January 2012 Archives

NEW YORK - The Billy Wright Collection, a newly CGC-pedigreed collection - featuring five of the top six comic books in the hobby, all unrestored and all offered without reserves - leads the way in Heritage’s Feb. 22-24 Vintage Comics and Comic Art Signature® Auction, taking place at the Fletcher-Sinclair Mansion (Ukrainian Institute of America) at 2 East 79th Street (at 5th Ave.).

“While a relatively small collection of little more than 300 comic books,” said Lon Allen, Managing Director of Comics Auctions at Heritage. “The Billy Wright Collection represents not only five of the top six comics in the business, but also 45 of the top 100 comics overall, all unrestored.”

Those top comics include Detective Comics #27 (DC, 1939) CGC FN+ 6.5, the first appearance of “The Bat Man” (Estimate: $475,000+); Action Comics #1 (DC, 1938) CGC GD/VG 3.0, the most important comic book ever published (Estimate: $325,000+); All-American Comics #16 (DC, 1940) CGC VF 8.0, the debut of Green Lantern (Estimate: $125,000+); Batman #1 (DC, 1940) CGC VF+ 8.5, a superb copy of the first official Batman comic (Estimate: $125,000) and Marvel Comics #1 (Timely, 1939) CGC VF- 7.5 (Estimate: $125,000+).

In complement to the Billy Wright copy of Detective #27, Heritage will also be offering another copy of the famed comic book, this one in a lesser grade, CGC 2.0, estimated at $80,000+, giving collectors two chances to own one of the greatest comic books of all time.

Collectors will also take special note of the amazing Curator Pedigree run of Fantastic Four comics, led by a superb CGC 9.4 graded copy of Fantastic Four #5, estimated at $55,000+.

“Not much is known about this collection,” said Ed Jaster, Senior Vice President of Heritage Auctions, “but many experts agree that the Curator books are among the best Silver Age Marvel comics available, and many of these FFs are the highest-graded copies in existence.”

One of the most interesting wrinkles in the Feb. 22-24 Heritage Comics event will be the auction of 12 original DC “ashcan” comics, special editions created by DC comics to protect trademark and logos of what would become their most valuable titles, including Action Comics. The top offering of these incredibly rare books is the Action Funnies Ashcan Edition (DC, 1937/38) Condition: VF+, estimated at $20,000+.

“In the early days of comics publishing,” said Jaster, “a print run might have been in the hundreds of thousands, maybe even the millions. Yet only about 100 to 1,000 of a given issue of any comic survived. With these ashcans, only two or three copies were made in the first place, so it’s a miracle that even one of these has made it.”

As is always the case with Heritage Comics auction, original comic art plays an important role in this event, led by John Romita Sr.’s Amazing Spider-Man Annual #3 cover art, a large size cover, by one of the greatest names to ever pick up a pen, featuring superb renderings of almost every top Marvel character. The piece is estimated at $100,000+.

A Dark Knight Returns #1 original double page spread, pages 46-47, a moody sequence featuring classic villain Two-Face, is expected to catch collector attention, as original Dark Knight artwork has recently been commanding great interest in the hobby and superb prices. This piece is expected to bring $50,000+.

The creator of The Dark Knight series, Frank Miller himself, has consigned two pieces of original Dark Knight artwork to the auction, Absolute Dark Knight Book Cover Original Art (DC, 2006) and Batman: The Dark Knight Returns (10th Anniversary Edition) Batman and Robin Frontispiece Splash Page Original Art (DC, 1997), a classic take on the famous issue #3, Page 10 splash page art from the original Dark Knight series. Both pieces are estimated at $50,000+.

“These pieces, consigned by the master himself, Frank Miller, represent some of the best original Dark Knight artwork yet to come on the market,” said Todd Hignite, Vice President of Heritage. “To top it off, Miller himself will be making an appearance at the auction preview on Tuesday, Feb. 21, at the Fletcher-Sinclair Mansion. Fans are more than welcome to come by and say hello in person.”

One of the most special pieces in the auction, and likely one of the event’s sleeper pieces, is the original published Bill Watterson cover art for the Calvin & Hobbes 1989-1990 18-month calendar, the only piece of published Calvin & Hobbes artwork to ever surface for public auction. While estimated at $50,000+, this piece has the potential to go much higher.

“Beyond the Peanuts comic strips of legendary cartoonist Charles Schulz, there is no more popular comic strip and certainly no strip where the original art is more in demand,” said Hignite. “The difference being that original Schulz work can be had at a variety of price points. Original published Calvin and Hobbes artwork simply never comes up for public auction. There’s really no telling how high collectors will be willing to go on this one, seeing as they will also be competing with non-traditional collectors who simply love the comic strip and will be very excited to see a piece of original art on the block.”

One more important original comic art highlight is represent by the original Robert Crumb cover art for The People’s Comix, estimated at $30,000+. This is the artwork from the famous mid-1970s Underground Comic where R. Crumb - bitter over the many difficulties thrown his way by his early success, and his opposition to the Ralph Bakshi Fritz the Cat movie - actually kills off his beloved Fritz, a character he had drawn since childhood.

New York - Phillips de Pury & Company continues to set the standard for editions with strong results totaling $1,585,125: selling 88% by value and 85% by lot.

In a packed and buzzing saleroom there was fierce competition between internet bidders formany pieces including prints by Ed Ruscha and Keith Haring with a lively bidding war taking place between phone and internet bidders for Andy Warhol’s Liz lithograph which sold for $22,500 nearly four times its pre- sale estimate.

"Another Editions filled auction room with new and enthusiastic faces helped propel the sale to strong results yesterday afternoon on Park Avenue. People will respond to fresh work presented beautifully, even in non-traditional selling times. Record prices were set for images by Helen Frankenthaler, Marcel Duchamp, Tom Wesselmann, Jasper Johns, Roy Lichtenstein, Richard Serra and John Baldessari amongst others." Kelly Troester and Cary Leibowitz, Co-Directors of Modern and Contemporary Editions.

Top Ten Lots
102 ANDY WARHOL, Flash-November 22, 1963, $52,500
52 LYNN CHADWICK, Walking Cloaked Figures VI: one sculpture, $35,000
61 MARTIN LEWIS, Quarter of Nine, Saturday’s Children, $22,500 world record price for this image
103 ANDY WARHOL, Liz, $22,500
256 DAMIEN HIRST, Pharmaceuticals, $21,875
234 JOHN BALDESSARI, Object (with Flaw), $21,250
93 TOM WESSELMANN, Monica Nude with Cezanne, from Portfolio 90, $20,000
192 RICHARD ARTSCHWAGER, Book, $18,750 world record price for this multiple
60 VARIOUS ARTISTS, Regards sur Paris portfolio, $18,750
71 ROBERT RAUSCHENBERG, American Pewter with Burroughs series, $18,750 world record price for this set

The Evening Editions sale will take place on April 25th at 6pm at 450 Park Avenue.

The British Library's Love Letters

Love Letters: 2000 Years of Romance, a title published by the British Library, is the first ever anthology to reproduce original love letters in each of the writers’ own hand. Featuring letters drawn from the Library's unique and vast collections, the romance spans from 168 BC to the 20th century and offers a rare insight into the intimate thoughts, feelings and desires of iconic individuals such as Anne Boleyn, Henry VIII, Charles Dickens and Oscar Wilde.
Edited and written by Andrea Clarke, Curator of Early Modern Historical Manuscripts, Love Letters displays and transcribes in full 25 letters with engaging commentaries about the correspondents and their circumstances, as well as portraits of the writers and recipients. It includes letters by figures such as Henry VIII, Charles Dickens, Charlotte Brontë, Horatio Lord Nelson, Oscar Wilde and Mervyn Peake.

From the raw passion of Rupert Brooke’s letter to Cathleen Nesbitt - ‘I will kiss you till I kill you’ - to the hurt and dejected pre-wedding note from Charles Dickens to his fiancée - ‘do not trifle with me’ - Love Letters exposes ‘every shade of love’ through these personal and private letters between lovers over hundreds of years.

Highlights include:

    •    Charlotte Brontë to Professor Constantin Héger, November 1844 - infatuated with her Belgian Professor, Charlotte wrote letters to him and despite the fact that Professor Héger tore up three of them and threw all four away, incredibly four of her letters have survived. Curiously, it is thanks to his wife - who retrieved them and sewed them back together - that we are able to read them today.

    •    Oscar Wilde to Lord Alfred Douglas, January 1897 - the first and last pages of ‘De Profundis’, the 50,000-word letter that Wilde wrote to Douglas from Reading Gaol between December 1896 and March 1897. As well as charting Wilde’s spiritual growth through the physical and emotional hardships of his imprisonment, the letter is a bitter - yet remarkably tender and forgiving - indictment of the man who he felt had helped to destroy his life and reputation.

    •    Mervyn Peake to his wife, Maeve, 1949 - previously unpublished, Peake’s wonderfully illustrated and heartfelt letter was written just before his wife went to hospital to give birth. He signs off, ‘Maevie. I am in love. Deeply. Un-endingly, for ever and ever.’

Andrea Clarke, author of Love Letters, says: “In an age of emails, tweets and texted ‘I luv u’s’, Love Letters invites us into a privileged realm and reminds us why the written word is so special. We are delighted to share these handwritten, intimate exchanges between couples - some famous, others now lost to history - with a wider audience.”

To celebrate the publication of Love Letters the Library will hold an event in February with special guests, including acclaimed biographer Anne Sebba, who will join British Library curator Andrea Clarke, for a pre-Valentine's Day dip into the most intimate world of the handwritten love letter, with fascinating readings, discussion and insights into the private relationships of people across centuries and cultures.

British Library Publishing http://publishing.bl.uk/ 

Love Letters
is available to buy from the British Library shop www.bl.uk/shop (T +44 (0)20 7412 7735 / email bl_shop@bl.uk )


Love Letters: 2000 Years of Romance

When: Sat 11 Feb 2012, 14.00 - 16.30

Where: Conference Centre, British Library
Price: £7.50 / £5 concessions


Love Letters
1: Letter from Isaias to her husband, Hephaestion, 29 August 168 BC
2: Margery Brews to John Paston III, February 1477
3: Prince Arthur to Katherine of Aragon, 5 October 1499
4: Pierre Sala, Petit Livre d’Amour (letter to Marguerite Bullioud), c.1500
5: Anne Boleyn and Henry VIII, love notes in a Book of Hours, c.1528
6: Katherine Parr to Henry VIII, July 1544
7: Earl of Essex to Elizabeth I, 18 October 1591
8: Sir Thomas Baskerville to his wife, Mary, 21 August 1595
9: Thomas Knyvett to his wife, Katherine, 26 November 1621
10: George Villiers to James I, 29 August 1623
11: Dorothy Osbourne to Sir William Temple, 15/16 October 1653
12: Sir John Fenwick to his wife, Mary, January 1697
13: Vanessa [Esther van Homrigh] to Jonathan Swift, 1714
14: Horatio Nelson’s last letter to Lady Emma Hamilton, 19 October 1805
15: Charles Dickens to his future wife, Catherine Hogarth, May 1835
16: Charlotte Brontë to Professor Constantin Héger, 18 November 1844
17: Oscar Wilde to Lord Alfred Douglas, De Profundis, January 1897
18: Gordon Bottomley to Emily Burton, 17 October 1899
19: Elizabeth Barrett Browning, Sonnet 43 from Sonnets from the Portuguese, c. 1846
20: Christina Rossetti, Valentine poem to her mother, 1884
21: Rupert Brooke to Cathleen Nesbitt, 1913
22: Roger Keyes to his wife, Eva, 10 December 1914
23: Mervyn Peake to his wife, Maeve Gilmore, early 1940s
24: Ted Hughes, poem to Sylvia Plath, c.1980
25: Ralph Richardson to his wife, Meriel Forbes, 1964-70
For more information contact:
Evie Jeffreys
British Library
t:+ 44 (0) 20 7412 7105
The British Library is the national library of the United Kingdom and one of the world's greatest research libraries. It provides world class information services to the academic, business, research and scientific communities and offers unparalleled access to the world's largest and most comprehensive research collection. The Library's collection has developed over 250 years and exceeds 150 million separate items representing every age of written civilisation and includes books, journals, manuscripts, maps, stamps, music, patents, photographs, newspapers and sound recordings in all written and spoken languages. Up to 10 million people visit the British Library website - www.bl.uk - every year where they can view up to 4 million digitised collection items and over 40 million pages. 

Boston, Mass - January 2012 - Skinner, Inc. will auction prints, photographs, paintings and sculptures on Friday, February 3rd in two sessions at their Boston gallery. The prints and photography portion of the sale will begin at 12 p.m.; paintings and sculptures at 4 p.m.

Skinner recently has seen strong growth in the area of prints, drawings, and photography and will present an excellent assortment of work on paper in the upcoming sale. Highlights include works of Jasper Johns, Gustave Baumann, Jacques Villon, and M.C. Escher.

Jasper Johns frequently interpreted the same subject matter in different media at different points in his career. In 1955 Johns created an encaustic painting with collage and plaster cast elements. He revisited this same composition 25 years later, reinterpreting it in the 1980 etching Target with Plaster Casts (lot 75) estimated to sell between $20,000 and $25,000.

A woodblock print by Gustave Baumann will also be offered. The Ridge Road (lot 15), a color woodcut design, is estimated between $3,000 and $5,000 and features one of the first examples of Baumann’s use of the “hand-in-heart” chop mark. This exemplary piece demonstrates the style that would later cause Baumann to be regarded as one of the premiere woodcut artists in early 20th century America.
Several works by Jacques Villon will be up for bid, most notably a print of L’Espagnole (lot 177) estimated between $6,000 and $8,000. This work, which copies the eponymous portrait by Henri Matisse, shows Villon’s skill at capturing the styles of his contemporaries in intaglio print. Also offered will be Villon’s interpretation of Marcel Duchamp’s La Mariée from 1934 (lot 178), estimated between $1,500 and $2,000, and a number of Villon’s own designs including Minne étendue dans un rocking-chair, le repos from 1907 (lot 174) estimated between $700 and $900.

The classic image from 1944, Encounter (lot 43),from the ever-popular Dutch artist M.C. Escher, is estimated between $15,000 and $20,000.

A collection of photographs from a former film expert and technician at Polaroid Corporation will be offered. It includes the black-and-white Minor White (lot 241), estimated between $400 and $600, and a group of 17 Polaroid images (lot 208) taken for a 1972 film produced by Charles and Ray Eames to promote the Polaroid SX-70 camera. The group of photos is estimated to sell between $1,200 and $1,800.

Multiple images by rock and roll photographer Jim Marshall will be sold, including a 1963 photograph of Bob Dylan, Dylan - Seventh Ave. N.Y.C. (lot 227) estimated between $1,800 and $2,200.

Modernist Paintings
American modernist works are well represented with notable examples including Maurice Brazil Prendergast’s watercolor entitled Maine (lot 446) estimated between $25,000 and $30,000, and an untitled work by Lyonel Feininger (lot 602) estimated between $20,000 and $40,000. Marsden Hartley’s Two Gulls (lot 607) is estimated between $10,000 and $15,000; Autumn Tree (lot 626) by Milton Clark Avery is estimated between $20,000 and $30,000; and John Marin’s Mt. Washington (lot 618) is estimated between $30,000 and $50,000.

Untitled, a painting by Danish Painter Asger Oluf Jorn (lot 612) has drawn considerable pre-sale interest and is estimated between $50,000 and $70,000. Jorn worked in a variety of styles, from the figurative to the abstract, creating works that include political, pre-historic, and mythological references. This 1952 work is closely related to the palate and social sensibility of Jorns’ 1959 series The Silence Myth although it isn’t known to be a part of that series.

European Paintings
A fine work by Jean-Baptiste Greuze, Portrait of a Young Man (lot 314) was likely to have been painted around 1800. This rediscovered work, estimated between $40,000 and $60,000, is sensitively rendered and is expected to appeal to European buyers.

Additional European highlights include Leon Jean Basile Perrault’s Le Petit Frère (lot 318), which is estimated between $60,000 and $80,000; Belgian artist Edward Antoon Portielje’s Interior with Two Young Women Sharing a Letter (lot 323), estimated between $6,000 and $8,000; and a work by Charles Bertrand d'Entraygues, The Young Magician (lot 326), estimated between $8,000 and $12,000.

Special Events
Blooms for Books
As part of this sale there will be a special presentation during which Skinner Inc. will auction three original floral arrangements. Kathy Wong, a specialist in Skinner’s Department of American & European Works of Art, will interpret three notable works presented in the auction with fresh flowers. Each artistic flower arrangement will be sold during auction after the lot on which it is modeled. Proceeds will benefit the Fine Arts Research Library at the Boston Public Library.

Gallery Walk, Thursday February 2nd
On Thursday, February 2nd there will be a Fine Art Gallery Walk presented by Robin Starr, Director of American and European Works of Art, with a reception at 5:30 p.m. and Gallery Walk at 6 p.m. at the Skinner gallery, 63 Park Plaza, Boston, MA. Register here: http://conta.cc/02-02-gallerywalk.
Previews, Catalogues and Bidding
Previews for the auction will be held on Wednesday, February 1st, 2012, 12 p.m.-5 p.m., and Thursday, February 2nd, 12 p.m.-8 p.m., and Friday, February 3rd, 9 a.m.-10:30 a.m. Illustrated catalogue #2581B is available by mail for $35 ($42 for foreign requests) from the subscription department at 508-970-3240. It is also available at the gallery for $32. Prices realized will be available at www.skinnerinc.com during and after the sale. Skinner's site also allows users to view all lots in the auctions, leave bids, order catalogues, and bid live in real-time through SkinnerLive!

About Skinner
Skinner, Inc. is one of the world’s leading auction houses for antiques and fine art. With expertise in over 20 specialty collecting areas, Skinner draws the interest of buyers from all over the world and its auctions regularly achieve world record prices. Skinner provides a broad range of auction and appraisal services, and it is widely regarded as one of the most trusted names in the auction business. Skinner’s appraisal experts regularly appear on the PBS-TV series, Antiques Roadshow, and its specialty departments include American Furniture & Decorative Arts, American & European Works of Art, European Furniture & Decorative Arts, 20th Century Design, Fine Ceramics, Fine Silver, Fine Jewelry, Couture, Fine Musical Instruments, Asian Works of Art, Fine Wines, Rare Books & Manuscripts, Oriental Rugs & Carpets, American Indian & Ethnographic Art, Fine Judaica, Antique Motor Vehicles, Toys, Dolls & Collectibles, Discovery and Science, Technology & Clocks. Skinner galleries are located in Boston and Marlborough, Mass. For more information on upcoming auctions and events, visit Skinner’s web site www.skinnerinc.com.
    •    Robin Starr, Director of American & European Works of Art, 508-970-3206, rstarr@skinnerinc.com
    •    Kate de Bethune, Director of Marketing, 508-970-3231, kdebethune@skinnerinc.com
Oxford, 24 January 2012 - The Bodleian main exhibition opens to the public this Saturday, 28 January. It celebrates the stories of medieval romance and how they have influenced our culture, literature and art over the last thousand years.  It includes the dramatic love stories about King Arthur and Tristan and Isolde as they are illustrated in sumptuous medieval manuscripts, alongside works of art and draft papers by J.R.R. Tolkien, Philip Pullman and Monty Python, the last on public display for first time.

The Romance of the Middle Ages exhibition at the Bodleian Library draws on the Bodleian’s outstanding collection of manuscripts and early printed books containing medieval romances. These range from lavishly-illustrated volumes to personal notebooks and fragments only saved by chance. Alongside these will be works of art from across Europe that illustrate romance legends; these include ivory carvings, jewellery and caskets, on loan from national museums and collections.

Romance writing developed in Britain after the Norman Conquest and flourished as a form of storytelling right through to the Middle Ages, forming the basis for many kinds of later drama, poetry and prose fiction. This colourful exhibition tells how these compelling medieval stories have inspired writers and artists across the centuries; from the early modern period (including Shakespeare, Ariosto and Cervantes) through to medievalism in the eighteenth and nineteenth centuries (including Walter Scott, Edward Burne-Jones and William Morris) and, finally, to contemporary versions and adaptations (including manuscripts and drafts by J.R.R. Tolkien, Philip Pullman and the Monty Python team). From the Knights of the Round Table to the Knights that say ‘Ni!’, The Romance of the Middle Ages exhibition tells the fascinating story of medieval romance across the ages.

Highlights of the exhibition include:
    •    The Song of Roland - the earliest copy of France’s national epic (mid-12th century)
    •    Exquisite ivory carvings from France (14th century)
    •    Sir Gawain and the Green Knight - One of the most precious manuscripts of Middle English poetry. On loan from the British Library (c.1400)
    •    The Red Book of Hergest - amongst the most important books written in Welsh, containing The Mabinogion and many other texts, on loan from Jesus College, Oxford (c.1400)
    •    William Caxton’s The Recuyell of the Historyes of Troye - a copy of the first book ever printed in the English language (1473/4)
    •    A draft illustrated page from J.R.R. Tolkien’s The Lord of the Rings (1946)
    •    Monty Python and the Holy Grail - Terry Jones’s own working copy of the screenplay for the film, never shown to the public before (1973)

Dr Nicholas Perkins, exhibition curator said: ‘It’s a great pleasure to open up the Bodleian’s wonderful collections for this exhibition. They are of huge importance in telling the story of romance, and include some of the most spectacular books from medieval Europe. They have also offered inspiration to those captivated by the Middle Ages as a time of romance and wonder. From the young William Morris and Edward Burne-Jones beguiled by the Arthurian legends as Oxford students, to providing a working base for J.R.R. Tolkien and C.S. Lewis, the Library has nourished both scholarly and imaginative engagement with the medieval for centuries.’

An online exhibition (http://medievalromance.bodleian.ox.ac.uk) with the same title will be launched on 29 January.  It will feature nearly all the items on display in the exhibition room, along with many additional items. A 12-min video with the curator of the exhibition and scholars from the University of Oxford introducing the exhibition and the ideas behind it is also available. Twitter hashtag is #BODromance

Events accompanying the exhibition include lunchtime talks, special school activities and a show A Love Like Salt inspired by the exhibition to be held in the Divinity School, Bodleian Library on 20 April.

28 January - 13 May 2012
Exhibition Room, Bodleian Library, Old Schools Quad, Catte Street, Oxford
Opening Hours: Monday to Friday 9am - 5pm; Saturday 9am - 4.30pm; Sunday 11am - 5pm CLOSED EASTER SUNDAY

NEW YORK, January 23, 2012—Organized in conjunction with The Museum of Modern Art’s exhibition Print/Out (February 19-May 14, 2012), the Museum will host Print Studio, an interactive space that explores the evolution of artistic practices relating to the medium of print, from January 23 to March 9, 2012, in the Mezzanine Level of The Lewis B. and Dorothy Cullman Education and Research Building. The Studio offers a series of drop-in workshops, lectures, and events that emphasize accessible and sustainable models for the production and dissemination of ideas. Drawing from resources such as the Reanimation Library—a collection of discarded books acquired for their visual content—and a variety of print techniques, participants at the Studio are invited to experiment with and manipulate images and text. Led by artists and educators, activities highlight the ways in which new digital technologies incorporate traditional printing practices, re-imagining the role of print in contemporary visual culture.

The Studio will be accompanied by an original website at MoMA.org/PrintStudio. Each week from January 23 to March 9, the site will feature new updates including upcoming programs, guest blog posts, visitor viewpoints, and images. The site will include a calendar and schedule of workshops and events, a Flickr group for the collection of Print Studio “editions,” and videos of the 10-minute talks that will be held at Print Studio. The website launched on January 20, 2012.
Print Studio programs are free unless otherwise noted, with participation on a first-come, first-served basis limited to 25 people. The Studio will be open to all ages, and children must be accompanied by an adult.

Print Studio is made possible by a partnership with Volkswagen of America.

Reanimation Library: Mid-Manhattan Branch at MoMA
Wednesday to Monday, 12:00-4:00 p.m.
Based in Gowanus, Brooklyn, the Reanimation Library is a small, independent library open to the public where books that are outdated, discarded, and no longer in routine circulation have been given new life as a resource for artists, writers, and others. For Print Studio, the Library will be temporarily re-located at MoMA to serve as a resource for ongoing workshops and projects. Visitors to Print Studio will be allowed to use scanners, computers, and photocopiers to work with and manipulate material found within the books and to engage with these artistic materials in a unique manner.

Re-imagining Collective Task
Wednesday to Monday, 12:00-4:00 p.m. A new task is presented every two weeks.
Collective Task is an ongoing project led by the poet Robert Fitterman where individuals are invited to respond to a set of tasks that have been set by another collective of individuals. Print Studio will host a re-imagined version of Collective Task adapted for the Studio’s context, using materials available in Print Studio. Participants are encouraged to respond to the bi-weekly task through the medium of print, exploring the sustainability of ideas and materials, printmaking and multiples, and the creative possibilities that result from bringing together a new community of participants.

Ten-Minute Talks at Print Studio
Talks posted to MoMA website on January 30, February 6, 13, 20, 27, and March 5
Print Studio will host a series of short talks focusing on issues related to the medium of print and the sustainability of ideas within the context of modern and contemporary art. Various MoMA staff from conservators to librarians and archivists, as well as guest artists and educators, will share their expertise, offering insight on a variety of topics and a special look behind-the-scenes at MoMA’s engagement with the medium of print and selected Print Studio projects. Each week these talks will be posted on Print Studio’s blog at MoMA.org/printstudio.

Speakers include: Librarian Andrew Beccone on the foundation of The Reanimation Library, and its mission and continued evolution; Karl Buchberg, MoMA conservator on issues of paper and print conservation; Poet Rob Fitterman on his ongoing project Collective Task and its re-imagined version for Print Studio, in conversation with Lanny Jordan Jackson, the current curator of the Collective Task project; Scott Gerson, MoMA conservator on materials and processes explored in Ellen Gallagher’s featured work Deluxe on display in MoMA’s Printin’ exhibition; Phil Sanders, master printer and director/senior curator at Robert Blackburn Printmaking Workshop; David Senior, bibliographer at the MoMA Library and curator of the installation Millennium Magazines, in conversation with Emily Roysdon, artist featured in Millennium Magazines.

The Print Studio programs are free, but tickets are required and are available on a first-come, first-served basis at the Cullman Desk in the Education and Research Building, beginning one hour before the first program each day. Participation is limited to 25 people. Each workshop runs for 90 minutes.

IRWIN-NSK Passport Office, New York
Wednesday, February 1, 12:00-4:00 p.m.
Thursday, February 2, 12:00-4:00 p.m.
Friday, February 3, 12:00-4:00 p.m.
Originally founded by a collective of artists, musicians, and philosophers, the NSK State in Time (Neue Slowenische Kunst) came into being in 1992 shortly after Slovenia’s independence from the Yugoslavian federation. This declaration of existence was accompanied by the issuing of passports at various temporary embassies which operated alongside NSK exhibitions and events. Led by the Slovenian artists’ collective IRWIN, Print Studio will host the IRWIN-NSK Passport Office, New York for three days and issue a limited number of passports to MoMA visitors. A concurrent series of presentations, discussions, screenings, and a culminating NSK State Citizens’ Rendezvous will offer a forum to engage the public with ideas central to the NSK State and what it means to be a citizen of this “state in time.”

NSK Rendezvous and Print Studio Inauguration
Thursday, February 2, 6:00-9:00 p.m.
Print Studio’s opening program will begin with an NSK State Citizens Rendezvous, featuring presentations by Miran Mohar, founding member of Slovenian art collective IRWIN, and NSKNY Organizing Committee members Conor McGrady, Gediminas Gasparavicius, and Charles Lewis. After the presentations, Ana Janevski, Associate Curator of Performance, MoMA, moderates a discussion and Q&A. A reception will follow, and participants are invited to engage in Print Studio’s activities: apply for citizenship at IRWIN’s NSK Passport Office, New York, make a print using visual resources found in the Reanimation Library: Mid-Manhattan Branch, or respond to a re-imagined task from the ongoing Collective Task project adapted for Print Studio.

Digital Finger-Drawing Workshop with JORGE COLOMBO
Thursday, February 9, 12:00-1:30 p.m. and 2:00-3:30 p.m.
Thursday, February 23, 12:00-1:30 p.m. and 2:00-3:30 p.m.
For the past three years, artist Jorge Colombo has been making digital compositions of New York landscapes finger painted from life, on location, on his iPhone. Innovative technological tools have made it possible for creative experimentation using easily accessible digital mediums. Drawing from his own experience of making “pocket art,” Colombo leads a workshop in digital finger drawing and invites participants to explore the inventive possibilities such technologies bring to the print medium.

For these workshops, participants are encouraged to bring in their own iPad or iPhone. A limited number of iPads will be available. The Brushes painting application will be used during the workshop.

Altered Book Workshop with KATERINA LANFRANCO
Thursday, February 16, 12:00-1:30 p.m. and 2:30-4:00 p.m.
Saturday, February 25, 12:00-1:30 p.m. and 2:30-4:00 p.m.
In this hands-on workshop led by artist and educator Katerina Lanfranco, participants are invited to explore the formal constraints and surprising elements of the book format, and how used books can be creatively re-purposed to make art. Participants will use found materials, mixed-media collage, drawing, and transfer techniques to redesign the space, form, purpose, and meaning of an old book.

Participants are encouraged to bring their own book with a cover and pages they can imagine altering.

TRIPLE CANOPY at Print Studio
Wednesday, February 15, 2:30-4:00 p.m.
Monday, February 27, 2:30-4:00 p.m.
Wednesday, March 7, 2:30-4:00 p.m.
Print Studio visitors can join the editorial collective and online magazine Triple Canopy and guest artists for discussions about the nature of publication, and help create a publication derived from those discussions. The programs will examine the relationships between specific objects in MoMA’s collection and contemporary artistic practices, focusing on new forms of public discourse, knowledge production, and circulation fostered by digital technologies (all new forms of publication). Triple Canopy editors and guest artists facilitate each conversation then edit transcripts and compile related materials for an edition of Volume Number, an ongoing series published by Triple Canopy. The publication will be distributed through the concurrent MoMA exhibition Millennium Magazines, organized by David Senior, Bibliographer, and Rachael Morrison, Senior Library Assistant, MoMA Library.

Handmade Papermaking workshop with Dieu Donné Papermill
Thursday, March 1, 12:00 to 1:30 p.m. and 2:30 to 4:00 p.m.
Visitors will be able to learn the creative possibilities inherent in hand papermaking in this introduction to contemporary papermaking workshop led by Paul Wong, Artistic Director at Dieu Donné Papermill Inc. Drawing from a project by James Siena, a featured artist in the Print/Out exhibition and the current artist-in-residence at Dieu Donné, participants create their own handmade paper and use pulp painting and stenciling techniques to make it distinctly theirs.

Artist and Publisher: Printmaking and the Collaborative Process
MoMA will host two conversations between publishers and artists featured in the exhibition Print/Out and Printin’ as they discuss their creative practice and the process of collaboration. Christophe Cherix, The Abby Aldrich Rockefeller Chief Curator of Prints and Illustrated Books and organizer of Print/Out, moderates.

Thursday, February 16, 6:00 p.m., The Celeste Bartos Theater
Artist Ellen Gallagher in conversation with publishers at Two Palms Press.

Tuesday, February 28, 6:00 p.m., The Celeste Bartos Theater
Artists Marina Abramović in conversation with Los Angeles publisher/printmaker Jacob Samuel of Edition Jacob Samuel.

Tickets ($10, $8 members and corporate members, $5 students, seniors and staff of other museums) are available online, at the information desk in the main lobby, and at the film desk after 4:00 p.m. Any remaining tickets may be picked up one hour before the start of the program at the Education and Research Building ticketing desk.

Public Information:
The Museum of Modern Art, 11 West 53 Street, New York, NY 10019, (212) 708-9400, MoMA.org
Hours: Wednesday through Monday, 10:30 a.m.-5:30 p.m. Friday, 10:30 a.m.-8:00 p.m. Closed
Museum Admission: $25 adults; $18 seniors, 65 years and over with I.D.; $14 full-time students with current I.D. Free, members and children 16 and under. (Includes admittance to Museum galleries and film programs). MoMA.org: $22.50 adults; $16 seniors, 65 years and over with I.D.; $12 full-time students with current I.D. No service charge for tickets ordered on MoMA.org. Tickets purchased online may be printed out and presented at the Museum without waiting in line. (Includes admittance to Museum galleries and film programs).
Film Admission: $12 adults; $10 seniors, 65 years and over with I.D.; $8 full-time students with current I.D. (for admittance to film programs only)
MoMA/MoMA PS1 Blog, MoMA on Facebook, MoMA on Twitter, MoMA on YouTube, MoMA on Flickr 
The Library of Congress announced today the acquisition of a rare book to its Thomas Jefferson’s Library. Donated by the United States Naval Observatory, a Latin version of "Sur la Figure de la Terre," written by the 18th-century French mathematician and philosopher Pierre-Louis Moreau de Maupertuis, will join the more than 6,000 titles already assembled in the collection.

While serving as the American ambassador in Paris in 1789, Jefferson ordered a copy of Maupertuis’ Latin version, "Figura Telluris de Maupertuis," which was published in Leipzig, Germany in 1742. It was one of a number of books he selected from a catalogue issued by bookseller Armand Koenig in Strasburg.

The book was ordered on June 29, 1789, and was sent to Jefferson with a bill from Koenig for £ 2.0.0, dated July 17. Jefferson entered the book without price in his undated manuscript library catalogue.

In 1815, Congress purchased the 6,487 volumes in Jefferson’s collection in order to reestablish the Library of Congress after the burning of the U.S. Capitol by the British during the War of 1812. Of the original volumes that Jefferson had, only about 2,000 remained following another fire on Dec. 24, 1851, that spread through the congressional library housed in the Capitol. These original 2,000 books, plus replacement copies of the other books, constitute a Library exhibition titled "Thomas Jefferson’s Library" (http://myloc.gov/Exhibitions/jeffersonslibrary/Pages/default.aspx). During the past decade, Mark Dimunation, chief of the Library’s Rare Book and Special Collections Division, and his staff have assembled all but about 300 titles that were in Jefferson’s original library.

Over the years, the Library’s own copy of "Figura Telluris de Maupertuis" was lost. The USNO library has two copies of this book - the original French edition printed in 1738 and the Latin version from 1742.

With origins more than 181 years ago, the U.S. Naval Observatory continues to perform an essential operational role for the United States, the Navy and the Department of Defense. Its mission includes determining the positions and motions of the Earth, Sun, Moon, planets, stars and other celestial objects; providing astronomical data; determining precise time; measuring the Earth's rotation; and maintaining the Master Clock for the United States. The USNO’s James M. Gilliss Library was established in 1842. Today it holds more than 80,000 titles and is considered to be one of the world’s premier astronomical libraries.

Founded in 1800, the Library of Congress is the nation’s oldest federal cultural institution and the largest library in the world, with nearly 142 million items in various languages, disciplines and formats. As the world’s largest repository of knowledge and creativity, the Library is a symbol of democracy and the principles on which this nation was founded. The Library serves the U.S. Congress and the nation both on-site, in its reading rooms on Capitol Hill, and through its award-winning website at www.loc.gov.
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The Grolier Club is pleased to present a unique exhibition that explores and illuminates the causes, conduct, and historical record of the Civil War through maps and other historic items. Torn in Two: the 150th Anniversary of the Civil War, organized by The Norman B. Leventhal Map Center of the Boston Public Library, will open to the public on February 22, 2012.

This unique presentation - which will run through April 28 before continuing on its national tour - will showcase 50 historical objects including maps, photographs, prints, diaries, political cartoons, music, and press of the period. The overarching theme of the exhibition is the central role geography has played in the causes, conduct, consequences, and commemorations of the American Civil War.

The exhibit is divided into three major sections: Rising Tensions, which will examine the economic, social, and political differences between the North and the South that led to war; Nation in Conflict, which will focus on the war itself; and Remembering Battles and Heroes, which will document the nation’s attempts to commemorate the battles and honor the lives that were lost during the war.

Included in this remarkable selection are rare examples of photographic images depicting 19th-century slave life, the first American demographic map which was one of Abraham Lincoln’s key resources during the war, and Ensign, Bridgman and Fanning’s United States railroad map which revealed the contrast between the newly industrialized, increasingly urban North and the agrarian, rural culture of the South. Throughout the exhibition, the history of the national conflict is examined through the eyes of everyday citizens, helping to portray this most complex national schism in personal terms.

Torn in Two will feature a special emphasis on New York City that will challenge and engage visitors of all ages.  Of particular interest to New York audiences will be Civil War battle maps and diagrams published in rare, original newspapers such as The New York Times, The New York Herald and New York Tribune.  Also included will be a spectacular 1865 “bird’s eye view” map of Manhattan and parts of Brooklyn published by Charles Parsons, so detailed that street patterns, church steeples and even chimney smoke are clearly visible, along with harbored ships in the distance.  

A virtual exhibition of Torn in Two with digital images of all objects, as well as K-12 curriculum materials and educational resources based on the exhibition’s themes, are offered on the Leventhal Map Center’s website, maps.bpl.org and at tornintwo.org.

About the Leventhal Map Center - The Map Center was established in 2004 as a public-private partnership between the Boston Public library and map collector-philanthropist, Norman Leventhal. The Map Center’s mission is to make the Library’s extensive collection of more than 200,000 historic maps and 5,000 atlases dating from the 15th century to the present accessible to the general public and to promote their creative use in research and scholarship, education, and civic engagement. In October 2011, the Map Center opened a permanent, state-of-the-art Map and Study Center on the first floor of the library’s historic McKim Building in Copley Square, Boston.

Torn in Two is sponsored by the Liberty Mutual Insurance Company.

LOCATION AND TIME: Torn in Two will be on view at the Grolier Club, 47 East 60th Street, New York, from Feb. 22 - April 28, 2012. 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 www.grolierclub.org.  

CATALOGUE: A fully-illustrated 170-page catalog of Torn in Two, published by the Boston Public Library, will be available at the Grolier Club.

May 15 - July 28, 2012. Aaron Burr Returns to New York: An Exhibition on Burr and His Contemporaries.

Visit the Grolier Club website: www.grolierclub.org

51st Stuttgart Antiquarian Book Fair

51st Stuttgart Antiquarian Book Fair 27th to 29th January 2012

A very attractive and high-class offer by 80 exhibitors from Germany, France, Italy, Great Britain, the USA, Austria, the Netherlands, Switzerland and Hungary: The 51st Stuttgart Antiquarian Book Fair - organized by the German Antiquarian Booksellers’ Association (VDA) and officially supported by the International League of Antiquarian Booksellers (ILAB) - will be held on the last weekend of January, in the elegant rooms of the Württemberg Art Museum, opposite to the Palace, next to the Palace Garden and directly in the city centre of Stuttgart. Alberto Govi from Modena, Adam Bosze from Budapest, Alessandro Meda Riquier from London, and also several young colleagues like Dr. Dasa Pahor, Winfried Kuhn, Elvira Tasbach, das Rote Antiquariat and Rainer Schlicht are among the newcomers to the fair this year. They will be contributing to the diversity of the Stuttgart Antiquarian Book Fair with prestigious manuscripts, unique autographs, beautiful prints, magnificent bindings and rare masterpieces from more than 500 years of book art and printing.

Beauty for the eye and the intellect
From the masters of medieval book illumination to avant-garde, Galileo Galilei next to Marcel Proust, Thomas Bernhard and James Bond, Maria Sibylla Merian's colourful flower studies, woodcuts of classical modernism and the meditative art of ukyioe-e besides modern minimalism, incunabula, artist books, autographs, manuscripts, first editions. Middle Ages and modernity, science and aesthetics, beauty for the eye and the intellect: The fascination of collecting lies in the manifold subjects, and therein lies the charm of the 51st Stuttgart Antiquarian Book Fair.

Some highlights:
A sumptous Bolognese bible for Carmelites, written shortly after 1300 and illuminated by Jacopino da Reggio with richly coloured borders in full column height, medaillions and initials can be admired in Heribert Tenschert’s showcase. The Biblia Latina is a prime example of Bolognese book illumination which influenced Italian book decoration, and, via Prague, that of large parts of northern Europe (850,000 €).

Napoleon’s copy of McPherson's "Ossian", printed in Paris in 1777 and bound in morocco with the arms of Napoleon, is offered by Fons Blavus (150,000 €). On all journeys and campaigns the Emperor carried this book with him and he used to read from it to his entourage.

Milestones in medicine. In his "Canterbury Tales", Geoffrey Chaucer names him as one of three authorities of medicine: Bernard de Gordon's "Lilium medicinae" in a southern French parchment manuscript from the hand of the Master Peter Rastellus from 1332 is one of the earliest textual evidence of this important work (Inlibris 185,000 €).

Two Arab manuscripts, describing human diseases from head to toe is offered by Giuseppe Solmi (7,500 € and 2,500 €). And the London bookseller Meda Riquier will be showing Andreas Vesalius' “De humani corporis fabrica libri septem", printed 1555 in Basel, with over 200 woodcuts, one of the largest and most important books in the field of early anatomy (59,000 €).

Exact science? Superstition? Witchcraft? The highlights of the Antiquariat Löcker move in this border area with the rare first edition of an important handbook on witchcraft, written by a monk of the Milanese Ambrosian Order, Francesco Maria Guazzo in1608. (6,000 €), and the so-called "Vinculum Salomonis", scrolls with magical diagrams and symbols, seals and figures, drawn in different coloured ink and gold (5.600 €).

The exact sciences are represented by Wagner's "Pharmaceutisches-medicinische Botanik" (Schumann 35,000 €), Knorr's "Deliciae naturae selectae" (Neidhardt 26,000 €) or Esper’s famous treatise on butterflies (Junk 18,000 €). Gerhard Gruber, who has recently published a catalogue “Von Vitruv bis Navier” on the history of architecture, will be bringing the important “De urbibus, arcibus, casstelisque condensis” by Albrecht Dürer, printed in 1535. And the Libreria Editrice Goriziana will be showing Piranesi’s magnificient “Veduti di Roma” (44,000 €).

Baroque beauty
At the Stuttgart Fair 2012, several exceptional bindings will be shown: a "Communion-Buch", published in 1757, in a lavish silver binding decorated with floral motifs is offered by Neidhardt (6,900 €). Löcker shows tiny baroque book art: one of the few surviving miniature bibles (ca. 5,4 x 4,2 cm) with 263 copper plates in a wonderful contemporary, painted vellum binding. (5,400 €).

Dogs on sleds
Avant-garde and surrealism is one of the focal points of this year’s fair. The “Carte Surrealiste” - with dogs on sleds and other surrealistic miracles - is offered by Eckert & Kaun (2,200 €), Linke will be showing “Au 125 du boulevard Saint-Germain” with an original etching by Max Ernst (20,000 € ) and also the avantgarde magazine RAY of which its title says that it is “the most beautiful / the most expensive magazine in the world” (9,800 €).

Herbert Blank presents Vergil's "Eclogen", marvellously illustrated by Aristide Maillol (24,000 €), while Braecklein offers one of the classics of German literature in the very rare first edition: Grimmelshausen's "Simplicissimus" from the year 1683-1684 (32,000 €).

Dogs pulling sleds is a less artistic - and more realistic - view on travel and exploration. This year, Brockhaus / Antiquarium has focused on Polar travel, offering, among other polar items, Wally Herbert’s portfolio “Opposite Poles”, which was published in only 40 numbered copies containing 20 signed lithographs by the explorer (4,000 €). Warmer weather could be expected in the regions described by de Bry’s famous “Collectiones Peregrinationum in Indiam Occidentalem”. This Renaissance masterwork, rarely found complete, is showcased by Patzer & Trenkle (90,000 €). Only 20 years later Amatis’ “Relation Und gründtlicher Bericht von deß Königreichs Voxu in Japonischen Keyserthumb” was published, one of the very view and very rare early travel accounts from Japan which had been closed to foreign visitors for many years (Reiss & Sohn 12,000 €). Forum takes up the Eastern motif with Carl Ludwig Blume's "Collection of orchidées les plus Remarquables de l'Archipel India et du Japon" with over 70 hand-colored plates of Asian orchids (17,500 €).

Omai's handwriting
Omai, a young man from the island Ra'iatea was the first Pacific Islander to visit Europe. In August 1773 he went aboard the HMS Adventure in Huahine, Tahiti, a ship accompying James Cook on his second Pacific voyage. In Europe, "Prince" Omai was introduced into society, meeting the British Royal Family. He returned to his island in 1776, during Cook’s third voyage. Probably the only existing document that contains a sample of Omai’s handwriting can be admired at Ralf Eigl’ stand (75,000 €). Also on display at Eigl are the magnificent plates for Adalbert Berg’s "Preussische Expedition nach Ost-Asien” (59,000 €) and the very important first English edition of Urey Lisianskys "Voyage round the World" 37,000 €). Mercator’s monumental atlas in the 1606 Hondius edition is one of the many highlights of Libreria Alberto Govi (55,000 €).

"A qualified return to the gold standard would be practicable for most
This is not a headline from the Wall Street Journal or the “Spiegel” but a quote from a letter by John Maynard Keynes to the American journalist William Hillman (Kotte 5,000 €). A few years earlier, Karl Marx wrote on a similar, and similarly topical subject: "Tooke. A history of prices from 1839-1847". This manuscript contains the sum of his critique of political economy (Kotte 68,000 €). Author Johannes von Guenther’s guest book is a mirror of the avant-garde society of the 1920ies and 1930ies. His friends including Michael Kuzmin, Vsevolod Meyerhold, Alexander Block, Serge and Serge Sudeikin Tretiakow immortalized themselves in this decorative item presented by VDA President Eberhard Koestler (12,000 €).

Book Fair Catalogue
As every year, there is a printed catalogue, in which each exhibitor shows a few of his highlights to whet the collector’s appetite. The catalogue can be ordered in printed form or it can be browsed in the Internet.

The Beauty of Books - Artists Books
Round panel discussion with Akka von Lucius (collector of artists’ books), Annette Kulenkampff (director of Hatje & Cantz Publishers) and Simone Schimpf (director of the Stuttgart Art Museum) Wednesday, January 18th, 2012, at the Literaturhaus / Stuttgart

A Private Collector Opens His Library - Thomas Mann - Dedication Copies
For more than thirty years Achim Hall has been collecting signed copies, autograph letters and dedication copies by Thomas Mann and his family. On the occasion of the 51st Stuttgart Antiquarian Book Fair he opens his library and presents the most prestigious items of his collection in an exhibition during the Fair, accompanied by a richly illustrated catalogue which documents the remarkable collection and tells the stories of the persons and historical events behind the dedication copies.

Exhibition at the Württemberger Kunstverein (Art Museum), during the book fair hours

Catalogue (German)
Ein Privatsammler stellt seine Bibliothek vor. Achim Hall.
Auf fliegendem Vorsatz. Widmungen von Thomas Mann. Verband Deutscher Antiquare e.V. 2012. Ca.
112 pp. 40 Illustrations. ISBN 978-9812223-7-1 (20 €)

Vernissage and lecture
The Saturday evening is dedicated to Thomas Mann and his dedication copies with a lecture by Dr. Dirk Heißerer and the official presentation of the exhibition and the catalogue.

51st Stuttgart Antiquarian Book Fair
27th - 29th January 2012
Württembergischer Kunstverein (Schloßplatz 2)

Opening hours
Friday 11 am - 7.30 pm, Saturday and Sunday 11 am - 6 pm

Verband Deutscher Antiquare e.V.
Seeblick 1
D-56435 Elbingen
Phone +49 6435 909147

For more detailed information please visit the completely re-designed official website
>>> www.stuttgarter-antiquariatsmesse.de
PARIS January 2012 - Sandra Hindman, Ph. D. Owner and President of LES ENLUMINURES, specialists in Medieval and Renaissance Illuminated Manuscripts, Miniatures and Art, has announced that she will expand to New York by opening a new gallery in the penthouse of a townhouse at 23 East 73 Street in May.

“For twenty years we have operated from our main gallery at the Louvre des Antiquaires opposite the Louvre in Paris, and from our offices in Chicago.  Now I feel our growing business will benefit from a more regular presence in New York, which attracts the most important museums and private collectors and where so many exhibitions, fairs, and auctions occur.”

“We know from the people we sell to now that they appreciate the opportunity not just to see our latest acquisitions but also to have the face to face contact with me and my staff.  With an additional gallery in New York we can stage three or four important shows in New York each year in addition to the ones we already mount in our Paris gallery and at the most important international fairs.”

Les Enluminures is a featured exhibitor at many prestigious art and antique fairs including the Winter Antiques Show in New York each January, TEFAF Maastricht each March, the New York Antiquarian Book Fair, the Salon du Dessin in Paris, Masterpiece London, and the Biennale Firenze in the fall.

The opening show at Les Enluminures new gallery in New York will be titled “12 Books of Hours for 2012” and will feature important Books of Hours from the thirteenth to the sixteenth centuries.

Hindman says, “This exhibition gives us an opportunity to display some of our most important Books of Hours which were “best sellers” during a 300-year period when more Books of Hours were made than any other type of book, even the Bible.  From c. 1250, when the first Books of Hours began to appear, to 1571, when during the Counter-Reformation Pope Pius V prohibited the use of all existing Books of Hours, nearly every European family of a certain means owned at least one Book of Hours.”

“Textually interesting, aesthetically beautiful, Books of Hours survive as rich storybooks from the Middle Ages.  Unlike the Bible, whose text was carefully regulated and whose picture cycle was relatively uniform, each Book of Hours is wholly unique. Every Book of Hours reveals a whole world through its stories.”

Dr. Sandra Hindman is Professor Emerita at Northwestern University, where she twice headed the Art History Department.  A specialist in Gothic and Northern Renaissance Art, it was her years spent studying Medieval manuscripts that sparked her interest in acquiring key pieces, which led to her opening her Paris gallery.
She says, “When I worked as an expert for other dealers and handled these manuscripts on a daily basis, I gradually came to realize how coupling my academic knowledge with the purchase and sale of medieval art could lead to a shift in my career.  I feel being a dealer and an academic, for me anyway, are two parts of the same thing, my left arm and my right arm, so to speak.  I still write, publish, and teach, at the same time that I help museums and private collectors find important works for their collections.”

As a result, Les Enluminures is known for its ability to use its expert research capabilities to discover new facts about important Manuscripts and Miniatures.  Most recently that resulted in a six figure sale to New York’s Metropolitan Museum of Art of a Book of Hours composed late in the reign of Francis I, a manuscript that is now considered to be the only extant Book of Hours with contemporary illumination made for and with a portrait of King Francis I.

American museums and libraries that buy from Les Enluminures include The Metropolitan Museum, The Morgan Library, the J. Paul Getty Museum, the Art Institute of Chicago, Harvard University Library, Newberry Library, Huntington Library, Princeton University Library, and Columbia University, among many.  Overseas Les Enluminures has sold important works to the Musee de Louvre, The British Museum, the Victoria and Albert, the Musee National du Moyen Age (Musee Cluny), Bibliothèque Nationale de France, the British Library, Bibliothèque Royale, Brussels, Koninklijke Bibliotheek in The Hague, Musee National de la Renaissance, and the Museum of the Abegg-Stiftung Foundation in Switzerland, as well as many regional libraries and museums in the US and abroad.

Les Enluminures New York gallery is located in an elegant townhouse at 23 East 73 Street just off Madison Avenue.  The seventh floor penthouse space was previously occupied by Trinity Fine Art.  It comprises three rooms and about 1200 square feet. Hindman is familiar with the building, having staged several important shows at C.G. Boerner gallery (one on Pen to Press in January 2010 and one on France 1500 in January 2011).  C.G. Boerner also has its gallery in the townhouse.

“We are delighted to have found an ideal space to showcase important Medieval and Renaissance Manuscripts and Illuminations.”
The Les Enluminures web site --- www.lesenluminures.com --- includes video “tours” of the space, where Hindman provides background and history on the collections and special exhibitions.  The site offers a dynamic “turn the page” feature to assist with viewing manuscripts, and four separate sections of areas of specialty to make visits by customers more convenient.

Les Enluminures also produces comprehensive catalogues on subjects related to its collections, most recently for its twentieth anniversary year.  Its “20/20 Les Enluminures 1991-2011” catalogue featured twenty important sales of its first two decades and twenty items now on offer.  Another 2011 publication, “Before the King James Bible” was timed to coincide with the 400th anniversary of the first King James Bible.  Dr. Hindman has authored more than ten books in her field and numerous articles on the history of illuminated manuscripts and early printed books.

Hindman is a member of the Antiquarian Booksellers Association of America, the Syndicat national de la Librariie Ancienne et Moderne, the International League of Antiquarian Booksellers, and the Syndicat des Antiquaires.  She is also a long-standing member of many professional organizations; including the College Art Association of America, the Medieval Academy of America, the Historians of Netherlandish Art, and the International Center for Medieval Art.
Hindman adds, “Opening a gallery in New York is an important step in our gallery’s development.  New York is an exciting city for art lovers on many levels, not the least of which is the buzz that attends the many important art exhibitions and shows there.  We are delighted that Les Enluminures will now have a greater presence in New York and look forward to seeing many of our clients, and to meeting new ones too.”
23 East 73rd Street
7th floor
New York NY 10021
By appointment or 10am - 6pm during exhibitions
Les Louvre des Antiquaires,
2 Place du Palais-Royal,  75001 Paris (France)
Tel: +33 1 42 60 15 58
info@lesenluminures.com   www.lesenluminures.com

[ITHACA, NY] National Book Auctions, located in Ithaca, NY, will host a Sunday, January 29th auction featuring a broad range of rare antique and vintage books, as well as a large collection of intriguing ephemera and artwork. Of particular note are rare first editions of the 19th century and modern titles, as well as a very large collection of signed modern first editions. The books in these collections are impressive both for their quality and condition. Also offered will be a select group of estate furniture and other antiques.

Important books in this auction include first editions, many of which are author-signed.  Noteworthy examples include first editions of three Cormac McCarthy books entitled “The Orchard Keeper,” “Child of God,” and “The Stone Mason.” Also offered are first American and English editions of Herman Melville’s landmark 1847 title, “Omoo.”  Other lots include decorative antique sets by classic authors such as Victor Hugo and Alexander Dumas, along with Justin Winsor’s eight-volume 1884-1889 work entitled, “Narrative and Critical History of America.” Modern works in this auction include hundreds of signed first editions by prominent writers such as Norman Mailer, Michael Crichton, Ken Follett, Dan Brown, Dick Francis and Amy Tan, to name just a few.

Found throughout this auction are pleasing groups of ephemera and artwork. Leading the field is a pencil-signed lithograph of “The Model Painter” by Pablo Picasso, offered with provenance.  A vast array of ephemera lots are included in this auction with vintage and antique items dating back to the 17th century. Themes of the ephemera lots include early engravings and lithographs, travel-related, transportation (aviation, automotive, and railroad), antique photographs (including tintypes), magazines, early ship cargo manifests and original documents, artwork, advertising-related items, original Civil War material, tobacciana, breweriana, large quantities of original correspondence with postage and early cancels, and many other genres. This auction also includes other antique items. Featured are antique bookcases and desks along with early stoneware pottery and a pendulum clock.

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, January 29th 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 mail@nationalbookauctions.com.

Dan Flavin's Drawings at the Morgan

New York, NY, January 2012—Best known for his groundbreaking fluorescent light installations, Dan Flavin (1933-1996) was also an avid draftsman and collector of drawings. Throughout his career, the self-taught artist turned to drawing to plan his constructions and installations, as well as to sketch from nature in the most traditional fashion. He also enthusiastically acquired drawings by artists of diverse styles and backgrounds with whom he felt affinities.

Now, for the first time, the central role that drawing played in Flavin’s art will be explored in a major exhibition at The Morgan Library & Museum, opening on February 17, 2012. The show includes more than one hundred drawings by the artist—from early abstract expressionist watercolors of the 1950s and portraits and landscape sketches, to studies for his seminal light installations and late pastels of sailboats. In addition, the exhibition will feature nearly fifty works from Flavin’s personal collection of drawings, including nineteenth-century American landscapes by Hudson River School artists, Japanese drawings, and twentieth-century works by artists such as Piet Mondrian, Donald Judd, and Sol LeWitt. The exhibition will be on view through July 1, 2012.

"The world knows Dan Flavin through the iconic fluorescent light installations on which his reputation rests," said William M. Griswold, director of The Morgan Library & Museum. "But few people are aware that these magnificent pieces often began as sketches, schematic drawings, and diagrams on graph paper. Throughout his career, Flavin turned to drawing to explore new ideas and new themes, and collected drawings by old and modern masters to serve as sources of inspiration. The Morgan is delighted to present this first-ever retrospective look at the key role that drawing played in the creative process of one of the twentieth-century’s most innovative artists."

Early works
Dan Flavin: Drawing begins with the artist’s early drawings and watercolors. Landscapes are often the subjects of these works, and they reveal his interest in atmospheric and meteorological conditions, stemming from his training as a meteorological technician while in the Air Force. His admiration for Abstract Expressionists such as Willem de Kooning and Franz Kline led him to adopt a broad, gestural style. Particularly important among his works of the late 1950s is a group of watercolors with handwritten texts copied from the Bible, as well as from Irish and Chinese poetry and from James Joyce—a figure with whom the young Flavin identified, owing partly to their shared Irish heritage. 

Early on Flavin began the practice, which he would continue throughout his career, of dedicating his works not only to friends and relatives, but also to historical figures and people whom he admired, such as Picasso and Cézanne. Some of these lengthy dedications express Flavin’s political and social engagement, as in the 1961 watercolor to those who suffer in the Congo, a reference to the crisis that ensued after the Congo achieved independence in 1960.

Drawings for icons and related constructions

Flavin’s first sustained series of constructions with light are the icons, created between 1961 and 1963. Each consists of a painted wooden square to which one or more lamps have been attached. Although only eight were fabricated, drawings document ideas for many more. Their collective title was inspired by the artist’s interest in Russian art of the early twentieth century, notably that of Kasimir Malevich, who referred to his abstract art as "the icon of my time." Likewise, Flavin compared his use of electric light to a modern type of icon. With characteristic irony, however, he noted that his icons "differ from a Byzantine Christ held in majesty; they are dumb—anonymous and inglorious . . . They are constructed concentrations celebrating barren rooms. They bring a limited light."

The drawings for Flavin’s icons range from small sketches on 3 x 5 inch notebook pages—a favorite support for his working drawings—to large, finished studies in colored pencil or pastel. icon V (Coran Broadway Flesh) is the subject of several detailed drawings, probably because, with the number of lamps it includes, it is one of the most complex in the series, but also no doubt because Flavin considered it to be his best work at the time. It is "a perfectly resolved piece—symmetrical square of one color which is totally lighted," he wrote in his journal. Obsessed with keeping records of his work, Flavin drew several "inventories" of his icons, taking stock of those already made and planning future ones. Many drawings document various possible arrangements of several icons together, attesting that, although they were eventually sold individually, these works were first conceived as a group. 

Drawings for fluorescent light installations

From 1963 until the end of his life, the fluorescent light installations for which he is celebrated constituted Flavin’s main artistic production. These were first worked out in rapid sketches on the pages of the 3 x 5 inch notebooks he carried with him at all times. Using a fine ballpoint pen, Flavin combined visual and verbal notations, including such inscriptions as the color and dimensions of the lamps. Sometimes writing and drawing became one as Flavin literally "drew" the fluorescent tubes with the words designating their color. Some studies were on larger sheets, usually of 8 1/2 x 11 inch typing paper, a support that, like the notebook pages, demonstrated a preference for nonartistic paper. Indeed, Flavin did not treat his working sketches as master drawings. "For me, drawing and diagramming are mainly what little it takes to keep a record of thought...," he wrote. But his drawings were essential to his working process, and he carefully kept them. All were precisely dated and sometimes numbered to record the sequence in which they were made. 

In the 1960s, Flavin also created finished drawings in preparation for his installations, using colored pencil and sometimes colored paper to suggest the interaction of the lights in the space. A few of these exist for the Green Gallery installation of 1964, Flavin’s first exhibition of fluorescent lights. As he became more familiar with the effects of lights, he no longer felt the need for such drawings. The later ones were made primarily for the market.

Beginning in 1971, Flavin kept visual records of his installations through what he called "final finished diagrams," carefully drawn in colored pencil on graph paper. These were not drawn by him but by others following his instructions—first his wife Sonja, and later his son, Stephen, and other assistants. The draftsperson’s initials appear on the sheet, next to Flavin’s signature. Delegating the actual making of a work is unusual with drawings, which are traditionally associated with the artist’s hand. But Flavin’s approach was in keeping with developments in Minimal and Conceptual art of the 1960s and 70s, which stressed the role of the artist as the person who conceives the work, though he may not be the one who actually executes it. This was notably the case with Flavin’s light installations. He planned them and closely supervised their placement, but the pieces, commercially available, were installed by electricians. 

Landscapes, sails, and portrait drawings

Perhaps the most unexpected aspect of Flavin’s drawing production is the numerous landscape sketches he made outdoors from observation. Particularly drawn to riverbanks and ocean shores, he often sketched views of the Hudson River and Long Island beaches. In these quick drawings, he would capture the mood of a scene in a few strokes. Working in series, he made many sketches from the same point of view in rapid succession. Unlike his studies for light installations, these drawings were made in traditional artists’ sketchbooks and in graphite pencil. Exercising the same care he took with his working studies, Flavin dutifully recorded the date, subject, and location of each sketch, sometimes even the weather conditions of the day on which it was made. For the purpose of exhibitions, he would frame many of them together, in sequences reflecting the order in which they were created.

During the 1980s, Flavin focused on the subject of sails in charcoal and pastel drawings whose spare composition and calligraphic qualities reflected his interest in Asian art. First drawn from observation, these were eventually made from imagination, allowing Flavin to draw them in any season. In addition to the landscapes, Flavin frequently drew portraits of his friends or of people he encountered by chance, for instance at restaurants or cafes. Often in ballpoint pen, these drawings can be found interspersed with sketches for light installations in Flavin’s notebooks. Rendered with quick, short marks, these likenesses often border on caricatures as the artist sought to catch his subjects’ salient features. 

Flavin’s collection

Highlights from Flavin’s collection include sheets by early-twentieth-century abstract painters such as Arp and Mondrian, both of whom he mentioned several times in his journal during the 1960s. Rather than finished drawings, Flavin sought sketches and studies, in which he found the most direct expression of the artist’s thoughts. Because of his own habit of working out his installations from quick notations on small pieces of paper, he felt a connection with artists like Mondrian, who could plan a painting by jotting down a few lines on the wrapper of a pack of cigarettes. Drawings by Hans Richter and George Grosz from the late 1910s and early 1920s are evidence of Flavin’s interest in the constructivist phase of Dada. 

Flavin’s collection also includes many drawings—probably acquired through exchange—by his friends and contemporaries. A large sheet by the Chinese-American artist Wallace Ting is a reminder that it was he who introduced Flavin to sumi ink—a medium the latter used extensively in the late 1950s. Drawings by Donald Judd, Robert Morris, and Sol LeWitt evoke Flavin’s friendship with other artists associated with the Minimalist movement. He was particularly close to LeWitt, who has acknowledged the influence of Flavin’s concept of series on his own development, and to Judd. Earning his living as an art critic in the early sixties, Judd wrote several pieces on Flavin, praising "the power and complexity" of his work. Judd’s drawings in Flavin’s collection are related to his early Minimalist sculpture. Two elegant designs in gouache and pastel show that the two men shared the same interest in the use of color to create objects that combined aspects of sculpture and painting while being neither. 

Flavin developed an interest in nineteenth-century American landscape drawings during the 1960s, especially after he moved to Cold Spring, in the Hudson River Valley, in 1965. His most intense period of acquisition of works by Hudson River School artists was 1979-81, when he bought a large number of them on behalf of Dia Art Foundation for the purpose of displaying them at a planned Dan Flavin Art Institute in Garrison, New York, a project that was never completed.

Flavin had a lifelong interest in Asian art as well, the influence of which is visible in his work from his early ink and charcoal drawings to his late pastels of sails. In the mid-1980s Flavin purchased over thirty Japanese drawings from Galerie Janette Ostier in Paris. Most of them date to the first half of the nineteenth century and are by artists associated with ukiyo-e (pictures of the floating world), such as Hiroshige, Hokusai, and Kuniyoshi. Japanese drawing epitomizes the combination of expressivity and economy that Flavin aimed to achieve in his own art.

Light installations at the Morgan

Two major fluorescent light installations by Flavin will also be on view. At the entrance of the exhibition, visitors will encounter Flavin's untitled (to the real Dan Hill) 1a, 1978, a work composed of pink, yellow, green and blue light cast in two directions: out towards the viewer and back into the corner of the gallery. A spectacular corner installation, untitled (in honor of Harold Joachim) 3, 1977, an eight foot square grid, will suffuse the Clare Eddy Thaw Gallery on the ground floor with pink, yellow, green and blue light. Several studies related to this work are on view in the exhibition. 

Public Programs

Family Program

Glow Play: Sculpting with Light

Saturday, February 25, 2-4 p.m.

Artist and educator Nicole Haroutunian will invite children and their families to discover the drawings of Minimalist artist Dan Flavin. After visiting the exhibition and experiencing two of the artist's light installations first hand, they will then create color sketches inspired by Flavin's works on paper and shape glowing sculptures of their own.

Adults: $6; Members: $4; Children: $2

Gallery Talk 

Dan Flavin: Drawing 
Friday, March 2, 7 p.m.

With Isabelle Dervaux, Acquavella Curator, Modern and Contemporary Drawings


Minimalist Drawing: The 1960s and 1970s

Friday, April 27, 10:30 am-5 p.m.

This symposium will explore the changing form, function, and status of drawing in the era of Minimalism and Conceptual art. Speakers to be announced. 
$15; $10 for Members; free to students with valid ID.

Additional programs to be announced

Organization and Sponsorship
This exhibition is supported in part by the Dedalus Foundation, Inc. and Nancy Schwartz, with additional assistance from The Aaron I. Fleischman Foundation. 

Major funding for the catalogue is provided by Lannan Foundation. 

Dan Flavin: Drawing is organized by Isabelle Dervaux, Acquavella Curator of Modern and Contemporary Drawings at The Morgan Library & Museum.

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

The Morgan Library & Museum

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.

Washington, DC (Updated January 13, 2012)—Following a two-year renovation, the galleries devoted to impressionism and post-impressionism in the West Building of the National Gallery of Art reopen to the public on January 28, 2012. Among the greatest collections in the world of paintings by Manet, Monet, Renoir, Cézanne, Van Gogh, and Gauguin, the Gallery's later 19th-century French paintings will return to public view in a freshly conceived installation design.

"The Gallery's French impressionist and post-impressionist holdings, comprising nearly 400 paintings, are among the most prized in the collection, and rightly so," said Earl A. Powell III, director, National Gallery of Art. "While the appearance of these revered rooms has changed very little—preserving the conditions of light, the room proportions, and wall colors that make the Gallery one of the great places to view art in the world—the paintings themselves will be shown in a newly innovative arrangement."

The new installation is organized into thematic, monographic, and art historical groupings. The "new" Paris of the Second Empire and the Third Republic are highlighted through cityscapes by Manet, Renoir, and Pissaro. Showcasing sun-dappled landscapes and scenes of suburban leisure, a gallery of "high impressionism" masterpieces of the 1870s is prominently located off the East Sculpture Hall, including such beloved works as Monet's The Artist's Garden at Vétheuil (1880) and Renoir's Girl with a Hoop (1885). A gallery is devoted to the sophisticated color experiments of late Monet, while Cézanne's genius in landscape, still-life, and figure painting is explored in another. Paintings exemplifying the bold innovations of Van Gogh and Gauguin are displayed along with Degas' later, experimental works in one gallery, followed by a room of canvases by artists such as Delacroix, Renoir, and Matisse celebrating exoticism and the sensual use of color and paint handling. The final gallery is dedicated to the Parisian avant-garde circa 1900: Toulouse-Lautrec, Modigliani, Rousseau, and early Picasso.

The recently acquired Black Rocks at Trouville (1865/1866) by Gustave Courbet will be on view for the first time in the French galleries. Additionally, 13 works have been newly restored. Most of these will be on view in the West Building galleries, including Renoir's sparkling Parisian view of the Pont Neuf (1872), his ever-popular Girl with a Watering Can (1876), Monet's classic Bridge at Argenteuil (1874), and an 1867 portrait of Monet's newborn son Jean in his cradle.

During the two-year period of repair, restoration, and renovation, works normally on view in these galleries were either in storage, on loan, or featured in a special installation—From Impressionism to Modernism: The Chester Dale Collection—in the West Building Ground Floor galleries. Some 50 of the greatest works from this collection were included in major exhibitions shown in Houston, Tokyo, and Kyoto.

"A Collection of Collections"
Opened in 1941, the National Gallery of Art is significantly younger than its nationwide competitors—The Metropolitan Museum of Art, the Art Institute of Chicago, the Museum of Fine Arts, Boston, and the Philadelphia Museum of Art —in this area of collecting. As the nation's art museum, the National Gallery's collection was formed through generous donations from private citizens and has continued to grow to the present day thanks to contributions by numerous collectors and patrons.

The impressionist and post-impressionist collection begins with the 1942 Widener bequest, and reaches a high point with an extraordinary gift from Chester Dale in 1962, which tripled the size of the Gallery's modern French paintings. These works include major masterpieces, such as Cézanne's The Peppermint Bottle (1893/1895), Gauguin's Self-Portrait (1889), Van Gogh's La Mousmé (1888), Degas's Four Dancers (c. 1899), and two of Monet's celebrated views of Rouen Cathedral (1894). Two of their most spectacular acquisitions, made within nine months of each other, were Manet's early masterpiece, The Old Musician (1862), and Picassos' early masterpiece, Family of Saltimbanques (1905). In particular, the Dales gravitated toward figural works, accruing examples by many of the modern masters of portraiture, as well as marvelous female nudes, such as Renoir's Bather Arranging Her Hair (1893) and Odalisque (1870) and Modilgiani's Nude on a Blue Cushion (1917). In accordance with the deed of gift, these great works may never be loaned.

Paul Mellon—son of the Gallery's founding benefactor Andrew Mellon—also avidly collected 19th-century French paintings, influenced by his second wife, Rachel "Bunny" Mellon. Inspired by Dale's example, Mellon expanded upon the the foundation of French modernism that Dale built for the Gallery. While the Dale collection includes Monet's later landscapes, Mellon collected Monet in all genres and across his career, as well as work by important impressionist painters the Dale did not collect, such as Bazille and Caillebotte. Mellon was a great admirer of Cézanne and gave the Gallery seven paintings spanning the artist's career, including the 1991 gift of Boy in a Red Waistcoat (1888­-1890), one of the Gallery's great masterpieces. Mellon was also a devotee of Degas, and his gift of major paintings and sculptures by the master makes the Gallery's Degas collection one of the best in the world.

Paul Mellon's sister Ailsa Mellon Bruce augmented the Mellon family's dedication to the Gallery through her extensive 1969 bequest of great old master and impressionist paintings, by Renoir in particular. Other important donors to this part of the Gallery's collection include the Havemeyer family, W. Averell Harriman, his second wife Marie Norton Whitney Harriman and his third wife Pamela Digby Churchill Hayward Harriman, John Hay and Betsy Cushing Whitney, and Eugene and Agnes Ernst Meyer.

Small French Paintings
The Small French Paintings galleries in the East Building, designed to accommodate the extraordinary gift of French paintings from Ailsa Mellon Bruce, are among the most beloved at the Gallery. The works in these rooms have also been part of reconsidering the 19th-century French collection in the West Building. One gallery will feature an installation of prints together with several paintings by Pierre Bonnard, illuminating the way this artist works across the two media. Other groupings include a selection of circa 1800 landscape sketches, impressionist interiors, realist landscapes, a suite of works by Eugène Boudin, and intimate paintings by the artistic brotherhood known as the Nabis.

General Information
The National Gallery of Art and its Sculpture Garden are at all times free to the public. They are located on the National Mall between 3rd and 9th Streets at Constitution Avenue NW, and are open Monday through Saturday from 10:00 a.m. to 5:00 p.m. and Sunday from 11:00 a.m. to 6:00 p.m. The Gallery is closed on December 25 and January 1. For information call (202) 737-4215 or the Telecommunications Device for the Deaf (TDD) at (202) 842-6176, or visit the Gallery's Web site at www.nga.gov. Follow the Gallery on Facebook at www.facebook.com/NationalGalleryofArt and on Twitter at www.twitter.com/ngadc. 

Visitors will be asked to present all carried items for inspection upon entering. Checkrooms are free of charge and located at each entrance. Luggage and other oversized bags must be presented at the 4th Street entrances to the East or West Building to permit x-ray screening and must be deposited in the checkrooms at those entrances. For the safety of visitors and the works of art, nothing may be carried into the Gallery on a visitor's back. Any bag or other items that cannot be carried reasonably and safely in some other manner must be left in the checkrooms. Items larger than 17 by 26 inches cannot be accepted by the Gallery or its checkrooms.

Amsterdam, January 13, 2012 - Elsevier, a world-leading provider of scientific, technical and medical information products and services, and the Scaliger Institute of Leiden University Libraries announced today the founding of a three year fellowship program to enable international rare books scholars to study sixteenth-eighteenth century scientific scholarship and publishing.  The program will support two scholars to work with the extensive Leiden University Special Collections and the Elsevier Heritage Collection for a period of one to three months annually. They will be invited to share their research through public lectures and publications.

The fellowship program builds on Elsevier’s recent launch of the Elsevier Heritage Collection’s online catalogue comprising over 2,000 rare books with more than 1,000 distinct titles published by the original Elzevier publishing house from 1580 to 1712. Based in the Netherlands and closely tied to Leiden University, the original company published groundbreaking work from contemporary scholars including Descartes, Huygens and Galileo. The modern publisher Elsevier, founded in 1880, was named after the original firm when as a tribute to the publishing achievements of the Elzeviers.

The Scaliger Institute will also work closely with the Elsevier Heritage Collection team to provide training and expertise on preservation, exhibitions, display techniques, cataloguing, bindings, history and provenance study. The fellowships offer a scientific publishing complement to the longstanding Scaliger Institute Brill fellowships. These focus on rare books research in the fields of Middle East, Islamic and Asian Studies, medieval and early modern history as well as religious and classical studies.

”Our collaboration falls squarely in the tradition of the Scaliger Institute,” remarked Kurt De Belder, University Librarian and Director of Leiden University Libraries. “It stimulates the study of rare books and special collections to further our understanding of the foundations of academia. The Scaliger Institute is also dedicated to public outreach and looks forward to hosting the lectures and master classes generated by studying the history of publishing and scientific scholarships.”

“The Elsevier Heritage fellowships reinforce our longstanding relationship with the University of Leiden, and builds upon the original Elzeviers’ tradition of publishing the great scientific minds of the 16th-18th century,” noted David Ruth, Senior Vice President of Global Communications, Elsevier. “Supporting scholars to study the history of scholarship and science also ensures that the Elsevier Heritage Collection can be more fully researched and made available to scholars around the world.”

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The closing date for Elsevier Heritage Fellowship is March 1st 2012. Fellowship applications will be reviewed by a special board consisting of: C. Keijsper MA (Director of the Scaliger Institute), Prof. dr. H. Beukers (President Scholarly Board), Professor Paul Hoftijzer (History of the Book, ULL) and Drs. K. van Ommen (Coordinator Scaliger Institute), David Ruth, SVP Elsevier Global Communications, and Ylann Schemm, Corporate Relations Manager. Additional information and the application form are available on the Scaliger Institute website www.library.leiden.edu/special-collections/scaliger-institute/. Applications may be sent to: K. van Ommen MA, Scaliger@library.leidenuniv.nl.
About the Scalinger Institute, University of Leiden

Founded by Leiden University Libraries and the Faculties of Humanities on the occasion of the 425th anniversary of Leiden University in June 2000, the Scaliger Institute aims to stimulate and facilitate the use of the Special Collections of Leiden University Libraries in both teaching and research. The Institute offers favorable working conditions and expertise, organizes conferences, master classes, fellowships, special courses and lectures, including the Scaliger Lectures, given by the Scaliger professor and other prominent scholars.
The Institute is named after the learned humanist Josephus Justus Scaliger (1540-1609) who joined the newly founded Leiden University In 1593. By 1600, Scaliger had become the centre of the young university, attracting students and scholars from all over Europe including Daniel Heinsius and Hugo Grotius. Scaliger donated a substantial part of his library to the University Library and his collection continues to represent the core of the collection of Leiden University Libraries.

About Elsevier

Elsevier is a world-leading provider of scientific, technical and medical information products and services. The company works in partnership with the global science and health communities to publish more than 2,000 journals, including The Lancet and Cell, and close to 20,000 book titles, including major reference works from Mosby and Saunders. Elsevier’s online solutions include SciVerse ScienceDirect, SciVerse Scopus, Reaxys, MD Consult and Nursing Consult, which enhance the productivity of science and health professionals, and the SciVal suite and MEDai’s Pinpoint Review, which help research and health care institutions deliver better outcomes more cost-effectively.

A global business headquartered in Amsterdam, Elsevier employs 7,000 people worldwide. The company is part of Reed Elsevier Group PLC, a world-leading publisher and information provider, which is jointly owned by Reed Elsevier PLC and Reed Elsevier NV. The ticker symbols are REN (Euronext Amsterdam), REL (London Stock Exchange), RUK and ENL (New York Stock Exchange).
PASADENA, Calif. (January 2012) - Exploring the avid pursuits of collectors past and present, the California International Antiquarian Book Fair will feature a special exhibit entitled “A Love Affair with Books: Personal Stories of Noted Collectors.” This colorful, wide-ranging exhibit spotlights legendary library builders as well as the contemporary Southern California book lovers including:

Railroad magnate Henry Huntington amassed a spectacular collection of rare books and manuscripts in the fields of British and American history and literature which make up the core of one of the finest research libraries in the world; selected materials from the Huntington Library, Art Collections, and Botanical Gardens

Philanthropist William Andrews Clark, Jr. formed a collection that make up one of the nation’s most comprehensive rare books and manuscripts libraries with particular strengths in 17th and 18th century English literature and history, Oscar Wilde and fine printing; selected materials from UCLA’s William Andrews Clark Memorial Library

The Ward Ritchie Collection from Occidental College presents the work of the world-renowned, Southern California-based fine book printer

The Lawrence Clark Powell Collection from Occidental College honors the legendary librarian and literary bibliographer who founded the UCLA School of Library Service

Actress Sarah Michelle Gellar collects children’s books with an emphasis on the works of Victorian illustrator Arthur Rackham

Academy Award-winning producer and director Tony Bill’s collection documents the history of early aviation; now part of the San Francisco International Airport Aviation Museum & Library

Los Angeles Times film critic Kenneth Turan has assembled an encyclopedic cinema collection

Monsignor Francis J. Weber has published and built a big collection of small books all measuring less than 4 inches; selected materials from Azusa Pacific University

Librarian and gemologist Mary Murphy began her collection dedicated to precious stones and jewelry to advance her professional knowledge and 30 years later has a private library of over 600 items

A past president of the Zamorano Club, California’s oldest book club, Gordon J. Van De Water has long collected books dealing with California and the West

Now in its 45th edition, the California International Antiquarian Book Fair will take place at the Pasadena Convention Center on February 10 - 12, 2012. Recognized as one of the world’s largest and most prestigious exhibitions of antiquarian books, the Book Fair gives visitors the opportunity to see, learn about and purchase the finest in rare and valuable books, manuscripts, autographs, graphics, prints, maps, photographs and more.

With the collections and rare treasures of more than 200 booksellers from the Antiquarian Booksellers’ Association of America (ABAA) and the International League of Antiquarian Booksellers (ILAB), the Book Fair will feature volumes from five centuries of printing, as well as original manuscripts that predate Gutenberg. Books will cover every imaginable area of interest -- from the history of travel and exploration, early science and medicine to classic literature, modern first editions, children’s and illustrated books, and the arts. Items range in price from a few dollars to more than six figures.

The Book Fair also includes seminars on the basics of collecting as well as various themed topics. A panel discussion in conjunction with the special exhibit will feature collectors Kenneth Turan, Tony Bill, and Mary Murphy and will be moderated by journalist, author and TV/radio personality Patt Morrison. Sunday, February 12 is Discovery Day, which gives attendees the opportunity to present up to three items to experts for free examination.

Book Fair hours are Friday, February 10 from 3 p.m. to 8 p.m.; Saturday, February 11 from 11 a.m. to 7 p.m. and Sunday, February 12 from 11 a.m. to 5 p.m. at the Pasadena Convention Center, located at 300 East Green Street, Pasadena, CA. Tickets on Friday, February 10 are $25 and provide three-day admission. Proceeds from Friday tickets will benefit the Huntington Library, Art Collections, and Botanical Gardens. Tickets purchased on Saturday or Sunday are $15 and include return entry throughout the remainder of the Book Fair.

For more information, visit www.labookfair.com or call 800-454-6401.

Connect with the Book Fair at http://twitter.com/labookfair or http://www.facebook.com/LABookFair.
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Shakespeare's Sisters at the Folger

(Washington, DC)  Shakespeare’s heroine Rosalind criticizes the verses penned by her lover Orlando: “some of them had in them more feet than the verses would bear.”  No doubt she would write better ones, but Shakespeare doesn’t give her a chance.  Did he know any women writers?  Had he read any women’s verses circulating in collections among his acquaintance?  We may never know, but we do know that many women of the time, from aristocrats to courtesans, wrote on a range of topics from the spiritual to the sensual.  

Shakespeare’s Sisters: Voices of English and European Women Writers, 1500-1700 showcases the emerging diversity of early women authors and suggests how this rich legacy has shaped subsequent writing and scholarship.

“For generations, the emphasis was on the canon of male writers’ works, which was of course established by men. Many works by early female authors have only been uncovered in the last 50 years by scholars interested in women’s writing. The first wave of feminist scholarship rooted in the archives to search for works by women writers. Now there is biographical and critical research on specific women writers and  an ongoing attempt to include them in the canon,” says exhibition curator Georgianna Ziegler.

The exhibition title, Shakespeare’s Sisters, is inspired in part by an influential essay by Virginia Woolf. In A Room of One’s Own (1929), Woolf imagined a sister for Shakespeare called Judith, who wanted to be a playwright like her brother, but was unable to pursue a career as a professional writer because of her gender.

In the near century since A Room of One’s Own was published, scholarship has uncovered previously unknown works by women—female authors who were “Shakespeare’s sisters” in literary enterprise.

“Women writers Shakespeare might have known is one of those questions, like many questions, we wish we could ask Shakespeare if he were around,” says Ziegler. “There is some thinking that Shakespeare might have known The Tragedy of Mariam by Elizabeth Cary. It has an Othello-like plot, but it was not written to be performed on a stage, so it is hard to say whether he might have been familiar with it.”

Many works were not published during the authors’ lifetimes, or survive in only a few copies. To rediscover these works, researchers delved into libraries, archives, or other repositories and simply “dug around,” as Ziegler describes it.  

Knowledge of these women and their works is now more readily available than ever before, and the exhibition showcases the works of over fifty women writers and literary patrons from England, France, and Italy.

Exhibition Highlights

Shakespeare’s Sisters features early printed and manuscript works by Shakespeare’s female contemporaries, as well as portraits and other artwork. The exhibition includes seventy-five items from the Folger collection, as well as materials from the Houghton Library at Harvard, the Beinecke Library at Yale, the University of Pennsylvania, the Library of Congress, and a private collection.

Highlights include: 

•    First edition. An original printing of Virginia Woolf’s classic text, A Room of One’s Own, first published in 1929.
•    Private musings. Lady Anne Clifford was a voracious reader and diarist.  On display is her own annotated copy of John Selden’s 1631 Titles of Honor and a 1923 printed edition of her diary edited by her descendent, Vita Sackville-West.
•    Mixed metaphors. Marguerite of Navarre, queen consort to the king of France, wrote on widely varying topics, from devout religious poetry to short stories on love and relationships. Her intense—and controversial—allegorical poem Miroir de l'âme pécheresse (Mirror of the Sinful Soul) as well as her story collection The Heptameron are both featured in the exhibition.
•    Love poems. Italian courtesan Veronica Franco, whose life inspired the film Dangerous Beauty, earned acclaim for her passionate poetry.   
•    Royal religion. Queen Catharine Parr, Henry VIII’s sixth and final wife, wrote several books, including Prayers Stirring the Mind.
•    Women playwrights.  Plays by Aphra Behn, Susanna Centlivre and others who were the first Englishwomen to follow Shakespeare in writing professionally for the theater.

Shakespeare’s Sisters brings the works of early women writers—often neglected, ignored, or overlooked for centuries—to a wider audience and showcases the rich literary legacy of Shakespeare’s female contemporaries. Through these rediscovered works, the voices of Renaissance women are heard by modern audiences.  

Georgianna Ziegler is Louis B. Thalheimer Head of Reference.  She has been interested in early modern women for many years, writing a Ph.D. thesis on Queen Guinevere in medieval romance, and designing Davidson College’s first course on women writers when she was a member of the English faculty.  She has published on Elizabeth I, Elizabeth of Bohemia, Esther Inglis, and on female characters from Shakespeare, including Portia, Catharine of Aragon, and Lady Macbeth.  At the Folger she has curated exhibitions on Shakespeare’s Unruly Women and Elizabeth I: Then and Now.

10,000 Years of Women Writers
Join us for a series of readings, concerts, performances, and lectures celebrating the contributions of women to the arts. More information is available at www.folger.edu/womenwriters.

January 24-March 4
The Gaming Table
Whimsy, wit, and wordplay sparkle in this effervescent comedy by Susanna Centlivre, one of 18th-century London’s most popular playwrights. An independent-minded widow with a penchant for gambling holds a nightly card game teeming with revelers and rakes.
Hours: Tuesdays-Thursdays at 7:30pm, Fridays at 8pm, Saturdays at 2pm & 8pm, Sundays at 2pm & 7pm
Tickets: $30-$60

February 16
Readings From Shakespeare’s Sisters
Rita Dove, Linda Gregerson, Elizabeth Nunez, Linda Pastan, and Jane Smiley read their commissioned poems and essays from the Shakespeare’s Sisters chapbook, published in conjunction with the Folger exhibition of the same name.
Hours: Thursday at 7pm
Tickets: TBA

February 25
Shake Up Your Saturdays
Learn about the women who dared to write poetry during and after Shakespeare's time in this free family workshop filled with history, activity, performance, and fun! A scavenger hunt takes young visitors through the Folger's Shakespeare's Sisters exhibit.
Hours: Saturday, 10-11am
Tickets: Free. Advance registration required. Email educate@folger.edu to register or for additional information.

March 2
Tilar Mazzeo & Stacy Schiff
Two female historians talk about grappling with the past and the stories that create it. Tilar Mazzeo is the bestselling author of The Widow Clicquot: The Story of the Champagne Empire and the Woman Who Ruled It, and The Secret of Chanel No. 5: The Intimate History of the World’s Most Famous Perfume. Stacy Schiff is the author of Cleopatra, a #1 bestseller and named by The New York Times as one of the 10 Best Books of 2010.
Hours: Friday at 7:30pm
Tickets: $15

March 5
Eavan Boland
Eavan Boland’s poems examine womanhood and history with a sheer, lyrical grace and skill. Boland has published ten volumes of poetry, including Journey with Two Maps: Becoming a Woman Poet, New Collected Poems, Domestic Violence, and An Origin Like Water: Collected Poems 1967-87. She is the recipient of the Lannan Award for Poetry and an American Ireland Fund Literary Award.
Hours: Monday at 7:30pm
Tickets: $15

March 16-18
The Songbird
Francesca Caccini was one of the guiding spirits behind the revolutionary music of the earliest operas and the brilliant solo songs of the Baroque. Composer of a wide range of solo songs, duets, and stage music, she is perhaps best known for her La Liberazione di Ruggiero, the first opera by a woman, which premiered in 1625.
Hours: Friday at 8pm, Saturday at 5pm and 8pm, Sunday at 2pm
Tickets: $35

April 13-15
The City of Ladies
The French and Burgundian courts of the early 15th century fostered a culture that treasured its musicians, artist, and writers and the revelatory idea of beauty for its own sake. Influential writer Christine de Pizan lived at court in France and wrote City of Ladies during this time. One of her ballades, Dueil angoisseus, was set to music. This song and other pieces composed for court and chamber are performed by vocalists, fiddles, harps, lutes, and winds.
Hours: Friday at 8pm, Saturday at 5pm and 8pm, Sunday at 2pm
Tickets: $35

Online Resources
Visit www.folger.edu/shakespearessisters for an online version of Shakespeare’s Sisters, including images, an audio tour, and related information.  

Shakespeare’s Sisters: Women Writers Bridge Five Centuries
Edited by Gigi Bradford and Louisa Newlin
Thirteen women poets and authors—among them, former U.S. poets laureate Rita Dove and Maxine Kumin and Pulitzer Prize winning novelist Jane Smiley—respond to the works of sixteenth- and seventeenth-century women writers in this elegantly designed, handbound collection of poetry and essays. 52 pages, softcover.  Available in the Folger Gift Shop for $19.95.

Monday - Friday at 11am & 3pm,Saturday at 11am & 1pm and Sunday at 1pm
Folger Docents offer guided tours of the exhibition, as well as the Folger’s national landmark building, free of charge.  No advance reservations required.

Group Tours
Docent-led tours of the exhibition, as well as the Folger national landmark building, are offered for groups of 10 or more.  To arrange, please call (202) 675-0395.

Guide by Cell Audio Tours
Visitors, using their own cell phones, can call (202) 595-1844 and follow the prompts for 150# through 167# to hear women scholars share personal comments on exhibition items.

Open City: London, 1500-1700
June 8-September 29, 2012
Kathleen Lynch and Betsy Walsh, Curators
Over the course of two centuries, London changed from the capital of England, secure within its medieval walls, to a metropolitan seat of empire. Open City explores activities and pressures that altered Londoners’ sense of community, focusing especially on three types of institutions that touched everyday lives: church, theater, and market. Drawing on materials as disparate as deeds, diaries, engravings, and maps, Open City illustrates the impact of new ideas, new products, and new people in this rapidly growing capital city.

* * * * *

About Folger Shakespeare Library

Folger Shakespeare Library is a world-class center for scholarship, learning, culture, and the arts. It is home to the world’s largest Shakespeare collection and a primary repository for rare materials from the early modern period (1500-1750). Folger Shakespeare Library is an internationally recognized research library offering advanced scholarly programs in the humanities; an innovator in the preservation of rare materials; a national leader in how Shakespeare is taught in grades K-12; and an award-winning producer of cultural and arts programs—theater, music, poetry, exhibitions, lectures, and family programs. By promoting understanding of Shakespeare and his world, Folger Shakespeare Library reminds us of the enduring influence of his works, the formative effects of the Renaissance on our own time, and the power of the written and spoken word. A gift to the American people from industrialist Henry Clay Folger, the Folger Shakespeare Library—located one block east of the U.S. Capitol—opened in 1932. Learn more at www.folger.edu

The dates for The 55th London International Antiquarian Book Fair have been announced and for the first time, the fair will take place in May (Thursday May 24, Friday May 25 & Saturday May 26, 2012).

Organised by the ABA (the Antiquarian Booksellers' Association), the Fair will move to a new location - the larger National Hall at Olympia (London W14) with all stands on one level. This move follows on from the success of the 2011 Fair, which saw more stand space sold than ever before and it became evident that the Fair had finally out-grown Olympia 2.

The Fair has a new Chairman - Brian Lake of Jarndyce Antiquarian Booksellers (Great Russell Street, London). He commented: “Applications to exhibit at the World's Premier Book Fair are already flooding in from booksellers around the globe and this is an early indicator that 2012 will be a truly international fair. Among new exhibitors are dealers from Sweden, France and Germany but also one bookseller from Australia, Richard Neylon. There has also been a good take-up of Graphics stands as for the first time in many years we don’t clash with Map Fair.”

“We are very pleased about the new location, which will make the 2012 the biggest and best yet; more exhibitors, more books, maps, prints, ephemera & manuscripts in a bigger and better hall providing more space on stands, wider aisles, with ample space to sit and relax in three different cafés. We are delighted that the ABA's partner will be the National Trust, which will be promoting the many important libraries, containing over 2 million books, under its management.”

A detailed and searchable list of exhibitors at the 2012 Fair will be uploaded mid-January.

Full details of opening hours, location, and travel to Olympia can be found on

Tickets to the Fair are free if you register in advance, or may be purchased on the door for £10 each, £15 for two.

For more information and images, please email: books@exclamationpr.co.uk

Rachel Aked 07790 732448 /Silke Lohmann 07932 618754

PARIS-The gallery Les Enluminures in Paris has announced its Spring exhibition:  “Flemish Manuscript Illumination.”

Owner and President of Les Enluminures, Paris and Chicago, Dr. Sandra Hindman says, “This exhibition coincides with the seasonal exhibition on “Miniatures Flamandes 1404-1482” jointly organized by the Bibliothèque Royale in Brussels and the Bibliothèque nationale de France in Paris.  The Brussels venue took place from September 30 to December 31, 2011. The Paris exhibition opens March 6 and closes on June 10, 2012.”
Les Enluminures, located in the Louvre des Antiquaires, opposite the Louvre Museum, will exhibit 30 works of art from the fifteenth century simultaneous with the Paris event (at Tolbiac).

Highlights include works by artists Simon Marmion, called in his day the “prince of illumination,” Willem Vrelant, who worked for the court, the municipality, as well as wealthy Europeans outside Bruges, and the Master of Mary of Burgundy, a lyrical illumination that was last on the market in 1884, among others.

Hindman says, “Featured items testify to the refined and lavish patronage of the Burgundian dukes and duchesses, including Philip the Bold, Philip the Good, and Charles the Bold and Margaret of York. Urban centers of production and monastic patronage are also explored in Les Enluminure’s exhibition."

“This exhibition gives us an opportunity to display some of our Flemish manuscripts and miniatures that are related to the incomparable treasures belonging to libraries in Brussels and Paris. The exhibition has special meaning and importance to me because I studied closely with the great L.M.J. Delaissé, who organized the landmark exhibition of Flemish manuscript illumination in Brussels in 1959, called “Le Siècle d’or.”  I myself have published extensively on the topic. These two exhibitions in Brussels and Paris are designed as a sort of update of what is new in Flemish illumination 52 years later.”

March 6 - June 10 2012
Les Louvre des Antiquaires,
2 Place du Palais-Royal,  75001 Paris (France)
Tel: +33 1 42 60 15 58 info@lesenluminures.com   www.lesenluminures.com

Results from NBA's January Auction

[ITHACA, NY] National Book Auctions, located in Ithaca, NY, hosted a Sunday, January 8th auction featuring a broad range of rare antique and vintage books, as well as a fine collection of deluxe, limited bindings and an array of ephemera. One of the highlights of this auction was a substantial collection of printings by The Limited Editions Club, Easton Press and The Franklin Library including hundreds of signed first editions and signed limited editions, most of which are housed in handsome, deluxe leather bindings. This 484-lot auction also featured several important modern first editions, a great quantity of author-signed titles by prominent writers, and ephemera such as antique postcards, photographs, and travel-related material.

An 1842 printing of Jeremiah Greenleaf’s “A New Universal Atlas” fetched a hammer price of $3,567.00 (including buyer’s premium). Jeremiah Greenleaf was a little-known but highly admired American cartographer of the early 19th century. Greenleaf’s maps are extremely rare and admired for their stunningly vivid pastel color.

Realizing a hammer price of $2,280.00 (including buyer’s premium) was another antique landmark atlas by the same name, Samuel Augustus Mitchell’s “A New Universal Atlas.” This scarce edition is beautifully illustrated with a hand-colored title page engraving depicting the first landing of Columbus, and contains 73 numbered hand-colored lithographed maps.

Paulinus da San Bartholomaeo’s “Orientalist Compilation” brought a hammer price of $1,599.00 (including buyer’s premium). This first edition compilation contains seminal works on Sanskrit and Indian culture. The author, also known as Philip Werdin (or Wesdin) was an Austrian Carmelite missionary in Malabar from 1776 to 1789. An outstanding Orientalist, he was one of the first to remark upon the close relationship between Indian and European languages.

Bringing a hammer price of $1,230.00 (including buyer’s premium) was an antique volume containing a Latin-language collection of the works of the Roman playwright Plautus. This volume was published in 1511 by Johannes Grüninger.

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, January 29th 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 mail@nationalbookauctions.com.
NEW YORK, January 10, 2012—The Museum of Modern Art presents the exhibition Cindy Sherman, a retrospective tracing the groundbreaking artist’s career from the mid-1970s to the present, from February 26 to June 11, 2012. The exhibition brings together some 180 key photographs from the artist’s significant series—including the complete ―Untitled Film Stills‖ (1977-80), the critically acclaimed centerfolds (1981), and the celebrated history portraits (1989-90)—plus examples from all of her most important bodies of work, ranging from her fashion photography of the early 1980s to the breakthrough sex pictures of 1992 to her 2003 clowns and monumental society portraits from 2008. In addition, the exhibition features the American premiere of her 2010 photographic mural. An exhibition of films drawn from MoMA’s collection selected by Sherman will also be presented in the Museum’s theaters in April. Cindy Sherman is organized by Eva Respini, Associate Curator, with Lucy Gallun, Curatorial Assistant, Department of Photography, The Museum of Modern Art.

Cindy Sherman is widely considered to be one of the most important and influential artists of our time and her work is the unchallenged cornerstone of post-modern photography. Masquerading as a myriad of characters in front of her own camera, Sherman creates invented personas and tableaus that examine the construction of identity, the nature of representation, and the artifice of photography. Her works speak to an increasingly image-saturated world, drawing on the unlimited supply of visual material provided by movies, television, magazines, the Internet, and art history.
Ms. Respini says, ―To create her photographs, Sherman works unassisted in her studio and assumes multiple roles as photographer, model, art director, make-up artist, hairdresser, and stylist. Whether portraying a career girl or a blond bombshell, a fashion victim or a clown, a French aristocrat or a society lady of a certain age, for over 35 years this relentlessly adventurous artist has created an eloquent and provocative body of work that resonates deeply with our visual culture.

The American premiere of Sherman’s recent photographic mural (2010) will be installed outside the galleries on the sixth floor. The mural represents the artist’s first foray into 2 transforming space through site-specific fictive environments. In the mural Sherman transforms her face via digital means, exaggerating her features through Photoshop by elongating her nose, narrowing her eyes, or creating smaller lips. The characters, who sport an odd mix of costumes and are taken from daily life, are elevated to larger-than-life status and tower over the viewer. Set against a decorative toile backdrop, her characters seem like protagonists from their own carnivalesque worlds, where fantasy and reality merge. The emphasis on new work presents an opportunity for reassessment in light of the latest developments in Sherman’s oeuvre.
Entering the galleries, the exhibition strays from a chronological narrative typical of retrospectives, and groups photographs thematically to create new and surprising juxtapositions and to suggest common threads across several series. A gallery devoted to her work made for the fashion industry brings together commissions from 1983 to 2011.

Sherman’s interest in the construction of femininity and mass circulation of images informs much of the work that takes fashion as its subject, illustrating not only a fascination with fashion images but also a critical stance against what they represent. A gallery exploring themes of the grotesque focuses on bodies of work from the mid-1980s through the mid-1990s, including disasters (1986-89), sex pictures (1992), and horror and surrealist pictures (1994-96). Sherman’s investigation of macabre narratives followed a trajectory of the physical disintegration of the body, and features prosthetic parts as a stand-in for the human body. A gallery devoted to Sherman’s exploration of myth, carnival, and fairy tales pairs works from her 2003 clowns with her 1985 fairy tales series. These theatrical pictures revel in their own artificiality, with menacing characters and fantastical narratives.
Galleries devoted to single bodies of work are interspersed among the thematic rooms. Sherman’s seminal series the ―Untitled Film Stills,‖ comprising 70 black-and-white photographs made between 1977 and 1980, are presented in their entirety (the complete series is in MoMA’s collection). Made to look like publicity pictures taken on movie sets, the ―Untitled Film Stills‖ read like an encyclopedic roster of female roles inspired by 1950s and 1960s Hollywood, film noir, B movies, and European art-house films. While the characters and scenarios may seem familiar, Sherman’s ―Stills‖ are entirely fictitious. Her characters represent deeply embedded clichés (career girl, bombshell, girl on the run, housewife, and so on) and rely on the persistence of recognizable manufactured stereotypes that loom large in the cultural imagination.
Other series presented in depth include Sherman’s 1981 series of 12-color photographs known as the centerfolds. Originally commissioned by Artforum magazine, these send-ups of men’s erotic magazine centerfolds depict characters in a variety of emotional states, ranging from terrified to heartbroken to melancholic. With this series, Sherman plays into the male conditioning of looking at photographs of exposed women, but she turns this on its head by taking on the roles of both (assumed) male photographer and female pinup. The history portraits investigate the relationships between painter and model, and are featured in depth in the exhibition. These theatrical portraits borrow from a number of art historical periods, from Renaissance, Baroque, Rococo, and Neoclassical. This free-association sampling creates an illusion of familiarity, but not with any one specific era or style (just as the ―Untitled Film Stills‖ evoke generic types, not particular films). The subjects (for the first time, many are men), include aristocrats, Madonna and child, clergymen, women of leisure, and milkmaids, who pose with props, elaborate costumes, and obvious prostheses.
Sherman has explored the experience of aging in a youth- and status-obsessed society with several bodies of work made since 2000. For her headshots from 2000-2002 (sometimes called Hollywood/Hamptons), the artist conceived a cast of characters of would-be or has-been actors (in reality secretaries, housewives, or gardeners) posing for headshots to get an acting job. With this series, Sherman underscores the transformative qualities of makeup, hair, expression, and pose, and the recognition of certain stereotypes as powerful transmitters of cultural clichés. Her monumental 2008 society portraits feature women ―of a certain age‖ from the top echelons of society who struggle with today’s impossible standards of beauty. The psychological weight of these pictures comes through in the unrelenting honesty of the description of aging and the small details that belie the attempt to project a certain appearance. In the infinite possibilities of the mutability of identity, these pictures stand out for their ability to be at once provocative, disparaging, empathetic, and mysterious.
Major support for the exhibition is provided by Jerry I. Speyer and Katherine G. Farley, The Modern Women’s Fund, and The William Randolph Hearst Endowment Fund.
Additional funding is provided by The Broad Art Foundation, David Dechman and Michel Mercure, Robert B. Menschel, Allison and Neil Rubler, Richard and Laura Salomon, The Robert Mapplethorpe Foundation, Glenstone, Michèle Gerber Klein, Richard and Heidi Rieger, Ann and Mel Schaffer, and The Junior Associates of The Museum of Modern Art.
Cindy Sherman will travel to the San Francisco Museum of Modern Art (July 14-October 7, 2012); Walker Art Center, Minneapolis (November 10, 2012-February 17, 2013); and Dallas Museum of Art (March 17-June 9, 2013).

Cindy Sherman is accompanied by a publication that presents the stunning range of work produced by the artist during her 35-year career. Lavishly illustrated with more than 180 works (some never before published), the book highlights all of Sherman’s major series. Printed in Italy by Trifolio SRL using its new AREAW4 printing process—which yields especially vibrant blues, purples, yellows, and oranges, not possible in conventional offset printing—the book reproduces the artist’s work with astonishing color fidelity. In the plate section, Sherman’s photographs are grouped thematically to suggest the common threads that run through multiple series. An introductory essay by the exhibition’s curator, Eva Respini, presents an overview of Sherman’s career and investigates some of the dominant themes in her work, while also exploring the theoretical discourse that has surrounded it from the very beginning. A contribution by art historian Johanna Burton offers a critical reexamination of Sherman’s work in light of her recent series, and a conversation between Sherman and filmmaker John Waters provides an enlightening view into the artist’s process. 9 ••• x 12, 264 pages, 255 illustrations. Price: $40.00 (paperback); $60.00 (hardcover). Available at the MoMA Stores and online at MoMAStore.org. Available to the trade through ARTBOOK | D.A.P in the United States and Canada, and through Thames & Hudson outside North America. The publication will also be available in French (available from Éditions Hazan), German (available from Schirmer/Mosel), and Spanish (available from La Fábrica Editorial).

Carte Blanche: Cindy Sherman
April 2-10, 2012
The Roy and Niuta Titus Theater 1
Carte Blanche: Cindy Sherman is presented in conjunction with the retrospective exhibition Cindy Sherman. Film—the common cultural language of our era—has had a profound influence on Sherman and is an inspiration for much of her work. Belonging to the first generation of Americans raised on television, Sherman was fully steeped in mass-media culture, and she recalls watching films such as Rear Window and La Jetée. In college in the mid-1970s, she immersed herself in film, studying under the avant-garde filmmaker Paul Sharits and experimenting with the medium of film alongside making photographs.
For Carte Blanche, Sherman has selected films from MoMA’s collection, including The Texas Chain Saw Massacre (Tobe Hooper, 1974), La Jetée (Chris Marker, 1962), Shadows (John Cassavetes, 1959), The Fearless Vampire Killers (Roman Polanski, 1964), and Meshes of the Afternoon (Maya Deren, 1943). Ranging from camp to horror to classic art films, Sherman’s choices reflect the artist’s diverse interests and influences. Carte Blanche includes additional films on loan to MoMA, and has provided the opportunity for the Museum to acquire films for the collection. As the ―Curator’s Choice,‖ one screening features Sherman’s 1976 short film Doll Clothes, followed by her feature film Office Killer (1997), which draws on the horror genre well represented in Sherman’s choices for Carte Blanche. The exhibition is organized by Eva Respini, Associate Curator, with Lucy Gallun, Curatorial Assistant, Department of Photography, in collaboration with the Department of Film, The Museum of Modern Art.

Cindy Sherman: Circle of Influence March 26, 2012, 6:00 p.m. Theater 3 (The Celeste Bartos Theater), mezzanine, The Lewis B. and Dorothy Cullman Education and Research Building

This panel discussion features artists working in a variety of mediums as they explore Cindy Sherman's influence on contemporary art practice, including issues such as feminism and identity. Participants include painters George Condo and Elizabeth Peyton, and video and performance artist Kalup Linzy. Moderated by Eva Respini, Associate Curator, Department of Photography, The Museum of Modern Art, and organizer of the retrospective exhibition Cindy Sherman.
Tickets ($10; members and Corporate Members $8; students, seniors, and staff of other museums $5) can be purchased at the lobby information desk, at the film desk, or in the Education and Research Building, and are available on MoMA.org.

Support for this program is provided by Anna Marie and Robert F. Shapiro. 

Accompanying Cindy Sherman is a comprehensive website featuring the complete selection of images that appear in the exhibition. MoMA also commissioned exclusive video content for the site—short clips of artists, film makers, art historians, and cultural critics speaking about their favorite work by Sherman. Confirmed participants include artists Marilyn Minter, Marina Abramović, and Robert Longo; Vanity Fair editor Ingrid Sischy; gallerist Helene Wiener; art historian and critic Douglas Crimp; curator Eva Respini; and Director of The Museum of Modern Art, Glenn Lowry. The diversity of participants will underscore the many facets of Sherman's work. The site, www.MoMA.org/cindysherman, launches on February 26, 2012.

An audio program accompanying the exhibition features commentary by curator Eva Respini and curatorial assistant Lucy Gallun, as well as audio clips of Cindy Sherman discussing her work. It is available at the Museum free of charge, courtesy of Bloomberg; on MoMA.org/wifi; and as a podcast on MoMA.org/audio or on iTunes. MoMA Audio is a collaboration between The Museum of Modern Art and Acoustiguide, Inc. Available in English only.

Public Information:
The Museum of Modern Art, 11 West 53 Street, New York, NY 10019, (212) 708-9400, MoMA.org
Hours: Wednesday through Monday, 10:30 a.m.-5:30 p.m. Friday, 10:30 a.m.-8:00 p.m. Closed Tuesday.
Museum Admission: $25 adults; $18 seniors, 65 years and over with I.D.; $14 full-time students with
current I.D. Free, members and children 16 and under. (Includes admittance to Museum galleries and film
programs). Tickets can be purchase online at a reduced rate of: $22.50 adults; $16 seniors, 65 years and over with I.D.; $12 full-time students with current I.D. Target Free Friday Nights 4:00-8:00 p.m.
Film Admission: $12 adults; $10 seniors, 65 
DALLAS, TX - The year 2011 proved to be a great one for Heritage Auctions (HA.com), as the company posted a gross total of more than $806 million, a number that represents the company’s best performance ever.

“The bottom line is that service and value will always sell, and Heritage specializes in the very best of both,” said Greg Rohan, President of Heritage Auctions. “Collectors respond to that. They know us and they know we understand them. The result has been a decade of tremendous growth.”

U.S. Coins continue to be the backbone of the company with the category registering an impressive $196 million auction total, including Weekly US Coin Internet-only auctions, which realized $22 million - a new record for the subset and an 80% increase over 2010 - and Gallery US Coin auctions, which accounted for $5,340,889, another record total for the subset and a 70% increase over 2010.

Heritage’s World Coins category continued to prove itself a juggernaut, with a record total of $39.45 million - an increase of 60% over its 2010 record performance - while the Vintage Comics and Comic Art bore direct witness to the evolution of the category into a true investment quality asset, posting north of $26 million, a 13% improvement over 2010, which had already set the record for any auction house.

“World Coins and Comics are emblematic of Heritage’s continued growth,” said Rohan, “among the several categories that continue to perform well for us. Collectors and investors alike, from some non-traditional corners, are all taking a close look at these categories.”

Heritage Jewelry Auctions continued to see an explosion in sales, ringing up a record $17.4+ million in all (more than double the category’s 2010 record total), Heritage Vintage Sports Collectibles vaulted itself fully double its 2010 total to finish the year at more than $16 million, making it the #1 sports auction house in the U.S.

Fine Wine made its debut at Heritage in 2011 and quickly proved to be a profitable force to be reckoned with as it brought in nearly $11.4 million in total prices realized. Heritage’s continued dominance in Illustration Art was re-asserted by an $11.1 million total, the category’s second best year.

Heritage made the decision in 2010 to spin off its musical instrument auctions from its Music & Entertainment auctions to create a brand new category, which proved to be a smart decision, as collectors lined up for a variety of stringed and other instruments to give the category a $10.5 million debut. The decision also proved a good one for Heritage Music & Entertainment auctions, which, even without Guitars in its total, realized $8.6 million all told, the best year the category’s seen and more than double what it saw in 2010.

One of the year’s most significant changes at Heritage was the acquiring of the assets of Greg Martin Auctions of San Francisco, creating a separate Arms & Armor category for Heritage for the first time. With $9+ million realized in just three auctions, Arms & Armor proved itself a category to watch.

Decorative Arts & Silver also posted its best year ever, with $7.43 million sold at auction, the category’s best year yet by almost double, while Heritage Movie Posters auctions posted an in impressive $6.2+ million total, including $1.8 million in Weekly Internet auctions, a new record for the Web-only offerings and a 15% increase over 2010’s record total. The amount pushed the category lifetime total for Heritage Movie Posters past the $50 million mark since it started in November 2001.

Results from Swann's Maps & Atlases Sale

 New York—An impressive selection of American maps led to active bidding by dealers and collectors alike in Swann Galleries’ December 8 auction of Maps & Atlases, Natural History & Historical Prints, Ephemera—and a few records were set along the way.

The sale’s top-selling map was a lovely copy of Fry-Jefferson, A Map of the most inhabited part of Virginia containing the whole Province of Maryland, four sheets, London, 1775, which brought a record $28,800. Also setting auction records were Morden / Berry, A New Map of the English Plantations in America, both Continent and Islands, London, circa 1673, $13,200; and David M. Burr, Map of New Jersey and Pennsylvania Exhibiting the Post Offices, Post Roads, Canals, Rail Roads, &c, hand-colored, Washington, 1839, $4,080.

Other significant maps of American subjects included an early manuscript plat map of Rhode Island’s Conanicut Island, circa 1723, $14,400; Herman Moll, A New and Exact Map of the Dominions of the King of Great Britian on ye Continent of North America, London, circa 1735, $12,000; and William Faden, The Province of New Jersey, Divided into East and West, commonly called The Jerseys, folding map, London, 1777, $14,400.

Atlases and groups of maps also performed well, with a copy of Carey’s American Atlas: Containing Twenty Maps and One Chart, the first American atlas published in America, Philadelphia, 1795, selling for $24,000; and a group of over 22 maps concerning the growth of California during the 1920s and 1930s, achieving a surprising price of $16,800 against an estimate of just $400 to $600.

A beautiful but incomplete copy of David Roberts’s six-volume illustrated masterpiece The Holy Land, Syria, Idumea, Arabia, Egypt and Nubia, London, 1842-49, was the highest priced item in the auction, bringing $33,600.

Other notable books with plates included Florence H. Woodward, The Genus Masdevallia, with 87 hand-colored lithographed plates of orchids, London, 1896, $4,800, and a partial copy of Thomas and William Daniell, Oriental Scenery . . . of Hindoostan, with 92 plates, London, 1816, $2,400.

There were several individual hand-colored Audubon plates, among them Barnacle Goose, Plate CCXCVI, from Birds of America, London, 1836, $5,040; in addition to a hand-colored Nathaniel Currier print after Louis Maurer’s Deer Shooting “on the Shattagee,” New York, 1855, $3,690; Edward Sachse’s hand-colored View of Washington City, Baltimore, 1870, $3,600; and a circa 1873 Bird’s Eye View of the City of Houston, Texas, $3,840.

The top-selling item from a small selection of ephemera was a deck of 77 18th century French playing cards in their original box, $2,280.

For complete results, an illustrated color catalogue, with prices realized on request, is available for $35 from Swann Galleries, 104 East 25th Street, New York, NY 10010, and may be viewed online at www.swanngalleries.com.

For further information, and to propose consignments to upcoming auctions of Maps & Atlases, Natural History and Historical Prints, please contact Gary Garland at (212) 254-4710, ext. 17, or via email at ggarland@swanngalleries.com.
*All prices include buyer’s premium.
Books have been ranked as number 8 in our 2011 list of the world's most popular collecting categories.

Wikicollecting.org has released its annual list of the most popular collecting related hobbies.

The data is based on the collecting interests of 150,000 collectors in 160 countries around the world.

The 20 most popular collecting areas of 2011 are listed as:

1. Postage stamps
2. Antiques
3. Autographs
4. Memorabilia
                    a. Sports memorabilia
                    b. Music memorabilia
                    c. Space memorabilia
                    d. Film memorabilia
                    e. Royal memorabilia                  
5. Coins
6. Trading cards
7. Art
8. Books
9. Classic cars
10. Comic books
11. Medals
12. Watches
13. Breweriana
14. Furniture
15. Silver
16. Records
17. Photography
18. Figurines
19. Cigarette cards
20. Toy soldiers

The full list comprises 75 collecting categories and is available to view at www.wikicollecting.org

-- About Wikicollecting --
Wikicollecting.org is an open-source encyclopaedia covering all areas of antiques and collectibles.

The site features pages contributed by collectors, experts, and professional dealers, as well as collecting clubs and societies. It currently has readers and contributors in more than 160 countries around the world.

Wikicollecting.org welcomes anyone with an interest in collecting, with the common goal of building a free reference tool for future generations of collectors.
The site also offers a free listing service to collecting related dealers and businesses, which allows them to maintain and update their own pages, free of charge.

For further information, please contact:

Dutch Artists at the Morgan Library

New York, NY, January 2012— Bolstered by its recent political independence, economic prosperity, and maritime supremacy, the Dutch Republic witnessed an artistic flourishing during the seventeenth century, known as the Dutch Golden Age. The Morgan Library & Museum presents over ninety drawings by some of the preeminent artists of the period—among them Rembrandt Harmensz. van Rijn and his followers Ferdinand Bol and Gerbrand van den Eeckhout; Abraham Bloemaert; Aelbert Cuyp; and Jan van Goyen—in an exhibition titled Rembrandt's World: Dutch Drawings from the Clement C. Moore Collection, on view from January 20 through April 29, 2012.

The Dutch Republic of the seventeenth century was a federation of seven states—Holland, Zeeland, Gelderland, Utrecht, Friesland, Overijssel, and Groningen. The exhibition focuses on artists who worked primarily in their native lands, rather than those whose careers took them to France, Italy, or elsewhere abroad, and highlights the broad spectrum of subjects—portraiture, marine views, landscapes, biblical and mythological narratives, genre scenes, and the natural world—that fueled their creative imaginations. 

"The collection of Clement C. Moore, known as Chips, is a testament to the concentration of talent in the Dutch Republic during its Golden Age" said William M. Griswold, director of The Morgan Library & Museum. "The period is, of course, associated with Rembrandt, but there were many other extraordinary artists working at this time as well. Their exceptional creativity and skill is on display in this exhibition, and we are delighted Chips has chosen the Morgan, not only as the venue for this exhibition, but as the eventual permanent repository of these works, as well."

"I am honored and thrilled that the Morgan has chosen to exhibit and catalogue my collection of Dutch drawings," said Mr. Moore. "These works have been a source of great pleasure for my family and me over many years, and it is my hope others will find them as appealing. They provide us with an image of the legendary Golden Age—a period that notably included the founding of New York by Dutch traders—so an opening here is especially appropriate."

Among the finest drawings in the exhibition are portraits and figure studies, including two by Rembrandt. A Beggar, Facing Left, Leaning on a Stick is Moore's most recently acquired Rembrandt, and is also the earliest chronologically, dating to 1628-29. Rembrandt executed the sheet during his Leiden period (1625-31), when he was preoccupied with the theme of beggars. This figure, with his tall hat, ample cloak, and walking stick, was deftly sketched with an economical use of pen and ink. Adjusting the pressure on his pen and with it the width of each stroke—thin for the shading of the figure's face, thick for the darkest side of his hat—Rembrandt worked quickly and confidently to capture the essence of the man, and masterfully suggested the fall of light through a combination of areas of blank paper, such as the hat, and rapid parallel hatching in his face, left leg, and the ground at the left to suggest volume and shadow.
Two Men in Polish Dress Conversing demonstrates Rembrandt's powers of observation. An endless variety of people lived in and traveled through the Dutch Republic during this period, and the artist diligently recorded the bustling activity of the world around him. The men represented here are identifiable as Ashkenazi or Eastern European Jews by their long beards and costumes. Their garments, źupans, were typically worn by Polish Jews in the seventeenth century. The man on the left dons a rabbi's hat; the figure on the right, a kolpak, the soft-peaked cap of Polish origin worn by unmarried Ashkenazi men. By the 1640s when Rembrandt created this drawing, he had come to favor black chalk; this work belongs to a group of some sixty-five chalk studies representing single or small clusters of figures shown in everyday pursuits.
Hendrick Goltzius was one of the most important Dutch artists of the transitional period between the late sixteenth and early seventeenth centuries. His rapidly drawn Portrait of a Smiling Young Boy reflects a departure from the artist's early Mannerist style in favor of greater naturalism following a trip to Italy in 1590-91. His bold, animated pen work masterfully captures the sitter's lively, smiling eyes. The awkwardly drawn hands may constitute an autobiographical allusion: Goltzius's own fingers were badly burned and his hand permanently crippled during childhood.

David Bailly is represented by three accomplished works, including his 1624 The Lute Player. This drawing is one of at least three copies that Bailly made after a celebrated painting by Frans Hals (now in the Musée du Louvre, Paris). Minor differences, such as the straggly strands of hair on the lute player's forehead and the position of his little finger on the neck of his instrument, suggest that Bailly used as his model an early copy of the original, perhaps by Frans's brother, Dirck Hals, or his pupil, Judith Leyster. The table, which puts the viewer at a low vantage point, was entirely Bailly's invention.


In the seventeenth century, the Dutch Republic dominated the seas and much of the world's trade. The invention of sawmills enabled the construction of an enormous fleet of ships and by 1630 Amsterdam had succeeded Antwerp as the world's most important port. The centrality of water to the Dutch way of life is repeatedly attested to in drawings in the Moore collection, and indeed in countless other images produced during this period.

Scenes like Herman Saftleven's View of a Harbor with a Careened Ship embody the bustling energy of seaports where ships were repaired, and fish and wares were sold. At the center of this view is a careened ship, beached at high tide to expose its hull for repair with hot tar, which is seen generating smoke. During the seventeenth century oceangoing vessels would last approximately two years on the open sea before succumbing to worm damage or dry rot.

Willem van de Velde the Elder spent his entire career drawing boats and seascapes, and his accurate recordings of naval scenes remind one of the constant military vigilance necessary to maintain Dutch command of the seas. We know that van de Velde was present as an informal observer at a turning point in the Thirty Years' War in 1639, immortalized in his striking drawing A View of Dunkirk Harbor, Probably During the Blockade by the Dutch. Some thirteen years later when the first Anglo-Dutch War broke out in 1652, van de Velde was hired by the Dutch States-General to officially record the various battles and maneuvers of the Dutch fleet. The Ship Oosterwijk with the Assembled Dutch Fleet of 1664 is one such sweeping firsthand sketch, which he would make from the deck of the vessel before working them up into pen paintings or turning them over to his son to replicate in oil on canvas.

We have a better idea of what the Dutch countryside looked like in the early seventeenth century than we do of anywhere else in Europe at the time. River with a Bridge and Fishermen Hauling in a Net, a masterful drawing by Jacob de Gheyn II, is one of the artist's few surviving landscapes. In this sheet, the viewer's eye is drawn into the distance by the simple yet ambitious one-point perspective. The two trees on the right bank, one dead and the other in full leaf, symbolize the contrast between spiritual purgatory and salvation. However, positive motifs, such as the sea's abundance and the fertility of the fields dominate, creating an image of optimism that reflects the spirit of the Golden Age.

Allart van Everdingen's Winter Landscape with Skaters, Three Windmills, and Ship Under Repair epitomizes a quintessential Dutch Golden Age landscape with its depiction of figures engaged in such daily activities as going to market, skating, or hauling in the day's catch; ships sailing in the distance or under repair; and, of course, the ubiquitous windmill.

Aelbert Cuyp, best known for his idyllic views of the Dutch countryside, is represented by his luminous Windmill by a River, with a Jetty in the Foreground. The jetty was likely a construct of Cuyp's imagination, added to give depth to the composition. 

Perhaps the most entertaining drawings of the Dutch Golden Age are those that depict scenes from everyday life—eating, drinking, skating, music-making, game-playing, and carousing. Willem Pietersz. Buytewech's exquisitely detailed Fish Market draws us into a bustling scene where the day's catch arrives amid fish sellers' offerings—slithering eels, pike, dried herring, and plaice. The work belongs to a series of four compositions representing the elements, this drawing symbolizing Water.

Isaac van Ostade's genre drawings masterfully capture private moments and reveal the artist's empathy for the human condition. In his A Peasant Pouring a Glass of Beer for His Companion, a standing man bends over to refill his partner's glass. In return, she reaches up and tenderly touches his arm, perhaps to thank him or to signal that she has had enough. Ostade's energetic The Artist in his Studio invites us to peer over a painter's shoulder as a potential client watches him work. The play of light at first suggests a nocturnal scene, but the two artificial sources of illumination—either candles or lanterns, one at the painter's feet and the other on the assistants' table—would have augmented the natural daylight in the shadowy interior. 

Among the most amusing scenes is Cornelis Dusart's Shrovetide Revelers Entering a Courtyard. Shrovetide festivities offered an unapologetic excuse for indulgence and foolish behavior before the penitence demanded by the Lenten season. In Dusart's drawing, the entertainment that unfolds before us is so captivating,it is easy to overlook the appalling state of the house, its broken windows, and a spilled basket of coal—not to mention the figures shamelessly urinating, defecating, or drunkenly enjoying their beer.

Gerbrand van den Eeckhout's Young Man Seated on a Barrel, with His Hand Raised to His Head offers an allegory of human frailty or the foible of overindulgence celebrated in Dusart's drawing. Van den Eeckhout's black and white chalk drawings on blue paper have been highly prized since the seventeenth century. A seemingly genteel young man or soldier holds his hand up to shield his eyes from the unrelenting sun, his sensitivity to light perhaps explainable by the contents of the barrel upon which he sits.

Dutch artists had myriad points of access to exotic animals, whether from ships returning from the far corners of the known world, traveling circuses, menageries, street fairs, or markets. Johannes Bronckhorst, who resided in Hoorn, the port of entry for the ships of the Dutch East India Company, had ample opportunity to study the exotic taxidermied birds imported into the country. Bronckhorst accurately rendered the body of his King Bird of Paradise, though he could not have known that it had blue feet or that its two elongated tail wires were decorated with emerald green disk feathers on its tip (the bird's feet and tail feathers were routinely removed by Asian traders, leading to the myth that it had no feet and thus spent its life in perpetual flight).

Cornelis Saftleven's Two Cows by a River with a Church Steeple in the Distance is one of several representations of domestic animals in the exhibition. Before 1600, it was unusual to find cows as the subject of a composition; Saftleven's drawing points to the increasingly important role dairy farming began to play in the Dutch economy over the course of the seventeenth century.

Cow pictures emerged as a genre, and scenes such as this one, which includes two docile animals in an idealized rural landscape, provoked nostalgia for a simple way of life among wealthy Amsterdam collectors.

The Red and White Tulip drawings by Pieter Holsteyn II provide evidence of the enormous popularity and influence of tulips at this time. Coveted collector's items, tulips were status symbols worth literally millions of dollars in today's currency. The surge in tulip prices led to futures markets and speculation, a phenomenon later called tulipmania. So valuable were these bulbs that specialist botanical artists like Holsteyn created elaborate, hand-painted manuscript catalogues in order to market the bulbs to potential clients, and to record each variety's colors. The two sheets on view come from such a disbound album. 

Of the final two Rembrandt drawings in the exhibition, one is clearly connected with a biblical scene; the other presents challenges for scholars, and its subject remains a matter of debate. Study of a Sick Woman for the 'Hundred Guilder Print' and an Alternative Sketch of Her Head, ca. 1647-49, is likely the first of five or six probable studies for Rembrandt's most celebrated etching, Christ Healing the Sick ('Hundred Guilder Print'), and the last held in a private collection. Rembrandt achieved an extremely expressive drawing despite his sparse use of pen and ink, creating this preliminary sketch of the seated woman who appears at the center of the finished etching. Rarely is there such a clear connection between Rembrandt's drawings and prints.

More elusive is the subject of Rembrandt's St. Peter Preaching (?), a group figure study whose tentative subject has not been identified with absolute certainty. If this is indeed a biblical scene, it is the only one for which Rembrandt used black chalk, a medium he normally reserved for landscapes and group studies. An alternative explanation is that this may, in fact, be an elaborate study of figures in exotic costumes, a theme to which Rembrandt turned frequently. 

Abraham Bloemaert's Two Half-Length Studies of a Young Shepherd and a Study of the Upper Body of a Shepherd was the first major figure study to enter the Moore collection. A devout Catholic, Bloemaert received several important commissions from the church, including his first documented altarpiece, Adoration of the Shepherds, with which these studies are connected.

Another important work by Bloemaert, Danaë Receiving the Golden Rain, represents the type of mythological scene that afforded sixteenth- and seventeenth-century artists an acceptable rationale for depicting the female nude. Dating to 1610, the drawing's subject is the Greek myth in which Jupiter, disguised as a shower of golden coins, gains entry to the bedchamber of Danaë, whose father, King Acrisius, has locked her away to prevent her from conceiving the male child prophesied to kill him. Danaë is impregnated by the coins and bears Perseus, who later fulfills the prophecy by accidentally striking Acrusius with his javelin. 


An accompanying, fully illustrated catalogue by Jane Shoaf Turner, head of the Rijksprentenkabinet of the Rijksmuseum in Amsterdam and editor of Master Drawing, includes new research and comprehensive entries on the drawings presented in the exhibition. ($40; available at the Morgan Shop, or online at www.themorgan.org/shop).


Rembrandt and the Crying Boy: A Question of Method 
Wednesday, January 25, 6:30 p.m.

Martin Royalton-Kisch, eminent scholar and former curator of Dutch and Flemish drawings and prints at the British Museum, will discuss the attribution of a newly discovered Rembrandt drawing and explore how decisions on authenticity are currently reached in the fraught field of Rembrandt scholarship.

Rembrandt's World: Dutch Drawings from the Clement C. Moore Collection will be open at 5:30 pm especially for program attendees. 

Tickets: $15; $10 for Members 

Rembrandt's World: Dutch Drawings from the Clement C. Moore Collection 
Gallery Talk
Friday, February 10, 7 p.m.

With Esther Bell, Moore Curatorial Fellow, Department of Drawings and Prints



Friday, March 23, 7 p.m.
(1936, 85 minutes)

Director: Alexander Korda
Charles Laughton stars in this moving, elegant biopic about the Dutch painter. Shot in black and white but with close Rembrandtesque attention to light, this film begins when Rembrandt's reputation was at its height, and tracks his quiet descent into loneliness and isolated self-expression. 


The Lure of the Local in the Dutch Golden Age

with Christopher D.M. Atkins
Tuesday, April 3, 6:30 p.m.
In this lecture, Christopher D.M. Atkins of Queens College and The Graduate Center/The City University of New York will explore why Dutch artists increasingly decided not to travel internationally during a period when their Flemish, French, and Italian counterparts frequently did. Atkins will discuss the depiction of sites and activities culled from Dutch artists' local surroundings, images for which the Dutch Golden Age is so well known.

Rembrandt's World: Dutch Drawings from the Clement C. Moore Collection will be open at 5:30 pm especially for program attendees.

Tickets: $15; $10 for Members

This exhibition is made possible in part by the Rita Markus Fund for Exhibitions.

The catalogue is underwritten by The Andrew W. Mellon Fund for Research and Publications.

Public programs are generously supported by The Netherland-America Foundation, Inc.

Rembrandt's World is organized by Linda Wolk-Simon, Charles W. Engelhard Curator and Head of the Department of Drawings and Prints, and Esther Bell, Moore Curatorial Fellow, Department of Drawings and Prints.

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

The Morgan Library & Museum

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.

Don Presley Auction Expands

ORANGE, Calif. - Southern California auctioneer and estate specialist Don Presley is in expansion mode. The floor and storage space at his Orange County gallery will soon increase by 18,000 square feet with the incorporation of recently vacated retail space next door.

“Our previous neighbor needed more room and moved to a larger venue. This worked out great for both of us. My company was also in need of additional space for photography, cataloging and storage, so we annexed the 18,000 square feet available right next door to us. It worked out perfectly,” Presley said.

The Presley facility, located in the city of Orange at 1319 W. Katella Ave., is currently being painted and remodeled. All refurbishments should be completed very shortly.

“This expansion is going to streamline our operation, enable us to accept a larger volume of merchandise and allow my team to work on a timetable that’s two months ahead of each sale,” said Presley. “We’ll also have plenty of room for our new series of monthly Discovery sales, which we will launch on January 21st. These sales will provide an auction outlet for new and used estate furniture, office furnishings and other items that aren’t suitable for our antiques and fine art auctions,” Presley said.

Typically, there will be 500 to 1,000 lots in each of Presley’s Saturday Discovery sales. A live preview will precede each of the sales, and absentee and phone bids will be accepted. “We won’t have Internet live bidding for these sales only because of the nature of the merchandise. Some of the items, like appliances, would be difficult to ship.”

Many box lots will be included in Presley’s new monthly sales. “That’s where you make your discoveries, digging through boxes to see what someone else overlooked. We think bidders and bargain hunters will find these sales interesting and exciting,” Presley said.

For additional information, call Don Presley at 714-633-2437 or e-mail info@donpresleyauction.com. Visit the company online at www.donpresleyauction.com.

IRVINE, Calif. (Jan. 5, 2012) - For those with an interest in antiques, fine arts and decorative arts and interested to become a qualified appraiser, UC Irvine Extension will host a free webinar detailing the techniques and practices of the industry and the requirements to become a professional appraiser. The free webinar, “Appraisal Studies in Fine & Decorative Arts Webinar: Develop Your Career as a Professional Appraiser”, is scheduled for Wednesday, Feb. 8, from 11:30 a.m. to 12:30 p.m. PST.

“The Appraisal Studies webinar is a convenient and informational format for those with a love for fine and decorative arts to learn how to take that drive and turn it into a profession they love,” said Kirwan Rockefeller, Ph.D., director of arts and humanities at UC Irvine Extension. “Obtaining or even furthering a career choice fueled by passion can be the driving force for success in such a competitive market when paired with a UC Irvine Extension education and the expertise of the American Society of Appraisers in the Appraisal Studies in Fine and Decorative Arts Certificate Program.”
The webinar is geared toward anyone interested in beginning a new career or those already working in the fine and decorative arts field for personal enrichment. Such fields include art gallery personnel, museum docents/volunteers, art dealers, jewelers, auctioneers, estate liquidators or insurance adjusters. Attendees will receive information on how to begin a career through appraisal studies, with emphasis on how the Appraisal Studies in Fine and Decorative Arts Certificate Program can help one to learn the appraising business from UC Irvine Extension’s expert instructors and partnership with the American Society of Appraisers.

The Appraisal Studies in Fine and Decorative Arts Certificate Program at UC Irvine Extension is the result of a partnership with the American Society of Appraisers (ASA), one of the leading professional appraising organizations representing all of the disciplines of appraisal specialists and offers the only university-based program west of New York City in appraisal studies. The certificate program provides students with the highest quality and affordable appraisal training, courses and institutes. Taught by top-notch industry professionals of appraisal leaders, the appraisal certificate also prepares students for eventual membership in the ASA. Learning the appraising business from expert instructors enables students to gain the specialized knowledge and practical hands-on experience to competently produce appraisals for a variety of specific objectives such as insurance coverage, estate tax, damage claims, charitable contributions, sale, dissolution of marriage, equitable distribution and liquidation.

To learn more about UC Irvine Extension’s Appraisal Studies webinar and certificate program to succeed in today's competitive world of art, antiques, fine and decorative arts, please visit http://unex.uci.edu/certificates/arts_culture/appraisals/. Kay Kohara, Program Representative can also be reached by phone or email at (949) 824-5592 or unexarts@uci.edu.
About UC Irvine Extension: University of California, Irvine Extension is the continuing education arm of UC Irvine. Through thousands of courses and programs offered on campus, online and on site, UC Irvine Extension helps adult learners reach their career advancement and personal enrichment goals —and is celebrating 50 years of providing universally accessible, university-level learning to local, regional, and  global communities. Learn more at extension.uci.edu, or join us on Facebook at facebook.com/uciextension.

About the University of California, Irvine: Founded in 1965, UCI is a top-ranked university dedicated to research, scholarship and community service. Led by Chancellor Michael Drake since 2005, UCI is among the most dynamic campuses in the University of California system, with nearly 28,000 undergraduate and graduate students, 1,100 faculty and 9,000 staff. Orange County’s largest employer, UCI contributes an annual economic impact of $4.2 billion. For more UCI news, visit www.today.uci.edu.
PASADENA, CA; January 4, 2012 - PBS today unveiled a new competition series from the producers of ANTIQUES ROADSHOW: MARKET WARS (w.t.), a 20-episode series, airing summer/fall 2012, that gives audiences a lesson in the bare-knuckles business of scoring a bargain. In each one-hour episode, professional antiques dealers put their reputations on the line — as they’re pitted against the clock, a budget and each other — and embark on nationwide treasure hunts, scouring flea markets and antiques shops for vintage valuables. The goal: to score the biggest profit in each show’s final auction segment.
“ANTIQUES ROADSHOW has been the leader in the popular antiques and collectibles genre for a long time,” said Marsha Bemko, ANTIQUES ROADSHOW executive producer. “MARKET WARS turns its lens on the antiques experts themselves and the real, rough-and-tumble competition they face in the marketplace.”

In each episode, four antiques professionals compete head-to-head, foraging for items and taking them to auction. MARKET WARS follows the experts on their pursuits, highlighting the marvels that different areas of the country can offer the intrepid antiques hunter. The expert who makes the highest total profit at auction in each episode is named the winner, earning bragging rights for toppling his peers. With affectionate humor, MARKET WARS follows the combatants, gleaning the best tactics from the battlefield and arming viewers to pursue their own successful treasure hunts.

“PBS continues to implement our primetime strategy to bring viewers new shows paired with other like-minded content,” said John F. Wilson, senior vice president & chief TV programming executive. “We’ve had great success pairing natural history and science programming on Wednesday nights. We’re confident that pairing MARKET WARS and ANTIQUES ROADSHOW will even more firmly anchor Monday nights as a popular viewing destination for exploration and history.”

About WGBH

WGBH Boston is the largest producer of PBS content for TV and the Web, including Antiques Roadshow (PBS’s most-watched program), Masterpiece, Nova, Frontline, American Experience, Arthur, Curious George (the No. 1 show on TV for preschoolers), Martha Speaks and other signature programs “produced in Boston, shared with the world” and enjoyed on platforms from televisions to tablets to mobile devices. WGBH also is a major source of programs for public radio (including The World), a leader in educational multimedia (including PBS LearningMedia, a free online service providing the nation’s educators with curriculum-based digital content to meet 21st-century learners’ needs), and a pioneer in technologies and services that make media accessible to the 36 million Americans who are deaf, hard of hearing, blind or visually impaired. WGBH has been recognized with hundreds of honors: Emmys, Peabodys, duPont-Columbia Awards…even two Oscars. Find more information at www.wgbh.org.

About PBS

PBS, with its nearly 360 member stations, offers all Americans the opportunity to explore new ideas and new worlds through television and online content. Each month, PBS reaches 124 million people through television and 20 million people online, inviting them to experience the worlds of science, history, nature and public affairs; to hear diverse viewpoints; and to take front row seats to world-class drama and performances. PBS’ broad array of programs has been consistently honored by the industry’s most coveted award competitions. Teachers of children from pre-K through 12th grade turn to PBS for digital content and services that help bring classroom lessons to life. PBS’ premier children’s TV programming and its website, pbskids.org, are parents’ and teachers’ most trusted partners in inspiring and nurturing curiosity and love of learning in children. More information about PBS is available at www.pbs.org, one of the leading dot-org websites on the Internet, or by following PBS on Twitter, Facebook or through our apps for mobile devices.

Specific program information and updates for press are available at pbs.org/pressroom or by following PBS Pressroom on Twitter.
Judy Matthews, WGBH Boston
Carrie Johnson, PBS

New York—Swann Galleries’ December 1 auction of Printed & Manuscript Americana / Ocean Liner Memorabilia saw an unusually high number of registered bidders. The American Revolution and Civil War sections of the Americana sale attracted the strongest interest, and led to some impressive results.

Rick Stattler, Americana Specialist at Swann, said, “The sale as a whole featured 364 registered bidders, an almost unprecedented number at Swann, but then the 711 lots on offer also approached Swann’s record for a single-day sale. Even more than usual for an Americana auction, the Revolution and Civil War sections seemed to attract the strongest interest. The collection featured several important manuscript and archival lots, which did well almost without exception.”
The sale’s top lot was a large archive of the papers of Brigadier General Joseph Dwight, who led Massachusetts troops during King George’s War. The bulk of this collection consisted of letters addressed to Dwight from his subordinate officers from the summer of 1746 through early 1748. It brought $24,000*.

Also selling for $24,000 was the first newspaper printing of the Bill of Rights, which appeared in the Gazette of the United States, New York, 3 October 1789.

Of the 20 top lots, most went to dealers, some of them likely acting as agents for other parties.  Collectors did take four of the top lots directly, most notably an April 1776 edition of Thomas Paine’s Common Sense for $16,800 and a 1697 first edition of Hennepin’s Nouvelle Decouverte d'un Tres Grand Pays situé dans l'Amerique for $10,200.

Two important lots were won by institutions: a group of letters by Socialist leader Eugene Debs went to Indiana State University for $6,720; and a large collection of Muhlenberg family correspondence from the 1820s and 1830s went to Dickinson College in Pennsylvania for the same price.

A scarce and important 1872 album of California photographs by Thomas Houseworth, estimated at $2,000 to $3000 due to condition problems, nonetheless brought $21,600 in a fierce battle between eight telephone bidders.

 Record-setting lots included a beautiful four-volume set of Theodore Roosevelt’s Winning of the West, brought $9,600, easily breaking the previous record of $6,600; Ethan Smith’s A View of the Hebrews, which appears infrequently at auction, sold for $1,200, with the previous record being $180 in 1983; and a signed set of Shelby Foote’s trilogy The Civil War: A Narrative brought $1,020, and no other work by the author had ever topped $330 before at auction.

Generating the most interest among the Ocean Liner Memorabilia section of the sale were lots related to the Titanic. Among these were a deck plan of first-class accommodations, December 1911, $7,200; and a landing or custom card issued to Mrs. Cassebeer onboard the Carpathia after being rescued from the Titanic at sea, 10 April 1912, $6,240.

For complete results, an illustrated catalogue (with prices realized on request) is available for $35 from Swann Galleries, Inc., 104 East 25th Street, New York, NY 10010. Catalogue and prices are also available online at www.swanngalleries.com.

For further information, and to propose consignments to upcoming Americana auctions, please contact Rick Stattler by telephone at (212) 254-4710, extension 27, or email: rstattler@swanngalleries.com.
*All prices include buyer’s premium.
# # #
For Immediate Release-January 4, 2012

Lloyd Library and Museum (LLM) is pleased to announce: "Turning up the Heat this Winter: Peppers in Image and Word." January 14 through April 13, 2012. Opening reception and lecture-Saturday, January 14, 2012, 4-7 p.m.

This exhibit explores the depictions and descriptions of the chili pepper-Capsicum annum [reproduction at left from LLM's copy of A Curious Herbal by Elizabeth Blackwell, volume 1, plate 1, 1739]-a plant that, over recent years, has experienced a growth in popularity both as a food and medicinal ingredient.  Love peppers or hate them, come to see LLM's new exhibit "Turning up the Heat this Winter: Peppers in Image and Word" to learn about them and taste the heat at a lecture and catered reception on Saturday, January 14, 2012, 4-7 p.m. This event is free and open to the public.

The exhibit will feature books from LLM's vast collection, such as the 1516 edition of Pliny the Elder's (23-79 CE) Natural History, the earliest mention of it in LLM.  From there, the exhibit follows the economic, medicinal, and botanical history of this popular plant through five centuries.  In addition to Pliny's book, some of the earliest depictions of Capsicum in European literature will be on display-featuring herbals from the 16th and early 17th centuries by such notables as Leonhard Fuchs (1501-1566), Carolus Clusius (1526-1609), Matthias de L'Obel (1538-1616), and Rembert Dodoens (1517-1585).  These are interesting volumes, in part because the information on peppers was so limited, and thus a little confused and confusing.  Now, we know much more about chili peppers.  There are whole volumes devoted to the plant, its fruit, uses, and benefits.  Jean Andrews (1923-2010), of the University of Texas at Austin, wrote two notable works on the pepper and became a world-expert on the subject, which will be on display, along with a host of other fascinating works.

W. Hardy Eshbaugh, a world-renowned expert on peppers will deliver a brief but fascinating lecture, "Some Like it Hot: The Little Known World of Chili Peppers" on January 14 at 4:30.  Eshbaugh, Professor Emeritus of Botany at Miami University, received his Ph.D from Indiana University in 1964 and, since then, established a long and distinguished career in Miami University's Botany Department (1967-1998), serving as Chair from 1983-1988.  During his career and
beyond, Eshbaugh attained his reputation as a Capsicum expert.  With his assistance, the accompanying art exhibit will include a variety of images of peppers, including some by Jean Andrews, David Carangilo, Amal Naj, and Jeff Schickowski.  Eshbaugh's photos feature some of his own finds from the field.  In addition, reproductions of Eduardo Fuss's photo art will be featured with the permission of the Zimmerman Library of the University of New Mexico.

The Lloyd Library and Museum, located at 917 Plum Street, downtown Cincinnati, is a local and regional cultural treasure.  The library was developed in the nineteenth century by the Lloyd brothers-John Uri, Curtis Gates, and Nelson Ashley to provide reference sources for Lloyd Brothers Pharmacists, Inc., one of the leading pharmaceutical companies of the period.  Today the library is recognized worldwide by the scientific community as a vital research center. The library holds, acquires, and provides access to both historic and current materials on the subjects of pharmacy, botany, horticulture, herbal and alternative medicine, pharmacognosy, and related topics.  Although our collections have a scientific focus, they also have relevance to humanities topics, such as visual arts and foreign languages through resources that feature botanical and natural history illustrations, original artworks, and travel literature, thereby revealing the convergence of science and art. The Lloyd is open to anyone with an interest in these topics.  Free parking is available for patrons and visitors behind the library building.  For more information, visit the Lloyd website at www.lloydlibrary.org.

Lloyd Library and Museum
917 Plum Street
Cincinnati, Ohio 45202
Open Monday through Friday 8:30 a.m. - 4:00 p.m.
Open the third Saturday of the month, September through May, 9:00 a.m.
to 4:00 p.m.

Boston, MA - Marvin Getman of Impact Events Group, Lexington, MA. announced the acquisition of the popular Boston Book, Print and Ephemera Show from Bernice Bornstein of Bornstein shows, Peabody MA. Getman also produces the Book, Paper, and Photo Expo held in May in suburban Boston which is sponsored by Massachusetts and Rhode Island Antiquarian Booksellers (MARIAB).
Bernice started the Boston Book, Print and Ephemera show 15 years ago as a satellite show to the fall Boston ABAA International Book Fair. Originally produced in a garage next door to the Hynes Auditorium, Bornstein grew the show and moved it to the Radisson Hotel and then to the Park Plaza Castle. This show has become a staple in the Boston Book Market and is very popular among the participants of the annual ABAA Book show, many of whom travel to Boston from all over the country.
"Bernice provided a very valuable service to the Antiquarian book community and I was delighted and honored when she approached me about purchasing this well established show." stated Getman. "I look forward to building upon the solid base that Bernice has built."

Getman, having produced many shows in the Boston area over the past 30 years, found a fabulous new venue for the show after learning that the Castle was not available for 2012.  The Back Bay Events Center, also known as The Dorothy Quincy Suite at John Hancock Hall, will be the new home for the show. Getman asserted, "The new home is a gem of a find. In addition to being a quarter mile closer to the Hynes, it was recently renovated and has space for 70 dealers, great lighting, carpeting, and discounted parking."   

Getman, known for his marketing skills, says that he will concentrate his efforts in building the attendance for the show. "This show already has a built-in audience especially in the morning before the ABAA show opens. I am developing a marketing plan to keep the attendance strong all day long, and I've been in touch with several large companies in the vicinity who have agreed to distribute tickets to their employees. Exhibitors consistently tell me that they like my shows for their organization and for the large crowds I attract. I intend to do the same for this show."
Contracts for the new Boston Book, Print and Ephemera Show will be available this spring. Last year's dealers will automatically be sent a contract. Other dealers wishing to receive a contract for the 2012 show should contact Getman at mgetman@bostonbookshow.com or call him at 781-862-4039. In 2012 the show will be held November 17 from 8am - 4pm.

More information can be found on the website www.bostonbookshow.com

AUSTIN, Texas — “The King James Bible: Its History and Influence,” an exhibition at the Harry Ransom Center at The University of Texas at Austin, demonstrates that four centuries after its first printing, the King James Bible (1611) remains one of the most influential books in the English language.

Running from Feb. 28 to July 29, the exhibition includes other notable Bibles and examples of modern book design featuring biblical texts, resulting in the most comprehensive display of Bibles and related materials in the Ransom Center’s history.

Featuring more than 220 items from the Ransom Center’s collections, the exhibition also includes materials from the Folger Shakespeare Library of Washington, D.C., and Bodleian Library of the University of Oxford that help reveal how the King James Bible translation came into being.

The language and imagery of the King James translation has had an extensive influence on English-speaking cultures and literature, from John Milton’s “Paradise Lost” to the poetry of Phillis Wheatley to Norman Mailer’s novel “The Gospel According to the Son.”

The language of the King James Bible permeated the Civil War-era writings of Frederick Douglass, Abraham Lincoln and both pro- and anti-slavery advocates.

It also provided the title for Walker Evans and James Agee’s “Let Us Now Praise Famous Men,” a landmark work on sharecroppers hit hard by the Depression, and even inspired the tattoos for Robert De Niro’s character, convict Max Cady, in the film “Cape Fear” (1991).

This wide-ranging influence can be seen throughout the Ransom Center’s film, photography, art and literary holdings.

“The language of the King James Bible has become an integral part of our daily speech — so much so that we rarely know we’re using it,” said Danielle Sigler, the Ransom Center’s assistant director and curator for academic programs and one of the exhibition co-curators. “Whether encouraging someone to ‘eat, drink and be merry’ or getting through something by ‘the skin of one’s teeth,’ we are echoing the translators of the King James Bible.”

Since the origin of printing, the Bible has been regarded as the ultimate challenge for artists, designers and printers. Perhaps no single object embodies this better than Johannes Gutenberg’s 42-line Bible, which is on permanent display at the Ransom Center.

Many other monuments of classic fine printing, ranging from an early Nicolas Jenson illuminated Bible to the Christopher Plantin Polyglot Bible to an 18th-century folio Bible printed by John Baskerville, will be featured in the exhibition.

The Ransom Center’s modern printing collections provide colorful and original treatments of biblical passages by well-known book designers and artists, including a suite of prints from Marc Chagall’s “Exodus,” the massive Oxford Lectern Bible designed by Bruce Rogers, plates from art deco books by François-Louis Schmied and the entire set of Jacob Lawrence’s large silkscreen prints for “Eight Passages” from the book of Genesis.
This exhibition and related materials were developed by the Harry Ransom Center, Folger Shakespeare Library and Bodleian Library. This exhibition has been made possible in part by a major grant from the National Endowment for the Humanities and the support of Margaret Hight.

“The King James Bible: Its History and Influence” can be seen in the Ransom Center Galleries on Tuesdays through Fridays from 10 a.m. to 5 p.m., with extended Thursday hours until 7 p.m. On Saturdays and Sundays the galleries are open from noon to 5 p.m. The galleries are closed on Mondays.

In Illuminations: The Private Lives of the Medieval Kings BBC Four will tell the story of the Medieval monarchy as preserved through stunning illuminated manuscripts from the British Library’s Royal Manuscripts collection which contains some of the most priceless documents in our national history. Some of these manuscripts were commissioned by the Medieval Kings to burnish their legacies. Others were captured as war booty, and handed down from one dynasty to the next. Together they make up a fascinating record of the role of the king and the role of the country as it became a major power at the heart of Europe. This new 3x60 series presented by renowned art historian Dr Janina Ramirez, and produced by Oxford Film & Television will explore the extraordinary art and culture of the period. http://www.bbc.co.uk/programmes/b019h3g2
Many important illuminated Royal manuscripts will be captured on film for the first time as part of the BBC's ongoing collaboration with the British Library and in conjunction with the Library’s latest exhibition, Royal Manuscripts: The Genius of Illumination (www.bl.uk/royal). Dr Ramirez will decode and contextualise the manuscripts and in doing so will bring the monarchy of the Middle Ages back to life with the help of Library experts and series consultant Dr Scot McKendrick, Head of History and Classics at the British Library and lead curator of the exhibition. Many of these treasures have not been seen for hundreds of years so their secrets are fresh to the modern eye.

For Dr Scot McKendrick: "There is no doubt that this collection held by the British Library provides us all with unique opportunities to explore in-depth the lives of our Kings from the medieval period. The beauty and ingenuity of these manuscripts, that have stood the test of time, also tells us a great deal about a relatively forgotten period of our history. We are delighted to be telling this fascinating story through the British Library’s exhibition and through this mesmerising series with BBC Four."

The series runs chronologically beginning with the unification of England under King Athelstan in the 10th Century, covering the 100 Years War with France, and ending with the brutal magnificence of Henry VIII. Spanning 800 years, the British Library’s Royal Manuscripts collection holds a clear message: a medieval king had to project a powerful identity to keep his place at home and to win abroad, and these amazing documents capture the dynastic struggles each ruler faced. From the rueful footnote detailing Edward II’s demise ‘I am called the tumbledown king and all the world mocks me’, to Henry VIII’s scribbled love notes to Anne Boleyn in the margins of his Book of Hours, we see a succession of kings battling to shape an unruly nation and battling sometimes for their lives.

Across the series Dr Ramirez will discover some of the most remarkable art works in our history. These were the elite artefacts of their day made by the premier artists. Embellished with gold, painted in jewel-like colours, they took months, even years to produce, and were priceless beyond compare. One of the books she encounters, the Liber Regalis has powerful contemporary relevance because it has been used in every Coronation service since 1380, including that of our present Queen. Dr Ramirez will argue that some of these pieces deserve to be ranked with the Tower of London or Westminster Abbey as treasures of our cultural heritage and Royal legacy - they are as stunning and as important.

Richard Klein, Controller of BBC Four, commented: "The story of the Medieval Kings was captured through beautiful manuscripts that remain as vibrant today as when they were first penned. BBC Four will recreate that world, drawing on Dr Janina Ramirez' in-depth expert knowledge, to decode the manuscripts. It is a privilege to be able to offer viewers the first chance to see these manuscripts in all their glory on television through our collaboration with The British Library. "

"The story of the Medieval Kings was captured through beautiful manuscripts that remain as vibrant today as when they were first penned. BBC Four will recreate that world, drawing on Dr Janina Ramirez' in-depth expert knowledge, to decode the manuscripts. It is a privilege to be able to offer viewers the first chance to see these manuscripts in all their glory on television through our collaboration with The British Library. "

The BBC creates partnerships with the arts sector that go beyond broadcast, from sharing expertise to widening public engagement in UK arts. BBC Four’s relationship with the British Library is part of an on-going programme of collaborative work agreed in 2009 by Mark Thompson and Dame Lynne Brindley. The relationship’s aims include developing new ways of integrating access to nearly a million hours of BBC TV and radio content and more than 150 million British Library items - which will significantly increase access to research material for the benefit of researchers and the wider public.

Illuminations: The Private Lives of Medieval Kings is a BBC arts programme commissioned on behalf of BBC Four Controller Richard Klein by Commissioning Editor for Arts, Mark Bell. The series is produced by Oxford Film and Television, Executive Producer is Nick Kent.

The three-part series will be shown weekly from Monday 9 January 2012, 9.00pm.
DENVER (January 3, 2012) - The Museum of Contemporary Art Denver (MCA Denver) today announces the exhibition, More American Photographs, opening March 1, 2012 with more than 100 works presenting some of the best-known examples from the Farm Security Administration (FSA) alongside recently commissioned work from 12 contemporary artists.

Inspired by the FSA’s 1930’s and 1940’s program to document the Great Depression’s effects on America’s landscape and people, More American Photographs offers a portrait of America today in the wake of the Great Recession.

Incorporating FSA works owned by the Library of Congress, this exhibition vividly and poignantly discloses the diverse effects of the recent economic calamity: environmental disasters, factory-ghost towns, the collapse of the housing boom and a lack of economic mobility.

The exhibition’s 12 contemporary artists include Walead Beshty, Larry Clark, Roe Ethridge, Katy Grannan, William E. Jones, Sharon Lockhart, Catherine Opie, Martha Rosler, Collier Schorr, Stephen Shore, Alec Soth and Hank Willis Thomas. Many of these artists, some of whom do not typically work in a documentary style, have emulated the same straightforward and unglamorous style of photorealism the FSA photographers pioneered in the 1930s. Such historical examples from Esther Bubley, Sheldon Dick, Walker Evans, Dorothea Lange, Russell Lee, Gordon Parks, Marion Post Wolcott, Louise Rosskam and Ben Shahn will also be on view.

The exhibition’s title refers to Walker Evans’ American Photographs, one of the most powerful photography books ever produced, originally conceived as a catalogue to accompany Evans’ solo show at the Museum of Modern Art, New York, in 1938.

The exhibition is curated by Jens Hoffmann, director of the Wattis Institute for Contemporary Arts at the California College of the Arts, San Francisco (CCA Wattis).  It was first exhibited at CCA Wattis from October 2—December 17, 2011, and following its presentation in Denver, will be traveling to the Wexner Center for the Arts, Columbus, Ohio, from January 26—April 7, 2013.  Subsequent tour venues to be announced.

The presentation of the exhibition at MCA Denver is sponsored in part by MCA Denver’s Director’s Vision Society members and the Andy Warhol Foundation for the Visual Arts.  We would like to further thank the citizens of the Scientific and Cultural Facilities District.

Currently on View

West of Center: Art and the Counterculture Experiment in America, 1965-1977, on view through February 19, 2012.

Thinking About Flying, on view through April 30, 2012.

About MCA Denver

MCA Denver is a non-collecting institution acting as an incubator for art and ideas, artistic exchange, and dialog. As Denver’s first institution devoted entirely to contemporary art, MCA Denver inaugurated its new environmentally sustainable facility, designed by David Adjaye, on October 28, 2007. The 27,000 square foot space, located in the Lower Downtown area, received the distinction of Gold level Leadership in Energy and Environmental Design (LEED). MCA Denver marks David Adjaye’s first public building in the U.S. as well as his first contemporary art museum worldwide. In 2009, MCA Denver merged with The Lab at Belmar.

MCA Denver presents exhibitions of artworks by regional, national, and international artists.

Museum Location, Hours and Ticket Prices

MCA Denver is located at 1485 Delgany on the corner of 15th Street and Delgany, Denver, CO.  The telephone number is 303 298 7554.  Museum hours are Tuesday through Thursday 10AM to 6PM, Friday 10AM to 10PM and Saturday and Sunday 10AM to 6PM. The Museum is closed on Monday.  General admission to the Museum is $10, senior and student tickets are $5. MCA Denver offers $1 off admission to visitors who come to the Museum via public transportation. Children under the age of 6 are admitted free.

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