March 2011 Archives

ITHACA, N.Y. (March 29, 2011) - A fascinating bit of legal history involving Lizzie Borden, John Brown and Lincoln’s killers will soon be preserved and available online, thanks to a recent  grant awarded to Cornell University Library.

With $155,700 from the Save America’s Treasures grant program, the Library will restore and digitize a collection of mass-produced pamphlets from the late 17th century to the late 19th century. These pamphlets, which were often sold on the street soon after a trial as entertainment and cautionary tales, include accounts of famous historical figures and reflect society’s attitude toward social issues like capital punishment, marriage and abortion.

“These pamphlets provide a snapshot into a time period from a point of view that isn't available in more ‘traditional’ resources,” said Thomas Mills, head of collections at the Cornell Law Library. “The pamphlets contain a wealth of information about the daily lives of ordinary people, especially women and minorities, whose stories are not well represented in American legal history.”

Cornell Law Library purchased the Trials Pamphlet Collection in 1927, when the 321 pamphlets were bound together before knowledge about proper preservation techniques. Many of the bound volumes have deteriorated and the original pamphlets’ brittle pages are damaged, making them impossible for researchers to use. After conservation treatment, the volumes will be individually bound, cleaned and made chemically stable.

Each pamphlet will also be completely digitized and indexed online, allowing access to them both in person and online. All conservation and digitization work will be done in-house, and the project will begin in July.

“No other pamphlet collection of this type and scope is available online, and digitizing this material will be a significant contribution toward building a first-class digital library for Cornell and the rest of the world,” said Danielle Mericle, coordinator of the Library’s Digital Consulting and Production Services.

Cornell is one of the only libraries to receive funding in the current round, and this is Cornell’s third Save America’s Treasures award. These grants, organized through the National Park Service, provide funds for projects that protect American cultural heritage.

“This recognition shows we’re justified in feeling incredibly proud of our collections here at Cornell,” said Barbara Berger Eden, director of the Department of Preservation and Collection Maintenance and the principal investigator on the grant. “Without careful preservation, this part of history would have been lost forever, but now the originals will be kept safe while providing worldwide access to the content.”

About Cornell University Library 

Cornell University is an Ivy League institution and New York's land-grant university. Among the top ten academic research libraries in the country, Cornell University Library reflects the university's distinctive mix of eminent scholarship and democratic ideals. The Library offers cutting-edge programs and facilities, a full spectrum of services, extensive collections that represent the depth and breadth of the university, and a deep network of digital resources. Its impact reaches beyond campus boundaries with initiatives that extend the land grant mission to a global focus. To learn more, visit <>.

New York, NY, -- Spike TV’s hit original series “Auction Hunters” returns for a second season with 20 new episodes starting Tuesday, April 5 at 10:00 PM, ET/PT.  Season two, which continues to follow two of the best prospectors in the business, Allen Haff and Clinton “Ton” Jones, kicks off in Miami with back-to-back episodes featuring the intense drama of highly competitive storage auctions in South Florida.  The new season will travel across the country showcasing the lucrative and often cutthroat world of storage-unit auctions through the eyes of the renowned auction-hunting duo.

Season one of “Auction Hunters” averaged a robust 1.5 million viewers, with the finale in late December delivering 2.3 million viewers.  The series also drew new viewers to Spike and expanded the network’s fan base with Men 35+.

Every year in America, 50,000 storage facilities hold auctions for abandoned storage units and, at these auctions, over $1 billion worth of goods changes hands.  Each unit has the potential to be a goldmine or a bust for those who make their living hunting unclaimed property.  “Auction Hunters” cuts the lock and opens the door into the high stakes, financial risks and potential rewards where the right purchase can bring in serious cash.

The series follows Haff and Jones in their quest to win auctions, dig for abandoned historical treasure and sell them for a profit.  This season they uncover high-valued items including a Winchester model 1912 shotgun valued at $1,500 and the exact scale remote control replica of a $3,000,000 luxury Viper Fan Jet plane valued at $11,500.    

Allowed only a brief glimpse inside the unit before each fast-paced auction begins, skill and strategy are paramount as Haff and Jones have only seconds to estimate the value and determine how high they’re willing to bid to beat out the completion.  Each episode will also feature “the dig,” a process by which our hunters literally dig into the contents of the unit and assess every item within as well as “the sell” where they consult experts, establish value and negotiate a sale with collectors and dealers. will also get into all the behind-the-scenes auction action with “Auction Hunters.”  In addition to featuring weekly preview clips and highlight segments from each episode once the season starts, currently features the entire first season of full episodes.  Fans can also connect to the series via the official Auction Hunters Facebook page.

“Auction Hunters” is produced by Gurney Productions and executive produced by Scott Gurney, Deirdre Gurney and Philip Lott.  Sharon Levy is Spike TV’s executive vice president, original series and animation, Tim Duffy is senior vice president of original programming for Spike TV and Joe Weinstock is senior director, original programming.

Allen Haff is a second generation antiques dealer and collector with over 20 years of experience in the field.  By the age of 24, he owned his first antique business in Houston, TX and was one of the earliest eBay sellers of vintage collectibles online.  He moved to Los Angeles ten years ago and immediately began hunting in storage unit auctions, Hollywood thrift stores, estate sales and swap meets and earned a living buying and selling antiques and collectibles.  In 2008, Haff started Hollywood & Vintage, a high volume liquidation company specializing in movie memorabilia and vintage collectibles that he operates from his office and warehouse in Los Angeles.

Ton Jones is a self-described hobbyist who has spent years hunting and fishing, as well as collecting knives, swords, guns, old currency and jewelry.  Jones was introduced to storage unit auctions more than seven years ago when he was looking for old cars to take into the desert to wreck for fun, but what he found was a world specifically tailored to his unique skills.  Jones, an imposing figure standing over 6’0”, 300lbs., is a renowned auction hunter in the Southern California area.  Jones’ expertise lays in rare coins and weaponry, such as medieval swords, daggers and armor.

Spike TV is available in 99.4 million homes and is a division of MTV Networks.  A unit of Viacom (NYSE: VIA, VIA.B), MTV Networks is one of the world’s leading creators of programming and content across all media platforms. Spike TV’s Internet address is and for up-to-the-minute and archival press information and photographs, visit Spike TV’s press site at   Follow us on Twitter @spiketvpr for the latest in breaking news updates, behind-the-scenes information and photos.
# # #
Press Contact:             Shana Tepper                Spike TV                   212-767-4275
Eric Gill had exacting and pointed opinions about postage stamps, their purpose, and their design. Unfortunately, his theories didn't always hold up when put into practice, and he had a less than successful career as a designer of stamps. Accompanied by nine of Gill's previously unpublished preparatory drawings and sketches for stamps, Notes on Postage Stamps is a short, previously unpublished essay by Gill in which he succinctly lays out his philatelic ideas—some of which were a little too idealistic and some of which were spot-on. All of them are interesting and thought-provoking.

Notes on Postage Stamps contains fifty-six full-color illustrations, most of which will be completely unfamiliar to historians and enthusiasts of Gill's work. An afterword by Michael Russem chronicles Gill's seven attempts at stamp design—only two of which resulted in published stamps.

For more details, visit

Eric Gill: Notes on Postage Stamps
8 x 9 inches. 24 pages. 56 color illustrations. $24 postpaid within the US.
International Orders
$30 postpaid for orders outside the United States.
On April 11 at 2:00 pm, Sotheby’s New York will hold a single owner sale of Original Illustration Art from the Collections of Kendra and Allan Daniel. A portion of the proceeds will benefit The Eric Carle Museum of Picture Book Art and the Animal Legal Defense Fund. The auction, the first of this type for Sotheby’s New York, will present children’s illustrations and other original art from this renowned collection, some of which was exhibited at The Carle in 2008.

The Daniels, as both collectors and dealers, stand in the forefront of the recognition of children’s illustration as fine art. The auction will include characters such as Babar, Madeline, Christopher Robin and Raggedy Ann, and artists such as Arthur Rackham, Dr. Seuss, and Beatrix Potter.

According to Sotheby’s, The Daniels approach the selection of children's illustration with the same connoisseurship as they have with their superb private collection of American folk art. “We did not put together a historical survey,” Allan insists. “We bought what we loved.”

Over the years, the Daniels have given The Carle some very important work for its permanent collection. “They have gifted the museum with wonderful illustrators that we are fortunate to share with visitors from all over the world,” says Alexandra Kennedy, the museum’s executive director. “Now, through this important auction, we will benefit once again from their remarkable generosity and ongoing dedication to children’s illustrated book art.”

The pre-sale exhibition opens on April 5th. To preview the auction items, please click here: To purchase a catalog visit:

For more information, please contact: Justin Caldwell at, Dr. Philip Errington at, or Jamie Hurst at jamie.stewart

About the Museum:
Together with his wife Barbara, Eric Carle, the renowned author and illustrator of more than 70 books, including the 1969 classic The Very Hungry Caterpillar, founded The Eric Carle Museum of Picture Book Art as the first full-scale museum in this country devoted to national and international picture book art, conceived and built with the aim of celebrating the art that we are first exposed to as children. Through the exploration of images that are familiar and beloved, it is The Museum’s goal to provide an enriching, dynamic, and supportive context for the development of literacy and to foster in visitors of all ages and backgrounds the confidence to appreciate and enjoy art of every kind.

The Museum—which houses three galleries dedicated to rotating exhibitions of picture book art, a hands-on Art Studio, a Reading Library, an Auditorium, a Café, and a Museum Shop—is located at 125 West Bay Road, Amherst, MA. Museum hours are Tuesday through Friday 10 am to 4 pm, Saturday 10 am to 5 pm, and Sunday 12 noon to 5 pm. Admission is $9 for adults, $6 for children under 18, and $22.50 for a family of four. For further information and directions, call 413-658-1100 or visit The Museum’s website at

Sandy Soderberg
Marketing Manager
The Eric Carle Museum of Picture Book Art
125 West Bay Road
Amherst, MA  01002
t (413) 658-1105
f (413) 658-1139
New York, NY, March 28, 2011—The complex and rich history of courtly fashion of the late Middle Ages as seen in the manuscripts and early printed books of the period is the subject of a fascinating new exhibition at The Morgan Library & Museum entitled Illuminating Fashion: Dress in the Art of Medieval France and the Netherlands. Opening on Friday, May 20, the show includes more than fifty works of Northern European origin from the Morgan's renowned collections, and also features four full-scale replicas of clothing seen in exhibited manuscripts. It will run through September 4.

Covering nearly 200 years prior to the beginning of the full Renaissance in France about 1515, Illuminating Fashion examines a period in which clothing styles changed more rapidly than had previously been the case, often from one decade to the next. Social custom, cultural influences, and politics—such as the Hundred Years' War (1337-1453) and the occupation of Paris by the English (in the 1420s)—had a notable impact on fashion, and medieval illuminators deftly recorded these shifts in taste. 

The exhibition also touches upon how artists used clothing (garments actually worn) and costume (fantastic garments not actually worn) to help contemporaneous viewers interpret a work of art. The garments depicted were often encoded clues to the wearer's identity and character.

"The Morgan is delighted to present this captivating exploration of an important aspect of late medieval culture," said William M. Griswold, director of The Morgan Library & Museum. "As is the case today, artists of the medieval era understood how people used clothing to communicate their status and role in society. As fashions evolved, illuminators followed suit in manuscripts, providing not only an illustrated record of changes in dress and social customs, but also a symbolic visual commentary on the values and morals of the people they depicted." 


Fashion Revolution, 1330-50

The exhibition is organized in eight sections, the first of which is entitled, "Fashion Revolution, 1330-50." During the second quarter of the fourteenth century, fashion moved in an important new direction as the largely unstructured garments of the late thirteenth and early fourteenth centuries gave way to tighter, more form-fitting clothing for both men and women. This was primarily due to advances in tailoring and in the use of multiple buttons.

A new man's garment—the cote hardy—revealed the shape of the torso and arms while tighter bodices and sleeves for women became popular, as did exposed necks and shoulders. The sides of women's outer garment, the surcot, were given seductively large, peek-a-boo openings. Men as well as some women turned the chaperon (a hood with an attached cape and tail) into a fashion accessory that lasted over one hundred years (it appears in the exhibition repeatedly).

For example, the manuscript of the Vows of the Peacock on view (ca. 1345-49) shows the image of Fesonas and Cassiel the Baudrain Playing Chess. The four young men in the miniature are all dressed at the height of the new fashion. They wear the new short garment, the cote hardy, which is buttoned down the front; it is tight at the skirt, bodice, and sleeves. All sport chaperons, two of which are dagged (cut into decorative strips). Some wear delicate shoes, while the youth in blue wears chaussembles: hose with leather soles. The two women at the left wear the open surcot. The woman in blue wears the closed surcot, furnished with a lined slit for access to the kirtle (the garment worn beneath). She also wears tippets: thin decorative bands of clothing falling from the elbow. 

Wasp Waists and Stuffed Shirts, 1350-90

The next section, "Wasp Waists and Stuffed Shirts, 1350-90," reveals how the catastrophes of the bubonic plague, which first struck in 1348, and the defeats of the Hundred Years' War had a stagnating effect on the development of fashion for much of the second half of the fourteenth century. While the look for women changed little from the previous period, men's fashions did develop under the influence of military dress. With a short flaring skirt and a cinched waist, the pourpoint (snug-fitting buttoned-down jacket also known as doublet) was padded at the chest and shoulders, giving its wearer a distinctive 'hour-glass' silhouette.

Long pointed shoes (pouleines) and belts worn low on the hips complimented the look.

In a German Missal (a liturgical service book used by the priest at Mass) created before 1381, three fashionably dressed young people are hawking at the bottom left. The youth wears a red pourpoint with a dagged hem, a particularly tight chaperon, narrow belt, and open shoes. For medieval audiences of the late fourteenth century, the especially fancy clothing of the hawking trio carries connotations of the vanity of secular pursuits, as fashion in the art of this late medieval period was often a metaphor for the wasting of money and energy on the material world.

Luxury in a Time of Madness, 1390-1420

Luxury in a Time of Madness, 1390-1420 is a dramatic contrast to the previous section. This thirty-year period is one of the most sumptuous, elegant, and luxurious of all the Middle Ages. Fashion flowered, ironically against the continued backdrop of political instability represented by the madness of the French king, Charles VI, and the incessant Hundred Years' War. Men's and women's fashions were dominated by a new garment, the houpeland. Men's houpelands featured enormous sleeves and a skirt ranging from full-length to upper thigh. The pourpoint remained popular, but now often finely embroidered and equipped with large sleeves. Women's houpelands were always full-length, with bombard or straight sleeves. The simpler cote hardy, with its voluminous skirt and tighter upper body, continued to be worn. Women also began to wear their hair in temples, a double-horned coif surmounted by veils or a tubular burlet as seen on Delilah in the French Bible historiale (ca.1415-20). Fitting with the time, Delilah's houpeland is trailing and high-waisted with bulbous sleeves and an open V-shaped collar. Also on view in this section is an important fifteenth-century treatise on hunting by Gaston Phoebus, the Livre de la chasse. The well-dressed trainer of huntsmen wears a luxurious, blue fur-lined houpeland with gold embroidery and dagged bombard sleeves. 

Terrible Twenties, 1420s

Military occupations are seldom kind to fashion. The occupation of Paris by the English had a depressing influence on fashion for the decade that Duke John of Bedford was regent in France. In the "Terrible Twenties, 1420s" French nobles fled the capital and art commissions dried up. Fashion, likewise, declined, as a simpler approach to dress prevailed. In the Hours of William Porter (ca.1420-25), the leaf depicting the Decapitation of St. Winifred shows the tyrant Caradoc wearing a new garment that evolved from the houpeland: a robe (gown). Short, unwaisted, but belted at the hips, the gown presents an unflatteringly bulbous silhouette. In sharp contrast to the huntsman in Gaston's treatise, the garment is unembellished with any gold embroidery. 

Peacocks of the Mid-Century, 1430-60

The fifth section of the exhibition, "Peacocks of the Mid-Century, 1430-60," sees the end of the Hundred Years' War in 1453. Political stability fostered fashion, and the thirty years of the middle of the fifteenth century were an exuberant period. These decades saw the last of the houpeland. Men more often wore the gown: full- or knee-length, belted at the waist. Women's gowns featured wide V-necks with contrasting collars and parlets (plackards worn at the midriff). Their headgear atop the temples continued to evolve, growing ever more extravagant. In the Hours of Catherine of Cleves (ca. 1440), the duchess of Guelders is depicted as a personification of piety distributing coins to the poor while dressed in a magnificent orange ermine-lined houpeland. Her long, voluminous sleeves are open, revealing the gold of the kirtle worn beneath. She wears her hair encased in horns to which a veil is attached. From her high-waisted (but unseen) belt hangs a slender knife case and a purse from which she selects coins.

Late Gothic Vertigo, 1460s and '70s

Late Gothic Vertigo, 1460s and '70s represents the fashion of the Middle Ages for most people today. This is mainly due to the women's towering conical headgear, the turret, from the top of which flowed long transparent veils. The Romance of Tristan (1468) beautifully illustrates Geneviève wearing a vertiginous cone-shaped turret anchored to her head with a frontlet, a band of black velvet. Her gold gown offers the silhouette characteristic for this period: a voluminous skirt; a high, narrow waist; and a wide flaring collar. 

Twilight of the Middle Ages, 1480-1515

"Twilight of the Middle Ages, 1480-1515" examines the period of transition in Northern Europe—the Middle Ages were not yet over and the Renaissance had not yet begun. Both King Charles VIII (died 1498) and Louis XII (died 1515) invaded Italy, and these military campaigns exposed France to Italian art, culture, and fashion. The look for men changed abruptly. Long loose open gowns came into style, and by the 1490s, these gowns became especially voluminous and bulky as illustrated in the Morgan's copy of the very rare Dance of Death printed in 1486. The knight on the page is wearing an open gown with side lapels. The garment is long and loose and, lacking the pleats of the previous decades, hides rather than highlights the male form. His hat, with its low crown and brim, is also new, as are his shoes. These are the demy pantouffles, rounded-toed slippers with an open back. 

Dawn of the Renaissance, 1515 and Beyond

The exhibition closes with "Dawn of the Renaissance, 1515 and Beyond." King François I was famous for his interest in Italian art and culture; he induced Leonardo da Vinci to join the French court. While Italian fashion had begun to influence northern clothing in the early sixteenth century, by the accession of François to the throne in 1515, the true Renaissance began in France, in art as well as in fashion. This is elegantly illustrated in the frontispiece to the king's own copy of the Romance of the Rose (ca. 1525) in which François, surrounded by courtiers, is depicted accepting the volume from its scribe. He and his court are all dressed in new Italianate style. Doublets, in rich fabrics, are slashed on the chest and arms. The calf-length gowns have wide collars but short puffy sleeves. Shoes are square-toed. Indicative of his lower status, the scribe's gown, with its hanging slit sleeves, is a tad out of date. 


To enhance appreciation for the fashions of the era, four full-scale replicas of late medieval ensembles are presented, using period hand-sewing techniques and authentic materials—including silk velvet, gold brocade, linen, straw, and ermine. One is of the youth in the blue cote hardy from the Vows of the Peacock, indicative of the "Fashion Revolution." Another is the luxuriously embroidered houpeland of the aristocratic huntsman from the Livre de la chasse.

The voluminous gown and towering turret worn by Geneviève in the Romance of Tristan is brought to life in three-dimensional reality. Also featured is the houpeland of Catherine of Cleves, a replica on loan from Museum Het Valkhof in the city of Nijmegen, the Netherlands; the garment recreates the elaborate ensemble she wears while giving alms. 


Illuminating Fashion: Dress in the Art of Medieval France and the Netherlands is accompanied by a publication of the same title. The 464-page volume includes 300 color illustrations and contains in-depth discussion of dress in late medieval art, encompassing examples not only from illuminated manuscripts from collections around the world, but also from panel paintings, woodcuts, sculpture, and tapestries. The book is the culmination of a thirty-year study by Dr. Anne H. van Buren (1927-2008), a specialist of Northern European art of the period, assisted by Roger S. Wieck. 


Illuminating Fashion: Dress in the Art of Medieval France and the Netherlands is organized by Roger S. Wieck, curator of Medieval and Renaissance Manuscripts at The Morgan Library & Museum.

This exhibition is generously underwritten by a gift in memory of Melvin R. Seiden, and by a grant from the Samuel H. Kress Foundation.

Major support is provided by The Coby Foundation, Ltd., with additional assistance from the van Buren family in memory of Dr. Anne H. van Buren, and from the Janine Luke and Melvin R. Seiden Fund for Exhibitions and Publications.

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.


Family Program

The Morgan's Spring Family Fair

During this spring family fair organized in conjunction the exhibition, Henry Chapin and his early music ensemble will lead families in traditional dances and songs enjoyed in France and England 500 years ago. Children will try on costumes inspired by the books of the Middle Ages and the Renaissance in the Morgan collection, make their own wool chaperons and hats, and try their hand at fabric dyeing using centuries-old processes. Come with your own homemade medieval costume. Appropriate for ages 6-12.

Saturday, May 21, 2-5 pm


From the Set to the Runway

Deborah Nadoolman Landis, Valerie Steele

What is the difference between costume (for film and theater) and fashion (on runway and street)? Deborah Nadoolman Landis, Academy-Award-nominated costume designer (Coming to America, Raiders of the Lost Ark) and author of Dressed: A Century of Hollywood Costume Design, will be in conversation with Valerie Steele, Director and Chief Curator of The Museum at the Fashion Institute of Technology and founder/editor of Fashion Theory, and others to be announced. 

Wednesday, June 15, 6:30 pm

*The exhibition will be open at 5:30 pm especially for program attendees.

Gallery Talk

Illuminating Fashion: Dress in the Art of Medieval France and the Netherlands

Roger S. Wieck, Curator, Department of Medieval and Renaissance Manuscripts, The Morgan Library & Museum

Friday, June 24, 7 pm


The Art of Costume Dramas

To coincide with the exhibition, the Morgan is screening a series of classic period dramas that sumptuously illustrate the fashion of the eras in which they are set.


(1964, 184 minutes)
 Director: Peter Glenville 
Set during the late twelfth-century, this drama focuses on the long and often tumultuous friendship between King Henry II of England (Peter O'Toole) and Thomas Becket (Richard Burton), from their days of friendly carousing to Henry's appointment of Becket as archbishop of Canterbury and the ensuing struggle between the Church and crown. Winner of an Academy Award for Best Screenplay, the film also stars John Gielgud, Gino Cervi, Paolo Stoppa, and Pamela Brown.

Friday, June 10, 7 pm


(1995, 117 minutes)
 Director: Michael Hoffman
 With its lavish sets and stunning period attire, this film recounts the life and adventures of Robert Merivel, (Robert Downey Jr.) from his days as a favored physician in the service of King Charles II, to his trials as a doctor in a sanatorium, and finally attending to the sick during the Great Plague of London. Meg Ryan, Sam Neill, Ian McKellen, and Hugh Grant round out the outstanding cast in this Oscar winner for Best Costume Design.

Friday, July 8, 7 pm

The Leopard (Il Gattopardo)

(1963, 187 minutes)
 Director: Luchino Visconti
 This award-winning "fresco of Sicilan life" follows the Prince of Salina (Burt Lancester) as he tries to preserve his family, integrity, and class during the chaotic Italian unification of the 1860s. Based on the Italian bestseller by Giuseppe Tomasi di Lampedusa, the film also features Claudia Cardinale and Alain Delon. In Italian with English subtitles.

Friday, July 22, 7 pm

Films are free. Tickets are available at the Admission Desk on the day of the screening. Advance reservations for Morgan Members only: 212.685.0008, ext. 560, or

The Morgan Library & Museum

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 in 1906, the Morgan serves as a museum, independent research library, musical venue, architectural landmark, and historic site. In October 2010, the Morgan completed the first-ever restoration of its original McKim building, Pierpont Morgan's private library, and the core of the institution. In tandem with the 2006 expansion project by architect Renzo Piano, the Morgan now provides visitors unprecedented access to its world-renowned collections of drawings, literary and historical manuscripts, musical scores, medieval and Renaissance manuscripts, printed books, and ancient Near Eastern seals and tablets. 

General Information

The Morgan Library & Museum

225 Madison Avenue, at 36th Street, New York, NY 10016-3405


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.

$15 for adults; $10 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.

The Morgan Library & Museum
Patrick Milliman
Sandra Ho

[ITHACA, NY] National Book Auctions, located in Ithaca, NY, held a March 20th auction with over 400 lots of collectible books, ephemera and artwork including numerous signed first editions, Pulitzer prize-winning novels and an eclectic assortment of collectible pottery and dinnerware from Aurora, NY-based MacKenzie-Childs.
Of particular interest was a signed first edition of Harper Lee’s “To Kill a Mockingbird” (J. B. Lippincott Company, 1960). This rare book, in its original dust jacket, is arguably the most important American modern classic. The authenticated Harper Lee signature appeared on the blank leaf between the front free endpaper and the half-title page. The copy featured the first printing dust jacket identification points including the quote from Truman Capote in green at the top of the front flap, the lack of a printing statement on the lower left of the front flap, and the Truman Capote photograph on the rear. This variant first printing dust jacket shows the Grau/McGinley quotes on the rear flap, features which contributed to it’s $6,500 hammer price (plus buyer’s premium).
Also at the late March auction was a first edition copy of John Kennedy Toole’s “A Confederacy Of Dunces” (1980) which fetched a $1,200 hammer price (plus buyer’s premium) and a rare copy of Upton Sinclair’s “Dragon’s Teeth” (1942). The Author-Published advance copy realized a $325 hammer price (plus buyer’s premium) and featured a crimson clth binding with bright white lettering on the spine and front board. Other signed first editions and Pulitzer titles were also sold during the five-hour event.
The hammer price across all MacKenzie-Childs material exceeded $11,500 (plus buyer’s premium) and ran the gamut from dinnerware to lamps and from miniature to tables. These early offerings featured many discontinued patterns and products, attributes that contributed to their collectability. National Book Auctions announced this week that they will feature more early MacKenzie-Childs pieces in their upcoming April 17th auction.
National Book Auctions is a targeted auction service offering experience and expertise unique to marketing antique and modern books and ephemera for consignors and collectors alike. National Book Auctions is now developing new catalogs for the next year featuring collectible books, art, currency and ephemera and is now seeking new consignments. For more information, please contact David Hall at 607-269-0101 or email
New York, NY, March 23, 2011—Jim Dine's series of extraordinary drawings inspired by Greek and Roman sculpture and sourced primarily at the Glyptothek Museum in Munich, Germany will receive its first New York showing in a new exhibition opening May 20 at The Morgan Library & Museum. The forty works on paper, known as the Glyptotek Drawings (1987-88)*, are crucial to understanding Dine's career, as they were instrumental in launching his ongoing engagement with the art of the ancient world. The drawings—a promised gift to the Morgan from the artist—will be on view through September 4. 

Dine first visited the Glyptothek in 1984 and was motivated by the works he encountered there to create a book of Heliogravure prints to house, in his words, "my Glyptothek." Later, in his studio, he produced drawings from sketches done at the museum and from photographs, postcards, and catalogues, incorporating ancient works from other museum collections as well. The entire suite of forty drawings forms a single work. Dine has said, "I think each individual drawing could stand alone, but as a single work all forty make a narrative about learning from the ancient world." 

"The Glyptotek drawings are superb in their imaginative transformation of classical subjects and exhibit the vitality we have come to associate with the art of Jim Dine," said William M. Griswold, the Morgan's director. "To see all forty together is to experience afresh the appeal to the artist of the ancient world. The Morgan is delighted to show them as a group for the first time in New York, and we are deeply grateful to Mr. Dine for the generous gift of these important works to the Morgan's collection."

The subjects of the Glyptotek series include ancient busts, full-length sculptures, statuettes, fragments, and reliefs. Some, such as the Barberini Faun, the Boy with a Goose, and the Wounded Trojan from the Temple of Aphaia at Aegina, are well known. Dine says he was drawn to the imperfections of the sculptures that reveal the passage of time—chipped noses, missing limbs, irregular surfaces. Most of the subjects Dine has chosen are barely contained within the edges of his drawings, a device that both energizes them and adds a sense of monumentality. The artist has said, "I choose things that I think can come alive. I don't want to draw these things as dead objects, as stone. I want to observe them carefully, and then I want to put life into them and make them vigorous and physical."

In keeping with Dine's usual working method, the labor-intensive drawings combine a rich variety of media, including ink, charcoal, crayon, pastel, and marker applied in a broad, gestural style. The drawings evidence the artist's enthusiasm for materials and process. Occasionally he abrades the surface with etching tools or an emery board. He often rubs and spreads the material with an eraser or with his fingers, imbuing his subjects with an animate sense of fluidity. The strong interplay of light and shadow and the sweeping strokes that convey the physical engagement of the artist vests these images with a romantic feeling, making them haunting modern visions of the ancient world.

As Dine had planned to make Heliogravure prints from the drawings, he used translucent paper and plastic sheets as support. This unconventional surface allowed for the images to be transferred to etching plates; the prints were published in a 1988 limited edition entitled Glyptotek, with Dine's translation of a poem by Sappho. The exhibition will feature a copy of the book, also a promised gift of the artist to the Morgan.

A number of other drawings, which Dine produced in response to the Glyptotek Drawings, are also presented. Invited by the museum's director, Dine returned to the Munich Glyptothek in 1989; working alone at night in the galleries, he created a number of large-scale works. A selection from this series will be included in the show. The following year, Dine traveled to the Ny Carlsberg Glyptotek in Copenhagen where over a course of seven days he worked in the galleries to create Seven Views of the Hermaphrodite, which is also presented in the exhibition.

Jim Dine: The Glyptotek Drawings is organized by Elliott Zooey Martin, Curatorial Assistant of Modern and Contemporary Drawings at the Morgan.

*[The artist prefers this spelling for his work.]



A Conversation with Jim Dine and Ruth Fine

To coincide with the exhibition Jim Dine: The Glyptotek Drawings, the internationally renowned artist speaks with Ruth Fine, Curator, Special Projects in Modern Art, National Gallery of Art, Washington, D.C., about his work. 
Sunday, May 22, 3 p.m.


Jim Dine on Screen
To coincide with the exhibition Jim Dine: The Glyptotek Drawings, the Morgan is screening the following films that document the artist's life and work.

Jim Dine
(1970, 28 minutes)

Director: Michael Blackwood

A concentrated look at Jim Dine's work, this film was made during what the artist called his four-year "voluntary exile" in London. Actively at work in his studio on several large collages—some of which include written words and real life objects—Dine talks about his connections to literature, his frequent collaboration with poets, and reads some of his own poetry. Courtesy of Michael Blackwood Productions.

Followed by:

Jim Dine: A Self-Portrait on the Walls
(1995, 28 minutes)

Director: Nancy Dine

This remarkable documentary records eight days of intense work and quiet rumination as Dine produces and reflects upon an exhibition of large, transitory, charcoal drawings executed directly on the walls of the Ludwigsburg Kunstverein in Germany. Courtesy of Berkeley Media LLC.

Friday, June 24, 7 p.m.

Films are free.
Tickets are available at the Admission Desk on the day of the screening. Advance reservations for Morgan Members only: 212.685.0008, ext. 560, or

Gallery Talk

Jim Dine: The Glyptotek Drawings

Elliott Zooey Martin, Curatorial Assistant, Modern and Contemporary Drawings, The Morgan Library & Museum

Friday, June 10, 7 p.m.

The Morgan Library & Museum

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 in 1906, the Morgan serves as a museum, independent research library, musical venue, architectural landmark, and historic site. In October 2010, the Morgan completed the first-ever restoration of its original McKim building, Pierpont Morgan's private library, and the core of the institution. In tandem with the 2006 expansion project by architect Renzo Piano, the Morgan now provides visitors unprecedented access to its world-renowned collections of drawings, literary and historical manuscripts, musical scores, medieval and Renaissance manuscripts, printed books, and ancient Near Eastern seals and tablets. 

General Information

The Morgan Library & Museum

225 Madison Avenue, at 36th Street, New York, NY 10016-3405


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.

$15 for adults; $10 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.

I am pleased to announce the publication of a new book on fore-edge paintings. This book is instantly the most important contribution to the history of fore-edge paintings since the books (1949 and 1966) of Carl J. Weber, the author’s grandfather.

The new book is entitled, Annotated Dictionary of Fore-edge Painting Artists & Binders (Mostly English & American). Part II: The Fore-edge Paintings of Miss C. B. Currie; with a Catalogue Raisonné, and is published in a limited edition of 980 trade copies, with 20 deluxe copies specially bound and embellished with a hand-painted fore-edge scene on the fanned edge of the book.

This book is the culmination of more than 25 years of work. Much information comes directly from artists who make fore-edge paintings. Weber has already published a comprehensive study (2006) on John T. Beer, the first person to regularly sign his fore-edges. With this new monograph, Weber offers the same treatment to Miss Currie, but he also adds a great deal of information directed to numerous artists and bookbinders who contributed to this art form from the sixteenth century forward.

The challenges of uncovering the history of fore-edge painting are known. These paintings are mostly painted anonymously, mostly unsigned, and the presentation is often misleading, or people misinterpret information easily (such as imprint dates, bookplates, falsely attributing a printing to the wrong date/or era). The author’s aim is to create a basis for what can be known about certain fore-edge paintings, identifying them, giving their history, alerting the readers about numerous factors that can help to understand what they are looking at.

The book is divided into three sections. The first is a series of brief essays offering the author’s perspectives on studying this field, including gathering information from the books themselves as archeological specimens, the language of fore-edge painting, and evidence in the 1860s of the first fore-edge paintings in America. The second section, and the dominant feature of the book, is an annotated dictionary, heavily illustrated, citing numerous specimens, arranged alphabetically by artist or binder. There are even treatments of binders who are identified as not being sources of fore-edge paintings. This is the first book to ever single out the names and history of each of these contributors. The result is that each entry tells when and where an artist worked, how to identify a painting, noting characteristics unique to their work, where the artist studied art and other details. Specific examples are noted throughout. Locations are supplied and the author notes by a rating system which entries are certain fore-edge contributors, and those who are not at all; finally a mark in numerous entries indicates if the author has seen that work in person. The third section offers a detailed history and catalogue raisonné of the fore-edge painting work of Miss. C. B. Currie. Currie was the famous artist working for Sotheran’s in London during the first half of the twentieth century. Currie’s history is presented in much more detail than available anywhere else, focusing on her fore-edge art and relationships to the English book trade.

The book is handsomely designed by Patrick Reagh, printed and bound in China, priced at $400 for the trade edition and $1800 for the deluxe issue. The book measures 10 x 7 inches (approx.) 433 pages. Illustrated in color and black & white. Cloth, pictorial dust-jacket.

Prospectus data:

WEBER, Jeff. Annotated Dictionary of Fore-edge Painting Artists & Binders (Mostly English & American). Part II: The Fore-edge Paintings of Miss C. B. Currie; with a Catalogue Raisonné. Los Angeles: Weber Rare Books 2010.

10 x 7 inches. [xii], 421 pages. Illustrated throughout, indexes. Cloth, dust-jacket. NEW. $400

Limited Edition of 1,000 copies, printed and designed by Patrick Reagh, Printers. This book will become instantly the single most important work on the history of fore-edge painted books. Signed by the author.

This is the most important contribution to fore-edge painting history in over 40 years. The text contains the first comprehensive annotated dictionary to contain the identification of all known fore-edge painters and binders. The book is sure to become the authoritative resource for fore-edge painting identification. The book is profusely illustrated with color reproductions. Containing two parts, the first will appeal to everyone with a fore-edge painting: a comprehensive annotated and illustrated dictionary of every artist and binder known to make and sign fore-edge paintings. This will include some additional binders and artists whose work can be grouped and identified, as well as including some binders who are suspect and possibly never made fore-edge paintings. An attempt is made to prove the work of every person and to give numerous examples. Included will be the most comprehensive assessment of seventeenth century English fore-edge specimens up to the present.

The other part will be a full history of the mysterious Ms C. B. Currie, one of the most important fore-edge artists from England in the twentieth century and the only artist to have numbered her editions. This project was challenging since no record of her entire fore-edge work exists and her own identity has been unknown until recently.

There will be three issues of the book available: A limited edition of 980 copies $400

A deluxe leather-bound edition of 5 copies, gilt-edges and slip-case. (numbered 16-20) sold out

The ultra-deluxe edition of 15 special copies that will be hand-painted on the fore-edge by selected artists. Each piece will be unique and signed. Hand-bound in full morocco, extra-gilt, all-edge-gilt. Custom slip-case. (numbered 1-15) estimated: $1,800

Biography of the author:

Born in Cambridge, Massachusetts, Jeff Weber grew up on Stanford University campus, attended UCLA (BA in Middle Eastern History) and Indiana University (Masters of Library Science). He worked with Jake Zeitlin at Zeitlin & Ver Brugge Booksellers, Los Angeles (1978-1987), and started Jeff Weber Rare Books in 1987, specializing in the history of science & medicine, and the history of the book & printing. Weber is recognized as the foremost authority on the history of fore-edge paintings as a result of collecting, study, lectures and articles. In 2006 he issued a monograph on the fore-edge paintings of English book collector, poet and artist John T. Beer, the first man known to regularly sign his fore-edge paintings. This book became the first complete study of a fore-edge artist, includes a catalogue raisonné, and traces the movement of every book Beer painted, placing many in private & public collections.

To contact the author:

PO Box 3368 Glendale CA 91221
Phone: 323 344 9332

New York—On Monday, April 11, Swann Galleries will conduct an auction of Early Printed Books. The sale offers classics, literature, law, religious, medical, and scientific works, as well as a large selection of Armenian books from a private collection and first editions of works by Immanuel Kant from the library of the late rabbi and philosopher Steven Schwarzschild.

Auction highlights include Homer, Opera [Works in Greek], third Aldine edition, two volumes, Venice, 1524; John Pine, Tapestry Hangings of the House of Lords, 10 plates depicting the defeat of the Spanish armada, designed by Hendrick Vroom, London, 1739; Samuel Johnson, A Dictionary of the English Language, first edition, in two volumes, London, 1755; and Laurence Sterne, The Life and Opinions of Tristram Shandy, London, 1760-67 (each estimated at $8,000 to $12,000).

The Armenian section includes nearly 40 lots from a private collection with highlights such as an illuminated manuscript Gospels in Armenian written in black ink with evangelist portraits, decorated initials and marginal penwork ornaments in colors throughout, 306 (of 307) leaves, Constantinople, 1621 (estimate: $18,000 to $20,000); a beautiful example of Armenian book printing, Girk’ or koch’I Aysmawowrk’, second edition of a compilation of saints’ lives, Constantinople, 1730 ($2,000 to $3,000); and Step’Annos Agonts’, Hasarakakhosut’iwn ashkharhagrut’ean, a general introduction to geography, Venice, 1817 ($1,500 to $2,500).

The selection of works by Kant from the Schwarzschild library features Critik der reinen Vernunft, Riga, 1781 ($8,000 to $12,000).

Among the medicine and science highlights are Thomas Elyot’s The Castell of Helth corrected and in some places augmented, London, 1560 ($4,000 to $6,000); Sir Isaac Newton’s A Treatise in the System of the World, first edition in English, London, 1728 ($3,000 to $5,000); and Sir William Osler’s influential textbook, The Principles and Practice of Medicine, New York, 1892 ($2,000 to $3,000).

Rounding out the sale are Bibles in English and Latin, English and French books on cookery spanning the 18th century, and works on law and economics.

The auction will begin at 10:30 a.m. on Monday, April 11. The books will be on public exhibition Saturday, April 2, from 10 a.m. to 4 p.m.; Monday, April 4 through Wednesday, April 6, from 10 a.m. to 6 p.m.; Thursday, April 7, from 2 p.m. to 6 p.m.; and, for the convenience of visitors to the New York Antiquarian Book Fair, Friday, April 8, from 10 a.m. to 6 p.m.; and Saturday, April 9, from 10 a.m. to 4 p.m.

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

For further information, and to make advance arrangements to bid by telephone during the auction, please contact Tobias Abeloff at (212) 254-4710, extension 18, or via e-mail at Live online bidding is also available via
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New York—Swann Galleries’ spring auction of Fine Books & Manuscripts, coinciding as always with the New York Antiquarian Book Fair, takes place on Thursday, April 7. The sale comprises fine press and illustrated books, illuminated manuscript leaves, incunabula and early printing, 19th- & 20th-century literature, decorative sets and bindings.

The star item in the auction, a special association copy of the Golden Cockerel Press masterpiece, The Four Gospels . . . , illustrated by Eric Gill, Waltham St. Lawrence, 1931, is sure to entice serious collectors. The first inscribed copy to appear at auction, this elegant and sumptuous work, one of only 12 copies printed on Roman vellum and bound in gilt-decorated white pigskin by Sangorski & Sutcliffe, is inscribed by Gill to his friend and colleague Leonard Woolf (estimate: $60,000 to $75,000).

The sale opens with a hand-colored copy of Johannes Angelus, Astrolabium, with more than 400 woodcut illustrations, including many large depictions of astrological subjects, Augsburg, 1488 ($20,000 to $30,000). Other sought-after 15th-century works include Francesco Filelfo, Satyrae, first edition of a collection of vituperative satires aimed mostly at the court of Cosimo de´ Medici by one of the leading Greek scholars of the time, written after his expulsion from Florence by the Medici regime, Milan, 1476 ($15,000 to $20,000); and two illuminated manuscript Books of Hours on vellum, circa 1475, one in Dutch from the Northern Netherlands, with elaborate initials and borders, the other in Latin, from Flanders, with 12 full-page miniatures ($15,000 to $25,000 and $25,000 to $35,000 respectively).

Also featured is an illuminated manuscript prayer book on vellum, in Latin and French, attributed to calligrapher Nicolas Jarry, Paris, mid-1600s ($15,000 to $20,000). In addition, there are twenty vellum manuscript leaves and initials, most illuminated, dating from the 12th through the 15th centuries, including a full page miniature of God the Father from a choir book painted in the style of Master of Jean Rolin, Burgundy, circa 1490 ($10,000 to $15,000).

Continuing the tradition, there is a modern illuminated manuscript of James Russell Lowell’s popular Arthurian tale, The Vision of Sir Launfal, with pre-Raphaelite-style illustrations and calligraphy by Louis Fairfax Muckley, Stratford-upon-Avon, 1925 ($10,000 to $15,000).

Notable illustrated 18th-century works include Architetture, e Prospettive, a collection of engravings after theatrical designs by Giuseppe Galli Bibiena, Augsburg, 1740 ($10,000 to $15,000); Giovanni Jacopo de Marinoni, De astronomica specula domestica et organico apparatu astronomico libri duo, depicting the advanced scientific instruments at the first Viennese observatory, first edition, Vienna, 1745 ($15,000 to $20,000); and a copy with exquisite contemporary hand-coloring of Seconda Parte delle Logge di Rafaele nel Vaticano, one of three volumes of engravings after Raphael’s decorations in the private loggia of Pope Leo X in the Vatican, Rome, 1776 ($14,000 to $25,000).

Nineteenth-century books replete with colored plates include Johann Gottfried Ebel, Die Bergstrassen durch den Canton Graubündten, first edition, deluxe hand-colored issue of a work on the topography and road system of eastern Switzerland with fine aquatint views of Alpine scenery after painter Johann Jakob Meyer, Zurich, 1826 ($15,000 to $25,000); a seven-volume set of John James Audubon’s The Birds of America, with 500 hand-colored plates, first American, first octavo and first complete edition, New York and Philadelphia, 1840-44 ($25,000 to $35,000); and a handsome three-volume set of McKenney and Hall’s History of the Indian Tribes of North America, with 120 hand-colored plates, third octavo edition Philadelphia, 1855 ($12,000 to $18,000).

Other highlights include a first limited edition of Charles Darwin’s most famous and influential work, On the Origin of Species by Means of Natural Selection, London, 1859, ($50,000 to $70,000); and one of 150 limited edition copies of James Joyce’s Ulysses, on Vergé d’Arches, known as the “Giant Joyce” because of its larger proportions than the other limitations, first edition, Paris, 1922 ($25,000 to $35,000).

Also of note are a complete set in original boards of all 16 cantos of Byron’s Don Juan, London, 1823-24 ($8,000 to $12,000); a two-volume set of Charles Dickens’s The Posthumous Papers of the Pickwick Club, bound from the original parts and extensively extra-illustrated with Dickensiana and original watercolors, London, 1837 ($8,000 to $12,000); and a large-paper set of The Spectator, London, 1797, in 8 volumes each decorated with a charming fore-edge painting of London ($4,000 to $6,000).

Rounding out the sale are decoratively bound sets, exquisite late 19th-century bindings; histories and books on military subjects, and a run of signed works illustrated by Arthur Rackham.

The auction will take place at 10:30 a.m. on Thursday, April 7. A sale of Early Printed Books Including Armenian Books follows on Monday, April 11.

The books will be on public exhibition on Saturday, April 2, from 10 a.m. to 4 p.m.; and Monday, April 4 to Wednesday, April 6, from 10 a.m. to 6 p.m.

Illustrated catalogues, with information on bidding by mail or fax, are available for $35 from Swann Galleries, Inc., 104 East 25th Street, New York, NY 10010, or online at

For further information, and to make advance arrangements to bid by telephone during the auction, please contact Christine von der Linn (19th-20th century books) at 212-254-4710, extension 20 or; or Tobias Abeloff (15th-18th century books) at 212-254-4710, extension 18 or
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The Library of Congress announces the opening of the Swann Gallery and the Herblock Gallery on Friday, March 18, 2011. The galleries are two of three exhibition spaces located within the new Graphic Arts Galleries on the ground level of the Library’s Thomas Jefferson Building.

The third exhibition space in the Graphic Arts Galleries will open in September 2011. The galleries will focus on the Library’s cartoon collections and offer visitors a rich sampling of caricatures, comic strips, political drawings, artwork created for magazines and graphic-novel illustrations.

The galleries will be open to the public from 8:30 a.m. to 4:30 p.m., Monday through Saturday, and admission is free.

The Herblock Gallery celebrates the work of editorial cartoonist Herbert L. Block—better known as "Herblock"—with an ongoing display of 10 original drawings, to change every six months. A four-time winner of the Pulitzer Prize, who spent more than 55 years at the Washington Post, Herblock took on political corruption wherever he saw it, and championed the rights of "the little guy." The inaugural exhibition, "Herblock Looks at Communism," presents a selection of his 1951 cartoons about the Korean War. A new display in September will explore the Khrushchev-Kennedy confrontation in 1961. The Herb Block Foundation donated the collection of more than 14,000 original cartoon drawings and 50,000 rough sketches, as well as manuscripts, to the Library of Congress in 2002, and has generously continued to provide funds to support ongoing programming.

The Swann Gallery introduces visitors to the fascinating world of caricatures, political cartoons, comics, animation art, graphic novels and illustrations. A permanent memorial exhibition will feature 15 facsimiles of treasured cartoons from the Swann and other cartoon collections, which represent the broad range of holdings in the Library of Congress. This exhibition is made possible by the Swann Foundation, which was established by Erwin Swann (1906-1973) in 1967 to support ongoing exhibitions, related programming, preservation and development of collections and to encourage appreciation for the dynamic, evolving field of cartoon and illustration arts.

In September 2011, the third gallery will open with a changing-exhibition program that showcases the graphic arts collections in the Prints and Photographs Division at the Library of Congress. Its inaugural exhibition will be "Timely and Timeless: New Comic Art Acquisitions," featuring treasures of original cartoon art that were added to the Library’s collections during the past decade. On display will be political commentaries, comic-strip and comic-book drawings, New Yorker magazine illustrations and examples of graphic narratives.

The Library has a long history of exhibiting cartoon and caricature art, with the first Swann Gallery—known as the Oval Gallery—opening in 1982 in the James Madison Building. The Swann Gallery moved to the Thomas Jefferson Building in 1998 and remained open until 2004, when preparations started for construction of the Library’s tunnel to the Capitol Visitors Center. In subsequent years, large-scale cartoon art exhibitions—"Humor's Edge: Cartoons by Ann Telnaes" (2004); "Enduring Outrage: Editorial Cartoons by Herblock" (2006); "Cartoon America" (2006); and "Herblock!" (2009)—were held in various exhibition spaces in the Jefferson Building.

The Library has been collecting original cartoon art for more than 140 years. It is a major center for cartoon research with holdings of more than 100,000 original cartoon drawings and prints. These works, housed in the Prints and Photographs Division, span five centuries and range from 17th-century Dutch political prints to 21st-century contemporary comic strips.

The Prints and Photographs Division holds the largest-known collection of American political prints, the finest assemblage of British satirical prints outside Great Britain and holdings of original drawings by generations of America’s best cartoonists and illustrators that are unequaled in breadth and depth. Extensive runs of rare satirical and comic journals from Europe and the United States represent another distinguishing facet. The Library acquired these materials through a variety of sources including artists’ gifts, donations by private collectors, selective purchases and copyright registration.

Sample images from the Swann Gallery:

OLD GREENWICH, CT - March 18/19/20, 2011: The Ephemera Society of America and Flamingo Eventz, LLC are pleased to announce that Ephemera 31 - the thirty-first annual Ephemera Society of America International Paper Fair and Conference - will be held at the Hyatt Regency Hotel in Old Greenwich, CT on March 18/19/20. Treat yourself to a special weekend of conferences, presentations & the finest Ephemera Fair in America! Come learn, talk with collectors and dealers in all the worlds of vintage paper; historical papers to funky rock posters, it's all here. As an added bonus, all attendees will be offered exceptional room rates at the Hyatt. Interested parties should contact the hotel directly for room information at 203-637-1234 and be sure to ask for Discount Code “Ephemera Society”; space is limited so call as soon as possible.

Undeniably the finest Ephemera Fair in North America, this year we are especially proud to welcome the National Valentines Collectors Association (NVCA) and the Poster Stamp Collector Club (PSCC). Both groups will have dealers participating in the fair and will present exhibits, information tables, and a dinner show & tell on Friday evening. Presented fields include historical documents, advertising, prints, posters, photography, books, autographs, maps, documents, World’s Fair, Civil War, comics, puzzles, political, postcards, trade cards, view cards, sheet music, TV & movie memorabilia, games, puzzles, and much, much more. The Ephemera Society of America completes this fabulous International Fair with fascinating exhibits, conferences, appraisals, conservation workshops, discussion groups, and a gala “Fun Raiser” auction Saturday evening. While Society membership is not necessary to attend the fair, participation in the conferences, workshops, discussions, and the auction does require membership. Interested parties may join the Ephemera Society at the fair or through their website: Membership is a mere $50/person and you will be eligible for early admission Saturday morning along with all the other fascinating events of this fabulous weekend.

The fair will feature Internationally prominent vintage ephemera and rare book exhibitors from across the United States, Canada, England, and Europe, presenting an incredible array of vintage ephemera, books and works on paper! Selected exhibitors include Agatherin', West Sand Lake, NY; Aiglatson, Framingham, MA; American Historical Collection, Plantsville, CT; Antipodean Books, Garrison, NY; Austin's Antiquarian Books, Wilmington, VT; Bartleby's Books, Washington, DC; Blaine A. Hill Antiques, Harriman, NY; Bradbury Poster Stamps, Worcester, MA; Britanna Enterprises, Orleans, MA; Bruce Shyer, Oakland, CA; CJG Enterprises, Northport, NY; Cardtique, Stillwater, MN; Caren Archive, Lincolndale, NY; Cartophillians, Cheshire, CT; Castle Halloween, Benwood, WV; Certain Books, Westhampton, NY; Class Menagerie, Bolton Landing, NY; Connecticut Cinderellas, West Hartford, CT; Curtis Lindner, Redding, CT; Dan Miranda, Brookline, MA; David Pollack Vintage Posters, Sherman, CT; Dennis Holzman Antiques, Albany, NY; Dramatis Personae Booksellers, Sheffield, MA; Eclectibles, Tolland, CT; Elizabeth Baird Ephemera, Falmouth, ME; Eureka! Antiques, Evanston, IL; Eveleigh Books and Stamps, Dover, MA; Evie Eysenburg, Cold Spring, NY; Fine Books & Paper Treasures, New Boston, NH; Franklin Gilliam Rare Books, Charlottesville, VA; Gary White - Bookseller, Montrose, NY; Gilann Books, Darien, CT; Goose River Exchange, Lincolnville Beach, ME; Honey & Joseph Freedman, Merion Station, PA; Ian Brabner, Bookseller, Wilmington, DE; Island Antiques & Art Gallery, Shelter Island, NY; James Arsenault & Company, Arrowsic, ME; Joe Maynard, Brooklyn, NY; John Grammer Ephemera, Montgomery, NY; Kaplan & Kopelson Books, New York, NY; Kay Associates, Brooklyn, NY; Kit Barry Ephemera, Brattleboro, VT; Leon Jackson Antiques, Gloucester, MA; Leonard Stamps, Rockville, MD; Marc Chabot Fine Arts, Southbury, CT; Mary L. Martin, Ltd, Perryville, MD; NCC Antiques, Dover, NH; Oxbow Books, Newbury, VT; Paper Americana, Pittsford, NY; Patricia Reilly, Brooklyn, NY; Paul J. Brzozowski, Fairfield, CT; Peter Luke Old & Rare Books, New Baltimore, NY; Quadrille, London, England; R. Dana Sheaff & Company, Scottsdale, AZ; Rare Book & Print Gallery, Elmira, Ontario; Resser-Thorner Antiques, Manchester, NH; Robinson Murray III, Bookseller, Melrose, MA; Rockland Bookman, Orchard Park, NY; Savoy Books, Lanesboro, MA; Stephen & Carol Resnick, Cazenovia, NY; Stuart Lutz Historic Documents, Short Hills, NJ; Tamerlane Books, Haverstown, PA; Ten Pound Island, Gloucester, MA; The John Bale Book Company, Waterbury, CT; The Old Pacrats, Newark, DE; Three Sisters Antiques, New Suffolk, NY; University Archives, Westport, CT; Valley Americana, Pepperell, MA; Vintage Charmings, Paris, France; and Willis Monie, Cooperstown, NY.

Conferences include: A Child's View: 19th-Century Paper Theaters by Eric Bernard, The Ephemera of Magic by Robert A. Olson, Pleasures of London by Valerie Jackson-Harris, "Parker's Seal of Cleanliness:" A Look at the Parker Shows Carnival Midway by Barbara Fahs Charles, P. T. Barnum - The Man, The Myth, The Legend by Kathy Maher, The Magic Lantern: 200 years in the Limelight of Popular Culture by Dick Balzer, The Playbill, from Greece and Rome to Broadway by Don B. Wilmeth, American Theatrical Photographs, 1860-1930 by Michael A. Morrison, Collectors Roundtable: A View of My Collection by Art Groten, Steve Miller, Diane Olin, Nancy Rosin, Tamar Zimmerman, and The Other 362 Days: Ephemera Enthusiasts and Social Networking by Lauren Sodano.

There will be a meeting of the Poster Stamp Collectors Club Saturday afternoon at 4pm. Poster Stamps are stamps that were issued from 1895 to 1930 as way to promote special events, exhibits, products, and patriotic symbols. There will be a special display room highlighting these interesting stamps and the fair portion of the weekend will feature several dealers that specialize in poster stamps for your collecting and learning pleasure. Contact with any Poster Stamp questions.

The National Valentine Collectors Association will also be in attendance with a display case of beautiful valentines of all periods as well as dealers at the fair with valentines for sale. If you are interested in participation in a show and tell or group dinner Friday evening, please contact with any Valentine’s questions.

There will be a Collectors Roundtable discussion by 5 inveterate ephemera collectors discussing their collections of poster stamps, valentines, toys, games, and the imagery of Shakers on Sunday morning at 9am.

Conservation Workshops will be announced at the fair, and Collector’s Forum discussions will pop up spontaneously throughout the long weekend. The highlight of the weekend is the Saturday night gala fun-raiser auction - all proceeds of which directly benefit the Society.

For complete dealer or customer information contact Flamingo Eventz at 603-509-2639, e-mail them at, or visit

Conference Hours: Friday, March 18: 9am-4pm/Sunday March 20: 9-11am.
Fair Hours: Saturday, March 19: 10am-5pm/Sunday March 21: 11am-4pm.
Appraisals: Saturday/Sunday, March 19/20: 12:30-2pm Daily, $5/item.
Auction: Saturday, March 19. Silent bids may be made from 8am-6pm with the final auction at 6:30pm
Admission: Adults: $12, Youths 12-21: $6, Under 12: free w/paid Adult, plenty of free parking.
Directions: The Hyatt Regency Hotel located at 1800 East Putnam Avenue (Rt. 1), Old Greenwich, CT. Take I-95 to Exit 5 in Connecticut. Turn right at the end of the ramp onto East Putnam Ave (Rt. 1). Follow to the third traffic light and turn right into the hotel entrance.
Miscellaneous: Refreshments will be available at the fair and a four-star restaurant is on-site at the Hotel.

Background: Flamingo Eventz, LLC presents the finest, most innovative, respected, and successful Book Fairs, Ephemera Shows, and Antiques Shows on the East Coast. The Brunos have over 25 years experience as antique dealers and over 20 years experience as professional antiques show promoters. They are members of the national Professional Show Managers Association (PSMA), and John Bruno is an antiques appraiser and television personality who has appeared on and hosted numerous national television & radio shows discussing antiques.

Editors: For further information, photographs, descriptions, or dealer biographies, please contact:
Phone/Fax: 603.509.2639 / E-Mail:
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San Francisco, CA - March 14, 2011-- Space memorabilia is showing an extraordinary degree of collectability with the final version of the NASA flight plan for Apollo 11, the first manned space flight to land on the moon, quintupling its pre-sale high estimate bringing $51,000.
Inscribed on the front cover to Dean Mell, NBC News correspondent for Apollo missions 7 through 14, by Apollo 11 Commander, and first human to set foot on the surface of the moon, Neil Armstrong, the plan has several ink notations, most noting current time in relation to the hour into the mission. According to Mr. Mell, flight plans were provided to the various news correspondents prior to the flight to be used for reference during broadcasts. Armstrong inscribed this volume for Mr. Mell, at a post flight news conference. Signed flight plans are rarely seen and Armstrong has since ceased to autograph material. According to current reports his autograph is the most valuable of any living person.
Also in the sale and showing interest was the final version of the NASA flight plan for Apollo 13, signed on the front cover by Commander John Lovell, which sold for $7,800. Intended to be the third manned space flight to land on the moon, the mission had to be aborted after an oxygen tank ruptured, severely damaging the spacecraft's electrical system and crippling the service module upon which the Command Module depended. To conserve its batteries and the oxygen needed for the last hours of flight, the crew instead used the Lunar Module's resources as a "lifeboat" during the return trip to Earth. Despite great hardship caused by limited power, loss of cabin heat, shortage of potable water and the critical need to jury-rig the carbon dioxide removal system, the crew returned safely to Earth on April 17. NASA called the mission a "successful failure".
Complete auction results are available at and for additional information, please contact PBA Galleries at 415-989-2665 or Prices include 20% Buyer's Premium.
PBA Galleries of San Francisco is the only west-coast auction house specializing in books & manuscripts, maps & atlases. The company offers private and heirloom libraries at auction, providing clients with a staff of professional appraisers, online and printed catalogues, and bi-monthly auctions where participants can bid in person, by phone, fax, e-mail, and in real-time by signing up at the PBA Galleries website. For more information contact Shannon Kennedy - 415 989 2665 -
133 Kearny Street - 4th Floor
San Francisco, California  94108
p. 415.989.2665
f.  415.989.1664
New York—On Thursday, March 31, Swann Galleries will offer a diverse selection of historically significant material in their semi-annual auction of Printed & Manuscript Americana. The sale contains many one-of-a-kind items with regional or national interest.

A section devoted to American Indians features hand-colored lithographs, vintage photographs, and an archive of correspondence and papers related to Indian portrait artist Joseph Scheuerle, who worked for the Strobridge Lithograph Company. Highlights of this section include McKenney and Hall’s well-known History of the Indian Tribes of North America, with 121 hand-colored lithographs in three volumes, Philadelphia, 1865 (estimate $10,000 to $15,000); a very scarce hand-colored lithograph by Emile Signol, C.H.C. Melody et les Indiens Ioways, Paris, 1845, depicting a troupe of Ioways who traveled to Europe in 1845 with George Catlin’s Indian Gallery ($2,500 to $3,500); and photographs by David F. Barry, a leading late nineteenth-century photographer, including his Self-portrait with Rain-in-the-Face, sepia toned silver print, circa 1885, printed 1910s ($1,500 to $2,500). There are four long letters from Barry to Scheuerle whose subjects range from his time spent with the Sioux, Custer and the Battle of Little Bighorn, 1914, and his opinion of various artists including Frederic Remington, 1931 ($3,000 to $4,000). Also of note are 22 letters to Scheuerle from William S. Hart, Hollywood’s first cowboy star, who collected Western art and sought to turn his California ranch into a museum, 1935-44 ($3,000 to $4,000).

Another archive related to the white man’s relations with the Indians—and other colonists—pertains to eighteenth-century theologian Jonathan Edwards. There are 16 manuscript items including Autograph Letters and Documents Signed by Edwards, whose correspondence rarely comes to auction, concerning his time in Stockbridge, Massachusetts as a missionary to the Mohicans, 1752-56 ($10,000 to $15,000). Much of the material details his differences with Ephraim Williams and the Williams family—who went on to found Williams College in Williamstown, Massachusetts.

Also related to a New England religious figure is a manuscript diary of Rhode Island native Ruth Pritchard, a follower of Jemima Wilkinson’s Universal Friends movement, which she kept from February to April 1790, and is being offered with other papers dated 1785 to 1855 ($5,000 to $7,500). Wilkinson is considered by many to be the first American-born woman to found a religious group, in this case an order that that drew upon Quaker, Shaker and evangelical influences.

There is also a significant Judaica item, Judah Monis’s Dickdook Leshon Gnebreet. A Grammar of the Hebrew Tongue, the first Hebrew grammar published in America, Boston, 1735. Monis was a Portuguese-Italian Jew who received a Masters Degree from Harvard in 1723. He wrote his Hebrew grammar as part of his course work, later converted to Christianity and joined the Harvard faculty as an instructor of Hebrew ($15,000 to $25,000).

From the divine to the profane, there is a fascinating archive of burlesque star Ann Corio’s salty letters to her publicist Eddie Jaffe, circa 1940s ($1,000 to $1,500). Corio was one of the leading striptease dancers of the 1930s, then moved on to act on stage and film in the 1940s and 1950s, and launched a popular touring production called “This Was Burlesque” in 1961. Jaffe was a celebrity in his own right, and is said to be the inspiration for the Tony Curtis character in “The Sweet Smell of Success.”

New York-centric highlights include original plans from the architectural firm that designed the Empire State Building, such as a pencil-drawn design for the building’s iconic information desk ($2,000 to $3,000), and the flooring, ceilings and other details ($3,000 to $4,000).

First-hand coverage of significant moments in American history include a stash of 90 issues of the Providence Gazette and Country Journal dating from 1764 to 1786, 20 of which were printed during the American Revolution. The volumes include March 1770 issues that feature detailed coverage of the Boston Massacre, as well as a 22 June 1776 issue with a letter from John Hancock warning of the impending British attack on New York ($3,000 to $4,000).

The Civil War section features two views of battle scenes, one a manuscript map of the First Battle of Bull Run drawn by a Confederate chaplain and infantry officer, 1861 ($2,500 to $3,500), the other an eyewitness sketch drawn the day after the Second Battle of Bull Run by a staff artist to Union General Franz Sigel, 1862 ($3,000 to $4,000). There are also papers from the family of Major Henry L. Abbott, 1815-91 ($1,500 to $2,500); a manuscript diary kept by a private in the 141 New York Infantry, 1862-64 ($1,000 to $1,500), and papers of Captain George E. Davis of Vermont, Medal of Honor recipient and hero of the Battle of Monocacy.

Other diverse highlights include compelling images of life aboard the whaling bark Clara Bell in a manuscript journal kept at sea between 1855-58 by Robert W. Weir, Jr., a runaway who came from a renowned family of artists ($5,000 to $7,500). Son of the prominent Hudson Valley School landscape painter of the same name, Weir became a crewman aboard the ship at the age of 19 and later used this journal and its sketches as the basis of a volume now in the collection of Mystic Seaport in Connecticut.

Also of note are Canadian histories and travel narratives; a first draft of the Florida statehood act, Washington, 7 January 1845 ($1,000 to $1,500); and a journal kept by a publicity agent for Goodyear detailing a blimp promotional tour from July 1929 to January 1932 ($1,000 to $1,500).

The auction concludes with a section of Latin Americana, which features Mexican imprints such as a large work of moral and theological philosophy written in the language of the Aztecs in 1607 and the first Mexican edition of a biography of the Italian saint Philip Neri; a first edition of a seventeenth-century legal analysis by a Peruvian jurist supporting the crown’s power over the church in America; and printed material from Simón Bolívar.

The auction will take place Thursday, March 31 at 1:30 p.m. The items will be on public exhibition Saturday, March 26, from 10 a.m. to 4 p.m.; Monday, March 28 through Wednesday, March 30, from 10 a.m. to 6 p.m.; and Thursday, March 31, from 10 a.m. to noon.

An illustrated catalogue, with information on bidding by mail or fax, is available for $35 from Swann Galleries, Inc., 104 East 25 Street, New York, NY 10010, or online at

For further information, and to make advance arrangements to bid by telephone during the auction, please contact Rick Stattler by telephone at (212) 254-4710, extension 27, or email:

Online bidding is available via
Rebecca Weiss
Media Relations
Swann Galleries
104 East 25th Street
New York, NY 10010
212-254-4710, ext. 23

National Museum of American History Embarks on Conservation of Jefferson’s Bible

March 11, 2011 -- The Smithsonian’s National Museum of American History is currently performing a specialized conservation treatment to ensure the long-term preservation of Thomas Jefferson’s bible, a small handmade book that provides an intimate view of Jefferson’s private religious and moral philosophy. 

At age 77 and living at Monticello in retirement following his two terms as President, Jefferson completed a project he had long planned and long discussed with others. In 1820 he assembled what he titled “The Life and Morals of Jesus of Nazareth.” Using excerpts from the Four Gospels of the New Testament, Jefferson arranged the text to tell a chronological and edited story of Jesus’ life and moral philosophy.

“The volume provides an exclusive insight to the religious and moral beliefs of the writer of the Declaration of Independence, the nation’s third President, as well as his position as an important thinker in the Age of Enlightenment,” said Brent D. Glass, director of the museum. “The treatment will ensure that generations to come will be able to study and view this tangible witness to history.” 

Professionally bound in rich Morocco leather with gold tooling, this volume (86 pages; 8.25 inches by 5 inches) was not printed but rather constructed more like a “scrapbook.” Jefferson clipped various passages from printed New Testaments in English, French, Greek and Latin and glued them onto the front and back of blank pages in four columns to allow for immediate comparison. On those pages, Jefferson wanted to clarify and distill Jesus’ teachings. 

Jefferson had no intention of publishing his work, rather intending it to be private reading material and not for a larger audience. He considered his and others’ religious beliefs a private matter that should not be subjected to public scrutiny or government regulation. He knew his beliefs could be viewed as unorthodox and would offend some religious authorities, and he knew that his views could be used against him by his political opponents. The book stayed in Jefferson’s family until the Smithsonian’s librarian purchased it from Carolina Randolph, Jefferson’s great-granddaughter, in 1895. By an act of Congress in 1904, lithographic reproductions of the volume were created for distribution to members of Congress. Once these copies were distributed, no other facsimiles were made. 

After nearly 200 years, the book has become fragile and requires treatment to ensure its long-term preservation. Because of its age and the glue used to adhere the clippings to the blank paper, the pages are extremely stiff and inflexible and the tight binding has led to cracking and some tearing of the pages. The goal of the conservation is to clean and stabilize the book, mend damaged pages and return the manuscript back into Jefferson’s original binding. This will allow the museum to once again display the book safely in a new exhibition mount at an angle of 90 degrees. In addition, the team will construct a custom protective enclosure to house the bible when in storage.

One of the main goals of the conservation is to stabilize the book in such a way that will provide increased access to the American public to this historic treasure. Visitors will be able to view the newly conserved Jefferson bible, along with two of the source books he used and an original copy of the 1904 printing in the museum’s Albert H. Small Documents Gallery beginning in November.

Funding for the conservation treatment and the upcoming display was realized through a public-private partnership. Peter and Rhondda Grant, Brenton Halsey, Mr. and Mrs. Charles F. Bryan Jr., and other contributors generously provided private funds, and the Collections Care and Preservation Fund, administered by the National Collections Program, and the Smithsonian Collections Advisory Committee provided federal support.

The museum is working with Smithsonian Channel on an hour-long special that will tell the extraordinary story of the Jefferson bible and chronicle the intricate conservation work. 

Smithsonian Institution Libraries will make preservation-quality high-resolution digital images of the original document in its state-of-the art imaging center; these will be the first complete set of color photographs of the bible. A digital copy will be available to researchers and the public via the museum’s website this fall in conjunction with the exhibition opening. 

Smithsonian Books will release a full-color, reproduction facsimile and a leather-bound limited-edition, boxed reproduction in the fall, which will feature an introductory essay by museum historians Harry Rubenstein and Barbara Clark Smith, as well as an overview of the conservation treatment by the museum’s paper conservator Janice Stagnitto Ellis. 

The National Museum of American History collects, preserves and displays American heritage in the areas of social, political, cultural, scientific and military history. To learn more about the museum, check For Smithsonian information, the public may call (202) 633-1000, (202) 633-5285 (TTY).

Close-ups of the bible as well as the ongoing conservation work (footage courtesy of Smithsonian Channel).

KEY WEST, Florida Keys — For more than 30 years, internationally renowned playwright Tennessee Williams lived in a modest cottage on a quiet Key West street. The centennial anniversary of Williams’ March 26 birth is currently being celebrated in the island city, with events honoring his literary prowess, passion for painting and enjoyment of the Key West lifestyle.

Williams first visited the island in 1941. In the late 1940s, he purchased the 1431 Duncan St. house that became his home until his death in 1983. In Key West he completed “Summer and Smoke” and wrote “Night of the Iguana,” among other works.

The Academy Award-winning film of Williams’ “The Rose Tattoo” was shot there in 1956, and the island’s Tennessee Williams Theatre opened in 1980 with the world premiere of his play, “Will Mr. Merriweather Return From Memphis?”

Highlights of the centennial celebration include an exhibit focusing on Williams’ Key West life. The free-admission exhibit features photographs of the playwright at home with his partner and friends, original posters of local productions of his plays, books of poetry and drama, playbills and a typewriter Williams used in Key West. The exhibit is open daily at 513 Truman Ave.

Poets are invited to submit Williams-themed poems of 30 lines or less to the celebration’s poetry contest, and artists are to commemorate the playwright’s interest in painting by completing a three-hour challenge to depict his Key West home.

The celebration culminates in a 100th birthday reception set for 5-7 p.m. Sunday, March 27, at Fort East Martello Museum, 3501 S. Roosevelt Blvd. Scheduled attractions include an exhibit of paintings done during the challenge, readings of the winning poems and light refreshments. Admission is $10 per person.

Event information: or 305-294-3121
Key West visitor information: or 1-800-LAST-KEY
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Phillips de Pury Opens NY Shop

An edited selection of unique pieces, prototypes, limited-editions & printed matter from established & emerging artists, designers & publishers

OPENING: March 7, 2011

LOCATION: 450 Park Avenue, New York, NY 10022


New York - Phillips de Pury & Company is pleased to announce the début of the New York retail shop at the flagship 450 Park Avenue galleries. The curated program reflects Phillips de Pury & Company’s expertise in design, contemporary art, photography, editions, and jewelry, and exemplifies Phillips de Pury’s role as today’s contemporary arts arbiter.

London based design studio, Glass Hill (Markus Bergström & Joe Nunn) was commissioned to design the space and has devised an intelligent, modular, system that allows for flexibility and reinvention while adhering to the simple, linear values for which the studio is renowned. The result provides a dynamic platform for Phillips de Pury to exhibit and sell the work of today’s leading designers and artists.

The shop features work from three nominees for this year’s Brit Insurance Design Awards; Seongyong Lee and Nendo in the best furniture design category and Max Lamb for J&L Lobmeyr in the best Product Design Category. Lee’s Plytube series, a rift on traditional cardboard tubing, innovated both a new architectural material and language of joinery. Nendo’s Thin Black Lines series, first exhibited in 2010 at Phillips de Pury in London’s Saatchi Gallery, is a poetic homage to Japanese calligraphy and it’s representation of condensed meaning. Lamb’s Quarz glasses produced by J. & L. Lobmeyr reference the perfect hexagonal structures that form when a quartz crystal’s growth is uninhibited.

Other notable works include: Ara Peterson‘s Untitled Backgammon boards, 2008, a collaboration with his father Jack Peterson, which interpret one of the oldest board games through abstract designs that energetically connect the player with Peterson’s optical, mosaic kaleidoscopic forms in geometric repetitive patterns. Martino Gamper’s Arnold Circus Stool was part of the regeneration project for Arnold Circus, London’s first council housing project situated in the heart of Shoreditch. The stool is used as the official seating for annual events including circus picnics, concerts, tournaments and festivals. Humans Since 1982 (Bastian Bischoff and Per Emanuelsson) brilliantly recontextualize time with Clock Clock, Sweden 2010 and intelligently confront sociopolitical ideals with Hair clip on hair, 2010. Clock Clock was first exhibited at the Röhsska Design Museum, Gotheburg in 2009 and commercially debuted in Phillips de Pury’s Connectors exhibition, London 2010. The piece consists of 24 analogue clocks stacked vertically and horizontally such that the hands can align in order to communicate a single time in a digital format. Hair clip on hair is an edition of 50 photographic hairclips that are hand-mounted, signed, and accompanied by a special passepartout, which symbolically secures universal access and entry. The work illustrates an iconic portrayal of masked eyes deeply rooted in current social commentary and cultural codes.

Sale Enquires:

Brent Dzekciorius, Director, Retail
+1 212 940 1267

Press Contacts:

Giulia Costantini
Head of Communications
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Fiona McGovern
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New York
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The Antiquarian Booksellers' Association of America (ABAA), the Fellowship of American Bibliophilic Societies (FABS), the Center for the Book and the Rare Books and Special Collections Division (the Library of Congress) are proud sponsors of the 2011 National Collegiate Book Collecting Contest. The Kislak Foundation has given generous support.  

Entries for this year's competition must be submitted by June 3, 2011. Contestants must be the top prize-winner of an officially sanctioned American collegiate book collecting contest held during the 2010-2011 academic year. However, if a student collector's institution does not offer a book collecting contest, we are also accepting direct submissions.

For more information, click here: <> .  

Prizes will be awarded to both the winning students and their institutions' library. The Library of Congress will host the awards ceremony and an accompanying lecture on book collecting in the fall of 2011.  

For more detailed information about the contest, please visit contest at  

Please feel free to contact ABAA Headquarters with any questions, (212) 944-8291 or

The Washington Haggadah

The Washington Haggadah Is Subject of New Publication

New Edition Includes Facsimile of Library’s Rare Illuminated Manuscript

After the Bible, the haggadah is the most widely read classic text in the Jewish tradition. Read during Passover, this religious text tells each new generation the story of Jewish liberation from slavery in Egypt. More than 4,000 editions have been published since the late-15th century, but few are as exquisite as the Washington Haggadah, produced by Joel ben Simeon in 1478 and housed in the Library of Congress. A stunning facsimile edition will be published in March by Harvard University Press in association with the Library of Congress.

"The Washington Haggadah: Joel ben Simeon" faithfully preserves the original text of the Passover night liturgy, with the Hebrew facsimile appearing in the original right-to-left orientation. Illustrated with meticulously reproduced illuminated panels, the volume will be read and treasured by anyone interested in Jewish history, medieval illuminated manuscripts and the history of the haggadah.

Joel ben Simeon was among the most gifted and prolific scribe-artists in the history of the Jewish book. His biography is recounted in the facsimile edition’s introduction by David Stern, Moritz and Josephine Berg Professor of Hebrew Literature at the University of Pennsylvania. Stern traces the different forms of the text in the Jewish centers of Europe at the dawn of modernity.

In an essay included in the book, Katrin Kogman-Appel, associate professor of the Arts at Ben-Gurion University of the Negev, shows how Joel ben Simeon, more than just a copyist, was an agent of cultural exchange. As he traveled among Jewish communities, he brought elements of Ashkenazi haggadah illustration to Italy and returned with stylistic devices acquired during his journeys. In addition to traditional Passover images, realistic illustrations of day-to-day life provide a rare window into the world of late-15th-century Europe.

Stern and Kogman-Appel will discuss the artist-scribe and his work at noon on Wednesday, March 23 in the Mumford Room, located on the sixth floor of the Library’s James Madison Building, 101 Independence Ave. S.E., Washington, D.C. The free, public event is sponsored jointly by the Hebraic section of the African and Middle Eastern Division as part of the Books & Beyond lecture series sponsored by the Center for the Book in the Library of Congress. The book will be on sale at the event.

The original illuminated manuscript, which resides in the Hebraic Section, will be on display at the event. The Hebraic Section—one of the world’s leading centers for Hebrew and Yiddish studies—was established in 1914 as part of the Division of Semitica and Oriental Literature. A gift of 10,000 volumes collected by bibliographer and bookseller Ephraim Deinard and donated to the Library by philanthropist Jacob H. Schiff in 1912 and 1914 formed the nucleus of the collection. Purchased by Deinard in Mantua, Italy, Joel ben Simeon’s haggadah came to the Library in 1916 along with the Third Deinard Collection comprising 2,300 items. The item was cataloged as "Hebraic Manuscript #1" and later referred to as "The Washington Haggadah" in connection with its home in the nation’s capital.

"The Washington Haggadah," a 248-page hardcover book, including a 38-page color facsimile and 11 color illustrations, will be available for $39.95 from the Library of Congress Sales Shop ( or by calling (888) 682-3557. It will also be available in bookstores nationwide and online.

Founded in 1800, the Library of Congress is the nation’s oldest federal cultural institution. The Library seeks to spark imagination and creativity and to further human understanding and wisdom by providing access to knowledge through its magnificent collections, programs and exhibitions. Many of the Library’s rich resources can be accessed through its website at and via interactive exhibitions on a personalized website at
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Tennessee Williams Centennial Exhibit of Rare Books and Memorabilia

Including original uncensored scripts of two Pulitzer Prize-winning plays

NEW CASTLE, Delaware (February 28, 2011) — Between the Covers Rare Books Inc. is presenting a month-long exhibition of rare Tennessee Williams books, play scripts and assorted memorabilia in honor of the playwright’s one hundredth birthday at The Bookshop in Old New Castle starting March 1. Among the notable and rare items is an original script for Cat on a Hot Tin Roof which was used during the Philadelphia tryout of the play. The copy contains a sexually charged scene between Big Daddy and his daughter-in law that was removed before its run on Broadway. Also on display is one of only a handful of known copies of the original script for A Streetcar Named Desire bearing its original title, The Poker Night. This early version includes scandalous dialogue that was cut before production, implicating Stanley Kowalski’s wife, Stella, in the sexual assault of her sister, Blanche Du Bois.

Tennessee Williams, who would be 100 on March 26, is considered the greatest Southern playwright and one of the most important of the twentieth century, with a body of work that still resonates with American audiences today in revival after revival. His work examined subjects previously taboo to American audiences of the late 1940s and 1950s, such as mental illness, domestic violence, and untamed sexuality. In addition to A Streetcar Named Desire and Cat on a Hot Tin Roof, both Pulitzer Prize winners, he wrote The Glass Menagerie, The Rose Tattoo, Night of the Iguana, and Suddenly Last Summer. Just as familiar to many people are the film versions of Cat on a Hot Tin Roof with Paul Newman, Elizabeth Taylor and Burl Ives as Big Daddy, and A Streetcar Named Desire, which features the iconic scene of Marlon Brando as Stanley screaming “Stella!” from the street below, and Blanche’s famous final line: “I have always depended on the kindness of strangers.”

Most of the exhibit comes from the personal collection of the publicity director for New Directions, which first published many of the Williams plays. This enabled the collector to get books signed by the author, and gave him access to the publisher’s pre-publication galleys and page proofs, both of which will be on display. He also meticulously collected Williams’s magazine appearances, as well as foreign editions, and any and all related ephemera, including playbills, ticket stubs, lobby cards and flyers.

Among the items is a beautiful copy of Weird Tales magazine from 1928, which contains Williams’s first published story, written when he was just 16 using his real name, Thomas Lanier Williams. Also on display is the film treatment for The Gentleman Caller which Williams first offered to Metro-Goldwyn-Mayer while briefly employed as a staff writer. The studio passed on the detailed outline, despite the inclusion of several happy endings from which they could choose. The rejection turned out to be a blessing for Williams who opened the play the following year on Broadway with a new title, The Glass Menagerie. It was his first major success on Broadway and is considered an American classic.

The Tennessee Williams exhibit runs from March 1-31 and is free to all visitors to The Bookshop in Old New Castle, located at the site of the historic opera house at 308 Delaware Street in New Castle, Delaware. Images from this exhibition are available upon request:

On April 1, the Bookshop of Bordentown will open the next exhibit in its series; “The National Game — Baseball in Print,” which will showcase baseball-related books and prints.

About Between The Covers Rare Books, Inc.
Between The Covers Rare Books Inc., founded in 1985, is a leading antiquarian bookseller specializing in modern first editions, African-Americana, sports (particularly baseball), mysteries, genre fiction, art, photography, and women’s studies. It is a member of the International League of Antiquarian Booksellers (ILAB), and the Antiquarian Booksellers Association of America (ABAA).

About the Bookshop in Old New Castle
Each bookseller in the Bookshop in Old New Castle is a member of the ABAA and offers a unique selection of books characteristic to its specific specialties. The Bookshop in Old New Castle opened May 1, 2010. As The Bookshop in Old New Castle is a combination store between Oak Knoll Books, Between the Covers Rare Books, The Kelmscott Bookshop, and the Old Bookshop of Bordentown, the exhibitions will alternate monthly with each store taking turns showcasing different collections of their finest material.

Contact: Matt Histand

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