July 2010 Archives

New Fair to be Hosted by Christie's in Frieze Week

Christie’s is delighted to announce Multiplied - an exciting new fair in the field of contemporary art. The fair will be held during the week of the Frieze Art Fair, 15-18th October, providing a platform to promote emerging talent in two and three-dimensional contemporary editions. Christie’s has invited over thirty of the most exciting galleries to showcase a selection of the most challenging, cutting-edge work being produced today. Exhibiting a wide range of publishers under one roof, Christie’s aim to help them promote their businesses and the artistic talent that they support.

The idea for the fair came about when Richard Lloyd, International Head of Christie’s Print department, attended the Editions and Artist's Book Fair in New York last winter: “I was inspired to stage something similar in London and help to create a buzz and a platform for the very best in contemporary publishing. Everyone benefits from a vibrant arts scene, and giving galleries an opportunity to promote themselves and their artists is our way of putting something back”. He added that Christie's are not taking any percentage of the sales; stands are very competitively priced and entry to the fair is free. “Since the October Contemporary art sale moved to Christie's King Street, there was space in South Kensington during one of the most important weeks in the calendar. It was just too good to miss.”

Contemporary publishers and gallerists representing established artists such as Damien Hirst and Tracey Emin will exhibit alongside many as yet unknown and emerging talents, providing collectors with a unique opportunity to discover a work by 'the next big thing' and perhaps make a lucrative investment at the same time.

Nic McElhatton, Chairman of Christie’s South Kensington is very excited about the fair, commenting, “Following the major refurbishment of our South Kensington salerooms in 2007 we now have an exceptional exhibition space within this cultural hub of the City. This enhancement has not only enabled us to present a much improved service to our clients through our core business as auctioneers but also to participate in and stage other exciting projects. The Multiplied Contemporary Editions Fair in October will use this space to provide a platform for artists and their publishers in this very important week for the art market.”

Exhibtion Dates:        

Friday 15 October:         9.00am - 5.00pm
Saturday 16 October:     11.00am - 5.00pm
Sunday 17 October:       11.00am - 5.00pm
Monday 18 October:      9.00am - 7.30pm

Leonie Ashfield

Tel +44 20 7752 3121

lashfield@christies.com

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Innerpeffray Library Publishes Book

Scotland's First Lending Library Publishes First Book

The First Light is a new book with unusual credentials. Its publisher is a library. It is one of only two or three hot metal letterpress books to be published in the United Kingdom in 2009. It is hand finished and leather bound in an edition limited to 500. Selling at £150, each copy is individually numbered and signed by the author George Chamier.

With a Foreword by Arthur Herman, author of How the Scots Invented the Modern World and 2009 Pulitzer Prize Finalist, The First Light is a historical portrait of the Library at Innerpeffray, remarkable as the oldest free public lending library in Scotland and representing the very origins of the Scottish Enlightenment. The Library was founded along with a school in 1680 by David Drummond, 3rd Lord Madertie and brother-in-law of the great Marquis of Montrose. 

The Library of Innerpeffray is near Crieff and Gleneagles in Perthshire. The present library building was completed in 1762 under the patronage of Robert Hay Drummond, Archbishop of York. The old school buildings were rebuilt in 1847. They are all now cared for by the Innerpeffray Mortification, which has looked after the affairs of the Library for more than 300 years. The Library of Innerpeffray finally ceased lending in 1968, but continues as a unique reference collection.

Among the 5,000 or so books are a number of priceless volumes, including a first edition of the Collected Works of James VI from 1616, a superb edition from 1785/7 of Buffon's Histoire Naturelle with hand coloured illustrations and Edward Topsell's Historie of Foure-Footed Beastes from 1607, also illustrated.

Raising funds

The new book is the initiative of Robert Wallace, Chairman of Governors of the Mortification. He commissioned John McConnell RDI for the design who determined that the book should be beautifully produced in every respect. He in turn enlisted David Gibbs for editorial guidance and John Grice of the Evergreen Press to print and produce the book.

Robert Wallace comments, “Publishing The First Light as a limited edition is intended simply to raise funds for the upkeep and development of the Library. It will also be the first official record of the Library and its history. Already over 100 copies of the book have been sold to a number of institutions and private individuals. The highly readable account appropriately contained in an authentic expression of the bookmakers’ art has been very well received.”

The Author

George Chamier’s other books include When it Happened: a Very Short History of Britain in Dates, published by Constable & Robinson in 2006 and updated in a new edition as When it Happened in Britain to be published in October 2009. The companion book When it Happened in Scotland is also to be published by Constable & Robinson in September 2009. George Chamier’s roots are in Easter Ross but he now lives in London and works as a freelance writer and editor, and teacher of History and Politics. He was formerly Head of History at Bradfield College, Berkshire.

Contents

The First Light presents the affairs of the Library, opened in 1680 as the first free public lending Library in Scotland.  Authoritative and yet still very accessible, the book is divided into two parts. The first sets the story of the development of the Library against the historical context of Scotland itself, from the 16th to the 20th centuries. 

The second describes the Library today, the rare and valuable books it contains and the very remarkable Borrowers’ Ledger with its record of every loan from 1747 to 1968. Various Appendices give details of keepers of the books (librarians), the Drummond family tree and the governors of the Mortification. Each of the eight chapters is marked by an illustration chosen from some of the most notable books of the Library.

For further information, please contact:

Lara Haggerty
Innerpeffray Library
Crieff
Perthshire
PH7 3RF
Telephone 01764  652819
E-mail: info@innerpeffraylibrary.co.uk

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New Punch Magazine Book

One of the enduring images of journalists ‘hard at work’ over a substantial meal followed by champagne and cigars has filtered down to us from Punch magazine in the mid-19th century, when weekly dinners around the famous Punch table were a focal point of discussion, debate, gossip, and ribaldry. Those free-wheeling, gossipy conversations left behind a remarkable record in Henry Silver’s diary of Punch table talk, an unpublished manuscript in the collections of the British Library that, along with many other rare records, has been extensively explored by Patrick Leary, author of the new book The Punch Brotherhood: Table Talk and Print Culture in Mid-Victorian London.  
 
Punch began in 1841, one of an increasing number of publications (most of them short-lived), appearing at a time when printed matter was expanding at a rate perhaps comparable only to the current digital media explosion of the 21st century. A combination of reliable financing and a singularly cohesive, permanent staff consisting of some of the most versatile writers and illustrators of the day - the Punch Brotherhood - helped to make Punch not merely the most successful comic periodical of the 19th and 20th centuries, but one of the most successful magazines that has ever existed.
 
Patrick Leary looks behind the nostalgic image of Punch magazine to examine in detail the bitter conflicts and violent prejudices that marked both private and public aspects of the magazine’s history in the mid-19th century. The dissolution of the longstanding relationship between Charles Dickens and Punch’s publishers, Bradbury and Evans, and the subsequent rift between Dickens and Thackeray, have been touched on by biographers, but are here investigated at length for the first time. Leary demonstrates how the futile efforts of Dickens to quash gossip about his separation from his wife by means of his mastery of the printed word, and Thackeray’s equally futile attempts to halt the flow of gossip into print, serve to illuminate profound issues about the boundaries between private and public life - debates that are ongoing today.
 
Punch was best known for its illustrations, which have also helped to shape our view of Victorian Britain, and many of these are reproduced in The Punch Brotherhood. Leary’s discussion of one the most famous of all political cartoons, “A Leap in the Dark” of 1867, shows how closely the worlds of talk around the Punch table echoed and informed the Reform debate in Parliament itself.  His closely observed account of the process by which such ‘Large Cuts’ (as they were known) were created vividly illustrates the ways in which the interaction of talk, print, and art forged some of the most enduring and influential images of Victorian Britain.
 
Along with reproductions of several key cartoons, The Punch Brotherhood includes rare photographic portraits of the writers, artists and printers involved in the magazine, helping to bring to light the self-styled literary brotherhood whose comic words and images were seized upon each week by politicians, peers and common readers alike.
 
Patrick Leary, author of The Punch Brotherhood: Table Talk and Print Culture in Mid-Victorian London, said:
 
"The best records we have for the way Victorian men talked in private conversation come, startlingly enough, from the heart of a great British institution: Punch magazine, and the talk of artists, writers, and proprietors around the famous Punch table. Drawing upon these rare accounts, this book explores the shifting, fiercely contested boundaries between what could be said in private and what could be printed for public consumption - boundaries that we are still vehemently debating today."
 
For more information please contact
Radhika Dandeniya, British Library +44 (0)20 7412 7111 / radhika.dandeniya@bl.uk

Julie Yau, British Library +44 (0)20 7412 7237 / julie.yau@bl.uk
 
The Punch Brotherhood: Table Talk and Print Culture in Mid-Victorian London (price £25.00) is available from the British Library Shop (tel: +44 (0)20 7412 7735 / e-mail: bl-bookshop@bl.uk) and online at www.bl.uk/shop as well as other bookshops throughout the UK. The book comprises of 160 pages with 34 black and white illustrations, (ISBN 978 0 7123 0923 3), published July 2010.
 
Patrick Leary is President of the Research Society for Victorian Periodicals. He created and still manages the oldest and largest online discussion groups for Victorian Studies (VICTORIA) and the history of the book (SHARP-L), and is at work on a study of the cultural geography of literary life in Victorian London.
 
The British Library is the national library of the United Kingdom and one of the world's greatest research libraries. It provides world class information services to the academic, business, research and scientific communities and offers unparalleled access to the world's largest and most comprehensive research collection. The Library's collection has developed over 250 years and exceeds 150 million separate items representing every age of written civilisation. It includes: books, journals, manuscripts, maps, stamps, music, patents, photographs, newspapers and sound recordings in all written and spoken languages.

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Useful & Beautiful Conference

"Useful & Beautiful: The Transatlantic Arts of William Morris and the Pre- Raphaelites" will be the subject of a conference and related exhibitions to be held 7-9 October 2010 at the University of Delaware (Newark, DE) and at the Delaware Art Museum and the Winterthur Museum & Country Estate (Wilmington, DE). Organized with the assistance of the William Morris Society in the United States, "Useful & Beautiful" will highlight the strengths of the University of Delaware's rare books, art, and manuscripts collections; Winterthur's important holdings in American decorative arts; and the Delaware Art Museum's superlative Pre-Raphaelite collection (the largest outside Britain). All events will focus on the multitude of transatlantic exchanges that involved Morris, the Pre-Raphaelites, and the Arts and Crafts and Aesthetic movements of the late nineteenth century.

In addition to sessions featuring internationally-known scholars and experts, there will be a keynote lecture by noted biographer, Fred Kaplan; demonstrations by leading practitioners who make and design Arts and Crafts objects; special exhibitions; and a performance of Oscar Wilde’s The Importance of Being Earnest by the University of Delaware's critically acclaimed Resident Ensemble Players.

Registration fee: $150, $75 for students. No charge for University of Delaware faculty, students, and staff, but we ask them to register.

For more information and a registration form go to www.udel.edu/conferences/uandb or contact Mark Samuels Lasner, Senior Research Fellow, University of Delaware Library, marksl@udel.edu, (302) 831-3250.

"Useful & Beautiful" is supported by Delaware Art Museum; Winterthur Museum & Country Estate; Delaware Center for the Contemporary Arts; William Morris Society in the United States; William Morris Society (UK); University of Delaware Library Associates; Faculty Senate Committee on Cultural Activities and Public Events; the following University of Delaware units, departments and programs: College of Arts and Sciences, University of Delaware, University of Delaware Library, Art, Art Conservation, Art History, English, History, Institute for Global Studies, Frank and Yetta Chailken Center for Jewish Studies, Center for Material Culture Studies, Office of Equity and Inclusion, Resident Ensemble Players/Professional Theatre Training Program, University Museums, and Women’s Studies; Greater Wilmington Convention and Visitors Bureau.

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Morgan Library Degas Exhibit

The Morgan Library & Museum to Exhibit Superb Selection of Drawings and Sketchbooks by Edgar Degas

Degas: Drawings and Sketchbooks Opens September 24, 2010

New York, NY, July 20, 2010—Edgar Degas (1834-1917), founding member of the Impressionist group who was distinguished by his Realist tendencies, is renowned for his vigorous images of dancers, performers, and theater scenes in paintings, sculptures, and works on paper. Throughout his career, he used drawing in dynamic and varied ways to explore these recurring subjects.

The exhibition at The Morgan Library & Museum opens September 24, 2010, and features some twenty exceptional drawings by Degas, along with two of his sketchbooks, demonstrating the iconic artist's characteristic daring and inventiveness. The show includes works depicting quintessential Degas subjects—from his earliest portraits of himself, family members, and friends to his later intensive studies of dancers and performers. Degas: Drawings and Sketchbooks is on view through January 23, 2011, in the Morgan's Clare Eddy Thaw Gallery.

"As a medium, drawing often provides a more personal and intimate glimpse of an artist's creative process than either painting or sculpture, and the works on view in this exhibition are no exception," said William M. Griswold, director of The Morgan Library & Museum. "The artist is known for his bold experimentation with subject matter and artistic technique, and the drawings and sketchbooks in this show underscore Degas' willingness to push himself in new directions."

EXHIBITION HIGHLIGHTS
Degas began studying law in Paris in 1853, though he soon turned his attention to copying works in the Louvre. Later, he entered the studio of Louis Lamothe, who was a pupil of Ingres and also studied at the École des Beaux-Arts. He left Paris in July 1856 to study independently in Rome, where he filled sketchbooks and sheets with studies of models and copies of old masters. Study of a Male Nude dates from his first year in Rome and reflects the artist's early academic efforts.

Thirty-eight sketchbooks by Degas have survived essentially intact. They cover the period between 1853 and 1886 and constitute the most significant sustained record of any Impressionist artist. The show includes two sketchbooks: one from early in Degas' career, during his first trip to Italy, the other datable to the height of his fame in Paris. The early sketchbook contains diligent student work, such as sketches of antique statuary and copies of Renaissance frescoes and paintings. The subjects range from the whimsical to the thoughtful, with quick portraits of dinner guests, sketches of dancers, and scenes from a Turkish bath in the later notebook.

Also on view from Degas' early years in Italy are Self-Portrait and Details of Hand and Eye(ca. 1856) and Self-Portrait (ca. 1856). These two studies in black chalk were private exercises in proficiency and discipline and remained in portfolios in the artist's studio until after his death. Another work, Self-Portrait in a Brown Vest (1856), a more tentative exploration in oil on paper, reveals Degas' continued use of himself as subject as he came to grasp the rudiments of portraiture.

In addition to self-portraiture, Degas depicted his friends and family throughout his career in works such as Portrait of Paul and Marguerite-Claire Valpinçon (1861) and Rosa Adelaide Aurora Degas, the Duchess Morbilli (ca. 1857). Paul Valpinçon was a friend of Degas from his school days, and Rosa Degas was the eldest sister of the artist's father.

Degas' much-heralded explorations of dancers—in rehearsal, on stage, and at rest—began in the 1870s and intensified during the ensuing decades. This period also marked the beginning of his success as an artist. One of Degas' principal concerns as a draftsman was analyzing the movements and gestures of the female body. On view are several drawings featuring dancers, including Three Studies of a Dancer (ca. 1880), easily recognizable as the study for the celebrated wax sculpture Little Dancer, Fourteen Years Old, depicting the young dancer Marie van Goethem. In this large sheet, the artist studied her from three different angles, attempting to understand the figure in the round in preparation for sculpting it.

Other examples of drawings with dancers include Seated Dancer (ca. 1871), one of the studies for Dance Class at the Opéra on the Rue le Peletier, now in the Musée d'Orsay in Paris, as well as Two Studies of Dancers (ca. 1873), Dancer with Arms Outstretched(ca. 1878), and Two Studies of a Ballet Dancer (ca. 1872).

Though noted for his attention to the female figure, Degas executed many studies of grouped horses and jockeys from which he would use figures in later compositions. Group of Four Jockeys, with its play of intersecting lines of movement, conveys the tension and frequent conflicts in the paddock before a race. The drawing also provides an exceptional example of Degas' remarkable inventiveness as he reworked and revised a particular scene over a significant span of years. He initially executed this compositional study circa 1868 and then returned to it about a decade later to combine the elements in the last stages of preparation for the painting Racecourse Scene.

Later in his career, Degas experimented with mixing drawing media and printmaking techniques as seen in Emélie Bécat at the Café des Ambassadeurs. He began the drawing in 1885 using an impression from his 1877-78 lithograph of a concert at Café des Ambassadeurs, which he extended along the bottom and right edges, and drew over in dense strokes of pastel. Significantly altering the composition of the print, he added the three female spectators in the foreground. The women's dark silhouettes, in shades of blue and ochre, are contrasted against the bright pink dress of Emélie Bécat. Degas used the range of pastels to capture the effects of various light sources in this nocturnal scene and suggests the difference between the mundane and the magical world of the theater.

At the Theater; the Duet (1877-79) is another example of how the artist expertly combined pastel and print. Degas first produced a monotype—a unique print made from drawing in ink on a metal or glass plate—of two singers on stage, seen from behind, with a view to the audience. He then enlivened the print with richly colored pastels. The subject in this work is again Emélie Bécat, who appears with another of Degas' favorite performers, Theresa (Emma Valadon).

Also on view is Landscape with Path Leading to a Copse of Trees (ca. 1890). While Degas is not known as a landscape artist, this work demonstrates how he further explored the medium of monotype. This sheet was made during the artist's visit to the painter and printmaker Georges Jeanniot (1846-1934) in the village of Diénay near Dijon. There Degas recalled scenery from the drive through the Burgundian countryside and produced about fifty monotype landscapes. To create this drawing, he used oil paint (and apparently his fingers) to indicate a few lines of landscape on the plate and printed one or two proofs, hanging them to dry. Later, he completed the composition with a rich layer of pastel.

Degas: Drawings and Sketchbooks is organized by Jennifer Tonkovich, Curator in the Department of Drawings and Prints at The Morgan Library & Museum.

This exhibition is made possible by the William C. Bullitt Foundation.

The Morgan exhibition program is supported, in part, by public funds from the New York State Council on the Arts and the New York City Department of Cultural Affairs.

The Morgan Library & Museum
A complex of buildings in the heart of New York City, The Morgan Library & Museum began as the private library of financier Pierpont Morgan, one of the preeminent collectors and cultural benefactors in the United States. Today, more than a century after its founding, the Morgan serves as a museum, independent research library, musical venue, architectural landmark, and historic site. Located at Madison Avenue and 36th Street, with a world-renowned collection that ranges from Rembrandt to Picasso, Mozart to Bob Dylan, Dickens to Hemingway, and Gutenberg Bibles to Babar the elephant, The Morgan Library & Museum maintains a unique position among cultural institutions in New York, the nation, and the world.

General Information
The Morgan Library & Museum
225 Madison Avenue, at 36th Street, New York, NY 10016-3405
212.685.0008
www.themorgan.org

Hours
Tuesday-Thursday, 10:30 a.m. to 5 p.m.; extended Friday hours, 10:30 a.m. to 9 p.m.; Saturday, 10 a.m. to 6 p.m.; Sunday, 11 a.m. to 6 p.m.; closed Mondays, Thanksgiving Day, Christmas Day, and New Year’s Day. The Morgan closes at 4 p.m. on Christmas Eve and New Year’s Eve.

Admission
$12 for adults; $8 for students, seniors (65 and over), and children (under 16); free to Members and children, 12 and under accompanied by an adult. Admission is free on Fridays from 7 to 9 p.m. Admission is not required to visit the Morgan Shop.

PRESS CONTACTS
The Morgan Library & Museum
Patrick Milliman
212.590.0310
pmilliman@themorgan.org
Sandra Ho
212.590.0311
sho@themorgan.org
The Morgan Library & Museum to hold first exhibition devoted exclusively to Roy Lichtenstein's black-and-white drawings

Roy Lichtenstein: The Black-and-White Drawings, 1961-1968, opens September 24, 2010

New York, NY, July 9, 2010— Roy Lichtenstein (1923-1997) has long been considered one of the key figures in the development of Pop Art. His signature brightly colored paintings are cornerstones of museum collections the world over. His subject matter drawn from visual fragments of popular culture is emblematic of an entire movement.

An extraordinary new exhibition organized by The Morgan Library & Museum, opening September 24, presents an important series of large-scale, black-and-white works as a group for the first time and examines Lichtenstein's less known exploration of the medium of drawing. Created during the early and mid-1960s, the fifty-five drawings on view offer a revealing window into the development of Lichtenstein's art, as he began for the first time to appropriate commercial illustrations and comic strips as subject matter and experimented stylistically with simulating commercial techniques of reproduction—the famous Benday dots. The work represents an essential and original contribution to Pop Art as well as to the history of drawing. Roy Lichtenstein: The Black-and-White Drawings, 1961-1968, is on view through January 2, 2011.

"The Morgan is delighted to be the first museum to bring together this important group of drawings by Roy Lichtenstein," said William M. Griswold, director. "The work offers visual evidence of a great artist going in a radical new direction and using the medium of drawing to help him find his way. The Morgan Library & Museum is committed to the study of drawings and their role in the creative process, and Lichtenstein's black-and-white works are superb examples of this."

ROY LICHTENSTEIN IN THE EARLY 1960s
The year 1961 was a momentous period of transformation for Roy Lichtenstein. Thirty-eight years old and regularly exhibiting in New York since 1951, he was by many measures already a midcareer artist, working primarily in painting in Cubist and Abstract Expressionist styles. But in 1961 his art made a radical departure from these precedents. Influenced by the happenings staged by Allan Kaprow, George Segal, Claes Oldenburg, and others, which incorporated everyday objects and popular culture, Lichtenstein turned to an entirely new imagery culled from the contemporary world of advertisements and comic books and adopted the graphic techniques of commercial illustration. The exhibition demonstrates how the act of drawing took on a central role in his practice at this stage, both as a favored medium in its own right, as well as a powerful means of translating and transforming his sources of pop iconography.

THE EXHIBITION
The exhibition provides a rare opportunity to study Lichtenstein's black-and-white drawings as a group, to explore their technique and subject matter, to draw attention to Lichtenstein's revolutionizing contribution to the history of drawing, and to bring to light the critical insights these drawings offer into the artist's larger body of work.

The drawings constitute an original body of work independent from Lichtenstein's paintings. Although he produced many black-and-white paintings during the 1960s, the drawings were in fact conceived independently and cannot be interpreted as studies for the works on canvas. Lichtenstein's motivations in creating these works—which did not have the commercial value of paintings—remain enigmatic, though the exhibition provides some background. Moreover, these drawings differ significantly from Lichtenstein's main body of works on paper. They do not belong to the category of preparatory studies and also stand apart from the drawings of other major pop artists, notably Claes Oldenburg, Andy Warhol, and Jim Dine, whose treatment of pop subjects cultivated an old-master look that is absent from Lichtenstein's black-and-white drawings.

The exhibition traces the development of Lichtenstein's drawing style in the 1960s, notably his technique of simulating the Benday dot printing process—a characteristic feature of his style. The viewer can follow the development of the black-and-white drawings through the rendering of these dot patterns. Lichtenstein never drew them freehand but experimented with a variety of approaches, which he perfected over the years to mimic the effect of mechanical printing.

This technique became inseparable from the meaning of the finished work, producing, in the words of critic Lawrence Alloway, "an original artwork pretending to be a copy." By imitating mechanical modes of reproduction, Lichtenstein presented a critical challenge to prevailing notions of artistic originality and authorship, paradoxically achieving an unmistakable hallmark of style in the process.

The exhibition also explores the sources—comic strips, advertisements, magazines, and mail-order catalogues—of Lichtenstein's subjects. In addition to the drawings themselves, related sketches are on display as well as clippings from newspapers, magazines, telephone books, and other sources from which Lichtenstein drew inspiration for the works in the exhibition. The show underscores the two themes that came to dominate the drawings—household objects and comic-book scenes of war and romance—and illustrates how Lichtenstein endowed them with a heightened psychological resonance and formal intensity, raising them to the level of high art.

EXHIBITION HIGHLIGHTS
The earliest drawings are also the most basic. A centrally placed, single object often stands against a blank background: an airplane, a couch, a cup of coffee. Others are based on diagrams demonstrating how to use a product by depicting a hand or foot interacting with an object, such as Hand Loading Gun and Foot Medication. When figures are included, as in Man with Coat and Girl with Accordion, they have plain, ordinary features, as opposed to the conventional beauty of male and female figures that would soon appear in his comic-inspired works.

By 1962, the drawings began to incorporate more elaborate source images, which introduced more complex compositions. Keds, for instance, was inspired by an advertisement for Sears, Roebuck & Company. In a sly reference to contemporary abstract art, Lichtenstein significantly reworked the composition to give greater emphasis to the geometric pattern of the sole. Bratatat and Jet Pilot are two drawings inspired by war comics. Both are close-up views of a pilot in his cockpit, with much attention lavished on the details of his accoutrements.

The exhibition also includes a piece from a little-known installation done by Lichtenstein in 1967 that represents an extension into three dimensions of his black-and-white drawings on paper. As part of the Aspen Festival of Contemporary Art, Lichtenstein drew with black tape on the wall of a white room, outlining its architectural elements. The only extant part of this project, a door with the words Nok!! Nok!! is featured, together with unpublished photographs of the whole room.

Roy Lichtenstein: The Black-and-White Drawings, 1961-1968 introduces an entirely new dimension of the artist's work to audiences more accustomed to seeing his brightly colored paintings. Although Pop art in general has been the subject of a number of shows, they have featured few drawings and rarely addressed the practice of drawing by Pop artists.

The exhibition is organized by Isabelle Dervaux, curator of Modern and Contemporary Drawings at the Morgan. After it closes in New York, it will travel to The Albertina in Vienna, Austria (February 4 through May 15, 2011).

Roy Lichtenstein: The Black-and-White Dreawings, 1961-1968 is underwritten by the Terra Foundation for American Art .

Major support is provided by an anonymous donor and The Broad Art Foundation, with generous assistance from the Dedalus Foundation, Inc.

The Terra Foundation for American Art is dedicated to fostering exploration, understanding, and enjoyment of the visual arts of the United States for national and international audiences. Recognizing the importance of experiencing original works of art, the foundation provides opportunities for interaction and study, beginning with the presentation and growth of its own art collection in Chicago. To further cross-cultural dialogue on American art, the foundation supports and collaborates on innovative exhibitions, research, and education programs. Implicit in such activities is the belief that art has the potential both to distinguish cultures and to unite them.

The Morgan exhibition program is supported, in part, by public funds from the New York State Council on the Arts and the New York City Department of Cultural Affairs.

PUBLICATION
A 208-page fully illustrated catalogue, compiled by Isabelle Dervaux, is produced in association with this exhibition. It includes essays by Graham Bader, Clare Bell, Thomas Crow, Isabelle Dervaux, and Margaret Holben Ellis and Lindsey Tyne and provides a detailed analysis of the drawings, their subjects, sources, and technique. In addition, it addresses the key exhibition themes: the significance of the drawings within Lichtenstein's oeuvre and their unique place in the art and culture of the 1960s.

PUBLIC PROGRAMS
Symposium
Lichtenstein in Context: Drawing in the 1960s
This half-day symposium explores the role of drawing in the 1960s in the work of Lichtenstein and his contemporaries. It will address the technique, style, and function of drawing in Pop, Minimal, and Conceptual art. Speakers to be announced. This program coincides with the exhibition Roy Lichtenstein: The Black-and-White Drawings, 1961-1968. Saturday, November 20, 2-5 p.m.

Films
Roy Lichtenstein on Screen
To coincide with the exhibition Roy Lichtenstein: The Black-and-White Drawings, 1961-1968, the Morgan is screening several films that examine the work of Lichtenstein and his contemporaries.

Roy Lichtenstein
(1976, 53 minutes)
Director: Michael Blackwood
In this film by acclaimed director Michael Blackwood, we travel to Lichtenstein's Long Island studio and observe, from start to finish, the creation of one of his most elaborate compositions, The Artist's Studio. During the process, narrated by Lichtenstein himself, we learn that his parody of works of such artists as Picasso, Matisse, and Leger, serves to portray his ideas about what art —its imagery and stylistic modes—is. Courtesy of Michael Blackwood Productions.

followed by:

The Drawings of Roy Lichtenstein 1961-1986
(1987, 20 minutes)
Directors: Edgar B. Howard and Seth Schneidman
Lichtenstein once said that drawing was "a way of describing my thoughts as quickly as possible." This lively look at Lichtenstein's vision and technique provides a useful overview of his work, showing the genesis of many of his great works as they evolve from drawings into the slick, industrial style surfaces we all know. Produced in association with The Museum of Modern Art. Courtesy of Checkerboard Film Foundation, New York.
Friday, October 1, 7 p.m.

American Art in the 1960s
(1973, 57 minutes)
Director: Michael Blackwood
This film examines the key figures of the 1960s, including Rauschenberg and Johns, two contemporaries of Lichtenstein who were crucial transitional figures between abstract expressionism and the sensibilities of the new decade. American Art in the 1960s explores how the art of that time mirrored the optimism and affluence, as well as the technology and crassness of those boom years. Courtesy of Michael Blackwood Productions.
Friday, November 12, 7 p.m.

Family Program
Dot Dot Dot: Do Pop Art
After a short tour of Roy Lichtenstein: The Black-and-White Drawings, 1961-1968 with educator and artist Sarah Mostow, children will explore the versatility of the black dot, a trademark of the famed Pop artist. They will take a new look at daily objects, such as a shoe, a watch, a cell phone, or a glass, and, using the stencil technique, they will interpret them in a palette of grays. Appropriate for ages 6-12. This workshop is limited to families with children. There is a limit of two adult tickets per family.
Saturday, October 2, 2-4 p.m.

Gallery Talk
Roy Lichtenstein: The Black-and-White Drawings, 1961-1968
Isabelle Dervaux, Curator, Modern Drawings, Department of Drawings and Prints, and Margaret Holben Ellis, Director of the Thaw Conservation Center, The Morgan Library & Museum
Friday, October 22, 7 p.m.

The Morgan Library & Museum
A complex of buildings in the heart of New York City, The Morgan Library & Museum began as the private library of financier Pierpont Morgan, one of the preeminent collectors and cultural benefactors in the United States. Today, more than a century after its founding, the Morgan serves as a museum, independent research library, musical venue, architectural landmark, and historic site. Located at Madison Avenue and 36th Street, with a world-renowned collection that ranges from Rembrandt to Picasso, Mozart to Bob Dylan, Dickens to Hemingway, and Gutenberg Bibles to Babar the elephant, The Morgan Library & Museum maintains a unique position among cultural institutions in New York, the nation, and the world.

General Information
The Morgan Library & Museum
225 Madison Avenue, at 36th Street, New York, NY 10016-3405
212.685.0008
www.themorgan.org

Hours
Tuesday-Thursday, 10:30 a.m. to 5 p.m.; extended Friday hours, 10:30 a.m. to 9 p.m.; Saturday, 10 a.m. to 6 p.m.; Sunday, 11 a.m. to 6 p.m.; closed Mondays, Thanksgiving Day, Christmas Day, and New Year’s Day. The Morgan closes at 4 p.m. on Christmas Eve and New Year’s Eve.

Admission
$12 for adults; $8 for students, seniors (65 and over), and children (under 16); free to Members and children, 12 and under accompanied by an adult. Admission is free on Fridays from 7 to 9 p.m. Admission is not required to visit the Morgan Shop.

PRESS CONTACTS
The Morgan Library & Museum
Patrick Milliman
212.590.0310
pmilliman@themorgan.org
Sandra Ho
212.590.0311
sho@themorgan.org

Lucille Ball Memorabilia Sale

Lucille Ball memorabilia from the Estate of Gary Morton - including love letters, Rolls Royce, awards and artwork - at auction in Beverly Hills
 
July 17 auction features Lucy trove consigned by Susie Morton, wife of Lucy’s second husband Gary Morton
 
BEVERLY HILLS, CA -- Fans of the late great Lucille Ball are about to get an exceedingly rare chance to acquire many of the personal effects and mementos of the legendary comedienne - including love letters from Lucy to her second husband, Gary Morton, Lucy’s Rolls Royce, her personal address book and a trio of her favorite backgammon boards - as a trove of Lucy-related material readies for Heritage Auction Galleries Beverly Hills’ July 17 Signature® Music & Entertainment Memorabilia Auction.
 
This remarkable and likely once in a lifetime offering comes to Heritage via Susie Morton, who married Gary Morton in 1996, seven years after Lucy passed away in 1989. Susie Morton is perhaps better known as Susie McAllister, as she was known during her days as a professional golfer on the LPGA Tour.
 
“Susie has lived with these relics of Lucy and Gary’s life for more than 10 years,” said Doug Norwine, Director of Music & Entertainment Auctions at Heritage. “She did it out of respect for her late husband and out of respect for Lucy’s amazing legacy. Now she’s ready to part with these treasures as she remodels her house to make it completely her own.”
 
Lucille Ball, one of the greatest comedic talents of the 20th Century, and the star of television’s I Love Lucy, among her numerous stage and screen credits, was a notoriously private woman, and one who never let the broader public past her Hollywood persona and who treasured discretion above all else concerning her friends and family.
 
Now, for the first time, Lucy’s private side is being revealed in this amazing archive, especially as evidenced by the various groupings of correspondence between her and Morton that span the 28 years of their devoted marriage. The love letters are especially poignant, consisting of eight different items, including a pretty Valentine's Day card, and a three-page handwritten letter on Hudson-Rissman Decorative Accessories stationery, which the star has signed boldly in blue ink, "Lucy." This letter is quite touching - Lucy had forgotten that morning to wish Gary a Happy Birthday.
 
"... I love you,” she wrote, “and I know I must have hurt you so much this morning - Please forgive me..."
 
Lucy and Gary’s 1984 Silver Spur Rolls Royce marks one of the most interesting lots in the grouping and will give one fan an up-close-and-personal relationship with this stylish sedan owned and used by Lucy and Gary in the last years of their happy life together. The car features a white finish with tan vinyl hard top, boasts a powerful V8 engine and the innovative self-leveling suspension that made the model famous. It has vanity plates reading "GARY M” and, perhaps most stunningly, the odometer shows a mere 21,260 miles.
 
Anyone who knew Lucy well knew of her deep and abiding passion for the game of backgammon - she was known to be a world class player, to have a board in every room, and one by the pool - which she played on a daily basis, without fail. Included in this auction are three portable backgammon boards from Lucy’s personal collection, which will give collectors a chance to ponder the same points on one of three boards that the legendary redhead herself used to consider as she schooled her various opponents.
 
Also of note, among so many notable lots, is Lucy’s Personal Address Book dating to the mid-1960s. Its contents include addresses and phone numbers for dozens of celebrities of the time, among them Jack Benny, Edgar Bergen, Milton Berle, Dean Martin, Ethel Merman, Edward G. Robinson and many more, as well as her perennial TV co-stars Vivian Vance and Gale Gordon and her former husband, Desi Arnaz, complete with much annotation, some of it in Lucy's own handwriting.
 
Lucy was the recipient of numerous awards and honors during her prolific life, and several of these are up for auction as part of this collection, including her Hasty Pudding Woman of the Year Award from 1988, her TV Hall of Fame Lifetime Achievement Award from 1984 and her 1984 Vision Award from the Center for the Partially Sighted in Los Angeles.
 
Lucy and Gary were also avid art collectors, and devoted a great amount of passion to the paintings in their home. Besides the quality of the artwork, the couple were frequently photographed in front of their favorites and, where applicable, those photographs come with the work itself. Among the highlights are L'Opera, Paris by Regis (Count) de Bouvier de Cachard, pictured in the auction catalog cover, The Joker (1965) by Albert Locca, one of Lucy’s favorite pieces, and New York Traffic by Meinsdorff.
 
“This barely begins to touch the surface of how deep this archive goes,” said Norwine. “We have a huge selection of artwork, dishware, silverware, perfume bottles and various trinkets that came straight from Lucy. The things in this grouping are literally the things Lucy lived with every day during the last portion of her life.”
 
Heritage Auctions, founded by Steve Ivy and Jim Halperin, is the world’s third largest auction house, with annual sales more than $600 million, and 500,000+ registered online bidder members. For more information about Heritage Auctions, and to join and gain access to a complete record of prices realized, along with full-color, enlargeable photos of each lot, please visit HA.com.

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Media contact

Noah Fleisher, Public Relations Director
310-492-8613; NoahF@HA.com
Auction Guide