Mitchell-LeRouge 1756 copy.jpgGlen Allen, Virginia—May 24, 2017—Over 400 lots focused on the history, discovery, and evolution of the United States will be offered by Old World Auctions in a special single-owner sale, "Evolution of a Nation: The David J. Morgan Collection." The auction runs from June 7-14, 2017 and includes important works by Humboldt, Pike, Carey, Melish, Filson, Mackenzie, Darby, and Hennepin, as well as dozens of items that rarely come up for sale. 

A highlight of the sale is the 1756 Le Rouge French second edition of John Mitchell's monumental wall map of North America, focused on what would become the United States in two decades. Often described as "the most important map in American history," the map was used for boundary determinations at the Treaty of Paris in 1783, as well as other significant boundary disputes. Other notable items include Juan Corradi's 1802 rare map of the Southwest and its companion Gulf Coast map, the 1793 Filson/Stockdale embryonic map of Kentucky, the 1817 issue of Lewis & Clark's landmark map of the West, the complete first edition of David Burr's A New Universal Atlas, and Jean Frederic Bernard's 1720 volume with important accounts by Tonti and Hennepin.

David J. Morgan, a well-known collector of cartography, has curated his collection of the political evolution of the United States for nearly 50 years. A geologist by trade, Dave's interest in maps ignited as a result of his work with the Attorney General's office of Louisiana to prepare its case against the federal government in the tidelands controversy. Over the years he has created a comprehensive collection of the progression of knowledge of the United States. Barry Ruderman, of Barry Lawrence Ruderman Antique Maps, commented, "Dave is one of the most astute collectors with whom I've worked. I've been most impressed with his ability to appreciate and integrate into his collection unusual material. His depth of knowledge and appreciation for integrating standard material with rarities, and for identifying maps that were often under-appreciated in the market, made his collection special." 

This extraordinary collection of American material will include historical books, maps, and other cartographic items. The auction catalog will be available online on June 7, 2017 and interested bidders can register for the sale at

Image: Mitchell/Le Rouge, Amerique Septentrionale avec les Routes, Distances en Miles, Limites et Etablissements Francois et Anglois..., 1756.

Screen Shot 2017-05-25 at 10.24.21 AM.pngNew York—Christie’s is pleased to present The Ornithological Library of Gerald Dorros, MD, a superb selection of important works from the heyday of beautifully illustrated natural history books, taking place on Thursday, June 15 at 11:30am, Christie’s Rockefeller Plaza. The Gerald Dorros Collection encompasses the iconic volumes created in the late eighteenth and the nineteenth centuries, which transformed the world’s understanding of nature through the diligent research and artistry found in these tomes. This choice collection highlights works by the masters of ornithological art — John James Audubon, John Gould, and Saverio Manetti — and includes several fine presentation copies.

Featured in the sale are fine examples of first edition ornithological studies from masters of the field, including John Gould’s The Birds of Australia, London, [1840]-1869, Gould’s major ornithological achievement (estimate: $250,000-350,000); Saverio Manetti’s Storia degli Uccelli, Florence, 1767-1776, one of the greatest 18th century bird books (estimate: $150,000-250,000); and Daniel Giraud Elliot’s A Monograph of the Phasianidae or Family of the Pheasants, New York, 1870-1872 (estimate: $60,000-80,000).

Complementing the comprehensive ornithological library are a few of the great works on mammals by these masters, including a first edition in exquisite condition of John James Audubon’s The Viviparous Quadrupeds of North America, New York, 1845-54, featuring 150 broadsheets of hand-colored lithographic plates (estimate: $250,000-350,000); and Elliott’s Cats and Gould’s Mammals of Australia, illustrating the full power of natural history art, from the skies to the sylvan expanses across the globe.

On June 15, 2017, the Books & Manuscripts department will also be auctioning The Metropolitan Opera Guild Collection at 10am and the various owner sale of Fine Printed Books & Manuscripts Including Americana and the Eric C. Caren Collection at 2pm, at Christie’s New York.

Image: John James Audubon (1785-1851) and Rev. John BACHMAN (1790-1874).The Viviparous Quadrupeds of North America. New York, 1845-54. Estimate: $250,000-350,000


crossing_the_delaware_and_the_battle_of_trenton_great_news_from_new-yo_d6082779g.jpgNew York—Christie’s announces the sale of the Eric C. Caren Collection: How History Unfolds on Paper at 2pm on Thursday, 15 June 2017 as a single-owner selection beginning the Books & Manuscripts auction, at Rockefeller Plaza. The 109 lots of the Caren Collection comprise broadsides, manuscripts, newspapers and pamphlets from the 16th-20th centuries and are expected to realize in excess of $1,000,000.

Eric Caren is a well-known figure at the vanguard of collecting historical paper. He started at age 11, carrying home armfuls of old newspapers from a local abandoned house. Decades later he sold his first collection of rare newspapers to form the nucleus of The Newseum on Pennsylvania Avenue. Caren is the author of 12 books on media history, including co-author of The Civil War (Smithsonian Headliner Series, 2004). He has handled literally millions of examples of “how history unfolds on paper” and considers the examples being sold on June 15 some of the best of the best of what he has collected over many decades.

The Caren Collection is remarkable for the high degree of rarity from item to item. Like the broadside pictured above, many lots are either the only examples known, unique manuscript items, or the only examples known to have appeared at public sale. These leaflets, handbills and personal letters were made to convey the news of the moment; that they survive for posterity at all is extraordinary.

Christina Geiger, Senior Specialist in Books and Manuscripts, states, “To hold them in your hands gives a true thrill. One feels a visceral connection to the important news stories of the past and to the men and women who lived through them.”

Further highlights include: a manuscript deposition which led to the execution of a Salem witch, 1692 (estimate $50,000-80,000); a letter written from Little Big Horn by a participant describing how he discovered Custer’s body and blaming the massacre on Custer (estimate $40,000-60,000); a front-page newspaper printing of Thomas Paine’s “These are the Times that Try Men’s Souls” American Crisis #1 (estimate $25,000-35,000); the earliest newspaper announcing the surrender of Cornwallis and end of the Revolutionary War under a huge banner headline “Laus Deo!” (estimate $15,000-25,000); and the breakthrough 1974 article with the invention of the internet, signed and inscribed by both inventors (estimate $12,000-18,000).

Image: The only known copy of this “Great News” broadside announcing Washington’s Crossing of the Delaware and signal victory at Trenton. Salem, MA: E. Russell, January 7, 1777. Estimate: $40,000-60,000


Hess Nobel medal.jpgThe Nobel Prize Medal for Physics awarded in 1936 to the Austrian scientist who discovered cosmic radiation, Victor Hess, will be offered at Bonhams’ Fine Books and Manuscripts sale in New York on Wednesday June 7th. The medal, accompanied by its elaborate award document in its blue leather portfolio, is estimated at $300,000 to $500,000.

Before Hess’s ground-breaking discovery, scientists had assumed that radiation was emanating from the earth. A series of hot air balloon flights made between 1911 and 1913, in which Hess ascended into the atmosphere and measured the ionization, enabled him to prove the opposite. He demonstrated that the effect was stronger at higher altitudes than at ground level, indicating that the radiation being measured was not coming from naturally occurring radioactive elements on earth. Further experiments conducted during a solar eclipse, in which his measurements did not vary, ruled out the sun as a source of the phenomenon, and confirmed that these “rays” were coming from the vast expanse of space. This radiation would later come to be referred to as “cosmic rays,” and Hess’s discovery would open the door to vistas of space that are still being explored today, as scientists probe the outer reaches of the known universe.

In 1938, Hess fled Austria with his Jewish wife after the Anschluss with Nazi Germany incorporated the country into the Third Reich. He settled in the United States where he joined the faculty of Fordham University in New York, and enjoyed an illustrious career as a professor of Physics. 

Bonhams specialist Darren Sutherland said, “The solid gold Nobel medal and decorative document belonging to Victor Hess represent a high point in a long and distinguished career. They serve as a symbol of the selfless pursuit of knowledge by a devoted scientist whose discovery opened the door to the exploration of the outer universe.”

9279cb7f-11ca-415e-a66c-c2cab69036e6.pngLOS ANGELES—On June 9th in Los Angeles, Profiles in History will auction off 50 rare Disney theme park cast member attraction costumes. It is the largest collection to ever be offered at auction. Highlights include, a five piece Haunted Mansion gothic style costume and a four piece, Haunted Mansion, gothic style maid costume, each is estimated to sell for $900 - $1,500. Costumes from almost every Disney attraction are included like, Pirates of the Caribbean, Hall of Presidents, Tomorrowland, Animal Kingdom and they are each estimated to sell in the range of $100-$800.

Next up is Walt Disney's original hand-annotated working script for Cinderella. It is a 147 page draft from 5 years before the animated film was released. A total of 20 pages contain Walt Disney's handwritten notes. It is estimated to sell for $40,000-$60,000.

Also going up for auction is a Beauty and the Beast Main Street animated window display purchased at the Disneyana Convention at Walt Disney World in 2000. This is the actual window display with moving parts that all still work. It contains an iconic scene from the film. Only a handful of these animated window displays have ever been offered for sale by Disney. It is estimated to sell for $10,000-$20,000.

Finally, 120 gorgeously detailed Pinocchio paintings created by the top Disney animators stationed in England. The paintings were produced for the De Beukelaer Company, located in Belgium. When people bought a tin of cookies, they would receive collectible Pinocchio stickers. The goal was to collect all 120. These were the paintings for the stickers and included with the art are all 120 stickers. The lot is estimated to sell for $60,000-$80,000. 

Other treasures include a handmade stove, made by Walt Disney! In the late 1940's Disney built a small-scale railroad, the "Carolwood Pacific," in the backyard of his home on Carolwood Drive. He crafted a miniature pot-bellied stove for the caboose as a training project to acquaint himself with the tooling equipment. He enjoyed crafting the stove so much, he made several more. It is estimated to sell for $2,500-$3,500.

Image: Walt Disney's original hand-annotated working script for Cinderella.


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


DALLAS, Texas (May 23, 2017) - Robert Crumb’s 1969 Fritz The Cat Cover Art set a world record May 18 for the most valuable piece of American comic art when it crossed the block for $717,000 in Heritage Auctions’ Comics & Comic Art Auction in New York. The headlining lot in the firm’s inaugural Platinum Night session, the classic Underground Comix art was also the most valuable lot in the $8.3 million auction May 18-20.

“Artworks from Underground Comix - especially from masters such as Robert Crumb - are becoming recognized in the fine art world as cultural cornerstones,” said Barry Sandoval, Director of Comic Operations at Heritage Auctions. “Three of the top four lots in the auction were by Crumb.”

Original Comic Art Scores Big

Crumb’s original art for a complete, four-page story from The People’s Comics (Golden Gate Publishing, 1972) and his ironic “Keep On Truckin’” sequel page from 1972 realized $191,200 each. These two pieces are now tied for the second highest price ever realized at auction for Robert Crumb artwork.

Frank Frazetta’s In Pharaoh’s Tomb Battlestar Galactica Painting Original Art from 1978 also ended at $191,200. Steve Ditko’s original art for Page 17 from Amazing Spider-Man #23, featuring an epic battle scene between Spidey and the Green Goblin, brought $104,562.

Original cover art by Jack “King” Kirby and Vince Colletta for Thor #136, which has resided in a private collection for the past 25 years, more than doubled its $40,000 estimate to end at $101,575.

A Platinum Age gem, the original Sunday Comic Strip Art from Winsor McCay’s Little Nemo in Slumberland, dated 1908 - one of just five full Nemo Sunday strips ever offered at Heritage - sold for $89,625.

Joshua Middleton’s NYX #3 Cover and Concept Art, featuring the first appearance of X-23 (Marvel, 2004) realized $71,700 - setting a record for a piece of 21st century comic art since none has sold for more.

Additional comic art highlights include:

Neal Adam’s Original Cover Art for Batman #222 featuring a riff on The Beatles (DC, 1970): $77,675

Dave Gibbons’ Watchmen #2 Cover Original Art (DC, 1986): $65,725

Dave Gibbons’ and John Higgins’ Watchmen Les Gardiens (French Edition) #1 Cover Painting Comedian Original Art (DC/Zenda, 1987): $65,725

Record-setting Comic Books

Suspense Comics #3 Mile High Pedigree (Continental Magazines, 1944), a Golden Age treasure with a NM- 9.2 grade from CBCS, was sold for $262,900 - setting a world record for the issue. This pulp-style comic book won top lot among the auction’s comic books. This issue triumphs over the Pennsylvania Pedigree VF/NM 9.0 CBCS copy that realized at $173,275 in 2015 at Heritage, which at the time was the highest price ever realized at auction for a non-superhero comic book.

The Avengers #4 (Marvel, 1964) rose above and beyond its pre-auction estimate of $120,000 to be auctioned for $143,400. This copy is one out of four copies with a CGC grade of NM/MT 9.8 - the highest reported grade of this issue.

Tales of Suspense #39 (Marvel, 1963), NM 9.4 CGC, famous for the first appearance of Iron Man, sold for $95,600.

Anticipating her own movie releasing in June, Wonder Woman #1 (DC, 1942) captivated the auction floor when this VF- 7.5 CGC-grade comic realized $95,600.

With only five copies known to receive a higher CGC grade, The Avengers #1 (Marvel, 1963) CGC NM 9.4, collected 14 bids to be sold for $89,625. In this edition, the Avengers (Thor, Iron Man, Hulk, Ant-Man and Wasp) make their first appearance as a team, and thanks to the current blockbuster movies, these comics remain in the spotlight.

Additional highlights include:

The Amazing Spider-Man #1, CGC NM- 9.2 Massachusetts Pedigree (Marvel, 1963): $95,600

The Incredible Hulk #1 CGC VF 8.0 (Marvel, 1962): $89,625

Superman #1 (DC, 1939) CGC FR 1.0: $83,650

All Star Comics #8 (DC, 1942) CGC VGF 5.0: $54,970

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,, has over one million registered bidder-members, and searchable free archives of four million past auction records with prices realized, descriptions and enlargeable photos.

Books and Works on Paper copy.jpegBloomsbury Auctions will be hosting the auction of Books & Works on Paper at 24 Maddox Street, London W1S 1PP, at 12noon. The sale comprises 416 lots, ranging from in estimate from £100 - £6,000, with works from a wide range of collecting categories, notably English Literature & History, Autographs and Memorabilia, Art & Architecture, Travel and Sport, amongst others.

Of particular interest is an autograph letter signed by renowned English naturalist, Charles Darwin. The letter (lot 140, est. £4,000-£6,000) is written on mourning stationary to an unknown recipient, and reads: "Four editions of the Origin have appeared; that published last month is considerably added to and can be purchased through any bookseller. I am glad to hear that you are interested in the subject”, Down, Beckenham, Kent, 17 December [1866]. Darwin received a request from his publisher John Murray for a fourth edition of 'On the Origin of Species by Means of Natural Selection’ in February 1866. This edition was released in November and it featured several corrections and additions to the previous ones, including a discussion on whether one or many forms of life first appeared.

Other sale highlights include a first paperback edition of Harry Potter and the Philosopher’s Stone from 1997 (lot 214, est. £2,500-£3,500), as well as a first edition of Ian Fleming’s Diamonds Are Forever from 1956 (lot 193, est. £700-£900).

A beautiful engraved double-hemisphere world map with original hand-colouring is estimated to reach £700-£900. The 1746 map by Homann Heirs, Nuremberg, (lot 344) shows inset northern, southern and oblique hemispheres, diagrams of the earth's position at the solstices, and includes Latin and French title cartouches of allegorical figures in the upper corners.

From the Science & Natural History section, lot 369 is a first edition of The Historie of Foure-footed Beastes by Edward Topsell, from 1607 (est. £1,000-£1,500). Topsell’s fantastical works are remembered for their detailed illustrations, such as the rhinoceros based on Albrecht Dürer’s 1515 woodcut.

Six botanical engravings from Nuremberg, [c.1613 and later] by Basilius Besler also feature (lot 370, est. £2,500- £3,500). The engravings include irises, hyacinths, sweet peas, caryophyllus and campanula.

From the Sporting group, a set of first editions of Chinese Kung-Fu Karato by Leong Fu (lot 416, est. £250-£350) is offered. The set is in 21 original parts, with illustrations by the author, original illustrated wrappers and within its original postal box. The editions were self-published in Ipoh, Perak, Malasia, in 1958.

Auction time/date: 12pm, Thursday 22nd June 2017 Auction location: 24 Maddox Street, London W1S 1PP 

Image: Lot 140: Autograph letter signed by Charles Darwin, 1866, (est. £4,000-£6,000)

The Harry Ransom Center at The University of Texas at Austin announces its appointment of Aaron T. Pratt as Carl and Lily Pforzheimer Curator of Early Books and Manuscripts. Pratt, who begins May 30, will provide curatorial support for the Ransom Center’s early book and manuscript holdings and participate in a variety of activities that promote their teaching and research use.

The Center’s early book and manuscript holdings include the Carl H. Pforzheimer Library of English Literature, which is internationally known for first and important editions of plays, poems, novels, essays, polemical writings and translations of the most significant English writers from 1475 to 1700, including William Caxton, Edmund Spenser, William Shakespeare, John Milton, Andrew Marvell, John Donne, John Dryden, William Congreve, Christopher Marlowe and Francis Bacon, among many others. The Pforzheimer books are supplemented by 2,000 manuscript items. 

Pratt will also provide curatorial support for other early book and manuscript holdings, including the Gutenberg Bible, the Wrenn library, the Recusant collection, the Uzielli Aldine Press collection and incunabula. 

"From the Gutenberg Bible, to Shakespeare Folios, a manuscript of ‘The Canterbury Tales’ and editions of Galileo, the early print and manuscript holdings form one of the Ransom Center’s cornerstones, and they remain rich with untapped research potential,” says Pratt. “There's no hyperbole when I say that I am thrilled at the opportunity to develop the collection and support innovative research, teaching and outreach.”

Pratt will support researchers working with the Center’s early book and manuscripts collections and collaborate with colleagues to promote enhanced access to collections, including digital initiatives and exhibitions. He’ll also expand and strengthen the early book and manuscript holdings and will work closely with the Center’s conservation department on setting treatment priorities for collection materials.

“All of us are excited about the curatorial vision Aaron brings to this post,” says Stephen Enniss, director of the Ransom Center, “and we look forward to seeing the university’s most valuable cultural collections fully utilized in service to our teaching and research mission.”   

Pratt is a specialist in early modern literature and culture, bibliography and the history of the book. He was previously an assistant professor of English at Trinity University in San Antonio. He received a Ph.D. in English literature from Yale University and bachelor’s and master’s degrees in English from The Ohio State University.

At Yale, Pratt worked closely with David Scott Kastan, the celebrated expert in Shakespeare and the history of the book. He also served as a curatorial assistant at the Beinecke Rare Book and Manuscript Library and co-founded and organized the Yale Program in the History of the Book.

“Aaron seems to me the best young book historian in the country,” says Kastan. “He knows seemingly everything about early modern books and book production, but in addition to how much he knows and how smart he is, he is generous, kind, curious and flat-out fun.”

Pratt is a recipient of the prestigious Andrew W. Mellon Fellowship of Scholars in Critical Bibliography from Rare Book School. 


We are pleased to announce the appointment of David Wachtel as Senior Consultant for Rare Books at Kestenbaum & Company.

After fifteen years with Sotheby's, David looks forward to working alongside our longstanding chief scholar, Rabbi Eliezer Katzman, in researching and preparing our highly well-regarded auction catalogues of Fine Judaica. 

We trust David will be a tremendous asset as we continue to seek to provide our clients with an exceptional level of service and expertise.

David may be reached directly via his e-mail address:

David will be hosting a gallery tour in advance of our forthcoming June 22nd Judaica auction (details to follow). 

Kestenbaum & Company

242 West 30th Street, New York NY 10001

Tel: (212) 366-1197 • •

One of America’s oldest bookseller trade associations, the Midwest Antiquarian Booksellers Association (MWABA), will hold its annual fair featuring fine antiquarian, rare and collectible First Editions and a universe of books on topics such as: Americana, Art & Photography, Literature, Poetry, Children's Books, Cookbooks, Science & Technology, Transportation, Railroadiana, Civil War, Illustrated Books, Chicago History & Authors.

This year’s fair will be held at Local 130 Plumbers Union Hall, 1340 W. Washington Blvd. in Chicago’s West Loop neighborhood. Admission is $6 and parking is free. The fair runs from 10 a.m. to 5 p.m. on Saturday, June 17.

“Our fairs give you the rare chance to view and purchase books as they were first introduced to the world,” said MWABA President Hank Zuchowski. “Holding an historically significant book is a unique experience that can’t be duplicated in this digital age.”

Besides collectible and general interest books, the fair features maps, leather bindings, autographs, broadsides, vintage paperbacks and pulps, prints, posters, photos & ephemera.

For more information, visit or contact Book Fair Manager Chris Rohe at (847) 722-8949 or

DSC_3574.jpegThe May 20, 2017 sale at National Book Auctions featured a vast array of rare and desirable printed material from multiple estates and personal collections nationwide.

Notable volumes included an early edition of Charles Wilkes's "Narrative of the United States Exploring Expedition" ($3,750); David Roberts's profusely illustrated six-volume set "The Holy Land" ($3,500); and the remarkable Pageant Books facsimile of the Gutenberg Bible ($2,125).

This sale was also particularly strong on antique prints and ephemera. Notable lots included Auguste Renoir's etching "Sur la Plage a Berneval;" Fremont's 1848 map of Oregon and California; a military certificate engraved by Paul Revere; a vellum manuscript dating to 1470; and an intriguing album of real photo postcards.

National Book Auctions' sales take place at the Galleries at Worth Asset Brokerage in Freeville, New York, just six miles from Cornell University, and are simulcast via Auctions are forthcoming on June 3, 2017 and June 10, 2017, with the latter being a special Curator's Catalog featuring such exceptional items as a two-volume composite atlas by Johann Baptist Homann (est. $30,000-40,000). 

For more information about bidding or consigning, email or call 877-BOOK-070.

The May 21, 2017 sale at Worth Auctions comprised an extensive and carefully selected group of fine and decorative prints, watercolors, drawings, and maps.

Notable pieces included Bodmer's "Moennitarri Warrior in the Costume of the Dog Danse" ($4,062); Thomas Moran's "Grand Canyon of Arizona From Hermit Rim Road" ($2,500); and Peter Schenk's "America Septentrionalis Novissima" ($1,000). 

The sale also showcased a fine array of seventeenth- to nineteenth-century natural history prints by such masters as John James Audubon, Basil Besler, and Mark Catesby, as well as important equestrian, sporting, and nautical images.

Further complementary material will be featured in future sessions in 2017. These cataloged live sales will take place in the Galleries at Worth Asset Brokerage in Freeville, New York and will be simulcast to a global bidding audience via Invaluable, LiveAuctioneers, and eBay Live.

For more information about bidding or consigning, contact Evan D. Williams, AAA, Director of Fine Art & Special Collections, at or 607-279-0607.

h-map copy.jpgDALLAS--May 22, 2017--Three battle maps owned and used by Gen. Omar Bradley from the June 6, 1944 Allied invasion of occupied France at Normandy are expected to be among the most coveted lots at Heritage Auctions Arms & Armor Auction June 11 in Dallas.

The largest seaborne invasion in history, the assault included 156,000 American, British and Canadian forces landing on five beaches along 50 heavily fortified miles of French coastline. The day known as “D-Day is recognized as the start of the Allies' liberation of Western Europe from Nazi Germany’s control.

Omar Bradley’s D-Day Map for Operations Overlord and Neptune (est. $70,000 and up) was used by Bradley during the invasion at Normandy. Titled “Situation '2400 Hrs 6 June 1944 Hq. Fusag [First United States Army Group] Secret,' the map measures 20 inches high by 22-1/2 inches wide, and is printed with blue and black ink. Presumably prepared as the invasion was about to get underway, or perhaps when it was in progress, some enemy positions are marked “Not Confirmed or “Unconfirmed or simply marked with a question mark. Maps like this one were Gen. Bradley’s guide for formulating a daily plan of action; each morning, Gen. Bradley would review these maps with his staff to assess the battlefront, assets, risks and enemy strength. This is among several maps that were on board the U.S.S. Augusta (his makeshift headquarters) on the English Channel during the D-Day landings. This map is in pristine condition, having been cleaned recently by a conservator formerly affiliated with the Smithsonian Institution.

Another of Gen. Bradley’s D-Day maps (est. $40,000 and up) is similar in many ways, although the “Secret designation was downgraded to “Confidential. This map shows the position of American, British and German forces on the first full day of the Allied invasion that led to the defeat of Adolph Hitler and the subsequent liberation of Europe.

A third Gen. Bradley D-Day map (est. $40,000 and up) has the same measurements and also carries the “Secret designation. Like the first two, this map was produced by the 12th Army Group Engineering Department. It notes the location of German tanks, both inland and along the lines of defense, and shows higher troop concentration than that shown on the previous day’s map, as both sides dedicated extensive resources to the struggle that altered the course of the war. The three maps included in the Arms & Armor Auction were part of a set Gen. Bradley used in his capacity as commander of all U.S. ground forces in the invasion.

After examining these maps, Luther D. Hansen, curator of the U.S. Army Quartermaster Museum in Fort Lee, Va., vouched for their authenticity and rarity. "From my examination of these Omar Bradley WWII Headquarters FUSAG/12th AG battle maps, I conclude that they are original to WWII and one of only four original sets ever produced I believe that this Omar Bradley map set is the only set in private hands. To view Bradley's maps 70 years later, with the benefit of historical reassessment, we can see the omissions and intelligence failures that impacted his decisions and battle outcomes. Especially interesting is the map heading 'HQ FUSAG' on D-Day which represents the fictitious 'First U. S. Army Group' decoy Army Group from Operation Quicksilver. Omar Bradley's map headings changed to 'HQ Twelfth Army Group' after the enemy figured out the deception. In terms of rarity and historical significance, these maps are a perfect 10."

A Battle-Scarred Flag that flew from the LCT 540 (est. $40,000 and up) was consigned by Ensign (later Lieutenant) William L. Wilhoit. The professionally framed flag measures 36 inches long and is folded and mounted to a red velvet background with a metal plaque with an inscription that reads: “Flag of the US LCT 540/Normandy Invasion/June 6, 1944. The flag is accompanied by a letter of authenticity signed by Wilhoit dated June 16, 2016 and copies of the Presidential Unit Citation to United States LCT (landing craft, tank) 540 signed by Secretary of the Navy James Forrestal and a Navy Cross Citation to “Ensign William L. Wilhoit United States Naval Reserve that also was signed by Forrestal.

A Blood-Stained Flag from the Battle of Antietam (est. $30,000 and up) measures 77 inches wide by 46 inches high and features a canton (blue rectangle at the top hoist corner) with 34 stars six in each of the two bottom rows, and five and six more alternating in the top four rows, and is housed in a frame that measures 85 inches wide by 53 inches high. According to family lore, after the Battle of Antietam (Maryland), Gen. George B. McClellan and his troops were riding down a street in Sharpsburg when he directed that the flag be given to a local resident with the message that “here is something to remember us by. The flag remained in the recipient’s family for more than 90 years before being given to the consignor’s father, and was loaned to the Sharpsburg Museum in 1962 for the 100th anniversary of the Battle of Antietam. The flag, which is sewn on to a burlap backing and sealed against moisture, has 17 bullet holes and significant blood staining, mostly near the canvas hoist.

A set of Confederate Artillery Implements and Augusta Fuse Box (est. $24,000 and up) is marked “J. Darrow Augusta, GA in an oval stamp on the flap. The group includes a finely crafted lanyard that was used to set off the cannon blast; a Confederate-manufactured friction primer that was used to spark the cannon’s ignition; a vent pouch that would have cleaned out the fuse hole of the cannon; three shell fuses, two of which are wrapped; and a long steel cylinder with brass ends that was used to hold the bursting charge for an Armstrong cannon. Also included is a copy of the 2005 No. 2 edition of North South Trader magazine, which featured the implements and Augusta box on the front cover of that issue and an article detailing the pieces and showing images of the factory that manufactured the box.

A Confederate First National Flag Reportedly Captured from the Biloxi Courthouse in 1861 (est. $20,000 and up) measures 75-3/4 inches wide and 37 inches high; its frame increases the dimensions to 82-by-44. A 13-star variant of the First National Flag of the Confederate States of America, it reportedly was accompanied at one time by a now-lost label that said the flag was found in an old coffee can inside the vault of the Hancock County Courthouse that was being demolished to make way for construction of a new facility. The label said the flag flew on the Biloxi, Mississippi Courthouse and that was “captured by vile, Yankee, invading forces during the capture of Biloxi. The flag eventually was returned to the Biloxi-based Mississippi Division of the Sons of Confederate Veterans, and its size and use of the 13-star design is consistent with a dating of 1861, when neighboring states Missouri and Kentucky were on the verge of secession. Included are a letter of provenance written in 2005 by then-owner Michael Adamson, a 2005 letter from noted Civil War expert Les Jensen and a list of extant Mississippi Confederate flags.

One of the unique lots in the auction is an Original WWII German Navy (Kriegsmarine) Four-Rotor M4 Enigma Enciphering Machine Recovered from the Wreck of the German Submarine Tender Ammerland (est. $20,000 and up). One of what might be as few as 120 surviving examples, this Enigma machine was used in Germany during World War II to transmit coded information after the realization that Western Allies were intercepting German Navy signals, and is credited with playing a significant role in the development of modern computing. Because of the rarity of remaining machines, examples in any condition rarely find their way to the collector market; some that have gone to auction recently have realized sale prices between $150,000 and $300,000. Early Enigmas had three interchangeable rotors, which scrambled plain-text messages to produce a cipher text message, which then was sent via Morse Code to a receiver machine with the same settings, sparking efforts by opposing forces to crack the code that shielded the messages. The M4 model Enigma was ordered by German Admiral Karl Doenitz in 1941 after he feared the security of the M3 (three-rotor) machine had been compromised with the capture of the German submarine U-570 in August 1941. This M4 example was recovered by Swedish divers from the wreck of the German submarine tender Ammerland, circa 1990. The Ammerland was attached to Sicherungsflottille 9 in the Baltic Sea when it was sunk Feb. 10, 1945, southwest of Liepâja, Latvia. After being submerged for about 45 years, it is preserved in distilled water until it can be properly restored.

Other top lots include, but are not limited to:

A Scarce and Desirable High Condition Smith & Wesson .357 Registered Model Revolver With Original Box and Certificate: est. $15,000 and up

An Exceptional Boxed Pre-War Colt Single-Action Army Revolver: est. $12,000 and up

An Engraved Josef Fanzoi Sidelock Drilling: est. $10,000-12,000

A Civil War Union Staff Officer’s Chasseur Cap: est. $10,000 and up

A Fine Colt Model 1878 Frontier Double-Action Revolver: est. $10,000 and up

A Fine and Engraved L.C. Smith Crown Grade Double-Barrel Shotgun: est. $10,000 and up

A Superb Colt Bisley Model Single-Action Revolver: est. $10,000 and up

A Colt Model 1903 Hammerless Semi-Automatic Pistol Taken from Raymond Hamilton of Notorious Barrow Gang: est. $10,000 and up

A Rare Confederate Navy Cap Box Allegedly Taken as War Souvenir by Private Cyrus Adams, New York 72nd Infantry, Later Killed in Action at Williamsburg, Virginia in 1862: est. $10,000 and up

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,, has over one million registered bidder-members, and searchable free archives of four million past auction records with prices realized, descriptions and enlargeable photos.

159-Szyk copy.jpgNew York—Swann Galleries has announced highlights from their June 13 auction of Art, Press & Illustrated Books, which will feature premier examples of printing that elevate the humble book to a noble art form.

The sale is led by an inscribed limited first edition on vellum of Arthur Szyk’s Haggadah, 1939, with 14 jewel-like full-page color plates by the artist. The work was illustrated by Szyk in Poland in the mid-1930s, and has been called the most celebrated modern Haggadah; it carries an estimate of $15,000 to $25,000.

An outstanding selection of press books by Bernhardt Wall from the Natalie Williams Collection features a number of presentation copies, including the 85-volume magnum opus Following Abraham Lincoln 1809-1865, with over 900 signed etchings ($10,000 to $15,000), as well as the signed complete set of The Etcht Miniature Monthly Magazine, 1948, ($3,000 to $4,000). A selection of Wall’s personal sketchbooks from the 1920s offers a glimpse into the mind of the artist. Further editions by fine private presses of the twentieth century include works from Doves and Gemini to Granary, Limestone and the Limited Editions Club.

A collection of French livres d'artiste includes a signed limited first edition of Henri Matisse’s Cinquante Dessins, 1920, with 50 images of his work, valued at $3,000 to $4,000, as well as Amour, 1899, by Maurice Denis, a complete set of 13 color lithographs illustrating a poem by the author to his wife ($10,000 to $15,000). Also available are works by Jean Cocteau, Jean Dubuffet and Raoul Dufy.

There is a fine selection of art journals and magazines, most notably the complete set of 12 volumes of the Art Deco periodical Feuillets d'Art, 1919-22, estimated to sell between $3,000 and $4,000. Portfolios include Salvador Dalí's limited edition Le Quête du Graal, 1975, with 12 color drypoints ($12,000 to $18,000). Also by Dalí is a limited special edition of Dante’s La Divina Commedia, bound in sculptural copper covers and printed on paper salvaged from the flood of Florence in 1966, valued at $6,000 to $9,000.

Mexican surrealist Nahui Olin (pseudonym of Carmen Mondragón) was a muse of Diego Rivera and an accomplished artist in her own right. In collaboration with her lover, Dr. Atl (a pseudonym meaning the Aztec word for water), she produced Optica Cerebral: Poemas Dinámicos, 1922, here offered in the exceedingly rare first edition, signed and inscribed to publisher, writer and politician José Martinez Sotomayor ($6,000 to $9,000).

Three volumes of the influential French fashion magazine Gazette du Bon Ton, 1912-14, featuring several single- and double-page pochoir plates, as well as seven original watercolor vignettes by George Barbier, are together valued at $8,000 to $12,000.

Several nineteenth-century American manuscript folios will be available, including Miss Ann Postley's Album, 1828, with six illustrations by Charles A. Baudouine—considered the first “interior designer”— and Gathered Blossoms, 1853, a handmade book of poems and illustrations by Pennsylvanian Thomas Lloyd Bailey for his fiancé, Caroline A. Smith (each $1,000 to $2,000). A group of 13 drawings on vellum for a German calendar titled Das Jahr une siene Kinder (“The Year and Her Children”), 1880s, by Frau Allwine Schroedker, accompanies the published calendar; together they are valued between $4,000 and $6,000.

The contemporary selection will feature a May 1970 issue of Gay Power, the cover of which is illustrated by what is believed to be Robert Mapplethorpe's first published photograph, valued at $2,000 to $3,000, and a limited edition catalogue, encased in a briefcase with assorted accoutrements, released in celebration of the thirtieth anniversary exhibition at the Walker Art Center, titled In the Spirit of Fluxus, 1993 ($1,000 to $1,500). Another scarce exhibition catalogue makes an appearance: Masters of Abstract Art: An Exhibition for the Benefit of The American Red Cross, 1942, features essays by noted artists including Stuart Davis, Fernand Léger, Jacques Lipchitz, and Piet Mondrian. On offer is a copy of the catalogue, signed by several of the contributors and artists, expected to sell between $5,000 and $7,000.

A signed and inscribed limited first edition of Grapefruit, 1964, one of Yoko Ono’s scarce performative and conceptual “event scores”—written instructions or suggestions for acts for the “viewer” to recreate—is valued at $4,000 to $6,000.

The auction will be held Tuesday, June 13, beginning at 1:30 p.m. The auction preview will be open to the public Friday, June 9, from 10 a.m. to 6 p.m.; Saturday, June 10, from 12 p.m. to 5 p.m.; Monday, June 12, from 10 a.m. to 6 p.m.; and Tuesday, June 13, from 10 a.m. to noon.

An illustrated auction catalogue is available for $35 at

For further information and to make advance arrangements to bid by telephone during the auction, please contact Christine von der Linn at 212-254-4710, extension 20, or via e-mail at

Image: Lot 159 Arthur Szyk, The Szyk Haggadah, number 22 of 125 copies on vellum, signed by Szyk and editor Cecil Roth, London, 1939. Estimate $15,000 to $25,000.

Screen Shot 2017-05-22 at 9.42.35 AM.pngBloomsbury Auctions will be hosting a sale of Vintage Posters at their new London base, 16-17 Pall Mall on 15th June 2017, from 11am. The auction comprises 216 lots, with estimates ranging from £500-£6,000.

Sale highlights include posters from the iconic spaghetti westerns, A Fistful of Dollars (est. £500-£800) and The Good, The Bad and The Ugly (est. £400-£600), as well as rare posters from the perennially popular James Bond films: Dr No (est. £3,000-£5,000), From Russia With Love, Goldfinger (est. £1,500-£2,500) and Thunderball (est. £1,200-£1,400).

The 1960s is also well represented with posters for the critically-acclaimed films, The Graduate, 1967 (est. £800-£1,200) and They’re Off (est. £1,500-£2,500) with the American thriller, Bullet from 1968 and starring Steve McQueen, estimated at £800-£1,200.

Posters for The Beatles’ films, Help! (est. £500-£700), Yellow Submarine (£400-£600) and Let It Be (est. £400-£600) feature in the auction. Alongside the Fab Four, The Who also appear in a poster of psychedelic design, (est. £200-£400).

Rare London Underground posters, signed by Henry Charles Beck, known more commonly as Harry Beck, will be on offer, one dating back to 1945 (est. £400-£600) and the other to 1948 (est. £300-£500). Beck’s London Underground tube map was produced in 1933, and was initially rejected by the publicity department as it was considered too radical in design. However, a successful trial print run proved it was just what the public needed. Today the map is regarded as a design classic and Beck is recognised globally for his work. 

Another well-loved London Underground poster is The Wonderground map of London by MacDonald Gill, first produced in 1914 (est. £2,000-£3,000). This comic depiction of London is said to have amused passengers so much that they would miss their trains! 

Further London Underground posters include a Wimbledon Championships poster by Leonard Appelbee from 1939 (est. £600-£800), a Davis Cup Wimbledon poster from 1936, designed by Walter Goetz (est. £500-£700) and a 1936 New Zealand cricket poster designed by Lancaster Gill (est. £600-£800). 

Continuing the transport theme is a nostalgic North Eastern Airways poster from 1930 (est. £300-£500), as well as a very rare East Coast LNER poster by Stanislaus Brien (£1,200- £1,400), depicting a beautifully painted beach scene, and a 1947 French travel poster by Henri Matisse (est. £800-£1,200). 

Signed works by iconic British artist, David Hockney, feature in the auction: Spoleto Festival USA 1997 (est. £300-£500) and Retrospective David Hockney (est. £200-£400). 


NEW YORK—The Museum of Modern Art announces Frank Lloyd Wright at 150: Unpacking the Archive, a major exhibition on Frank Lloyd Wright (American, 1867-1959) that critically engages his multifaceted practice, on view from June 12 to October 1, 2017. Wright was one of the most prolific and renowned architects of the 20th century, a radical designer and intellectual who embraced new technologies and materials, pioneered do-it-yourself construction systems as well as avant-garde experimentation, and advanced original theories with regards to nature, urban planning, and social politics. Marking the 150th anniversary of the American architect’s birth on June 8, 1867, the exhibition will comprise approximately 450 works made from the 1890s through the 1950s, including architectural drawings, models, building fragments, films, television broadcasts, print media, furniture, tableware, textiles, paintings, photographs, and scrapbooks, along with a number of works that have rarely or never been publicly exhibited. Structured as an anthology rather than a comprehensive, monographic presentation of Wright’s work, the exhibition is divided into 12 sections, each of which investigates a key object or cluster of objects from the Frank Lloyd Wright Foundation Archives, interpreting and contextualizing it, as well as juxtaposing it with other works from the Archives, from MoMA, or from outside collections. The exhibition seeks to open up Wright’s work to critical inquiry and debate, and to introduce experts and general audiences alike to new angles and interpretations of this extraordinary architect. Frank Lloyd Wright at 150: Unpacking the Archive is organized by MoMA in collaboration with the Avery Architectural & Fine Arts Library, Columbia University, New York, and organized by Barry Bergdoll, Curator, Department of Architecture and Design, MoMA, and the Meyer Schapiro Professor of Art History and Archaeology, Columbia University; with Jennifer Gray, Project Research Assistant, Department of Architecture and Design, The Museum of Modern Art.

The transfer of the Frank Lloyd Wright Foundation Archives in 2012 to MoMA and to Avery Architectural & Fine Arts Library at Columbia University presented an unprecedented occasion to reveal the extent to which the Archives still has new perspectives, themes, and connections to offer on Wright’s work and legacy. Often construed as a regional architect, Wright in fact moved among international networks, traveling extensively in Europe, the Soviet Union, Japan, and South America. He designed over 1000 projects throughout the United States and the world, including countries such as Japan and Iraq. His design practice encompassed all scales and building types, from light fixtures, rug patterns, and furniture, to residences, museums, and skyscrapers, as well as landscape designs, and community and regional plans. This is in addition to the hundreds of articles and numerous books that he published during his lifetime. Wright also established an architectural school that functioned as a laboratory of innovative design, progressive educational practices, and collective living. His politics and architectural philosophies challenged existing social and economic structures, even as he pioneered radical engineering solutions and prefabricated construction systems that challenged the building industry. 

Frank Lloyd Wright at 150 is organized around a central chronological spine highlighting the major events in Wright’s life and career, which will be illustrated with some of his finest drawings and include key works such as Unity Temple (1905-08), the Robie House (1908-10), Fallingwater (1934-37), the Johnson Wax Administration Building (1936-39), and Beth Sholom Synagogue (1953-59). Unfolding from this orienting spine are 12 subsections, covering themes both familiar and little explored, that highlight for visitors the process of discovery undertaken by invited scholars, historians, architects, and art conservators. These include Wright’s proposed design for a Rosenwald School for African American children, as well as his engagement with the imagery and form of Native American design in his quest for an original American architecture of the future. A section exploring Wright’s design for a model farm—preserved in a rarely seen model from the archive—is juxtaposed with a section that explores his lifelong interest in projecting an urbanism appropriate to an era of new technologies of transportation and communication. 

Wright’s ongoing preoccupation with ornament is the subject of another section, together with sections that investigate Wright’s understanding of the relationships between nature, landscape, and architecture at the scale of the individual organism, the garden, and the community, and his fascination with circular geometries that likewise range in scale from ornamental forms, to the building, to site planning. Wright was not only a builder for others, but a master of self-construction. To this end, a section centered on Wright’s attempt to democratize his vision through DIY building systems dialogues with another that argues Frank Lloyd Wright was one the first celebrity architects, a savvy manipulator of mass media such as television, radio, and magazines, who used these outlets to advance his ambitions. His celebrity status is illustrated through print media, including the Time magazine election of Wright as Man of the Year, and television broadcasts of his famous interview with Mike Wallace and an episode of What’s My Line? in which Wright is described as “world famous architect.” The last thematic section considers the archive itself as an object of study and will include the painstakingly conserved model of St. Mark’s, a radical but ultimately unbuilt design for a skyscraper residence for New York, the model of the Solomon R. Guggenheim Museum, an analysis of Wright’s drawings as they evolved over time, and a data-visualization project illustrating Wright’s global network of clients, professional relationships, and buildings.

MoMA will publish an exhibition catalogue reflecting the scholarship generated in the process of unpacking the Wright Archives, to be illustrated with new photography of his drawings, models, and buildings that will offer the public high-quality images of materials in the Archives. The publication mirrors the exhibition in that it will be an anthology of essays authored by the guest scholars and MoMA curators.

The contributors include:

-Barry Bergdoll (MoMA and Columbia University)

-Michael Desmond (Louisiana State University)

-Carole Ann Fabian (Avery Library, Columbia University)

-Jennifer Gray (MoMA)

-Elizabeth Hawley (CUNY Graduate Center and MoMA)

-Juliet Kinchin (MoMA)

-Neil Levine (Harvard University)

-Ellen Moody (MoMA)

-Therese O’Malley (National Gallery, Washington, D.C.)

-Ken Oshima (University of Washington)

-Michael Osman (University of California, Los Angeles)

-Spyros Papapetros (Princeton University)

-Janet Parks (Avery Drawings & Archives, Columbia University)

-Matthew Skjonsberg (Swiss Federal Institute of Technology)

-David Smiley (Columbia University)

-Mabel Wilson (Columbia University)


The exhibition is made possible by Hyundai Card.

Generous funding is provided by Sue and Edgar Wachenheim III and by the Graham Foundation for Advanced Studies in the Fine Arts.

Additional support is provided by the Annual Exhibition Fund.


Living in America: Frank Lloyd Wright, Harlem and Modern Housing

September 8 - December 17, 2017

Miriam and Ira D. Wallach Art Gallery, Columbia University

In fall 2017, to celebrate the joint acquisition of the Frank Lloyd Wright Foundation Archives by The Museum of Modern Art and Columbia University’s Avery Architectural and Fine Arts Library, the Wallach Art Gallery is partnering with Columbia’s Temple Hoyne Buell Center for the Study of American Architecture to present Living in America: Frank Lloyd Wright, Harlem and Modern Housing, which will consider Wright’s well-known designs for Broadacre City and other largely suburban housing projects in dialogue with important housing projects in Harlem, designed simultaneously. The Wallach Art Gallery’s exhibition will overlap and be presented in correlation with Frank Lloyd Wright at 150: Unpacking the Archive.

A celluloid of Snow White from Snow White and the Seven Dwarfs.jpgNew York - On June 5, Bonhams and Turner Classic Movies (TCM) present An Important Animation Art Collection, The Property of a Gentleman, which features more than 290 original Disney animation drawings, storyboards, posters, concept art and celluloids. The collection, accumulated over 25 years, comprises a wide range of titles and items from over 60+ years of Disney animation, a fascinating history lesson on the studio’s changing styles and focus from its early 1930s shorts through to comic strips to the studio’s revival in the 1980s including Snow White and the Seven Dwarfs, Sleeping Beauty, and Pinocchio to The Little Mermaid and Aladdin.

The collection will be on preview at Bonhams Los Angeles from May 19-21 and then will be on display at Bonhams New York from June 2-5.

Highlights include:

  • An animation drawing from The Mail Pilot, Walt Disney Studios, 1933. Graphite and colored pencil on paper, matted and framed. Estimate: US$ 1,000-1,500.
  • A celluloid of Mickey Mouse from The Brave Little Tailor, Walt Disney Studios, 1938. Gouache on celluloid, multi-cell set-up, applied to Courvoisier wood veneer background, Walt Disney label on reverse, matted and framed. Estimate: US$ 4,000-6,000.
  • A celluloid of the Queen from Snow White and the Seven Dwarfs, Walt Disney Studios, 1937. Gouache on trimmed celluloid, applied to a Courvoisier watercolor paper background, matted and framed. Estimate: US$ 10,000-15,000.
  • An animation drawing of Maleficent from Sleeping Beauty, Walt Disney Studios, 1959. Graphite on paper, matted and framed.. Estimate: US$ 500-700.
  • A celluloid of Geppetto, Figaro, and Pinocchio from Pinocchio with watercolor production background, Walt Disney Studios, 1940. Gouache on trimmed celluloid, applied to its matching watercolor production background, annotated, "F3 / 2 / 39 Oct 01 1939 Thor OK for / 10-18-39," and someone's initials, matted and framed. Estimate: US$ 20,000-25,000.
  • A Gustaf Tenggren original concept painting from Pinocchio. Walt Disney Studios, 1940. Black ink and watercolor on heavyweight paper, inscribed "Pinocchio" to upper left corner in watercolor in an unknown hand, matted and framed. Estimate: US$ 30,000-40,000.
  • A celluloid of Dumbo and Timothy Mouse from Dumbo, Walt Disney Studios, 1941. Gouache on celluloid, applied to a Courvoisier airbrushed background, stamped "WDP" lower right, matted and framed. Estimate: US$ 2,000-3,000.
  • A Mary Blair concept artwork from Cinderella, Walt Disney Studios, 1950. Gouache on board, matted and framed. Estimate: US$ 4,000-6,000.
  • A celluloid of the fairies from Sleeping Beauty, Walt Disney Studios, 1959. Gouache on trimmed celluloid, applied to an Eyvind Earle watercolor production pan background of the royal throne room, matted and framed. Estimate: US$ 20,000-30,000.

Image: A celluloid of Snow White from Snow White and the Seven Dwarfs Walt Disney Studios, 1937. Gouache on celluloid, multi-cell set-up with an overlay, applied to its matching watercolor production pan background of the cottage, Estimate: US$ 25,000-30,000.

BOSTON, MA (May 19, 2017) — John F. Kennedy's Senate ID Card sold for $20,000 according to Boston-based RR Auction.

The one-of-a-kind historically significant official US Senate personal identification card issued to John F. Kennedy, featured an image of the young senator, neatly signed in full in fountain pen, "John F. Kennedy."

Accompanied by a letter of authenticity from Kennedy's longtime secretary Evelyn Lincoln on US Senate memorandum letterhead, April 27, 1987, to noted JFK collector Robert L. White, stating in part: “The I.D. card issued to the late John F. Kennedy, was carried by him in his wallet while he was a United States Senator." 

After serving three terms in the House of Representatives, Kennedy was elected to the Senate in 1952. His term began on January 3, 1953, and he served as the junior senator from Massachusetts until December 22, 1960, just before entering the presidency.

“This personal ID card is an absolutely amazing relic from this important stage in his political life,” said Bobby Livingston, Executive VP at RR Auction. 

An additional highlight from the online offering was an incredible assortment of historic Kennedy photographs from The Ronnie Paloger Collection.

"Among the collection were rare seldom-seen photographs of a youthful-looking JFK during his first foray into politics from his 1946 congressional campaign— his 1952 senatorial race, and gorgeous wedding photos of Jack and Jackie,” said Tricia Eaton, Specialty Auction Director at RR Auction.  

Highlights from the sale include, but are not limited by:

Handsome set of gold-and-black eagle bookends displayed by John F. Kennedy in his Senate office and then later in the White House, sold for $19,500.

John F. Kennedy original portrait artwork by Louis Lupas, sold for $12,240.

John F. Kennedy family's china tea-cup used aboard the presidential yacht, the 'Honey Fitz,' sold for $6,063.

John F. Kennedy 1951 letter to a constituent, sold for $4,961.

The John F. Kennedy Auction from RR Auction began on May 11 and concluded on May 18. More details can be found online at

61-Cruikshank copy.jpgNew York—First editions and inscribed copies filled the shelves at Swann Galleries’ May 16 auction of 19th & 20th Century Literature. The sale broke several auction records and encompassed a variety of genres, dates and media. The trifurcated Books department (specializing in Art Books and Early Printed Books as well as Literature), is the oldest at Swann Galleries, which celebrated its 75th anniversary in March.

The top lot of the sale was a complete privately printed edition of Seven Pillars of Wisdom, 1926, by T.E. Lawrence, the inspiration for the classic film Lawrence of Arabia. The stunning tome, bound in green leather, boasts 65 plates and color illustrations by contemporary artists. The present copy was inscribed by Lawrence and given to his dentist, Warwick James; it was purchased by a collector for $62,500*.

An auction record was achieved for the complete set of 12 volumes of The Scourge; or Monthly Expositor of Imposture and Folly, 1811-16, illustrated by George Cruikshank. This was only the third complete set ever to appear at auction; the final, twelfth volume is extremely scarce due to the dwindling subscriber numbers towards the end of the periodical. The set was especially unusual because it contained the rare suppressed plate of A Financial Survey of Cumberland, or Beggars Petition, 1815, which overtly suggested the disgraced Duke of Cumberland had murdered his valet, in both its censored and uncensored state. After breakneck bidding, a collector made the winning bid of $11,250.

The auction debut of the first American edition of Fyodor Dostoyevsky’s The Brothers Karamazov, 1912, set a strong precedent, exceeding its high estimate of $7,500 to reach $10,000.

Half of the highest prices in the sale went to first editions of cornerstones of American literature. Twentieth-century authors performed especially well, with William Faulkner’s first novel, Soldiers’ Pay, leading the pack at $21,250. The first edition of Main Street, 1920, by Sinclair Lewis, achieved a new auction record of $6,500. Harper Lee’s monumental To Kill A Mockingbird, 1960, sold for more than five times its high estimate of $1,000, finally finishing at $5,750. Similarly, a first edition with the dust jacket of The Pastures of Heaven, 1932, charmingly inscribed by author John Steinbeck to his friend Louis Paul, reached $13,750.

Works by American modernist author Ernest Hemingway were well received, with 100% of the 14 offered lots going to buyers after frenzied bidding. An inscribed first trade edition of A Farewell to Arms, 1929, reached $6,750, while a first edition of Death in the Afternoon, 1932, was purchased for $2,125.

Another highlight was a rare limited first edition on handmade paper of James Joyce’s magnum opus Ulysses, 1922, which exceeded its high estimate to sell for $33,750.

Specialist John D. Larson said of the sale, “The robust sell-through rate of 87% demonstrated the strength of the market and continued interest in historic literature from the last two centuries, especially, as always, well preserved examples. Multiple institutional purchases underline the importance of the material we’re handling, and the record achieved for the Cruikshank set typifies the appeal of exceedingly rare material.”

The next sale of 19th & 20th Century Literature at Swann Galleries will be on November 14, 2017. For more information or consign quality materials, contact John D. Larson at

Image: Lot 61 George Cruikshank, The Scourge, first edition, complete set of 12 volumes, London, 1811-16. Sold May 16, 2017 for $11,250, a record for the work. (Pre-sale estimate $4,000 to $6,000)


Screen Shot 2017-05-18 at 8.42.12 AM.pngThe birth of the modern horror story can be traced to the dark visions that crept from the febrile imagination of H. P. Lovecraft at the beginning of the last century. 

This new edition from The Folio Society marries Lovecraft’s best-known fiction with two modern masters of the macabre, the acclaimed artist Dan Hillier and author Alan Moore. In his beautifully crafted new preface, Moore finds Lovecraft at once at odds with and integral to the time in which he lived, ‘the improbable embodiment of an estranged world in transition’ yet, despite his prejudices and parochialisms, he ‘possessed a voice and a perspective both unique in modern literature’. 

Also available as a 750 copy limited edition in a presentation box with a print signed by the artist each edition shimmers with Lovecraft’s ‘unknown colours’, purple and greens akin to both the ocean depths and mysteries from outer space - each features a mystical design by Hillier. 

This collection spans Lovecraft’s literary career, his ‘cosmicist’ philosophy and the belief that behind the veil of our blinkered everyday lives lies another reality, too terrible for the human mind to comprehend. Writing in the gothic tradition, narrators recount their descent into madness and despair. Through their investigations into the unexplained, they tug at the thin threads that separate our world from another of indescribable horror. The alien gods, death cults and forbidden tomes that cast their maddening shadows over of his fictitious New England would introduce the world to a new set of terrors, reflecting the strange, uncaring universe being unraveled by physics and cosmology. These ‘weird’ tales, and their vast influence, have since carved their creator a tentacle-shaped throne among the monoliths of American literature. 

Product information 

Bound in cloth blocked with a design by the artist. Set in Italian Old Style with Goudy Forum as display. 472 pages. Title page spread plus 6 black and white illustrations. Endpapers spot varnished with a design by the artist. Gold gilt page tops. Printed metallic slipcase. 10”x 6 3⁄4“ 

UK £75.00 US $120.00 Can $155.00 Aus $155.00 

Limited Edition is bound in eco simulated leather blocked with a design by the artist. Set in Italian Old Style with Goudy Forum as display. 472 pages. Title page spread plus 6 black and white illustrations printed with 8 black and gold mandalas on the reverse. Hand-marbled endpapers. Coloured edges. Magnetic presentation box covered in blocked cloth and lined in blocked metallic paper. Limited print signed by the artist. Book 10"x 63⁄4“, box 121⁄4" x 91⁄2" x 2". 

UK £345.00 US $575.00 Can $695.00 Aus $695.00 


NANTUCKET, MA—The Nantucket Book Festival, a summer destination for booklovers, features a stellar line-up of authors and events for its upcoming Festival, June 16-18. Readers will gather in historic Nantucket venues for author readings, panel discussions, and social events that provide unique opportunities to engage with their favorite authors—a hallmark of the Festival. Most events are free with the exception of ticketed social events.

The Opening Night Celebration, Open Books, Open Minds: Writing to Cross Borders, on Friday evening features Diane Rehm, Will Schwalbe, and Kevin Young, speaking on the role of writing as a way to interpret and clarify personal, political, and global divisions.

Throughout the weekend, which begins on Friday morning, authors of many genres and subjects will present, highlighted by: Pulitzer Prize-winning journalist Isabel Wilkerson (The Warmth of Other Suns); US Poet Laureate Robert Pinsky; Diane Rehm (On My Own) who will discuss her memoir about reconstructing her life after the death of her husband; Ruth Reichl, former editor in chief of Gourmet Magazine whose latest book, My Kitchen Year: 136 Recipes that Saved My Life, extols the power of cooking to cure many of life’s ills; and New York Times Best Selling authors Amor Towles (A Gentleman in Moscow), Carl Safina (Beyond Words), and Marie Arana (American Chica).

Two New England poets will be featured through their biographers: Megan Marshall (Elizabeth Bishop: A Miracle for Breakfast) and Kay Redfield Jamison who will discuss her psychological portrait of Robert Lowell (Robert Lowell: Setting the River on Fire). Crowd favorites Alice Hoffman and Jodi Picoult will be returning to the Festival. A complete listing of authors is at

For younger readers, the Festival offers an exceptional line-up, including a breakfast with Laurie Halse Anderson (The Seeds of America Trilogy) and Nathaniel Philbrick, who will discuss his new book, Ben’s Revolution: Benjamin Russell and the Battle of Bunker Hill, written from a child’s perspective. Other authors for younger readers include Lynda Mullaly Hunt, Bill Konigsberg, James Sulzer and Wendy Rouillard. For the youngest set, there will be story times in the Atheneum Garden tent on Friday from 9:00-1:00pm in seven languages.

To highlight the active literary community on the island, the Festival will feature local authors under the tent outdoors at the Nantucket Atheneum selling and signing their books during the day on Saturday. The ever-popular Typewriter Rodeo will be on hand to write free poems on-demand on their vintage typewriters.

Tickets are now on sale for author-hosted social events, which include:

  • Friday: breakfast with Nathaniel Philbrick and Laurie Halse Anderson (kids free); luncheon with Michelle Gable, Mary Alice Monroe and Nancy Thayer; and the Nantucket Book Festival Authors Dinner at the Brant Point Grill at the White Elephant Inn, a fundraiser for the Festival.
  • Saturday: luncheon hosted by Sarah Leah Chase (sold out), and James Gleick will host Tea and Time Travel at the Community School. 
  • Sunday : breakfast with Ruth Reichl; a wine tasting with Bianca Bosker (sold out) and the annual Cisco Brewers Send Off event in the afternoon (free) will feature music, food, author mingling, and of course brews. An evening closing event, Wild Places and Human Dignity, with PBS host Carl Safina at the NHA Whaling Museum will wrap up the Festival in the evening. 

A complete listing of all authors and tickets for all ticketed events are available at 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.

Screen Shot 2017-05-17 at 12.23.15 PM.pngLot 1

Fitzpatrick (Sir Percy) Jock of the Bushveld (This is the first copy of “Jock” - “belongs to the Likkle People”

Published: London, 1907 Estimate: $12,500/15,000

5000 copies of the first impression were printed at a total cost to Longmans of £416. 7s. 11d.

Signed on the title page by J Percy Fitzpatrick. His full name was Sir James Percy Fitzpatrick.

Inscription on the front paste-down end paper reads: This is the first copy of “Jock”- “ belongs to the Likkle People” and the mere narrator desires to acknowledge that fact in proper form. J Percy Fitzpatrick Hohenheim October 1907 The dedications page reads: It was the youngest of the High Authorities who gravely informed the Inquiring Stranger that “Jock belongs to the Likkle People!” That being so, it is clearly the duty, no less less that the privilege, of the mere Narrator to dedicate the Story of Jock to those Keenest and Kindest critics, Best of Friends, and Most Delightful of Comrades The Likkle People.

Fitzpatrick's adventures during this time of his life, when he was pioneering in the Bushveld, are vividly described in his book Jock of the Bushveld, which is generally accepted as a South African classic.

Lot 3

[Bay Psalm Book] The Psalms, Hymns, and Spiritual Songs of the Old and New Testament... For Use ... especially in New-England

Published: Edinburgh, 1759-1771

Estimate: $5,000/8,000

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.

Provenance: Thomas Hewston (inscription at front "Thomas Hewston was born May 18th 1757 at eleven o'clock in the forenoon", one possibility is a Thomas Hewston, of Bedford Co., Penn. who is listed amongst the 'new levies' in a list of 'Rangers on the Frontiers - 1778-1783' [see W.H. Egle (editor). 'Muster Rolls of the Navy and Line, Militia and Rangers 1775-1783.' Harrisburg, Pa.: 1898 p.353].

A very rare late edition of the famous Bay Psalm book (possibly the last edition to be published without the Rev. Prince's revisions of 1757/8), bound with an apparently unrecorded issue of the Bible. In addition, there are two further possibilities that would add considerably to the book's interest:

1. the binding may be by Scottish/American binder Andrew Barclay: the blind roll on the cover is an apparent match for roll 'T5' as pictured in Hannah French's 'Bookbinding in Early America' (Worcester, 1986) p.39, and see images.

2. the inscription at the front may refer to a Thomas Hewston who served as a 'Ranger on the Frontier' in Pennsylvania sometime between 1778 and 1783, raising the possibility that the present work, in its 'travelling binding' accompanied him during his service. Although there were apparently 22 editions of the Bay Psalm book published in Scotland, they are rare on the market: the records show just two examples, in 1938 Goodspeed's offered a 1741 18th edition with the upper cover of the binding missing, and in 1896 Littlefield offered a 1737 16th edition. None are listed as having been offered at auction.

Lot 4

Jefferson (Thomas), Wilberforce (William), Chatterton (Thomas) &c. - Barbour (John G.): Dialogues of the Dead, chiefly of the Moderns ... by the Author of "Evenings in Greece"

Published: Edinburgh, 1836

Estimate: $1,500/2,000

First and only edition - completely unrecorded in any of the standard bibliographies. There is one other copy known (which I used to own). See images for list of contents. The Wilberforce / Jefferson dialogue is particularly interesting, and of its time: Wilberforce berates Jefferson for allowing slavery to continue.

It is not clear why this work is so rare, Barbour was the author of a number of other works that do show up from time to time. The present work's politics sail quite close to the wind on occasion - was it perhaps banned or withdrawn or destroyed?

Lot 134

Kinza (Hirai), Piscator, [A Japanese writer writes, in English, on Japanese customs -] a 10pp. autograph manuscript article, titled ‘Visiting’

Published: New York?, 1893/94

Estimate: $1,500 /2,000

Hirai Kinza was an influential figure at the cultural crossroads between Japan and the United States during the final decade of the 19th century and into the early-20th century. In the present manuscript article, he offers a ‘modern’ view of the bow: the feature of Japanese etiquette that is still the best-known outside Japan.

Born in Kyoto in 1859, Hirai studied English from an early age. An interest in the west went hand-in-hand with his interest in religion. Initially, he quite vigorously opposed Christianity in general and its missionaries proselytizing in particular. In 1885 he set up an English school in Kyoto called ‘The Oriental Hall’ (Orientaru Horu), with the backing of Buddhist groups, and with the aim of countering the Christian influence of the Doshisha school established by Niijima Jo.

Lot 203

Churchill (Winston) The World Crisis, (First Editions Inscribed to Sir Abe Bailey)

Published: London, 1923 - 1929

Estimate: $7,500/9,000

Inscribed by Winston Churchill on a preliminary blank flyleaf of Volume 5 “Abe / from / Winston / with every good wish / 6th Mar 1929”. It is also signed by Abe Bailey on the front free endpaper in pencil and dated May 1929. Volume 1 is signed by Abe Bailey in ink and dated May 1923. Volume 2 has a presentation inscription from Bailey’s wife Mary “With Mary’s love to Abe/Nov 6th. 1923” on a preliminary blank flyleaf. (Presumably a birthday gift as he was born on November 6th 1864). Volumes 3 and 4 are signed in pencil by Abe Bailey on the front free endpapers.

The recipient Sir Abraham Bailey, 1st Baronet, KCMG

(1864-1940), known as Abe Bailey, was a prominent South African Randlord, diamond tycoon, politician, financier and cricketer. He was a good friend and sometime financial sponsor of Churchill and his son John married Churchill’s eldest daughter Diana in 1932. He was also active in the First World War, serving as Deputy Assistant Quartermaster-General to the South African forces and was involved in recruiting men for the army. He was awarded the Croix de Guerre by the French government and a baronetcy by the British one in recognition of these services. These features make the set an association copy of considerable importance and of especial interest to South African collectors.

Lot 5

Rackham (Arthur) The Arthur Rackham Fairy Book - De-Luxe Signed Edition

Published: London, 1933

Estimate: $2,000/2,500

No. 420 of a total of 460 copies of this limited de-luxe edition signed by Rackham. 287pp. In the original full vellum gilt decorated binding. Top edge gilt, fore and lower edges uncut and a few pages unopened. With 8 full page colour plates and numerous black and white illustrations including many wonderful silhouettes. A very fine (as new) unmarked and unfoxed sparkling copy with no flaws whatsoever. In the original publisher's cardboard slipcase which has some wear. Scarce in this pristine condition.

Lot 149

Fries (Laurent) Tabu Nova Partis Aphri

Published: London, Lyons, 1535

Estimate: $2,000/2,750

The map was printed from a woodblock and was one of the first printed maps of Southern Africa reasonably available to collectors.

The map is the Laurent Fries reduction of the map by Martin Waldseemüller, a German priest and cartographer who contributed to 16th century editions of Ptolemy’s Geographia. The map was printed from a woodblock; the title and scrollwork above the map make this the 1535 publication of the Geographia by Melchior & Gaspar Treschel in Lyons (there are four states of the map, 1522, 1531, 1535 & 1541).

This map is considered to be “one of the most important maps in the Ptolemy ....; the coastal detail on the map indicates that the map was “evidently based on the surveys undertaken during the first two voyages of Vasco de Gama”, The map now has three kings on their thrones, an elephant and two serpents next to a sugar loaf mountain, while the King of Portugal rides a bridled sea monster on the Mare Prassodum, holding the banner of Portugal in his right hand and the sceptre in his left. Mountains have been added and rivers appear south of the Mountains of the Moon.” (Norwich)The Latin text near the equator states that "this part of ancient Africa remains unknown". Above this text are the Mountains of the Moon (still so named today, AKA the Rwenzori Mountains), from which the Nile was thought, at that time, to arise. 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.

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

24642333-1-1 copy.jpgA signed collection of images picturing the late cultural legend, David Bowie, are to be offered as part of Bonhams Entertainment Memorabilia sale on 28 June, the month which marks the 50th anniversary of the release of Bowie’s first ever album, David Bowie. The images are thought to be one of the last items signed by Bowie before his passing in 2016.

The images were taken by Geoff MacCormack, a close friend of Bowie and travelling companion, whilst on a worldwide tour with the star in the early 1970s. MacCormack was a singer, percussionist, dance/mime member in several of Bowie’s bands. The journey took in New York, LA, San Francisco, Hawaii, Canada, Japan and a voyage on the Trans-Siberian express, which provides the backdrop to several of the photographs. The informal photographs show Bowie at his most relaxed and informal, a world away from the glamorous and outlandish personae he regularly adopted on stage.

Geoff commented on the image above; ‘I’d only just acquired a Nikkormat. I didn’t really know the camera at the time, and I pride myself on having got the composition right. I love that, although David clearly strikes a pose, the image still seems unguarded and natural. David later reciprocated by taking one of me in exactly the same sport. Believe me, mine is better!’

David Bowie, who had his breakthrough in 1969 with Space Oddity, won countless accolades and irrevocably changed the landscape of music, performance and fashion both in the UK and across the world. He was named as ‘the greatest rock star ever’ by Rolling Stone in 2016, and is estimated to have sold 140 million records worldwide.

Speaking of his friend, Geoff said: ‘For me, these images, which David loved, almost feel as if they belong in a family album. They capture the sense of two mates - one of whom just happened to have become a rock star - having the time of their lives.’

This carefree revelry is perfectly captured in one of the photographs, which depicts a slightly worse for wear Bowie asleep in their train berth aboard the Trans-Siberian Express. MacCormack explained: ‘We had drunk cheap Riesling and beer with a bunch of soldiers we’d met the night before. They were friendly and inquisitive as to what life was like in the West. In this image, you can just make out the bleak Siberian landscape through the window.

The photographs, signed by Bowie himself, provide a rare and honest glimpse in to the, then, life of arguably the world’s most influential artist.

The images will be on view at Bonhams Knightsbridge saleroom, Montpelier Street, from 25th June till the sale on 28th accompanied by a never-before-seen film of the journey from Japan to Moscow, for the ‘May Day Parade’, shot by Bowie himself and seen through his eyes, interspersed with MacCormack’s photographs. 

For more information and examples of Geoff MacCormack’s work, visit

Image: Heading back to London…the long way. Captured by Geoff MacCormack (£2,000-3,000).


60-Evans copy 2.jpgNew York—On Wednesday, June 7, Swann Galleries will hold an auction of Maps & Atlases, Natural History & Color Plate Books, with highlights from the colonization of the Americas, as well as botanical prints and original watercolors.

The sale is led by Samuel Baker’s untrimmed and unjoined A New and Exact Map of the Island of St. Christopher in America, 1753, which shows the island, now better known as St. Kitts, divided into parishes with a wealth of early information relating to structures on the island, as well as the surrounding waters. The borders of each of the four sheets are decorated in an elaborate Baroque style; the map is valued between $20,000 and $30,000.

Among other treasures, the sale promises a trove of rare early maps of the United States. Selections include a 1750 map of Pennsylvania by Lewis Evans, whose publication in Germany helped spark emigration to the state, resulting in the still-traditional Pennsylvania Dutch population ($10,000 to $15,000). John Ogilby and Arnoldus Montanus’s America: Being the Latest, and Most Accurate Description of the New World, 1673, will be offered at $10,000 to $15,000. There is also a run of rare island maps by Aaron Arrowsmith, including a 1830 chart of Hawaii, then called "The Sandwich Islands," which, according to an inscription on the back, was purchased in 1832 by a ship’s captain who made a voyage to the area two years later ($8,000 to $12,000). Also available is a map by Henry Briggs showing California as an island, 1625 ($8,000 to $12,000), the auction debut of a hand-colored chart by Joseph Frederick Wallet Des Barres depicting Revolutionary War battles that occurred near Charleston, NC, 1780 ($8,000 to $12,000) and colonial maps of America by English, Dutch and French artisans including Arnold Colom, Theodore de Bry, Herman Moll, Thomas Pownall and Pierre Francois Tardieu.

The 1740 through 1770 works of Jacques-Nicolas Bellin, official hydrographer to Louis XV, were compiled into L'Hydrographie Françoise, which boasts 92 charts at the forefront of contemporary scientific authority, accuracy and artistic appeal; the two-volume set will be offered in the sale with an estimate of $15,000 to $20,000.

Additional noteworthy atlases include a set of six double-page maps, circa 1600, by Matthias Quad, and the German edition of the popular small-format atlas by Jodocus Hondius and Gerard Mercator, Atlas Minor, Das ist, 1651, still in its original binding (each $8,000 to $12,000). Mercator is further represented in the sale by the first edition of his Ptolemaic atlas, Tabulae Geographicae, 1578. The present copy includes 26 additional maps from the seventeenth century by masters including Willem Blaeu, Abraham Ortelius and Nicolas Sanson, and is expected to sell between $7,000 and $10,000.

Swann Galleries consistently offers preeminent historical material relating to the city. Unusual maps include the “Water Map,” as Egbert Viele’s Topographical Map of the City of New York, 1865, is colloquially known, and an archive of finely drawn street plans delineating the sewers of lower Manhattan, 1865-68 (each $4,000 to $6,000). Also available in The History of the Province of New York from the First Discovery to the Year MDCCXXXII, 1757, by William Smith, valued at $1,500 to $2,500. Making its auction debut is an 1891 atlas of the island of Manhattan, created for tax purposes and boasting fold-out maps of the city, of which the only other known copy is currently in the collection of the New York Historical Society ($1,500 to $2,500).

Also in the sale are two large panoramic views of Prague, most notably an early state of Prag in Böhmen, circa 1740, the engraving by Johann Friedrich Probst after Friedrich Bernhard Werner, valued between $2,000 and $3,000.

The Natural History Books section of the sale is led by a rare complete run of The Naturalist’s Miscellany, 1789-1813, with engravings by Frederick Nodder and his son Richard, and text in English and Latin by George Shaw; the 24-volume set offers some of the earliest descriptions of several Australian species, including the Nonpareil Parrot and the Duck-Billed Platypus ($10,000 to $15,000). Also available are the hand-colored aquatint and engraving for the elephant folio plates of John James Audubon’s Herring Gull CCXCI, 1836, and Wood Ibiss CCVI, 1834 ($7,000 to $10,000 and $5,000 to $7,500, respectively).

There is a delightful selection of nineteenth-century watercolor portfolios: a set of 55 depictions of the life and deeds of Napoleon and 25 ink drawings by Robert Cruikshank, intended to serve as models for his “juvenile dramas,” 1830s, are each expected to bring between $8,000 and $12,000.

The auction will be held Wednesday, June 7, beginning at 1:30 p.m. The auction preview will be open to the public Friday, June 2, from 10 a.m. to 6 p.m.; Saturday, June 3, from 12 p.m. to 5 p.m.; Monday, June 5, through Tuesday, June 6, from 10 a.m. to 6 p.m.; and Wednesday, June 7 from 10 a.m. to noon.

An illustrated auction catalogue is available for $35 at

For further information and to make advance arrangements to bid by telephone during the auction, please contact Caleb Kiffer at 212-254-4710, extension 17, or via e-mail at

Image: Lot 60 Lewis Evans, Speciel Land Charte von Pensilvanien, Neu Jersey, Neu York, Frankfurt, 1750. Estimate $10,000 to $15,000. Complete Auction Catalogue

Man Ray.jpgFRANKLIN, Mass. - A drawing in ink on paper attributed to Romanian artist Victor Brauner (1903-1966) and an ink drawing on buff toned paper, signed and dated by the renowned visual artist Man Ray (1890-1976), are expected top earners in Woodshed Art Auctions’ next Prestige Collection fine art sale, featuring 32 lots of Modern and Impressionist drawings and paintings.

The auction will be online-only - as are all Woodshed Art Auctions sales - and will be held on Wednesday, May 24th, at 12 o’clock noon Eastern time. Previews will also be held online, at the Woodshed Art Auctions website (, or by appointment in the firm’s gallery, at 1243 Pond Street in Franklin. To schedule a preview, call (508) 533-6277.

Internet bidding will be provided by, and

Woodshed’s Prestige Collection sales are small auctions focused mainly on modestly priced works by big-name artists, and the names in this sale are indeed big. In addition to Victor Brauner and Man Ray, others include Theodore Seuss Geisel (aka Dr. Seuss), Roy Lichtenstein, Maurice Bernard Sendak, Pablo Picasso, Jean Cocteau, Mario Carreno and Andy Warhol.

“This auction is full of intimate, small-scale works that offer excellent glimpses into each artist’s mindset,” said Bruce Wood of Woodshed Art Auctions. “The Cocteaus are playful, the Picassos exude power and energy, and the Brauner and Lam drawings are iconic and full of metaphysical references. The price points are perfect for adventurous and knowledgeable collectors looking to acquire works associated with some of the greatest, most sought-after artists of the past century.”

The drawing in ink on paper attributed to Victor Brauner, titled Woman, was done in 1945 and is one of two Brauners in the auction. It carries a pre-sale estimate of $5,000-$7,000. Brauner was born in Romania, the son of a Jewish timber manufacturer. He went to school in Vienna and later settled in Paris in 1930. Brauner was an accomplished sculptor and painter of surrealistic images.

The ink drawing on buff toned paper by Man Ray (real name, Emmanuel Radnitzky), is titled Ship, Sailors and a Woman, signed and dated 1936. The woodcut should earn $6,000-$10,000. Man Ray was born in America but lived mostly in France. He contributed to both the Dada and Surrealist movements and regarded himself a painter, but he’s best known for his photography. 

There are two drawings attributed to Man Ray in the auction, and there are also two attributed to pop art icon Andy Warhol (Am., 1928-1987). One, titled Young Man, is a portrait drawing in ink and colored pencil on paper, signed and unframed. It’s expected to command $4,000-$8,000. The Warhol name and cache should mute any concerns about toning, light stains and handling marks.

Fans of Picasso will be pleased to know that three drawings attributed to (or in the manner of) the Spanish-born master will come up for bid. One is a signed and dated (1964) charcoal on bond paper titled Three Dancing Figures. The 4 ¾ inch by 8 inch drawing is showing a little age discoloration and toning, but it’s still a Picasso (attributed) and is expected to hit $2,000-$4,000.

A hat trick of three drawings attributed to Jean Cocteau (Fr., 1889-1963) will also come under the gavel, including a signed and titled (La Mediterranee) crayon drawing on buff paper, 11 inches by 8 ½ inches, unframed, that’s estimated to reach $3,000-$5,000. Cocteau was an artist, writer, designer, playwright and filmmaker. He wrote the novel Les Enfants Terrible in 1929.

The last of the multiples in the sale is Mario Carreno (1913-1999), the Cuban-born Chilean artist. His two attributions will include an ink drawing on paper titled Mascaron de Proa (Figurehead). The work is signed and dated (1973) and carries an estimate of $1,000-$2,000. It was consigned by a Chilean collector. Carreno studied in Cuba, Spain and France before settling in Chile.

An ink and dye on smooth card-weight paper, attributed to the pop art icon Roy Lichtenstein (Am., 1923-1997), titled Brush Stroke, is expected to change hands for $3,000-$4,000. The piece is signed and unframed and measures 3 ½ inches by 6 ½ inches. Lichtenstein defined the premise of pop art via parody, producing precise compositions of comic strips in a tongue-in-cheek way.

Who doesn’t love Theodore Geisel? Never heard of him? Yes you have. He’s Dr. Seuss (Am., 1904-1991), and the auction boasts an illustration attributed to Geisel of perhaps his best-known and best loved character, the Cat in the Hat. A drawing in red and black ink on white paper of Cat in the Hat, signed and inscribed “Best wishes, from Dr. Seuss,” should make $4,000-$6,000.

An ink drawing on paper attributed to Wilfredo Lam (Cuban, 1902-1982), titled Shaman, signed and dated (1941), in very good condition, is expected to breeze to $8,000-$12,000. The drawing is in very good condition. Lam sought to portray and revive the enduring Afro-Cuban spirit and culture, often utilizing a unique style that was characterized by the prominence of hybrid figures.

Maurice Bernard Sendak (Am., 1928-2012) was an American illustrator and writer of children’s books, best known for his book Where the Wild Things Are, published in 1963. An ink drawing on white card stock paper attributed to Sendak, titled Max in an Airplane, carries a pre-sale estimate of $2,000-$4,000. The drawing is artist signed and measures 6 ¼ inches by 7 inches.

This will be just the second Prestige Collection auction for Woodshed Art Auctions. The first was held April 26th, with positive results. “It paid off for consignors,” Wood said, “and it proved that we’re headed in the right direction for growing the company into a destination known for curated quality art.” The top lot was an ink drawing attributed to van Gogh that brought $12,000.

Woodshed Art Auctions is a family-owned art gallery specializing in oil painting restoration and live and online art auctions. The company is celebrating its 49th anniversary. 

Woodshed Art Auctions is always accepting quality artworks for future auctions. To inquire about consigning a single piece or an entire collection, you may call Bruce Wood at (508) 533-6277; or, you can e-mail him at To learn more about Woodshed Art Auctions and the online-only auction on May 24th, visit

Image: Ink drawing on buff toned paper by Man Ray (1890-1976, real name Emmanuel Radnitzky), titled Ship, Sailors and a Woman, signed and dated 1936 (est. $6,000-$10,000).

joan copy.jpgDALLAS, Texas (May 15, 2017) - Four pieces by two famed illustration artists, Patrick Nagel and Gil Elvgren, set the pace for Heritage Auctions’ $1.7 million May 12 Illustration Art Auction as nearly 900 bidders vied for original and concept artwork. The auction exceeded its estimate by 61 percent with a sell-through rate of 99 percent by value and 96 percent by lot. Nagel’s Seductive Female in Profile sold for $125,000 and while his original Joan Collins, #411, 1982 sold for $100,000, each more than doubled their respective pre-auction estimate.

Recognized by many as one of the best pin-up artists in history, Gil Elvgren’s Fire Belle (Always Ready), 1956 sold for $112,500 and his eye-catching Cover, Girl!, 1965 sold for $100,000, doubling its pre-auction estimate. There was also sizeable interest in the pin-up art of Alberto Vargas whose Portrait of Carol Ohmart, 1956 sold for $40,000, double its estimate and the illustration story-telling artwork of Hy (Henry) Hintermeister whose  Rocket Pad Keep Out sold for $37,500, triple its pre-auction estimate and a record for the artist at auction..

"Once again the interest and demand for Pre-War Illustration art is very high from the likes of Nagel and Elvgren. Calendar, book cover and interior illustration artwork exceeded our expectation realizing double, triple or more above pre-auction estimates," said Ed Jaster, Senior Vice President at Heritage Auctions. “Overall the interest in illustration art continues to remain high across the board.”

A New Yorker magazine cartoon by Charles Samuel Addams Skier, New Yorker magazine cartoon, January 15, 1949, sold for $27,500, well over its $6,000-8,000 estimate; while the Brown & Bigelow calendar illustration Bait for Trapping a Man, Brown & Bigelow calendar illustration, June 1957 by Earl Moran captured $23,750 over its $3,000-5,000 estimate.

Book cover artwork was also of high interest as Roger Hane’s The Lion, The Witch, and The Wardrobe, book cover, 1970 sold for $26,250, five times its low estimate and Robert McGinnis The Corpse that Came Calling, paperback cover, 1964 sold for $21,250 nearly seven times its estimate. A landmark illustration by artist Barbara Remington which was used for a trio of Ballantine Book covers for J. R. R. Tolkien's Lord of the Rings Lord of the Rings, paperback cover study, 1965 sold for $17,500.

Magazine cover artwork from the 1940s saw interest as Peter Driben’s Pin-Up in a Bikini, Beauty Parade magazine cover, October 1947 sold for $21,250 setting a record for the artist at auction and early pin-up artist Enoch Bolles’ Steady Work, Judge magazine cover, October 31, 1914 which also realized $21,250. Interior illustration pieces were popular with bidders as Vargas’ Please Don't Peek Until I Finish Dressing, Playboy interior illustration, September 1962 sold for $27,500 and Garth Williams’ He Let Go of the Wheel for a Second and Did a Little Dance on the Slopping Deck, Stuart Little interior illustration, 1945 sold for $18,750.

Additional highlights 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,, has over one million registered bidder-members, and searchable free archives of four million past auction records with prices realized, descriptions and enlargeable photos.

flag copy.jpgDALLAS (May 15, 2017) - A stunning, 1856 campaign flag for President James Buchanan set a world record at Heritage Auctions May 13 when it sold for $275,000, shattering the previous record for a campaign flag sold at auction, set by Heritage in 2009. The flag was the centerpiece of a $1.9 million Americana & Political sale that focused on memorabilia from the nation’s Founding Fathers and other historic figures.

“The previous record of $95,600 was set in November of 2009 for an 1860 John Breckinridge portrait flag,” said Jeff Bridgman, the winning bidder and owner of Jeff R. Bridgman American Antiques of York County, Pennsylvania. 

Colorful campaign banners in the style of American flags were produced for every winning presidential candidate from William Henry Harrison in 1840 up through, at least, Woodrow Wilson. Highly collectible, none is rarer than the 21-1/2" x 15" flag banner for James Buchanan. “As thrilling as it was to see it sell, I was not surprised to see this flag set a world record,” said Tom Slater, Director of Americana at Heritage. “It is the only Buchanan portrait flag ever to appear at auction and represented a perhaps not-to-be-repeated opportunity for the advanced collector.”

Not only did Bridgman purchase the Buchanan flag, he also was the winning bidder on a Monumental Silk Banner from the October 1789 Parade Welcoming the Recently-installed President to Boston.  “I have never owned an 18th century flag, almost nothing exists of that period, inside or outside of institutions, and this actually had Washington's name on it,” Bridgman said. “Amazing!”

The auction’s first session was devoted to material relating to the Washington and the Founding Fathers. A rare and important Lexington and Concord Broadside, reporting on the events which ignited the American Revolution, sold for $162,500. A remarkable Leopard-skin Saddle Pad owned by both George Washington and British General Edward Braddock ended at $150,000 following interest from multiple bidders. Since 1927 the leopard skin pad has been preserved and displayed by the Society of the Sons of the Revolution, until the decision of the organization's trustees to offer it at this auction.

A rare letter in which President Thomas Jefferson writes to Writes to Georgia Governor John Milledge Regarding the Removal of the Cherokees from Georgia as a Consequence of the Louisiana Purchase made $93,750.

Additional highlights include, but are not limited to:

A 50" tall metal & terracotta maquette of the Statue of Liberty sold for $45,000. 

A 21" x 30" hand-colored map from 1782 Battle of Yorktown sold for $42,500.

An extraordinary, Large, Powerful "Cigar Store Indian" Attributed to the Workshop of Samuel Robb sold for $37,500.

A 17" x 13" oil on canvas painting of George Washington Meeting at Fraunces Tavern ended at $35,000. 

Heritage holds major auctions of historical Americana twice yearly. Consignments are now being accepted for the next sale, slated for November.

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,, has over one million registered bidder-members, and searchable free archives of four million past auction records with prices realized, descriptions and enlargeable photos.

153-Warhol copy.jpgNew York—Swann Galleries broke multiple established records for editions by important artists in their May 11 auction of Contemporary Art. This was the department’s seventh consecutive sale to exceed $1M. The house’s contemporary sales are notable for scarce multiples, though Thursday’s sale offered a premier selection of original works and sculpture as well.

The top lot of the sale was an important etching by David Hockney titled The Artist and Model, 1974, which was purchased for $52,500, above its high estimate of $30,000. Six of the seven offered lots by Hockney sold above or within their estimates, including the complete portfolio of Illustrations for Six Fairy Tales from the Brothers Grimm, 1970, with 39 etchings, some with aquatint, as well as an additional six etchings on handmade paper. The portfolio, in its original blue leather case, sold for $23,400, above a high estimate of $15,000.

Each of the eight offered works by Josef Albers was purchased, exceeding the $36,000 high estimate for the section by more than $11,000. The highlight was the fiery color screenprint DR-a, 1968, which nearly doubled its high estimate to reach $11,250 after rapid phone bidding, a record for the work. Additional runaway lots included two color screenprints featuring the squares for which Albers is known: Hommage au Carré, 1965, and Attic, 1965 ($7,280 and $6,000, a record for the work, respectively).

Julian Opie was represented in the sale by three works that all exceeded their high estimates. The highlight was Walking in the City, 2012, the complete set of six lacquered sculptures of anonymous businesspeople, which sold for $21,250; another highlight was This is Shahnoza 3, 2006, a screenprint depicting four stages of Shahnoza’s dance routine ($6,750, a record for the work).

All three offered works by Ellsworth Kelly found buyers, led by the 1964-65 lithograph Blue and Yellow and Red-Orange, which went to a collector for $16,250, a record for the work. Another lithograph from the same period, Black with White, surpassed its high estimate of $3,500 to sell for $5,000.

Additional records included $11,875 for Richard Diebenkorn’s 1969 color lithograph Untitled (Ocean Park). The previous record for Jean Arp’s Non loin du soleil, de la lune et des étoiles, 1962, stood at $2,000; in this sale, the brightly colored lithograph more than tripled that, flying to $7,250. New records were also achieved for works by Pierre Alechinsky, Chuck Close, Jim Dine, Robert Motherwell and David Wojnarowicz.

Todd Weyman, Director of Prints & Drawings at Swann Galleries, noted, “This sale’s active, competitive bidding signifies that the energy surrounding contemporary art is not going anywhere. Collectors especially exhibit a thirst for post-war works on paper.”

The next sale of Prints & Drawings at Swann Galleries will be held June 15, 2017. For more information or consign quality materials, contact Todd Weyman at

Image: Lot 153 Andy Warhol, Geronimo, color screenprint, 1986. Sold May 11, 2017 for $30,000. (Pre-sale estimate $20,000 to $30,000)

book-cover_remarkable-manuscripts-lower-res.jpgThe winner of this year’s Wolfson History Prize, awarded for excellence in accessible and scholarly history, has been announced as Dr Christopher de Hamel for his book, Meetings with Remarkable Manuscripts. 

De Hamel, who receives the £40,000 prize, is Fellow and former librarian of Corpus Christi College, Cambridge. He was one of six authors shortlisted for the Prize earlier this year. 

Awarded annually by the Wolfson Foundation for over forty years, the Wolfson History Prize has become synonymous with celebrating outstanding history. Established in 1972, it has awarded more than £1.1 million in recognition of the best historical writing being produced in the UK, reflecting qualities of both readability and excellence in writing and research.

Sir David Cannadine, Chair of the Prize Judges, said: “Christopher de Hamel's outstanding and original book pushes the boundaries of what it is and what it means to write history. By framing each manuscript of which he writes as the story of his own personal encounter with it, he leads the reader on many unforgettable journeys of discovery and learning. Deeply imaginative, beautifully written, and unfailingly humane, Meetings with Remarkable Manuscripts distils a lifelong love of these astonishing historical treasures, which the author brings so vividly to life. It is a masterpiece.”

About the Prize-winning book: 

Part travel book, part detective story, part conversation with the reader, Meetings with Remarkable Manuscripts conveys the fascination and excitement of encountering some of the greatest works of art in our culture which, in the originals, are to most people completely inaccessible.

Christopher de Hamel traces the elaborate journeys that these exceptionally precious artefacts have made through time and space; how they have been copied, owned or lusted after; how they have been embroiled in politics and scholarly disputes; and how they have been regarded as objects of supreme luxury and symbols of national identity. 

He introduces us to kings, queens, saints, scribes, artists, librarians, thieves, dealers, collectors and the international community of manuscript scholars, showing us how he and his fellows piece together evidence to reach unexpected conclusions. 

About the author:

In the course of a long career at Sotheby's Christopher de Hamel probably handled and catalogued more illuminated manuscripts and over a wider range than any person alive. He is Fellow and former librarian of Corpus Christi College, Cambridge. The Parker Library, which was in his care from 2000 to 2016, includes many of the earliest manuscripts in English language and history. He is a Fellow of the Society of Antiquaries and the Royal Historical Society. 

Meetings with Remarkable Manuscripts by Christopher de Hamel is published in hardback by Allen Lane at £30 


4034F642-86BF-49CD-AC2D-CAC18B8B2C76.pngBenjamin Spademan is delighted to announce that the debut exhibition of the artist and filmmaker Robert Perkins will open at his London gallery on the 25th of May. Entitled The Written Image, the two-part show will be a presentation of paintings, prints and collages created by Perkins in collaboration with renowned poets, from Seamus Heaney to Allen Ginsberg.

The genesis for the project that would become The Written Image series came from the notable poet Elizabeth Bishop. As a student at Harvard University in the 1970s, Perkins was accepted into Bishop’s small creative writing seminar. At their first one- on-one meeting, she let Perkins sit down before saying, ‘You’re not a poet. What are you?’ Caught off guard, he replied, ‘I want to be a painter.’ Upon learning that Perkins wanted to be an artist, she wrote out her poem ‘The Fish,’ and asked him to illustrate it. Perkins then invited his other teachers, the Nobel Prize-winning Mexican poet Octavio Paz, and American poet Robert Lowell, to collaborate, sparking the germ of a body of work that has now been ongoing for 45 years.

The works themselves are borne from Perkins’s personal relationships, and reflect the long history of interplay between poets and painters, word and image: from Chinese and Japanese scrolls and Persian miniatures, to the illuminated manuscripts of the Middle Ages, William Blake, and the collaboration between the painter Larry Rivers and poet Frank O’Hara in the 1950s. Robert Perkins’s homage to poetry starts with the poet’s handwritten text - in his own words, ‘a self-portrait of the poet in the moment’ - which is then combined with Perkins’s lyrical imagery. The poem itself, the physicality of the letters and words - split open, obscured, fragmented - provides the constant architecture upon which Perkins crafts his thoughtful visual vocabulary. The images follow poetry’s intrinsic grace and compression, and Perkins’s sensitivity to materials - rich pigments and the almost sculptural quality of paper - contributes to a sophisticated balance of word and image.

For example, in a 1989 work inspired by a poem in Seamus Heaney’s book, The Haw Lantern, which describes the felling of a chestnut tree, and metaphorically the loss of the poet’s mother, Perkins depicts a partially split branch with a multitude of tiny, white wood chips spilling across the page. The violence of this imagery mirrors the melancholic poignancy of Heaney’s words: ‘I heard the hatchet’s differentiated/ Accurate cut, the crack, the sigh/ And collapse of what luxuriated/ Through the shocked tips and wreckage of it all... Silent, beyond silence listened for.’

The work created in collaboration with Allen Ginsberg begins with a journal entry that, though written decades before Ginsberg’s death, is wholly concerned with mortality: ‘What’s to be done about Death?’ Perkins created swathes of expressionistic colour with crayons, only to cover this abstract base with India ink, the colour peeking through the scraped away ink. As Perkins later recalled: ‘The tension between the suppressed colour and the colour poking through seemed to speak about Allen’s concerns, captured something of his childlike nature.’ There is prescience in Ginsberg’s final line, ‘not to be buried in the cemetery near Newark airport some day?’; the poet lies buried there today.

Not literal representations of the poetry, Perkins’s body of work moves evocatively between word and image. It is, in the words of poet and art critic Ilka Scobie, ‘an elegant dance between poetry’s immaterial words and the grounded practice of his mark making.’

Says Benjamin Spademan: ‘I'm excited to be bringing this exhibition to the gallery. It directly reflects the ethos that I have been trying to develop here, the interaction of books and art. I love the way Robert Perkins immersed himself in modern poetry and found ways of engaging with texts through his art. His catalogue gives profound insights into the creative process, as well as a fund of highly entertaining anecdotes.’

The exhibition runs 25 May - 23 June 2017.

A catalogue will present the whole collection, with introductions by art critic Ilka Scobie and Ewan Clayton, author of The Golden Thread, A History of Writing.

Part two of the exhibition will take place at Benjamin Spademan Rare Books in November 2017.

Image: (Top Left) Allen Ginsberg, What’s to be done, 1998; (Top Right) Seamus Heaney, from The Haw Lantern, 1989; (Bottom) Octavio Paz, fragment from Trowbridge Street, 1972 © Robert Perkins, by courtesy of the artist and Benjamin Spademan Rare Books. Photo: Antiquarian Photographer, Louie Fasciolo. 

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 vast array of antique volumes chronicling the opening of the American West will be featured, along with a private collection of original Currier and Ives plates.          

Antique and rare books in this catalog include numerous titles. Among the earliest examples are two tomes by William Camden, including the 1590 printing of his landmark chorographical work, "Britannia Sive Florentissimorum Regnorum," retaining the original wood cut illustrations, and "Remains Concerning Britaine," produced in 1614. Additional rare pieces include Roberts and Croly's "The Holy Land," published in six volumes in 1855, the 1801 first edition of Alexander Mackenzie's "Voyages from Montreal," featuring folding maps, and the limited first edition of Wheat's "1540-1861 Mapping the Transmississippi West," produced in six volumes.                     

Several pleasing collections will also be showcased. Highlighted is a sizable group of antique volumes relating to the American West, including such examples as the six-volume, 1845 printing of Wilkes' "Narrative of the United States Exploring Expedition," retaining the original hand-colored folding map, and numerous mid-nineteenth century titles by John Fremont including works relating to California, the Rocky Mountains, Oregon, Missouri, Native American Indians and more. Other vintage and antique pieces also include volumes from the celebrated Fruits of New York series, fancy Easton Press bindings, author-signed copies, and areas such as arctic and polar exploration, magic, books-on-books, military history, Civil War, decorative antique, multi-volume sets, and much more.   

Found throughout this catalog are interesting ephemera offerings. These lots include antique photographs and tintypes, 18th & 19th century maps and atlases, antique cartes-de-visite, Americana, Civil War-related, original antique correspondence, bound compilations of Harper's Weekly (including Civil War year issues), rare prints of photogravure works by Yousuf Karsh, antique lithographs and engravings, antique magazines, issues of Derriere le Miroir, stamps, Hollywood memorabilia, postcards, and other desirable 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


Histoire Ancienne copy.jpgTaking place in the beautiful grounds of the Royal Chelsea Hospital at the height of London’s busy summer art season, Masterpiece London will take place from June 29 to July 5. For this prestigious event, Les Enluminures will be presenting an array of important acquisitions. Notable highlights include a royal manuscript commissioned within the court of Charles V, a pristine 13th-century missal from Soissons and a Roman ring bearing the inscription “Utere Felix”. 

Of the upmost importance, the Histoire Ancienne jusqu’à César and Fait des Romains is a historical chronicle of immense size, and one of the greatest historical compilations of the later Middle Ages. Our copy was written by King Charles V’s scribe, Raoulet d’Orléans, and illuminated by two artists who worked almost exclusively for the King. The 78 illuminations sparkling with gold leaf and in near-perfect condition dazzle the eye. The provenance is nearly unbroken - from the fourteenth century Valois court up to and including major modern bibliophiles (Chester Beatty, William Hearst, James and Elizabeth Ferrell). The manuscript is well-known but has not been for public sale for more than a quarter century. It was exhibited at and published by the J. Paul Getty Museum. 

Another highlight to be exhibited at Masterpiece London is one of the nest thirteenth-century Missals still in private hands. This splendid Missal with its majestic full-page Cruci xion and numerous large historiated initials represents the very peak of Gothic illumination at its apogee in France, which was itself the home of the Gothic style. The present manuscript stands out for its certain localization to the diocese of Soissons and for its exceptionally full cycle of illustrations. Impressive in size, and in faultless condition, it is one of the greatest testimonies of thirteenth-century illumination in private hands. 

The third highlight comes in the form of a Roman open-work ring inscribed with the Latin inscription “Utere Felix” meaning “Use (this) happily” or “Use it with luck”. This inscription, framed with scrolls, ivy and pelta motifs, seems to have been popular in various parts of the Roman Empire with examples found on Roman rings of the 2nd to 4th centuries AD and other jewels such as bracelets, belts, buckles and bulae. In superb condition and of considerable weight, this ring is an important example of Roman jewelry evidently made for a high-ranking individual.


June 29 to July 5, 2017
Preview: Tuesday, June 28, 11 am - 9 pm  

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. 

Lot_103.jpgDenver, Pennsylvania, May 11, 2017 - Morphy Auctions, the finest auction destination for fresh to the market collections, is excited to announce this exclusively comic books auction to be held on June 22, 2017.  Bidding starts promptly at 9:00 AM. All lots from this sale are on display in Morphy's Denver gallery and are available for preview now. 

This sale will undoubtedly weave a web of intrigue with its selection of titles featuring Spider Man.  Amazingly, over 40 fine lots are on offer featuring this favorite superhero.  Lot #46, an Amazing Fantasy #15 CGC Universal Grade 4.0 Silver Age Key Comic Book, is estimated at $12,000-18,000.  Considered a Holy Grail by many, it features off white pages and tells the origin of Spider Man through Stan Lee’s story, Stan Ditko’s art, and Jack Kirby’s cover.  And lot #1, an Amazing Spider Man #1 1963 Marvel Comic Book CGC Universal Grade 4.5, is one-derful in so many ways.  It retells the origins of Spider Man and is estimated at $5,000-6,500.

Comic books featuring Iron Man over time are a heavy metal favorite category in this comprehensive sale.  A great choice for summertime vacation reading would have to be lot #66, a lot of 33 The Invincible Iron Man #69 - #103 Bronze Age Key Comic Books.  This literal library, estimated at $600-1,200, consists of a run of the Invincible Iron Man Comic Books; all are ungraded and in excellent condition.  And it’s a nail biter with lot #104, a Tales Of Suspense #39 1963 CGC Universal Grade 4.0 Comic Book, estimated at $3,500-5,000.  This excellent, highly sought after book tells the tale of the origins of Iron Man, a.k.a. Tony Stark.    

X marks the spot when it comes to this sale’s offerings of premier X-Men comic books.  It’s a new beginning with lot #78, a Marvel X-Men #1 1963 Comic Book CGC Universal Grade 5.0, estimated at $4,000-5,000.  This important book has cream to off white pages and features the origin and first appearance of The X-Men.  Collectors are certain to make a big deal over lot #79, a Giant Size X-Men #1 NM CGC 9.4 Comic Book from 1975, estimated at $1,800-2,500.  This larger than life offering presents the new X-Men - First Storm, Nightcrawler, Colossus, and Thunderbird - for the first time. 

This auction also offers a heroic assortment of books featuring better and lesser known super heros.  Lot #48, a Marvel The Avengers #4 1964 Comic Book CGC Universal Grade 8.0 featuring the first Silver Age appearance of Captain America is estimated at $3,500-4,500.  Lot #61, an Incredible Hulk #181 CGC Universal Grade 8.0 1974 Bronze Age Key Comic Book debuting the first full appearance of Wolverine is estimated at $2,000-3,000.  Lot #103, a DC Comics Showcase #22 Comic Book 1959 CGC Universal Grade 5.5 is a shining example as well.  It features the origin of the Silver Age Green Lantern and is estimated at $4,000-5,000.  And it’s a most excellent adventure with lot #85, a Marvel Journey Into Mystery #83 Comic Book 1962 CGC Universal Grade 4.0.  This highly desirable book includes the origin and first appearance of Thor and is estimated at $4,000-5,000.

According to Dan Morphy, President of Morphy Auctions, “This comic book sale offers an exciting and comprehensive selection of some of the world’s most favorite and sought after titles.  Their illustrations and stories are riveting and it’s easy to get lost in their surreal worlds!  The Amazing Fantasy book featuring the origins of Spider Man is truly in a class by itself. Please visit our Denver, PA gallery to see these works of art firsthand - it’s worth a trip from anywhere!”

About Morphy Auctions:
Morphy Auctions, the finest auction destination for fresh to the market collectibles, is headquartered in Denver, PA. The company also has a satellite office in Las Vegas, NV. A full-service auction house, Morphy’s presents over 35 premier auctions annually. The company’s three-part mission includes ensuring consignor satisfaction with every auction, offering world-class customer service that goes above and beyond the call of duty, and providing relentless buyer support to create confidence for all clients seeking a trustworthy purchasing experience.  

Morphy’s team of specialists includes the nation's finest and most recognized experts in popular collecting categories including advertising; firearms; fine automobiles, automobilia and petroliana; coin-operated machines; antiques, fine, and decorative art; dolls, bears, toys, and trains; cast iron; coins; marbles; jewelry and wrist watches. Morphy Auctions is owned by President and Founder Dan Morphy, himself a lifelong and passionate collector of antiques, banks, and numerous other categories.  Morphy's has been in business since 2004 and has grown from two to over 65 employees in over a decade. 

Morphy Auctions is located at 2000 North Reading Road, Denver, PA 17517.  We can be reached by phone at 717-335-3435, by fax at 717-336-7115, and by email at  Morphy Auctions is open seven days a week from 9am to 4pm.  For more information on Morphy's, please visit

Image: DC Comics Showcase #22 Comic Book 1959 CGC Universal Grade 5.5. Estimate $4,000-5,000.

FALLS CHURCH, Va. - Quinn’s Auction Galleries Executive Vice President Matthew Quinn today announced the appointment of Catherine Payling, MBE, to the position of director of Waverly Rare Books, a Quinn’s subsidiary. Payling’s 25-year career in creative and nonprofit industries includes 15 years as curator/director of Keats House Museum in Rome and two years as an adjunct professor at Georgetown University in Washington, D.C.

A native of Newcastle upon Tyne, England, Payling earned both an undergraduate and master’s degree from Oxford University, with a major in English literature and language. Her post-university association with the arts began with a two-year stint as curator of printed books and manuscripts with the National Maritime Museum in London.

Also a chartered accountant with British and international credentials, Payling worked from 1988 to 1992 as an auditor with Ernst and Young in London. This was followed by two years as financial controller of London’s Royal Opera House. 

Payling’s next major management position was as chief operating officer of the Royal Philharmonic Orchestra in London. In that capacity, Payling oversaw all top-level business matters, including contracts, finance and personnel. 

In 1997, Payling began a 15-year tenure as curator/director of the Keats House Museum in Rome, one of Europe’s largest and most important research libraries devoted to British and European Romanticism. Payling’s responsibilities included managing the museum’s extensive collection of paintings, sculpture and other artworks, both for the benefit of the general public and specialized researchers. While in Rome, Payling discovered, authenticated and arranged for the publication of a Mary Shelley manuscript novella that had been lost for nearly two centuries. 

Working with museums, auction houses, scholars and collectors while curator/director of the Keats House Museum, Payling became an acknowledged expert in the authentication, conservation and preservation of manuscripts and other documents. She curated exhibitions with the American Academy in Rome and published numerous papers on Italy’s Anglo-American communities between 1790 and present day.

In 2003, His Royal Highness Prince Charles honored Catherine Payling with an MBE Award for her service to Anglo-Italian relations. 

After relocating to the United States, Payling accepted a position as adjunct professor at Georgetown University, where she taught marketing and fundraising. Since 2014, Payling’s broad expertise has benefited private design clients and several Washington-area nonprofits, including Georgetown Ministry Center and Grace Episcopal Church.

Payling is married to Duncan Wu, who is the Raymond Wagner Professor of Literary Studies at Georgetown University. Both have been lifelong collectors of fine and decorative art and previously attended Quinn’s sales, where Catherine, in particular, became acquainted with the company’s management and staff.

“Catherine used to attend our auctions and treasure-hunt. She loves the auction business,” Matthew Quinn said. “When the director’s position in our rare book division became available, there were several strong candidates. Before Catherine and I sat down to talk, I had no idea how impressive her background was, but it quickly became evident that she is an exceptional talent with an incredible work history. We’re very excited that she has joined us.”

Payling commented: “I am a long-time enthusiast for everything the Quinns do, and for the spirit and family values that drive the company forward. I am so lucky to have a position that allows me to sell books, work with all sorts of people, and anticipate new surprises coming through the gallery’s doors every single day of the week.”

The first Waverly Rare Books catalog sale supervised by Catherine Payling will be held on Thursday, June 1. For additional information, visit Tel. 703-532-5632.

3374120_2 copy.jpgBOSTON, MA - In commemoration of JFK’s 100th birthday on May 29, 2017, RR Auction has curated an once-in-a-lifetime assortment of Kennedy artifacts, signed material, and photographs to celebrate the life of America’s beloved 35th president.  The special online offering is scheduled to begin on May 11 and will conclude on May 18, 2017.

A highlight is a John F. Kennedy 1955 'Profiles in Courage' hand-annotated speech manuscript page. 

A page from a draft of a speech given by Senator John F. Kennedy before the Sigma Delta Chi Journalism Fraternity at the University Club in Boston.

The annotated typed manuscript page with corrections in Kennedy's hand, from a speech given on October 27, 1955; the quotes featured in this speech were later published on pages 9 and 10 of his 1957 Pulitzer Prize-winning book Profiles in Courage. In part: "Still another pressure, and in a sense the most important one, is the desire to be reelected. This is not a wholly selfish motive—for those who go down to defeat in the hopeless defense of a single principle will not return to fight for that or any other principle in the future. A Senator must consider the effect of that defeat upon his party, his friends and supporters, and even his wife and children. Certainly in no other occupation is a man expected to sacrifice honor, prestige and his chosen career for the national good. And thus former Senator Ashurst of Arizona reportedly said to his colleague Mark Smith: 'Mark, the great trouble with you is that you refuse to be a demagogue. You will not submerge your principles in order to get yourself elected. You must learn that there are times when a man in public life is compelled to rise above his principles.' Finally, of course, is the pressure which embraces all other pressures—the pressure of a Senator's constituency, the interest groups, the organized letter-writers and, as you know, the newspapers. It is impossible to satisfy them all. Ex-Congressman McGroary of California wrote a constituent in 1934: 'One of the countless drawbacks of being in Congress is that I am compelled to receive impertinent letters from a jackass like you, in which you say I promised to have the Sierra Madre mountains reforested and I have been in Congress two months and haven't done it. Will you please take two running jumps and go to hell.' Few of us follow that urge—but the provocation is there, from unreasonable letters, impossible requests, hopelessly inconsistent demands and endlessly unsatisfied grievances."

Kennedy underlines several phrases in pencil and makes a few deletions, in addition to writing the politicians' names, "Ashurst" and "McGroary," in the left margin; the quotes from Ashurt and McGroary are what also appeared in Profiles in Courage.

Originally sold by Charles Hamilton in 1975. Accompanied by an early printing of Profiles in Courage, a photocopied typescript of Kennedy's final draft of this speech, and unsigned documents related to the German publication of the book.

“This speech was perhaps the first time that Kennedy revealed his thoughts on courage and politics, which would later be immortalized in Profiles in Courage,” said  Bobby Livingston, Executive VP at RR Auction.

“Manuscripts related to the award-winning book are exceedingly scarce, and with numerous corrections made in Kennedy's hand this is a superb example.”

Another highlight is one-of-a-kind historically significant official US Senate personal identification card issued to John F. Kennedy.  

The ID Card features an image of the young senator, neatly signed in full in fountain pen, "John F. Kennedy." Accompanied by a letter of authenticity from Kennedy's longtime secretary Evelyn Lincoln on US Senate memorandum letterhead, April 27, 1987, to noted JFK collector Robert L. White, in full: "This United States Senate I.D. card issued to the late John F. Kennedy, with signature and photo, which you now have in your possession, was carried by him in his wallet while he was a United States Senator." Also includes an original Senate seating diagram from Kennedy's first term, one page both sides, which depicts Kennedy's seat as number 93.

After serving three terms in the House of Representatives, Kennedy was elected to the Senate in 1952. His term began on January 3, 1953, and he served as the junior senator from Massachusetts until December 22, 1960, just before entering the presidency.

“This personal ID card is an absolutely amazing relic from this important stage in his political life,” said Bobby Livingston, Executive VP at RR Auction.

Also featured is an incredible assortment of historic Kennedy photographs from The Ronnie Paloger Collection. The 100 lots of photographs depict a fascinating and crucial period in JFK’s life from 1946-1953, chronicling JFK’s first political congressional campaign of 1946, his run for U.S. senator in 1952, and his marriage to Jackie in 1953. LIFE magazine featured six of these photographs in a twelve-page ‘photo essay’ chapter in their ‘special edition’ commemorating JFK’s centennial birthday.

Additional items include:

• Handwritten letter from Lt. Kennedy while on “PT Shakedown” duties in Miami, only months removed from his harrowing PT-109 rescue.

• Jackie’s 1960 Maternity dress, worn two months away from delivering JFK, Jr., and her husband winning the presidency

• Impressive Louis Lupa original pastel JFK portrait.

• Kennedy’s Stately Pair of Eagle Bookends.

The John F. Kennedy Auction from RR Auction will begin on May 11 and conclude on May 18. More details can be found online at


Order of Surrender copy.jpgA typed Order of Surrender from the 1916 Rising, signed by the leader of the rebellion, Patrick Pearse, is to be offered at Bonhams Fine Books, Atlases, Manuscripts and Photographs sale in London on 14 June. It is estimated at £80,000-100,000.

The Order of Surrender is one of the most significant documents in Irish 20th century history. It ended the abortive attempt in April 1916 by Irish Nationalists in Dublin to overthrow British rule in Ireland, and establish an independent Irish State. The nationalist uprising, which broke out on 24 April, Easter Monday, under the overall leadership of Pearse, was met by the British authorities with uncompromising and overwhelming force. On Saturday 29 April, after six days of bitter fighting, Pearse, offered unconditional surrender in order to prevent further bloodshed. A schoolteacher by profession, Pearse was also leader of the Irish Volunteers and, as President of the Provisional Government, had read out the Proclamation of Independence outside the General Post Office on Easter Monday at the beginning of the Rising. 

The surrender order itself was hurriedly composed at the British army headquarters. In the name of the Provisional Government it called on commandants of the nationalist fighters to ‘order their command to lay down arms’.  Such was the haste of composition, that in the copy to be offered for sale at Bonhams the word ‘to’ appears as ‘tp’.  A small number of copies were made, signed by Pearse and distributed to rebel positions in Dublin and the outlying countryside by Nurse Elizabeth O’Farrell, who had acted as go between during the surrender negotiations, and members of the Capuchin community.

It is not known exactly how many typed copies were produced, but it is thought to be in single figures. Two surviving copies are held by the National Library of Ireland. Another, signed by Pearse and countersigned by James Connolly, is held at the Imperial War Museum, London. In addition, there are known to be three hand written drafts. Uniquely, the typed copy for sale bears a tricolour stamp printed by the rebels at the time of the Rising depicting William Allen, Michael Larkin and William O'Brien, the 'Manchester Martyrs', who were hung in Manchester for killing a police constable during a failed rescue attempt of two Fenian prisoners. The stamp was possibly affixed to authenticate the order, but may equally have been added at a later date.

Writing in the summer 2017 edition of Bonhams magazine the Irish writer, Ronan McGreevy editor of Centenary - Ireland Remembers 1916, which will be published in the autumn, explains the significance of the Surrender Order a follows:

“The terse document expresses Pearse’s belief that he would certainly be executed, but that all the others would be spared. Instead the British executed 15 leaders, including Pearse, and imprisoned thousands. This brutal military fiat turned Irish public opinion against British rule in Ireland exactly as the rebels had hoped”.

Bonhams representative in Ireland, manuscript specialist Kieran O’Boyle, said, “It is difficult to overstate the importance of this document to the history of Ireland. While in the short term, the surrender represented failure, the public reaction to the rising and in particular to the harsh way in which it was suppressed, galvanised the movement for independence and gave it the wide popular support it had previously lacked.”    

Image: Order of Surrender, 29 April 1916. Signed by Patrick Pearse. Estimate £80,000-100,000

vcsPRAsset_531423_105299_414756ac-1a03-434e-9c88-1f3ccf4cd74f_0.jpgLOS ANGELES, CALIFORNIA - (May 10, 2017 ) - Van Eaton Galleries, one of the world’s premier animation and Disneyana auction houses, has announced a rediscovered original map of Disneyland co-created by Walt Disney himself when the park was still in its earliest days of inception. The exceptional artifact has never been offered at auction before and has not been viewed by the public in over 60 years. This map was pivotal in obtaining the finances Walt and his brother Roy needed to make their dream a reality, and is the single most significant piece of Disneyland memorabilia to come to auction to date.

With over 600 million total visitors since its opening day and nearing its 62nd Anniversary, it is hard to imagine that when Walt Disney first considered the possibility of building a theme park, he was often told that the idea would never succeed.

By the early 1950s, Walt Disney was already a household name. His studio had created memorable characters such as Mickey Mouse and Donald Duck, as well as breathtaking animated feature films such as Snow White and the Seven Dwarfs, Alice in Wonderland, and Cinderella. It was no doubt that Walt Disney was a man with creative ideas, but Disneyland was set to become the place where Walt could let his imagination flourish beyond any other.

Walt first considered building a theme park while watching his children play on a carousel in a local Los Angeles park. He wanted to build a place where both children and adults could have fun together. At first, Walt planned to build his park in an empty lot next to his Burbank Studio, however, as he began to imagine larger-than-life castles, wild Frontiers, and futuristic worlds of Tomorrow, his imagination and creativity quickly outgrew the small space and he set his sights on bigger locations.

In 1952, Walt had his team look into the costs of making his family-friendly theme park a reality. Unable to get funding from his Studio, Walt borrowed all of the money he could and even mortgaged his own home. The heavy financial costs made Walt realize he needed outside help to keep his dream alive.

In late 1953, Walt’s brother Roy Disney scheduled meetings in New York with leading banks and the three television networks; CBS, NBC, and ABC, to try and obtain financing for Disneyland. Walt knew that this was his best and possibly last chance to make a deal that could make Disneyland a reality. However, Walt realized that words alone would not be enough to convey the images he had in his head. He already had technical drawings and a few blueprints, but knew that if he could just show them a detailed picture of what Disneyland could become, then his chances of obtaining funding would greatly increase.

On the morning of Saturday, September 26, 1953, Walt called on his friend and former employee Herb Ryman to draw what would become one of the most important drawings in Disney history. Ryman, an established artist within the film industry, was familiar with creating detailed illustrations within short deadlines. However, when Walt told him that he needed a large aerial view of Disneyland by Monday morning for Roy to take to New York, Ryman did not think it was possible. The two men agreed that if they both stayed at the Disney Studio and worked nonstop both Saturday and Sunday, they could finish the drawing in time.

In what would be remembered as the “Lost Weekend”, Walt spent those two days narrating in fine detail every aspect of his park that he could muster, and Ryman, under Walt’s direction, turned his ideas into the first large, tangible visual representation of Disneyland ever created. This drawing was used to create a large tri-fold presentation board that Roy could take to New York as his main presentation piece.

Roy’s meetings with the banks and two of the networks proved fruitless, but his presentation proved successful with ABC, who agreed to give Walt the funding he needed to build his park in exchange for access to Disney’s film library, and a new Disneyland television show hosted by Walt himself, among other stipulations. The agreement remains the largest television network deal in history.

When Roy arrived back at the studio, the map was returned to Walt where he consistently used it in his meetings with developers and investors. When the map wasn’t being used by Walt, he had it displayed at the studio to inspire his team while they were further designing the park.

Walt was so impressed with this original map that in 1954, he had the map enhanced with additional black outlines and color, and included several new sketches within it so that it could be used as the first promotional image of Disneyland that the public would be able to see. The history associated with this piece is astounding.                             

In September of 1954, one year after the map was created; the newly enhanced original was shown to the public as the first ever image of the park. For the next six months, leading up to the grand opening of Disneyland in 1955, this map was used as a promotional image in magazines and newspapers, and could be seen in person at special events in order to promote the park’s opening.

By March of 1955, the map had a long list of achievements unparalleled by any other Disney artwork. The map was the first complete image of Disneyland, successfully sold the idea of the park to ABC, secured early investors and developers, became the basis for all of the later conceptual and developmental artwork for the park, was the first ever released image of Disneyland, and was used heavily in magazines, newspapers, and other promotional media prior to the park’s opening.

Then, in March 1955, during one of the final planning meetings for the park, Grenade Curran, a young Disney employee, noticed the original map abandoned in a corner of Walt’s office and asked Walt if he could keep the map as a memento. Walt had befriended Curran’s parents in the years before, and developed a playful banter with Curran during his time at the Disney Studio. Walt had affectionately come to nickname Curran “Shrapnel” due to his unusual first name. That friendly relationship is what led Walt to give Curran the original map to take home that day.

Curran, knowing that the map was important, stored it away carefully as a memento of his time at the Studio and his friendship with Walt. However, Curran was unaware that he was unknowingly preserving one of the most significant artifacts in Disney history.

Now, over 60 years later, this original Disneyland map has been re-discovered and is coming to auction at Van Eaton Galleries in Sherman Oaks, California. This map, the highlight of an approximately 800-item auction of original Disneyland props, costumes, souvenirs, and artifacts, is estimated to sell for $750,000-$1,000,000, making it the most valuable Disneyland artifact ever offered at auction.

Van Eaton Galleries, a now veteran of Disneyland and Disney-themed auctions including their “The Story of Disneyland” and “Collecting Disney” auctions, has seen prior items such as an original PeopleMover ride vehicle sell for upwards of $400,000, but has never seen a piece as significant to Disneyland history as this original map.

Mike Van Eaton, co-owner of Van Eaton Galleries, says, “That an artifact like this, which is so deeply rooted in the creation of Disneyland, still exists today is astonishing. With the discovery of this piece, we have an item that Walt Disney created during a 48 hour period of hard work and imaginative genius, which succeeded in getting him the funding he needed to build one of the most successful endeavors of his career, and which he continued to personally use throughout the entire building stages of Disneyland. Without this map, there would likely not be a Disneyland today. We’re very excited to be bringing this item to auction and to have the chance to share the story behind this map with the millions of people who love Disneyland just as Walt originally wanted”.

The auction is set to take place June 2017 at Van Eaton Galleries in Sherman Oaks, California, with an exhibition in May where the public can view the items in person.


Van Eaton Galleries                                                                                                       

13613 Ventura Blvd

Sherman Oaks, California 91423

(818) 788-2357


PUBLIC EXHIBITION will open June 2, 2017

Leslie Hindman Auctioneers has hired Gretchen Hause as a specialist and the director of its Fine Books and Manuscripts department. Prior to joining the team, Ms. Hause worked as an associate specialist in the Books and Manuscripts Department at Christie's, New York.

"I enjoyed my 7 years at Christie's immensely, as they afforded me the opportunity to work with wonderful colleagues, collections and collectors," said Gretchen  Hause, Director of Fine Books and Manuscripts at Leslie Hindman Auctioneers. "I¹m thrilled to join Leslie Hindman Auctioneers, and to return to Chicago, which has a wonderful community of bibliophiles and incredible research institutions and libraries. I look forward to continuing my relationships with clients as well as meeting new clients and collectors."

Ms. Hause received a Masters Degree in English Literature from Loyola University Chicago and a Bachelor of Arts, Magna Cum Laude, in English Literature from Lycoming College. Ms. Hause spent numerous summers taking courses at the Rare Book School of the University of Virginia.

"My academic background is in literature, and I have taken both introductory and advanced courses in bibliography at Rare Book School, where I have also studied the history of bookbinding," said Hause. "I have experience handling and cataloging all types of books for sale, but my personal interests include literature, maps and atlases, travel and exploration, botany, science and medicine, and Chicago history."

Ms. Hause has also worked as a part-time instructor in the English department and an advisor to first and second year students at Loyola University Chicago.

"Gretchen's background is extremely thorough. Her impressive education and experience at Christie's will be of huge benefit to our clients," said Leslie Hindman, President and CEO.

The Fine Books and Manuscripts department is currently accepting consignments for its September auction. Gretchen Hause can be reached at or at 312.334.4229.  

On 19 May in London, Sotheby’s will offer at auction an outstanding single-owner collection of photographs, The Discerning Eye: Property from the Collection of Eric Franck, Part 1. The sale comprises 119 lots which showcase different shades of modernism around the world ranging from well-known Magnum photographers to lesser-known artists such as Heinz Hajek-Halke and Pentti Sammallahti.

Eric Franck has for many years been synonymous with both expertise and rarity in the photographic world. Through his decades of experience both as a fine art dealer and collector, his appreciation and curatorial influence has shaped our understanding of some of the most celebrated photographers of the 20th century, thus contributing substantially to the modern vision of photography.

Through his personal connections with photographers, such as his sister Martine Franck and her husband Henri Cartier-Bresson, Eric has had unique access to some of the most significant and iconic works of the photographic canon. In 2012 Eric and his wife Louise gifted the Tate over 1,400 photographs of London by 120 artists dating from the 1880s to the 2000s. This incredibly generous donation doubled the museums entire holdings of photographs, and has made a significant contribution to the nation’s understanding and appreciation of photography as an artistic medium.

Presented for auction in Part 1 is a carefully selected group of works from Erik’s personal collection, including rare prints by Henri Cartier-Bresson and Horacio Coppola amongst others. Part 2 will be held at Sotheby’s in Paris in November. 


Mayne-May-17-Web.jpgRoger Mayne - London & Paris brings together for the first time recently discovered vintage prints from the archive of the acclaimed post-war British photographer Roger Mayne.

The exhibition displays photographs that capture the vibrancy of 1950s and 1960s London. As well as prints from Roger Mayne’s acclaimed Southam Street series, the exhibition highlights those from the wider Notting Hill and North Kensington areas. These fascinatingly intimate images, with children playing and women chatting in doorways, record a London street life that has since disappeared. 

The Paris series features scenes which even those familiar with Roger Mayne’s work will not have seen and exhibit the strongest characteristics of his oeuvre in a new setting. 1950s schoolchildren in Montmartre and a concierge standing in slippers at a doorway are reminiscent of the subjects which Mayne had captured in London. They also nod to the French photographers whose work he so admired. 

These rare vintage prints, new to the market, were printed by Roger Mayne himself soon after the negatives were made. They are increasingly scarce as Mayne did not print in large numbers or numbered editions as is usual today.

Roger Mayne - London & Paris is the first photography exhibition held by Bernard Quaritch Ltd at 40 South Audley Street and offers a rare opportunity to visit on a Saturday, when the shop is usually closed. The photographs are exhibited alongside the antiquarian books which line the firm’s elegant front room.
Roger Mayne’s photographs are framed by the social issues of his time and regularly appeared on the covers of Penguin paperbacks. Titles include Children under Stress, Poverty: The Forgotten Englishmen, Because They’re Black and Anatomy of Prison. Copies of these books, and many others, accompany the exhibition.
In the present day, Roger Mayne’s photographs encourage us to reflect on the sea change childhood has undergone in the past sixty years. The post-war generation’s games and interactions are a far cry from the modern experience.
All photographs in the exhibition come directly from the Roger Mayne Archive and are for sale.

323-Christie copy.jpgNew York—On Thursday, May 4, Swann Galleries held an auction of Autographs, with twentieth-century highlights by authors taking the spotlight. The sale performed well overall, with 88% of items offered finding buyers.

The top lot was a photograph by Elliot Erwitt of President Dwight D. Eisenhower with his successor John F. Kennedy, signed by both, during their historic transitional meeting at the White House on December 6, 1960, which more than doubled its high estimate of $15,000 to sell for $32,500.

Additional material from the three branches of American government included several group portraits of Supreme Court Justices, led by a photograph of all nine justices of the 1925 Taft Court, signed by each, which reached $10,625, above a high estimate of $2,000. This was followed by a photograph of each justice of the 1939 Hughes Court, also signed by all, which sold for $5,500.

Autographs by authors performed especially well, with highlights being an Autograph Letter Signed by Kahlil Gibran to a Mr. Horowitz on July 10, 1928, which reached more than ten times its high estimate of $1,200 to sell to a collector for $13,000, a record for an autograph by Gibran. Another record was achieved for an Autograph Manuscript by Agatha Christie that included drafts of various novels and plays, written circa 1948 in Baghdad, which reached $18,750, a record for a manuscript by Christie. Three drafts by Arthur Conan Doyle for the lecture he delivered on his 1894 North American Tour sold for $10,652.

Also among the top lots were love letters by Ernest Hemingway to Marlene Dietrich, led by a 1952 letter inviting her to visit him in Cuba and discussing his latest novel, The Old Man and the Sea, written on hotel stationery on August 12, 1952, which sold for $18,750. In another, written in Venice two years before, he tells her he does not believe in horoscopes; the two-page Autograph Letter Signed sold to a collector for $11,250.

Marco Tomaschett, Autographs Specialist at Swann Galleries, noted, “There continues to be a rapidly intensifying interest in high-quality autographs associated with past leaders in business, including Andrew Carnegie (in this sale, but also especially Alexander Hamilton and Robert Morris in other recent auctions).” The standout lot in question was a Photograph Signed and Inscribed by Carnegie, which carried an estimate of $600 to $900, but after rabid bidding reached $3,750.

The next sale of Autographs at Swann Galleries will be held November 7, 2017. For more information or consign quality materials, contact Marco Tomaschett at

Image: Lot 323 Agatha Christie, Autograph Manuscript notebook with early drafts of her plays, Baghdad, circa 1948. Sold May 4, 2017 for $18,750. (Pre-sale estimate $4,000 to $6,000)

Leslie Hindman Auctioneers is pleased to announce the appointment of Michael E. Shapiro as Senior Advisor, Museums and Private Collections. Mr. Shapiro recently retired from his role as Director at the High Museum of Art in Atlanta, Georgia. He will work closely with the firm's six locations, including its Chicago headquarters.

Shapiro joined the High's leadership team in 1995 and was the Nancy and Holcombe T. Green, Jr. Director of the High Museum of Art from March 2000 through July 2015. At the High, Shapiro oversaw unprecedented growth of the Museum's collection, developed numerous partnerships with national and international art institutions and increased the reach and impact of the Museum's education programming and accessibility for diverse audiences.

"It was a privilege to be at the helm of the High for the past 15 years and to help shape the vision and future of Atlanta's art museum," said Shapiro, "I now look forward to assisting the energetic and entrepreneurial team at Leslie Hindman Auctioneers." 

During his tenure at the High Museum of Art, Shapiro oversaw major initiatives such as a collaboration with former Director of the Musée du Louvre, Henri Loyrette, to found Louvre Atlanta, which brought nearly five hundred works of art from the Louvre's collections to the High over a three-year period. He regularly partnered with museums across the globe to organize similar exhibitions and bring masterpieces to the U.S.

In 2005 Shapiro was involved in a three-building campus expansion for the High. Renzo Piano was selected to design an addition to Richard Meier's iconic building, more than doubling its original size. These efforts, among many others, helped solidify the High as the leading museum of the Southeast and better serves its growing audiences from around the world.

"From leading the expansion and transformation of our campus in 2005 to developing groundbreaking collaborations, such as Louvre Atlanta, the High has been transformed from a regional powerhouse into a nationally and internationally recognized institution," said Shapiro.

Prior to his tenure at the High, Shapiro held positions as director of the Los Angeles County Museum of Art, chief curator at The Saint Louis Art Museum and as assistant professor in the Department of Art at Duke University, Durham, N.C. Shapiro holds a Ph.D. from Harvard University, a Master of Arts degree from Williams College and a Bachelor of Arts degree from Hamilton College. He received an honorary Doctor of Fine Arts degree from Hamilton College in 2016. He specializes in 19th century and 20th century painting and sculpture.

Last year Shapiro released a book titled "Eleven Museums, Eleven Directors: Conversations on Art and Leadership." The book interviews some of the museum industry¹s most innovative change agents and the mentors and events that led them to success in the field.  

"Michael and I have known each other for years. I have an enormous amount of respect for all that he has accomplished in the museum world," said Leslie Hindman, President and CEO of Leslie Hindman Auctioneers, "I¹m absolutely delighted that he will be joining our firm."

Shapiro¹s primary responsibilities will be museum outreach and assisting in collection review and the deaccession process, in conjunction with Leslie Hindman Auctioneers¹ business development and specialist teams.

"Leslie has created one of America's leading auction houses, and I look forward to helping Leslie Hindman Auctioneers continue to flourish."

Michael Shapiro can be reached at

About Leslie Hindman Auctioneers

Leslie Hindman Auctioneers, one of the world's foremost fine art auction houses, has been providing exceptional service and achieving record prices since 1982. With more salerooms in the United States than any other auction house, Leslie Hindman Auctioneers conducts over 60 auctions annually in categories such as fine jewelry and timepieces, contemporary art, 20th century design, rare books, furniture, decorative arts and more. The firm has seven locations that serve a global client base. The firm is also a founding partner of Bidsquare, a live auction platform formed by six leading auction houses, and owns a proprietary online bidding platform, LHLive, as well as LH Exchange, an e-commerce site specializing in high-end designer furniture and decorative arts. Visit for more information.


May21_01_pics.jpgITHACA, NY--Worth Auctions, located in Dryden, NY, announces the launch of their next auction catalog: May 21.   

Worth Auctions is pleased to present an extensive and carefully selected group of fine and decorative prints, watercolors, and drawings.

Central to this specialist art sale is a fine array of seventeenth- to nineteenth-century natural history prints by such masters as John James Audubon, Basil Besler, and Mark Catesby.          

The sale will also showcase numerous important views of the American West, such as Thomas Moran's "Grand Canyon of Arizona," George Catlin's "Wild Horses at Play," and Karl Bodmer's "Dog Dancer."

Equestrian enthusiasts will take interest in the trio of dressage scenes by George Simon Winter, the color print of polo ponies by W.S. Vanderbilt Allen, and the pair of race horse lithographs by Henry Stull.                     

Sporting art collectors will wish to inspect the early fencing engravings by Girard Thibault; the yachting lithographs by Frederic S. Cozzens, and the bare-knuckle boxing aquatint by Henry Heath.

Antiquarian cartography collectors will not want to miss the opportunity to acquire rare and desirable maps by the likes of Pieter van der Aa, Peter Schenk the Elder, and Jacques-Nicholas Bellin.    

Other works worthy of special mention include "The Old Violin" by William Michael Harnett, "Wreck of the US Steam Ship Arctic" by James Edward Buttersworth, and "The Vale of Calaat" by Henry Salt.

Further complementary material will be featured in future sessions in 2017. These cataloged live sales will take place in the Galleries at Worth Asset Brokerage in Freeville, New York and will be simulcast to a global bidding audience via Invaluable, LiveAuctioneers, and eBay Live.  

Worth Auctions is a public auction service specializing in estate work and collections.  The company conducts fully cataloged auctions with global bidding activity over three platforms. The upcoming auctions will feature a wide assortment of items, from pencils to airplanes. For more information, please contact the gallery at 607-330-0358 or email


Screen Shot 2017-05-08 at 8.50.42 AM.pngOn 18 May Dreweatts & Bloomsbury Auctions will hold a sale of Fine Photographs and Photobooks at their new London base, 16-17 Pall Mall, St James’s. The auction features 175 lots with estimates from £100 up to £5,000, with works dating from the early years of the art right up to the present day.

Head of Department, Justine Gruser comments, ‘An extraordinary collection of photographs and photobooks covering an impressive range of subjects and photographers will be on offer in the sale this May, coinciding with the Photo London Fair and many satellite events related to the medium. From beautiful photographs of Japan and New York cityscapes to portraits of cultural icons including Marilyn Monroe and Madonna, the sale explores many sides of photography with several early American photographs and documentary photography.’

Highlights include fifty-two hand-coloured albumen prints of Japan from the 1860s-90s by a range of photographers including Felice Beato (1832- 1909), who was renowned for his views and panoramas of the architecture and landscapes of East Asia (Lot 13, Est £1,200-1,500). The lot includes portraits of tradesmen, geishas and street sellers and rare prints of hara-kiri and crucifixion, as well as street scenes and landscapes of Nagasaki, Kamamura and Tokyo.

The sale includes fascinating and vivid pictures of New York by various photographers such as William Gordon Shields with his iconic image of Brooklyn Bridge, 1916 (Lot 32, Est. £2,000 - £3,000) and William Klein, Staten Island Ferry, 1955 (Lot 92, Est. £2,000 - £3,000). Klein commented on photographing the city, “The kinetic quality of New York, the kids, dirt, madness - I tried to find a photographic style that would come close to it. So I would be grainy and contrasted and black. I’d crop, blur, play with the negatives. I didn’t see clean technique being right for New York. I could imagine my pictures lying in the gutter like the New York Daily News.’

Also featured is The New York Telephone Building, 1936, by Berenice Abbott (Lot 30, Est. £2,500 - £3,000). Abbott, an American, is known for capturing the city and chronicling the buildings and neighbourhoods of Manhattan, many of which are no longer in existence. Social Patron (1948) by Louis Faurer serves as another lively snapshot of the city (Lot 36, Est. £1,200 - £1,500).

An engaging photograph of G. F. Watts, the Victorian painter, sculptor and Royal Academician, Julia Margaret Cameron (1815- 1879) is another sale highlight. The work of Julia Margaret Cameron was recently recognised in a dedicated exhibition held at the V&A. This print was originally in a scrapbook belonging to the artist Edward Clifford which was gifted by Clifford to Henry Blackwell Harris, one of the founders of the Oriental Ceramics Society, who had lodged with him in his Kensington Square flat from 1898 until his death in 1907. This photograph carries an estimate of £1,200 - £1,500 (Lot 15). 

The May auction also includes works by Elsbeth Juda (1911 - 2014). Relatively little was known about Juda until her first major exhibition at the age of 98 which reflected on an accomplished career of 45 years. Juda worked for The Ambassador magazine in London, a publication her husband launched after the pair fled Nazi Germany. She was also a respected portraitist, photographing many artist friends such as Norman Parkinson and Graham Sutherland. A key highlight is a portrait of Henry Moore in his studio at Much Hadham, Hertfordshire, 1953, titled King and Queen (Lot 27 Est. £1,200 - £1,500). Juda was also asked to photograph Winston Churchill to provide visual references for Graham Sutherland’s portrait of the former Prime Minister, commissioned by the Houses of Parliament for his 80th birthday. Sir Winston Churchill, (at home in Chartwell, Kent), Lot 26, carries an estimate of £1,200 - £1,500.

A striking photograph of a down-to-earth 19- year-old Marilyn Monroe, then known as Norma Jean Baker, by Hungarian-Romanian photographer, Andre De Dienes (1913-1985) is a stand-out portrait from the auction, (Lot 44, Est. £800-1,200). 

Additional celebrity portraiture is well represented with a number of iconic portraits from a private collection including Madonna, True Blue, 1986, by fashion photographer Herb Ritts (Lot 65, Est. £5,000- 7,000); a beautiful photograph of Claudia Schiffer, Ellen Von Unwerth (Lot 66, Est. £2,000 - £3,000); Annie Leibovitz’s portrait of Meg Ryan on the beach, 1995 (Lot 72, Est. £3,000 - £5,000); and Michelle Pfeiffer by Terry O’Neill, 2010 (Lot 66, Est. £500 - £700). 

Four photographs by French photographer Yan Morvan are also presented. This series was unknown until a recent exhibition which explored the experience of this famous war-photographer in a suburban bike gang in the 1970s. These 'bad boys' of the time are captured in their more intimate environment and reflect a very outrageous and still beautiful representation of a rebellious French youth from a few decades ago (Lots 117-120, Est. £2,000- 3,000 each). 

Works by the following photography masters also appear: Felix Bonflis, Cecil Beaton, Henri Cartier-Bresson, Julius Shulman, Paul Strand, Ruth Bernhard, Mario Giacomelli, Horst P. Horst, Erwin Blumenfeld, Ansel Adams, Sebastiao Salgado, Steve McCurry and many others. 

Image: Lot 13: Japan, 1860s-90s, Felice Beato (1832-1909) and others, fifty-two hand-coloured albumen prints. Est. £1,200 - £1,500 



a-worker-sweeping-criminals-out-of-the-soviet-land-from-russian-placards-1917-22-copyright-british-library-board copy.jpgAs part of the 100th anniversary of the Russian Revolution, Russian Revolution: Hope, Tragedy, Myths, will shine new light on the unprecedented and world-changing events of the period, focusing on the experiences of ordinary Russians living through extraordinary times.

28 April 2017 - 29 August 2017

                                                                  The exhibition will tell the incredible story of the Revolution through posters, letters, photographs, banners, weapons, items of uniform, recordings and film: from a luxury souvenir album of the Tsar’s coronation to propaganda wallpaper hand-painted by women factory workers.

Exhibition highlights include:

  • 1st edition of Communist Manifesto, published in London in 1848
  • Nicholas II Coronation Album from 1896
  • Russo-Japanese War cartoon posters
  • Photographic images and caricatures of Rasputin 
  • Leg irons from a Siberian prison camp 
  • Items of Red Army uniforms
  • White Russian counter-revolutionary propaganda posters
  • Lenin’s Memorial Book
  • Banner gifted to the Shipley Young Communist League
  • A letter, dated 1922, from Scotland Yard to the British Museum Library requesting that a selection of Bolshevik literature is not made public due to its incendiary nature

The exhibition will begin in the reign of the last Tsar and explore the growth of revolutionary movements and colossal social and political change, showing the transformation of Russia’s traditional monarchy into the world’s first Communist state. Key figures such as Nicholas II and revolutionary leaders including Vladimir Lenin will be examined along with the political events of the period.

Items going on display for the first time include material from the Library’s extensive collection of Bolshevik and anti-Bolshevik propaganda, as well as a letter written by Lenin in April 1902, applying to become a Reader at the British Museum Library, now part of the British Library. The letter is signed with his pseudonym, Jacob Richter, which he was using in order to evade the Tsarist police of the time.

Russian Revolution: Hope, Tragedy, Myths will unite the personal and the political, bringing to life the hope, the tragedy, and the myths at the heart of this seismic Revolution.

Katya Rogatchevskaia, lead curator of Russian Revolution: Hope, Tragedy, Myths, said:

“It is impossible to understand the world today without an understanding of the Russian Revolution, and we will be taking visitors on a journey to explore how the events of Revolution changed the world forever.”

“As well as giving an overview of momentous events all the way from the last days of the Russian Empire and the downfall of the last Tsar Nicholas II until the rise of the first communist state under Lenin’s leadership, we will also be focusing on the lives of those who lived through the period for the first time, using letters, diaries, photographs, posters and film. We will be showing some very rarely seen items from our world-leading Russian Revolution collection, alongside loans from a range of national and international institutions.”

The exhibition is accompanied by a varied season of events exploring how the Russian Revolution changed the world forever, exploring the impact on Russian literature, architecture, music and artistic expression, as well as examining the life and times of key figures, such as Lenin and the Romanovs. 

Highlights include:

Shadows of Days: An Evening of Russian Émigré Fiction - At this exciting event, readings by actors Geraldine James and Brian Cox are interspersed with discussion with literary experts Maria Rubins and Peter Pomerantsev, together with Bryan Karetnyk, editor of the new collection Russian Émigré Short Stories from Bunin to Yanovsky (Penguin Classics 2017).  

Late at the Library: Sounds of the Revolution - Join us for a night of radical sound and silent film directed by Gabriel Prokofiev with the superb musicians of the Renegade Orchestra. Echoes of Russian classical music greats are cut with sonic experimentation and electronica, reflecting the remarkable avant-garde experimentation of a century ago, alongside a screening of the 1927 film The End of St Petersburg and DJs from Nonclassical. 

Tariq Ali on the Dilemmas of Lenin - Tariq Ali examines the innumerable dilemmas faced by Vladimir Ilyich Lenin, leader of the October 1917 uprising and today a widely misunderstood figure. A political and intellectual colossus, Lenin emerged from the turbulent history of Tsarist Russia and the birth of the international labour movement with great certainty in his aims. 

Late at the Library: The Storming of the Library - This thrilling event is inspired by the extraordinary agit-prop Revolutionary Festivals staged in Petrograd in 1918-20. With designs by avant-garde artists and huge casts, the original re-stagings attempted to celebrate and even out do the original events, and were a great inspiration to film makers such as Eisenstein. Join us for an evening of performance, music, film and spectacle accompanied by the turbo-punk energy of our musical comrades The Destroyers and DJ Penny Metal. 

Design and the Russian Revolution: Alice Rawsthorn - Alice Rawsthorn discusses the initial impact and enduring influence of the Russian Revolution on design, architecture and fashion: from the role of the Constructivist artist and designer László Moholy-Nagy in revitalising the Bauhaus in the mid-1920s to the recent emergence of a new wave of social and humanitarian designers.  

To view the full programme of Russian Revolution events, please visit our What’s On pages.

Image: 'A worker Sweeping Criminals out of the Soviet Land' from Russian Placards 1917-22 (c) British Library Board.

Rockwell copy.jpgDALLAS, Texas (May 4, 2017) - Norman Rockwell’s Study for Triple Self Portrait, an oil study for the artist's self-described 1960 Saturday Evening Post "masterpiece", sold for $1,332,500, a new world record for an oil study by the artist Wednesday during Heritage Auctions’ American Art Auction in Dallas.

The record-setting Rockwell led a $4.5 million auction of diverse American art pieces that realized a 96 percent sell-through rate by value and saw spirited bidding across all Heritage Auctions bidding platforms.

Other top lots include Birger Sandzén’s powerful Creek at Twilight. Once relegated to a Milwaukee school’s storage room, the masterwork soared to $516,500, well above its pre-sale estimate. Net proceeds of the work will be set aside to fund college scholarships for Washington High School graduates.

Thomas Moran’s visually stunning Mountain Lion in Grand Canyon (Lair of the Mountain Lion) fetched $612,500.

“Today’s American Art auction was unbelievably exciting,” said Aviva Lehmann, Director of American Art. “We exceeded the aggregate high estimate by over one million dollars. Setting a new auction record for a Rockwell study, combined with the number of active bidders for the Sandzén that reached a final sale price as the third highest price for the artist at auction, demonstrates Heritage Auctions’ solid strength across all categories of American art.”

Other highlights include:

Hermann Ottomar Herzog’s oil painting Fishing on the Gulf Coast, Florida sold for $150,000 well above its $30,000-50,000 pre-auction estimate.

Samuel Colman’s Autumn Landscape, 1864 achieved $137,500.

Milton Avery’s landscape Rippled Rock and Rippled Sea, 1938 realized $106,250.

Rockwell Kent’s Greenland (Spring) sold for $87,500.

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,, has over one million registered bidder-members, and searchable free archives of four million past auction records with prices realized, descriptions and enlargeable photos.

Van Gogh.jpgFRANKLIN, Mass. - A dark brown ink drawing on heavy wove paper attributed to the famous Dutch Master artist Vincent van Gogh (1853-1890), titled Garden View of the Church at Auvers (1890), signed by van Gogh, sold for $12,000 in the premiere online-only fine art auction titled Prestige Signature Collection: Master Artworks, held on April 26th by Woodshed Art Auctions.

“The location in the drawing was positively identified as Garden View of the Church of Auvers, and the artwork dates from the last year of van Gogh’s life,” said conservator/auctioneer Bruce Wood of Woodshed Art Auctions (formerly The Woodshed Gallery), based in Franklin, Mass. ( “Without better paperwork, we had to call it an attribution, but there’s little doubt it is authentic and probably should have gaveled for $100,000 or more.”

Van Gogh lived just three months in Auvers-sur-Oise, a small village north of Paris. He moved there in 1890, after having spent a year at an asylum in Saint-Remy. The sketch in the auction has been identified as a view of the church in Auvers, the only gable-roof bell tower among the locations van Gogh lived in France. Tragically, van Gogh committed suicide that year, at age 37.

The Prestige Signature Collection: Master Artworks sale was something new for Woodshed Art Auctions - the confluence of a group of excellent pieces arriving at once in the gallery, and all having one thing in common: they were limited to artworks by internationally recognized artists. This, the debut auction, featured just 26 artworks, by names that are known to nearly everyone.

These included Andy Warhol (Am., 1928-1987), Pablo Picasso (Sp./Fr., 1881-1973), Henri de Toulouse-Lautrec (Fr., 1864-1901), Fernand Leger (Fr., 1881-1955), and van Gogh. The next Prestige Signature Collection sale will be held on May 24th with market-fresh works by Wilfredo Lam, Mario Careno, Victor Brauner, Maurice Sendak, Roy Lichtenstein and Jean Cocteau.

“Moving forward, we’re dividing our sales into two categories,” Wood said. “These are Studio Art Sales, which are larger catalogs of fine and decorative art, and Prestige Signature Collection Sales, which will feature a smaller, refined selection of artworks by more recognized artists.” He added, “The April 26th Prestige Collection sale and its focused attention paid off for consignors.”

Internet bidding was facilitated by and, as well as the Woodshed Art Auctions website. Following are additional highlights from the auction. All prices include a 20 or 25 percent buyer’s premium, applied depending on how the bid was submitted.

The runner-up top lot was a mixed media on paper by Fernand Leger (Fr., 1881-1955), titled Composition with Three Women, artist signed and comes with a certificate of authenticity. The 18 inch by 13 ¼ inch work gaveled for $10,312. Leger was a painter, sculptor and filmmaker. His boldly simplified treatment of modern subject matter made him a forerunner of pop art.

Several drawings attributed to the pop art icon Andy Warhol were in the auction. These included a drawing in color markers on manila folder-weight paper titled Two Campbells Soup Cans that realized $3,125; and a drawing in ink on lightweight parchment paper titled Tap Shoe that went for $7,812. Both were signed by Warhol and were formerly the property of New York collector.

Several Picassos also came under the gavel. These included a pair of signed attributions that rose to identical selling prices of $2,500 each: an ink drawing on paper titled Reclining Woman and a pencil drawing on paper titled Woman Chased by Man and Dog. Both were unframed. Also, an autograph and drawing on a book page by Picasso, not an attribution, changed hands for $875.

A lithograph by Henri de Toulouse-Lautrec from the painter’s Café Concert series titled Madame Abdala en Bebe (1893), unsigned (but identified with the artist’s monogram), finished at $500. Abdala, the subject, was a singer at the Ambassadeurs in Paris. The only state lithograph, made as one in an edition of 500, measured 10 ½ inches by 7 ¾ inches and was in very good condition.

An artwork in pencil and gouache on paper, attributed to the early American modernist painter Stuart Davis (1892-1964), titled Abstract, measuring about 20 inches by 25 inches, topped out at $3,750. Davis was known for his jazz-influenced, bold, brash and colorful proto pop art paintings of the 1940s and ‘50s, as well his Ashcan School pictures in the early years of the 20th century.

A signed, dated (1912) and numbered (7/7) bronze sculpture on a marble base by the French sculptor, painter and printmaker Aristide Joseph Bonaventure Maillol (1861-1944), titled Femme nue assise (“Seated Female Nude”), brought $676. The work was eight inches tall on a one-inch base, and was in good condition, except for some minor handling marks and a chip on the base.

Woodshed Art Auctions is a family-owned art gallery specializing in oil painting restoration and live and online art auctions. The company is celebrating its 49th anniversary. 

Woodshed Art Auctions is always accepting quality artworks for future auctions. To inquire about consigning a single piece or an entire collection, you may call Bruce Wood at (508) 533-6277; or, you can e-mail him at To learn more about Woodshed Art Auctions and the next auction planned for May 24th, visit

Image: Original dark brown ink drawing attributed to Vincent van Gogh (1853-1890) on heavy wove paper, titled Garden View of the Church at Auvers ($12,000).

The Library of Congress is combining its two reading and writing programs for young people - A Book That Shaped Me and Letters About Literature. The move will enable the Library to better leverage its resources, to brand the programs more consistently and to encourage greater participation in these long-running programs.

The Library today kicks off its annual summer contest, now titled A Book That Shaped Me: Letters About Literature. The program will still target rising 5th- and 6th-grade students and will be managed in collaboration with libraries in six states as in past years. Winners will be honored at the 2017 National Book Festival, which will take place Saturday, Sept. 2.

Students will be asked to write a letter to their local librarian about a book that shaped their lives. The concept of letter-writing is adapted from the older program, Letters About Literature, which for 25 years has been asking students to write letters to an author whose book they read.

 “The two programs have very similar goals - getting kids to read and write about the books they love,” said Carla Hayden, the Librarian of Congress. “This integration will deepen the impact of the programs and enable the Library to market them more effectively.”

The A Book That Shaped Me summer writing contest is administered as part of summer reading programs at participating public libraries in Washington, D.C.; Maryland; Virginia; Delaware; Pennsylvania and West Virginia. Prizes will be awarded and top winners will be invited to present their essays during a special presentation at the 17th Library of Congress National Book Festival, Saturday, Sept. 2 at the Walter E. Washington Convention Center in Washington, D.C. (

Students entering 5th and 6th grades in the fall of 2017 are eligible. Letters, focused on a single book, should be one page in length and must be submitted with an entry form, in person, at participating public library locations. The deadline for entries is Saturday, July 8, 2017.

A Book That Shaped Me will award prizes to five finalists and one winner per state, and to three overall grand-prize winners. The 30 finalists will be selected by a panel of scorers comprised of members of the American Association of School Librarians, a division of the American Library Association. The three grand-prize winners will be selected by a panel of judges assembled by the Library of Congress, including educators, children’s authors and Library of Congress staff.

Submission forms are available at the Library of Congress Young Readers Center in Room G-29 of the Thomas Jefferson Building, 10 First St. S.E., Washington, D.C., and at participating public library locations. The list of participating libraries and more information are available at

Launched in 2012 with DC Public Library, A Book That Shaped Me has since expanded throughout the Mid-Atlantic region with the help of public libraries in Washington, D.C.; Maryland; Virginia; Delaware; Pennsylvania and West Virginia. Nearly 300 public libraries are registered to participate in this, the sixth program year. Public library systems in these states may sign up through May 12, 2017, by contacting  for program details.

The Library kicked off the 2017 contest as part of Children’s Book Week, a celebration sponsored by the Children's Book Council, which is a reading-promotion partner of the Library of Congress Center for the Book.

The National Book Festival is made possible by the generous support of private and public sector sponsors who share the Library’s commitment to reading and literacy, led by National Book Festival Co-Chairman David M. Rubenstein. Charter Sponsors are the Institute of Museum and Library Services, The James Madison Council, The Washington Post and Wells Fargo; the Patron sponsor is the National Endowment for the Arts; the Contributor-level sponsors are Thomas V. Girardi, Beverly and Lyman Hamilton, the National Endowment for the Humanities and Scholastic Inc.; and, in the Friends category, Candlewick Press, John J. Medveckis and Mensa Education and Research Foundation. Those interested in supporting the National Book Festival can contact the Library at

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; access the official site for U.S. federal legislative information at; and register creative works of authorship at


Morgan-James copy.jpgNew York, NY, May 3, 2017 — In 1884, Henry James (1843-1916) wrote in The Art of Fiction:  

The analogy between the art of the painter and the art of the novelist is, so far as I am able to see, complete. Their inspiration is the same, their process (allowing for the different quality of the vehicle), is the same, their success is the same. They may learn from each other, they may explain and sustain each other. Their cause is the same, and the honour of one is the honour of another.

Henry James and American Painting, opening at the Morgan Library & Museum on June 9, is the first exhibition to explore the author’s deep and lasting interest in the visual arts and their profound impact on the literature he produced.  Offering a fresh perspective on the master novelist, the show reveals the importance of James’s friendships with American artists such as John La Farge, John Singer Sargent, and James McNeill Whistler. While the author decided early on that the pictorial arts were not to be the arena in which he would work, the painterly quality of  his writing has enthralled readers for over a century.

Co-curated by author Colm Tóibín, whose latest novel House of Names is published this month, and Declan Kiely, head of the museum’s Department of Literary and Historical Manuscripts, the exhibition includes a rich and eclectic selection of more than fifty paintings, drawings, watercolors, sculptures, photographs, manuscripts, letters, and printed books from two dozen museums and private collections in the United States, Great Britain, and Ireland. Together they weave an evocative story of fascinating artistic intersections.        

"With its acclaimed collections of art and literature, the Morgan is the perfect place for this exhibition,” said Colin B. Bailey, director of the museum. “The visual arts were part of the bedrock on which Henry James built his house of fiction.  He composed the most dramatic moments in his work as though they were framed, as though his characters were placed in light and shade as a painter might pose figures on a canvas.”  


Portraits of Henry James

Henry James was fiercely protective of his privacy and, despite achieving preeminence as a novelist by the end of the nineteenth century, gave only four interviews over the course of his career. He expressed a “dread of the assault of the interviewer.” Nevertheless, he sat for numerous portraits, and was photographed by some of the leading photographers of his day. In less than a decade James used the word “portrait” in three book titles—The Portrait of a Lady (1881), his first literary masterpiece; Portraits of Places (1883), a collection of travel essays; and Partial Portraits (1888), a collection of essays on writers that argued for the inclusion of narrative fiction among the fine arts. 

In 1862, at age nineteen, James sat for John La Farge, a painter eight years his senior, in Newport, Rhode Island. At the time, Henry James was attending Harvard Law School, after which he redirected his focus to essays and fiction. His relationship with La Farge set the tone for his early novel, Roderick Hudson (1875), a coming-of-age story of a young law student from Northampton, Massachusetts, who aspires to be a great sculptor in the classical tradition. 

It was La Farge who helped James to gain “the dawning perception that the arts were after all essentially one and that even with canvas and brush whisked out of my grasp I still needn’t feel disinherited. That was the luxury of the friend and senior with a literary side.” The exhibition includes the original typescript of Notes of a Son and Brother, in which James wrote extensively about La Farge’s important early aesthetic influence. 

The 1913 portrait of James by John Singer Sargent—a treasure on loan from the National Portrait Gallery, London— is perhaps the most famous painted image of the author. Sargent was the natural choice when a group of James’s friends commissioned an oil portrait to mark the writer’s seventieth birthday. James described the finished work, which captured his reserve and sensuous intelligence, as “Sargent at his very best and poor old H. J. not at his worst; in short a living breathing likeness and a masterpiece of painting.” 

Other portraits of James in the exhibition include Abbott Handerson Thayer’s 1881 crayon on paper drawing from the Collection of the American Academy of Arts and Letters, New York City; Ellen Gertrude Emmet Rand’s 1900 portraits from the National Portrait Gallery, Washington D.C.; Alice Boughton’s 1905 and 1906 photographs; William James’s 1910 portrait from the Isabella Stewart Gardner Museum, Boston; and E. O. Hoppé’s 1911 photograph from the National Portrait Gallery, London. 

Frank Duveneck and Elizabeth Boott Duveneck 

The relationship between the American painters Frank Duveneck (1848-1919) and his wife Elizabeth Boott Duveneck (1846-1888), and Elizabeth’s father, the composer Francis Boott (1813-1904), offered James inspiration for three of his most important novels—Washington Square (1880), The Portrait of a Lady (1881) and The Golden Bowl (1904). There are clear parallels between Elizabeth Boott and James’s characters: Catherine Sloper in Washington Square, Pansy Osmond in The Portrait of a Lady, and Maggie Verver in The Golden Bowl. 

Francis and his only child Elizabeth were wealthy New Englanders who moved between Boston, where James first met them in 1865, and Europe. James, a regular visitor to their apartment in Villa Castellani at Bellosguardo, overlooking Florence, transformed it into the residence of his characters Gilbert Osmond and his daughter Pansy in The Portrait of a Lady. Frank Duveneck came to the attention of James and the Bootts when he showed his paintings at the Boston Art Club in 1875. James wrote: “In the rooms of the Boston Art Club hang some five remarkable portraits by Mr. Frank Duveneck of Cincinnati . . . The good people of Boston have recently been flattering themselves that they have discovered an American Velázquez.” James added that “the analogy of Mr. Duveneck’s talent with that of the great Spaniard is a natural, instinctive one.” Elizabeth Boott purchased a painting from the exhibition, and, in March 1888, a portrait of her by Duveneck was accepted by the jury of the Salon in Paris. 

The tensions that arose when Elizabeth fell in love with Duveneck, who, as her art teacher, was considered by her father to be an unsuitable match, intrigued James. After Elizabeth finally married Duveneck, James came to vist them at Bellosguardo, writing letters to his family and friends about the family dynamics of their household. Elements of his time with the Bootts made their way into his late masterpiece The Golden Bowl (1904), a novel that explores the drama of father-daughter bonds complicating husband-wife romance. This exhibition contextualizes James’s friendship with the Bootts and Duveneck, and shows the artists’ work together in illuminating conjunction. Highlights include Duveneck’s portraits of Elizabeth and Francis Boott, and the tomb effigy that he designed to mark his wife’s burial place. 

John Singer Sargent and James McNeill Whistler 

The connections between Henry James and John Singer Sargent make the latter essential to any consideration of James and painting, as they are also fascinating in any consideration of James’s own life in all its rich complexity and ambiguity. James and Sargent were both Americans in Europe who had spent much of their childhood abroad. They were bachelor expatriates, reserved, industrious, careful about their private lives. Both liked society and took an interest in fashionable women. Both, in their work, were interested in surface and psychology. In 1886, one critic noted the connections between them: “He [Sargent] is the Henry James of portraiture, and I can’t help wishing he were not—as I can’t help wishing Henry James were not the Sargent of the novel.” The British painter W. Graham Robertson, who knew both, described them as “real friends, they understood each other perfectly and their points of view were in many ways identical.” 

More than a year before James and Sargent were introduced, the writer noted a Venetian genre scene by the artist that was part of an 1882 exhibition at London’s Grosvenor Gallery. Both James and Sargent were enthralled by Venice. “The Aspern Papers” (1888) is set in Venice, and the city also features in The Wings of the Dove (1902), a novel that features a palace that is clearly reminiscent of the Palazzo Barbaro, home of the Curtis family, where both Sargent and James spent considerable time. On special loan from the Royal Academy of Arts, London, Sargent’s 1889 painting, An Interior In Venice (The Curtis Family), which was intended as a gift to the family, is displayed. The painting features the couple, Daniel and Ariana Curtis, as well as their son Ralph and his wife Lisa in their opulent Palazzo. Though rejected by the Curtises, (Ariana found her portrayal unflattering), Sargent’s distinguished work is celebrated for its aesthetic depiction of the grand Venetian salon. 

In 1884, James declared Sargent to be the “only Franco-American product of importance,” who had, moreover, “high talent, a charming nature, artistic and personal, and is civilized to his finger-tips. . . . I like him extremely; and the best of his work seems to me to have in it something exquisite.” Conversely, James sometimes critiqued Sargent’s tendency to paint pretty portraits, rather than to remain true to his subject’s natural likeness. As James opined, “His Mrs. Boit is admirable for life & impudence & talent, but seems to me a supreme example of his great vice—a want of respect for the face.” In the context of fiction writing, James had more creative license to create a less-than-flattering portrait with his pen than did Sargent. 

Whistler, like Sargent, became known for creating vivid, iconic, and mysterious images of women—as evidenced in his Arrangement in Black and Brown: The Fur Jacket (1876)—much as James became known for the subtlety and sympathy with which he treated his female characters. James and Whistler became friends in the 1880s. James sent him an inscribed copy of The Spoils of Poynton  (1897) and, upon hearing of Whistler’s appreciation, wrote that he was delighted “to have pleased you, to have touched you ... for the arts are one, and with the artist the artist communicates.” James was a regular visitor to Whistler’s home at 110 Rue du Bac in the 1890s, and The Ambassadors (1903) drew upon his impressions to describe the house and garden of the sculptor Gloriani, who is based on Whistler. 

Hendrik Christian Andersen and Lilla Cabot Perry

Sculptor Hendrik Andersen appears almost as a character out of James’s fiction. James met him in the spring of 1899 in Rome. James was fifty-six, Andersen almost thirty years his junior. Andersen was born in Norway but raised in Newport, Rhode Island, where the James family had also lived between sojourns in Europe. He studied in Paris and then Naples, and moved to Rome in 1897. Between 1899 and 1915, the year before his death, James wrote seventy-eight letters to the handsome young Norwegian-American. Anderson’s 1899 painted terra-cotta bust of Count Alberto Bevilacqua, on loan from the National Trust--was placed by the mantelpiece in a corner in the small dining room at Lamb House, Rye, where James moved in 1897. In his letters, James advised the young sculptor to produce work on a more domestic scale in order to make it more saleable. The bust bore a resemblance to Andersen, and James wrote, “I shall have him constantly before me as a loved companion and friend. He is so living, so human, so sympathetic and sociable and curious, that I foresee it will be a lifelong attachment.” James later told a friend that the sculpture was “the first object that greets my eyes in the morning, and the last at night.” 

Henry James was also close to a number of female artists, in addition to Elizabeth Boott Duveneck. These include Ellen Gertrude Emmet Rand, his cousin who painted portraits of him; Alice Boughton, who took several photographs of James, creating images of character that have shaped the mental pictures of generations of readers and enthusiasts; and Lilla Cabot Perry, who was pivotal in connecting James with the French Impressionists, a movement thathe broadly rejected. The daughter of wealthy Bostonians, Lilla Cabot married Thomas Sergeant Perry, literary critic and close friend of Henry James, in 1874. She became the sister-in-law of John La Farge. Perry had no formal artistic training until the age of thirty-six when she studied at the Académie Julian and at the Académie Colarossi. In 1889, the Perrys traveled to Giverny, France, joining the community of artists gathered around Claude Monet. Upon her return to the United States, Perry became an influential proponent of Monet’s work, publishing Reminiscences of Claude Monet from 1889 to 1909, a biographical account of her twenty summers at Giverny. 

James visited the second Impressionist exhibition of 1876, held at the Galerie Durand-Ruel, and he dismissed “the young contributors of whom I speak” as “absolute foes to arrangement, embellishment, selection. . . . None of its members show signs of possessing first-rate talent.” He failed to recognize the significance of Impressionism, and he did not know the main French artists of the age, even though he knew most of the Frenchnovelists. The work that interested him most was Anglo-American, or pre-Impressionist. What mattered to him was the atmosphere that visual artists created and the world they inhabited more than any new systems or innovations. Ostensibly rooted in academic convention, The Green Hat, Perry’s 1913 portrait of her daughter, Edith, manifests her adherence to impressionism through the dynamic brushstrokes of its background, the monochromatic palette and the play of light. What interested James most was not the impression, but the expression. 

Selection of Highlights on View 

Hendrik Christian Andersen (1872-1940), Count Alberto Bevilacqua, 1899, painted terra-cotta. Lamb House (The National Trust). 

Cecilia Beaux (1855-1942), Henry James, 1911, charcoal on paper. National Portrait Gallery, Smithsonian Institution. 

Alice Boughton (1865-1943), Henry James, 1905, platinum print. National Portrait Gallery, Smithsonian Institution, Washington, D. C. 

Alice Boughton (1865-1943), Henry James, 1906, gelatin silver print. National Portrait Gallery, Smithsonian Institution, Washington, D. C.; gift of Allan M. Price. 

Elizabeth Boott Duveneck (1846-1888), Villa Castellani, Bellosguardo, 1886, watercolor on paper. National Museum of Women in the Arts, Washington, D. C. 

Frank Duveneck (1848-1919), Elizabeth Boott Duveneck, 1888, oil on canvas. Cincinnati Art Museum; Gift of the artist, 1915. 

Frank Duveneck (1848-1919), Portrait of Francis Boott, 1881, oil on canvas. Cincinnati Art Museum; The Edwin and Virginia Irwin Memorial. 

Frank Duveneck (1848-1919), Tomb Effigy of Elizabeth Boott Duveneck, 1891, bronze and gold leaf. Metropolitan Museum of Art, New York; Rogers Fund, 1927. 

William Morris Hunt (1824-1879), Girl at the Fountain, 1852-54, oil on canvas. Metropolitan Museum of Art, New York; Bequest of Jane Hunt, 1907. 

Henry James (1843-1916), Autograph letter to Hendrik Christian Andersen, November 25, 1906. Henry James Papers, Albert and Shirley Small Special Collections Library, University of Virginia. 

Henry James (1843-1916), Project of a Novel (ninety-page outline for The Ambassadors), September 1, 1900. The Morgan Library & Museum; Gift of Mr. and Mrs. A. Hyatt Mayor, 1974.

Henry James (1843-1916), Notes of a Son and Brother, typed manuscript, signed, 1914. The Morgan Library & Museum; Bequest of Gordon N. Ray, 1987. 

John La Farge (1835-1910), Portrait of Henry James, 1862, oil on canvas. The Century Association, New York City. 

J.P. Morgan et Amicorum (Guest book logging visitors to the Morgan, including Henry James),1908-1996. The Morgan Library & Museum. 

Lilla Cabot Perry (1848-1933), The Green Hat, 1913, oil on canvas. Terra Foundation for American Art, Daniel J. Terra Collection. 

Ellen Gertrude (“Bay”) Emmet Rand (1875-1919), Portrait of Henry James, 1900, oil on canvas. National Portrait Gallery, Smithsonian Institution; gift of Marjorie Edel in memory of Leon Edel. NPG 98.74 

Ellen Gertrude (“Bay”) Emmet Rand (1875-1919), Portrait of Henry James, 1900, oil on canvas. National Portrait Gallery, Smithsonian Institution; gift of Marjorie Edel in memory of Leon Edel. NPG 98.75 

John Singer Sargent (1856-1925), An Interior In Venice (The Curtis Family), 1898, oil on canvas. Royal Academy of Arts, London; Diploma Work given by John Singer Sargent, R. A., accepted 1900. 

John Singer Sargent (1856-1925), Portrait of Henry James, 1913, oil on canvas. National Portrait Gallery, London; Bequethed by Henry James, 1916. 

John Singer Sargent (1856-1925), Robert Louis Stevenson and his wife, 1885, oil on canvas. Crystal Bridges Museum of American Art, Bentonville, Arkansas. 

John Singer Sargent (1856-1925), Venetian Women in the Palazzo Rezzonico, ca. 1889 Private collection, courtesy of David Nisinson. 


Published to coincide with the exhibition at the Morgan, in Henry James and American Painting novelist and critic Colm Tóibín, author of the 2004 Man Booker short-listed novel The Master, joins art historian Marc Simpson and Declan Kiely of the Morgan Library & Museum to reveal how essential the language and imagery of the arts— and friendships with artists—were to James’s writing. A refreshing new perspective on a master novelist who was greatly nourished by his friendships with artists, this edifying volume reveals a James whose literary imagination, in Tóibín’s words, “seemed most at ease with the image” and the work of creating fully realized portraits of his characters. 

Authors: Colm Tóibín, Marc Simpson, Declan Kiely 

Publishers: Penn State University Press, The Morgan Library & Museum 192 pages, 70 color illustrations. 

Image: John Singer Sargent (1856-1925), Henry James, 1913, Oil on canvas. National Portrait Gallery, London; Bequeathed by Henry James, 1916. NPG 1767.


ITHACA, NY—Worth Auctions, located in Dryden, NY, announces the launch of their next auction catalog.  

This catalog features the fourth session of rare and desirable militaria from the estate of a prominent Civil War collector from Upstate New York plus a sizeable collection of large folio Currier & Ives lithographs and select other material from multiple consignors nationwide.          

Civil War items include a Confederate shell jacket with officer's shoulder boards; kepi caps; cartridge boxes; brocade sword belts; and canteens.

Currier & Ives titles include "Stars of the Trotting Track;" "Arguing the Point;" "A Stopping Place on the Road;" "Brush for the Lead;" and "American Country Life."                    

This sale will also feature a suite of original albumen photographs by George N. Barnard; an assortment of ornately carved Chinese inkstones; oriental rugs; vintage typewriters; a 906-carat faceted jade gemstone; a light-field camera; a working Victrola; and much more.   

Please bookmark this page and check back for the announcement of our next auction which will include a fourth session of Civil War rarities plus significant collections of Currier & Ives prints, dinosaur fossils, and vintage radios.    

Please check back soon for our next two auction catalogs, the first of which will focus on fine works on paper and the second of which will comprise a fifth session of Civil War rarities plus significant offerings of post-1898 firearms, dinosaur fossils, and ancient coins. 

Worth Auctions is a public auction service specializing in estate work and collections.  The company conducts fully cataloged auctions with global bidding activity over three platforms. The upcoming auctions will feature a wide assortment of items, from pencils to airplanes. For more information, please contact the gallery at 607-330-0358 or email



Alice.jpgA rare first edition of Lewis Carroll's enduring classic "Alice's Adventures in Wonderland" fetched $9,062 at National Book Auctions' April 29, 2017 sale. Published by Macmillan in London in 1866, this highly sought-after volume featured the original fancifully illustrated plates by John Tenniel and was bound in red cloth with gilt debossed images of Alice and the Cheshire Cat.

Other standout books the sale were the twelve-volume "Complete Works of Abraham Lincoln" edited by the President's private secretary John G. Nicolay; a beautifully hand-illuminated Turkish Quran; and a signed first edition of Roald Dahl's short story collection "Someone Like You." Ephemera lots of note included a carefully compiled album of patriotic covers from both sides of the Civil War conflict; an extensive estate archive of personal correspondence dating back to the 1770s; and a selection of World War II propaganda posters.

National Book Auctions' next sale will take place on May 20, 2017 and will include a broad array of collectible and antique volumes and ephemera. Its full-service sister company, Worth Auctions, will hold a sale on May 7, 2017 featuring rare and desirable militaria from the estate of a prominent Civil War collector from Upstate New York plus a sizeable collection of large folio Currier & Ives lithographs and select other material from multiple consignors nationwide. For more information, visit and

210-Mormon copy.jpgNew York—On Thursday, April 27, Swann Galleries offered their tenth consecutive auction of Printed & Manuscript Americana to exceed $700,000. Much of the top material was unique or extremely rare, including diaries, letters and archives, many of which had never previously been seen at auction. 

Swann Galleries has gained a reputation as the leading source for quality material relating to the foundation of Mormonism. A first edition Book of Mormon, 1830—the only edition to list Joseph Smith as the "author and proprietor" rather than as the translator—led the sale at $52,500*. Other stand-out lots included a pair of legal documents, 1842, signed by Smith while he was the Mayor and Justice of the Peace in Nauvoo, Illinois, in a case against the postmaster of the town, which flew past its high estimate of $3,500 to $23,750, as well as a recognizance document from the following year, ordering a nurse to pay $100, which reached $15,000, above a high estimate of $1,800. Each of the seven offered lots related to Mormonism sold above their estimates.

The top five lots all went to private collectors.  A rare letter by Hernán Cortés to his property manager, instructing him to be hospitable to a visiting bishop, was purchased for $32,500; no other letters from the conquistador have appeared at auction in the last 30 years.

Further highlights included a Force printing by William J. Stone of the Declaration of Independence, 1833, a cornerstone of Americana collecting, at $21,250, and a large archive of Milwaukee sculptor John Severinus Conway that reached $12,500, above a high estimate of $3,000. A circa 1811 manuscript speech on the formation of New York's College of Physicians and Surgeons by Samuel Bard sold for $8,750,

Journals included the accounts of a diary missionary Edward W. Syles in Shanghai and San Francisco's Chinatown in the 1850s at $7,250, as well as the translated manuscript of a Japanese soldier’s last days in World War II ($3500). The bound diary of a wealthy Manhattan orphan in the mid-nineteenth century reached $2,250.

Among the records set was $1,375 for the iconic San Francisco Call-Chronicle-Examiner on the 1906 earthquake; the previous record of $840 was set in 2008. Additionally, the first complete set of Amos Doolittle's engravings of the Prodigal Son parable to be sold at auction in nearly 30 years sold for $6,500.

Institutions acquired important material, including an archive of a Mexican pulque bar that spanned nearly a century, which was purchased by the University of Notre Dame. A different institution purchased the first edition of Esther Levy's Jewish Cookery Book, 1871, the first Jewish cookbook published in the United States, for $11,250.

Specialist Rick Stattler noted, "The market remains strong for good, interesting material.  That this was our tenth consecutive sale to surpass $700,000 demonstrates a strong foundation in the market."

The next sale of Printed & Manuscript Americana at Swann Galleries will be held September 28, 2017. For more information or consign quality materials, contact Rick Stattler at

Image: Lot 210 Joseph Smith, The Book of Mormon, first edition, Palmyra, 1830. Sold April 27, 2017 for $52,500.

DALLAS, Texas (May 1, 2017) - For over 40 years, photojournalist Gordon Converse travelled to more than 120 countries, shooting photos for the Christian Science Monitor. The award-winning photographer will have a number of prints available during Heritage Auctions’ Photographs Signature Auction in New York City on May 18. Prior to the auction Converse’s work which he shot exclusively with his Leica M camera - will be celebrated at the Christian Science Publishing Society in Boston on Tuesday May 16, 2017 during the world premiere of the documentary “Illumine All Mankind” by Bob Pokress, producer and director of the documentary.

“As Gordon said, 'The purpose of photojournalism at its best is to help mankind see...still photographs give us time to pause and to see...they provide a universal method of communication that breaks through all barriers of language.' “Illumine All Mankind” is a celebration of the work of one of the 20th century's great photojournalists,” said Pokress, who is also facilitating the consignment of the Converse prints for the Christian Science Monitor. “Having worked with numerous photojournalism archives over the years, Gordon's body of work stands out from that of all other photojournalists and has made bringing his work back to life through this documentary a distinct pleasure.”

Examples of Converse’s work from the archives of the Christian Science Monitor will be available for admirers and collectors during the Photographs Signature Auction include but are not limited to:

Fog burns off the old Inca city, Machu Picchu, Peru, 1968: est. $1,000-2,000

Spain (street scene), 1960s: est. $1,000-2,000

Portraits of Norman Rockwell (three photographs), 1970: est. $1,000-2,000

China - Time of Change, 1980: est. $1,000-2,000

Statue of Liberty, New York City, 1954: est. $1,000-2,000

Indian women at world's highest capitol, La Paz, Bolivia, 1967: est. $1,000-2,000

The screening of the Gordon Converse documentary at Christian Science Publishing Society in Boston on May 16, which will run from 7:00 p.m. - 9 p.m., will be followed by a casual Q&A with Gordon's daughter Linda Converse Bloom, with Alfredo Sosa, Monitor Director of Photography and with Mark Sappenfield, Editor of the Monitor, to discuss Gordon's award-winning body of work and his approach to photojournalism. Documentarian Bob Pokress will also be available to discuss the restoration of Gordon's photography and the making of this documentary.

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,, has over one million registered bidder-members, and searchable free archives of four million past auction records with prices realized, descriptions and enlargeable photos.

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,, 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. 


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


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

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

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

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 is required. 


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,, 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

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 

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

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

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

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

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

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

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

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 ( 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,, 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. 

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

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

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

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.


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


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,, 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.”


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. 


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.” 


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.”

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

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 

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 and

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”

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

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

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

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.  


“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 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 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.


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.


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. 


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, 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 away home... [17 April] 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). 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 

Antiquarian Auctions: Paul Mills P.O. Box 186 7848 Constantia, Cape Town South Africa E-mail: 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,, 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." 

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

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

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

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 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:

To learn more about Elizabeth Stewart and her book or popular blog, visit:


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).


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. 


Auction Guide