April 2017 Archives

MIAMI BEACH (April 27, 2017) — Starting this fall, The Wolfsonian-Florida International University calls attention to the transformative designs of one of history’s leading graphic artists in Julius Klinger: Posters for a Modern Age (Oc­tober 6, 2017-April 1, 2018). The exhibition will outline the development of the Austrian designer’s career through over 100 posters, prints, drawings, and book illustrations from The Wolfsonian’s collection and beyond—commissions that reveal Klinger’s knack for infusing beautiful imagery with wit and an astute marketing sensibility. Their display in Miami Beach will mark the first U.S. solo exhibition devoted to the designer, and a unique opportunity for visitors outside of Europe to experience so much of his work in one place.

“Julius Klinger was a designer whose work resonates today for its charm, flair, humor, and variety,” said Jeremy Aynsley, exhibition curator and professor of design history at the University of Brighton. “He was an outstanding draughtsman who captured the elegance of the times in his posters, yet also made strongly satirical images that engaged with the issues of the day.”

Klinger (1876-1942) was born near Vienna to a Jewish family and established his reputation as a prominent graphic artist, illustrator, typographer, and prolific writer closely associated with the Vienna Secession art movement and Jugendstil, the German derivation of Art Nouveau. Working in Austria, Germany, and briefly the United States, Klinger helped create or modernize the image and identities of countless clients ranging from theaters and cabarets, art manufacturers, and commercial companies to public agencies over the course of three decades. He died at an extermination camp near Minsk after the Nazis’ annexation of Austria during the Second World War.

Central to Julius Klinger will be the strong, striking graphic elements that became his signature style and reflect his direct approach to communication: bold color; minimalist, clear visuals stripped of unnecessary detail; and linear compositions influenced by Japanese prints and calligraphy. Klinger distinguished commercial art, serving a client’s goals and messages, from fine art, which he argued prioritized self-expression—a trajectory that paved the way for the emergence of graphic design, or “Reklamekunst” (advertising art), as a specialized field.

Designs on view at The Wolfsonian include:

  • A poster for Die Lustige Blätter [The Funny Pages], a leading satirical magazine, that features fishing centaurs in a fantasy scene (1909);
  • A poster for Hollerbaum und Schmidt (1910), in which Klinger amusingly advertised the Berlin printer’s services through his own self-portrait;
  • A poster for Münchener Faschings-Redoute [Munich Carnival Ball], designed for the city’s carnival season (1914);
  • A poster for TABU (1919) that showcases Klinger’s skill in using graphic line to define the identity for the cigarette-paper company; 
  • A poster for RAVAG, Austria’s first radio network, which Klinger promotes through the motif of abstracted radio masts (1924);
  • Intricate illustrations for Die Aegyptische Helene [The Egyptian Helena], a book based on Richard Strauss’ opera (c. 1928); and
  • An announcement for a ten-week course on advanced poster design led by Klinger at The New School, New York, proudly proclaiming him “Europe’s most prominent poster artist” (1932).

“The art of persuasion is a key interest of The Wolfsonian, and Klinger was a master,” said Wolfsonian director Tim Rodgers. “Through his instrumental graphic work, our visitors will consider the power of design in affecting change, often by using tactics still employed by advertisers, corporations, and brand influencers today.”

In tandem with Julius Klinger, The Wolfsonian will publish a companion book with an essay by Aynsley and translated extracts from Klinger’s writings.

Comic copy.jpgDALLAS (April 27, 2017) - The Mile High Pedigree copy of Suspense Comics #3 highlights a high-end selection of comics and comic art in Heritage Auctions’ inaugural Comics Platinum Night session May 18 in New York. The evening session kicks off a three-day, 1,300-lot event May 18-20 that will include spanning original Underground Comix art, original cover art and scarce, key books spanning every genre.

“Heritage has successfully held Platinum Night auctions in its U.S. coins and sports auctions and we decided the time is right to extend the practice to our comics offerings as well,” said Barry Sandoval, Director of Operations for Comics and Comic Art for Heritage Auctions. “Just 83 lots will comprise our first Platinum Night and we think collectors will relish the selection we’ve assembled for them.” The auction will take place at the Omni Berkshire Hotel, 21 East 52nd Street, with live online bidding and phone bidding also available.

Suspense #3, 9.2 CBCS, a white-hot Golden Age issue, driven by the Nazi bondage/torture cover by Alex Schomburg, could sell for as much as $200,000 in the evening session. High-grade copies of The Avengers #4, 9.8 CGC, is expected to end at $120,000 and a near mint copy of The Avengers #1, 9.4 CGC, is expected to spark spirited bidding and a $100,000 auction price due to its high grade and the first appearance of the Avengers (Thor, Iron Man, Hulk, Ant-Man and Wasp), as well as appearances by Loki, the Teen Brigade and the Fantastic Four. 

With her own movie coming this summer, the Amazing Amazon Wonder Woman never has been more popular and a copy of Wonder Woman #1, 7.5 CGC, could sell for as much as $100,000, surpassing price guide expectations. A scarce, high-grade copy of The Amazing Spider-Man #1, 9.2 CGC Massachusetts Pedigree, may bring $90,000 while the first appearance of Iron Man from Tales of Suspense #39, 9.4 CGC Bethlehem Pedigree, also could hammer for $90,000.

A Platinum Night selection of important original comic art features Robert Crumb’s iconic Fritz the Cat Cover Original Art (Ballantine, 1969) - a famous Underground Comix cover image also used to promote the character’s two animated films - is expected to sell for $150,000-$250,000. Another specialty art offering includes Frank Frazetta’s Battlestar Galactica Painting Original Art titled In Pharaoh’s Tomb, 1978, a fantastic oil published as an advertisement for the fan-favorite TV show, which could surpass $100,000.

Original comic and comic strip art ranges from Steve Ditko’s Amazing Spider-Man #23 Story Page 17 featuring a classic skirmish with the Green Goblin, which could sell for $100,000 to Alex Raymond’s Flash Gordon and Jungle Jim Sunday Comic Strip Original Art dated 2-26-39 (King Features Syndicate, 1939), which may bring $70,000.

Two special pieces of art by Jack “King” Kirby include Fantastic Four #11 Sub-Mariner Pin-Up Original Art, which could bring $50,000, and Thor #136 Cover Original Art, which could sell for $40,000.

Additional Platinum Night highlights include, but are not limited to:

Neal Adams’ Batman #222 Cover Beatles Original Art, Color Guide, and Printer's Proof Group of 3 (est. $30,000+)

Dave Gibbons’ Watchmen #2 Cover Original Art (est. $40,000+)

The bombastic Page 3 Original Art from X-Men #2 by Kirby and Paul Reinman (est. $50,000+)

The Incredible Hulk #1, 8.0 CGC, (est. $75,000+)

Heritage Auctions is the largest fine art and collectibles auction house founded in the United States, and the world’s largest collectibles auctioneer. Heritage maintains offices in New York, Dallas, Beverly Hills, San Francisco, Chicago, Palm Beach, Paris, Geneva, Amsterdam and Hong Kong.

The Internet’s most popular auction-house website, HA.com, has over one million registered bidder-members, and searchable free archives of four million past auction records with prices realized, descriptions and enlargeable photos.

EL.2016.11.73 PS.jpgAmherst, MA (April 27, 2017) Flying frogs, cloud-sized cabbages, and an underwater living room occupied by octopuses--David Wiesner's wordless picture books are marvels of visual and narrative invention. He presents magical possibilities and time-bending experiences, enticing readers to return again and again. Wiesner's technical virtuosity, exquisitely-nuanced colors, and dynamic compositions are on full display in David Wiesner & the Art of Wordless Storytelling, on view from June 18 through November 5, 2017. 

This first-ever retrospective devoted to Wiesner's art features 80 original watercolors from some of his most famous books, including three for which he won the prestigious Caldecott Medal: Tuesday (1992), The Three Pigs (2002), and Flotsam (2007). Also on view is work from Wiesner's earliest artistic successes while still a student at the Rhode Island School of Design to his most recent project--his first graphic novel, Fish Girl, published just this year.  

Wiesner has captivated readers for three decades. "More than creating the singular object--a painting or sculpture," Wiesner explains, "I am enthralled by the idea of a collection of images that work together toward a larger whole." Because Wiesner is so proficient at his craft, the reader becomes a vital participant in his books. "By removing the text," states Wiesner, "I am removing the author's voice. This lets the reader tell the story in their own voice. It puts the reader in the position of collaborating in the story-telling process, asking them to use their imagination along with mine." 

Many strands of influence are evident in Wiesner's visual approach to storytelling. As Katherine Roeder writes in her catalogue essay, "David Wiesner's work is intricate and complex; his paintings are informed by a host of cultural sources, both high and low, and the books generously reward viewers who look, and look, and look again." The artist draws inspiration from such disparate sources as Surrealism, early American Modernism, and the popular arenas of cartoons, graphic novels, comic books, and film. Moreover, Wiesner's work is a collaboration of creativity and creative minds. As Roeder explains, "the liberating qualities of the imagination are Wiesner's most pervasive and consistent motif."

This exhibition has been organized by the Santa Barbara Museum of Art. Its presentation at The Carle is supported by Houghton Mifflin Harcourt.

Educational Interactives

According to Roeder, Wiesner "expects the viewer to actively engage with his work, to make connections and create meaning at every juncture." Therefore, it is apropos that David Wiesner & the Art of Wordless Storytelling includes the artist's popular app Spot, made available on iPads in the gallery, and a special reading area devoted to Wiesner's picture books. A video interview with the artist and a touchscreen allowing visitors to digitally color Wiesner's compositions are also available. In this way, the process of engaging and interacting with Wiesner's art within the exhibit continues to perpetuate creativity. 

Catalogue

The exhibition is accompanied by a 112-page catalogue, distributed by Yale University Press and authored by Katherine Roeder, Adjunct Faculty, George Mason University and the University of Maryland, University College, with a Q&A with the artist, David Wiesner, by SBMA Assistant Director and Chief Curator, Eik Kahng, and Chief Curator at The Eric Carle Museum of Picture Book Art, Ellen Keiter. The catalogue is available for purchase in The Carle Bookshop.

Image: Bugs, 2009. Collection of Zora and Les Charles. © 2009 David Wiesner

PITTSBURGH (April 26, 2017)--Children's Museum of Pittsburgh and The Eric Carle Museum of Picture Book Art are proud to announce a new partnership to co-organize The Pigeon Comes to Pittsburgh: A Mo Willems Exhibit, inspired by the art and characters of beloved children's book author and illustrator Mo Willems.  

The exhibit, debuting February 2018 at the Children's Museum, will invite visitors into the imagination, whimsy, and humor of Mo Willems. Many familiar characters will be featured, including best friend duo Elephant and Piggie, faithful companion Knuffle Bunny, and The Pigeon, the wily city bird best known for his antics in Don't Let the Pigeon Drive the Bus! Activities will give children the opportunity to make art that is inspired by Mo Willems and to learn about the rich social and emotional lives of the author's characters. The exhibit will also feature prints of illustrations, including works in progress, by Mo Willems.

In Summer 2018, the exhibit will begin its tour to museums and libraries in cities across the country.

"We're so excited to reconnect with The Eric Carle Museum," said Jane Werner, Executive Director of Children's Museum of Pittsburgh. "Its commitment to preserving and growing the art forms of illustration and storytelling are so important in this fast-paced day and age."

The two institutions first joined forces in 2015 to produce Very Eric Carle: A Very Hungry, Quiet, Lonely, Clumsy, Busy Exhibit based on the five-book series about insects by Eric Carle. The exhibit is breaking attendance records at museums as it tours across North America through 2021.

"Mo's work came to the top of our list when we talked about the next exhibition we wanted to mount," adds The Carle's Executive Director Alexandra Kennedy. "His style appears so simple but there is so much contained within that distillation--outrageous comedy, a child's eye view, and important revelations about kindness and acceptance."

The Pigeon Comes to Pittsburgh: A Mo Willems Exhibit will premiere at Children's Museum of Pittsburgh February 17 through May 2018, and be available for rent immediately thereafter. For information on renting this and other Children's Museum's traveling exhibits, please contact the Museum's Exhibits department at (412) 322-5058, ext. 229, or exhibits@pittsburghkids.org.

 

87-Cappiello copy.jpgNew York—On Thursday, May 25, Swann Galleries will hold an auction of Graphic Design, featuring a premier selection of posters, books and magazines by outstanding designers from around the world.

Early twentieth-century French posters lead the sale, with highlights ranging from A.M. Cassandre’s SS. “Côte d’Azur”, 1911, to Leonetto Cappiello’s Le Petit Dauphinois, 1933, an advertisement for one of the largest periodicals in the Alps at the time ($15,000 to $20,000 and $30,000 to $40,000, respectively). Also featured is Paul Colin’s complete portfolio Le Tumulte Noir, 1927, a tribute to Jazz-Age Paris and the craze for the Charleston, introduced by the actress Josephine Baker (who was also Colin’s lover). Two of the 42 original pochoir lithographs specifically depict Baker: one in a grass skirt, and one in her infamous banana skirt. The present copy, from the original edition of 500, includes the double cover and the rare insert bearing the French advisory “there is no advertising page in this album” ($25,000 to $35,000). Col van Heusen, 1928, by Charles Loupot, one of the artist’s most elegant Cubist designs, which has only appeared once previously at auction, and his verdant Voisin Automobiles, 1923, are each expected to bring between $20,000 and $30,000.

Outstanding works from the Vienna Secession begin with Richardsquelle, 1899, an alluring banner by Koloman Moser promoting mineral water, estimated at $12,000 to $18,000. Two scarce publications on the period will be available: the only comprehensive book on the Golden Age of Austrian posters, Österreichische Plakatkunst, circa 1914, with 24 color plates, and the complete 12-volume set of Die Fläche, the design magazine by the Wiener Werkstätte, 1903-04 ($6,000 to $9,000 and $12,000 to $18,000, respectively). In 1908, a Werkstätte exhibition organized by Gustav Klimt in conjunction with the Vienna’s School of Arts and Crafts and the Art School for Women and Girls was advertised by Bertold Löffler with the powerful poster Kunstschau Wien, valued at $30,000 to $40,000.

One year before his death, Egon Schiele designed a poster advertising Secession 49 / Asstellung, 1918, showing himself at the top of the table of exhibitors, with an empty seat opposite him representing Klimt, who died about a month before the opening ($15,000 to $20,000).

German posters demonstrate the dramatic difference in design trends before and after WWI. Ludwig Hohlwein’s delightful Besuchet den Tiergarten, 1912, advertising the opening of the new Munich Zoo in 1911 ($15,000 to $20,000) and Zoologischer Garten / Sommerfest, 1914, valued at $2,000 to $3,000, evidence the antebellum optimism of the country. Ten years later, an exhibition poster by Kurt Schwitters and Theo van Doesburg, Kleine Dada Soirée, 1922, advertising a tour to introduce other artists to Dadaism ($15,000 to $20,000), belies the devastation of war.

There is a strong selection of Soviet propaganda and Constructivist posters, with works by Mikhail Dlugach and Nikolai Dolgorukov, led by Gustav Klutsis’s dramatic photomontages The USSR is the Shock Brigade of the World’s Proletariat, 1931, and Long Live the Multimillion-Member Leninist Komsomol, 1932 ($10,000 to $15,000 and $8,000 to $12,000, respectively).

Mid-century American activism is on display, with wartime posters including dramatic images by Ben Shahn such as Break Reaction’s Grip / Register - Vote, circa 1946, and For All These Rights We’ve Just Begun to Fight / Register - Vote, 1946 ($2,000 to $3,000 and $1,500 to $2,000, respectively). A convincing work incentive poster from 1942 by an unknown designer that reads, simply, More More More More More Production, is expected to bring between $1,500 and $2,000. A run of images by Thomas W. Benton decrying the Vietnam War incorporate Bob Dylan’s lyrics, including Vital Issues / Bob Dylan, 1969, and Aspen Humanities Seminar / Bob Dylan, 1969, each valued at $700 to $1,000. Original gouache maquettes for 1970s posters responding to Cuba will be available, including End the U.S. Blockade Against Cuba, circa 1970s, by Peg Averill, and Karen Botten’s 1978 Cuba: Where Human Rights Are More Than A Privilege ($500 to $750 and $400 to $600, respectively).

A selection of 1966 posters promoting Andy Warhol’s creative output include a flyer for a screening of the film My Hustler ($7,000 to $10,000), as well as the exhibition Andy Warhol / Institute of Contemporary Art, Boston, valued at $5,000 to $7,500. Promotional materials designed by leading artists including Josef Albers, David Hockney, Jasper Johns and Frank Stella, will also be offered.

The auction will be held Thursday, May 25, beginning at 1:30 p.m. The auction preview will be open to the public Saturday, May 20, from 12 p.m. to 5 p.m.; Monday, May 22, through Wednesday, May 24, from 10 a.m. to 6 p.m.; and Thursday, May 25 from 10 a.m. to noon.

An illustrated auction catalogue is available for $35 at www.swanngalleries.com.

For further information and to make advance arrangements to bid by telephone during the auction, please contact Nicholas D. Lowry at 212-254-4710, extension 57, or via e-mail at posters@swanngalleries.com.

Image: Lot 87 Leonetto Cappiello, Le Petit Dauphinois, 1933. Estimate $30,000 to $40,000.

Now in their 21st year, the New York City Book Awards are the only prizes exclusively for books about New York City. Since 1995-1996, the New York Society Library has sponsored these accolades to works of literary quality or historical importance that evoke the spirit or enhance appreciation of New York City. The Library is proud to announce the winners of the 2016 awards:

Tyler Anbinder, City of Dreams: The 400-Year Epic History of Immigrant New York (Houghton Mifflin Harcourt, October 2016)

David Oshinsky, Bellevue: Three Centuries of Medicine and Mayhem at America’s Most Storied Hospital (Doubleday, November 2016)

Roxane Orgill and Francis Vallejo, Jazz Day: The Making of a Famous Photograph (Candlewick Press, March 2016)

The Hornblower Award for a First Book: Corey Pegues, Once a Cop: The Street, the Law, Two Worlds, One Man (Atria Books, May 2016)

The 2016-2017 New York City Book Awards are generously underwritten by Ellen M. Iseman.

A diary written in 1945 by John F. Kennedy during his brief stint as a journalist after World War II sold for $718,750 according to Boston-based RR Auction. 

The diary was consigned by Deirdre Henderson, who began working for Senator Kennedy in 1959 as his research assistant in his run for the Presidency. 

“It was my hope that through the auction catalog the diary would come to the attention of a wider audience and find a home worthy of its merit,” said Deirdre Henderson. 

The diary is compromised of 61 loose-leaf pages, bound in a premium black leather cowhide binder. Twelve of the pages were handwritten by Kennedy and he typed forty-nine pages on his personal typewriter.

Within the detailed personal diary, a 28-year-old JFK reveals surprising views on liberalism versus conservatism and espouses his unedited beliefs regarding Roosevelt’s effect on capitalism; he witnesses and harshly critiques the formation of the United Nations; he muses on iconic leaders Chamberlain, Churchill, DeGaulle, FDR, and Eisenhower. Before the trip is over, young Jack experiences in real-time a desolated Berlin and along with Stalin, Truman, and Eisenhower, attends Potsdam, Germany’s summit.

This historic event included an unlikely gathering of a current president, Truman, and two future presidents, Ike and JFK. Potsdam was where Truman officially decided to drop the bomb on Japan and revealed the presence of the world-changing weapon to Stalin. 

Throughout the diary, JFK chronicles his own chilling premonitions of power-hungry Russia and the conflict that would be synonymous with his presidency: the cold war. 

By Summer’s end, Kennedy officially decided to run for congress, the first step on his sixteen-year journey to the White House. The final pages of this memoir record, in the future president’s own hand, his reservations on running, coupled with his renewed vigor to serve.

JFK’s assignment as an observer-reporter provided him the final push needed to embrace the next steps of his career and excel as a public servant.

“This exceptional diary sheds light on a side of John F. Kennedy seldom explored and confirms America’s enduring sense that he was one of the most qualified, intelligent, and insightful commanders-in-chief in American history,” said Bobby Livingston, Executive VP at RR Auction. 

“The sale far exceeded our expectations and helps to establish us as one of the preeminent auction houses for Kennedy documents,” added Livingston. “We are honored to have had the chance to bring this little-known diary to the attention of a world-wide audience.” 

The winning bid came from Joseph Alsop, a Kennedy collector from Beverly Massachusetts.   

The live auction took place at RR Auction’s Boston Gallery on April 26, 2017 at 1PM Eastern. More details can be found online at www.rrauction.com.

Screen Shot 2017-04-26 at 9.19.20 AM.pngLes Enluminures is pleased to announce its participation in the 2017 Madison Avenue Gallery Walk on April 29. The event, which takes place on the Saturday preceding the TEFAF, Art New York, and Frieze New York fairs, will open our New York gallery’s spring exhibition Collecting Medieval Masters Now. The works presented here - manuscripts, miniatures, drawings, and rings - offer a meaningful counterpoint to more recent artistic productions and celebrate the legacy of thoughtful collecting from generations past and present. 

Highlights of the exhibition include a majestic two volume illustrated manuscript made in the court of King Charles V (reigned 1364-1380), a masterpiece of French Gothic manuscript illumination known as the “Soisson Missal”, a miniature attributed to a follower of Giovanni di Paolo from the collection of Lord Clark of Saltwood, and a Roman ring with a message of friendship hidden in its intricate open-work. 

Keegan Goepfert, Vice-President and Director of Les Enluminures (New York & Chicago), will deliver two accompanying talks entitled “Medieval Art for the Modern Collector” and “Collecting Rings: Then and Now” during the Madison Avenue Gallery Walk. The talks are free, but registration at www.artnews.com/MadAveGalleryWalk is required. 

COLLECTING MEDIEVAL MASTERS NOW 

April 29 through June 10, 2017; Tuesday to Saturday, 10am to 6pm 

Opening: Madison Avenue Gallery Walk Saturday, April 29, 2017 10am to 7pm 

Les Enluminures, 23 East 73rd Street, 7th Floor, Penthouse, New York, NY 10021

Image: FOLLOWER OF GIOVANNI DI PAOLO, The Creation of the World, Italy, Siena, c. 1450, $55,000

 

 

gorky copy.jpgBrunswick, Maine, April 2017—The Bowdoin College Museum of Art (BCMA) will present the first-ever survey of the Museum’s extensive collection of drawings, widely considered the oldest public collection of works on paper on the continent, illuminating the foundational and evolving role of drawing within Western artistic practice. Titled Why Draw? 500 Years of Drawings and Watercolors at Bowdoin College, the exhibition will be on view from May 3 through September 3, 2017, and includes more than 150 works by American and European artists across cultures, genres, and time periods, such as Peter Paul Rubens, Giovanni Battista Tiepolo, John Singleton Copley, Winslow Homer, Henri Matisse, Eva Hesse, and Roy Lichtenstein, among many others. Why Draw? will be accompanied by a fully illustrated catalogue that features original texts from renowned scholars and contemporary artists, all considering what compels artists to draw through close study of specific works in the exhibition. These insights, from contributors including David Driskell, Richard Tuttle, James Siena, and Yvonne Jacquette form the touchstones of both the exhibition and the catalogue, guiding viewers through an examination of the traditional functions of drawings in artistic education, studio practice, and the formal; and poetic reasons artists have been driven to drawing throughout history. The Museum will also host several public programs throughout the summer in conjunction with the exhibition, including artist talks, scholarly lectures, and artist-led workshops.

Curated by Joachim Homann, Curator at BCMA, the exhibition builds on the foundation of Bowdoin’s strong history of collecting works on paper, stemming back to the initial gift of 141 historic European drawings to the college by James Bowdoin III in 1811.  Since then the drawings collection has evolved to include nearly 2,000 unique works on paper, encompassing acquisitions and gifts from alumni, artists, and patrons. Many recent additions to the collection will be on view for the first time. Spanning from a drawing from the workshop of Raphael, to the first-ever watercolor by Winslow Homer to enter a museum collection, to works produced in the past five years by Natalie Frank, William Kentridge, and Titus Kaphar, the exhibition offers a diverse selection of masterworks from artists across a wide range of history.

“We’re delighted to have the opportunity to present a comprehensive survey of our renowned collection of drawings, which, through its distinct breadth and depth, provides rewarding insights into the evolving role of drawing over the past 500 years of Western artistic practice,” said Frank Goodyear, co-director of the Bowdoin College Museum of Art. “Museums are as much collections of people as they are of artworks, and Why Draw? is indebted to the artists, art historians, and art patrons who contributed to this exhibition, and truly helped shape the BCMA as an institution, through their generous gifts over time that would be near-impossible to acquire today,” continued  Anne Goodyear, co-director of the Bowdoin College Museum of Art. “As a museum at an institution of higher learning, the strength of our drawing collection provides tremendous opportunities to mount exhibitions such as this one, which allow students, scholars, and visitors to enter into the thoughts and practice of artists and examine new ways of seeing.”

The exhibition considers drawing in Europe and the United States throughout time, observing how artists advanced the role of drawing in artist’s creative processes—from a primary tool to record the visual world, to a medium distinguished for its expressive qualities and immediacy in the advent of photography and subsequent technological advances in the digital age, ultimately underscoring what makes drawing different from other forms of notation.

Upon entering the exhibition, visitors will be greeted by Pharrell, 2014, Alex Katz’s seven-foot-tall portrait of the American singer and songwriter Pharrell Williams. A preparatory drawing that employs a Renaissance technique, this work demonstrates just one practical use of drawing within the artistic process. From this starting point, the exhibition illustrates many applications of drawing in the studio, from invention to observation, to composition and recording of a finished work. At the same time this survey highlights traditions specific to Italy, France, the Low Countries, Great Britain, and the United States, and demonstrates how over 500 years, drawings became increasingly appreciated as artworks in their own right, since they allow for unparalleled freedom to experiment. Recent acquisitions of works by Pieter Withoos, Hyacinthe Rigaud, Jean Michel Moreau the Younger, and Edward Lear expand the narrative of the exhibition by adding a focus on changing attitudes towards the natural world. New significant gifts strengthen the representation of trends in mid-20th-century American art, and include accomplished drawings by Joseph Stella, Romare Bearden, and Norman Lewis, as well as preparatory sketches by sculptors from Gaston Lachaise to Henry Moore to David Smith.

As curator Joachim Homann describes: “Rather than aiming for a coherent and systematically ordered set of reasons that compel artists to draw—a goal that seems elusive, given the widespread practice of drawing—we introduce a broad selection of works of art, and each is probed for being a record of a directed artistic intervention. Each models a different way of embedding information in a work of art and adds a new facet to our understanding of drawing, offering insights into the creative process as it shaped work in artists’ studios of the past 500 years and continues to evolve today.”

Highlights of the exhibition include:

-A double-sided drawing after Donatello’s “Miracle of Miser’s Heart,” (1505-1520) from the workshop of Raphael, reproduces figurative groups from Donatello’s bronze reliefs for the high altar of Sant’Antonio, Padua.

-A rapid sketch by Peter Paul Rubens, The Death of Dido (1600-1603), depicts the first Queen of Carthage, in despair over Aeneas’ departure, falling on a sword.

 -The End of the Hunt (1892) was the first Winslow Homer watercolor to enter a museum collection, capturing the untamed nature of the Adirondacks. 

-Alberto Giacometti’s portrait of his friend James Lord, sketched on the last page of a political review by French intellectual and literary figure Georges Bataille from 1948.

-Michelle Stuart’s record of the ground outside her home, entitled Little Moray Hill (1973), produced by placing the paper directly on the dirt and rubbing on it with graphite to transfer the most minute topographical distinctions.

 -Ed Ruscha’s Fix (1972), which completely obliterated the traces of the artist’s hand in a drawing with gunpowder on paper, only to evoke verbally the medium’s ability to record movement in permanence.

-The Jerome Project (2015) by Titus Kaphar combines the portraits of three young black men whose tragic deaths prompted a national conversation around racial profiling, policing, and gun violence: Trayvon Martin (died February 26, 2012), Michael Brown (died August 9, 2014), and Tamir Rice (died November 22, 2014), which outlines the subjects’ faces in white chalk on asphalt-coated roofing paper.

The fully illustrated, 192-page catalogue that accompanies the exhibition is published by Del Monico-Prestel. In a departure from traditional scholarly catalogues, Why Draw? foregrounds artistic processes and personal perceptions of the impact and significance of drawing on artistic practice through time.

The Museum is pleased to announce a series of exhibition related public programs throughout the summer, with events ranging from a group discussion on the history and impetus behind collecting, talks on notable artists, the Museum’s historic holdings, and the importance of drawing to an artist’s practice. Highlights include:

-Why Draw? artist Natalie Frank, creator of widely exhibited and critically acclaimed illustrations of the “unsanitized” fairy tales of the Brothers Grimm, will visit the Museum to discuss the implications of her works for women, their bodies, desires, and fears on May 2.

- Museum Co-Director Frank Goodyear will lead a discussion on the drawings of Winslow Homer and their historic importance in the Museum on July 18. 

-George Keyes, former curator at the Detroit Institute of Art, will host a workshop on the practice of collecting Old Master works and the history of studying European prints and drawings on July 27.

-Joachim Homann, the exhibition curator, will analyze the use of the figure in the European avant-garde, focusing on master works by Egon Schiele, Pablo Picasso, and Henry Moore on August 22.

-Artist Andrea Sulzer will lead a workshop called Tracing the Artist’s Hand, including both hands-on activities and a discussion on the changing approaches to mark-making on paper on August 24.

-An evening dedicated to changing artistic and cultural attitudes toward paper with Caroline O. Fowler, Department of Art History, Yale University; Ruth Fine, former curator, National Gallery of Art; Marjorie Shelley, Conservator in Charge, Works on Paper, The Metropolitan Museum of Art, on August 31.

About the Bowdoin College Museum of Art

The collections of the Bowdoin College Museum of Art are among the most comprehensive of any college museum in the United States. Collecting commenced over 200 years ago with a major gift from the College’s founder, James Bowdoin III, and his family that included Gilbert Stuart’s magnificent portraits of Thomas Jefferson and James Madison.

The Museum is housed in the landmark Walker Art Building, designed in 1894 by Charles Follen McKim. Located on the historic quadrangle of Bowdoin College, the building is graced by murals by John La Farge, Kenyon Cox, Elihu Vedder, and Abbott Thayer. A $20.8-million renovation and expansion in 2007 provided a stunning setting for objects as diverse as monumental Assyrian reliefs from Nimrud, Iraq; European Old Master paintings; and works by American Modernists. The Museum is the centerpiece of Bowdoin’s vibrant arts and culture community and offers a wealth of academic and educational programs. The Museum is also a prominent summer venue for major exhibitions such as Edward Hopper’s Maine (2011); William Wegman: Hello Nature (2012); Maurice Prendergast: By the Sea (2013); Richard Tuttle: A Print Retrospective (2014); Night Vision: Nocturnes in American Art, 1860-1960 (2015); and This Is a Portrait If I Say So: Identity in American Art, 1912 to Today (2016). 

Fully accessible, the Bowdoin College Museum of Art is open to the public free of charge from 10:00 a.m. to 5:00 p.m. on Tuesday through Saturday; 10:00 a.m. to 8:30 p.m. on Thursday, and from 1:00 p.m. to 5:00 p.m. on Sunday.

Image: Untitled Drawing, 1943 graphite and colored crayon, by Arshile Gorky, American, 1904-1948. Gift of Walter K. Gutman, Class of 1924. Bowdoin College Museum of Art, Brunswick, Maine.

Islam copy.jpgDALLAS, Texas (April 25, 2017) -  Three historically important lots from the dawn of The Nation of Islam will debut at Heritage Auctions this spring: A document archive covering the founding and early decades of the organization (est. $500,000), as well as 20th century political rights activist Elijah Muhammad’s Personally-Owned Kofia Hat (est. $20,000) and his Diamond 14 Gold Star and Crescent Ring (est. $2,000) will cross the block May 11 and May 13.

“This is the first and earliest archive ever offered pertaining to the Nation of Islam,” said Sandra Palomino, Director of Historical Manuscripts at Heritage Auctions. “The goals laid out by W. Fard Muhammad and the hopes expressed by the men and women asking to be accepted into the Nation must be examined within the context of what is happening in Detroit in the 1930s. There are riots in the black community as they struggle to break the constraints of segregation; and into this strife, Muhammad appears and offers them a pathway to improving their circumstances. Within this context, the founding of the Nation is really about the establishment and struggles of a civil rights movement.” 

The archive, offered in Heritage Auctions’ May 11 Manuscripts Auction, is consigned by the family of Burnsteen Sharrieff Muhammad, Fard Muhammed’s secretary and a founding member. Included are meeting notes, correspondence from followers, letters, lesson plans, and speech notes. Nothing has been published about the birth of the Nation of Islam (NOI) in the 1930s. Offered here are three linear feet of primary source materials critical to the understanding of the Nation of Islam and its later role in the Civil Rights movement.

After coming under investigation by state and federal agencies, Fard Muhammad disappeared from the NOI sometime in the mid-1930s. In his absence Elijah Muhammad assumed leadership, but he too would become subject of an FBI investigation. Elijah Muhammad went into hiding during the 1940s and for years, he led the NOI via letters to his wife and brother sending instructions to be implemented by his followers. The archive includes a substantial group of these letters, the only ones to remain in private hands. The majority are said to have been confiscated by the FBI.

Elijah Muhammad Artifacts

Elijah Muhammad led the NOI for four decades. Under his leadership the NOI’s membership skyrocketed in the years after World War II. Despite frequent clashes with Martin Luther King’s doctrine of nonviolent resistance, the NOI played an influential role in the Civil Rights movement. Malcolm X became one of its most important leaders, but was excommunicated in 1964 over disputes with Elijah Muhammad. Two years later, three Nation of Islam members assassinated Malcolm X in Manhattan. Although the Nation of Islam was always a controversial faction within the Civil Rights movement, outcry against them mounted to a fever pitch after Malcolm X’s death. 

Elijah Muhammad died in 1975, and his son Emmanuel Muhammad assumed leadership. While the movement has had some success in organizing protests and spreading overseas in the past three decades, it’s power and influence is much less that it was during Elijah Muhammad’s tenure.

Featured in Heritage Auctions’ May 13 Americana & Political Auction is Elijah Muhammad’s iconic and personally-owned Nation of Islam Jeweled Black Velvet Kofia and diamond encrusted gold ring. Consigned by a member of the family, the two items are inexplicably linked to the organization and serve as powerful symbols of the man who led the NOI during its most influential years.

This kofia was probably made in the early 1970's, and is based on the original kofia designed by Dr. Shakeela Hassan in the early 1950's. Dr. Hassan, a Pakistani immigrant, was befriended by the Muhammad family when she moved to Chicago to study medicine.  The kofia is consigned directly by the family of Muhammad. It passed to his eldest son Emmanuel Muhammad (1921-1998), then from Emmanuel to his daughter Fatimah Muhammad. In the early 1990's, Emmanuel and Fatimah put the kofia and his ring in a safe deposit box. The items remained in the safe deposit box until this offering. 

Also offered May 13 will be the Elijah Muhammad’s 14-karat Yellow Gold, Diamond and Enamel Ring bearing the Star and Crescent Symbol of the Nation of Islam. The ring, as well as the kofia, descended through Muhammad's family, and are consigned by his grandson for the benefit of Elijah’s granddaughter (Emannuel’s eldest daughter).  

Heritage Auctions is the largest fine art and collectibles auction house founded in the United States, and the world’s largest collectibles auctioneer. Heritage maintains offices in New York, Dallas, Beverly Hills, San Francisco, Chicago, Palm Beach, Paris, Geneva, Amsterdam and Hong Kong.

The Internet’s most popular auction-house website, HA.com, has over one million registered bidder-members, and searchable free archives of four million past auction records with prices realized, descriptions and enlargeable photos.

LivingBook.jpgPhiladelphia, PA--April 24, 2017--The Library Company of Philadelphia is excited to announce the opening of a new exhibition, The Living Book: New Perspectives on Form and Function. The exhibition will open Thursday, May 9, 2017 and run through Friday, January 5, 2018. The Library Company's exhibition gallery is free and open to the public Mondays through Fridays from 9:00am - 4:45pm. Curated by the Library Company's McLean Conservation Department, The Living Book will provide a new perspective on the material culture of the book.

As we spend more and more time reading off of screens and digital devices, the days of the paper book are widely believed to be numbered. However, books have been a constant in our lives for centuries. Books of all shapes and sizes are common objects used for education, reflection, work, and fun. This multi-media exhibition showcases the incredible versatility and variety of forms of books, both as a way of illustrating their importance to human culture, but also the remarkable adaptability that will ensure their permanence.

The exhibition will explore details such as homemade repairs, handwritten notes, and sentimental tokens that bring the book to life. These details, which are often overlooked, convey a sense of each book's unique story. According to Chief of Conservation Jennifer Rosner and Conservators Alice Austin and Andrea Krupp, "...we searched for and enjoyed finding unusual books in our collection, and we're excited to share them... [and], for the first time we'll be able to show books in motion on a video screen. We hope that visitors will leave the exhibit with a new appreciation for the book and its role in everyday life."

Also included are various materials and ephemera, including prints, photographs, broadsides, and advertisements. Books help us remember the past, record the present, and imagine the future. The Living Book will inspire you to think about how we use books in our daily life, and the value of its preservation for discovery and exploration in the future.

On May 9th, the Library Company will host an Exhibition Opening featuring remarks from Edwin Wolf 2nd Director, Dr. Michael J. Barsanti, and the curators of the exhibition. The highlight of the evening will be a collector's discussion held by renowned book collector, Michael Zinman. 

Michael Zinman, Trustee Emeritus of the Library Company, is a collector of American imprints and American trade bindings. Through gifts and purchases, Mr. Zinman has contributed over 14,000 books, pamphlets, and broadsides to the Michael Zinman Collection of Early American Imprints, acquired by the Library Company in 2000. It is the largest such collection assembled in the 20th  century and larger than all but a handful of institutional collections. 

Several spring programs and events will be held in conjunction with the exhibition. All events will be held at the Library Company of Philadelphia, unless otherwise specified. Details and links to registration can be found at  www.librarycompany.org/events.

What: Medical History Collection and The Living Book Tour

Ticket Price: Free for Members/ $10 for Non- Members

When: Tuesday, May 16 at 2:30pm

This two-part tour includes a collections review with the Library Company co-Director of the Visual Culture Program and Associate Curator of Prints & Photographs, Erika Piola and exclusive The Living Book tour with exhibition curators.

What: The Living Book Symposium

Ticket Price: Free for Members/ $15 for Non- Members

When: Thursday, May 18 at 1:00pm - 5:00pm/ Reception to follow

This half-day symposium, will bring together three experts to share their unique perspectives on the book. Speakers include Mark Dimunation, Chief of the Rare Book and Special Collections Division of the Library of Congress; Alice Austin, Library Company Conservator; and Russell Maret, a type designer and private press printer in New York City. 

What: Book Club: On the Map: A Mind-Expanding Exploration of the Way the World Looks

Ticket Price: Free for Members/ $10 for Non- Members

When: Thursday, June 1 at 5:30pm - 6:30pm

Conservator Alice Austin will lead the discussion on select chapters from On the Map. Join us for an interesting conversation and a pop-up exhibition featuring some of the Library Company's most fascinating maps.

About The Library Company of Philadelphia

Founded in 1731 by Benjamin Franklin, the Library Company of Philadelphia is an independent research library and educational institution specializing in American and global history from the 17th through the early 20th centuries. Claiming one of the world's largest holdings of early American imprints, the Library Company also has internationally-renowned collections in early African American history, economic history, women's history, the history of medicine, and visual culture. The Library Company promotes access to these collections through fellowships, exhibitions, programs, and online resources. To find out more, please visit www.librarycompany.org 

sahagun_500.jpgSAN MARINO, Calif.— A sweeping international loan exhibition at The Huntington Library, Art Collections, and Botanical Gardens will explore how the depiction of Latin American nature contributed to art and science during the colonial era, at the time of contact with Europeans from the late 1400s to the mid-1800s. “Visual Voyages: Images of Latin American Nature from Columbus to Darwin,” on view in the MaryLou and George Boone Gallery from Sept. 16, 2017 to Jan. 8, 2018, will feature more than 150 paintings, rare books, illustrated manuscripts, prints, and drawings from The Huntington’s holdings as well as from dozens of other collections. Many of these works will be on view for the first time in the United States.

“Visual Voyages” will be complemented by a richly illustrated book, along with an array of other programs and exhibitions, including a sound installation by Mexican experimental composer Guillermo Galindo. The exhibition is a part of the Getty’s Pacific Standard Time: LA/LA initiative, an exploration of Latin American and Latino art that involves more than 70 arts institutions across Southern California.

“Despite notorious depredation of people and resources during the period, the brilliant work of a number of Latin Americans and Europeans helped to illuminate our understanding of the natural world,” said Catherine Hess, chief curator of European art at The Huntington and co-curator of “Visual Voyages.” “We aim to shed light on this relatively unexamined piece of the story—to show how beautiful, surprising, and deeply captivating depictions of nature in Latin America reshaped our understanding of the region and, indeed, the world—essentially linking art and the natural sciences.”

“Visual Voyages” looks at how indigenous peoples, Europeans, Spanish Americans, and individuals of mixed-race descent depicted natural phenomena for a range of purposes and from a variety of perspectives: artistic, cultural, religious, commercial, medical, and scientific. The exhibition examines the period that falls roughly between Christopher Columbus's first voyage in 1492 and Charles Darwin’s publication of On the Origin of Species in 1859, a work based largely on Darwin’s own voyage to the region in the 1830s.

“Information and materials circulated at an unprecedented rate as people transformed their relationship to the natural world and to each other,” said Daniela Bleichmar, associate professor of art history and history at the University of Southern California (USC) and co-curator of the exhibition. “Images served not only as artistic objects of great beauty but also as a means of experiencing, understanding, and possessing the natural world. These depictions circulated widely and allowed viewers—then and now—to embark on their own ‘visual voyages’.”

Bleichmar, who was born in Argentina and raised in Mexico, is an expert on the history of science, art, and cultural contact in the early modern period. Her publications include the prize-winning book Visible Empire: Botanical Expeditions and Visual Culture in the Hispanic Enlightenment (University of Chicago Press, 2012).

The Huntington’s three collection areas—library, art, and botanical—all contribute to “Visual Voyages.” Its Library is one of the world’s greatest research institutions in the fields of British and American history, art, and the history of science, stretching from the 11th century to the present, and includes such riches as the first European depiction of a pineapple and a rare 16th-century manuscript atlas that includes three stunning maps of the Americas. From The Huntington’s art holdings, Frederic Edwin Church’s monumental painting Chimborazo (1864) will be on display, depicting a Latin American landscape both real and imaginary. The Huntington’s 120 acres of gardens include several thousand plant species from Latin America, including pineapple, vanilla, cacao, and various orchids and succulents.

Visitor Experience

Designed by Chu+Gooding Architects of Los Angeles, “Visual Voyages” engages visitors through an evocative installation that includes interactive media, display cases of specimens and rare materials, and two walls almost completely covered with grids of visually arresting depictions of botanical specimens and still lifes.

The exhibition opens with a playful display of taxidermy mounts to make vivid the rare animals that captured the imagination of Europeans and were avidly collected during the period.

“Visual Voyages” then begins with a section on “Rewriting the Book of Nature,” in which manuscripts, maps, and publications show how nature came to be reconsidered in the first century of contact. This section includes a copy of the 1493 letter Christopher Columbus wrote to the King and Queen of Spain while on the return leg of his first voyage to the New World. He writes that the region is “so fertile that, even if I could describe it, one would have difficulty believing in its existence.” This section highlights the many contributions of indigenous Americans to the exploration of New World nature, among them two large-scale maps painted by indigenous artists in Mexico and Guatemala; a volume from the Florentine Codex, a 16th-century Mexican manuscript on loan from the Laurentian Library, Florence; and a spectacular feather cape created by the Tupinambá of Brazil.

Next, a gallery called “The Value of Nature” explores the intertwining of economic and spiritual approaches to Latin American nature. Commercial interests resulted in the investigation, depiction, and commercialization of such natural commodities as tobacco and chocolate. Indigenous religions considered the natural world to be infused with the divine, while Christian perspectives led observers to envision Latin American nature as both rich in signs of godliness as well as marked with signs of the devil—and needing eradication. Various depictions of the passion flower, a New World plant, show how the flower’s form recalled to missionaries the instruments of Christ’s Passion.

A third section, “Collecting: From Wonder to Order,” shows how the “wonder” that European collectors held for the astonishing material coming from the New World became a desire to possess and, later, to “order” this material, following systems of taxonomy and classification. On view will be a spectacular set of large paintings depicting Brazilian fruits and vegetables by the Dutch painter Albert Eckhout (ca.1610-1665) as well as 30 artful, vivid, and detailed drawings of botanical specimens painted by artists from New Granada (present-day Columbia, Ecuador, Panama, Venezuela, Peru, northern Brazil, and western Guyana), never before seen in the United States.

The final section of the exhibition, called “New Landscapes,” examines scientific and artistic perspectives on Latin America created in the 19th century, a period when a new wave of voyagers explored the region and independence wars resulted in the emergence of new nations. The Romantic and imperial visions of artists and scientists from Europe and the U.S. are juxtaposed with the patriotic and modernizing visions of artists and scientists from Latin America, who envisioned nature as an integral part of national identity. This juxtaposition can be seen visually in the pairing of The Huntington’s monumental Chimborazo by Church with the equally monumental Valley of Mexico (1877) by Mexican painter José María Velasco, on loan from the Museo Nacional de Arte in Mexico City.

Gallery text is in Spanish and English.

Exhibition Catalog

“Visual Voyages: Images of Latin American Nature from Columbus to Darwin” is accompanied by a hardcover book of the same title written by Daniela Bleichmar, co-curator of the exhibition. In a narrative addressed to general audiences as well as students and scholars, Bleichmar reveals the fascinating story of the interrelationship of art and science in Latin America and Europe during the period. Published by Yale University Press in association with The Huntington, the 256-page book contains 153 color illustrations. $50.00. Available beginning in September 2017 at the Huntington Store and online at thehuntingtonstore.org

Related exhibitions and programs

The Huntington will present an array of public programs to complement “Visual Voyages,” including a lecture, a curator tour, and focused exhibitions. Updated information about related programs is available at huntington.org

Guillermo Galindo Installation and Performance

Experimental composer, sonic architect, and performance artist Guillermo Galindo will create an outdoor sound installation and performance at The Huntington during the run of the exhibition. The program is part of USC Annenberg’s Musical Interventions, a series of public events organized for Pacific Standard Time: LA/LA by Josh Kun, historian of popular music and recently named a MacArthur Fellow.

Nuestro Mundo

Sept. 16, 2017-Jan. 8, 2018

Flora-Legium Gallery, Brody Botanical Center, weekends only

About two dozen paintings by students of Art Division make up this installation of works inspired by “Visual Voyages.” Art Division is a non-profit organization dedicated to training and supporting underserved Los Angeles youth who are committed to studying the visual arts.

In Pursuit of Flora: Eighteenth-Century Botanical Drawings from The Huntington’s Art Collections

Oct. 28, 2017-Feb. 19, 2018

Huntington Art Gallery, Works on Paper room

European exploration of other lands during the so-called Age of Discovery revealed a vast new world of plant life that required description, cataloging, and recording. By the 18th century, the practice of botanical illustration had become an essential tool of natural history, and botanical illustrators had developed strategies for presenting accurate information through exquisitely rendered images. From lusciously detailed drawings of fruit and flowers by Georg Dionysius Ehret (1708-1770), a collaborator of Linnaeus, to stunning depictions of more exotic examples by the talented amateur Matilda Conyers (1753-1803), In Pursuit of Flora reveals the 18th-century appreciation for the beauty of the natural world.

Conference at The Getty Center
Indigenous Knowledge and the Making of Colonial Latin America

Dec. 8-10, 2017

This symposium will bring together an interdisciplinary group of scholars to explore the ways in which indigenous knowledge contributed to the making of colonial Latin America. A dozen talks will examine practices related to art, architecture, science, medicine, governance, and the study of the past, among other topics. Curator-led visits to two related exhibitions—“Visual Voyages” at The Huntington and “Golden Kingdoms: Luxury and Legacy in the Ancient Americas” at The J. Paul Getty Museum—will allow participants to view magnificent examples of work by indigenous artists and authors, including more than half a dozen rare pictorial manuscripts (codices).

The symposium is organized by Daniela Bleichmar, co-curator of Visual Voyages and Kim Richter, co-curator of “Golden Kingdoms” and senior research specialist at the Getty Research Institute, with funding from the USC-Huntington Early Modern Studies Institute, the Seaver Institute, and the Getty Research Institute. For registration and more information, visit getty.edu.

Image: Bernardino de Sahagún (1499-1590) and indigenous artists and scribes, impersonator of Huitzilopochtli and celebrants adorned with flowers in the Historia General de las Cosas de la Nueva España, (General History of the Things of New Spain), also known as the Florentine Codex, ca. 1577, ink and color on paper, Biblioteca Medicea Laurenziana, Florence Ms. Med. Laur. Palat. 220. Reproduced with permission of MiBACT.

 

34-Curtis copy.jpgNew York—On Thursday, April 20, Swann Galleries offered Images & Objects: Photographs & Photobooks, setting records for early and modern works alike. The sale performed well overall, with 71% of works offered finding buyers.

Swann Galleries consistently offers a varied selection of rare and iconic works by Edward S. Curtis, with nearly all of the offered lots selling above or within the estimate in this sale. Highlights included a striking portrait of Red Cloud, Oglala, 1905, which sold for $32,500*, a record for the work, above a high estimate of $9,000. The Scout, Apache, 1906, a dramatic orotone in the original frame depicting a Native American silhouetted on a horse, more than doubled its high estimate of $12,000 to sell for $27,500, a record for an orotone of the image; another orotone in its original frame, An Oasis in the Badlands, 1905, was purchased by a collector for $21,250, above a high estimate of $15,000.

Bastions of the art of photography performed well, with the highest price in the sale going to a group of 60 plates from Eadweard Muybridge’s seminal Animal Locomotion, 1887. Ansel Adams’s iconic Moonrise, Hernandez, New Mexico, 1941, printed circa 1976, went for $42,500. Five of the six works offered by New York-based vernacular photographer Weegee (née Arthur Fellig) found buyers, led by Coney Island, 1940, at $13,750.

The cover lot for the sale was an unusual version of Toni Frissell’s breathtaking A Midsummer Night’s Dream, 1957—the image was printed in reverse, with the notation “This is backwards” on the verso ($12,500).

Works from the last 50 years performed exceptionally well, with high prices going to Robert Frank’s Sick of Goodby’s, Mabou, 1978, and Zuma #9, 1978, by John Divola ($32,500 and $10,000, respectively). Both offered works by Peter Hujar far surpassed their high estimates: a trio of portraits of Robert Wilson, Ann Wilson and Sheryl Sutton, 1975, reached $27,500, above a high estimate of $12,000, while the striking 1985 Shack, Queens, more than doubled its high estimate of $6,000 to sell to a collector for $13,750. A suite of five photographs by Duane Michals, titled Narcissus, 1985, soared past its high estimate of $9,000 to sell after rapid bidding for $26,000, a record for the work.

Daile Kaplan, Director of Photographs & Photobooks at Swann Galleries, said of the sale, “Visual icons of the photography market, including Ansel Adams' Moonrise, Hernandez, New Mexico and Eadweard Muybridge's Animal Locomotion plates, and remarkable objects like Edward Curtis' extraordinary orotones sold competitively. The response to contemporary works by Peter Hujar, Adam Fuss and Duane Michals was exciting. The mid-range market for images and objects continues to attract new and mature buyers.”

The next sale of Photographs & Photobooks at Swann Galleries will be held October 19, 2017. For more information or consign quality materials, contact Daile Kaplan at dkaplan@swanngalleries.com

Image: Lot 34 Edward S. Curtis, Red Cloud, Oglala, platinum print, 1905. Sold April 20, 2017 for $32,500, a record for the work. (Pre-sale estimate $6,000 to $9,000.)

Screen Shot 2017-04-25 at 9.17.46 AM.pngA selection of English and Asian antiques and fine paintings ranging from the 18th through to the 20th century from Abbotswood, Gloucestershire, will be offered at auction at Donnington Priory on 24th May. The auction comprises over 260 lots, featuring fine furniture, ceramics and glass, works of art and sculpture, carpets, clocks, chandeliers, Chinese works of art and books. A strong group of paintings accompanies the selected contents with works by internationally recognised artists such as Sir Alfred James Munnings, Christopher Wood and Celso Lagar.

Abbotswood is an impressive house occupying an idyllic position overlooking the Swell valley. It sits amongst formal gardens laid out when Sir Edwyn Lutyens altered the house around 1900 and looks out over parkland down to the Swell running through its beautiful valley. The consignor of the collection purchased Abbotswood from the Ferguson family in 1970 and it is to his credit that the house and gardens have been maintained in immaculate condition. This sale is testament to the collector’s love of English antiques and fine art and Abbotswood provided the perfect environment for these notable works. 

Highlights of the sale include an oil-on-canvas, A Gypsy Queen, by Sir Alfred James Munnings, lot 125. The artist commented that, “Of all my painting experiences, none were so alluring and colourful as those visits spent amongst the gypsy hop-pickers in Hampshire each September. More glamour and excitement were packed in those six weeks than a painter could well contend with. I still have visions of brown faces, black hair, earrings, black hats and black skirts”. (Quoted in An Artist's Life, Sir Alfred Munnings, p.287). The present lot depicts a glamorous female with jet black hair and stunning pendant earrings and is estimated at £8,000-12,000.    

Abbotswood has been lovingly and tenderly maintained by its owner for over 40 years and has provided a beautiful setting for this impressive group of works. The sale is an exciting opportunity for clients to acquire a piece of the estate’s legacy. 

Image: Abbotswood, Gloucestershire 

 

April29_01_pics.jpgITHACA, NY--National Book Auctions, located in Ithaca, NY, announces the launch of their next auction catalog. 

This catalog features rare, antique and decorative books as well as select additions of ephemera. A quantity of author-signed books from a large private collection will be offered as well as a substantial array of early Christian printings in vellum and leather bindings.            

Antique and rare books in this catalog include numerous titles. Among the earliest examples are the 1580 printing of "Opera Tertulliani et Arnobii Quotquot ab Interitu Vindicari," Augustinus' "Opera Tomis Undecim Comprehensa," produced in eleven folio volumes in 1651, and the 1647 printing of "Eyxoaotion Sive Ritvale Graecorvm Complectens Ritvs," featuring folding engraved plates. Additional rare pieces include the 1866 first published edition of Lewis Carroll's timeless classic, "Alice's Adventures in Wonderland," the 1902 La Salle limited edition of "The Works of Frances Parkman," produced in twenty volumes, and the Lincoln Memorial University limited edition of "The Complete Works of Abraham Lincoln," published in 1894 in twelve leather-bound volumes.                     

Several pleasing collections will also be showcased. Highlighted is a substantial group of offerings from an estate library of author-signed books, including both fiction and historical writings. Notables from this collection include names such as Leslie Charteris, Roald Dahl, J. K. Rowling, P. G. Wodehouse, Louis L'Amour, and many others. Early theological texts dating from the 16th century forward will be offered, with many titles relating to Catholicism and most bound in vellum or full calf. Other vintage and antique tomes also include subject areas such as arctic and polar exploration, the American West, Native American Indians, Audubon, decorative antique, multi-volume sets, and more.    

Found throughout this catalog are interesting ephemera offerings. These lots include antique photographs, stereoviews, Americana, Civil War-related, original antique correspondence, billheads, rare prints of photogravure works by Yousuf Karsh, maps, antique magazines, issues of Derriere le Miroir, 1930's German cigarette trading card albums, postcards, and other interesting items.    

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

188-Lawrence copy.jpgNew York—On Tuesday, May 16, Swann Galleries will hold an auction of 19th & 20th Century Literature, with fine and scarce first editions and cornerstone volumes for bibliophiles.

One of 170 complete copies of the privately printed Cranwell edition of Seven Pillars of Wisdom, A Triumph, 1926, by T.E. Lawrence (better known as Lawrence of Arabia) leads the sale. The book, bound in the original green and gilt leather and printed in red and black ink, includes 65 plates, many in color. Lawrence inscribed the present copy “Complete copy. I.XII.26 TES” and gave it to his dentist, Warwick James; it is estimated at $50,000 to $75,000.

Further highlights in this sale run the gamut from a rare limited first edition on handmade paper of Ulysses, 1922, by James Joyce, valued at $15,000 to $20,000, to a finely bound first edition of J.R.R. Tolkien’s seminal The Hobbit, 1937 ($8,000 to $12,000). Also available is T.S. Eliot’s Modernist masterpiece The Waste Land, 1922, a first state of the first edition, in the rare dust jacket, expected to fetch $8,000 to $12,000.

First editions of American classics span the last 150 years, with early highlights being the first American edition of Herman Melville’s magnum opus Moby-Dick; or, the Whale, 1851 ($12,000 to $18,000), and the two-volume first edition of Uncle Tom’s Cabin, 1852, by Harriet Beecher Stowe, estimated at $1,000 to $2,000.

A selection of first editions by Ernest Hemingway includes Death in the Afternoon, 1932, with the charming inscription “from one toreador to another” ($3,500 to $5,000); and the first trade edition, in the unrestored dust jacket, also inscribed, of A Farewell to Arms, 1929, valued at $5,000 to $7,500.

William Faulkner's first novel Soldiers' Pay, 1926, in its original dust jacket ($15,000 to $20,000) will be available, as will a first edition, first issue of John Steinbeck's The Pastures of Heaven, 1932, signed and inscribed by the author, estimated at $10,000 to $15,000.

Mark Twain is well represented in the sale, with rarities including a first edition of The Prince and the Pauper, 1882, in an exceptional Cosway binding, with a miniature watercolor portrait of the author on the cover, valued at $1,200 to $1,800. Also available is an uncommon copy in cloth of the salesman's dummy for the first American edition of The Adventures of Tom Sawyer, 1876, annotated with the names of subscribers from Marysville, California, as well as the first American edition of Adventures of Huckleberry Finn, 1885 ($3,000 to $4,000 and $2,000 to $3,000, respectively).

Additionally of note is a run of first editions by Robert Frost, among them a fine copy of the first American edition of A Boy's Will, 1915, in the elusive dust jacket, valued at $1,200 to $1,800. Other notables include first editions by Nathaniel Hawthorne and Robert Louis Stevenson.

The complete 12-volume set of the first edition of The Scourge; or Monthly Expositor of Imposture and Folly, 1811-16, one of the scarcest periodicals illustrated by George Cruikshank, makes a rare auction appearance. The present copy contains the elusive twelfth volume, as well as both versions—censored and uncensored—of the suppressed plate in Volume X, A Financial Survey of Cumberland, or Beggars Petition ($4,000 to $6,000). Cruikshank also contributed to the first edition in English of the Brothers Grimm’s German Popular Stories, 1923; this rare copy, which notably retains the original covers, is estimated to sell between $1,200 and $1,800.

Making its auction debut is the first American edition of The Brothers Karamazov, 1912, by Feodor Dostoyevsky, along with the first American edition of Crime and Punishment, 1886 ($5,000 to $7,500 and $3,000 to $4,000, respectively).

First editions by George Orwell include Homage to Catalonia, 1938, in the unrestored dust jacket, and Nineteen Eighty-Four, 1949 ($4,000 to $6,000 and $1,000 to $2,000, respectively).

Modern literature includes a run of James Bond books by Ian Fleming, an inscribed first edition of Stephen King’s classic Carrie, 1974 ($1,200 to $1,800), and a warmly inscribed presentation copy of the first edition of Flowers for Algernon, 1966, by Daniel Keyes, valued at $1,000 to $1,500. Further twentieth-century authors represented include Raymond Chandler, Dashiell Hammett and James Hilton.

The auction will be held Tuesday, May 16, beginning at 1:30 p.m. The auction preview will be open to the public Friday, May 12, from 10 a.m. to 6 p.m.; Saturday, May 13, from 10 a.m. to 5 p.m.; Monday, May 15, from 10 a.m. to 6 p.m.; and Tuesday, May 16 from 10 a.m. to noon.

An illustrated auction catalogue is available for $35 at www.swanngalleries.com.

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

Image: Lot 188 T.E. Lawrence, Seven Pillars of Wisdom, A Triumph, complete copy, inscribed, London, 1926. Estimate $50,000 to $75,000.

The Folio Society is proud to announce that two artists shortlisted for this year’s V&A Illustration Awards have been nominated for their work on Folio editions. The nominations for these prestigious awards come in two different categories - Book Illustration and Book Cover. 

Anna and Elena Balbusso have been nominated in the Book Illustration category for their work on Folio’s stunning new gift edition of Twelfth Night by William Shakespeare. 

Joe Ciardiello’s striking binding for Brief Lives by John Aubrey has been nominated in the Book Cover category. 

The winners will be announced at an exclusive awards ceremony at the V&A on 16 May 2017. 

Sheri Gee, Art Director at The Folio Society said: ‘I’m always so delighted when our illustrators gain industry recognition for the work they do on Folio Society titles. For my part, I’m constantly in awe of our illustrators’ visual interpretations of the text. I felt that Joe Ciardiello brought such vitality to Brief Lives through his pen and ink illustrations and Anna and Elena Balbusso really embraced our challenge, conveying so much of the play and its characters within two elaborate pieces.’ 

Previous Folio illustrators honoured at the V&A Illustration Awards include: David McConochie for Best Book Cover and inaugural winner of the Moira Gemmill Illustrator of the Year prize in 2016 for The Folio Book of Ghost Stories; Sterling Hundley, winner of the Book Illustration Award and Overall Winner in 2015 for Treasure Island; Anne-Marie Jones, winner of the Book Cover Award for Sons and Lovers in 2014; Anna and Elena Balbusso, winners of the Book Illustration Award for Eugene Onegin in 2013; Matthew Richardson, winner of the Book Cover Award with The Outsider in 2012; and Tom Burns, winner of the Book Illustration Award and Overall Winner in 2009 for The New York Trilogy.

2804.jpgAUSTIN, Texas - The Harry Ransom Center at The University of Texas at Austin has obtained the archive of British theatre and film actor Peter O’Toole (1932-2013).

After eight Academy Award nominations for his roles in “Lawrence of Arabia” (1962), “Becket” (1964), “The Lion in Winter” (1968), “Goodbye, Mr. Chips” (1969), “The Ruling Class” (1972), “The Stunt Man” (1980), “My Favorite Year” (1982) and “Venus” (2006), O’Toole received an honorary Oscar from the Academy of Motion Picture Arts and Sciences for his life-time’s work in film in 2002. O’Toole was also a distinguished stage actor who performed in the theatre from the 1950s through 1999.

The extensive archive contains theatre and film scripts along with O’Toole’s writings, including drafts, notes and working material for his multivolume memoir “Loitering with Intent.”

“It is with a respect for the past and an eye to the future that I recognize the importance of making my father’s archive accessible and preserving it for future generations,” said Kate O’Toole. “Thanks to the nature of film, my father’s work has already been immortalized. The Ransom Center now provides a world-class home for the private thoughts, conversations, notes and stories that illuminate such a long and distinguished career.”

The collection is rich with correspondence that offers insight into the relationships and workings of the theatre and film communities of which he was a part. Correspondents include Michael Blakemore, Marlon Brando, Michael Caine, John Gielgud, Peter Hall, Katherine Hepburn, Dustin Hoffman, Jeremy Irons, Spike Milligan, Paul Newman, Trevor Nunn, Laurence Olivier, Harold Pinter and Kevin Spacey, among many others.

The archive includes a rich photographic record documenting all periods of O’Toole’s personal and professional life. These include diaries and notebooks, theatre and film programs and memorabilia, audio recordings of his rehearsing lines and reciting poetry, awards, and a selection of iconic props and costume pieces, including his sword from the National Theatre’s inaugural production of “Hamlet” directed by Laurence Olivier.

Drafts of O’Toole’s unfinished third memoir dealing with his career on stage and screen will provide a valuable unpublished source for scholars, following upon his earlier memoirs “Loitering with Intent: The Child” (1992) and “Loitering with Intent: The Apprentice” (1997).

“Peter O’Toole was one of the most talented actors of stage and screen on either side of the Atlantic,” said Eric Colleary, Cline Curator of Theatre and Performing Arts at the Ransom Center. “People might be surprised to see his incredible talent with words in performance extended to dozens of published and unpublished writing projects represented in the archives. He was a brilliant writer, and his two published memoirs aside, this is an aspect of Peter O’Toole the world hasn’t yet seen.”

O’Toole began his career in theatre as a student at the Royal Academy of Dramatic Art from 1952 to 1954. He received early recognition as an actor with the Bristol Old Vic, the Royal Shakespeare Company and the National Theatre. His success in David Lean’s 1962 film “Lawrence of Arabia” made him a household name.

The O’Toole archive will also allow researchers and artists to interpret the entirety of his complex life and multifaceted career.

The materials join other collections at the Ransom Center that document the works of stage and screen performers, including Stella Adler; Robert De Niro; Edith Evans; Anne Jackson; George Bernard Shaw; Eli Wallach; Donald Wolfit, who appeared alongside O’Toole in several of his films; and strong holdings of British stage actors Henry Irving and Edmund Kean, whose life and works O’Toole studied and admired. The Ransom Center also holds a collection of T. E. Lawrence materials.

O’Toole is among that elite group of distinguished British actors honored with a memorial plaque in St. Paul’s Church, “the actors’ church,” in London’s Covent Garden.

The archive will be accessible once processed and cataloged.

Image: A studio photo of Elizabeth Taylor, Peter O’Toole, and Richard Burton (standing) on set of the 1964 film Becket. Photo courtesy of Harry Ransom Center

 

Screen Shot 2017-04-21 at 9.03.04 AM.pngLOS ANGELES - For centuries, Italy has fascinated travelers and artists alike. From the crumbling ruins of ancient Rome to the crystal-clear light of Venice, artists have found inspiration not only in the cities but also in the countryside and in Italy’s rich history and culture. The Lure of Italy: Artists’ Views, on view May 9 through July 30, 2017, explores the numerous ways Italy’s topography, history, and culture have motivated artists to create works of extraordinary beauty and resonance. The exhibition, selected from the Getty Museum’s permanent collection of drawings and watercolors, includes several important recent acquisitions, including works by Francesco Guardi and Richard Parkes Bonington.

“For many, Italy represented - and still represents today - a stunningly lush treasure of scenic wonder, with picturesque ancient sculptures, historic buildings, and dramatic landscapes,” says Timothy Potts, director of the J. Paul Getty Museum. “This exhibition bears witness to the long-standing love affair that artists have had with the country of Italy.”

Italy - a collection of city-states until unification in the 1800s - has captured the imagination of artists for centuries, yet interest in the country peaked in the 1700s, when the region became a prime destination for wealthy travelers embarking on the Grand Tour from England, France, the Netherlands, Germany, and beyond. Artists journeying with them or working for them used pencil, ink, and watercolor to capture celebrated views and preserve vivid memories, creating works that encapsulate the essence and spirit of Italy.

Italian natives such as Guardi, Canaletto, and Giovanni Battista Lusieri responded to the tourist demand for souvenirs by crafting their own masterpieces. Guardi’s A Regatta on the Grand Canal (about 1778), a recent acquisition for the Getty, conveys with freshness and spontaneity the lively atmosphere of the annual gondola race (regatta) in Venice. The finish line is at left and spectators crowd the balconies of the nearby Palazzo Balbi, while the water bustles with decorated gondolas.

Further south, the Bay of Naples was another favorite destination of Grand Tourists. Lusieri’s huge, nearly nine-foot wide panorama, A View of the Bay of Naples (about 1791) is meticulously executed in tiny detail with watercolor. It was painted over a period of two years from the residence of Sir William Hamilton, the British envoy to the court of Naples, who commissioned it for his London home. The view looks towards the Capo di Posillipo and the so-called grotto there, a feat of ancient-Roman engineering.

Other highlights include sketches of enchanting sites with plunging perspectives through the rich Italian countryside, capriccio scenes caught between fantasy and reality, studies of ancient ruins, Roman landmarks and lauded works of art, and views of the most picturesque and awe-inspiring sights that Italy has to offer.

During his only visit to Venice, two years prior to his death at age 25 from tuberculosis, Richard Parkes Bonington made numerous pencil sketches and a handful of oil and watercolor studies of the city. The jewel-like Riva degli Schiavoni, from near San Biagio, Venice (1826) emphasizes his renowned ability to capture the effects of calm water and dramatic cloud formations in watercolor. This match of subject and media helped to make the magical atmosphere of the city the real subject of his work. "The extraordinary character of Italian cityscapes and landscapes pushed artists to the limits of their potential,” says Julian Brooks, senior curator of drawings and curator of the exhibition. “To render them effectively, the choices of media and technique became crucial.”

This exhibition is presented in conjunction with Eyewitness Views: Making History in Eighteenth-Century Europe (May 9 -July 30, 2017) on view in the Special Exhibitions Pavilion at the J. Paul Getty Museum.

The Lure of Italy: Artists’ Views is curated by Julian Brooks, senior curator of drawings at the J. Paul Getty Museum, with the assistance of Annie Correll, graduate intern in the Department of Drawings. The exhibition is on view at the J. Paul Getty Museum at the Getty Center from May 9 through July 30, 2017. A richly illustrated gift book, The Lure of Italy: Artists’ Views, published by the Getty complements the exhibition.

The Arcadian Library and Bloomsbury Publishing are delighted to announce the launch of Arcadian Library Online (www.arcadianlibraryonline.com) today, enabling all to discover how the Middle East and the West have interacted over a thousand year period –and how this relationship has directly resulted in the advancement of science, medicine and culture.

Collected over the last 40 years, The Arcadian Library has grown to become one of the world’s most significant private collections recording the historical interface between East and West, and is renowned in academic circles for its excellent and unique holdings. The Arcadian Library’'s collection is distinguished by its rarity, importance and quality, and includes manuscripts, early books and incunabula, documents, maps and printed books.

The Arcadian Library partnered with Bloomsbury Publishing to digitize this rich collection of books and publish them on a specially designed and expertly curated digital platform. Now the first module (History of Science and Medicine) of this treasure trove of scholarly and historically significant material is available in beautiful, high resolution digital form. Modern science and medicine owe a great deal to ideas, inventions, remedies and techniques developed in the Levant, Mesopotamia, Persia and Muslim Spain and the Arcadian Library’s collection focuses on this invaluable legacy. 

For the first time, Arcadian Library Online will enable individuals and institutions to gain exclusive access to the rich resources held in this private collection, previously accessible to scholars on an invitation-only basis. This creates a tremendous opportunity for research and learning, widening access for researchers to study the transmission, reception and circulation of early medical and scientific knowledge from the Arab and Islamic world. Users can search and view images from the Library’s holdings, and explore its documents, manuscripts and early books in detail.

The Arcadian Library is essential for anyone who wants to understand the relationship between the Middle East and the West; how it developed, and how it evolved to where it is today –at the forefront of our political, economic and social discourse.

aviation copy.jpgDALLAS, Texas (April 19, 2017) - Two excellent portfolios/collections are highlighted in the Heritage Auctions Photographs Auction May 18 in New York City, including The Airplane as Art portfolio and a collection of photos from 20th-century photographer Berenice Abbott.

One of the most ambitious photography portfolio projects of the last 100 years, Bob Seidemann’s The Airplane as Art portfolio (est. $150,000-200,000), includes autographs from 75 of the photo subjects. The 302 photos depict numerous aviation pioneers - pilots, inventors, military heroes, etc. - and many have been signed in ink on the photo by the subjects. Other sets of these images can be found at the Getty Museum and The Boeing Company. Two sets have sold previously at auction in 2000 and 2007 for over $200,000 each. The autographed portraits are one (No.8) of an edition of 10 and the rest of the unsigned portrait and airplane views are one (also No. 8) of an edition of 20.  

“This auction is very special, since we will be offering the largest group of photographs from Berenice Abbott to come on the market since the Museum of the City of New York deaccessioned its duplicates in 2002. These ‘vintage’ prints are fresh to the market and come directly from a friend of Abbott’s,” said Nigel Russell, Heritage Auctions Director of Photography. “There are also smaller groups of photographs by photographers whose works have rarely, if ever, appeared at auction, such as Joseph Dankowski, Ira Cohen and Gordon N. Converse.”

The largest group of photographs from Berenice Abbott to come on the market since the Museum of the City of New York deaccessioned its duplicates in 2002 also is offered in this auction, including New York Stock Exchange II, 1934 (est. $3,000-5,000), Canyon: Broadway and Exchange Place, July 16, 1936 (est. $4,000-6,000) and Pennsylvania Station Interior, July 14, 1936 (est. $4,000-6,000). The prints come directly from a friend of Abbott’s and most are “vintage” prints. None was printed after the early 1970s and these will be sold without reserve.

There are smaller groups of photographs by photographers whose work has either never or very rarely has appeared. This includes Joseph Dankowski, the first photographer to receive a grant from the National Endowment of the Arts in photography; Ira Cohen who was a poet, publisher and photographer involved with the Beat-Era and the Psychedelic 60s and Gordon N. Converse, who was the chief photographer for the Christian Science Monitor for 40 years and traveled to more than 120 countries.

Other works included but not limited to:

A very rare vintage Edward Weston print Bananas, 1930, est. $50,000-60,000 - one of only three prints known

A 20th-century classic: W. Eugene Smith’s Walk to Paradise Garden, 1946, est. $25,000-35,000

Alfred Eisenstaedt’s Children at a Puppet Theatre, Paris, 1963, est. $25,000-35,000

Steve McCurry’s Afghan Girl, Pakistan, 1985, est. $12,000-18,000

Heritage Auctions is the largest fine art and collectibles auction house founded in the United States, and the world’s largest collectibles auctioneer. Heritage maintains offices in New York, Dallas, Beverly Hills, San Francisco, Chicago, Palm Beach, Paris, Geneva, Amsterdam and Hong Kong.

The Internet’s most popular auction-house website, HA.com, has over one million registered bidder-members, and searchable free archives of four million past auction records with prices realized, descriptions and enlargeable photos.

BOSTON - April 19, 2017 [updated] Today Boston Public Library announced the return of three items from its Special Collections to the State Archives of Venice, Italy and the Library of Ludovico II De Torres in Monreale, Italy. During a repatriation ceremony with Mayor Martin J. Walsh and representatives from Homeland Security, the U.S. Attorney’s Office, and the Italian Carabinieri, Boston Public Library formally returned the Mariegola della Scuola di Santa Maria della Misericordiaa medieval manuscript dating to 1392; an illuminated leaf from the manuscript Mariegola della Scuola Grande di San Giovanni Evangelista, dating from between 1418-1422; and Varii de natvralibvs rebvs libelli, a  collection of works by Bernardino Telesio, published in 1590.

“These three items represent Italy’s rich history, and I’m pleased that through the cooperation of the Department of Homeland Security’s U.S. Immigration and Customs Enforcement and the U.S. Attorney’s Office, the Boston Public Library was able to ensure the safe return of these artifacts to their rightful homes in Italy,” said Mayor Martin J. Walsh. “I thank everyone involved in this successful process.” 

 “Boston Public Library took action upon learning of the claims and that the provenance of these historical treasures was incomplete, and we are very pleased to report that these items are returning home to Italy after being cared for by the BPL for decades,” said David Leonard, President of the Boston Public Library.

“Boston Public Library purchased these rare and important materials in good faith for the public to see and study and we took our stewardship of them seriously during the many years that they were in our care. We are fully committed to their safe return to Italy so they can continue to be utilized and appreciated by new researchers and scholars,” said Beth Prindle, Boston Public Library’s Head of Special Collections.  

Boston Public Library legitimately purchased all three items from well-known rare book dealers during the mid-twentieth century. Mariegola della Scuola di Santa Maria della Misericordia was acquired in 1960 from Philip Duschenes of New York, the illuminated manuscript leaf was obtained in 1955 from the Italian dealer Olschki, and the Bernardino Telesio volume was purchased in 1980 from Michael R. Thompson of Los Angeles. The medieval manuscript and leaf became part of the library’s Medieval and Early Renaissance Manuscripts Collection of Distinction,a notable collection which totals nearly 250 volumes and single leaves dating from the 10th through the early 16thcenturies. These special collections materials are administered through the BPL’s Rare Books & Manuscripts Department, which holds nearly 250,000 rare books and one million manuscripts.

Questions about the Mariegolas’ provenance emerged through new independent scholarship and a recent project funded by the library to research and describe its medieval manuscripts holdings in preparation for electronic cataloging and digitization. The Mariegola della Scuola di Santa Maria della Misericordia was written in Bologna in 1392 for the use of the scuola (confraternity) of Our Lady of Mercy at Valverde, a spiritual and charitable brotherhood.  It was part of the scuola’s collection until the confraternity was dissolved in 1803, at which point it passed into the collection of the State Archive of Venice. Beginning in 1879, the manuscript was on permanent display in the Archive’s Sala Diplomatica Regina Margherita. The manuscript was taken off exhibition in the late 1940s, at which time several manuscripts disappeared under unknown circumstances, including the Mariegola della Scuola di Santa Maria della Misericordia. The second mariegola, a single illuminated parchment leaf on vellum from Mariegola della Scuola Grande di San Giovanni Evangelista, had been removed at an unidentified date from a larger manuscript still held by the Archivio di Stato in Venice. 

The third item, Telesio’s Varii de natvralibvs rebvs libelli, is a rare printed collection of works by the Italian philosopher and natural scientist Bernardino Telesio. It bears the signature of Cardinal Ludovico II De Torres (1552-1609), who served as Archbishop of Monreale, Italy and donated his personal book collection. The BPL had recently digitized the volume and made it available through the Internet Archive; the Ludovico II De Torres Library curator recognized the Cardinal’s signature while viewing the book online and made inquiries about the book through government channels.

Boston Public Library and the City of Boston worked collaboratively with the U.S. Attorney’s office and Homeland Security to coordinate the effort to contact and return the items to the State Archives of Venice and The Library of Ludovico II De Torres in Monreale, respectively. 

About BOSTON PUBLIC LIBRARY 
Boston Public Library has a Central Library, twenty-four branches, map center, business library, and a website filled with digital content and services. Established in 1848, the Boston Public Library has pioneered public library service in America. It was the first large free municipal library in the United States, the first public library to lend books, the first to have a branch library, and the first to have a children’s room. Each year, the Boston Public Library hosts thousands of programs and serves millions of people. All of its programs and exhibitions are free and open to the public. At the Boston Public Library, books are just the beginning. To learn more, visit bpl.org.

247-Hockney copy.jpgNew York—On Thursday, May 11, Swann Galleries will hold an auction of Contemporary Art, offering original works and rare multiples by leading artists from the last 75 years.  

The sale is led by an important early sculptural work by Roy Lichtenstein titled Composition (Picture without a Frame), 1955, which will be included in the artist’s forthcoming catalogue raisonné. In 2005, The New York Times quoted Lichtenstein describing his 1950s paintings as "Taking the kind of stodgy pictures you see in history textbooks and redoing them in a modern-art way."  These early paintings are important thematic and stylistic precursors to the artist's iconic comic strip-inspired subjects from the early 1960s onward. The multimedia piece, which includes collage, metal screws and wooden slats, is valued between $30,000 and $50,000.

A selection of portraits by Andy Warhol features iconic colorblock screenprints of Geronimo, 1986, and Richard Nixon in Vote McGovern, 1972 (each $20,000 to $30,000).

Original works include stunners by well-known artists in their prime. Willem de Kooning’s pencil drawing Untitled (Seated and Reclining Women), circa 1965-70, is valued at $25,000 to $35,000. A unique mixed-media with color monotype by Robert Motherwell, Untitled (Imaginary Landscape) (EW.XVI), was completed in Surrealist artist Kurt Seligmann’s New York studio in 1941 ($20,000 to $30,000). An original gouache painting by Alexander Calder, titled Calvair Breton de Traguier, 1965, which features the primary colors and bold graphic shapes for which the artist is known, is valued at $20,000 to $30,000. A run of back and white ink works on paper by William Nelson Copley (“CPLY”) is each valued at $5,000 to $8,000. Also available are one-of-a-kind pieces by Jennifer Bartlett, Robert De Niro, Sr., Keith Haring and Paul Sharits.

Sculptural multiples by Jeff Koons, Julian Opie, Omar Rayo, George Rickey and Jesús Rafael Soto are joined by a unique untitled cedar work by Ursula von Rydingsvard, 1981 ($15,000 to $20,000). Petite Venus Bleue, 1956-57, by Yves Klein, is a bronze brooch with the artist’s signature International Klein Blue pigment suspended on an original gold leaf Perspex backdrop, estimated at $8,000 to $12,000. Also available is Christo’s Look magazine wrapped in transparent Polythylene and cord, titled Look Magazine Empaqueté, 1965, valued at $5,000 to $8,000.

Vik Muniz is represented in the sale by a chromogenic print from his Pictures of Color series. After Van Gogh, 2004, a limited edition photograph of a collage of Pantone swatches, is valued between $6,000 and $9,000. Other photographic works include the complete portfolio Uncle Tom’s Cabin, 2000, by David Levinthal ($3,000 to $5,000).

Print highlights include David Hockney’s The Artist and Model, 1974, and Cy Twombly’s lithograph with mixed media Natural History, Part I, Mushrooms: No. IV, 1974 ($20,000 to $30,000 and $8,000 to $12,000, respectively). Vibrant works by Josef Albers, Ellsworth Kelly, Tom Wesselmann and Zou Wou-Ki are complemented by subdued palettes by Richard Diebenkorn, Jackson Pollock, Robert Rauschenberg and Christopher Wool.

Notable portfolios will be offered, including the limited edition of William S. Burroughs’s The Seven Deadly Sins, 1991, with seven color screenprints and woodcuts printed from blocks shot by the artist with a 12-guage shotgun.

The auction will be held Thursday, May 11, beginning at 1:30 p.m. The auction preview will be open to the public Saturday, May 6, from noon to 5 p.m.; Monday, May 8 through Wednesday, May 10, from 10 a.m. to 6 p.m.; and Thursday, May 11 from 10 a.m. to noon.

An illustrated auction catalogue is available for $35 at www.swanngalleries.com.

For further information and to make advance arrangements to bid by telephone during the auction, please contact Todd Weyman at 212-254-4710, extension 32, or via e-mail at tweyman@swanngalleries.com.

Image: Lot 247 David Hockney, The Artist and Model, etching, 1974. Estimate $20,000 to $30,000.

00.Title-page.jpgLOS ANGELES—APRIL 2017—Profiles in History is proud to announce, the original typed working manuscript for The Big Book of Alcoholics Anonymous is going up for auction on June 8th. It is 161 typed pages and filled with hand written edits by the founders, some by William Griffith Wilson, aka, Bill W. It belonged to Lois Wilson, Bill’s widow. It is one of the best selling books of all time, over 30 million copies have been sold since 1939. It has been translated into 43 languages. The Library of Congress ranks it the number one non-fiction book that shaped America.

In “The Book That Started It All” a facsimile edition of this manuscript, published by Hazelden, an essay succinctly states the extraordinary importance of the present manuscript: “Amid the wealth of literature on Alcoholics Anonymous, you have in your hands the greatest treasure of all, the beginning of it all, the charter of the Fellowship.”

Best-selling AA historian and author, Dr. Ernest Kurtz, said “Not only is this Manuscript the most important nonfiction manuscript in all history, I consider it right up there with the Magna Carta because of the personal freedom it has provided so many millions of alcoholics!”

It is estimated to sell for $2,000,000 - $3,000,000.

The manuscript can be viewed at Questroyal Fine Art, LLC, 903 Park Avenue, Third Floor, New York, NY 10075.

ABOUT PROFILES IN HISTORY

Founded in 1985 by Joseph Maddalena, Profiles in History is the world’s largest auctioneer & dealer of original Hollywood Memorabilia, historical autographs, letters, documents, vintage signed photographs and manuscripts. Born into a family of antiques dealers in Rhode Island, Joseph “Joe” Maddalena learned early on how to turn his passion of collecting historical autographs into a career. Upon graduation from Pepperdine, Joe pursued his passion to become a full-time dealer of historical documents, and opened his first office in 1985. Profiles in History has held some of the most prestigious and successful auctions of Hollywood memorabilia and own virtually every Guinness Book record for prices of original screen-used memorabilia.  Highlights from their previous auctions include the “Cowardly Lion” costume from The Wizard of Oz ($805,000); Steve McQueen’s “Michael Delaney” racing suit from Le Mans  ($960,000); From the history-making Debbie Reynolds Auction in June 2011, Profiles in History sold the Marilyn Monroe “Subway” Dress from The Seven Year Itch for $5.52M and the Audrey Hepburn Ascot Dress from My Fair Lady for $4.44M. In February 2012, Profiles in History arranged the sale of a pair of Judy Garland screen-used Ruby Slippers from The Wizard of Oz  to the Academy of Motion Picture Arts & Sciences. In addition, Joe Maddalena was the star of Hollywood Treasure, which aired on Syfy.  Hollywood Treasure took viewers into the fascinating world of showbiz and pop culture memorabilia.

For more information visit www.profilesinhistory.com

 

Remington copy.jpgDALLAS, Texas (April 17, 2017) - A landmark illustration by artist Barbara Remington which were used for a trio of Ballantine Book covers for J. R. R. Tolkien's Lord of the Rings series highlight the May 12 Heritage Auctions Illustration Arts Signature Auction in Dallas. The Lord of the Rings covers (est. $20,000-30,000) were designed so that laid side-by-side they create a panoramic scene. A hugely popular poster titled "Wilderness" was also produced using this iconic image.

"Categories such as Pulp, Pin-Up and Commercial Advertisement are seeing dramatic increases in demand and in value. Some of the most sought after artists such as Remington, Roger Hane and Mort Künstler who illustrated covers for Lord of the Rings, The Chronicles of Narnia, and some of the most sought after adventure magazines are offered in this auction,” said Ed Jaster, Senior Vice President of at Heritage Auctions. "The diversity of offerings in this auction once again shows the demand for Illustration Art."  

All seven Chronicles of Narnia book cover illustrations by Hane will be offered during the auction. Beginning with The Lion, The Witch, and The Wardrobe book cover, (est. $5,000-7,000) illustration which was the most popular novel of the seven written, by C.S. Lewis.

A preliminary illustration from the 1979 Disney sci-fi classic movie The Black Hole, (est. $10,000-15,000) painted by Robert McCall is also available.

Künstler, one of the most prolific adventure magazine illustrators often on the cover of Stag, For Men Only, and True Action is offering 30 works from his personal collection including Contraband Blonde, Stag magazine cover, April 1960, (est. $3,000-5,000), Renegade Sea Nymph and her Crew of Strange Castaways, True Action magazine cover, February 1963, (est. $3,000-5,000), Captured by the Chief, Stag magazine cover, February 1967, (est. $2,000-3,000) and Night of the Grizzlies, For Men Only magazine, March 1970, (est. $2,000-3,000) as well as many more excellent examples.

Other top lots include but are not limited to:

Heritage Auctions is the largest fine art and collectibles auction house founded in the United States, and the world’s largest collectibles auctioneer. Heritage maintains offices in New York, Dallas, Beverly Hills, San Francisco, Chicago, Palm Beach, Paris, Geneva, Amsterdam and Hong Kong.

The Internet’s most popular auction-house website, HA.com, has over one million registered bidder-members, and searchable free archives of four million past auction records with prices realized, descriptions and enlargeable photos.

 

Thoreau 3.jpgNew York, NY, April 17, 2017 — Henry David Thoreau (1817-1862) occupies a lofty place in American cultural history. He spent two years in a cabin by Walden Pond and a single night in jail, and out of those experiences grew two of this country’s most influential works: his book Walden and the essay known as “Civil Disobedience.” But his lifelong journal—more voluminous by far than his published writings—reveals a fuller, more intimate picture of a man of wide-ranging interests and a profound commitment to living responsibly and passionately.

Now, in a major new exhibition entitled This Ever New Self: Thoreau and His Journal opening June 2 at the Morgan Library & Museum, nearly one hundred items have been brought together in the most comprehensive exhibition ever devoted to the author. Marking the 200th anniversary of his birth and organized in partnership with the Concord Museum in Thoreau’s hometown of Concord, Massachusetts, the show centers on the journal he kept throughout his life and its importance in understanding the essential Thoreau. More than twenty of Thoreau’s journal notebooks are shown along with letters and manuscripts, books from his library, pressed plants from his herbarium, and important personal artifacts. Also featured are the only two photographs for which he sat during his lifetime, shown together for the first time. The exhibition runs through September 10.

“Henry David Thoreau has variously been cast as naturalist, hermit philosopher, and political activist,” said Colin B. Bailey, director of the Morgan Library & Museum. “However, none of these labels do justice to the breadth of his interests and his enormous impact on American culture and letters. It is perhaps only in his journal that one finds Thoreau in full voice, commenting thoughtfully on a range of topics, from the seemingly mundane to the historic events of his day.  The Morgan is pleased to partner with the Concord Museum in bringing this extraordinary exhibition to the public.”

“For the first time, the surviving personal artifacts—from Thoreau’s simple green desk to his beloved flute— will temporarily be on view outside of his hometown of Concord,” explained Margaret Burke, Executive Director of the Concord Museum. “Two centuries after his birth, we believe that much can be learned from Thoreau and his perception of the world. Throughout 2017, the Concord Museum is celebrating his Bicentennial with programs, events, gallery talks, and special exhibitions. We are particularly proud of our collaboration with the Morgan Library and that the exhibition will also be on view at the Concord Museum beginning September 29.”

THE EXHIBITION 

Give me the old familiar walk, post office & all - with this ever new self - with this infinite expectation and faith. . . . -Thoreau’s journal, November 1, 1858

Thoreau’s journal 

The Morgan holds almost all of Thoreau’s surviving journal—forty simple volumes filled with the observations and reflections of a lifetime. Throughout the exhibition, his notebooks are paired with resonant objects—his flute with a journal entry about the importance of listening, his spyglass with an observation about birds he saw while peering through it, a bundle of nails from his cabin by Walden Pond alongside a notebook he used while living there. At the center of the gallery stands the simple green desk on which he wrote the thousands of pages of his journal over the course of a quarter century, convinced that a closely examined life would yield infinite riches. 

Neighbor

Thoreau’s journal begins and ends in Concord—the Massachusetts town where he spent most of his forty-four years. It was there that he opened his first notebook in 1837 and closed his final one in 1861, as he began to grow weary with tuberculosis. One of the most frequently quoted lines from Thoreau’s journal, dated December 5, 1856, reflects his profound connection with his native place: “I have never got over my surprise that I should have been born into the most estimable place in all the world - & in the very nick of time, too.” 

Concord—less than twenty miles from Boston—was an intellectually vibrant place. Ralph Waldo Emerson, Thoreau’s dynamic neighbor, led discussions about the future of American society. Antislavery activists Wendell Phillips and Frederick Douglass passed through town (and through the Thoreau family house) with urgent calls for reform. The exhibition features intimate records of Thoreau’s relationships with many of his Concord contemporaries, from a diary of fellow author Nathaniel Hawthorne to a heartbreaking letter from Louisa May Alcott describing how friends laid Thoreau’s body to rest beneath a wreath of flowers in 1862. She predicted that “though his life seemed too short, it would blossom & bear fruit for as long after he was gone.”

Student and Worker 

Thoreau entered Harvard College in 1833 at age sixteen and followed a traditional course of study based on rote memorization, recitation, and repetition. Though he is said to have complained that Harvard taught “all the branches” of learning but “none of the roots,” college was a transformative experience for him. His immersion in classical and modern languages, literature, and natural history set the course for a lifetime of self-directed reading and study. The exhibition features playful correspondence from Thoreau’s college classmates as well as student essays that contain hints of the big ideas that would continue to engage him, from the importance of simplicity to the value of independent thought. 

It was just after graduation that Thoreau began to keep a journal of his observations and reflections. His earliest surviving journal is on view, open to an entry that served as a guiding principle for his lifelong practice: “My desire is to know what I have lived, that I may know how to live henceforth.” 

Throughout his life Thoreau found various ways to, in his words, “get a living”—working as a teacher, schoolmaster, handyman, lecturer, writer, pencil maker, and, most regularly, as a surveyor. At the same time, he aimed to reverse the usual balance. How could he work less and live more? Shortly after he turned forty, he wrote a journal entry, dated October 29, 1857, concluding that he had chosen the professions best suited to his temperament. “I have aspired to practice in succession all the honest arts of life,” he wrote, “that I may gather all their fruits.” 

Reader and Thinker 

Thoreau read voraciously and in several languages, often with pen in hand, copying extracts into the same type of notebook in which he kept his journal. The exhibition includes a blank book he began using in college to copy selections from his reading. He devoted sixteen full pages to The Laws of Manu, an English translation of a classical Hindu text that influenced him profoundly. It is shown alongside Thoreau’s own copy of the Bhagavad-Gítá, another of his most cherished texts. Also on view are selections from Thoreau’s extensive self-directed study of indigenous North American cultures—a project that comprised some three thousand handwritten pages in a dozen notebooks. 

For Thoreau and many of his Concord contemporaries, a journal was the perfect venue in which to cultivate a dynamic, direct relationship with nature rather than relying only on books, teachers, elders, and religious authorities. He also famously committed himself to living responsibly and focused his thinking and writing on consumerism, materialism, individualism, spirituality, and what we now call environmentalism. 

Thoreau was a passionate abolitionist and sometimes provided assistance to African Americans who had escaped from slavery as they made their way to Canada via the Underground Railroad. He wrote almost nothing about these illegal activities in his journal. What he did express—at length—was his fury with a government that sanctioned an institution as heinous as slavery. 

In 1846, Thoreau spent a night in jail for failure to pay a tax in protest against state-sanctioned slavery. Out of that experience he developed his most influential essay, “Resistance to Civil Government” (later published as “Civil Disobedience”), which is shown in its first printed appearance alongside the lock salvaged from Thoreau’s jail cell. 

In the years that followed, Thoreau became the most outspoken public apologist for the militant abolitionist John Brown and turned again to his journal to rail against a government “that pretends to be Christian & crucifies a million Christs every day.” Many of these journal entries made their way, in revised form, into his fiery public speeches and published essays. 

Writer and Observer

As a young man, Thoreau wrote poetry, but he found his voice in prose. He published two books during his lifetime: A Week on the Concord and Merrimack Rivers, which did not cause much of a stir, and Walden, which most certainly did. Both of these works and others had their beginnings in his journal. In lectures and published works, Thoreau developed a first-person public voice designed to provoke, tease, stimulate, challenge, and, sometimes, entertain. In his private writings, he let his words flow more naturally, expressing surprise, anger, frustration, awe, joy, and even ecstasy. In his early notebooks, he often extracted pages and repurposed the text. Later, though, he left the volumes intact. Over time, the journal became his most essential work of art. 

Walden, published in 1854, would make Thoreau an American legend—a first edition copy is on view. The title page illustration is based on Sophia Thoreau’s drawing of the cabin where her brother Henry lived for two years, two months, and two days on the shores of Concord’s Walden Pond. In writing the book he pulled heavily from his journal entries. It was toward the end of his composition process that he added the iconic first paragraph, a draft of which is on view: 

When I wrote the following pages, or rather the bulk of them, I lived alone, in the woods, a mile from any neighbor, in a house which I had built myself, on the shore of Walden Pond, in Concord, Massachusetts, and earned my living by the labor of my hands only. I lived there two years and two months. At present I am a sojourner in civilized life again. 

Thoreau walked for hours every day and in all seasons and used his journal to record, in great detail, what he observed. As he grew older, his engagement with the natural world intensified and he spent years logging descriptions of natural phenomena. The exhibition features pressed plants from his herbarium and examples of the detailed phenological tables he drew up late in his life, pulling extensive data on plant flowering from past journal entries. “I have the habit of attention to such excess that my senses get no rest,” he wrote in 1852. But he reminded himself that observation was not all about effort: “Go not to the object, let it come to you.” 

Epilogue

Did Thoreau intend his journal to be read by the public? He repurposed and revised many passages during his lifetime and shared them in lectures and published writings. At the same time, the enterprise was deeply personal. “Says I to my-self should be the motto of my Journal,” he wrote in 1851. 

On view in the exhibition is his final entry, made in November 1861 after a violent rainstorm. He was paying attention, as he had done all his life, to ordinary details and seeing what conclusions he could draw. The second half of the notebook is empty. He died six months later.  

Organization and Sponsorship 

This Ever New Self: Thoreau and his Journal is organized by the Morgan Library & Museum, New York, and the Concord Museum, Concord, Massachusetts. The curator of the exhibition at the Morgan is Christine Nelson, Drue Heinz Curator of Literary and Historical Manuscripts, the Morgan Library & Museum. The curator of the exhibition at the Concord Museum is David Wood, Curator, the Concord Museum. The exhibition will travel to the Concord Museum, September 29, 2017-January 21, 2018. 

The exhibition is made possible with lead funding from an anonymous donor, generous support from the Gilder Foundation, and assistance from the Gladys Krieble Delmas Foundation. 

The programs of the Morgan Library & Museum are made possible with public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. 

Image: Benjamin D. Maxham (1821-1889), Henry D. Thoreau, Daguerreotype, Worcester, Massachusetts, June 18, 1856. Berg Collection, New York Public Library.

500_goyaprintsimage5-1955-62-13-pma2016-cr.jpgThe Philadelphia Museum of Art will present an exhibition of works by Francisco Goya, featuring selections from the artist’s most ambitious series of prints, made between 1797 and 1825. As a court painter to four successive rulers of Spain, Goya was witness to decades of political turmoil and social change. Witness: Reality and Imagination in the Prints of Francisco Goya includes examples from the Museum’s complete first editions of Los Caprichos (The Caprices), Los Desastres de la Guerra (The Disasters of War), La Tauromaquia (Bullfighting) and Los Disparates (The Follies). These prints address a broad variety of themes, from the spectacle of bullfighting to the chaos and brutality of life in Spain during the Napoleonic wars, and reflect how Goya often blurred the boundaries between documentary realism and expressive invention.

Beginning in the 1790s, Goya turned to printmaking as a means of addressing the dramatic changes then occurring in Spanish society and to convey his complex, personal vision of contemporary life. The exhibition begins with his first major series of etchings, Los Caprichos (1799), in which Goya explored provocative subjects such as superstition, anticlerical satire, and prostitution, that would have been deemed unsuitable for his commissioned paintings. Many prints in this series, such as the celebrated etching, “The Sleep of Reason Produces Monsters,” reveal the influence of the Enlightenment, the intellectual movement which championed reason in guiding human thought and social behavior. In this work, often interpreted as a self-portrait, an artist sleeps at his drawing table surrounded by birds and animals that symbolize the forces that haunt his dreams and challenge a rational view of the world.

In his series Los Desastres de la Guerra (1810-1820), Goya provides an intimate view of the many brutal events that occurred during the Napoleonic occupation of Spain and their repercussions. With their unflinching portrayal of violence and despair, these prints illustrate the hardships endured during the war and attest to Goya’s ability to imbue imagined scenes with captivating realism.

Juxtaposed with grim scenes of the war and its devastation are Goya’s thrilling depictions of bullfighting. The etchings from La Tauromaquia (1816) chronicle Goya’s view of the history of the sport, from ancient Spaniards hunting wild beasts to professional matadors in the bullring. While the prints are widely admired for their dynamic portrayal of the quintessentially Spanish practice, Goya was undoubtedly aware of the irony of celebrating such spectacles of violence in the aftermath of war. He revisited the subject a decade later in a magnificent suite of large lithographs known as the Bulls of Bordeaux (1825), which are also on view in the exhibition.

The final section of the exhibition highlights Goya’s most enigmatic series, Los Disparates, (c. 1815-1823). The prints display Goya’s interest in technical innovation as he combined etched lines and gradations of aquatint tone to create surreal compositions that continue to fascinate viewers and scholars.

Danielle Canter, the Margaret R. Mainwaring Curatorial Fellow in the Prints, Drawings, and Photographs department at the Philadelphia Museum of Art, said: “Goya was a remarkably perceptive witness to his time. His graphic works allowed him to grapple with the impact of shifting cultural values, civil unrest, and the war around him. While the prints are intrinsically tied to his experience, Goya’s insightful representations of the human condition and his expressive vision continue to resonate with viewers today.”

Curators
Danielle Canter, The Margaret R. Mainwaring Curatorial Fellow
Shelley Langdale, Associate Curator of Prints and Drawings

Location
Korman Galleries 120-123

Image: A Way of Flying, c. 1815 1823 (published 1864). Francisco José de Goya y Lucientes, Spanish, 1746 1828. Etching and aquatint, Plate: 9 5/8 x 13 3/4 inches (24.4 x 34.9 cm) Sheet: 13 3/16 × 18 7/8 inches (33.5 × 48 cm). Philadelphia Museum of Art, Gift of Marion B. F. Ingersoll, 1955.

Screen Shot 2017-04-17 at 8.37.47 AM.pngAs of April 26, 2017, Les Enluminures Chicago is open, by appointment, at our new premises located at One Mag Mile, 980 North Michigan Avenue, an award-winning building designed by Skidmore, Owings and Merrill. On Wednesday 26 April, from 6-9 p.m., Sandra Hindman and Keegan Goepfert will host a champagne and appetizers evening to mark the Grand Opening of the offices and showroom.

Les Enluminures is excited about the new premises at One Magnificent Mile, which will allow the gallery’s Founder and President, Sandra Hindman, and Vice-President and Director, Keegan Goepfert, to meet friends, associates, and clients in beautiful surroundings that combine the fine architecture of Chicago with medieval art. Chicago is one of the many locations of Les Enluminures. The gallery was founded by Dr. Sandra Hindman in 1991, and now boasts locations in the heart of Paris, the Upper East Side, New York, and Pall Mall, London. In addition to regular exhibitions in its galleries, Les Enluminures exhibits at many prestigious art and antique shows, including TEFAF Maastricht, TEFAF New York, Frieze Masters, London, and Masterpiece, London.

An exhibition of fine Books of Hours, illuminated manuscripts, miniatures and medieval rings will accompany the Chicago Grand Opening, with masterpieces by Simon Bening, Jean Pucelle, and Bartolomeo Caporali.

Contact Les Enluminures Chicago at : 

One Magnificent Mile, 980 North Michigan Avenue, Suite 1330 Chicago IL 60611
Tel. (773) 929 5986 chicago@lesenluminures.com 

Image: Histoire Ancienne jusqu’à César and Fait des Romains In French, illuminated manuscript on parchment. With 78 miniatures by the Master of the Coronation of Charles VI and a collaborator. France, Paris, c. 1370-80 $4,500,000 

 

tex.jpegDALLAS (April 13,2017) - A historically important document signed by William Barret Travis, securing black walnut wood to help build a garrison just days before the Alamo was attacked by Mexican forces, sold for $137,500 in Heritage Auctions’ Texana & Western Americana auctionMarch 24 in Dallas. 

Three days after the date of the document, American lawyer and soldier William Barret Travis wrote a letter, possibly the most famous document in Texas history, calling on Texans in particular and Americans in general to come and help defend the Alamo, vowing never to surrender or retreat and adding the words "Victory or Death" before his signature. 

The auction’s top lot honors included two rare maps: A.R. Roessler’s 1874 Latest Map of the State of Texas, considered the best contemporary records of agricultural and mineral wealth, which sold for $35,000 following interest from five bidders, and J. Eppinger and F.C. Baker’s 1851 Map of Texas Compiled from Surveys Recorded in the General Land Office, which sold for $32,500.

Additional highlights include, but are not limited to: 

d3278719-8fe0-4010-bfe4-27d33b5c070e.jpgAmong the standout lots at National Book Auctions' April 8, 2017 sale was the complete seven-volume Holy Bible printed in London for Thomas Macklin by Thomas Bensley in 1800. The large-scale volumes were bound in full leather with gilt tooling and were profusely illustrated with engravings by several of the most eminent artists of the day including Angelica Kauffman, William Hamilton, and Henry Fuseli. The first volume included a subscription list that listed King George III, Queen Charlotte, and their progeny. The set sold for $1,312.50.

Other lots of note were thirteen volumes of "Histoire Generale des Voyages" edited by Abbé Prévost; a handsome 1818 edition of the Federalist Papers by Alexander Hamilton, James Madison, and John Jay; and a volume of The Norristown Gazette commemorating the death of George Washington with the Senate Address to John Adams, Adams' response, and details of the funeral procession printed within mourning borders.

National Book Auctions' next sale will take place on April 29, 2017 and will include a broad array of collectible, rare, and antique volumes and ephemera. Its sister company, Worth Auctions, will hold a sale on April 23, 2017, which will feature the third session of material from the estate of a major Civil War collector, including original Confederate Bowie knives, portrait paintings, and uniforms. For more information, visit www.nationalbookauctions.com and www.worthauctions.com.

Lot_131.jpgLas Vegas, NV, April 12, 2017-- Morphy Auctions, the finest auction destination for fresh to the market collections, is pleased to announce this world-class sale to be held on Friday, May 26th at the company’s Las Vegas, Nevada gallery starting at noon EST.   A full spectrum of quality merchandise will be offered across the most desirable collecting categories.  All items in this sale are available for preview now in the company’s Las Vegas facility. 

American Indian cultural items feature prominently in this auction, with many of these handmade treasures and artifacts demonstrating extraordinary quality and design.  Lot #67, a c. 1865-1875 rare third phase pictorial Chief's blanket variant, is woven with natural ivory and brown wool, and is colored with indigo blue, red cochineal, and green vegetable dyes. Measuring 85” x 64”, its design features unusual pictorial elements including stars and birds.  It is estimated at $60,000-90,000.  Lot #111, a rare c. 1860 Prairie tobacco bag detailed with contour floral motifs beaded on hide, cut-outs, and early paint, should hold bidders interest with its $20,000-30,000 estimate.  Lot #256, an early 20th century 124-1/2” high non-traditional native cedar totem pole features carved faces and is topped with an eagle with spread wings. It is estimated at $10,000-20,000 and includes a base to keep it securely upright.  And lot #155, a c. late 19th century Western Apache large coiled and lidded basket, made from devil's claw, red yucca, and willow fibers, is truly a work of art from every angle.  This pictorial polychrome olla is decorated with woven stylized human and equine figures among chevrons; its lid has a large morning star center and small triangles around the rim.  This stunning rarity is estimated at $40,000-80,000. 

Collectors are certain to go to war over this sale’s fantastic selections of interesting antique hand weapons.  Lot #109, a beautifully made c. 1880 pipe tomahawk with a steel head, its original leather gasket, and an unusually long original haft with file branding is estimated at $10,000-15,000.  Lot #110, a c. 1840-50 Osage Missouri War axe tomahawk features a long, round haft and triangular, thin blade, typical to its age and origins.  This outstanding example was featured in the 2010 book The Missouri War Axe: War Tomahawk of the Plains and Prairies and is estimated at $15,000-20,000.  Lot #157, a very rare c. 1860-1870 Yanktonai Sioux knife blade war club features two large blades and a haft made of chestnut that is decorated with hot file branding and brass tacks. There are approximately 20 known knife blade war clubs; all attributed to the Yanktonai Sioux of eastern South Dakota. This extraordinary this example was featured in the 2009 book The Mark Francis Collection of American Indian Art and is estimated at $15,000-25,000.  And lot #66, a c. 1860 Eastern plains or Western Great Lakes classic gun stock club is estimated at $45,000-50,000.  This rarity features a triangular base pierced for attachment of a wrist cord and a recessed grip. Its other cutting edge details include an elaborated engraved, carved, and accented shaft and an exaggerated steel blade - pierced twice and inlaid with brass the words "Little Hill” - set into the crook.

This event features an extensive offering of antique advertising materials relating to America’s fascination with the “wild west.”  Lot #146, a rare Old Forester Whiskey advertisement is estimated at $10,000-15,000.  This printer's proof with reverse lettering is professionally mounted and framed and was produced by Chas. W. Shonk Co. of Chicago.  And lot #50, a c. 1908-09 poster for the Winchester .401 caliber self-loading rifle is right on target with its $4,000-5,000 estimate.  This vibrant example was originally executed by Philip R. Goodwin for Winchester.  

Two outstanding Indian themed antique advertising examples are lot #100, a mid-19th century, 90” tall wooden cigar store Indian, estimated at $40,000-80,000 and lot #7, a c. 1885, 77” tall flat board cigar store Indian tobacco curb sign, estimated at $6,000-12,000.  The full-bodied Indian is hand carved, holds a bundle of "Best Quality Cigars,” and is looking off into the distance with one hand shading his eyes.  The flat board Indian sign was made for narrow doorways and easy storage and came from Baltimore. It is marked “E.H. carved” on the bend of the elbow.  Similar early flat board cigar store signs are pictured and described in Cigar Store Figures in American Folk Art by A. W. Pendergast and W. Porter Ware and Artists in Wood by Frederick Fried.  

Exciting Buffalo Bill themed collectibles also take the spotlight in this sale.  Cabinet cards, posters, and paintings featuring this famous showman are all on offer. Lot #99, an extremely rare Buffalo Bill's Wild West White Eagle advertising poster, is estimated at $8,000-15,000.  It is framed behind glass and is illustrated with Buffalo Bill “guiding and guarding;” its colors remain magnificent and vibrant.  And lot #131, a matted and framed original show poster for Buffalo Bill's Wild West. Congress, Rough Riders of the World. Miss Annie Oakley, The Peerless Lady Wing-Shot in very nice condition is estimated at $3,000-4,000.  This full color example was printed by A. Hoen & Co. from Baltimore and measures 20” x 29”.

This sale rounds out with a refreshing blend of antique back bar bottles, calendars, artwork, sculptures, and saddles.   Lot #51, a framed Union Metallic Cartridge Co. 1900 single calendar page of plains buffalo is estimated at $10,000-15,000.  Lot #185, a clear, faceted glass aniseed back bar bottle decorated with an image of a lovely woman is estimated at $2,000-4,000.  And lot #132, Joyce Lee’s original oil on board painting, Practice Loop, comes full circle at $5,000-8,000.

According to Dan Morphy, Morphy Auctions’ President, "This auction offers some of the finest Western and Indian themed merchandise to come to auction in memory. We are very pleased to display as well as sell these outstanding examples from our Las Vegas location. The quality and craftsmanship demonstrated on the antique Indian cultural items is simply breathtaking.  The large, lidded olla basket is astonishing in its decoration, handiwork, and scale.  You really have to see it to appreciate the endless hours that went into its creation! We welcome you to visit our gallery in Las Vegas to view these rarities in person, or of course check them out online anytime at www.morphyauctions.com.”

Image: Buffalo Bill's "Wild West Miss Annie Oakley" painting, Est. 3,000-4,000. 

(Amherst, MA--April 10, 2017) Children's book author/illustrator and Regina Medal recipient Steven Kellogg will deliver the 7th annual Barbara Elleman Research Library (BERL) Lecture on Saturday, April 29th at 2:00 pm at The Eric Carle Museum of Picture Book Art. The BERL series features the country's preeminent scholars, book collectors, researchers, editors, authors, and illustrators in the field of children's literature. Kellogg's lecture, a self-proclaimed "celebratory outburst of appreciation," is free with Museum admission. A reception and book signing will follow. 

In The Enduring Magic of Story, Kellogg will share his appreciation for the gift of storytelling and how it enriches our lives. "Storytelling, both visual and verbal, has been a pervasive and important activity in societies throughout the thousands of years that have elapsed since the dawn of mankind, when human beings first mastered the ability to communicate with one another," said Kellogg. He will also speak about his admiration for the arts of writing and illustrating and how they are able to open gates to the world of stories and generate true magic, reminding us that "we all have a place in the storytelling circle."

"We are delighted to welcome Steven who has been a friend of The Carle since its creation. Embellishing the folktale of Paul Bunyan, imaginatively creating a friendly snake in the classroom, or fantasizing on paper about the antics of a Great Dane puppy are just a few of the plots that he has successfully turned into books through the years," said Barbara Elleman.  

Steven Kellogg is the author and illustrator of over a hundred picture books. His love and dedication to stories and storytelling has been a lifelong pursuit: "It was early in my journey that I realized that stories and pictures were so compelling to me that my commitment would have to be a professional one."

He graduated from the Rhode Island School of Design in 1963 and forty years later was presented with their annual award for significant professional achievement. Apart from that, his work has received numerous other recognitions including the Irma Simonton Black Award, the IRA-CBC Children's Choice Award, the Parents' Choice award, inclusion on the ALA Notable Books list, Booklist Editors' Choice, School Library Journal Best Books of the Year, The Horn Book Fanfare, and the list of Reading Rainbow featured selections. 

To Kellogg, the importance of picture books, especially for children, is "for the emotional, intellectual, and imaginative nourishment that words and pictures provide when they are artfully composed to create the magic of story." Indeed, Kellogg's own work has touched the lives and creative imagination of countless children. As well as a creator, Kellogg is also a board member of the National Children's Book and Literacy Alliance and has traveled to numerous schools, libraries, and colleges in all 50 states presenting programs that celebrate the joys of reading. More information about Kellogg and his work can be found at www.stevenkellogg.com.

Met (old) Faust opening night 1953-54 Pierre Monteux Sedge LeB;ang photo copy.jpgNew York-Christie’s announces The Metropolitan Opera Guild Collection, a dedicated auction of rare musical manuscripts and memorabilia, to take place in New York on June 15, 2017, with two exquisite pieces of jewelry to be sold in the Magnificent Jewels auction on June 20, 2017. Funds from the sale will benefit the Opera Guild and the Metropolitan Opera. Highlights will be previewed during a global tour with exhibitions in London and Hong Kong in April and May. The full collection will be on preview in New York June 10-14.

The collection includes approximately 90 lots and represents a selection of autograph material from some of the most important composers of the Western classical tradition spanning from the Baroque era to the 20th-century. The majority of manuscripts come from the carefully assembled gift of Edwin Franko Goldman (1878-1956), renowned American composer and trumpeter with the Metropolitan Opera. The sale is led by the sole surviving autograph musical manuscript by Schubert for his Piano Sonata in A flat Major (estimate: $350,000-500,000). Additional highlights include annotated manuscripts and letters by the trinity of Bach, Mozart and Beethoven. Illuminating the sale are objets d’art with provenance grounded in opera and classical music including Enrico Caruso’s Cartier gold eyeglass case with glasses and Arturo Toscanini’s Gubelin open-faced pocket watch.

Sven Becker, Head of Books & Manuscripts, Christie’s New York, remarks: “Christie’s is honored to be entrusted with this special collection offering a concentration of fine musical autograph material. Collections such as this come to the market very infrequently; even more rarely do they bear the name of such a well-regarded American institution.”

“We are pleased to be working with Christie’s to present this auction at the time of two important milestones in 2016/7: the 60th anniversary of the death of Edwin Franko Goldman and the 50th anniversary of the Met Opera at Lincoln Center,” says Richard J. Miller Jr., President of the Metropolitan Opera Guild. “Funds generated from this sale will ensure that the Guild and the Metropolitan Opera are poised to continue fulfilling their respective missions for years to come.”

Cataloguing and complete details of the sale will be available in May 2017.

Global Tour Dates and Locations:
London | Highlights Exhibition | April 19-27
Hong Kong | Highlights Exhibition | May 26-29
New York | Sale Preview | June 10-14

Image: Opening night of Gonoud’s Faust in 1953. Photo by Sedge LeBlang/ Metropolitan Opera Archives.

 

7-Hemingway-Dietrich-Letter copy.jpgNew York—On Thursday, May 4, Swann Galleries will hold their biannual auction of Autographs, featuring personal snippets of the lives of important artists, musicians, politicians, scientists and writers.

A highlight of the sale is a love letter from Ernest Hemingway to Marlene Dietrich, in which he asks her to visit him at Finca Vigía, Cuba, and tells her about his work on The Old Man and the Sea. On August 12, 1953, he wrote, “Please know that I love you always and I forget you sometimes as I forget my heart beats. But it beats always.” The letter, written on four sheets of stationery, comes from Dietrich’s family; it valued at $20,000 to $30,000. From the same consignment come several other letters from the author that open “My dearest Marlene,” sent in the 1950s from around the world. In a 1950 letter from Venice, Hemingway provides a list of his beliefs and notes that horoscopes are not included on the list ($12,000 to $18,000). Dietrich also received tokens from Richard Burton, Jean Cocteau and Noël Coward, which are featured in the sale; other photographs are signed to her daughter Maria by Clark Gable, Cary Grant and Mae West.

A strong showing of Revolutionary War correspondence includes Autograph Letters Signed by Timothy Pickering, James van Rensselaer, and other major figures. Early presidents are well represented, with several examples from John Adams and Thomas Jefferson each. A Partly-printed Document Signed by Adams as President confirms a ship’s papers in four languages on June 13, 1798, and several years later, President Jefferson signed a partly-printed vellum document, appointing William M. Daws Inspector of the Revenue for the Port of Thomaston, countersigned by Secretary of State James Madison, Washington, February 8, 1809 (each $4,000 to $6,000). Further early presidents represented in the sale include John Quincy Adams and Abraham Lincoln.

Twentieth-century Presidents are not to be missed: a photograph of John F. Kennedy and Dwight D. Eisenhower by Elliot Erwitt during their historic meeting on December 6, 1960, signed by both, is expected to sell between $10,000 and $15,000. A complete sheet of 1928 20¢ stamps, collected and signed by philatelist president Franklin D. Roosevelt is valued at $1,000 to $1,500, while his Records of the Town of Hyde Park, Duchess County of the same year is estimated to sell between $2,000 and $3,000.

A section of autographs by artists includes Ludwig Bemelmans, Alexander Calder, Piet Mondrian and Maurice Sendak.  The Mechanics of Form Organization in Painting, 1926, is an Autograph Manuscript for an essay by American Regionalist painter Thomas Hart Benton, dedicated to his pupils at the Art Students League, one of whom was Jackson Pollock. The 39 pages feature diagrams and sketches by the artist, in addition to the handwritten text for the article ($20,000 to $30,000). Claude Monet is represented in the sale by an Autograph Letter Signed to Desmond Fitzgerald in French, with a list of prices for his paintings on exhibit in Paris, Giverny, 26 November 1889, valued at $4,000 to $6,000.

Among scientists and inventors are letters from Louis Agassiz, Marie Curie and Sigmund Freud, as well as a signed and inscribed photograph of Thomas Edison with a phonograph, which he invented ($1,000 to $1,500). Further autographs by the inventor include Letters Signed, as well as checks and clipped signatures. A graphite portrait of Albert Einstein by S.N. Swamy, 1950, signed by both, is valued at $7,000 to $10,000. Several additional signed portraits of Einstein—original drawings as well as etchings and photographs—are being offered, as well as letters and ephemera.

An Autograph Letter Signed in French by Alexis de Tocqueville to the Charles Gosselin Library, detailing the terms of the publication of his Democracy in America, 1837, is expected to sell for $10,000 to $15,000 (though de Tocqueville only received 3,000 Francs for his work).

Sir Arthur Conan Doyle is well-represented in the sale, with personal items including a circa 1926 Autograph Manuscript Signed outlining his conception of spiritualism, and a Typed Letter Signed June 7, 1930, arranging a séance ($3,500 to $5,000 and $700 to $1,000, respectively).

The sale provides myriad tangible connections to the past, from Agatha Christie’s personal circa 1948 notebook from Baghdad, containing more than 150 Autograph Manuscript pages of notes and drafts for several of her early novels and plays, to the bars to the theme from Pyotr Ilyich Tchaikovsky’s Suite No. 3, jotted on March 21, 1888, in London, a day before performing the piece at St. James’s Hall ($4,000 to $6,000 and $7,000 to $10,000, respectively). The oldest autograph in the sale is that of the Medieval Czech priest Jan Hus, whose signature “Huß” appears in the margin of a vellum fragment from a manuscript Breviary, circa 1400, estimated between $4,000 and $6,000.

The auction will be held Thursday, May 4, beginning at 1 p.m. The auction preview will be open to the public Monday, May 1 through Wednesday, May 3 from 10 a.m. to 6 p.m.; and Thursday, May 4 from 10 a.m. to noon, and by appointment.

An illustrated auction catalogue is available for $35 at www.swanngalleries.com.

For further information and to make advance arrangements to bid by telephone during the auction, please contact Marco Tomaschett at 212-254-4710, extension 12, or via e-mail at mtomaschett@swanngalleries.com.

Image: Lot 7 Ernest Hemingway, Autograph Letter Signed to Marlene Dietrich, discussing The Old Man and the Sea and expressing love, Cuba, August 1952. Estimate $20,000 to $30,000.

The word calligraphy comes from the Greek for “beautiful” (calli) and “writing” (graphy).  It is an art with a long and noble history, going back many centuries and spanning cultures.  Exhibitions and collections of Asian art, Persian art, and even Medieval Western art have always included examples of beautiful writing, yet modern Western calligraphy has not been recognized as an art form. This exhibition, The Calligraphy Revival 1906-2016, on view at the Grolier Club from May 17 through July 29, 2017, aims to correct that oversight.  Curator Jerry Kelly, an award-winning book designer, type designer, typographer, and calligrapher, is presenting major examples of calligraphic art by more than 80 Western artists spanning the years 1906 to 2016, demonstrating how alive - even thriving - the art has remained in the West, even in the computer age.  

CALLIGRAPHY AS A FINE ART

“Surely the alphabet is one of the major accomplishments of mankind,” notes Mr. Kelly.  “The expression of this utilitarian creation can rise to the level of fine art, just as architecture, photography, and other ‘useful’ expressions of the human mind are appreciated as art.  It is an unfortunate distinction of beautiful writing that, while these other arts have been exhibited at major museums throughout the world, calligraphy remains under-appreciated.  We hope this selection will help to expose more people to the beauty and expression of the handwritten letter arts.” 

THE CALLIGRAPHY REVIVAL

The art of calligraphy has enjoyed a remarkable revival over the past century or more, spurred on in large part by the teaching of the British scribe Edward Johnston (1872-1944).  Johnston’s students, such as Graily Hewitt and Irene Wellington, spread his principles through succeeding generations of calligraphers.  His manual, Writing & Illuminating, & Lettering, originally published in 1906, has been the calligrapher’s bible ever since. 

Another important influence from around the same time is Rudolf Koch of Germany, who also trained a remarkable group of students, as well as publishing several instruction books.  The same year that Johnston’s manual was published, 1906, a piece of Koch’s calligraphy was first reproduced in Vienna, in Künstlerischer Schrift.  That year is seen as the starting point of the modern revival of calligraphy. 

Most of the artists in this exhibition can trace their roots back to these two seminal calligraphers.  For example, Alfred Fairbank was a student of Graily Hewitt.  Karlgeorg Hoefer studied at the Technische Lehranstalt in Offenbach, Germany, where Koch had established a calligraphy program; and Hermann Zapf was self-taught from the manuals of both Johnston and Koch.  All are represented by work in the show.

THE SCOPE OF THE EXHIBITION

The show is representative of the variety of calligraphic work done over the past 110 years, a most fruitful period in the history of the art.  In addition to the best-known artists of this period, some not-so-well-known scribes have also been included in the mix.  Only one work per calligrapher is presented, no matter how important or prolific the artist may be. 

The selections were made in consultation with several calligraphers: Christopher Calderhead (editor, Letter Arts Review, Charlottesville, NC), Anna Pinto (board member, The Society of Scribes, New York, NY), Rob Saunders (founder and curator, Letterform Archive, San Francisco, CA), and Julian Waters (award-winning lettering artist, Washington, DC). In some instances, the scribes themselves were asked to select a piece for inclusion.  

Examples of the letter arts focus primarily on works in the Latin alphabet, with two exceptions: a few lines in Hebrew culminating in the word “Shalom,” in Ismar David’s silkscreen print (the rest of the lettering in that broadside is in the Latin alphabet), and some Arabic, Japanese, and Tibetan scripts are incorporated into the artwork by Brody Neuenschwander of Belgium.  In addition to original, one-of-a-kind works, there are a few limited-edition prints by silkscreen, letterpress from hand-cut blocks, and even high-quality offset on special papers, as well as three- dimensional objects: letters hand-cut on slate, hand-glazed on ceramics, hand-cut on wood, and etched on glass. 

Lenders to the exhibition include the Harrison Collection at the San Francisco Public Library, one of the finest repositories of modern calligraphy; Letterform Archive; and various artists from around the world.

ABOUT THE CURATOR

Jerry Kelly’s book design work has been selected more than 30 times for inclusion in the AIGA “Fifty Best Designed Books of the Year” show, and in 2015 he was presented with the Goudy Prize from the Rochester Institute of Technology.  He has written several books and numerous articles on the subjects of calligraphy, book design, and typography.

CATALOGUE:

Accompanying the exhibition is a hardcover catalogue fully illustrated in color. It is available for purchase at the Grolier Club and from Oak Knoll Books. 

PUBLIC EVENTS:

Free Lunchtime Exhibition Tours: June 7 and 21, 1 to 2 PM, led by curator Jerry Kelly.  No reservations required.

Panel Discussion:  May 18, 6 to 7:30 PM.  “Calligraphy as a Fine Art.”  Moderator: Christopher Calderhead, editor, Letter Arts Review.  Speakers: Femke Speelberg, Associate Curator of Prints & Drawings, Metropolitan Museum of Art; Rob Saunders, founder and curator, Letterform Archive; Michael Sull, Certified Master Penman.  Free, but reservations required.  Email Maev Brennan, mbrennan@grolierclub.org.

AntiquarianAuctions.com is an online auction site dedicated to the sale of rare and out-of print books, maps & prints, documents, letters, ephemera and vintage photography. All pricing is done in US$. No buyer’s premium is charged. 

Lot 1 

Harris (C.J.H.) & Ingpen (Brian) Mailships of the Union-Castle Line 

Published: Cape Town, 1994 Estimate: $1,750/2,000 

A Special Edition Limited to 100 copies, this is copy number 1 and is presented to Fernwood Press, signed by the author and artist. With a painting in oils by Peter Bilas of the Kildonan Castle approaching Durban specially commissioned for this work and reproduced on page 44. The painted area measures 900 x 500 mm and is in an attractive gilded frame (1050 x740 mm). 

Peter Bilas was born in Austria but has spent much of his life in South Africa. His interest in the sea and his consummate talent as a marine artist encouraged him to abandon a successful career in computers to concentrate on painting. He exhibits regularly and has won considerable acclaim at the renowned Mystic Gallery in the United States of America as well as elswhere. Among his best known works are four scences on large canvas, of the Battle of Trafalgar. 

Lot 2 

Berry (William) Africa divided according to the Extent of Its Principall Parts 

Published: London, 1680 

Estimate: $3,000/4,000 

The very large and decorative title cartouche, copied from Jailot, includes a lion, an ostrich, an elephant, a crocodile as well as classical and native figures. William Berry changed the coat of arms to that of the Royal Arms and included a dedication to the then recently restored King Charles II. There is also a cartouche that includes five distance scales.

William Berry was a bookseller, geographer and engraver, who was active between about 1670 and 1703. His most enduring partnership was with map-maker Robert Morden and, together, they dealt in topographical works, prints, maps, charts and globes. In the title of the map, Berry added detail for his English audience. 

Lot 3 

Harris (Willaim Cornwallis) Portraits of the Game and Wild Animals of Southern Africa
Published: London, 1840 

Estimate: $12,500/15,000 

Published in five parts at £2. 2s. each part, on large (Columbier) paper, with tail-pieces, or at £1. 1s. each part of ordinary (Imperial) paper without tail- pieces. The book was finally published in volume form in 1843 at £10. 10s. (possibly in half morocco) and £5. 5s. respectively. 

One of the most important and valuable of the large folio works on South African fauna. In addition to the beautiful coloured engravings (sic) which render this work almost the most highly prized of the books relating to South African animals, every plate is accompanied by an exhaustive chapter upon the characteristics of the animal represented, as well as by a short sketch of its personal appearance. 

Lot 8 

Skotnes (Pippa) Editor: Sound from the Thinking Strings: A Visual, Literary, Archaeological and Historical 

Interpretation of the Final Years of /Xam LIFE 

Published: Cape Town, 1991 

Estimate: $4,000/5,000 

Private edition with 3 original colour etchings and seventeen original black and white etchings by Pippa Skotnes, each signed and numbered by the artist, quarter black leather with paper-covered sides, uncut edges, contained in a matching leather and cloth slip case, a fine copy. Number 35 of 50 copies signed by all four contributors. 

All the etchings were printed from the original copper plates, on Zerkall Buetten paper, by the artist with the assistance of Frith Langerman, Pascal Bompard and Christine Dixie. 

‘Sound from the thinking strings’ is a visual, literary, archaeological and historical interpretation of the final years of |xam life. Published by Axeage Private Press and edited by Pippa Skotnes, it includes translations by Stephen Watson, essays by John Parkington and 

Nigel Penn, original etchings by Pippa Skotnes and a foreword by Stephen Jay Gould. Sound from the thinking strings was the inaugural publication of Axeage Private Press and was launched with an exhibition at the Iziko South African Museum that included various related objects, manuscripts, photographs and the records of the Breakwater Prison. The edition is limited to 50 copies, some of which are included in the collections of the Iziko South African National Gallery, public libraries and several European and American collections, including Yale’s Centre for the Book and the Smithsonian’s African art collection. The book was widely reviewed and was the recipient of the University of Cape Town Book Award in 1992. 

The publication was later also exhibited as part of the Standard Bank Young Artist Award and travelled with the exhibition to all the major centres of the country. It was also the subject of a major court case which was widely publicised in the press in which the National Library sued Pippa Skotnes for free copies of the book under the Legal Deposit Act, maintaining that a book could not be an artwork. 

Lot 134 

Cape Piscatorial Society, Piscator, Vol 1 no 1 March 1947 - vol1 XXXII no. 104 Summer 1979 

Published: Cape Town, 1947 -1979 

Estimate: $900 /1,100 

In March 1947 the first issue of Piscator, the Society's journal appeared. A. C. Harrison was its editor and, in a tribute to AC in December 1977 when the 100th edition of Piscator was published, the then CPS President, the late Dr. Frank Bradlow, wrote: "There can be few people who have met "AC" whose lives have not been enriched; his direct courteous manner, his dry sense of humour, his encyclopaedic knowledge of nature and fishing, and his human and humane wisdom are but a few of the qualities which make those who know him realise they have been in the company of a very unusual individual; one of those rare human beings whose personality makes an indelible impression on one's memory 

Lot 203 

[Wenceslas (Hollar), Logan (David) Engravers] Origines Juridiciales, or Historical Memorials of English Laws Published: London, 1666
Estimate: $700/1,000 

A large and internally fine copy of this scarce first edition: many copies were destroyed during the Great Fire of London, according to Pepys. He wrote "15 April 1667...bought Dugdale's History of the Inns of Court, of which there was but a few saved out of the fire...so away home... [17 April] ...to my chamber and there spent the night in reading my new book, Origines Juridicales, which pleases me" (Samuel Pepys, Diary, 15 and 17 April 1667).

The foremost early treatise devoted to the history of the legal profession (particularly to the Inns of Court) still of value, termed "a pioneering work . . and influential" by Dr. Baker and "the chief authority" by Holdsworth: Dugdale's landmark treatise provides a wealth of information about the sources of both English law and English legal institutions, including the Inns of Court for which it is a main authority. 

Lot 208

Bauer (Elvira) Trau Keinem Fuchs Auf Grüner 

Heid Und Keinem Jud Bei Seinem Eid 

Published: Nurnberg, 1936 

Estimate: $600/700 

One of the most virulently anti-Semitic children's books ever published. This is the first of three anti-Semitic children’s books published by Julius Streicher’s Stürmer Publishing House. They are among the nastier productions of the Third Reich. Around 100,000 copies were printed, and the book was used in many schools. The author, Elvira Bauer, was an 18-year-old art student. The title comes from a phrase by Martin Luther, whose anti-Jewish remarks the Nazis were happy to use. 

Written in Sutterlin the old German script developed in the 16th century. The Nizkor Project: Propaganda and Children during the Hitler Years by Mary Mills: The image of the Jew as something less than human, unnatural and immoral recurs throughout the Nazi propaganda picture storybooks for young children. Around the age of six, children were given primers, whose content focused upon camp life, marching, martial drums, boys growing up to be soldiers, etc. Even at this young age, it is obvious that as one principal of a German academic high school wrote: "Education in relation to weapons... is no special branch of general education; rather it is, in point of fact, the very core of our entire education." Along with these primers, children were given a supplement entitled Trau keinem Fuchs auf grüner Heid und keinem Jud bei seinem Eid (Don't Trust A Fox in A Green Meadow Or the Word of A Jew). 

AntiquarianAuctions.com is an online auction site dedicated to the sale of rare and out-of print books, maps & prints, documents, letters, ephemera and vintage photography. 

Dealers and collectors worldwide have been selling and bidding on the site since 2010.
Only established booksellers who are members of major national trade associations such as ABA, ABAA, PBFA or SABDA or are of good standing in the trade are permitted to sell on the site. 

Auctions are held every five weeks and run on the model of a timed auction for one week. 

All pricing is done in US$. No buyer’s premium is charged. 

Next auction: Auction #58: 25 May - 1 June 2017 

Contact:
Antiquarian Auctions: Paul Mills P.O. Box 186 7848 Constantia, Cape Town South Africa E-mail: support@antiquarianauctions.com Tel: +27 21 794 0600 

 

BK165 Ladybird Kipper Kiln copy.jpgTennants’ sale of Books, Maps, Prints and Manuscripts on the 28th April is set to include Part I of a collection comprising over 150 original illustrations made for Ladybird books by artist and illustrator John Berry (1920-2009). A window into a vanished world, these nostalgia-filled pictures present the optimistic ideals of the 1960s and 1970s.

Ladybird books entertained and educated generations of children. Established as an imprint in 1915 with an aim to provide ‘pure and healthy’ literature for children, Ladybirds’ distinctive small hardback books combined simple yet engaging information vividly brought to life with colourful illustrations. 

John Berry was one of Ladybird’s foremost and longest serving artists; he illustrated over 35 books for Ladybird between 1961 and 1978, including the popular ‘People at Work’ series and the ‘Hannibal the Hamster’ series. Berry was born and raised in west London, studying at Hammersmith College of Art. From there he won a scholarship to study at the Royal Academy, but unfortunately he was not able to take up his place due to the onset of war. Berry served as an official war artist attached to the Eighth Army in the Western Desert, and some of his pictures were exhibited during wartime at the National Gallery in London, and are now in the Imperial War Museum. After the War, Berry worked on advertising campaigns and was also a prolific portrait painter, before starting his work for Ladybird in the late 1950s. 

Berry’s illustrations were exhibited alongside the work of fellow Ladybird illustrator Martin Aitchison at the Simon Finch Gallery, London, in 2004, and the following year there was a show of Berry’s work at the NEC in Birmingham. Original Ladybird illustrations are much in demand - particularly since the relaunch of the brand as humorous ‘Ladybirds for Grown-ups’.

The illustrations will be sold in group lots comprising 2 - 5 illustrations, estimated at between £200 and £500 per lot. 

Part II of the collection will be sold in Tennants Book, Maps, Prints and Manuscripts Sale on 2nd August. A fully illustrated catalogue for the sale of Books, Maps, Prints and Manuscripts will be available on our website, www.tennants.co.uk, leading up to the sale, alternatively, please contact the saleroom for further details.

Image: ‘Kippers in Kiln’ - Gouache & Watercolour on Paper from People at Work: The Fisherman. Sold together with two other illustrations from the same book (Estimate - £250-400).

Screen Shot 2017-04-11 at 8.58.00 AM.pngAn important 11-part Panorama of San Francisco from California St. Hill taken in 1877 by the pioneering British photographer, Eadweard Muybridge, is among the highlights of Bonhams Photographs sale in New York on Tuesday April 25. It is estimated at US$40,000-60,000.

The images were taken from the central tower of the Mark Hopkins' residence, at the corner of California and Mason Streets, on Nob Hill. It took Muybridge around five hours to create the photographs, beginning in the late morning and moving the camera in a clockwise direct to keep the sun behind him. He made the final print in the mid-afternoon. The original price for the panorama was US$8 unmounted or US$10 with a bound album.

The sale also features two works by the Brazilian sculptor-turned-photographer, Vik Muniz, known for recreating famous imagery from art history and pop culture. Among other sources, he has drawn inspiration from the mosaics in the Basilica di San Vitale in Ravenna Italy as seen in Still Life with Lemons, Oranges, and a Rose, after Francisco de Zurbarán, from Pictures of Magazines. Estimated at US$18,000-25,000, the print dates from 2004, and is signed and numbered 5 from an edition of 6. Teacher (Joseph Beuys), from Pictures in Chocolate, 1999 is a tribute to the influential German performance and visual artist, Joseph Beuys. Artist's proof number one of three from an edition of three, it is signed by the artist and estimated at US$30,000-40,000. 

Robert Mapplethorpe's Self-Portrait with Horns from 1985, is one of the controversial photographer's most famous images, conveying a knowing combination of innocence and devilment. He signed and dated work is estimated at US$35,000-55,000.

Other highlights include:

Two signed images by Ansel Adams. The Grand Tetons and the Snake River, Grand Teton National Park, Wyoming, and Clearing Winter Storm, Yosemite National Park both date from the 1940s, and are estimated at US$25,000-35,000 each.

Welsh Miners by Robert Frank from 1953. Estimated at US$25,000-35,000, the print comes from a series of photographs illustrating the working day of a Welsh miner published as a photo essay in US Camera 1955. This image was not included in that publication, but another print of it appeared in Frank's retrospective exhibition at MOMA in 1962.

Kennedy Assassination, Times Square, New York City, November 22 1963 by Richard Avedon. The famous fashion photographer walked round Times Square on the day of President Kennedy's assassination capturing the somber mood of ordinary Americans stunned by the news. Printed in 2002, the image is signed, dated and numbered 2 out of 7. 

Commenting on the sale, Bonhams Director of Prints and Photographs, Judith Eurich, said: "This is a wonderfully eclectic selection of high quality work from the dawn of the photographic era to the modern day. I am particularly excited by Muybridge's Panorama of San Francisco from California St. Hill. Not only does this provide an invaluable record of the city in the mid to late 19th century, but the photographs themselves are stunning in the daring of their concept and the quality of their execution." 

PHOTOGRAPHS
Bonhams New York, 580 Madison Avenue, New York 10022
Tuesday 25 April at 13.00

Sale Previews
Saturday 22-Sunday 23 April 12.00-17.00
Monday 24 April 10.00-17.00
Tuesday 25 April 10.00-12.00
Specialist: Judith Eurich, Director, Prints and Photographs

 

102-Hammons copy.jpgNew York—The crowd was standing-room only at Swann Galleries’ spring auction of African-American Fine Art on Thursday, April 6. The sale totaled $2.5M, with five of the top lots breaking previous auction records, all of which were set by Swann since the department’s inception ten years ago. Onlookers cheered as six lots exceeded $100,000, with David Hammons’s Untitled (Double Body Print), 1976, reaching $389,000*.

Hammons was an important member of the L.A. Assemblage artists, who used found material to create sculptural collages in the wake of the Watts Riots in 1965. He was represented in the sale by two unique multimedia works: in addition to the previously mentioned double body print, his slightly later Untitled (Body Print) was purchased for $161,000. A haunting work by Timothy Washington, another member of the group, titled Raw Truth, 1970, incorporates such diverse media as a deconstructed baseball mitt and a zipper; it was purchased by a collector for $22,500, a record for the artist.

All five works by graphic abstractionist Alvin D. Loving, Jr. found homes, with nearly all selling above their estimates.  A monumental untitled diptych of two hexagonal canvases broke the artist’s previous auction record, selling to a phone bidder for $161,000. The previous record of $156,000 was set by Swann Galleries in October, 2008.

A run of works by Hughie Lee-Smith spanned the artist’s career, beginning with his 1954 Untitled (Cityscape) ($57,500). A midcareer canvas titled Couterpoise, 1988, exceeded its $25,000 high estimate to sell for $45,000, while a late surrealist painting, Silhouette, 1995, sold after breakneck bidding for $106,250.

Morning Light, 1974, a luminous yellow “poured painting” by Frank Bowling, reached $161,000, a record for the artist, above a high estimate of $90,000. A similar work by Sam Gilliam, Mess of Greens, 1968, features a beveled-edge canvas and was purchased for $37,500.

A previously unrecorded canvas by Walter Williams was also the largest work by the artist ever to come to auction. Untitled (Boy on Porch), circa 1965, is from Williams’s Southern Landscape series and nearly doubled its high estimate to sell for $93,750, a record for the artist.

The sale offered media beyond painting as well. A transfixing painted copper mask by Sargent Johnson, Untitled (Negro Mother), 1935-36, landed the artist a new record at $100,000, while Leslie Garland Bolling’s carved poplar Beautiful Womanhood reached $24,700, also a record for the artist. Several additional artists achieved new records, including William Majors, Eugene Martin and Priscilla “P’lla” Mills, whose work made its auction debut.

James VanDerZee’s magnum opus, the portfolio Eighteen Photographs, 1905-38, tied its previous auction record of $87,500, set by Swann in September 2016. Carrie Mae Weems’s striking triptych of gelatin silver prints, Chocolate Colored Man, 1989-90, was purchased by a collector for $68,750, above a high estimate of $50,000.

Nigel Freeman, founder and director of the African-American Fine Art department at Swann Galleries, said “I am thrilled with this sale’s strong results. We saw great activity with bidding often exceeding the high estimate, and several record prices. We continue to build on our strengths with both modern and post-war artists, surpassing our previous records with artworks from the 1930s through the ‘70s.” Swann Galleries is the only major auction house with a department dedicated to African-American Fine Art, and has been instrumental in building a market for oft-overlooked artists.

            The next sale of African-American Fine Art at Swann Galleries will be held in October 2017. For more information, contact Nigel Freeman at nfreeman@swanngalleries.com.

Screen Shot 2017-04-11 at 8.48.53 AM.pngIntroduced by Diarmaid MacCulloch 

More, often caricatured as an overly pious burner of heretics, is revealed in Ackroyd’s masterful biography to be both more human and more complex than such a simplistic portrait would suggest. Through close examination of More’s writings, his correspondence with confidants such as the humanist Erasmus, and a wealth of contemporary material, Ackroyd gets under the skin of a complex man. He examines More’s privileged boyhood, his intellectual prowess, his glittering law career and his rise to power within the volatile court of Henry VIII. Ackroyd also brings to this book his extensive knowledge of, and passion for, London - the medieval city is as vividly conjured as the man whose life was so closely interwoven with it. 

Ackroyd’s More is a man betrayed by the march of time. Standing for the ideals of the late medieval period, a time of spectacle, ritual and holy wonder, he is swept away by the changes wrought by a zealous king; the book’s final chapters, focusing on More’s isolation in the Tower, show a man ultimately glad to step away from a world that he no longer recognises. In his introduction, author Diarmaid MacCulloch places the events of Ackroyd’s ‘richly enjoyable book’ in the wider context of the Reformation. The endpapers of this edition feature details from one of the earliest maps of London, while the 32 pages of colour plates include many of Holbein’s remarkable portraits from the period. 

In his introduction, historian Diarmaid MacCulloch places the events of Ackroyd’s ‘richly enjoyable book’ in the wider context of the Reformation. The endpapers of this edition feature details from one of the earliest maps of London, while the 32 pages of colour plates include many of Holbein’s remarkable portraits from the period. 

Product information 

Three-quarter-bound in cloth with a Modigliani paper front board, blocked and printed with an image by Neil Packer. Set in Albertina with Aquinas display. 480 pages. Frontispiece and 32 pages of colour plates. Printed endpapers. 10" x 6

Screen Shot 2017-04-11 at 8.45.26 AM.pngTranslated by Barry Windeatt
Introduced by Graham James, Bishop of Norwich Calligraphy by Gemma Black 

Julian of Norwich continues to inspire devotion today, yet still little is known about her life. In 1373, at the age of 30, she was struck down by a terrible illness and at the point of death was seized with 16 visions, or ‘shewings’, which would become both the Short Text, written soon after her experiences, and the Long Text, where Julian offers a deeper and more reflective examination. Having possibly taken her name from the church where she was con ned as an anchoress - voluntarily sealed away in a cell attached to the church at Norwich - she spent decades in contemplation of God’s love. 

Written in a simple, expressive style, Julian’s account is both vivid and affecting. Her visions contain the Passion of Christ, the Virgin Mary and the love of God, who reveals to her the entirety of creation in a ball ‘as small as if it had been a hazelnut’. Her direct manner and questioning nature make Julian an engagingly modern voice that envisions a loving God who promises an eventual end to suffering: ‘All shall be well, and all shall be well, and all manner of things shall be well.’ 

Graham James, Bishop of Norwich, has written a thoughtful introduction that praises the accessibility of her work, observing that ‘the spirit of her writings has a lightness which has travelled well down the centuries’. This edition is artfully decorated with a series of calligraphic designs by Gemma Black, while the binding reflects the contemplative nature of Julian’s writings. 

Product information

Bound in cloth blocked with lettering by Gemma Black. Set in English Engravers. 280 pages. Printed throughout in two colours with hand-drawn decorative initials. Ribbon marker. 9" x 53⁄4". Slipcased.

UK £34.95 US $57.95 Can $72.95 Aus $72.95

8-Schongauer copy.jpgNew York— On Tuesday, May 2, Swann Galleries will offer Old Master Through Modern Prints, with a prodigious selection of works completed before the nineteenth century.  

Swann remains the premier American venue for Old Master prints, opening the morning session of the sale with a unique offering of fine works from Renaissance visionaries. The top lot of the sale is an astoundingly detailed engraving, A Censer, circa 1485, by Martin Schongauer. Scholars believe that Schongauer made this intricate work for the sole purpose of showing off his technical virtuosity. Only two other impressions have been offered at auction in the last 75 years, and many of the 28 known impressions are in institutional collections. In excellent condition with no sign of wear, the present impression is valued at $120,000 to $180,000. Schongauer is also represented in the sale by the circa 1475 engraving The Madonna and Child with Apple, expected to sell between $70,000 and $100,000.

The Visitation is a circa 1450 engraving by Master E.S., a still-unidentified artist believed to have been active in southwestern Germany. Master E.S. was likely a goldsmith, and his works on paper are some of the earliest known Western engravings. Fewer than 20 impressions of any of the mysterious master’s approximately 320 known engravings have appeared at auction in the last 30 years. The only other known impression of this work in North America is in the collection of The Metropolitan Museum of Art, New York ($70,000 to $100,000).

Iconic engravings by Albrecht Dürer are led by Knight, Death and the Devil, 1513 ($50,000 to $75,000). Other important works by the master include The Sea Monster, before 1500; The Four Horsemen, a woodcut, 1498; and Melancolia I, 1514, each valued at $40,000 to $60,000. The Ravisher, or a Young Woman Attacked by Death, circa 1495, is believed to be Dürer’s second attempt at producing an engraving for the blossoming European print market ($7,000 to $10,000).

An exceptional array of etchings by Rembrandt van Rijn features scenes both religious and vernacular. A rare early impression of Landscape with a Square Tower, 1650, leads the section with an estimate of $50,000 to $80,000. Also available is The Omval, 1645 ($40,000 to $60,000), and Abraham Casting out Hagar and Ishmael, 1637, valued at $30,000 to $50,000.

Iconic works by Canaletto, Giovanni Piranesi and Francisco José de Goya complete the selection of Old Masters. The afternoon session of the sale will pick up in the nineteenth century with works by artists from both sides of the Atlantic. Highlights include The Doorway, 1879-80, from James A.M. Whistler’s Venetian tour, which shows a woman doing laundry in a palazzo doorway onto a canal ($40,000 to $60,000).

From early twentieth-century America come works that reflect a rapidly modernizing way of life. Martin Lewis is well represented in the sale, with highlights including Winter on a White Street, 1934, and Wet Night, Route 6, 1933 ($20,000 to $30,000 and, $30,000 to $50,000, respectively). Also available are scenes by Edward Hopper, whose Evening Wind, etching, 1921 is estimated at $80,000 to $120,000, as well as works by Georges Bellows and Rockwell Kent.

The Modern section glows with works by Marcel Duchamp, René Magritte, Henri Matisse, Emil Nolde, Wassily Kandinsky and Fernand Léger. Scarce highlights include Otto Mueller’s Der Mord II (Liebespaar II), circa 1919, valued at $15,000 to $20,000. Scions Georges Braque and Pablo Picasso are also represented en masse. Picasso’s Figure composée II, 1949, is expected to sell between $30,000 and $50,000, while Braque’s Pal (Bouteille de Bass et Verre sur une Table), 1911, is valued at $15,000 to $20,000.

The auction will be held Tuesday, May 2, beginning at 10:30 a.m. The auction preview will be open to the public Thursday, April 27 and Friday, April 28, from 10 a.m. to 6 p.m.; Saturday, April 29 from noon to 5 p.m.; and Monday, May 1 from 10 a.m. to 6 p.m.

An illustrated auction catalogue is available for $40 at www.swanngalleries.com.

For further information and to make advance arrangements to bid by telephone during the auction, please contact Todd Weyman at 212-254-4710, extension 32, or via e-mail at tweyman@swanngalleries.com.

Image: Lot 8 Martin Schongauer, A Censer, engraving, circa 1485. Estimate $120,000 to $180,000.

Screen Shot 2017-04-07 at 8.51.02 AM.pngMaureen E. Mulvihill, Guest Speaker

With Exhibits & Digital Images

Selby Public Library, “Books & Coffee” series, 

Gelbart Auditorium. April 11, 2017. 10:30AM.

Sponsored by Friends of the Selby Public Library

1331 First Street, Sarasota, Florida 34236

Host: Alice Blueglass, Executive Committee, Second Vice-President

admin@selbylibraryfriends.org/www.selbylibraryfriends.org/Tel. 941.861.1140

OUR SPEAKER will discuss the value of 'old books' as surviving historical artifacts. Within broad contexts of pre-1800 book design and book arts, she will emphasize the continuing appeal of the early book to specialists (collectors, book historians) and generalists (Virginia Woolf's 'common reader'); she will also show what ‘modern’ editions of old books too often overlook. An established writer on English and Irish literary cultures, Dr Mulvihill is presently at work on Irishwomen's political writings and response, c.1603-1801. Her evolution as a rare book collector is profiled in Fine Books & Collections magazine (Autumn, 2016). For San Francisco’s Rare Book Hub, she wrote a special Guest Series (October-December, 2016), Old Books / New Editions, being essays on new editions of Anne Killigrew, Hester Pulter, and Margaret Cavendish. Our speaker is an elected member of the Princeton Research Forum, Princeton, NJ, and Vice-President (2012-2015), Florida Bibliophile Society; originally from Detroit, she is also a member of the Book Club of Detroit (flourishing these 60 years & counting). After 30 years in Brooklyn, NY, she is now a homeowner in lovely Laurel Park, Sarasota, Florida. (Training: PhD, Wisconsin, 1982. Post-doctoral: Columbia University Rare Book School; Yale Center for British Art; and, as NEH Fellow, Johns Hopkins University.

Image credit: Lori Sax, Sarasota, FL.

 

burning-books.jpgThe Office of Public Works is delighted to announce the official launch today, 5 April 2017, of ‘Burning Books’ - an exhibition detailing the reproduction of 14 volumes of the Irish Parliamentary Journals dating from the 1700’s which were destroyed during the Irish Civil War in 1922.

In the last decade of the 19th century the book collector and amateur book binder Sir Edward Sullivan was shown a collection of 149 large volumes in exquisite bindings that had been stored, unnoticed, over many years in the Public Records Office in Dublin.  They were in fact the Journals of the Houses of Lords and Commons of the old Irish Parliament, that ceased to exist after the 1800 Act of Union.

Sullivan made rubbings of all 149 volumes and photographed 20, intending to publish a large monograph on the subject.  He did not receive enough financial support for this, but did succeed in publishing a small volume, Decorative Book-Binding in Ireland, which was published in 1914 by the Sette of Odd Volumes in London.

We are very fortunate that the National Library of Ireland had Sir Edward’s rubbings, as in 1922, the Public Records Office was destroyed by an explosion and all of the magnificent 149 bindings housed there perished in the flames that engulfed the building.  In 1990 Philip Maddock, a book collector, inspired by images displayed in Maurice Craig’s work ‘Irish Book Bindings 1600-1800’ started to build up a visual database of Irish hand tools used in the book binding process with a view to making a digital reproduction of one of the lost Irish Parliamentary Journals.  This digital reproduction of Commons Journal 1757 was produced in 2006. 

Edward Bayntun-Coward, who carried out a review of this digital reproduction, introduced Maddock to Trevor Lloyd, a renowned bookbinder and restorer.  Subsequently, Lloyd made copies of books in Maddock’s collection to gain experience and knowledge as to how to reproduce accurate copies of the Irish Parliamentary Bindings.

Fourteen volumes of the 149 bindings were reproduced and are on display in Dublin Castle from April 3 to September 1, 2017. Also on display are the tools used in the process, as well as examples of 18th century Irish bindings and some of the printed editions of the Lords and Commons Journals in presentation bindings. 

It is particularly apt that this fascinating exhibition is being facilitated by the OPW at Dublin Castle where six of the volumes are - through an exceptionally generous gesture on the part of Philip Maddock and the Georgian Society - to remain indefinitely.  It is also noteworthy that the OPW was responsible for the construction of the Public Record Office behind the Four Courts, where the original Parliamentary Bindings rested for so many years.

 

image.pngBoston, MA—April 4, 2017—The Boston Athenæum announced today that its spring exhibition will be New England on Paper: Contemporary Art in the Boston Athenæum’s Prints & Photographs Collection. The exhibition, which will run from April 6 to September 3, 2017, is curated by Catharina Slautterback, Curator of Prints & Photographs at the Boston Athenæum. A public gallery opening will take place on April 5.

New England on Paper features a diverse selection of contemporary prints, drawings, and photographs by New England artists purchased by the Athenæum since the year 2000. These objects demonstrate a variety of artistic responses to the region’s urban and rural society and culture. A broad range of media will be represented in the exhibition, from linocuts, lithographs, and white-line woodcuts to hand-toned silver gelatin prints and digital photographs. Artists’ statements will accompany their own works, providing a glimpse into the artistic philosophy of some of New England’s finest artists and artisans.

Curator Catharina Slautterback views the exhibition as a continuation of a longstanding Athenæum tradition: “New England on Paper reflects the Athenæum’s practice of collecting works of art on paper that document New England and the work of regional artists.” As for her approach to collecting for the Athenæum in the 21st century, Slautterback expresses delight in discovering new regional talent. She is committed to curating a highly diverse collection of contemporary works and enthusiastic to have the opportunity: “It is wonderful to emerge from our historic 19th-century collections and work with current artists, whose integrity and dedication never fail to astound.”

Every work in the exhibition was acquired with support from the Francis Hovey Howe Print Fund, established in 2000 in honor of its namesake—a Trustee emerita (1917-2000), early childhood education specialist, and contemporary art collector—through generous gifts from Trustees and members. Established to support regional artists, the fund has facilitated the creation of a sizeable repository of works on paper by contemporary New England artists, a 21st collection that complements and relates to the Athenæum’s historic graphic materials documenting New England society and culture.

Image: Elizabeth A. Goddard, A Playful Sea II, 2006. Monotype. Purchase, Frances Hovey Howe Print Fund, 2012.

es-cover-with-strokes-144.png(Ojai, CA, April 4, 2017)—Santa Barbara certified appraiser Dr. Elizabeth Stewart has been recognized as a finalist in the 19th annual Foreword INDIES Book of the Year Awards. Her book is one of 10 finalists in the Reference category. The awards will be announced and presented in June at the American Library Association annual meeting in Chicago.

In noting the qualities for selection, the INDIES Panel noted: "Collect Value Divest: The Savvy Appraiser delivers short, concise chapters so that any collector can easily learn how to value their paintings, books, artifacts, and treasured possessions. Dr. Elizabeth Stewart condenses her thirty years as a certified appraiser into easy-to-read anecdotes that cover commonly asked questions about value. She provides tips on how to buy, sell, insure, and auction, and explains how to bequeath pieces."

As part of Foreword Review’s mission to discover, review, and share the best books from small, university, and indie publishers (and authors), independent media company Foreword Reviews hosts its annual awards program each year. Finalists represent the best books published in 2016 that were submitted to Foreword Reviews for award consideration, and were narrowed down by Foreword’s editors from over 2,200 individual titles spread across 65 categories.

“Choosing finalists for the INDIES is always the highlight of our year, but the choice was more difficult this time around due to the high quality of submissions,” said Victoria Sutherland, publisher of Foreword Reviews. “Each new book award season proves again how independent publishers are the real innovators in the industry.”

“I am honored to be selected from the broad group of books published this year,” said Stewart. “My goal with the book was to bring useful information to collectors and to people entrusted with heirlooms. Being named a finalist acknowledges this goal.”

INDIES finalists are moved on to final judging by an expert panel of librarians and booksellers curated specifically for each genre, who will determine the books that will be named Foreword INDIES Book of the Year Award winners. Winners in each genre—along with Editor’s Choice winners and Foreword’s INDIE Publisher of the Year—will be announced during the 2017 American Library Association Annual Conference in Chicago on June 24, 2017.

A complete list of finalists can be found at: https://awards.forewordreviews.com/finalists/2016/

To learn more about Elizabeth Stewart and her book or popular blog, visit: www.ElizabethAppraisals.com.

 

54844131 copy.jpgNew York—Christie’s is pleased to announce the two-day sale of Prints & Multiples taking place over two sessions on April 19-20. This sale includes nearly 200 lots spanning the 20th to 21st centuries featuring modern works by Marc Chagall, Henri Matisse, Joan Miró, and Pablo Picasso—and contemporary editions by Chuck Close, Keith Haring, David Hockney, Jasper Johns, Robert Motherwell, Bruce Nauman, and Andy Warhol, among others.

The auction is led by two complete series of ten screenprints by Andy Warhol (1928-1987), Myths, executed in 1981 (estimate: $450,000-550,000); and Cowboys and Indians, executed in 1986 (estimate: $300,000-500,000). Another highlight is Robert Rauschenberg (1925-2008), Accident, executed in 1963 (estimate: $40,000-60,000), considered to be one of the most important prints in his oeuvre. Rauschenberg pulled only a handful of impressions before the lithographic stone broke in the course of printing. Rather than start again, he welcomed the rupture, visible as a long diagonal crack that bifurcates the stone, resulting in a sweeping diagonal that tears apart a field of gestural ink strokes.

Other Post-war and Contemporary editions include a selection of prints by Bruce Nauman (B. 1941) from The Collection of Earl and Camilla McGrath, iconic editions by David Hockney (B. 1937), including three lots from his Water Made of Lines series, and an important early print by Jasper Johns (B. 1930), False Start II, executed in 1962 (estimate: $100,000-150,000).

Highlighting the Modern section are classic works by Pablo Picasso (1881-1973), led by his Nature morte au verre sous la lampe, a large-scale and highly complex linocut executed in 1962 (estimate: $200,000-300,000). Other featured works by Picasso include the early etching Le Repas Frugal, 1904 (estimate: $150,000-250,000), and his later Portrait de Jacqueline, linocut in colors, executed in 1959 (estimate: $100,000-150,000).

Prints

19-20 April 2017

20 Rockefeller Center, New York, NY, 10020

  • Auction
    19 Apr, 2pm (Lots 1 - 70)
    20 Apr, 2pm (Lots 71 - 181)
  • Viewing
    New York, Rockefeller Center
    14 Apr, 10am - 5pm
    15 Apr, 10am - 5pm
    17 Apr, 10am - 5pm
    18 Apr, 10am - 5pm

Image: PABLO PICASSO (1881-1973), Nature morte au verre sous la lampe, linocut in colors, 1962, Estimate: $200,000-300,000. 

 

April 4—The Library of Congress today opens a major exhibition to commemorate the centennial of World War I.  “Echoes of the Great War: American Experiences of World War I” tells the stories of Americans in the war, through correspondence, music, film, recorded sound, diaries, posters, photographs, scrapbooks, medals, maps and materials from the Veterans History Project.

The exhibition is located in the Southwest Gallery on the second floor of the Library’s Thomas Jefferson Building, 10 First St. S.E., Washington, D.C.  It is free and open to the public through January 2019, from 8:30 a.m. to 4:30 p.m., Monday through Saturday.  Tickets are not needed.

“Echoes of the Great War” marks the 100th anniversary of the United States’ entry into the conflict, on April 6, 1917, when Congress formally declared war on the German Empire.  The fighting ended on Nov. 11, 1918, with the armistice agreement.

Two hundred items are featured in the initial installation, but during the exhibition’s 21-month run, hundreds more will be rotated into the display.

The exhibition is organized into four sections:

“Arguing Over War” features debates about whether Americans should enter the war or remain neutral and examines early efforts at international humanitarian aid by the United States.

“Over Here” explores mobilization for war by the U.S. government and citizens, including enlistment, training, war gardens, Liberty Bond drives, censorship and the significant contributions of women, immigrants and African-Americans to the war effort.

“Over There” highlights the overseas experiences of American soldiers and medical volunteers as they experienced industrialized warfare with its new deadly technologies.

“World Overturned” touches on the war’s effects, as national borders were redrawn, returning soldiers reintegrated into America, and jazz spread across Europe. 

In addition to the exhibition, the Library of Congress has scheduled an array of programming to commemorate the centennial of World War I.  The events and initiatives include lectures, symposia, blogs, publications, digitized collections, War Gardens, veterans’ stories, educational tools, film programs and research guides.  For more information, please visit loc.gov/wwi.

The Library is uniquely prepared to tell the story of U.S. participation in World War I, because it holds the largest multi-format collection of materials on the American experience in the Great War. 

The exhibition is made possible, in part, by the Library of Congress Third Century Fund and developed with the support of the Veterans History Project at the Library of Congress. Additional support is provided from HISTORY for related educational materials.

The Library of Congress is the world’s largest library, offering access to the creative record of the United States—and extensive materials from around the world—both on site and online. It is the main research arm of the U.S. Congress and the home of the U.S. Copyright Office. Explore collections, reference services and other programs and plan a visit at loc.gov, access the official site for U.S. federal legislative information at congress.gov, and register creative works of authorship at copyright.gov.

 

GW letter.jpegDALLAS, Texas (April 4, 2017) -  An important, leopard skin saddle pad owned by George Washington highlights Heritage Auctions’ May 13 Americana and Political auction, which will include a separate catalog titled “Washington and the Founding Fathers.”

“This special auction was inspired by the great success of our September 2016 ‘Lincoln and His Times’ auction,” Americana Auctions Director Tom Slater said. “The eclectic mix of items includes important offerings from categories such as period display pieces, autographic material, paper ephemera, fine art and more. Our goal was to present an auction containing items which appeal to a diverse range of specialized collectors, as well as to those who simply love objects which evoke the earliest days of American history.”

Two of the most important items come from the collection of the Society of the Sons of the Revolution, an organization founded in the 19th century for descendants of Revolutionary War veterans.

Washington’s distinctive leopard skin saddle pad (est. $20,000) originally belonged to British General Edward Braddock. Washington scouted for the general on his ill-fated 1755 expedition against Fort Duquesne in the French and Indian War. Braddock was killed, and his famed leopard skin saddle pad, pistols and sash were given to Washington. 

Also consigned is a large silk banner supporting “Washington’s Policy” (est. $100,000) which was carried in a 1789 parade honoring the recently-installed president when he visited Boston. Washington’s inauguration heralded a period of stability and economic growth, and he enjoyed strong support from the various artisan trade guilds. Each guild had a delegation marching in the parade, and this banner led the contingent of glaziers, or window pane specialists, and plumbers. The Sons of the Revolution have been custodians of both relics since the 1920s.

Another featured item is a Nov. 22, 1803 letter, penned by Thomas Jefferson to Georgia Governor John Milledge (est. $150,000). The recent Louisiana Purchase had opened up many possibilities for developing commerce and settlement between the coastal states and the port of New Orleans. However, entrenched Native American populations posed an obstacle to this anticipated economic development. Jefferson addresses immediate steps regarding the Cherokee and Creek peoples in Georgia, but most significantly expresses the vision that these groups would eventually be relocated west of the Mississippi in the newly acquired territory. This plan ultimately would culminate in the infamous “Trail of Tears” some three decades later, when large numbers of Cherokee Indians were forced to give up long-held property and relocate to inhospitable land in Oklahoma.

No auction focusing on George Washington would be complete without examples of the popular brass clothing buttons worn to celebrate his 1789 Inauguration ($5,000). The sale includes several outstanding examples, including particularly choice buttons of classic designs and a possibly unique variant struck in silver (est. $10,000).

Important early broadsides include a 1774 Massachusetts issue (est. $10,000) all but declaring hostilities with England and a rare early report on the events at Lexington and Concord.

Significant autographic offerings include an appointment document signed by Washington and by Jefferson as Secretary of State, an extremely rare document by one of the scarcest signers of the Declaration of Independence George Taylor (est. $36,000), and a 1776 document signed by Continental Congress President John Hancock appointing Bunker Hill hero Benjamin Haskell as an officer in the Continental Army (est. $6,000).

Three-dimensional display items include such varied objects as fine selection of pottery pieces honoring Washington, John Adams, Thomas Jefferson and James Monroe (est. $2,000); a fine circa 1790 bronze bust of Washington; a pair of hand-painted Paris porcelain vases depicting George and Martha Washington; a tablespoon bearing the mark of Revolutionary War hero and master silversmith Paul Revere (est. $12,000); and an 1805-dated oil portrait by William Dunlap of John Adams.

Among the most unique items in the auction is a circa 1800 pendant containing intertwined hair locks from George and Martha Washington (est. $40,000), with provenance back to the wife of Washington’s private secretary, Tobias Lear.

The entire Americana & Political Auction will be available for viewing and bidding online around April 25 at HA.com, under the heading of the Political and Americana Auction #6172. Questions may be addressed to Tom Slater at TomS@HA.com or 214-409-1441.

Oxford Book Fair Set for April 22-23

The annual PBFA Oxford Book Fair is one of the largest events in the British antiquarian, rare and second-hand book, map, print and ephemera calendar. 

In 2017 around 100 dealers will offer tens of thousands of rare and collectable items, ranging in price from £2 to £35,000+. 

In the same venue as last year, the Oxford Brookes Wheatley Campus offers good national transport links via rail and road, with ample free on-site parking. 

In the past, the Oxford Book Fair has attracted the attention of national media with notable highlights, such as an archive of the First World War aviator who coined the term ‘joystick’ and some of the earliest photographic images of the Thames. 

Venue: Oxford Brookes Wheatley Campus, Wheatley, Oxford OX33 1HX, Admission: £2 or free via the website
Opening hours: Sat 22nd April Noon-6pm, Sun 23rd April 10am-4pm 

For more information please contact Tom Lintern-Mole on 07921 151496 or tom@lintern-mole.com 

HIGHLIGHT TO BE EXHIBITED AT THE FAIR 

Screen Shot 2017-04-04 at 8.34.41 AM.pngThe first edition of Howard Carter’s definitive work on the discovery of Tutenkhamen’s tomb, inscribed by the American photographer and subject of recent BBC4 Documentary Harry Burdon, offered at the 2017 Oxford Book Fair by Michael S. Kemp. 

CARTER, Howard and MACE, A.C. The Tomb of Tut-Ankh-Amen discovered by the late Earl of Carnarvon and Howard Carter. INSCRIBED BY THE PHOTOGRAPHER. Cassell, 1923 - 33. 3 Volumes. 1st. Editions. Large 8vo. pp. xvi, 231: xxxiv, 269: xvi, 247: photographic plates. Original pictorial cloth, Fine. First volume inscribed "with the compliments of Mr. Harry Burton." £5000 

Having resigned as first chief inspector of antiquities in 1905 Howard Carter was unable to return to Egypt until early 1909 when he began his association with George Herbert, fifth earl of Carnarvon. For the next five years they excavated in the Theban necropolis making important, if unspectacular, discoveries. In 1915 Carnarvon was encouraged by Carter to apply for the concession for the Valley of the Kings, one that had been surrendered by Davis and thought by Maspero to be unpromising. Carter thought otherwise. 

It was not, however, until 1917, after a spell as a civilian employed by the intelligence department of the War Office in Cairo, that Carter was able to conduct annual campaigns in the Valley of the Kings. Few positive results were achieved and in the summer of 1922 Carter had to use all his powers of persuasion to be allowed to conduct one final campaign in the valley. On 4 November 1922, starting work at first light, Howard Carter opened the stairway that led to the tomb of Tutankhamun. His excitement was reflected in the now famous telegram to Carnarvon. "At last have made wonderful discovery in Valley. A magnificent tomb with seals intact." Carnarvon hurried to Luxor and the tomb was entered on 26 November. 

The discovery astounded the world: a royal tomb, full of spectacular objects. On 16 February 1923 the burial chamber was opened to reveal the unplundered body and funerary equipment of the dead king. Despite "handling the technical processes of clearance, conservation, and recording with exemplary skill and care" and presiding over a discovery which reverberated across the world, Carter received no formal honours from his own country. 

One of the first people Carter contacted after entering the tomb was Harry Burton, an accomplished art photographer who had gained valuable experience working on the Metropolitan Museum's excavations in Thebes. It proved to be an inspired choice. For not only was Burton able to create a series of remarkable images with what would now be considered as primitive equipment, these images, some 1400 in number, illuminate the excavations and excite the imagination in a way which transcends the text. Burton's photos are more than just a record of the excavation of the tomb. His attention to lighting, texture and composition make them works of art in their own right, capturing as they do the excitement of the greatest archaeological discovery of the twentieth century. 

Although we have handled several copies of this work which have been inscribed by Carter, we have been unable to locate a copy bearing Burton's name. 

 

341-Cortes copy.jpgNew York— On Thursday, April 27, Swann Galleries will offer Printed & Manuscript Americana, offering historical material from North and South America from the past five centuries.

The top lot is a rare 1538 letter by the conquistador Hernán Cortés to the Majordomo Diego de Guinea, instructing him to provide hospitality to a visiting bishop, valued at $50,000 to $75,000. Only one other letter by Cortés has appeared at auction since 1984.

The sale features a fantastic array of early Latin Americana, including the first edition of the lavishly illustrated early nineteenth-century Brazilian travel book Malerische Reise in Brasilien by Johann Moritz Rugendas, and a signed manuscript profession of faith by Jesuit missionary Eusebio Kino in 1684 ($15,000 to $25,000 and $20,000 to $30,000, respectively). One of the first Mexican novels, La Portentosa Vida de la Muerte, 1792, by Joaquín Bolaños, contains the earliest known use of skeletons in Mexican literature—these engravings would prove fundamental to Mexican Día de los Muertos iconography. It is valued at $1,500 to $2,500.

A hallmark of these biannual sales at Swann is outstanding material related to early New York history. Featured in this sale is the 1848-49 diary of Edith H. Brevoort, a wealthy Manhattan orphan who describes, among other things, visiting the wilderness of Northern Manhattan (currently around 70th Street) in vibrant detail ($1,000 to $1,500). Also available is an unrecorded election circular for the New York Constitutional Convention that reads “We hourly expect a British army in this colony to enslave us.” The printed handbill, with contemporary manuscript notes, is dated June 15, 1776, and is expected to sell between $15,000 and $25,000.

Further Revolutionary highlights include an engraving of the Declaration of Independence by William J. Stone, circa 1833, valued between $12,000 and $18,000, and the first report in The London Chronicle of the Boston Tea Party, 1774, estimated at $1,500 to $2,500.

A special offering is the second Latin edition of Theodore de Bry’s Admiranda Narratio Fida Tamen, the first volume of his famous Great Voyages, circa 1608. The text includes a translation of a promotional text published to lure settlers to the Colony of Roanoke, before their disappearance was discovered, as well as important early maps of the colony and surrounding areas ($25,000 to $35,000).

Rarities include the complete run of the Cherokee Messenger, Oklahoma's first periodical, from 1845-46, which includes important Cherokee translations of the Bible. Only one other complete set has appeared at auction since 1913 ($5,000 to $7,500). For the first time in nearly 30 years, the complete set of hand-colored engravings by Amos Doolittle depicting the parable of The Prodigal Son, 1814, will be offered at auction, expected to sell for $4,000 to $6,000.

Also available is the 1851-56 diary of Edward W. Syle, an American missionary in Shanghai, who upon his return to the States was asked to work in San Francisco’s burgeoning Chinatown. Syle discusses Chinese culture and dress on both continents, and offers observations of Chinese settlements outside of San Francisco. This rare contemporary ethnographical log is valued at $3,000 to $4,000.

The sale will feature a premier selection of nineteenth-century Hawaiian publications, including the first directory of Honolulu, 1853, and the first complete set of the newsletter for the Hawaiian Mission Children’s Society, The Maile Quarterly, 1865-68, to come to auction in more than a century ($7,000 to $10,000 and $1,500 to $2,500, respectively).

Americana auctions at Swann Galleries often include a robust selection of material relating to the formation of the Mormon faith. In the April sale, these will be led by a first edition of the Book of Mormon, 1830 ($40,000 to $60,000). A selection of legal documents signed by Joseph Smith sheds light on the LDS Church founder’s more earthly activities.

Swann Galleries is the world’s largest auctioneer of Works on Paper, and has been dealing in Americana since its inception. This year, the house celebrated the diamond anniversary of its first sale, an auction of books and literary properties, held March 27, 1942.

The auction will be held Thursday, April 27, beginning at 1:30 p.m. The auction preview will be open to the public Saturday, April 22 from noon to 5 p.m.; Monday, April 24 through Wednesday, April 26 from noon to 5 p.m.; and Thursday, April 27 from 10 a.m. to noon.

An illustrated auction catalogue will be available for $35 at www.swanngalleries.com.

For further information and to make advance arrangements to bid by telephone during the auction, please contact Rick Stattler at 212-254-4710, extension 27, or via e-mail at rstattler@swanngalleries.com.

Image: Lot 341 Hernán Cortés, letter signed, to his property manager, ordering hospitality for a visiting bishop, December 1538. Estimate $50,000 to $75,000.

3_spiegel2.pngNew York - Christie’s is honored to have been entrusted with Visionaries: Works from the Emily and Jerry Spiegel Collection. The Spiegels were internationally recognized as vanguard collectors of Post-War and Contemporary Art, who devoted the last thirty years of their lives to the patronage of and philanthropy to the arts. The Spiegels’ legendary collection of painting, sculpture, and photography comprises over 100 works, and will represent the first 26 lots of the Post-War and Contemporary Evening Sale in New York on May 17. Additional works will be included throughout the Day sales and in a dedicated auction of photography, which will take place in New York this October. Together, the collection is expected to realize in excess of $100 million. Highlights will be on view at Christie’s London April 6-11.

Alex Rotter, Chairman, Post-War and Contemporary Art, remarked “The Collection of Emily and Jerry Spiegel is one of the great examples of visionary collecting in Post-War America. The Spiegels bought Wool, Sherman, Koons, Polke and Kiefer when very few collectors had the guts to do so, and acquired works that were considered incredibly radical and fierce at the time. As a testament to their foresight, these works are just as poignant today - only now they are among the most sought after examples of contemporary art in private hands. However, the Spiegels didn’t restrict their collecting to new artists. They successfully combined threads of Pop, Minimalism and photography with cutting edge contemporary to form a collection that conveyed a deep representation of post-war art.”

From humble origins working on his uncle’s Long Island farm, Jerry Spiegel rose to become one of Long Island’s most enterprising real estate developers. Sharing Mr. Spiegel’s passion for visionary thinking was his beloved wife, Emily—a singular spirit renowned for her vivacity, intelligence, and dedication to art.

Emily and Jerry Spiegel’s daughter, Pamela Sanders, a noted collector in her own right, remarked: “My mother’s art journey was extraordinary and became legendary; her deep passion for the works she collected and the artists she befriended culminated in a highly cohesive collection of American and European fine art. Paintings and photography found a home on her walls, and together they tell a story that transcends a moment in time. Her legacy was one of connoisseurship, purity and refinement. The joy my mother experienced in the art world everyday of her life, and her curiosity about culture, prevailed until her last days and that is how I will always remember her.”

When the Spiegels began collecting in the 1980’s, they did so with a vengeance. They lived and breathed the art that they saw and studied, and befriended many of the artists that they collected.  In addition to being early proponents of artists such as Polke, Richter, Wool and Kiefer, the Spiegels championed an ambitiously diverse group of artists ranging from Jeff Koons and Andy Warhol to Francis Picabia, and from Man Ray to Cindy Sherman. The Spiegel Collection reflects an extraordinary commitment to the seminal gestures by the artist’s they collected.

As early proponents of artists such as Kiefer, Polke, Richter and Wool, the Spiegels were able to amass an extraordinary grouping of Post-War and Contemporary painting, sculpture, and photography. Anselm Kiefer’s Malen = Verbrennan, 1974 was their first major purchase.

In addition to their Modern and Contemporary holdings, the collectors built an important collection of Photographs with prime examples by Edward Steichen, Man Ray, Paul Outerbridge, and Paul Strand and Diane Arbus.

Emily and Jerry Spiegel sought to share their deep love for art and culture with the community, and became tireless backers of museums and cultural institutions in New York, Long Island, and beyond. They were particularly ardent supporters of the Museum of Modern Art, where Mrs. Spiegel served as a trustee and member of the Painting and Sculpture Committee. In 2001, the collectors gifted Warhol’s Silver Double Elvis (1963) in honor of friend Kirk Varnedoe. Through the years, the Spiegels and their eponymous foundation underwrote a wide range of exhibitions for the museum, and donated a number of important works that now factor prominently into MoMA’s permanent collection.

Today, Pamela Sanders perpetuates the Sanders’ legacy in the arts. In 2010 she oversaw the donation of Emily and Jerry Spiegel’s sizable library of fine art books, several of which were given directly to the Spiegels by artists, to the Institute of Fine Arts at New York University. “My parents’ vision, aesthetic focus, and generosity to artists and institutions alike,” Sanders said, “have served as powerful examples of both the importance of expertise and the need for collectors to give back to the art world.

The Collection of Emily and Jerry Spiegel is the inspiring creation of two remarkably visionary collectors—a joyful collaboration in art and spirit.

The sale is led by a landmark painting by Christopher Wool. Painted in 1988, Wool’s Untitled is a brilliant, early iteration of the critically-acclaimed word-based paintings that remain the most gripping, highly-coveted objects of the artist’s career. The insistent refrain “PLEASE PLEASE PLEASE PLEASE PLEASE PLEASE” personifies the explosive utterings of the soulful James Brown song of the same name. The word “PLEASE” remains one of Wool’s most enigmatic personal phrases. It appears in an early paper version in 1987, and again two years later, in a nearly identical painting of 1989 with matching dimensions (owned by The Broad, Los Angeles).

In 1989, the curators of the Whitney Biennial selected two of Wool’s paintings to represent him. They chose the present work and Apocalypse Now. Both paintings were installed in the Whitney’s Madison Avenue location with another up-and-coming art wunderkind—Jeff Koons—whose Pink Panther was placed directly opposite the present work. At the time, New York Times critic Roberta Smith singled out Wool’s word paintings and illustrated his work in her review, writing: “Christopher Wool’s punchy word-images...have a refreshing visual toughness” (R. Smith, “Review/Art: More Women and Unknowns in the Whitney Biennial,” The New York Times, 28 April 1989, p. C32).

Also highlighting the selection is Sigmar Polke’s Frau mit Butterbrot, 1964. An early iconic masterpiece, the present canvas dates from the year of Polke’s first Rasterbilder, the ubiquitous raster-dot paintings that mimicked the halftone printing process of newspapers and magazines. Frau mit Butterbrot is a rare, formative work that demonstrates the scathing critique of mass media culture that Polke and his fellow “Capitalist Realist” painters, Gerhard Richter, Manfred Kuttnerand Konrad Lueg proposed in their radical exhibits of the early 60s. Its biting critique of bourgeois norms and the meticulous, time-consuming nature of its large-scale execution make Frau mit Butterbrot one of the most significant paintings of Polke’s early career. Both charming vixen and proper hausfrau, Polke’s cunning, perfectly-coiffed subject is the wholesome German counterpart to Lichtenstein’s comic-book heroines and Warhol’s starlets. Created at a critical, early juncture, Frau mit Butterbrot slyly demonstrates the significant themes that would sustain the artist for the duration of his prolific career.

Francis Picabia’s Adam et Ève, 1941, highlights the Modern works acquired by the Spiegels, and was recently featured in the Museum of Modern Art’s 2016-2017 retrospective of the artist’s expansive career. This striking canvas belongs to a series of paintings that the artist began in the early 1930s. The appropriation of mass media had been a central part of the artist’s oeuvre since World War I. Long before Rauschenberg, Warhol, Lichtenstein and Koons embraced appropriation, Francis Picabia wryly played with the concepts of artistic authorship and individual skill that were to become among the central doctrines of modern painting. His defiantly anti-modernist style demonstrates his lifelong and unremitting predilection for overturning conventions of the avant-garde and pursuing new and radical approaches to art and art making, which paved the way for future generations of artists.  

Image: SIGMAR POLKE, Frau mit Butterbrot, Dispersion on canvas, 1964

ITHACA, NY—National Book Auctions, located in Ithaca, NY, announces the launch of their next auction catalog.  

This catalog features rare, antique and decorative books as well as select additions of ephemera. A quantity of author-signed books from a large private collection will be offered as well as a substantial array of Easton Press fancy leather bindings.          

Antique and rare books in this catalog include numerous titles. Among the earliest examples are the 1567 printing of Paradin and Simeon's "Symbola Heroica M Claudii Paradini," David and Galle's "Christelijcken Waerseggher," produced in 1603, and the 1618 printing of David and Galle's "Pancarpium Marianum Septemplici Titulorum Serie Distinctum," published with full-page engraved plates. Additional rare pieces include a Macklin Bible published in 1800 in seven folio volumes with engraved plates, the 1864 first edition of Kirmani and Miles' "History of the Reign of Tipu Saltan," the 1818 first American edition of Johnson's "Dictionary of the English Language," published in two volumes, and many other desirable titles.                     

Several pleasing collections will also be showcased. Highlighted is a substantial collection of Easton Press volumes, sumptuously bound in the signature full-leather Easton style. Among these are numerous groupings of titles from their "Library of the Presidents" series. We will also present the first offerings from a sizable estate library of author-signed books. Highlights from this grouping include names such as Stephen King, Ken Follett, Bill Mauldin, Mario Puzo, Bernard Cornwell, Seamus Heaney, and many others. Additional modern firsts and limited editions include examples such as a first American edition of Nabokov's "Lolita" in the original jacket. Other vintage and antique tomes also include subject areas such as travel & exploration, the American West, Native American Indians, decorative antique, multi-volume sets, theology, and more.    

Found throughout this catalog are interesting ephemera offerings. These lots include antique photographs (tintypes, etc.), rare prints of photogravure works by Yousuf Karsh, maps, antique magazines, postcards, and other items.   

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

 

 

The Smithsonian’s National Museum of African American History and Culture and the Library of Congress today announced the joint acquisition of an album of 44 rare photographs, including a previously unrecorded portrait of abolitionist and Underground Railroad conductor Harriet Tubman and the only known photograph of John Willis Menard, the first African American man elected to the U.S. Congress.

The collaboration ensures these pieces of American history will be accessible to the public in perpetuity.

“It is a distinct honor to have these photographs that tell an important part of America’s history,” said Lonnie Bunch, founding director of the National Museum of African American History and Culture. “We are pleased and humbled to work with the Library of Congress to ensure that this rare and significant collection will be preserved and made accessible to the American public.”

“To have a new glimpse of such key figures in American history is rare indeed,” said Librarian of Congress Carla Hayden. “Through this extraordinary collaboration, these images will be forever part of our shared heritage and will be a source of inspiration for many generations to come.”

The images are part of the photo album of Emily Howland (1827-1929), a Quaker school teacher who taught at Camp Todd, the Freedman’s School in Arlington, Va. The album contains 44 images taken circa 1860s, including the Tubman and Menard images, as well as a print of a more commonly known Tubman portrait taken later in life, and images of Charles Sumner, Lydia Maria Child, Samuel Ely, William Ellery Channing, Colonel C.W. Folsom and Charles Dickens.

About the National Museum of African American History and Culture

The National Museum of African American History and Culture opened Sept. 24 on the National Mall in Washington, D.C. Occupying a prominent location next to the Washington Monument, the nearly 400,000-square-foot museum is the nation’s largest and most comprehensive cultural destination devoted exclusively to exploring, documenting and showcasing the African American story and its impact on American and world history. For more information about the museum, visit nmaahc.si.edu or call Smithsonian information at (202) 633-1000.

About the Library of Congress

The Library of Congress is the world’s largest library, offering access to the creative record of the United States—and extensive materials from around the world—both on site and online. It is the main research arm of the U.S. Congress and the home of the U.S. Copyright Office.  Explore collections, reference services and other programs and plan a visit at loc.gov, access the official site for U.S. federal legislative information at congress.gov and register creative works of authorship at copyright.gov.

 

75-CDV-album-Harriet-Tubman copy.jpgNew York—On Thursday, March 30, Swann Galleries’ annual auction of Printed & Manuscript African Americana exceeded $1M for the first time in the department’s 20+ year history. The success was largely due to interest surrounding a carte-de-visite album from the 1860s that contained a previously unknown photograph of Harriet Tubman.

The album topped the sale, selling for $161,000, above a pre-sale high estimate of $30,000. Specialist Wyatt Houston Day discovered the photograph of Tubman in the album, compiled by Quaker abolitionist Emily Howland in the 1860s. The album contains 48 photographs, including 44 cartes-de-visite of noted abolitionists, politicians and friends of Howland.

The sale also featured “the strongest selection of Civil Rights material we’ve ever offered,” according to Mr. Day. An archive of documents relating to the formation of the Montgomery Improvement Association, including checks endorsed by Dr. Martin Luther King Jr., realized $18,750.

Half of the top lots were institutional purchases, including a working draft for Dr. Martin Luther King’s famous Letter from Birmingham Jail, 1963 ($40,000) and a West African cast bronze Kuduo ritual burial jar, circa eighteenth- to nineteenth century ($10,624).

The sale broke several long-standing records, including $7,800 for an inscribed first edition of Zora Neale Hurston’s Their Eyes Were Watching God, 1937, which since 1992 had stood at $1,000. Material relating to Frederick Douglass saw new records, including an 1880 Autograph Letter Signed to George Alfred Townsend, in which Douglass writes, “You are wrong in saying I bought my liberty, a few friends in England bought me and made me a present of myself,” which reached $100,000, more than doubling the previous record for a letter by the famed abolitionist. An inscribed first edition of The Narrative of the Life of Frederick Douglass, 1845, exceeded all expectations by selling for $37,500, above a high estimate of $4,000.

Another record price went to Benjamin Banneker's Almanac for 1795 at $55,000, the second highest price ever paid for an American almanac at auction.

Swann Galleries is the oldest continually operating specialist auction house in New York, and the world’s largest auctioneer of Works on Paper. This month, the house celebrated the diamond anniversary of its first sale, an auction of books and literary properties, held March 27, 1942. The Printed & Manuscript African Americana department at Swann Galleries, the only one of its kind, has been holding sales since 1996.

The next sale of Printed & Manuscript African Americana at Swann Galleries will be held in Spring 2018. For more information, or to consign works to future auctions, contact Swann Book Department Administrator David Rivera at drivera@swanngalleries.com or (212) 254-4710 ext. 13.

Image: Lot 75 Carte-de-visite album of 48 photographs, including two photos of Harriet Tubman, one previously unrecorded, circa 1860s. Sold March 30, 2017 for $161,000. (Pre-sale estimate: $20,000 to $30,000.)

 

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