August 2011 Archives

From September 14  through November 12, 2011, The Grolier Club presents an exhibition of vintage Hollywood photography tracing the careers of the leading photographers and many of the great stars of the “Golden Age” of motion pictures. Silver Screen/Silver Prints is drawn from the collection of Grolier Club member Robert Dance and curated by Anne H. Hoy. The works on display are shown together for the first time.

Silver Screen/Silver Prints presents Hollywood’s invention of the glamour portrait. The photographs in the exhibit demonstrate the centrality of studio portraits to the film industry’s star-making apparatus, especially in the two decades before the Second World War and, most notably at MGM—which boasted “more stars than there are in the heavens.” The exhibition is divided into ten parts, each dedicated to a single photographer, star, or theme.  

Cases devoted to studio photographers George Hurrell, Clarence Sinclair Bull, and Ruth Harriet Louise demonstrate their distinctive styles and chart the evolution from soft-focus Pictorialism to sculptured modernist glamour.  Luminous portrayals of Garbo, Crawford, and Ramon Novarro give audiences the chance to see how the portrait camera lens shaped their most enduring images.  Thematic displays focus on Hollywood fashion as promoted by photography and on the development of the discernible Paramount Studios house style.  The final section is devoted to Elizabeth Taylor, the last great star of the Hollywood studio system, who used photography strategically to guide an upward trajectory from her early days as a child actress to her long reign as an international superstar.

The photographs exhibited are all original silver prints, mostly 11 x 14 inches, and printed by or under the supervision of the photographer.  Examining these first-generation photographs reveals at times subtle, and sometimes quite dramatic, uses of sepia and black and white contrasts.  These beautiful rich tonalities are unfamiliar to most viewers, since they are lost in later printings in which many generations separate mass-marketed images from the originals.  To further illuminate the creative process, the exhibition includes a selection of original 8 x 10-inch camera negatives and master prints made from these negatives.

The studio portrait was the first step in the evolution of the star.  Long before a hopeful actor was given a screen test, portraits were taken to determine the camera appeal of new faces.  Once a player had appeared successfully on screen, the portrait photographer set about developing and refining an image that could be translated to the screen for public consumption.   In her American screen debut, Garbo triumphed with audiences as no other new actress has done before or since.  But it was Ruth Harriet Louise, behind the scenes in the MGM portrait studio, who molded Garbo’s persona.  The movies may have made the stars, but still photographs made them icons.

Leveraging the skillfully developed images, the studios distributed portraits widely to keep fans enthralled by their screen favorites.  Fan magazines, the most widely disseminated periodicals of the Roaring Twenties and the Depression Thirties, competed for the best new pictures of top-grossing stars.  Behind full-color covers painted from glamour photographs, these magazines delivered the stars’ images to an eager public and, indeed, into popular culture.  Many of the photographs displayed in Silver Screen/Silver Prints were used for reproduction in fan magazines—as evident in selected magazines on view.

Early stars range from Albert Witzel’s Theda Bara for Cleopatra, 1917, and Alfred Cheney Johnston’s ex-Ziegfield Girl Flapper-era Mae Murray, to James Abbe’s “candid” of Mary Pickford and Douglas Fairbanks as Hollywood royalty on vacation in Paris, c. 1925.  Joan Crawford appears with Robert Montgomery by Ruth Harriet Louise, 1929, and with the Barrymore brothers by Hurrell in Grand Hotel, 1935. In two photographs by Clarence S. Bull, Clark Gable embraces Jean Harlow in Saratoga, 1936, and succumbs to Lana Turner in Honky Tonk, 1940. Portraits of Elizabeth Taylor by Milton Greene and Cecil Beaton climax the survey. As vamp yields to flapper and blonde bombshell and then to the last Cleopatra, Silver Screen/Silver Prints sketches evolving ideas of glamour—revealing that these stars and their gifted photographers were always ready for their close-up.

LOCATION AND TIME: Silver Screen/Silver Prints will be on view at the Grolier Club, 47 East 60th Street, New York, from Sept. 14 -Nov. 12, 2011, with the exception of October 10, when the Club is closed. The exhibit will be open to the public free of charge, Monday - Saturday, 10 a.m. to 5 p.m. Additional information and directions are available at  

CATALOGUE: A fully-illustrated catalog of Silver Screen/Silver Prints, with contributions by Robert Dance and Anne H. Hoy, will be available at the Grolier Club.

Dec. 7, 2011 - Feb. 4, 2012. Printing for Kingdom, Empire, and Republic: Treasures from the Archives of the Imprimerie Nationale

Visit the Grolier Club website:

Contact: Megan Smith

The Grolier Club is pleased to present an exhibition focusing on the distinguished holdings of Hersh and Fern Cohen, whose household encompasses two major, and complementary, collections.  On view in the Grolier’s second floor Gallery from September 8 - November 4, 2011, Steel and Roses: American Prints in the Hersh Cohen Collection and Botanical Books in the Fern Cohen Collection will present prints created between 1900 and World War II, with an emphasis on the Depression era, along with English, Continental, and American botanical books from the seventeenth through the nineteenth centuries illustrated by some of the most accomplished botanical artists of the day. The selection offers a stark contrast to the black and white prints of cities, their inhabitants, and the turmoil of the 1930s.

The content of American prints changed in the 1930s, from idealization of new skyscrapers to the depiction of people in urban life, workers in steel mills and coal mines, and scathing anti-capitalist satire. The content of the Cohen books includes botany, fruit, exploration, horticulture, and children’s gardening. Several florilegia, flower books in which the plates are much more important than the text, are displayed. An effort is made to show the inter-relationships between American botanical books and their English and Continental predecessors and contemporaries.

LOCATION AND TIME: Steel and Roses will be on view at the Grolier Club, 47 East 60 Street, New York, from Sept. 14 -Nov. 12, 2011, with the exception of October 10, when the Club is closed. The exhibit will be open to the public free of charge, Monday - Saturday, 10 a.m. to 5 p.m. Additional information and directions are available at  

CATALOGUE: A fully illustrated catalogue, with detailed bibliographic references and curatorial commentary, will accompany the exhibition.


September 14-November 4, 2011: Silver Screen / Silver Prints: Hollywood Glamour Portraits from the Robert Dance Collection.
December 7, 2011-February 4, 2012: Printing for Kingdom, Empire, and Republic: Treasures from the Archives of the Imprimerie Nationale.   
February 22-April 28, 2012: Torn in Two, the 150th Anniversary of the Civil War.
May 16-July 28, 2012: Aaron Burr Returns to New York: an Exhibit of Burr and His Contemporaries.

Visit the Grolier Club website:

Contact: Megan Smith                                                    

New York—On Thursday, September 15, Swann Galleries will conduct a sale devoted to the Eric C. Caren Collection, which encompasses books, manuscripts, autographs, photographs, broadsides and ephemera that span the 16th century through the 1970s.

An avid collector since early childhood, Caren set out to own a representative document from every important event in modern history. Having completed that collection to his satisfaction, he began to assemble another one, freeing some of his earlier acquisitions for sale. The material offered on September 15th comprises just part of Caren’s vast collection, and is the first of three planned sales.

The highlight of this sale is King Charles II’s letter authorizing Edmund Andros to take possession of New York from the Dutch, which is basically the birth certificate of New York State, signed Windsor Castle, 30 July 1674. This manuscript, acquired as Lot 1 in the Malcolm Forbes auction in 2002, is estimated at $100,000 to $150,000.

Also from the 17th century—and also related to New York—is a partial broadside, A Speech Made by His Excellency Benjamin Fletcher, printed by William Bradford in 1693, which is quite possibly the first New York imprint, and one of only two known extant copies ($8,000 to $12,000).

Another significant broadside is Remarks on the Slave Trade, the first American broadside appearance of the famous floor plan of the slave ship Brooks, which proved to be a powerful tool in bringing many Americans into the abolitionist camp, Philadelphia, 1789 ($15,000 to $25,000).

Providing an unusual glimpse into the life of our first president is a doctor's bill for two years of service to “His Excell'y George Washington Esq.” by James D. Craik, his personal physician. This extensive Autograph Document Signed includes entries for 144 distinct services provided to Washington, his family and his slaves during the period shortly before his election as president, 1786-89 ($15,000 to $25,000).

There is a fascinating archive of 12 items from the early days of Thomas Edison's work, including his notes from the Edison Illuminating Company's Pearl Street Station in New York (the first commercial power plant in the world), an 1883 invoice to the City of New York for one month's supply of electricity to 67 street lights, as well as cyanotype photographs of his laboratory ($20,000 to $30,000).

Other intriguing ephemera includes the first printed baseball scorecard, for a game between the Athletic Club of Philadelphia and the Atlantic Club of Brooklyn, 1 October 1866 ($5,000 to $7,500); and an original mechanical plan of the Lusitania’s steam piping by its builders, John Brown & Company, which may hold some clues to the disaster ($10,000 to $15,000).

Among the many early newspapers in the sale are two concerning the Stamp Act, the 30 May 1765 issue of Benjamin Franklin’s The Pennsylvania Gazette, believed to contain the first printed American references to the passage of the act ($10,000 to $15,000), and The Boston Post-Boy, &c. Extraordinary, describing demonstrations at the Liberty Tree, 4 November 1765 ($25,000 to $35,000).

Also related to the Revolution is Sebastian Bauman’s Plan of the Investment of York and Gloucester, Philadelphia, 1782, a visually striking map providing the first and best American view of the final major battle of the Revolution ($15,000 to $25,000).

Among select book highlights are a 1677 Boston first edition of Hubbard’s Narrative of the Troubles with the Indians in New-England ($25,000 to $35,000), and the first English edition of Alexandre Olivier Exquemelin’s Bucaniers of America, London, 1684-85 ($8,000 to $12,000).
Photographs range from cabinet cards from the western United States depicting lawmen, outlaws, cowboys, and Indians to files of press photographs dating from the 1920s to the 1970s, with contemporary captions affixed to the backs.

The sale also features posters from the late 1960s and early 1970s, which capture the era of drugs, rock ‘n’ roll and Vietnam War protests, providing an affordable way to explore 20th-century history and popular culture.

The auction will take place Thursday, September 15 at 1:30 p.m. The items will be on public exhibition Saturday, September 10, from 10 a.m. to 4 p.m.; Monday, September 12 through Wednesday, September 14, from 10 a.m. to 6 p.m.; and Thursday, September 15, 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 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 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

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Rare Book School welcomes applications for its upcoming course, "The Art of
the Book in Edo and Meiji Japan, 1615-1912," which will be taught by Ellis Tinios, Honorary Lecturer at the University of Leeds, visiting researcher at
Ritsumeikan University in Kyoto, and special assistant to the Japanese Section of the Department of Asia, British Museum. The course will take place during 3-7 October 2011 at the Freer Gallery of Art and the Arthur M. Sackler Gallery Library of the Smithsonian Institution in Washington, DC.

"The Art of the Book in Edo and Meiji Japan, 1615-1912" focuses on the
unique style, subject matter, technique, and beauty of the illustrated woodblock printed books produced during this time period. Through daily lectures, discussions, and hands-on sessions, students will view examples of some of the most significant books produced in Edo and Meiji Japan. The course will include: key features of history and achievements of prominent artists during this period; the physical characteristics of Japanese books; the change and continuity of art book production; the impact of imported Chinese and Western books; and issues of collecting and appreciating Japanese illustrated books in Europe and America. No previous knowledge of Japanese language or art history is required for this course.

For a full course description, please visit

*About Rare Book School*

Rare Book School (RBS) offers week-long continuing-education opportunities
for students from all disciplines and levels to study the history of written, printed, and born digital materials with leading scholars and professionals in the field. Admission to courses is competitive. RBS faculty members start making their first round of admission decisions four months before their courses begin. After this, RBS faculty review applications as they are received.

To apply to a course, please visit our
applications<>page, where
you can download an application form.

National Book Auctions August Results

[ITHACA, NY] National Book Auctions, located in Ithaca, NY hosted a Sunday, August 14th auction featuring a wide assortment of collectible books and ephemera highlighted by notable authors and artists such as William Shakespeare, Frank W. Bensen and Alfred, Lord Tennyson. The 430-lot auction also featured a unique assortment of Chinese and Thai pottery and pillow books.

The 8-volume set of Samuel Johnson’s edition of the “Plays Of William Shakespeare” (1765) fetched a hammer price of $2,040 (including buyer’s premium). Bound in decorative full leather featuring gilt tooling and raised spine bands, this antique set is a handsome collection of Shakespeare’s plays including the notes of Samuel Johnson and various other commentators.  Johnson announced his intention to edit Shakespeare's plays in his "Miscellaneous Observations on Macbeth" (1745), and a full proposal for the edition was published in 1756. The edition was finally first published in 1765.
Realizing a $1,740.00 hammer price (including buyer’s premium) was a five-volume set of Adam E. M. Paff’s “Etchings and Drypoints Of Frank W. Benson” (1917-59) with original, hand-signed etchings.
An 1893 Limited Edition of Alfred, Lord Tennyson’s “Maud, a Monodrama” fetched a hammer price of $920.00 (including buyer’s premium) and an author-signed copy of William Faulkner’s “A Fable” (1954) fetched $840 (including buyer’s premium) at the gallery’s mid-season auction.

National Book Auctions is a public auction service specializing in books, ephemera, and art. National Book Auctions is a targeted service offering experience and expertise unique to marketing antique and modern books and ephemera for consignors and collectors alike. Preview for the upcoming Sunday, September 11th auction is at 10 a.m. and the live auction starts at noon. For more information or to consign collectible material please contact David Hall, Business Manager, at 607-269-0101 or email

In the Blacksmith Shop at the NSLM

MIDDLEBURG, Virginia - Three prints depicting blacksmiths at work from the 18th and 19th centuries are the inspiration for In the Blacksmith Shop at the National Sporting Library and Museum’s Forrest E. Mars, Sr. Exhibit Hall. Rare books, horse shoes of different equine occupations, and blacksmith tools show the history of the farrier at work. Of special interest are shoes from Animal Kingdom, Man O' War, Gallahadion, and Hirapour. The exhibit runs from August 16 - December 30, 2011. The NSLM is free and open to the public. Hours are 11 - 4, Tuesday through Friday and 1 - 4 Saturday.

The three historic prints are on loan from the Virginia Museum of Fine Arts, Richmond. They are by English artists Joseph Wright (1734-1797) and George Garrard (1760-1826) and French artist Theodore Gericault (1791-1824). The works illustrate continuity in the world of the farrier by portraying the tools and the methods of horseshoeing during the 18th and 19th centuries. Gericault’s image of a Flemish farrier is plate four from “Various Subjects Drawn from Life on Stone,” in 1821. Garrard’s picture of a farrier within the center of a village shows the importance of the craft to everyday life. Joseph Wright, a master of chiaroscuro (an interplay of light and dark), gives the scene a romantic, noble cast.

Rare books from the Library’s collection tell the story of the role horseshoes play in the animal’s health. The Charles Clark Case Book, a nineteenth- century manuscript of a veterinary surgeon’s observations and treatments of hoof diseases, was purchased by the Library in the Duke of Gloucester, 2006, London sale. Charles Clark was the nephew of the famous veterinarian Bracy Clark, early advocate of bare-foot hoof care. Other books from the same era show an interest in developing new systems of shoeing to counter hoof disease and injury. Small books such as The Gentleman’s Pocket Farrier (1732) describe hoof diseases and practical observations for the horseman-traveler. In other books, English, French, and Italian methods of shoeing are compared and analyzed.

Of special interest in the exhibit are shoes worn by famous horses. The 2011 winner of the Kentucky Derby, Animal Kingdom, trained by H. Graham Motion, whose family owns a tack store in Middleburg, is represented by two shoes encrusted with Churchill Downs dirt. Other families in the region contributed plate (shoe) mementos of great Thoroughbred racers - Gallahadion, winner of the 1940 Kentucky Derby, and Hirapour, champion steeplechase horse, 2004. A plate worn by Man O’War, one of the most famous horses of all time, was given to the late Paul R. Fout by a childhood friend who was Man O War's blacksmith during the champion’s racing days.

As Librarian Lisa Cambell began organizing In the Blacksmith Shop, she found the topic generated a lot of interest. Paintings by members of families involved in the equestrian world were offered to the Library for use in the exhibit. One painting portrays a well-known Washington, D.C., blacksmith, Joseph "Smitty" Vanzego, who spent 60 years shoeing horses at race tracks and stables in the region. A story about his career in the Washingon Post (December 16, 2007) tells of Vanzego learning the trade in the army and passing on his skills to two of his sons. In addition to paintings, equine enthusiasts loaned tools, shoes, and other materials. An anatomical example of a horse’s leg, loaned by the Middleburg Agricultural Research and Extension (MARE) Center, is on display. Lindsay Berreth, Library Assistant and eventer, created a guide to the bone structure for visitors. Blacksmith tools have been loaned by Mike May, Mid Atlantic Farrier Supply, Aldie, Virginia. The exhibit, installed by Mickey Gustafson, introduces the story of the centrality of the farrier to the equestrian community over many centuries.

In the Blacksmith Shop is suitable for children. Special tours are available for small groups, especially Pony Clubs. They will be led by Lisa Campbell, librarian and equestrian. For more information or to arrange a tour, please contact 540-687-6542 or

The National Sporting Library and Museum, located in beautiful, historic Middleburg, Virginia, celebrates the opening of its Sporting Art Museum in October, 2011. The Library, founded in 1954, is dedicated to preserving, promoting, and sharing the literature, art, and culture of equestrian and field sports and we are pleased to announce the addition of our Museum. The institution has expanded to become an important research facility and art museum with over 17,000 books and works of art in the collections. The John H. Daniels Fellowship program supports scholarship. Information is shared through exhibits, lectures, seminars, publications, and special events. The NSLM is open to the public.

CONTACT: Mickey Gustafson
540-687-6542, ext. 23 
Beverly Hills, California….August 17, 2011…. Julien’s Auctions, the world’s premier entertainment and celebrity memorabilia auction house will offer a rare glimpse into the life of Hollywood’s most colorful stars, Tony Curtis. The rare Hollywood star whose off-screen character was often more sensational than his on-screen one, lived a life that could be its own movie or television series.  Curtis’ career spanned six decades with popularity during the 1950s and 1960s enabling him to transpose his good looks into super movie stardom.  He acted in over 100 films ranging from light comedy to serious drama and he also made numerous television appearances.
Among Curtis’ most memorable films were 1959’s “Some Like It Hot,” 1960’s “Spartacus,” 1953’s “Houdini,” 1952’s  “Son of Ali Baba”, 1957’s “Sweet Smell of Success,” 1965’s The Great Race and of course 1968’s “The Boston Strangler,” often noted as his most serious part. He earned an Oscar nomination for the 1958 crime drama “The Defiant Ones.” The film “Some Like Hot” in which he acted with icon Marilyn Monroe and Jack Lemmon has been called the funniest film in history by the American Film Institute. He also acted with such greats as Burt Lancaster in “Sweet Smell of Success” and Cary Grant in “Operation Petticoat.”  Curtis was often noted for his impeccable comedic timing.

VIDEO EPK downloadable here:
Off screen Curtis earned even more attention for his personal life which was filled with great turmoil and change. He married five times, his first and most famous to actress Janet Leigh.  
In addition to being a popular actor, Curtis was a fine art connossiuer. Collectors will have the opportunity to purchase some of his impressive art collection along with items from his illustrious career at Julien’s Auctions Gallery in Beverly Hills on September 17th, 2011.  A portion of the proceeds from the auction will benefit Shiloh Horse Rescue, a charitable organization founded by Jill and Tony Curtis that rescues and rehabilitates abused, neglected and slaughter-bound horses of all types (
The Curtis Estate auction features property spanning from his World War II Naval stint through the first decade of the 21st century.    Fine art highlights coming to the block include the Andy Warhol Some Like it Hot Shoe, given to Curtis as a gift by the artist, (est $20,000/30,000), three drawings by Balthus (two est $25,000/35,000 and one est $30,000/40,000), a Maurice Denis oil on canvas study for the Baptism of Christ Mosaic at the Church of Saint Paul in Geneva, Les Ondes, (est $20,000/30,000), ceramics and prints by Picasso, Braque, and Chagall, a fine collection of 20th century American, British, and European paintings, and many selections from Tony Curtis’s own secondary career as an artist, including paintings, drawings, prints, ceramic vases, and a tapestry.  Also available for the first time are a selection of assemblage shadowboxes, a type of artwork very personal to Curtis and never before exhibited or sold to the public, although these items were occasionally bestowed as gifts upon friends and family.
Tony Curtis was an inveterate collector with a discerning eye. His treasures, collected from his travels all over the world, range from Faberge objets de vertu ( a 14k gold cigarette case, est $4,500/$6,500; and a trefoil dish inset with Russian coin, est $3,000/5,000), to fine watches (including an 18k gold Audemars Piguet Chronograoh wristwatch, est $6,000/8,000), to fine furniture (a Chinese Chippendale expanding writing desk, est $4,000/6,000), to boxes that he personalized with found objects, trinkets and mementos, preserved as he left them (numerous lots with estimates between $200 and $1,000).
Choice memorabilia items from Curtis’ acting career include a yachtsman’s jacket from the famous shipboard kissing scene with Marilyn Monroe in Some Like it Hot (est $10,000/15,000), a beautiful rosewood Rudall and Carte flute given to Curtis by Frank Sinatra (est $3,000/4,000), his Photoplay 14k gold medal award for Most Popular Male Star won in 1958 (est $3,500/4,500), and Hanna/Barbera’s own depiction of Stoney Curtis in an animated cel from an appearance on the Flinstones (est $1,200/1,800).
This auction also proudly showcases awards, mementos, photographs, letters, clothing, and personal effects from all phases of Curtis’ life and career and reflecting his many interests and talents. A full list of items for auction can be viewed at  This is indeed a unique opportunity to see the lifestyle of one of the world’s most talked about actors whose iconic twists beyond his roles still talked about in many circles.
The Exhibition of The Estate of Tony Curtis presented by Julien’s Auctions, Beverly Hills is designed by Rush Jenkins and Klaus Baer of WRJ Design Associates, who have designed exhibitions for The Collection of Michael Jackson, The Estate of Johnny Cash, The Collection of Cher and more recently The Collection of Barbra Streisand.
Tuesday, September 6th - Friday, September 16th
10am-5pm PDT, Monday through Saturday
Free to Public - Closed on Sundays
Saturday, September 17th, 2011
Session I - 10am PDT
Session II -  2pm  PDT

Julien’s Auctions
9665 Wilshire Blvd.
Suite 150
Beverly Hills, CA  90210
Registering to Bid
Registration is required to bid in this live auction and can be done either in person at the exhibitions and auction or by visiting before the sale or by calling (310) 836-1818.
Placing Bids
There are four ways to bid in this sale:
    •    Bid through Julien’s Auctions Online Live in Real Time at
    •    Place bids in the room by attending the auction
    •    Bid over the telephone through an auction house representative, who sits in the room and conveys the bid to the auctioneer
    •    Enter Absentee bids. Absentee bid forms are printed in the back of each catalogue, and are also available by calling Julien’s Auctions (310)836-1818 or online at
About Julien's Auctions
With expertise specializing in entertainment memorabilia, Julien’s Auctions has quickly established themselves as the premier auction house in high profile celebrity and entertainment auctions. Julien’s Auctions presents exciting, professionally managed and extremely successful auctions with full color high quality auction catalogues unlike any other auction company.  Previous auctions include the collections of Cher, U2, Barbara Streisand, the estate of Marilyn Monroe and many more. Official website is
Press Contact:
Caroline Galloway
440-591-3807  or
(Boston, Massachusetts, August 16, 2011) Thanks to a generous gift from Trustee Emeritus Caleb Loring, Jr., the Boston Athenæum will conserve, catalogue, photograph, digitize, and release on the Internet important selections from its world-renowned Confederate Imprints Collection.

The collection, with more than 12,000 items, is one of the largest and most important of its kind in existence. It includes books, pamphlets, broadsides, newspapers, stamps, paper currency, government bonds, and maps printed in the Confederate States of American (CSA) during the American Civil War.

 “The Confederate Imprints Collection is a great example of the kind of primary source collection the Athenæum was able to create when others did not,” commented Paula D. Matthews, Stanford Calderwood Director and Librarian.

“Thanks to the remarkable foresight of our Librarian and members a century and a half ago, these rare and perishable printed items have survived to the one hundred and fiftieth anniversary of the Civil War. They have long been a key resource for scholars. Now, new technology and this wonderful gift will make a significant portion of the collection available as never before.”

“The Confederate Imprints Project is a great example of how the internet makes new kinds of access to special or hidden resources available to everyone, world-wide,” said James Reid-Cunningham, Associate Director for Preservation and Digitization. “It is also a leading first project for our ‘seamless method’ of collection preservation and access, which begins with the physical object and unites conservation, cataloguing, digitization, and distribution in a single, continuous process.”

The Athenæum began to assemble its Confederate Imprints Collection immediately following the end of hostilities in 1865.

Francis Parkman, the famous historian and an Athenæum Trustee, traveled the war-ravaged southern states with Athenaeum funds to purchase Confederate printed material before it was lost to history. Athenaeum Librarian William F. Poole continued the search by actively advertising in the region and buying heavily. His goal was to acquire “everything printed in the South during the war that goes to illustrate the state and action of the Southern mind”

The original collection was enlarged in 1944, with the purchase of 1500 additional Confederate imprints from Judge Raymond S. Wilkins. In 1969, the Honorable George W. Ball, former U.S. Undersecretary of State and Ambassador to the United Nations, and his son, Douglas Ball, gave the Athenæum an extraordinary collection of Confederate currency, including about 6,200 examples of paper money and 500 CSA bonds and treasury certificates to the Athenaeum.
The Ball gift contained many rarities and fine examples of the various types of engraved and lithographed designs used for bills issued by the individual states and the government.  Like much of the rest of the collection, it has never been completely catalogued and is consequently largely unavailable, even to scholars.
The Loring gift will allow the Athenæum to hire a full-time rare materials cataloguer to work with the Confederate materials for a year, in addition to the Athenæum staff working on the project. The gift will also cover conservation and digitization of significant selections of the collection.

As an independent library, not a government agency or part of a university or college, the Boston Athenæum developed its collections to suit the needs and interests of its own members, often acquiring items, like the Confederate material, long before their significance became clear to others. Thus many of its holdings are especially rare or unique examples of their kind.

The Athenæum recently set up a new webpage, “Digital Collections at the Boston Athenæum,”, as a public access point for its digital collections via the internet. In 2012, digitized portions of the Confederate Imprints Collection will join them.

Founded in 1807, the Boston Athenæum is Boston’s first cultural institution. It combines an art museum, with a public exhibition gallery and collections of paintings, sculpture, prints, drawings, photographs, and decorative arts; a leading research and membership library; and a civic forum including lectures, readings, panel discussions, and other events. An innovator and catalyst for more than two centuries, the Athenæum was one of the three founders of the Museum of Fine Arts, Boston, and the inspiration for the Boston Public Library, the first municipally supported library in North America.

(Katonah, NY) Empire City, Gotham, The Big Apple — whatever you call it, there’s no doubt that New York City has impacted millions of hearts, minds, and imaginations throughout history. This fall, the Katonah Museum of Art shows works of art inspired by New York City in New York, New York! The 20th Century. Organized by the Norton Museum of Art in West Palm Beach, FL, the exhibition features over 50 works from the Norton collection, including paintings, photographs, sculptures, and works on paper, which capture the essence of New York throughout the 20th century. New York, New York! is on view from October 2 through December 31, 2011. The Katonah Museum of Art is located at 134 Jay Street (Route 22) in Katonah, NY. For more information, please visit or call (914) 232-9555.
    Including works by Berenice Abbott, Diane Arbus, Stuart Davis, Andreas Feininger, William Gropper, Childe Hassam, Edward Hopper, John Marin, Reginald Marsh, and Edward Steichen, among others, New York, New York! The 20th Century celebrates the city as muse to photographers, painters, and sculptors, encompassing the varied cultures and lifestyles of its inhabitants. Looking back on a century of tumultuous change, this exhibition is divided into five themes:

    •    On the Waterfront: The docks of the Hudson and East Rivers have seen the arrival of industry and immigrants, marking the beginning of a new life for millions of people. The bridges that connect Manhattan to Brooklyn and Queens are emblematic of the five boroughs’ consolidation in 1898 into what we know now as New York City.
    •    Avenues and Streets: Fifth Avenue evokes style and society, while power and money are the hallmarks of Wall Street. Sidewalks, storefronts, and public spaces reflect the vibrant character of the city’s hundreds of distinct neighborhoods.
    •    In the Park: Artists have long found inspiration in the abundance of life found within the city’s parks. Whether picnicking in the grass or people-watching on a bench, the modern day flâneur can enjoy nature’s wonders away from the hustle and bustle of crowded urban streets.
    •    On the Town: Teeming with culture and entertainment, New York is a place where there’s always something happening no matter what the hour. The kinetic energy of gallery openings, concerts, and restaurants are the pulse of the “city that never sleeps.”
    •    Tall Buildings: A view of the top of the Empire State Building above a sea of clouds is the unofficial “welcome” to the city for air travelers. New York’s inimitable skyline, which was considered daring in the early twentieth century, made way for today’s aesthetic and environmental progress in architecture.
“This is such a rich exhibition on so many levels,” says Nancy Wallach, Director of Curatorial Affairs at the Museum.  “Spanning 100 years of art and history, it captures the vibrancy, power, and beauty of one of the greatest cities of the world through the eyes of some of the most iconic American artists of the 20th century.”
In the Project Gallery and the Learning Center
Storied City: New York in Picture Book Art, October 2 - December 31
Curated by historian/critic Leonard S. Marcus

New York has long held special appeal for the illustrators and writers of children’s books—both as a place to live and as a setting for their stories and art.  Storied City, showcasing original art from more than thirty-five picture books, examines the city’s iconic landmarks, neighborhoods, parks, and modes of transportation.  The featured illustrators include seven Caldecott Medal winners (Richard Egielski, Mordicai Gerstein, Jerry Pinkney, Brian O. Selznick, Marc Simont, David Small, and David Wiesner); several artists long associated with The New Yorker magazine (Maira Kalman, James McMullan, Roxie Munro, Edward Sorel), and many other leading illustrators from the children’s book world.

In The Sculpture Garden and South Lawn
Joseph Wheelwright: Tree Figures, June 5, 2011 - May 2012
New England artist Joseph Wheelwright’s haunting tree figures invite a dialogue between the natural and the manmade.  Ranging up to 27 feet tall, these fantastic, anthropomorphic sculptures were created from trees on Wheelwright’s land in Vermont.  Turned upside down, bifurcated trunks become legs, and roots are transformed into heads and arms.
General Information
The Katonah Museum of Art is located at 134 Jay Street (Route 22) in Katonah, NY.  For information call 914-232-9555 or visit

Museum Hours
Tuesday through Saturday, 10am-5pm, Sunday 12-5pm, Closed Monday.
Admission: $5 general, $3 for seniors and students; members and children under 12 free. Tuesday through Friday, 10am-noon, free.
Free Docent-Led Guided Tours
Tuesday through Saturday, 2:30 pm. Tours are free with admission to the Museum

Contact: Marcia Clark
(845) 528-6647 -

Record Prices for Rare Books on China

As China continues her strong economic growth, and takes her place as one of the great world powers, so too has interest grown in important historical works on the Middle Kingdom. This was hammered home at the auction by PBA Galleries of San Francisco of a small but significant group of rare books on China from the private collection of Margaret Gee, held on August 11, 2011, in a sale of Americana - Travel & Exploration - Maps - Ephemera. Record prices were achieved, with bids coming in from both the eastern and western hemispheres over Internet and telephone, as well as attendees at the auction.
The first of the major works in the collection to hit the block was the Novus Atlas Sinensis of Martinus Martini, c.1655, with 17 double-page engraved maps with hand coloring in outline, the first European atlas of China, issued as the sixth volume in Joannes Blaeu’s Novus Atlas. The lot opened at $20,000, the starting price driven by strong absentee bidding to midway in the $15,000/25,000 estimate. That was not enough, however, and the superb atlas, in a contemporary brown morocco binding, was to sell to an internet bidder from China for $27,000. Next up was Jean-Baptiste Du Halde’s two-volume Description of the Empire of China and Chinese-Tartary, 1738-41, with 64 copper-engraved maps, plans & plates, most folding. Estimated at $8,000/12,000, the start in the room was $11,000, the result of multiple absentee bids. Competing against both floor and Internet, a telephone bidder from England captured the lovely copy at $15,600. Following Jean-Baptiste Grosier’s General Description of China, 1788, which sold for “only” $1,560 against a $700/1000 estimate, was another highlight of the sale, Isidore Helman’s very rare Faits memorabiles des empereurs de la Chine, also published in 1788. A series of 24 folio copper-engraved plates, in uncolored state, this copy was without the title-page, dedication-leaf, or 24 text pages, hence the rather conservative estimate of $3,000/5,000. The lot opened above the high estimate, at $5,500, but that was of no consequence, and the final price was $24,000, selling to a determined international phone bidder.
Soon to follow was the highlight of the auction, a striking set of John Ogilby’s translations of Jan Nieuhoff’s An Embassy from the East-India Company of the United Provinces to the Grand Tartar Cham Emperor of China, 1669, and Arnoldus Montanus’ Atlas Chinensis, 1671. With numerous copper-engraved plates and text illustrations, and uniformly bound in later full calf with modern rebacking, the two folio volumes were in exceptional condition, a fact not lost on the enthusiastic bidders. Vying against an Internet bidder, a customer in the room finally prevailed, but not before being forced to $42,000, far above the pre-sale estimate of $12,000/18000. George Staunton’s An Authentic Account of an Embassy from the King of Great Britain to the Emperor of China..., 1798, three volumes including the folio atlas, saw similar success, but on a smaller scale - estimated at $5,000/8,000, it was finally laid to rest at $13,200. There were other, less expensive works relating to China in the auction, but all engendered competition, with most selling within or above the estimate ranges. All prices listed here include a 20% buyer’s premium.
The full catalogue, and results of each lot, may be viewed at the PBA website, All items are pictured in the online catalogue, but high-resolution images for each of the lots described in this article, suitable for publication, may be received via email. Contact
For information about consigning material to PBA Galleries’ future auctions, please contact Bruce MacMakin (
(Amherst, MA) August 11, 2011-  The Carle is pleased to announce a forthcoming exhibition featuring cartoonist, playwright, screenwriter, and children’s book author and illustrator Jules Feiffer. Growing Every Which Way But Up: The Children’s Book Art of Jules Feiffer will open in Amherst, Massachusetts on October 25, 2011 and remain on view until January 22, 2012.
As an artist and writer of probing wit and uncommon humanity, Jules Feiffer has made a breathtakingly varied contribution to America’s cultural life for over 50 years. From his Village Voice editorial cartoons to his plays and screenplays including Little Murders and Carnal Knowledge, Feiffer’s satirical outlook has helped define us politically, sexually, and socially. He has excelled in journalism, film, and off Broadway. This exhibition will focus on his equally prodigious talents as an author and illustrator of children’s books.
From illustrations that he did to complement Norton Juster’s 1961 uproarious classic, The Phantom Tollbooth, to his current picture-book collaborations with his daughter Kate, Feiffer’s artwork for children is all the more expressive for the years of fatherhood, cartoon-drawing, teaching, and storytelling that informs it. Leonard S. Marcus, the children’s book historian and critic and author of the upcoming The Annotated Phantom Tollbooth, is guest curator for the show. “Feiffer finds that picture-book artists and cartoonists live by many of the same imperatives: the need to instantly grab the reader’s attention, the need to simplify without oversimplifying, and the need to keep the action moving,” Marcus said. Marcus, who wrote  an article about the exhibition for the fall edition of Fine Books & Collections Magazine, says  “Tracing the arc of Feiffer’s latest creative adventure has for me, as the Carle exhibition’s curator, been an exciting chance not only to share with museum-goers some of contemporary children’s literature’s most keenly irreverent graphics, but also to show that ‘kids’ book illustration’ can be just as poignant--and pert--as the many and varied other forms of narrative art that Feiffer has practiced so brilliantly over the years.”
Feiffer’s far-ranging credits include a Pulitzer Prize for his cartoons and an Obie for his plays. The animated version of Munro, which he scripted, won an Academy Award for Best Animated Short. He is a member of the American Academy of Arts and Letters.
Related programming and events:
Public Art Program
Dots that Walk, Lines that Talk
October 27 - November 6
Drawing inspiration from Paul Klee’s quote, “A line is a dot that went for a walk” and Jules Feiffer’s lines that twist, tumble and turn, have fun creating your own visual journey with marking tools and water color wash.
Free with Museum admission
Members’ Opening Reception
Growing Every Which Way But Up:  The Children’s Book Art of Jules Feiffer
A Conversation with Jules Feiffer and Guest Curator Leonard S. Marcus
Saturday, November 5, 2011
5:00 - 7:00 pm
Presentation at 6:15
Feiffer Gallery Tour with Jules Feiffer
(1 PDPs)
Sunday, November 6, 2011
1:00  pm
Book signing to follow
Free with Museum Admission
Phantom Tollbooth Day with Norton Juster
Sunday, November 20, 2011
10:00 am - 5:00 pm
Presentation at 1:00 pm
Book signing to follow
Celebrate the 50th Anniversary of this perennial favorite of children and adults with a conversation with Norton Juster and activities throughout the Museum.
Free with Museum Admission
Meet Jules Feiffer and Kate Feiffer
(1 PDP)
Thursday, December 8, 2011
6:00 - 8:00 pm
Presentation at 7:00 pm
Book signing to follow
About The Eric Carle 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. The Museum is open Mondays in July and August. 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
Images are available for reproduction. For additional press information and /or images, please contact Sandy Soderberg, Marketing Manager (413) 658-1105 or

Philip Levine New U.S. Poet Laureate

Librarian of Congress James H. Billington today announced the appointment of Philip Levine as the Library’s 18th Poet Laureate Consultant in Poetry for 2011-2012.

Levine will take up his duties in the fall, opening the Library’s annual literary season with a reading of his work at the Coolidge Auditorium on Monday, Oct. 17.

"Philip Levine is one of America’s great narrative poets," Billington said. "His plainspoken lyricism has, for half a century, championed the art of telling ‘The Simple Truth’—about working in a Detroit auto factory, as he has, and about the hard work we do to make sense of our lives."

Philip Levine succeeds W.S. Merwin as Poet Laureate and joins a long line of distinguished poets who have served in the position, including Kay Ryan, Charles Simic, Donald Hall, Ted Kooser, Louise Glück, Billy Collins, Stanley Kunitz, Robert Pinsky, Robert Hass, Rita Dove and Richard Wilbur.

Levine is the author of 20 collections of poems, including most recently "News of the World" (2009), which The New York Times Sunday Book Review describes as "characteristically wise." Levine won the 1995 Pulitzer Prize for "The Simple Truth," the National Book Award in 1991 for "What Work Is" and in 1980 for "Ashes: Poems New and Old," the National Book Critics Circle Award in 1979 for both "Ashes: Poems New and Old" and "7 Years From Somewhere," and the 1975 Lenore Marshall Poetry Prize for "Names of the Lost."

Born in Detroit, Mich., on Jan. 10, 1928, Levine received degrees from Wayne State University and the University of Iowa Writer’s Workshop, and in 1957 was awarded the Jones Fellowship in Poetry at Stanford. As a student, he worked a number of industrial jobs at Detroit’s auto-manufacturing plants, including Detroit Transmission—a branch of Cadillac—and the Chevrolet Gear and Axle factory.

Levine has said about writing poems in his mid-20s during his factory days: "I believed even then that if I could transform my experience into poetry, I would give it the value and dignity it did not begin to possess on its own. I thought, too, that if I could write about it I could come to understand it; I believed that if I could understand my life—or at least the part my work played in it—I could embrace it with some degree of joy, an element conspicuously missing from my life."

Levine taught for many years at California State University, Fresno, where he is professor emeritus in the English Department. He has also taught at New York University as Distinguished Writer-in-Residence, as well as at Columbia, Princeton, Brown and Tufts universities, the University of California at Berkeley and elsewhere.

Levine’s nonfiction books include "The Bread of Time: Toward an Autobiography" (1994); "Don't Ask" (1981); and "So Ask: Essays, Conversations, and Interviews" (2002). He also has edited "The Essential Keats" (1987) and translated collections of Spanish poet Gloria Fuertes and Mexican poet Jaime Sabines.

Additional awards include the Ruth Lilly Poetry Prize, the Harriet Monroe Memorial Prize, the Frank O’Hara Prize, two Guggenheim Foundation fellowships and three fellowships from the National Endowment for the Arts (for which he served as chair of the Literature Panel). In 1997 Levine was elected as a member of the American Academy of Arts and Letters, and he served as a Chancellor of the Academy of American Poets from 2000-2006.

For more information on Levine, including downloadable photos and video, visit (New visitors to the site will need to establish an account to receive the user name and password.

Background of the Laureateship

The Poet Laureate is selected for a one-year term by the Librarian of Congress. The choice is based on poetic merit alone and has included a wide variety of poetic styles.

The Library keeps to a minimum the specific duties required of the Poet Laureate, who opens the literary season in October and closes it in May. Laureates, in recent years, have initiated poetry projects that broaden the audiences for poetry.

Kay Ryan launched "Poetry for the Mind’s Joy" in 2009-2010, a project that focused on the poetry being written by community-college students. The project included visits to various community colleges and a poetry contest on the campuses. For more information, visit

Earlier, Rita Dove brought a program of poetry and jazz to the Library’s literary series, along with a reading by young Crow Indian poets and a two-day conference titled "Oil on the Waters: The Black Diaspora," featuring panel discussions, readings and music. Robert Hass sponsored a major conference on nature writing called "Watershed," which continues today as a national poetry competition for elementary- and high-school students, titled "River of Words." Robert Pinsky initiated his Favorite Poem Project, which energized a nation of poetry readers to share their favorite poems in readings across the country and in audio and video recordings. Billy Collins instituted the website Poetry180,, which brought a poem a day into every high-school classroom in all parts of the country via the central announcement system.

More recently, Ted Kooser created a free weekly newspaper column, at, that features a brief poem by a contemporary American poet and an introduction to the poem by Kooser. Donald Hall participated in the first-ever joint poetry readings of the U.S. Poet Laureate and British Poet Laureate Andrew Motion in a program called "Poetry Across the Atlantic," also sponsored by the Poetry Foundation. Charles Simic provided tips on writing at and taught a master class for accomplished poets at the Library of Congress.

The Library of Congress’ Poetry and Literature Center is the home of the Poet Laureate Consultant in Poetry, a position that has existed since 1936, when Archer M. Huntington endowed the Chair of Poetry at the Library. Since then, many of the nation’s most eminent poets have served as Consultant in Poetry to the Library of Congress and, after the passage of Public Law 99-194 (Dec. 20, 1985), as Poet Laureate Consultant in Poetry. The Poet Laureate suggests authors to read in the literary series and plans other special events during the literary season.

Consultants in Poetry and Poets Laureate Consultants in Poetry and their terms of service are listed below.
    •    Joseph Auslander, 1937-1941
    •    Allen Tate, 1943-1944
    •    Robert Penn Warren, 1944-1945
    •    Louise Bogan, 1945-1946
    •    Karl Shapiro, 1946-1947
    •    Robert Lowell, 1947-1948
    •    Leonie Adams, 1948-1949
    •    Elizabeth Bishop, 1949-1950
    •    Conrad Aiken, 1950-1952, the first to serve two terms
    •    William Carlos Williams, appointed in 1952 but did not serve
    •    Randall Jarrell, 1956-1958
    •    Robert Frost, 1958-1959
    •    Richard Eberhart, 1959-1961
    •    Louis Untermeyer, 1961-1963
    •    Howard Nemerov, 1963-1964
    •    Reed Whittemore, 1964-1965
    •    Stephen Spender, 1965-1966
    •    James Dickey, 1966-1968
    •    William Jay Smith, 1968-1970
    •    William Stafford, 1970-1971
    •    Josephine Jacobsen, 1971-1973
    •    Daniel Hoffman, 1973-1974
    •    Stanley Kunitz, 1974-1976
    •    Robert Hayden, 1976-1978
    •    William Meredith, 1978-1980
    •    Maxine Kumin, 1981-1982
    •    Anthony Hecht, 1982-1984
    •    Robert Fitzgerald, 1984-1985
    •    Reed Whittemore, 1984-1985, Interim Consultant in Poetry
    •    Gwendolyn Brooks, 1985-1986
    •    Robert Penn Warren, 1986-1987, first to be Poet Laureate Consultant in Poetry
    •    Richard Wilbur, 1987-1988
    •    Howard Nemerov, 1988-1990
    •    Mark Strand, 1990-1991
    •    Joseph Brodsky, 1991-1992
    •    Mona Van Duyn, 1992-1993
    •    Rita Dove, 1993-1995
    •    Robert Hass, 1995-1997
    •    Robert Pinsky, 1997-2000
    •    Stanley Kunitz, 2000-2001
    •    Billy Collins, 2001-2003
    •    Louise Glück, 2003-2004
    •    Ted Kooser, 2004-2006
    •    Donald Hall, 2006-2007
    •    Charles Simic, 2007-2008
    •    Kay Ryan, 2008-2010
    •    W.S. Merwin 2010-2011

Founded in 1800, the Library of Congress is the nation’s oldest federal cultural institution. It 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

More information on the Poet Laureate and the Poetry and Literature Center can be found at
# # #

Dickens at 200

New York, New York, August 9, 2011—Charles Dickens (1812-1870) was Britain's first true literary superstar. In his time, he attracted international adulation on an unprecedented scale, and many of his books became instant classics. Today, his popularity continues unabated, and his work remains not only widely read but widely adapted to stage and screen.

The Morgan Library & Museum's Dickens collection is the largest in the United States and is one of the two greatest in the world, along with the holdings of Britain's Victoria and Albert Museum. Charles Dickens at 200 celebrates the bicentennial of the great writer's birth in 1812 with manuscripts of his novels and stories, letters, books, photographs, original illustrations, and caricatures. Sweeping in scope, the exhibition captures the art and life of a man whose literary and cultural legacy ranks among the giants of literature.

"It is difficult to imagine a novelist of greater importance in the English language than Charles Dickens," said William M. Griswold, director of The Morgan Library & Museum. "His books are touchstones of literary history and his characters—from Tiny Tim and Oliver Twist to Ebenezer Scrooge and Uriah Heep—are some of the most vividly drawn in all of fiction. The Morgan is delighted to mark this important Dickens anniversary year with an exhibition that celebrates his extraordinary creativity and fascinating life."

Charles Dickens at 200 will focus primarily on Dickens's novels and their relation to his various activities and collaborations—literary, artistic, theatrical, and philanthropic—from The Pickwick Papers (1836), his first book, to Our Mutual Friend (1865), the last he completed. (The Mystery of Edwin Drood remained incomplete at the time of Dickens's death in 1870).

The Morgan's collection of Dickens material notably includes the complete manuscript of Our Mutual Friend, the only manuscript of a Dickens novel in the United States, as well as the manuscripts of three of Dickens's Christmas stories, including the iconic A Christmas Carol (1843). The Morgan has the largest collection of the author's letters (over 1500) in the U.S. as well as more than fifty original illustrations of Dickens's work, complete runs of Dickens's novels published in monthly installments, first editions of his books, portrait photographs, caricatures, playbills, and ephemera.

One section of the exhibition explores the plot outlines and manuscript pages of Our Mutual Friend, a selection of which will be on view to allow visitors to follow Dickens's creative process. In 1865, Dickens dramatically crawled back into the wreckage of a train crash to retrieve the manuscript of an installment of this novel, which is preserved today in the Morgan's collection.

Also on view will be examples of the first appearance of Dickens's novels in monthly published parts, as well as original illustrations (by such artists as Hablot K. Browne, John Leech, George Cruikshank, and Samuel Palmer). These illustrations, alongside Dickens's letters, shed light on his working relationships with the illustrators of his novels and stories.

Another section of the show will feature letters and other documents that reveal the social context and the personal and economic circumstances in which Dickens wrote, including his family life; his travels (to the United States and Europe); and his activity as a social reformer. Dickens was particularly concerned about poverty and prostitution, and collaborated with the philanthropist Angela Burdett-Coutts to address the plight of "fallen women."

Dickens's fascination with dramatic performance, which manifested itself in his participation in amateur theatricals and public readings, and the impact of this interest on his literary technique, will be examined in the exhibition. A selection of original playbills illustrate this aspect of Dickens's work, which encompasses his collaboration with fellow novelist Wilkie Collins. 

The exhibition will also include Dickens's Christmas books. Visitors will be able to see the manuscripts of three of his five Christmas books, including A Christmas Carol (1843), The Cricket on the Hearth (1845), and The Battle of Life (1846). The Morgan owns the manuscript of A Christmas Carol, and this installation will allow visitors to see it in the context of Dickens's other Christmas tales which have been credited by historians with significantly "redefining" the spirit and meaning of the holiday.

According to Professor John O. Jordan, the Director of the international Dickens Project marking the 200th birthday celebration, Dickens is "unusual if not unique among canonical English-language authors in remaining at once a vital focus of academic research and a major figure in popular culture. Only Shakespeare, Mark Twain, and perhaps Jane Austen can compare with him in terms of their ability to hold the attention of both a scholarly and a general audience.... He is widely recognized as the preeminent novelist of the Victorian age and a major figure in world literature."

Organization and Sponsorship

This exhibition is generously underwritten by Fay and Geoffrey Elliott.

Charles Dickens at 200 is organized by Declan Kiely, the Robert H. Taylor Curator and Department Head of Literary and Historical Manuscripts at The Morgan Library & Museum.

To coincide with the exhibition, a new facsimile edition of A Christmas Carol is being published with an introductory essay by Declan Kiely.

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.

Public Programs 


"Endless fertility": The Comic Art of Charles Dickens

Michael Slater

Michael Slater, Emeritus Professor, Birkbeck College, University of London, will discuss Dickens's wide range of comic writing from broad farce to biting satire, and will illustrate his discussion with readings from Dickens's novels, stories, journalism and other writings.

Wednesday, November 2, 6:30 p.m.
Tickets: $15 for Non-Members; $10 for Members


The exhibition Charles Dickens at 200 will be open at 5:30 p.m. especially for program attendees.

Charles Dickens: A Life

Claire Tomalin

Join acclaimed literary biographer Claire Tomalin (Thomas Hardy, Samuel Pepys: The Unequalled Self) as she explores the tumultuous life of the great English novelist in her new book Charles Dickens: A Life. 

Friday, November 18, 6:30 p.m.
Tickets: $15 for Non-Members; $10 for Members

The exhibition Charles Dickens at 200 will be open until 9 p.m.


Great Expectations

(1946, 118 minutes)

Director: David Lean

David Lean's remarkable adaptation captures the warm humor and richness of character that is quintessential in Charles Dickens's writing. Anthony Wager and John Mills star, respectively, as the young and adult Pip in this classic story of a young man's journey from orphan to gentleman. Winner of two Oscars for Best Art Direction and Best Cinematography, the film also features Valerie Hobson and Alec Guinness.

Friday, October 14, 7 p.m.

The Signalman

(1976, 39 minutes)

Director: Lawrence Gordon Clark

In Dickens's chilling, supernatural tale, an unnamed traveler (Bernard Lloyd) encounters a signalman (Denholm Elliot) on a lonely stretch of railway. The screening will be held on Dickens's 200th birthday anniversary, with an introduction by Morgan curator Declan Kiely.

Tuesday, February 7, 7 p.m.
*The exhibition Charles Dickens at 200 will be open at 6 p.m. especially for program attendees.

Exhibition-related films are free with museum admission. 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

Family Programs

When Ghosts Pop Up the Pages: A 3D Christmas Carol 

Celebrate Charles Dickens and the holiday season with pop-up book creator Chuck Fischer (Charles Dickens's A Christmas Carol: A Pop-Up Book). After a brief tour of the exhibition Charles Dickens at 200, children will make their favorite characters from Dickens's classic ghost story come to life as they create pop-up cards to share with family and friends. All supplies included. Appropriate for ages 6-12. This workshop is limited to families with children. There is a limit of two adult tickets per family.
Saturday, November 19, 2-4 p.m. 
Tickets: Adults: $6 for Non-Members; $4 for Members; children $2

Winter Family Day Celebration

Join us for our annual family day celebrating the exhibitions David, Delacroix, and Revolutionary France: Drawings from the Louvre and Charles Dickens at 200. Travel back to the days of Dickens and Revolutionary France with art workshops, strolling characters, a costume photo shoot, festive dancing, and more. For a complete schedule, visit All events are included with admission to the Morgan. Appropriate for ages 6-12.
 Sunday, December 4, 2-5 p.m.

Gallery Talk

Charles Dickens at 200

Declan Kiely, Robert H. Taylor Curator and Department Head, Department of Literary and Historical Manuscripts

Friday, October 21, 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.

The Morgan Library & Museum
Patrick Milliman
Alanna Schindewolf

(Amherst, MA)  The Eric Carle Museum of Picture Book Art in Amherst, Massachusetts is now showing a small exhibition of Pooh and his friends, featuring the book’s penultimate drawing from Winnie-the-Pooh recently purchased by private collectors.  The iconic piece depicts Pooh and Piglet walking into the sunset just moments before they turn back into ordinary toys, and Christopher Robin drags Pooh “bump, bump, bump” back up the stairs.”  Additional Pooh drawings on long-term loan from the Penguin Young Readers Group, a division of Penguin Group (USA), are also on exhibit through September 4th.

“Happily for The Carle, the collectors generously asked if we would like to have this drawing on loan for a period of time.  We are pleased to make this wonderful work the centerpiece of a small exhibition surrounded by a selection of other engaging Pooh drawings from the Penguin archive,” said Carle’s Chief Curator Nick Clark.

Winnie the Pooh is one of the most beloved animals in children’s literature, according to Clarke.  Making his first appearance in 1926 in Winnie-the-Pooh and again in the 1928 sequel, The House at Pooh Corner, this “bear of little brain” has been immortalized by the words of author A. A. Milne and the simple but enduring illustrations of E. H. Shepard. Together with his friends Christopher Robin, Piglet, Eeyore, and Tigger, Pooh’s adventures in the Hundred Acre Wood have enchanted readers young and old for over eight decades, and have been described as one of the greatest celebrations of childhood. 

The timelessness of these stories and drawings is captured in what Milne wrote at the end of Chapter X in The House at Pooh Corner, In Which Christopher Robin and Pooh Come to an Enchanted Place and We Leave Them There: "Wherever they go, and whatever happens to them on the way, in that enchanted place on top of the Forest, a little boy and his bear will always be playing."
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
IMAGES ARE AVAILABLE FOR REPRODUCTION For additional press information and/or images, please contact Sandy Soderberg, Marketing Manager (413) 658-1105 /

French Drawings at the Morgan Library

New York, NY, August 4, 2011—This fall The Morgan Library & Museum will host an exhibition of eighty of the Musée du Louvre's finest drawings by artists working in France from the onset of the Revolution in 1789 through the establishment of the Second Empire in 1852. David, Delacroix, and Revolutionary France: Drawings from the Louvre,which opens Friday, September 23, and runs through December 31, 2011, offers an unprecedented opportunity to experience the mastery of Corot, David, Delacroix, Géricault, Ingres, Prud'hon, and other celebrated artists of the era. The Louvre rarely allows so many major drawings from its famed collection to travel. The Morgan is the sole venue for this exhibition.

Throughout the late eighteenth and much of the nineteenth centuries, France was beset with seismic political, social, and cultural upheaval. The established royal order was overthrown and the country staggered through successive decades of radical regime changes, from republic to empire to constitutional monarchy and back again. These societal upheavals brought about dramatic changes in artistic style, subject matter, and patronage. A new vitality swept through Paris's artistic community, and practitioners who are today considered among the most outstanding artists of their time—Corot, David, Delacroix, Géricault, Ingres, and Prud'hon—moved in important new directions. David, Delacroix, and Revolutionary France: Drawings from the Louvre chronicles this turbulent period, which yielded works that are considered among the most distinguished in the long history of French drawing.

"France's revolutionary era witnessed the emergence of some of the greatest draftsman of all time, as two generations of artists invoked their skill to depict the people, events, and themes that shaped not only French history, but the future of Western civilization," says William M. Griswold, director of The Morgan Library & Museum. "The names Corot, David, Delacroix, and Ingres are synonymous with artistic brilliance, and we are delighted the Louvre has partnered with us to make these superb works available for all to see. The Morgan is internationally recognized for its drawings collection, and in the 1990s we lent more than one hundred masterworks to the Louvre for an exhibition. We are pleased now to be able to show some of the Louvre's outstanding drawings."

Jacques-Louis David's stunning The Sabine Women Intervening to Stop the Fight between the Romans and Sabines attests to the artist's reliance upon elaborate compositional studies in preparation for his large-scale paintings. David pasted patches of paper on this sheet to rework key passages, and the end result is very close in composition to the final painting, now in the Louvre. David's attention to every detail of his vast, complex paintings is expressed in a study of Napoleon, which records one of the artist's early ideas for the figure of the emperor in a depiction of his coronation. Napoleon clutches his sword to his heart as he crowns himself while the Pope looks on. Ultimately this depiction of the emperor's brazen act was rejected, and the subject of David's painting became the crowning of Empress Josephine.

A favorite of the Empress Josephine, Pierre-Paul Prud'hon is well represented with a ravishing study in his signature black and white chalks on blue paper depicting the luscious form of Psyche borne aloft. The sheet is a study for his painting The Rape of Psyche. Prud'hon's renowned Portrait of Constance Mayer depicts his lover and artistic collaborator during their happy years, before their relationship turned tragic and she committed suicide. Also on view is one of the artist's acclaimed academic nudes, beautifully worked and revealing a new naturalism.

The inventive genius of Anne-Louis Girodet de Roucy-Trioson is exemplified by several remarkable sheets, including the large Injured Turk, Falling Backward—a study for a single figure in his chaotic painting the Battle at Cairo—notable for the figure's dramatic pose and colorful costume, and worked in pastels. Girodet's compelling portrait of the printer Firmin Didot captures his friend in the guise of a Romantic genius, heralding a new era. The work of another pupil of David, Francois-Marius Granet, reveals the importance of Rome for French artists, with his atmospheric, heavily washed panorama of the view from Piazza Trinità dei Monti; his expert handling of watercolor is represented in two examples executed after his return to Paris. 

Strikingly original is Théodore Géricault's richly worked drawing of his own left hand. The artist executed the sheet while on his deathbed, and it epitomizes the Romantic movement's increasing interest in the close study of the human body. His Scene of Combat: The Battle of Prince Eugène testifies to the exploration of subjects from recent French history, here in a manner deeply informed by the artist's time in Italy. He depicts, with classical grandeur and in dramatic chiaroscuro, two figures on horseback in direct conflict, silhouetted and frozen in action. He used a similar technique for his lush meditation on an erotic mythological subject, Leda and the Swan. The artist's masterful watercolor Five Horses at the Stake reveals Gericault's love of that quintessential Romantic subject, the horse. Another artist active in Italy, Camille Corot, is famed for his views of the Roman Campagna and Fontainebleau. Here he also displays his talent for depicting the human figure in Nude Girl Crouching in a Landscape, in which a vulnerable girl self-consciously draws her knees to her chest as she shyly averts her gaze. Her body, with its contours defined by an assertive, dark line, rests in a loosely and abstractly rendered landscape.

The greatest master of portraiture, Ingres, is featured with a substantial group of works, including a famous, meticulously detailed drawing of Louis-François Bertin, founder of one of the most influential French newspapers of the first half of the nineteenth century. Both the drawing and the related painting are regarded as exceptional portraits of the triumphant bourgeoisie during the reign of Louis-Phillippe I (r. 1830-48) and represent the height of Ingres's talent in the genre. In addition to an excellent selection of portraits, including a self-portrait, there are two studies for the artist's major late canvas, The Turkish Bath. Each reveals a different aspect of Ingres's draftsmanship, from a confident pen sketch for the composition to a large sheet of black chalk studies exploring the poses of the nude bathers clustered in an interior. Following in Ingres's wake, the brothers Hippolyte and Paul Flandrin portrayed themselves on the same sheet in a masterpiece of double self-portraiture that emphasizes the older master's legacy.
One of the most important paintings by Eugène Delacroix is The Death of Sardanapalus, also at the Louvre. A sheet of preparatory studies related to the canvas captures the energetic development of key figures in the scene. The artist's vigor and the striking fluency with which his hand moved across the page distinctively evoke a work in the making. Delacroix's Study for Liberty Leading the People depicts an early idea for the iconic painting's central figure. In this rough sketch, she is represented as a bare-breasted woman, lunging forward, arm raised as she leads the charge across the barricades. Animated by a sinuous movement and the exaggerated torsion of her hips, Liberty seems to leap off the page. A poignant watercolor of Christ in the Garden of Olives serves as a testimony to the skeptic Delacroix's capacity for emotional intensity and human drama. 

Honoré Daumier's aptitude for naturalism is expressed in a rare early drawing, Head of a Young Woman, Turned Three-Quarters to the Right. The sitter's dress and features suggest that she belongs neither to the realm of the studio nor to the world of bourgeois portraiture, but rather to the prosaic sphere of the working and middle class. A ribald Centaur Abducting a Woman reveals a more robust side of Daumier's oeuvre and displays the full force of his agitated, energetic draughtsmanship. Exceptional works by artists active at mid-century include a vivid and dramatic watercolor of the ancient poet Sappho about to hurl herself off a precipice in despair executed by Théodore Chassériau, who inherited the Romantic fascination with tragic heroines from the past. 


David, Delacroix, and Revolutionary France: Drawings from the Louvre is organized by Louis-Antoine Prat, curator in the Department of Graphic Arts at the Musée du Louvre and Jennifer Tonkovich, curator in the Department of Drawings and Prints at The Morgan Library & Museum, with the assistance of Esther Bell, Moore Curatorial Fellow, The Morgan Library & Museum.

This exhibition is made possible by a major gift from Karen H. Bechtel. Generous support is provided by the Alex Gordon Fund for Exhibitions, the Robert Lehman Foundation, Inc., Karen B. Cohen, Wildenstein & Co., Inc., the National Endowment for the Arts, and The Grand Marnier Foundation, with additional assistance from Patrick and Elizabeth Gerschel.

The Morgan acknowledges the exceptional collaboration of the Musée du Louvre, Paris, and the support of the Musée d'Orsay, Paris.

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

The exhibition catalogue is generously underwritten by the Joseph F. McCrindle Foundation.


The accompanying 200-page hardcover catalogue, like the exhibition itself, is a collaborative project involving the curatorial departments of both the Morgan and the Louvre. A foreword by William M. Griswold, director of the Morgan, is followed by an introductory essay "Great Drawings from a Troubled Period" by Louis-Antoine Prat, curator in the Department of Graphic Arts, Musée du Louvre, Paris. Each work in the exhibition is illustrated in color and accompanied by entries written by Prat and Jennifer Tonkovich, the Morgan's organizing curator, along with Esther Bell, Moore Curatorial Fellow at the Morgan, and Alison Hokanson. The catalogue presents for the first time the Louvre's drawings from this critical period, taking into account new scholarship on individual artists and on the history, literature, and philosophy of the Romantic era. The volume also renders the material accessible to English-speaking audiences, in many cases for the first time. 



Drawing in the Age of Revolutions: New Perspectives 
This symposium coincides with the exhibition David, Delacroix, and Revolutionary France: Drawings from the Louvre. Leading scholars will explore the diversity of draftsmanship during the period and present new research in the field. The program will conclude with a gallery conversation with curators and speakers.

Saturday, September 24, 2-6 pm*

The Art Market, Drawings Galleries, and Collectors

Louis-Antoine Prat, Musée du Louvre and École du Louvre

Between Language and Painting: The Function of Drawing in the Later Work of Jacques-Louis David

Thomas Crow, Institute of Fine Arts, New York University

The Louvre Drawings: A Cultural Historian's Perspective

Stéphane Gerson, New York University

Drawing's Stepchild: The Printed Image from David to Delacroix

Patricia Mainardi, City University of New York

In-Gallery Talks:

"Petits Souvenirs de Bonne Amitié": Drawings and Friendship in Nineteenth-Century France

Esther Bell, The Morgan Library & Museum

Place and Memory in Nineteenth-Century French Drawings

Alison Hokanson, Metropolitan Museum of Art

Tickets: $25 for Non-Members; $20 for Members; free to students with valid ID
Galleries open 10 am to 6 pm. 


"Réalités Invisibles": Music from the Life of Marcel Proust

The Helicon Ensemble

James Roe, Artistic Director

Marcel Proust was a famous lover of music, the invisible art that only exists in the passage of time. The Helicon Ensemble performs French music important in Proust's life and work, with readings from his masterpiece In Search of Lost Time by noted poet and translator Richard Howard.

Nicholas Phan, tenor; Jennifer Frautschi, violin; Mark Steinberg, violin; Hsin-Yun Huang, viola; Edward Arron, cello; Pedja Muzijevic, piano; Richard Howard, reader and Proust translator

Reynaldo Hahn, Songs and Waltzes 

Camille Saint-Saëns, Violin Sonata No. 1 in D Minor, Op. 75 

César Franck, Piano Quintet in F Minor, Op. 7

Tuesday, October 4, 7:30 pm*

Tickets: $35 for Non-Members; $25 for Members


The exhibitions David, Delacroix, and Revolutionary France: Drawings from the Louvre and Ingres at the Morgan, will be open at 6:30 pm for concert attendees.

Family Programs

Smithsonian Magazine Museum Day

As part of Smithsonian Magazine's Annual Museum Day, visit the Morgan for free on September 24 by printing out a ticket here: museumday/. Don't miss our family programs, where artist and Art Student League instructor Naomi Campbell will lead a drop-in live model sketching workshop designed to introduce children and their parents to the fundamentals of figure drawing. Families will also be invited to visit the exhibition David, Delacroix, and Revolutionary France: Drawings from the Louvre, where educator Lisa Libicki will engage children in the discovery of drawing as a powerful outlet for artists to express their personal visions. Appropriate for ages 6 and up. Program is free with museum admission or Smithsonian Museum Day Ticket.

Saturday, September 24, 2-5 pm

Winter Family Day Celebration

Join us for our annual family day celebrating the exhibitions David, Delacroix, and Revolutionary France: Drawings from the Louvre and Charles Dickens at 200. Travel back to the days of Dickens and Revolutionary France with art workshops, strolling characters, a costume photo shoot, festive dancing, and more. For a complete schedule, visit All events are included with admission to the Morgan. Appropriate for ages 6-12.

Sunday, December 4, 2-5 pm

Gallery Talks

David, Delacroix, and Revolutionary France: Drawings from the Louvre
Esther Bell, Moore Curatorial Fellow, Department of Drawings and Prints

Friday, October 28, 7 pm

David, Delacroix, and Revolutionary France: Drawings from the Louvre 
Alison Hokanson, research assistant, Department of Drawings and Prints, Metropolitan Museum of Art
Friday, December 2, 7 pm

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

BOSTON, MA -Imagine a place where the best printed works are not downloadable, but available to touch and view in their original forms—that place is the Boston International Antiquarian Book Fair.  The annual fall gathering for booklovers, returns to the Hynes Convention Center in Boston’s beautiful Back Bay, November 11-13, 2011, offering an engaging cross-section of the best printed works from around the world.  More than 120 dealers will be in attendance, featuring fine and rare books, manuscripts, maps, prints and modern first editions.  Participants come United States, England, Germany, Canada, France, Hungary, The Netherlands, and for the first time Argentina.

Seminars and events punctuate the weekend, including the Ticknor Society Roundtable on Saturday, a panel discussion of collectors talking about their collections; and free appraisals on Sunday where patrons can bring in their own books for expert evaluation.  More events will be announced, and folks can visit for up to the minute details.

Friday, November 11 5:00-9:00pm Tickets: $15.00 - Opening Night (tickets valid throughout the weekend)

Saturday, November 12 12:00-7:00pm Tickets: $8.00 each day

Sunday, November 13 12:00-5:00pm Tickets: $8.00 each day

Haynes Convention Center

900 Boylston Street

Boston, MA

The Boston International Antiquarian Book Fair is sponsored by the New England Chapter of the Antiquarian Booksellers’ Association of America. A portion of the ticket sales proceeds will benefit the Boston Pubic Library and the American Antiquarian Society. Tickets will be sold online at and at the show’s box office during show hours. Additional information, including a list of exhibitors, can be found at

The Boston International Antiquarian Book Fair is produced by Commonwealth Promotion, Inc

POUGHKEEPSIE, NY -- A major exhibit and symposium organized by the Vassar College Libraries will mark the centenary of the acclaimed poet Elizabeth Bishop, a 1934 Vassar graduate who earned the Pulitzer Prize and many other major U.S. literary honors before her death in 1979. Central to these upcoming events are the unmatched Elizabeth Bishop Papers housed at the college’s Archives and Special Collections Library, which play a vital research role for scholars, writers, and editors from around the world.Notably, these programs dedicated to Elizabeth Bishop are part of Vassar’s special year-long celebration of the sesquicentennial of its founding.

About the exhibit/“From the Archive: Discovering Elizabeth Bishop”
August 30-December 15
Thompson Memorial Library

Curator Ronald Patkus, the Head of Special Collections at the Vassar College Libraries, asked ten Elizabeth Bishop scholars and editors (Joelle Biele, Lorrie Goldensohn, Saskia Hamilton, Bethany Hicok, Brett Millier, Barbara Page, Alice Quinn, Camille Roman, Lloyd Schwartz, and Thomas Travisano) to
select items from Vassar’s Bishop collection that were important to their writing about the poet. For example, Brett Millier (Elizabeth Bishop: Life and the Memory of It, University of California Press, 1995) selected a composition book that Bishop used in 1934 right after graduating from college; in the book Millier found four pages of writing about the nuances of island life that suggest the origin of several later Bishop poems. Camille Roman (Elizabeth Bishop’s World War II-Cold War View, Palgrave Macmillan, 2004) chose for the exhibit an early draft of the poem “12 O’Clock News,” because discovering it at Vassar led Roman to re-read Bishop’s poetry through the frame of war. Alice Quinn picked two drafts of the unfinished story “Homesickness”; earlier, on the invitation of Bishop’s longtime editor Robert Giroux, Quinn edited a volume of Bishop writings that only reside in the Vassar collection (Edgar Allan Poe & The Jukebox: Uncollected Poems, Drafts, and Fragments By Elizabeth Bishop, Farrar, Straus & Giroux, 2006).

About the symposium
September 24
Taylor Hall

Hartwick College professor Thomas Travisano will moderate a morning discussion “On Editing Bishop,” with panelists Alice Quinn, Lloyd Schwartz, Saskia Hamilton, and Joelle Biele. Barbara Page, Professor Emeritus at Vassar College, will moderate an afternoon discussion “On Teaching Bishop” with panelists Beth Spires, Lorrie Goldensohn, and Jane Shore. The symposium culminates with a keynote address by former U.S. Poet Laureate Robert Pinsky, who will also read his new poem dedicated to Vassar’s sesquicentennial and commissioned by the college for the occasion.

About Elizabeth Bishop

Elizabeth Bishop (8 February 1911- 6 October 1979) stands as a major mid-twentieth century American poet, whose influence has been felt among several subsequent generations of poets. Her many prizes included the Pulitzer, the National Book Award, two Guggenheims, the National Book Critics Circle Award, the Neustadt International Prize for Literature, and Brazil's Order of Rio Branco. Bishop's first book of poems, North & South, appeared in 1946; the second, Poems (including North & South and A Cold Spring), in 1955; the third, Questions of Travel, in 1965, and the last, Geography III, in 1976. A one-time Consultant in Poetry to the Library of Congress, Bishop also published several poems in The New Yorker, wrote a number of distinctive short stories, and translated poems and prose in three languages, She wrote a volume in the Life World Library on Brazil, and co-edited An Anthology of Twentieth-Century Brazilian Poetry.

About the Elizabeth Bishop Papers at the Vassar College Libraries

Originally acquired by Vassar College in 1981 from the poet’s estate, the premiere Elizabeth Bishop repository consists of correspondence, personal papers, working papers, notebooks, diaries, and memorabilia, as well as a substantial amount of material by and about the poet’s friends and colleagues. Among the collection are over 3,500 pages of drafts of poems and prose; over 200 letters from poet Marianne Moore discussing their work and mutual friends; and over 200 letters from poet Robert Lowell discussing their work, Bishop’s influence on his work, as well as such prominent writers as Ezra Pound, William Carlos Williams, W.H. Auden, Sylvia Plath, Flannery O'Connor, and Mary McCarthy.

Vassar has steadily expanded its Bishop collection through donations, bequests, and purchases. “These additions have been both significant and sizeable,” writes curator Ronald Patkus for the publication accompanying the Elizabeth Bishop papers exhibit. “As in the original acquisition, they include a variety of materials, but especially correspondence with friends and fellow poets, such as James Merrill, Emmanuel Brasil, and Lloyd Frankenberg. One of the most important additions came in 2002, when the college acquired a collection from the Portinari family in Brazil, which contained among other things Bishop’s baby book; letters to friends from around the time of her partner Lota’s death; two watercolors; and an annotated copy of the book Brazil, edited by Bishop and first published in 1962.”

Vassar College is a highly selective, coeducational, independent, residential, liberal arts college founded in 1861.

PUBLIC CONTACT: Vassar College Libraries, (845) 437-5760, Office of Campus Activities, (845) 437-5370

PRESS CONTACT: Jeff Kosmacher, Director of Media Relations & Public Affairs, (845) 437-7404,

The Fine Art Auction Group, holding company for the Dreweatts and BCVA auction businesses, has acquired the London-based Bloomsbury Auctions business from Bloomsbury Auctions Ltd, consolidating the co-marketing alliance that has been in place between the two firms since October 2009. The acquisition of the Bloomsbury business is being effected through a newly-formed subsidiary which assumes all the current trade of the Bloomsbury Auctions business. Bloomsbury Auctions will continue to operate in tandem with Dreweatts and, working together, both will further expand their now integrated portfolio of services to the UK and European fine art and collectors markets. Bloomsbury Auctions Italia is not being acquired in the transaction and will continue to trade as Bloomsbury Auctions in Italy under a franchise arrangement.

The Fine Art Auction Group expects combined 2011 sales to approach £30,000,000 as a result of the acquisition, representing a 50% increase from 2010. Both businesses have a broad spectrum of specialist and general sales and are focussed on increasing their share of the ‘Single Owner Collections’ market. E-commerce is high on the development agenda for the enlarged business, with ATG Media’s being the primary online-bidding platform that both businesses already use, in addition to, and

“The merging of Bloomsbury’s London activities into the Dreweatts network of salerooms reinforces our position as the fourth largest auction group in the United Kingdom. We will continue to develop our already diverse calendar of sales both regionally as well as in the key London market. Dreweatts’ 250 year old heritage marries well with Bloomsbury’s pre-eminent position in the market for rare books and works on paper and the two businesses will continue to capitalise on the numerous synergies underlying their respective operations” commented Stephan Ludwig, Dreweatts’ Executive Chairman. There are not anticipated to be any significant changes in the management structure of the two businesses and all current Bloomsbury staff are being transferred under the acquisition.

“We have been exploring options for the future growth of the Bloomsbury business for some time and, in Dreweatts, have found a very complementary fit. Working together increasingly closely over the past year has demonstrated to us the undoubted advantages that a generalist auctioneer with Dreweatts’ excellent reputation can offer the narrower market for our expertise in works on paper. It has been particularly pleasing to witness the growing number of mixed consignments that we have successfully competed for during the run-up to this transaction” stated Rupert Powell, Bloomsbury Auctions Ltd’s managing director, who will become a Deputy Chairman of the enlarged business and joins the Dreweatts management board.

“I have been working increasingly closely with our colleagues at Bloomsbury over the past 18 months, and have been very impressed by the quality of introductions of new business for Dreweatts that this alliance has already produced. Rupert Powell and I have known each other for many years as presenters on the BBC’s Antiques Roadshow and I warmly welcome him and his team into our fold” observed Clive Stewart-Lockhart, Dreweatts’ Deputy Chairman.

“In selling the Bloomsbury business to The Fine Art Auction Group we have realised a long-held objective of transferring the business to a growing company that can best leverage the international developments that Bloomsbury Auctions has achieved over the 10 years in Stocklight’s ownership. We look forward to seeing Dreweatts and Bloomsbury Auctions working together to further enhance the client service capabilities that have set Bloomsbury apart as the world’s leading auctioneer of works on paper” enthused Tommaso Zanzotto, Chairman of both Bloomsbury Auctions Ltd and Stocklight Ltd.

Dreweatts has enjoyed a 10% increase in turnover for the first six months of 2011 to over £9,000,000. Bloomsbury Auctions has continued to diversify its business alongside its rare books and manuscripts core competency, realising sales in excess of £1,000,000 in its June 30 auction of 20th Century Prints that included a world auction record of £219,600 for Warhol’s “Madonna and Self-Portrait with Skeleton's Arm, after Munch”.
Auction Guide