.A. Milne, the series that introduced the world to Winnie the Pooh. The four volumes were published serially through the 1920s in cloth of differing colors; together they are estimated at $8,000 to $12,000. Also available are the set of the first American editions of The Lord of the Rings by J.R.R. Tolkein, 1954-56, and the first issue of the first edition of Frank L. Baum’s The Wizard of Oz, 1900 ($2,500 to $3,500 and $5,000 to $7,500, respectively.)

From the nineteenth century come beloved classics such as a first edition of A Christmas Carol, 1843, by Charles Dickens, ($5,000 to $7,500). Fine examples by Arthur Conan Doyle, Bram Stoker, Mark Twain and Jules Verne round out the sale.

The auction will be held Thursday, November 10, beginning at 1:30 p.m. The auction preview will be open to the public Saturday, November 5 from noon to 5 p.m.; Monday, November 7 through Wednesday, November 9 from 10 a.m. to 6 p.m.; and Thursday, November 10 from 10 a.m. to noon.

An illustrated auction catalogue is available for $35 from Swann Galleries, Inc., 104 East 25th Street, New York, NY 10010, or online at www.swanngalleries.com.

For further information or to make advance arrangements to bid by telephone during the auction, please contact specialist, John D. Larson at 212-254-4710, extension 61 or jlarson@swanngalleries.com.

Image: Lot 201 Margaret Mitchell, Gone With the Wind, first edition, signed by 11 members of the supporting cast of the film, New York, 1936. Estimate $8,000 to $12,000.

States-of-MindFull-Exhibition-Image2-1.jpgPasadena, CA—The Norton Simon Museum presents States of Mind: Picasso Lithographs 1945-1960, a revelatory exhibition exploring Pablo Picasso’s prolific work in the medium of lithography. Drawing from the Norton Simon Museum’s holdings of more than 700 Picasso prints—among the deepest collections of its kind anywhere in the world—States of Mind traces the evolution of the artist’s individual compositions from the 1940s and 1950s through multiple states, subtle adjustments and radical revisions. The 86 prints on view, many presented for the first time in 40 years, give viewers a rare chance to encounter this groundbreaking body of work by one of history’s most celebrated artists.

By the end of the Second World War, Pablo Picasso (Spanish, 1881-1973) had reached what he called “the moment... when the movement of my thought interests me more than the thought itself.” This new interest in “movement” found its most remarkable expression in Picasso’s practice as a printmaker. Whereas oil paintings inevitably covered their tracks, concealing the process of their making under layers of opaque color, prints—especially lithographs—promised to record their own development through sequential stages, charting the movement of their maker’s thoughts from state to state. Picasso could work up a design, print it (in a first state), rework it and print it again (in a second state), repeating the process two or 10 or 20 times to chart the metamorphoses of a particular compositional idea.

On Nov. 2, 1945, with France still under a provisional government and groceries still rationed in Paris, Picasso walked into the Mourlot Frères print shop in the rue de Chabrol. “He arrived as though he were going to battle,” the firm’s director, Fernand Mourlot, later recalled, and indeed the demands Picasso would place on Mourlot’s master printers were without precedent. He had produced only a few dozen lithographs in the 1910s and 1920s—all more or less conventional in their approach—but the designs he brought to Mourlot’s shop were far more daring, incorporating grattage, collage and mixed media. “How could anyone possibly print from that?” demanded Gaston Tutin, one of Mourlot’s master printers, calling the artist’s disregard for proper lithographic technique “a monstrosity.” But, cajoling his reluctant collaborators, Picasso swiftly and decisively transformed the practice of lithography, producing 185 plates over the next three years and more than 400 by the end of the 1960s.

The subjects of Picasso’s early lithographs are often ordinary: a dish of fruit, a cup of tea, a boy in a striped shirt. There are experiments with lithographic ink and doodles of animals. The face of a beautiful woman, one eyebrow slightly cocked, gazing calmly back at the observer, appears again and again. The young painter Françoise , Picasso’s companion from 1946 to 1953, provided the inspiration for many of these compositions; through two or four or 10 printed states, her features metamorphose past likeness into abstraction in a process the artist also applied to various other motifs. Perhaps the most famous example is that of The Bull, which treats a subject close to the Spanish painter’s heart. From a simple brush and ink drawing to a glowering behemoth, to a schematic portrayal reminiscent of a butcher’s chart, to a playful outline, concise as a cave painting, Picasso transformed this creature over 11 states from Dec. 5, 1945, to Jan. 17, 1946. As for several of the artist’s most iconic lithographs of the 1940s, the exhibition includes all the editioned states of The Bull as well as a unique working proof of an unnumbered state.

Picasso at the Norton Simon Museum

Over the course of his collecting career, Norton Simon purchased 885 works by Picasso, more than by any other artist except Goya. These comprised some 20 paintings in oil and pastel, nine bronzes, six drawings and 850 prints (some of which were sold at a later date). His largest single acquisition of Picasso artworks occurred in 1977 with the purchase of 228 lithographs, dated from the 1940s and 1950s and originating from the collection of Fernand Mourlot himself. The group included trial proofs (sometimes printed just once or twice), artist’s proofs (printed in private editions of 18, often years before the larger commercial editions of 50) and 168 final proofs marked Bon à tirer (“O.K. to print”) in Picasso’s brisk, confident hand. Opening up this rare trove, the exhibition presents 86 prints that chart Picasso’s discovery of lithography and his continuing reliance upon the medium to record the movement of his thoughts.

Picasso and Lithography

Unlike intaglio printmaking techniques like engraving and etching, lithography is essentially a planographic (flat) process. It relies on the repulsion of grease and water to transfer a hand-drawn image from a smooth surface (originally a piece of limestone) onto a sheet of paper. In its most rudimentary form, the lithograph requires an artist to draw or paint with a greasy crayon or greasy ink (the tusche) directly on the stone, which is then chemically fixed, wet, inked and printed, producing an exact, reversed copy of the tusche drawing. Since the development of transfer papers in the 19th century, an artist has been able to work up his or her design in the studio and send it off to the printer’s shop for chemical transfer, reversal and production. The result is an exactly reproducible image that captures all the tonal subtleties of even a pencil drawing, but requires no specialized printmaking skills on the artist’s part.

As a printmaker, Picasso was most closely associated with intaglio techniques, particularly etching and aquatint, but lithography presented him with a new challenge and a new set of tools. What may have interested him most about the process seems to have been its flexibility: tusche applied in a liquid wash one day might be scraped off the next, mimicking the effect of a wood engraving, a child’s drawing or a graffito. A paper cutout design, inked in various colors, might be printed on its own or layered with a crayon drawing, adding new dimension to each. A figure worked up in black on a white background could be incised, covered and drawn anew as a white figure on a black background. The possibilities were endless.

The 1950s and the Women of Algiers

By 1955 (10 years after his arrival at Mourlot’s studio), Picasso was unquestionably the most celebrated living artist, for Henri Matisse, his only real rival, had died in 1954. The story of Picasso’s lithographs is entwined from the beginning with that of his relationship to Matisse, for two designs of the first three Picasso brought to Mourlot’s shop—white heads scraped into black tusche grounds—seem to have been inspired by white-on-black book illustrations Matisse had published the previous year. The older artist, moreover, shared Picasso’s frustration with the “disappearance” in painting of earlier stages and had attempted to solve the problem as early as 1940 by having photographs taken of his work in progress. The display at a Parisian gallery in 1945 of a finished picture by Matisse surrounded by sequential photographs taken as it was painted may have inspired Picasso’s most ambitious attempts at recording the “movement” of his own thoughts through lithography—The Bull and Two Nude Women, printed in 11 and 18 states, respectively, between November 1945 and February 1946. Both works are represented in the exhibition, which includes a precious proof with The Bull on one side and Two Nudes on the other.

After the death of Matisse, Picasso plunged into a project still more explicitly inspired by the older artist’s work, remarking, “When Matisse died, he left his odalisques to me.” Picasso here referred to his own most-sustained experiment in seriality to date: the Women of Algiers, a series of 15 paintings (designated by the letters “A” to “O”), numerous drawings and intaglio prints, and two lithographs (one of them printed in four states) executed from late December 1954 through February 1955. With this project, Picasso measured himself not only against Matisse, the modern master of such imaginary harem scenes, but also against Eugène Delacroix, the 19th-century Romantic painter who had more or less invented the genre. When challenged for turning to an ostensibly old-fashioned subject, Picasso offered a second explanation for the series, citing the dark features and graceful profile of Jacqueline Roque, the artist’s muse and companion from 1954 until the end of his life: “Besides, Delacroix had already met Jacqueline.”

The exhibition concludes with Picasso’s monumental lithographic portraits of Roque—most often captured in profile, in paired states (one light, the other dark)—and with the Women of Algiers, represented not only by the complete lithographic output, but by a large, brightly-colored canvas, letter “I” in the series, a painted trace of thought in motion.

States of Mind is organized by Emily A. Beeny, associate curator at the Norton Simon Museum. In conjunction with the exhibition, the Museum is organizing an extensive series of related events that will be publicized later this year. 

Image: Pablo Picasso (Spanish, 1881-1973), Long-Haired Young Girl, November 9, 1945, Lithograph, 3rd state; 1 of 18 artist reserved proofs plate, plate: 15 x 12-1/2 in. (38.1 x 31.8 cm); sheet: 17-1/2 x 12-3/4 in. (44.5 x 32.4 cm), Norton Simon Art Foundation, Gift of Jennifer Jones Simon, M.2001.1.43.G © 2016 Estate of Pablo Picasso / Artists Rights Society (ARS), New York.

2009_178_v1_TW_201606_o4 copy.jpgThe Virginia Museum of Fine Arts has recently completed a year-long project to conserve, stabilize, and digitize 60 works on paper from the Ludwig and Rosy Fischer Collection of German Expressionist Art. The conservation efforts were made possible by a grant from the Bank of America Art Conservation Project.

VMFA was among only thirteen institutions selected in 2015 to receive funding from the Bank of America Art Conservation Project, which seeks to preserve culturally significant works of art from around the world. “Our Art Conservation Project is designed to not only conserve artworks and shine a light on the need for the preservation of artistic and historic treasures, but also to educate communities, and convey respect for the varied cultures and traditions throughout the world,” said Victor Branch, Richmond market president, Bank of America.

Works by key German Expressionists—Max Beckmann, Peter August Böckstiegel, Otto Dix, Conrad Felixmüller, Erich Heckel, Ernst Ludwig Kirchner, and Emil Nolde—have received complete restoration as part of the project. The first selection of newly restored pieces—seven works on paper by Ernst Ludwig Kirchner—have recently opened in the museum’s European Modernism Galleries.

“Thanks to generous support from Bank of America, we have successfully stabilized and preserved these fragile works, ensuring they will be available for public display and inclusion in educational programming for generations to come,” VMFA Director Alex Nyerges said. “The digitization of these works from The Fischer Collection advances our ongoing efforts to share our encyclopedic collection and tell more in-depth stories about the artists and artistic movements represented throughout the museum.”

The Ludwig and Rosy Fischer Collection has garnered national and international attention, standing among other noteworthy holdings of German Expressionist art at the Museum of Modern Art (New York), the Los Angeles County Museum of Art, and the Saint Louis Art Museum. The Fischer Collection also represents an important asset to the academic communities based in Richmond. These newly preserved works will join those already on display, further strengthening a collection that provides countless learning opportunities for both scholars and the general public.

The History of the Ludwig and Rosy Fischer Collection
Known for containing many significant examples of Die Brücke, the Fischer Collection’s evolution reflects the history of early 20th-century Europe. Between 1905 and 1925, Ludwig and Rosy Fischer of Frankfurt, Germany, amassed a collection of art created by a group of radical young artists. The forward-thinking couple acquired examples of German Expressionist paintings, sculpture, drawings, prints, and illustrated books, but their collection did not survive the Third Reich intact. Upon their deaths in the mid-1920s, the collection was divided between their sons, Max and Ernst. In 1934 as the Nazi party gained power, Ernst and his wife Anne left Germany for the United States with their half of the collection packed among their household goods. The couple settled in Richmond where the art was preserved in their home for more than 70 years. When Max Fischer fled Germany a year after his brother, he had to leave his portion of the collection behind and it was presumed lost, stolen or destroyed during World War II. In 2009, the Ludwig and Rosy Fischer Collection of German Expressionist Art became part of VMFA’s permanent collection. Through a gift-purchase agreement with Anne Fischer (1902-2008), the widow of Ernst (1896-1981), the museum acquired approximately 200 works from one of the 20th century’s most significant movements. Earlier this year, Ernest Ludwig Kirchner’s Sand Hills in Grunau (1913)—one of the paintings from Max’s portion of the collection that had been presumed lost—was returned to the Fischer family and acquired by VMFA through a gift-purchase agreement.

With works dating just before World War I through the 1920s, the collection has a strong emphasis on Die Brücke—“the Bridge”—a pivotal movement within German Expressionism. Responding subjectively to the changing world around them, members of Die Brücke often used distorted forms and a vivid palette of bold colors. Printmaking was also a central practice for German Expressionists; woodcuts, etchings, and lithographs allowed wider distribution and accessibility of their work. As a founder and leader of the Die Brücke movement, Kirchner developed a particularly expressive style with woodcuts. The handwritten notes addressed to Herr and Frau Fischer on the bottom of many of the Kirchner prints in the museum’s collection attest to his personal relationship with the Fischer family. The Fischers owned more paintings by Kirchner than any other artist, and his work, including the exceptional group of prints on display now in the first installation of works conserved with funds from the Bank of America grant, form the core of their collection. One of the woodcuts included in this group, Three Boys, Fehr's Sons, 1915 was likely based on a painting Kirchner made of the same subject, which Ludwig and Rosy Fischer also acquired. However, it was among the paintings that Max Fischer left behind when he fled Nazi Germany in 1935, and it remains lost.

Bank of America Conservation Project
Bank of America’s Art Conservation Project provides grants to nonprofit museums to conserve historically or culturally significant works of art, including works that have been designated as national treasures.  Since 2010, Bank of America has provided grants to museums in 28 countries for 85 conservation projects.  Works conserved in 2015 include a marble figure of the Buddha Amitābha (585 C.E. Sui dynasty)at the British Museum, London; four paintings and one mural at the OCA Museum, São Paulo; Uemura Shōen’s Jo-no-Mai (Noh Dance Prelude) at The Tokyo University Art Museum and Manet’s Woman in Evening Dress at the Guggenheim in New York. VMFA’s grant supported the physical and chemical stabilization, as well as digitization, of works by seven key artists in the Die Brücke movement.

Bank of America Conservation Project: VMFA’s Fischer Collection video

About the Virginia Museum of Fine Arts
The Virginia Museum of Fine Arts (VMFA) in Richmond, Virginia, is one of the largest comprehensive art museums in the United States. VMFA, which opened in 1936, is a state agency and privately endowed educational institution. Its purpose is to collect, preserve, exhibit, and interpret art, and to encourage the study of the arts. Through the Office of Statewide Partnerships program, the museum offers curated exhibitions, arts-related audiovisual programs, symposia, lectures, conferences, and workshops by visual and performing artists. In addition to a wide array of special exhibitions, visitors have the opportunity to experience the museum’s global collection of art that spans more than 5,000 years. VMFA’s permanent holdings encompass more than 35,000 artworks, including the largest public collection of Fabergé outside of Russia, the finest collection of Art Nouveau outside of Paris, and one of the nation’s finest collections of American art. VMFA is home to important collections of English silver and Impressionist, Post-Impressionist, British sporting, and modern and contemporary art, as well as renowned South Asian, Himalayan, and African art. In May 2010, the VMFA opened its doors to the public after a transformative expansion, the largest in its eighty-year history. The Virginia Museum of Fine Arts is the only art museum in the United States open 365 days a year with free general admission. For additional information, telephone 804-340-1400 or visit www.vmfa.museum.

Image: Ernst Ludwig Kirchner (German, 1880-1938). Three Boys, Fehr’s Sons, 1915. Woodcut on wove paper, 22 ¾ x 16 15/16 in. (57.79 x 43.02 cm.) Virginia Museum of Fine Arts; The Ludwig and Rosy Fischer Collection, Gift of the Estate of Anne R. Fischer (Photo: Virginia Museum of Fine Arts)

NEW YORK, October 2016 - Sotheby’s is pleased to announce the sale of Selections from the Fox Pointe Manor Library - a spectacular exhibition space and private home located in Anaheim, California. From William Shakespeare to John Locke, the collection compiled by philanthropists Howard and Linda Knohl is largely focused on English books from the 16th and 17th centuries. Diverse topics include literature, travel, Americana, science and medicine, sports and cookery. Following a four-day exhibition in the New York galleries, Selections from the Fox Pointe Manor Library will be offered over two sessions on 26 October 2016.

The Knohl’s were first drawn to the world of antiquarian books when, while raising their family and establishing themselves professionally, they were gifted a rare first-edition book. Captivated by the illustration, text and typography, Dr. Knohl began collecting English language first-edition texts printed before 1700, eventually compiling a collection of over 4,000 titles. Fueled by this passion to collect, the Knohl’s began expanding their collecting into other fields including art from the 15th through 19th centuries - bronze statues, ceramics, and clocks from Europe and the United States - with themes and scenes similar to those described in their book collection. Their diverse and accomplishing collecting tastes can be seen and admired by all visitors to Fox Pointe, their private home in Anaheim, California.

Lot 267

William Shakespeare

Comedies, Histories, and Tragedies (1685)

Published according to the true original copies. Unto which is added, seven plays, never before printed in folio. Fourth Folio, first issue.

Estimate $70/100,000

Lot 259

Dr. Hartmann Schedel

Liber Cronicarum (1493)

Nuremberg: Anton Koberger for Sebald Schreyer and Sebastian Kammermeister.

First edition of the most extensively illustrated book of the fifteenth century.

Estimate $80/90,000

Lot 6

Anthony Askham

A Lytel Treatyse of Astronomy (1552)

Declaryng The Leape Yere, And What Is The Cause Therof, And Howe To Knowe Saynte Mathies Day For Ever, With The Marvelous Mocion Of The Sonne ... And Also The Dyversities That May Come By Dyvers And Sundry Inhabitacions Upon The Earth. London: Imprinted by Wylliam Powel.

Estimate $20/30,000

Lot 244

Samuel Purchas

Purchas His Pilgrimes (1624-26) 

[With] purchase his pilgrimage. London: Printed by William Stansby for Henrie Fetherstone, 1624-26.

Estimate $70/90,000

Northampton, Massachusetts - The region’s leading used & antiquarian booksellers and fine letterpress printers, book binders, paper makers, and artist book makers will be showcased at the second edition of Northampton Book and Book Arts Fair on Friday, December 2, 2016, 5 to 9 pm and Saturday, December 3, 2016, 10 am to 5 pm at the Smith College Campus Center.

In addition to an exhibition and sale, the fair will feature a keynote address on December 2nd at 4 pm by Ruth R. Rogers, Curator of Special Collections in the Wellesley College Library. Rogers will talk on Layers of Perception: The Unwritten Language of Artists’ Books at the Smith College Nielson Library Browsing Room. An opening reception will follow at the Campus Center Wilson Atrium.

On December 3rd, Readers and Writers, Live will feature a day-long series of readings, talks and book signings by fiction writers, graphic novelists, poets, children’s book writers & illustrators, publishing and culinary historians, and independent publishers. There will be demonstrations of letter carving & displays of other books arts, including hand papermaking, custom bookbinding, and letter press printing.

For more information, go to: www.northamptonbookfair.com

Keynote Talk: Friday, December 2, 4 to 5 pm at Smith College, Nielson Library, Browsing Room Ruth A. Rogers: Layers of Perception: The Unwritten Language of Artists’ Books.

Rogers’s talk will focus on how we “read” artists’ books by deconstructing them to understand how they affect our perception. Rogers says she, “will examine the contemporary artist book as provocateur and siren, offering multiple modes of reading--through text and image, and material and form. Book historian Roger Chartier has emphasized that our understanding of a text is mediated through complex paratexts: physical form, language, typography, image, and cultural nuance. At a time when the dissociation of text and physical book is rapidly expanding through digital media, artists’ books continue to engage the reader’s senses in ways that are both ancient and novel: meditative, haptic, and associative.”

Ruth R. Rogers is Curator of Special Collections in the Wellesley College Library where she develops the collection and lectures on the evolution of the book as material culture, visual communication, and artistic form. Her interests include the critical reading of artists' books and their research potential in the academic curriculum, and she has curated several national exhibitions, including Seductive Alchemy:

Books by Artists. March 24-April 15, 2016, Lesley University College of Art and Design, March 2016, "Reading with the Senses." In May 2016, Rogers delivered the Arthur P. Williams Lecture at the University of the Arts, Philadelphia.

Readers and Writers, Live! - Saturday, December 3, 10am - 5 pm at Smith College Campus Center and The Poetry Center at Wright Hall

A day-long series of readings, talks and book signings by fiction writers, graphic novelists, poets, children’s book writers & illustrators, publishing and culinary historians, and independent publishers. There will be demonstrations of letter carving & displays of other books arts, including hand papermaking, custom bookbinding, and letter press printing.

10am: Some of the Pioneer Valley’s most celebrated children’s book writers and illustrators will be reading from and signing their new books, including: Mordicai Gerstein, The Sleeping Gypsy (Holiday House) and I Am Peter Pan (Roaring Brook Press) Richard Michelson, Fascinating: The Life of Leonard Nimoy (Knopf Books for Young Readers) Leslea Newman, Ketzel, the Cat Who Composed (Candlewick Press) Jane Yolen, On Bird Hill, illustrated by Bob Marstall (Cornell Laboratory Publishing Group)

11am: Novelist John Crowley, of Conway, will read from Chemical Wedding by Chrstian Rosencrentz, a November release from Small Beer Press, of Easthampton.

Noon: Antiquarian bookseller and Culinary Historian Tom Nealon, of Roslindale, MA, will read from his first book: Food Fights and Culture Wars: A Secret History of Taste, published by the British Library and Overlook Press.

1pm: Children’s book historian Leonard Marcus, of Brooklyn, NY, will talk about his new book: Comics Confidential: Thirteen Graphic Novelists Talk Story, Craft and Life Outside the Box, just published by Candlewick Press, in a panel discussion with graphic novelists.

2pm: Paris Press publisher and poet Jan Freeman, of Ashfield will read from her new collection Blue Structure, just published by Calpyso Editions.

3pm: Jedediah Berry and Emily Houk, Editors of Nine Pin Press, of Amherst, MA and Catskill, NY will introduce contributors for a tasting menu of micro-readings from their first two publications: The Family Arcana , a story published in the form of a poker deck and Cosmogram, an anthology of horoscope stories.

The fair is produced by Book Arts Promotions, in association with community sponsors Smith College Libraries and the Massachusetts Center for the Book. Media sponsors are: New England Public Radio and the Valley Advocate. Book Arts Promotions, based in Shelburne Falls, is a collaboration between Mark Brumberg, of Boomerang Booksellers and Duane A. Stevens, of Wiggins Fine Books.

For more information, go to: http://northamptonbookfair.com

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