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About Us
Visual Communications Technology
A Brief History
Crawshaw Design was founded in 1975 as a San Francisco graphic design firm, creating corporate identity programs, brochures, annual reports, ads, mailers, signage, and other forms of marketing materials. With the advent of the computer — causing both a revolution and revelation in our industry — we evolved, incorporating these technological advances into our business practices. And we have been riding this wave of escalating innovation ever since.
With our background in print design and knowing what works in this media, our expansion into the Internet arena has been a natural progression. It has augmented our ability to navigate creatively in this virtual marketplace. We understand the integrated necessity and symbiotic relationship between print and the web.
Why We're Unique
By choice, we are a small firm, yet we work with an array of creative partners and recruit other professionals when needed, depending on the scope of a job and the specific requirements of a project. This helps us stay competitive. We also work in conjunction with other agencies. Case in point, while partnering with MFP Consulting, we created the new logo and branding identity for the Grand Ole Opry, an American icon and the home of country music in Nashville. As well, we designed the corporate identity for First Tennessee / First Horizon, one of the nation's 50 largest bank holding companies in asset size and market capitalization. In other words, we respect the creative process and work well with others to get the job done right.
With more than 30 years' experience, we can assure our clients that the products and the services we provide — from creating a website to rebranding an entire corporation — will produce the desired results. We work closely with our clients to understand their needs and objectives. With an integrated approach, we apply three distinct methods of expertise to all our designs: strategy, creativity, and technology. By applying these key elements to every project, we are able to effectively deliver innovative solutions and satisfaction.
Our clients come from a variety of industries, including healthcare, banking, retail, engineering, architecture, law, publishing, broadcasting, hospitality, and technology. Our work has appeared in trade publications and books. We are a member of the Executives Association of San Francisco and the San Rafael Chamber of Commerce, and we are an active supporter of the community.
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Logo Designbond_studio_5120x320050-640x400 caverion_bond_web_6-1920x1200 caverion_bond_web_12-1280x800caverion_bond_web_18-1280x800
Caverion was established through the demerger of building services and industrial services businesses within YIT Group, a leading European construction company. Bond provided the new company with a complete corporate brand identity program, including everything from the concept and brand manuals to print, digital and spatial applications of the brand. The logo communicates Caverion’s role in the entire life cycle of buildings and capacity for continuous reinvention. Custom-designed icons help communicate what the company’s immaterial services mean to the customer. The images communicate Caverion’s role in enabling customer business in the buildings that Caverion maintains.
Screen Shot 2015-04-16 at 3.39.58 pm gg-font-1580 gg-buscards-1580 gg-icons-1580
Global Generation are hands-on types. They run workshops for young people where they dig, grow vegetables, and make things. This was key to our approach with their new brand identity. Beginning with a one-day workshop attended the Global Generation team, some of the young people they work with, and Fieldwork (and led by one of our regular collaborators, Mark Shayler of Ape), we spent time uncovering the identity of the organisation and learning about their core purpose.
Fieldwork developed a few initial, exploratory ideas for the visual identity, which we iteratively narrowed down and developed into a custom stencil typeface that the team can use to create their own signage and print materials, in true hands-on Global Generation style. Fieldwork also developed bespoke iconography to provide additional tools for them to use in their communications.
Screen Shot 2015-04-16 at 8.52.57 am Screen Shot 2015-04-16 at 8.52.37 am Screen Shot 2015-04-16 at 8.52.27 am Screen Shot 2015-04-16 at 8.52.15 am
Experts in creating custom solutions for both huge and not-so-huge clients, with a particular penchant for unusual architectural challenges, Kinetica are known for their obsessive dedication to projects, and the usually mind-blowing results.
Face realized a complete overhaul of their brand DNA: changing their manifesto, their methods of communication, and, of course, redesigning their identity from head to toe. Using bright color, swiss typography, and a simple concept based on modular grids, the decidedly industrial tone of the design is tempered by an air of modernism and good taste. Designed by Face.
1-primary2015-04-06-15-50-434-mono2015-04-03-19-52-38 IMG_38932015-04-03-19-52-41_medium_large IMG_38832015-04-03-19-52-48_medium_large
Established in 1968, the franchise has had a remarkable visual history—it’s the only team ever to have its home court, then Mecca Arena, customized by the artist Robert Indiana. And the jerseys worn by Kareem Abdul-Jabaar and Oscar Robertson during their 1970s golden age are all-time uniform classics. As part of their overall quest to return the team to greatness, the new owners wanted to make a clean break with the team’s more recent logo marks and red-and-green color scheme.
Working closely with the Buck’s front office, Doubleday & Cartwright took inspiration from the organization’s rich history and the enduring character of its hometown. We introduced an updated color palette—deep forest green to represent Wisconsin’s woodlands, a contrasting cream in tribute to the iconic bricks that define the “Cream City’s” architecture, as well as a new accent of bright blue for its abundance of fresh water. Unifying all the elements is a custom typeface, MKE Block Varsity, inspired both by traditional varsity lettering and Milwaukee’s industrial heritage.
For the primary mark, we redrew the buck motif to better embody the competitive spirit of a team that is fearless (and fearsome), proud, and determined, with its antlers forming the outlines of a basketball. The secondary mark centers on a graphic reduction of a basketball and a bold letter M for Milwaukee. A tertiary mark puts the Bucks at the heart of the state of Wisconsin, literally and symbolically.
01_logos_full09_k_plank_full 06_common vb_bs
To highlight to visitors that Baltimore is a dynamic, engaging city, we invited some of Baltimore’s biggest fans and most famous faces to share what they love about this phenomenal town. Print, radio, online video spots and page takeovers in major markets and national publications gave our celebrity spokespeople a chance to share the things they love and the neighborhoods that keep them coming back year after year. TB&C also turned the abbreviation “Bmore” into a rallying cry—“Be more”—and anchored the campaign with a mark and related designs that can change with the calendar to highlight all there is to do in our home city.
DCNF_14-1600x800 DCNF_081-1600x800 DCNF_15-1600x1100 DCNF_121-1600x800
Anthony Cooper started Day Comes, Night Falls to give back to the community that gave him so much. It operates to help people turn their lives around and get them on the right track. The brand needed to be energy forward and lively. Balancing abstracted shapes with simple typography, Mast created a strong brand that people will gravitate towards and trust. It is the team you wear on your chest, it is your sense of home.
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7febe91e-0cf3-41ee-9ce6-4da2bf78d94c
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New hub will bring magic of Imagine RIT to campus every day
Elizabeth Lamark
Plans are in the works for a makerspace that will connect Wallace Library with the Student Alumni Union.
An ambitious initiative along the Quarter Mile will transform RIT into a maker’s heaven, where the arts and technology converge and ideas percolate freely.
The Innovative Maker and Learning Complex, an unofficial name for now, will have a footprint of more than 100,000 square feet. The facility will occupy the grassy slope overlooking the south side of campus. It will connect the Student Alumni Union with the Wallace Library and create a new nexus point on campus.
“We realized many years ago that if we want a 24/7, lively, urbanistic-feeling community, it’s up to us to build it,” said James Yarrington, RIT university architect and director of planning and design services.
Envisioned by RIT President David Munson Jr. as the new epicenter on campus, the complex will reverberate daily with the hum of the Imagine RIT: Creativity and Innovation Festival.
The details are still in flux, but an emphasis on visible workspaces will showcase creative projects and collaborations currently hidden behind brick walls. Transparent spaces will highlight student project teams and demonstration studios for the arts. Other possibilities include a black-box theater and large flexible classrooms for group activities.
The complex will reflect the eclectic interests of RIT’s student body. Visitors to campus will be able to “understand RIT in 15 minutes,” Munson said. “We need something that is emblematic of our university and which explains visually how we are distinctive. It will represent who we are to ourselves and the outside world.”
While similar in spirit to RIT’s MAGIC Spell Studios, the new center will have a broader scope.
“The MAGIC Center concentrates on one sector of making and technology; this will be an all-encompassing facility,” Munson said. “We need to get thousands of our own students in this facility every day, so they walk by all this making and see what all the possibilities are here.”
The project also includes an extensive redesign of the library and limited renovations to the student union.
“The location is not a flat site, and all sides are potentially very dynamic,” Yarrington said. “Coming into this building, we want you to feel like you’re in the middle of an active, energized environment with light, artificial and natural.”
These interior spaces will create “a new spine of student life and student services” running roughly parallel to the Quarter Mile, noted Tori Budgeon-Baker, RIT senior architect and space planning manager.
The project coincides with RIT’s growing research portfolio, expanding doctoral programs, and global campuses in China, Croatia, Dubai, and Kosovo, contributing to the university’s approximate 19,000 enrollment.
Construction costs will exceed $100 million, making it the largest undertaking since building the Henrietta campus, which opened in 1968.
The facility will be funded, in part, by $17.5 million from RIT trustee and alumnus Austin McChord, part of his record $50 million gift to RIT in 2017.
A programmatic study, “Imagine RIT Every Day,” led by Yarrington and Budgeon-Baker, represented RIT stakeholders—from students and staff, to faculty, deans, and vice presidents—and took a “big-tent approach” to what could fit in the building.
Members of the task force will contribute to the design decisions, Munson said.
Boston-based architect William Rawn Associates will design the project, and Rochester firm HBT Architects will handle construction details and specifications.
The design and documentation process kicked off in July and is expected to last 12 to 18 months. This intensive early work will ensure a smooth-flowing project, said Budgeon-Baker.
By the numbers
• Design and documentation process: 12 to 18 months
• Construction: about 18 months
• Estimated grand opening: fall of 2022
• Construction costs: $100 million +
• Size: over 100,000 square feet
Where will the tiger go?
Chances are high that the Tiger Statue on the Quarter Mile will be relocated during the construction of the Innovative Maker and Learning Complex. But the project presents a new opportunity to showcase the tiger, said James Yarrington, RIT university architect and director of planning and design services. “It’s great on the Quarter Mile, but if it’s embraced by a building as a major feature, that’s even better,” he said. At least the tiger’s sweater would stay dry.
William Rawn Associates Architects Inc., a world-class firm based in Boston with projects across the country on college campuses and in civic spaces, will design the project. Rochester firm HBT Architects will handle construction details.
Transforming RIT
RIT launched a $1 billion blended campaign called Transforming RIT: The Campaign for Greatness. A pillar of the campaign calls for the university to enhance the student experience by building innovative learning facilities and strengthening performing arts programs. RIT will seek additional philanthropic support for this initiative when plans are available.
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1-21-2010 (Postcard 11 - Fish)1-21-2010 (Postcard 11 – Fish)
1-21-2010 (Postcard 12 - FOOD)1-21-2010 (Postcard 12 – FOOD)
Alexis Gerard is a member of aamora.com. Alexis has been a passionate photographer since his twenties. He worked at Apple in the pioneering days of the Macintosh launch, then founded imaging think-tank Future Image in 1991. He founded and now chairs the 6Sight® Future of Imaging executive conference. He co-authored the book “Going Visual”, speaks widely on imaging technology, and is a member of the International Advisory Council of the George Eastman House. As a result of his business activities he had the opportunity to begin shooting digital in the early nineties and does so exclusively now. He prefers small cameras he can have with him at all times. Check out Alexis’ other posts on aamora here and see his other work by clicking here.
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Show your love of NYC with a set of Annemade coasters.
Note Cards
Send your love of NYC with Annemade note cards.
Note Cards
Fine Art Prints
Decorate your home NYC style with Annemade fine art prints.
“I purchased 2 sets of Midtown coasters. I live in Toronto, but my daughter lives in New York, and they make me think of her. I love the designs and colors and have been enjoying the beautiful artwork of these coasters daily. Thanks for making me so happy!
Ruby F., Toronto, Canada
Anne's cards are a detailed expression of New York City. A must-have for anyone visiting or living in the Big Apple. She captures the essence of the city with incredible style. I recently moved away from NYC and treasure the cards as a reminder of my years there.
Angie F., Kingston, NY
Anne's paintings are gorgeous and uniquely New York. I'm making room on my walls to get a few more!"
Shannon S., New York City
“We love the water tower coasters! The quality of the color is amazing and the detail shows through vividly. At the same time, they are so strong and seemingly impenetrable. On our end table, they look like delicate miniature works of fine art; pick one up and it is strong as concrete!
A.C., New York City
“This past year has been hard, not the least because I have not been able to go back home to visit my family in New York City. As soon as I saw Anne's cards, I had tears in my eyes because they capture so well how it feels to be there!"
Natalie G., San Francisco, CA
Anne Grossman's architectural prints are beautiful. The sunlight bathing the rooftops of Chelsea is luminous and gentle, and the composition is balanced. It's a lovely visual treat in our home.
Nicole A., Canton, NY
I love Anne's art in the form of the accessible and usable coasters and cards she makes. I have given them as gifts to New York-loving friends who appreciate--and like to support--contemporary artists. I can't wait to see the next paintings and where she puts them!
Abigail S., Ann Arbor, MI
How it all began
See My Art
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Erroneous Architecture is a Relative Concept
J. Adamek and F. Plasil (Czech Republic)
Faulty software architecture, framework, componentbehavior
The problem this paper addresses is that an architecture formed of software components can contain composition errors (introduced, for instance, as a result of the choice of aframework'sparameters).Thetitle"Erroneousarchitecture is a relative concept" is to emphasize that whether a composition error occurs in an architecture depends on the way the architecture is used in its environment. An important issue is finding a way to possibly statically verify that, for a given setup containing the architecture, no composition errors can occur in any run. The contribution of the paper is bringing an evidence that this can be done by employing behavior protocols and their consent operator.
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16238835-f0c7-438d-afc0-3d94d14cf74a
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Paštrovačka gora
22/06/2010
Crkva Sveti Nikola
23/06/2010
Show all
Ribnica the left tributary of the Moraca river. He course is long only 10 km and almost the entire length flows through Podgorica enjoying the Moraca in a place known as Sastavci (or Skaline). Along Ribnica there are several bridges Ribnica in the past few decades dries up in summer.
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Ribnica 42.437140, 19.262552 Ribnica
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Brick + Board
United By Blue
For their flagship store in Old City, Philadelphia, the good folks from United By Blue wanted material that was authentic, beautiful, and in line with their mission of environmental stewardship. We were happy to tick those boxes with material sourced from 19th century Pennsylvania barns, 1oo year old Baltimore rowhouses, and an 18th century farmhouse in New Jersey. Our Mixed Brown Barnboard was used to clad the store’s changing cabins, and our Rough Sawn Pine Blanks were used to lend texture and warmth to the store’s ceiling. The coffee shack is framed with 200 year old chestnut beams, and clad with more of our barnboard paneling. Our material complements the store’s wares: rugged, genuine, and ready for a hundred years of use.
(All photos courtesy of UBB)
Products Used:
Rough Sawn Pine Blanks
Mixed Brown Barnboard
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Vitamin C+ : collage in contemporary art / commissioning editor, Rebecca Morrill.
Information About
Includes bibliographical references and index.
Vitamin C+ : collage in contemporary art / commissioning editor, Rebecca Morrill.
Morrill, Rebecca, editor, writer of foreword.
"Collage is an artistic language comprising found images, fragmentary forms, and unexpected juxtapositions. While it first gained status as high art in the early twentieth century, the past decade has seen a fresh explosion of artists using this dynamic and experimental approach to image making. Organised in an A-Z sequence by artist, the book features both well-known collagists including Njideka Akunyili Crosby; Ellen Gallagher; Peter Kennard; Linder, Christian Marclay; Wangechi Mutu; Deborah Roberts; Martha Rosler; and Mickalene Thomas, and a plethora of lesser-known names deserving of greater attention. Taking a broad definition from analog cut-and-paste compositions and photomontages to digital composed imagery and animations Vitamin C+ showcases 108 living artists who employ collage as a central part of their visual-art practice, as selected by 69 leading experts, including museum directors, curators, critics, and collectors. The survey also features an engaging and informative introduction by Yuval Etgar, an internationally renowned expert in the area. The 69 expert nominators include: Cecilia Alemani; Iwona Blazwick; David Campany; Raphael Chikukwa; Patrick Elliott; Max Hollein; Hettie Judah; Christine Macel; Roxana Marcoci; Duro Olowu; Scott Rothkopf; Russell Tovey; Zoe Whitley; and Heidi Zuckerman"--Publisher's description.
Original Publisher(s)
Digital Publisher(s)
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Design project
77 freelancers are bidding on average $60 for this job
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53041050-d32f-4ab3-87d9-ab997adb8a7b
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22 April 2013 @ 6:55 PM
She was once the a beautiful virgin shadow maiden of Athean. After Poseidon rapes Medusa in Athena’s temple, Athena punishes Medusa….making her the embodiement of death and damning her to a life of solitude.
What does this say about society then, and now?
Well, the myth that tells Medusa’s metamorphosis into a monster as a punishment by Athena is the patriarchal Roman version. The ancient Greek myth, which has closer ties to its progenitor, the Egyptian tale of Wadjet, tells us that Athena gifted Medusa with ugliness and the power to turn men to stone as a way of protecting her from further violations of her person. Even so, her ugliness was emphasized in the Roman retelling as a way to further demonize and disenfranchise Medusa (i.e. she only lashed out on men because she was too ugly to be loved by them, her ugliness forced her into seclusion from men, ugly women are bad, etc. ((I am ironically using abbreviations for Latin words here yes)).). As the original myth tells it, she lived in solitude because she did not wish to be around men after what Poseidon had done. And Athena gave her the power to never be at the mercy of a male again. So originally, Athena was pissed at Poseidon, not Medusa. And then, of course, the Romans took it one step further and had Perseus behead her (yay the vindictive old hag is dead) and give it to Athena for her shield.
But yeah, renderings of Medusa’s head appeared in the doorways of many women’s shelters in ancient Greece because she was a symbol of female empowerment, not a monster feared by men and women alike.
This brings me to my awkward segue into a cool essay on the subject: The Laugh of the Medusa by Helene Cixous actually touches on the system of misogynistic fear behind the Romanized version, but most importantly why women need to write their stories because this is the shit that happens when dudebros get ahold of them. It’s also an awesome overture to queer theories of writing. If you can read French, I highly suggest getting your hands on the essay as it was originally written, because Cixous’ voice is just incredibly inspiring when you read it as she intended it to be read. Also, the essay itself is worthy of criticism as it is not as intersectional as it absolutely needs to be. I feel I should add that before someone thinks I advocate the problematic things she says.
But now that I’ve totally digressed from my original point: It’s important that we’re always mindful to question the credibility of those telling us not only history, but also legend.
(I became absolutely exhausted halfway through this so forgive me if the connection I’m making between the original post and this essay is more arbitrary than I think it is at the moment)
7 months ago via maibeitsmayberlline (originally queennubian)
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26952e1b-437c-436d-a69b-37a3dcf74139
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Cloth Diaper Service Logo Generator
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Learn more about this industry by checking out our How to Start a Cloth Diaper Service guide or if you need help thinking of a name for your small business, try our Business Name Generator.
Creating Your Cloth Diaper Service Logo
If you want a flexible schedule and would like to help people reduce their environmental impact, consider starting a cloth diaper service. This type of business picks up, cleans, dries, and delivers baby diapers. It may also supply new diapers to parents. However, you can't start to perform any of this work until you've successfully promoted your service to potential clients. The development of a custom logo represents an important step in the marketing process.
Cloth Diaper Service Logo Psychology
Your emblem ought to make the company seem approachable yet competent. Mothers need to trust you with a somewhat personal task. Thriving businesses have achieved this by using all-lowercase emblems that feature friendly, lighthearted graphics. Let's take a look at several aspects of the top brands' logos:
• Changing Habits has an intricate circular badge with a tree and clothesline. "A diaper service" appears at the bottom in small cursive letters; this clarification holds importance because the firm's name doesn't identify the service it provides. The logo benefits this company by emphasizing the environmental advantages of using cloth rather than disposable diapers.
• Like Changing Habits, the Wholesome Diaper Co. favors mixed-case lettering and employs a cursive font in one portion of its emblem. However, it has a simpler design only consisting of words. Rounded letters and shapes give both brands' logos a more feminine appearance, helping them appeal to mothers and look more approachable.
During the design process, think about the major reasons why people opt to purchase cloth diapers. Many parents feel that they prevent environmental harm and protect their infants' health. Some also find cloth more dependable and convenient because they don't need to shop for disposable diapers every week or worry about product shortages. While some people choose cloth diapers to save cash, they normally don't use laundry services.
Common Colors, Images, and Typefaces
Prosperous companies tend to embrace some of the same graphics and design elements. They understand the psychological effects of different colors and use this knowledge to their benefit.
Colors Commonly used for Cloth Diaper Logos
Diaper Stork and California-based Tiny Tots favor blue and white, and these two colors appear in many diaper service emblems. The diaperkind logo largely consists of olive and forest-green text. All of these colors represent advantageous choices because they symbolize trust, relaxation, peace, environmentalism, and cleanliness.
Popular Graphics for Cloth Diaper Logos
Diaper service emblems often contain at least two small pictures and may encompass them in a larger shape. Common images include birds, trees, leaves, and building blocks. People associate each symbol with infants or the environment. Unlike angular shapes, circles appear gentle, flexible, and inviting. Try to combine a baby-related picture with a nature-oriented icon for the best results.
Most Common Typefaces Used in Cloth Diaper Logos
These businesses normally choose sans-serif fonts. For instance, Baby Diaper Service appears to use Arial. The Diaperkind and Diaper Stork typefaces resemble Futura. These friendly, modern fonts might help you succeed by suggesting that you communicate well, work reliably, and deliver promptly. An up-to-date style also reflects improvements in today's cloth diapers.
To sum it up, a diaper service can benefit from a logo with charming graphics as well as various shades of blue and/or green. Lowercase text in an informal font implies that your business is approachable and efficiently strives to maximize convenience.
1. Enter Your Business Name and Tagline
The TRUiC cloth diaper service logo generator requires you to add your business’s name and optionally a tagline, or slogan, to help generate your logo.
Still need help finding a name for your business? Then check out our review of the Top 5 Best Business Name Generators and find the service that will work best for you and your small business.
2. Choose a Type of Logo Design, Font, and Color Scheme
When designing your logo, you’ll have to choose between having a logo with a graphic or a text only cloth diaper service logo.
Option 1: Graphic
This type of logo displays your business name with a themed cloth diaper serviceCloth Diaper Service Logo
Wonderful! You've found a logo you like; you can now customize it further by changing up the font and color for your cloth diaper service logo. If you aren't happy with the changes you made, there is a reset button so that you never lose your original design. If you are needing more ideas for a good logo design, check out our Design Guide for Beginners to learn more.
5. Download Your Cloth Diaper Service Logo
Now that your logo is customized, you will go to our final step, downloading your logo. We make it hassle-free with no email requirements and no sign-ups of any kind — simply download and you’re done.
Our logo generator will provide you with a high-resolution logo in a scalable vector graphic (SVG) file format. This file format is the best for logos because it is easily editable and can be resized as small or as large as you need without losing any quality.
Our cloth diaper servicecloth diaper service logo?
No, there is no email sign-up of any kind. The TRUiC Logo Creator does not take any personal information for you to receive your online logo; it is completely free with no strings attached.
How soon can I use my free cloth diaper service logo?
After creating your own logo, you can download it and use your new cloth diaper service logo immediately.
How much does it cost to create a logo using TRUiC's Logo Generator?
Using TRUiC’s cloth diaper service
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example@example.com
123-456-7890
123 Main Street
Cambridge, MA, 02139
“The Garden at Bougival” by Berthe Morisot
Beautiful gardens painted by Berthe Morisot in the late 1800s
“Villa with Orange Trees, Nice” by Berthe Morisot
“Playing in the Sand” by Berthe Morisot
Playing in the Sand
Berthe Morisot
(French, 1841–1895)
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$1 for 3 months. Save 97%.
$1 for 3 months. Save 97%.
Art in Kayenta Festival slated for October
For The Spectrum & Daily News
The Kayenta Arts Foundation in Ivins City announced that the 2014 Art in Kayenta Festival will be held Oct. 10-12.
This free festival is now in its 15th year.
Festival organizers decided to move the festival from February to October to coincide with the Huntsman Senior Games.
The festival also returns to the same scenic location at the Kayenta Art Village.
Kayenta, a bedroom community of Ivins City, is known for its undisturbed surroundings and starry nights.
More than 60 juried artists representing painting, photography, ceramics, wood, jewelry and textiles will be showcasing their work in booths throughout the three-day event.
In addition to the art, the event features live music, food vendors and this year features a beer and wine garden.
The live-artist Quick Draw competition will return as "Art in the Moment" and will take place during the festival on Saturday, Oct. 11.
In under 90 minutes, artists will exhibit their skills and creative process to produce sellable, professional art ready for auction.
Beginning at 2 p.m., artists will paint, sculpt or otherwise create side-by-side in a special area as spectators witness, cheer and photograph the artistic process as it unfolds.
Many artists will participate in this competition for the first time, giving onlookers a unique insight to their creative worlds. The live auction will then start at 4 p.m.
Art in the Moment artists committed to participate this year include Roland Lee, Edward Hlavka, Jeff Hepworth, Jami Wilson, Frank Huff, Joseph Robertson, David Anthony Sargeant, Spike Ress, and Karen Watson, with many more still to confirm.
Additionally, an ongoing silent auction with more than 30 works of art will take place during the festival with artwork and bidding forms on display throughout Kayenta Art Village.
Closing of bids and the announcement of the winners will be announced on Sunday afternoon.
This year Art In Kayenta Festival will feature two live entertainment stages setup at different locations.
The new "Coffee House" stage will primarily feature solo and acoustic acts while the "Main" stage will feature groups and bands. As usual, there will be numerous food vendors on-site to keep everyone fed and happy. There is no admission fee to get into Art In Kayenta, and families are encouraged to bring out the whole crew.
Proceeds for the three-day festival will benefit Kayenta Arts Foundation, a nonprofit, tax-exempt organization, dedicated to creating an environment that fosters diverse artistic endeavors for educational and enrichment purposes.
Kayenta Arts Foundation is currently working on construction of a multi-use theater and center, with fundraising now underway.
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Habitat for Humanity North Central Massachusetts and 6 Bridges Gallery are hosting the closing reception for “Home is Where the Art Is,” from 4 to 7 p.m., Feb. 3, at 6 Bridges Gallery, 77 Main St. in Maynard.
Enjoy the art, some refreshments, and place a final bid for your favorite items.
The Maynard gallery partnered with Habitat for Humanity in creating Home is Where the Art Is, an auction to raise money so Habitat can build homes in Stow and Acton.
Artists were encouraged to use recycled materials when creating their pieces. All funds raised from the sale and auction of the artwork will support ongoing Habitat home construction and repair in the 25 towns served by Habitat NCM.
Auction items include work by artists from Doctor Franklin Perkins School, local artists and Habitat supporters.
Money raised at the auction will go toward building affordable homes in Stow and Acton.
Habitat will renovate a historical duplex that once housed factory workers, on School Street in Acton and will build a new duplex on the corner of Sudbury Road and Pine Point in Stow.
People can bid for their favorite pieces online at biddingowl.com and at the closing reception at 6 Bridges Gallery.
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Posts tagged “corporation
Corporate Arts. . .. . … . .Arse. . / .
A few weeks ago i had to travel to Portsmouth at my own expense, waste a whole day waiting around in an awful tower block of offices just for the privilege of getting fired. It wasn’t the getting fired that really got me because i truly loathed the job i was in, and so despite the set backs it has since caused i was relieved. What did get me, was when i was sat on their perfect faux leather sofa, hundreds of feet up, in an air conditioned box, surrounded by meaningless pieces of ‘art’ behind frames probably more expensive than the piece itself was the people that inhabit this space and what this space meant.
The droids walk back and forth these halls all day chatting figures or gossiping about their colleagues completely oblivious to their surroundings, the ‘art’ on the walls, it means nothing it barley serves as decoration because its more about what is says, the frame and most importantly the price. All of these pieces of art hidden away just covering up blank spaces because it presents an image of human feeling and success. What i presents to me is a vast flavourless void in which the word art is soiled. The people who bought this ‘art’ probably flicked through a catalogue pointed their finger and quoted numbers to their secretary, Where is the humanity there? And the people who produced it? They most likely did the same thing, flicked through a bunch of pictures from corporate artists pointed at the ‘best ones’ and quoted the numbers to another secretary who sent them off the get mass produced and sold to anyone empty enough to want to purchase them.
The word art seems to mean nothing to most of these people but ironically most of these people are the only ones who can afford real art, it begs the question to stay true and unsuccessful or false and successful? .. .. … . .. … . . . . . … I’m pretty sure i know the answer.
‘Corporate Arse’ Acrylic and Collage on Crate lid behind Perspex
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tue 16/08/2022
Best of 2020: Dance | reviews, news & interviews
Best of 2020: Dance
Best of 2020: Dance
In a perilous year, bright ideas and perseverance sometimes prevailed
Beach ready: Some of the 38 dancers from 14 African countries rehearsing Pina Bausch's Rite of Spring, on the coast of Senegal in March. The world tour was cancelled just days before the premierephoto: Florian Heinzen-Ziob
Hard as it is to recall how it felt to sit elbow to elbow in a red plush seat, plenty of us did that during the first 10 weeks of 2020, with no heed at all to who might be breathing over us. I have since wondered what proportion of the dance sector had any inkling of the wrecking ball that was about to hit. None, to judge by the many weeks it took for dance companies and theatres to reinvent themselves online, and to start dredging their archives for decently recorded material.
The flush of early streamings, generously put out for free, were reminders of what we were missing, but no substitute. For dance to work well on film the choreography must be conceived, or at least adapted, for the camera, and the best online dance of 2020 took this on board.
Choreographer Corey Baker – a name new to me in April – was quick to see lockdown as an opportunity, with so many good dancers around the world suddenly available to take part in his online pieces. The very nature of isolation fired his imagination, as did the outdoors. Spaghetti Junction was a trio for three lads throwing shapes under Birmingham's flyovers, the funky Lying Together was shot using drones atop Hong Kong skyscrapers. And then came his bathtub Swan Lake. These launched a new genre: the three-minute dance clip – entertaining, undemanding – that folk sent gleefully to one another’s phones. The Zoom technology that became so wearily familiar to home workers took on new life as Baker used all those little squares of moving image to create Busby Berkeley effects with arms and legs.William Bracewell as Romeo with artists of the Royal BalletAt the other end of the scale, conceived for viewing on a much bigger screen, was Romeo and Juliet: Beyond Words (pictured above), a re-framing of Kenneth MacMillan’s 1965 ballet directed and shot on location by BalletBoyz Michael Nunn and William Trevitt. Strictly, its release came at the tail end of 2019, but distribution in UK cinemas was largely scuppered by the first lockdown, and despite the backing of BBCTV’s Culture in Quarantine, the film has yet to reach its full potential audience – which is to say those who’ve never knowingly watched a ballet, and have trouble getting over the lack of speaking. Here the dancers all but do speak, given the fine meshing of naturalism and stylised movement. At no point do the steps hold up a conversation, let alone the tragic momentum. William Bracewell and Francesca Hayward are unforgettable as the doomed teenagers.
Inevitably many big projects were shelved – notably a three-acter for ENB which was to superimpose the story of Florence Nightingale on the 19th-century ballet Raymonda. Another was a world tour of Pina Bausch’s landmark version of The Rite of Spring performed by 38 pan-African dancers. With excruciating timing, it was due to premiere in Dakar mid-March. When lockdown struck, determined to salvage something from months of work, the company decamped to the beach near their base at Toubab Dialaw, Senegal, for a final run-through (pictured top and below). A filmmaker and small crew were on hand to capture it just as the sun was setting.Dancing at Dusk: a Moment with Pina Bausch's Rite of SpringThe result, streamed by Sadler’s Wells, was explosive. It's impossible to know to what extent the adrenalin powering this one-off performance derived from the dancers’ fears about what lay in store for them and the world at large. In her original response to Stravinsky’s elemental score, Pina Bausch had posed the question: “How would you dance if you knew you were about to die?” and the work's revival at this particular juncture felt prescient. Despite its being work in progress, there was a beauty and ferocity in the execution that lifted it above anything seen all year.
The plight of live performers everywhere and of dancers in particular was and remains critical, and one unexpected effect of the closures and cancellations was to highlight their working lives as never before. It was humbling to witness dancers doing morning class via Zoom from their homes, using a kitchen worktop or chairback as a barre. Over time, the online class format mushroomed into a global showcase. I watched a Paris Opera Ballet class held on a bridge over the Seine, a Mariinsky class led from the stairwell of a St Petersberg apartment block, and several weeks of Tamara Rojo teaching from her smart Docklands pad. It’s of course highly possible that among her many online hits were some that only wanted to check out her kitchen units, but such efforts threw a lifeline to stuck-at-home dancers.
A mystery remains, however, as to how professionals who would normally be training nine hours a day, five days a week, could replicate that rigour at home. Yet the proof was put before us. The Royal Ballet: Back on Stage, a gala mounted during in a brief “live” window in October, showed the entire company looking leaner and keener than ever. Tom Rogers and Yu Kurihara of Birmingham Royal Ballet in 'Lazuli Sky'In another narrow, live-on-stage window, Birmingham Royal Ballet managed, just, to premiere Carlos Acosta’s first big commission for the company he now leads. Lazuli Sky (pictured above), by Will Tuckett, took its inspiration from the clear blue skies seen during lockdown when the absence of planes and pollution made everyone look up. It began with its 12 dancers imprisoned on a grid, but soon the walls and floor were projecting clouds, wind-tossed treetops, flocks of birds, the dancers embodying the thrum of John Adams’s massive orchestral fantasy Shaker Loops. It was the sensory feast we sorely needed.
English National Ballet also ended the year on an upbeat, with the launch of a neat online rental service Ballet on Demand. Alongside the expected classical offerings is an excellent new series of short contemporary films, for which ENB paired some strongly contrasted choreographers with young film makers. I particularly loved Laid in Earth (pictured below), loosely inspired by the story of Dido and Aeneas but set in a shadowy, lichen-encrusted underworld that oozes death, decay and catwalk chic with its gothic theads by Dries Van Noten.Erina Takahashi Erina Takahashi and James Streeter in Laid in Earth, a film by Thomas James, choreographed by Sidi Larbi Cherkaoui What’s encouraging is that here Tamara Rojo’s company is reaching out to a different, non-theatre-going audience. It’s not hard to imagine any of these dance shorts playing on a wall-size screen in a club or at a party – once such things resume – or even an outside wall of a building. Thinking beyond the pandemic can only be good. The tragedy is that this resumé is unable to report on signs of life from small independent dance companies. How they will weather the double curse of Covid and Brexit is anyone’s guess.
A new genre was born: the three-minute dance clip, which people sent gleefully to one another's phones
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Architect David Lopez of Lopez Architects Captivating $18M Hollywood Hills, CA Design of Luxury Residence
HOLLYWOOD HILLS, CA / ACCESSWIRE / June 22, 2020 / The first word uttered from a confidential international client’s mouth after first laying eyes on David Lopez’s proposed design of a high-end $18 million-dollar custom luxury home in the Hollywood Hills was “Whoa!”
Lopez Architects Cutting-Edge Contemporary Design
Lopez Architects was recently featured on the cover of Architect Blueprint™ Magazine. Image Credit: ArchitectBlueprint.com / Lopez Architects
They say a picture is worth a thousand words. True, yet architects know they hit the bull’s eye designing a dream home when only a few powerful words of joy flow from a client’s mouth after seeing an architectural rendering. Equally impressive is the fact that Partner David Lopez, B. Arch, of Lopez Architects, immediately responded to this client’s short notice end-of-year deadline which meant he worked long hours over the past Christmas holiday.
When opportunity knocks, professionals not only open the door but create one if necessary. In the case of this proposed $18 million home, the client immediately purchased the vacant land for the Hollywood Hills estate based on the stunning rendering Lopez created.
Lopez said it best: “If you work hard there is a payoff, not in money but in client satisfaction.”
Soaring with Unknown Creativity
Although there was no doubt speaking with Lopez that he has fond memories of his introduction to architecture as an intern, it wasn’t until later that a Professor prodded him to consciously build up his confidence to explore the full palate of what architecture had to offer.
A young David was exposed to the general contractor bidding processes through a close mentor Bernie Cooper, while witnessing the technical aspects of architecture thanks to his father Craig Lopez, AIA.
Barbara Romero, David’s mother, manages the accounting books for several construction companies. She introduced David to Bernie, and soon after David went to work for him.
Lopez spread his creativity wings farther than he ever thought possible at SCI Arc (Southern California Institute of Architecture), his alma mater. It was here that a Professor and others he fraternized with, helped open the proverbial window of creative design much wider, thus enabling David’s talent to blossom.
A Lopez Legacy
David’s father Craig has been a practicing professional since 1978, opening Lopez Architects, AIA, in 1983. During his internship with his father, Lopez witnessed his father Craig’s exceptional technical competence first-hand. Back in his early 20s, Lopez’s decision to follow the advice of mentor Bernie and follow his father’s architecture career was the planting of a talent seed that grew his design prowess.
Despite Lopez and his father graduating from separate colleges (SCI-Arc and Cal Poly, respectfully) they both share a strong bond and love of architecture as evident in their personal style, projects, and respect earned from other professionals.
Brett, David’s younger brother, represents his own talent looking to make his mark in architecture. Being in his 20s, Brett is excelling with Lopez’s initial guidance into drafting and beyond. David mentioned that he sees similarities with his own past in architecture working with Brett allowing spontaneous moments of professional exploration and further growth. Now, as an established partner, Lopez appreciates the younger years when he was an “outsider” looking in while on the path to finding his true architectural talent.
Built on relationships, the Lopez legacy has been building for decades and from the looks of a long history of built and current renderings, the future is limitless.
Developer Relationships
Sometimes, taking a quick look back helps solidify the present while opening creative doors to the future. With many projects on the books Lopez fondly recalls his early projects, declaring they are “…a piece of me…” – always to be remembered.
The Great Recession ushered in big changes for Lopez. During this time, he met with then client RC Thornton, a long-time real estate developer in the Southern California area. It started as a client relationship, then turned into a collaborative partnership and now they are great friends.
“The Paseo” house in Los Angeles was their first joint creation that included a pavilion on the facade for prominence. With about 2,900 sq.ft., it was valued at $1.2 million expanding to two stories. The “Martha” house followed in Van Nuys, CA with 3,000 sq.ft. all on one level. At $1.45 million, the spacious deck and pool/spa area are surrounded by spectacular movable glass walls.
Currently, they are on their sixth project together. RC Thornton has been an instrumental mentor and inspiration in helping Lopez shape and hone his contemporary architectural style and design.
“Resort living, that’s what I want,” chimed the client.
Resort Living at Home
And that’s exactly what the client got when Lopez poured his passion into the design of a $28 million 14,000 sq.ft. project.
Also, incorporating a nine-car garage as a focal point is not what most architects have in mind when planning the layout of a premier luxury home. You do when the client has a multi-million dollar automobile collection he wants to put on display. Lopez literally turned design fundamentals on their head by taking a spark of an idea and exalting it to the heights of creativity.
Here’s how he did it:
Connection among spaces and the natural flow between them is critical in architecture. While some rooms are meant to give off a warm feeling, others are cooler by nature depending on their core purpose within the luxury residence. Including the rooftop deck, the “Summit” home has four levels that seamlessly transition to the slightly sloped ground level.
The infinity pool serves double duty as a functional element and in an unexpectedly aesthetic way. Both the lower and first levels benefit from the flowing characteristic of water that ties them together in a most relaxing manner. Strategically laid out in an “L” shape, the infinity pool has two spillovers, one of which acts as a soft visual and physical transition to the outdoors from the garage.
This spillover is a waterfall wall and work of art at the same time – simplicity at its brilliant best.
An open stairway gracefully guides guests from the pool deck to this showroom. The term “garage” just does not do justice. Think “automotive art gallery” as a more appropriate description for an area that includes a revolving vehicle platform to display a $1+ million prized car, glass walls, discrete secondary kitchen, maids quarters, butlers quarters, secure panic-room, wine cellar and spectacular spillover waterfall as a visual focal point looking out into the backyard.
From top to bottom, this Beverly Hills stunning beauty surrounds its owner with resort-like living without ever leaving home.
Contemporary Luxury Living
Contemporary home design enables a strong connection with the surrounding environment. Framing the best aspects of landscape views through unique design elements merges build creation with nature.
Like Lopez Architect’s amazed international client proved, a unique design paired with a scenic location, gets attention as is meant to be – awe inspiring.
Just one look at the rendering is all it takes to see why the client reacted with a big “Whoa!” expression. Almost a full two sides of the dynamic “Oakshire” luxury home has shimmering spillovers. When left to itself, the top pool becomes still, mirror-like in nature, enabling it to reflect gentle light rays on and into areas of the home in a Zen-like manner. The lower water retention area walls were artfully covered in stone to complement the surrounding mountainous landscape.
The property features wrap around decks with glass panel railings allowing unrestricted views whether from the deck itself or looking out from the homes many floors to ceiling picture windows. Several of these huge picture windows not only rise from floor to ceiling but span the entire width of the room making for a seamless visual connection to the outside world.
No wonder the client made an on-the-spot decision to purchase this vacant land for this true gem of a luxury residence he can see himself living in.
It took Lopez Architect’s “Macapa Dr.” home design about three and a half years to secure final approval from the local zoning and planning committee. Seeing the $8 million 4,800 sq. ft. custom home stretched across its lot in the Hollywood Hills, there is no doubt the entire process was well worth it.
As expected, both stories of the main structure include plenty of window space with several floor-to-ceiling corner windows as featured design elements. In between the main house and 1,200 sq.ft. Accessory Dwelling Unit (ADU), three flights of stairs all lead to a large open deck. A sunken lounge area below the deck is an open design. The ADU enjoys its own sliding glass doors to a private deck with a uniformly surfaced walkway leading to the main residence.
These five bedrooms and five-bathroom contemporary design situated the two-story main quarters on a slightly sloped hill to make the most out of the topography. Structural connections, design techniques, materials, and color were all synergistically utilized to create distance yet maintain cohesiveness of the long rectangular layout.
The first glance is not enough to truly appreciate the arrangement of structural elements. Aspects of both spatial unity and spatial definition play well off each other, while ultimately melding together the cohesiveness of the property.
“Ones thought process needs to flow and be open to ideas. Moving forward, sometimes pushing forward brings forth new possibilities,” said David Lopez, Partner and Lead Designer at Lopez Architects.
Go Green Express Car Wash Concept
Like a pleasant warm summer breeze, it was refreshing to discover David’s devotion to projects, including commercial properties such as an express car wash concept in Tustin, CA.
Reaching back to his SCI Arc experience, David stated he was instilled with the fact that “…you need a reason why you create specific forms.” And so, it was with the Go Green Express Car Wash commercial property where “form follows function” is paramount. Not only must the client (and city) approve the design, customers will be the ultimate judges of the property’s utility on a daily basis, thus determining its profitability as a business.
The express wash concept directly delivered a customized self-serve experience that customers demand. Sure, a high detail washes and clean is wonderful and has its place but the reality is more people do not have time for a thirty-five-minute affair as David described.
Responding to these realities, Lopez utilized a cantilevered parking covering to enhance the efficiency of traffic flow for the property layout.
Such a covering guarantees plenty of shade from the sun, significantly reduces fender-benders, eases ingress and egress, and eliminates maintenance costs related to multi-columned structures. In addition, extended as well as wrapped roof lines on the main building add instant visual appeal with a cool green color tone.
Lopez’s design will improve efficiency by cutting an average customer wait time, from an average of 35 minutes, down to just 15 minutes. A second location is already in the works. You may soon see these Go Green Express Car Washes popping up all over Southern California, and then possibly nationwide.
Works of Art = Word of Mouth
All the many properties Lopez shared with us told their own exceptional story while supporting Lopez Architect’s belief in “solid design sensitivity.”
While sharing his designs, Lopez recalled that as a young student he was not confident that architecture was “…really for me.” It is as if he felt like an outsider looking in. Today, as a tremendously talented architect and successful partner, it is clear his work embodies the sense of a mind that virtually “walks” a project on the inside resulting in a work of art as seen from the outside.
Lopez Architects was generations in the making. No overnight success story here, simply perseverance and excellence backed by integrity, year in and year out. That is what keeps Lopez continually moving forward serving a wide range of clients with full service architectural, space planning and interior design services.
When asked where his clients come from, Lopez told us, “Word of mouth. They see our existing work and they want it for themselves.”
What’s Your Architectural Dream? Convert your thoughts and dreams into reality by taking that first step. Visit http://www.LopezStudio.com for more information about Lopez Architects.
About Architect Blueprint™
Architect Blueprint™ reaches over 218,000+ Project Owners, Principals, Partners, Real Estate Developers, Architects, Designers, Builders, General Contractors, Specialty Contractors, Engineering Firms, Construction Professionals, Interior Designers, Industry Buyers, Commercial and Residential Property Owners and Real Estate Professionals, Industry CEO’s and Executive Decision Makers, in both the USA and Canada.
Find out more about innovative and inspiring buildings, structures, projects, and the companies, products and people that design, furnish and build them. If you are involved in, or serve the Architecture, Design, Building, Construction, Facilities Management or Real Estate Industries, Architect Blueprint™ Awe-Inspiring Style and Design™ is for you.
Visit https://ArchitectBlueprint.com for more information or call +1-877-463-9777 to collaborate with Architect Blueprint™ to help find the unique stories within your company to share. (Architect Blueprint™ is a 7 Figure PR™ Company Brand)
SOURCE: Architect Blueprint™
View source version on accesswire.com:
https://www.accesswire.com/594124/Architect-David-Lopez-of-Lopez-Architects-Captivating-18M-Hollywood-Hills-CA-Design-of-Luxury-Residence
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Ona Mestre
Ona Mestre (Barcelona) is a choreographer and dance-theatre teacher. Her relationship with dance has always been based on the research of an inner consciousness and the flow of creativity. She studied the Fedora Aberastury method, Conscious System for Movement Technique, with Yiya Diaz and Julia Comesaña. Various studies of contemporary dance and theatre. Katsugen and Yuki, voice-body with Sjabbe Van Selfout. Travels to Africa with grants from the Generalitat de Catalunya for dance and African culture studies. Research in the sensorial field of energy perception, the sound of quartz and Tibetan singing bowls and the vibration of the voice. With Laura Vilar, she created the Grup de Treball for the creation of solos and duets. With Pablo Arias, musician, she organises dance-improvisation Jams. Dance classes at nunArt Guinardó. Social dance workshops with the association Cuida la Vida! Performs with visual artists and artists from the experimental world with a diversity of languages.
More content
Corpologia 18
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UNT College of Visual Arts + Design - 31 Matching Results
Search Results
Note: All results matching your query require you to be a member of the UNT Community (you must be on campus or login with university credentials for access).
[Andromeda Fountain]
Photograph of the Andromeda Fountain in the courtyard of the old town hall in Vienna, Austria. The fountain sits in the center foreground of the image. The fountain is inset into the building exterior. The bronze figure of Andromeda was created by the sculptor Georg Raphael Donner.
Photograph of an interior space in Austria. In the center of the frame, a tile vessel is visible. A clear glass display case intersects the fame on the right side.
Photograph of a round stone building with a pointed roof in Austria. The buildings sits on a hillside surrounded by grass and trees.
Photograph of a room in Austria. There is a bench in the center of the room where four people are sitting. Two other men are seen standing in the room. The room is white with arched ceilings. There is a door on the opposite side of the room. Ornately decorated pedestals are visible on either side of the door.
Photograph of a street in Austria. On the right, a street curves up and around a row of buildings. Trees and more buildings are visible on the left side of the frame.
Photograph of buildings on a hill in Austria. A number of buildings dot the top of a hillside with the green valley visible below. More hills are visible in the distance.
[Austrian Academy of Sciences]
Photograph of the Austrian Academy of Sciences in Vienna, Austria. A doorway is visible in the foreground. A carved stone head and garland sit above the doorway. The right door is open and leads down a dark hallway with lights visible in the background. The academy was designed by the architect Jean-Nicolas Jadot de Ville Issey.
[Austrian Church]
Photograph of a church in Austria. The church is visible in the foreground with a row of parked cars in front. The bell tower rises out of the picture frame on the right side.
[Carved Archway]
Photograph of a carved stone archway in Austria. The carvings depict figures, horses, and centaurs. The arch is inset in a white wall. In the background, a colorful fresco is visible through the archway.
Photograph of castles in Austria. In the foreground, a house and farmland are visible. One castle is visible in the left middle ground and another is visible on the right. The distant landscape is visible in the background.
Cloche Hat
Cloche style hat of rust colored fur felt. Black velvet trim with self-covered button on left side of crown. Lower edge of inside crown trimmed with black velvet. Unlined with black grosgrain headband. Retailer's label on inside hatband: "The Halle Bros. Co." Inside crown stamped: "Musketeer / Imported Body / Made in Austria" Size tag on inside hatband: "22"
[Decorative vine]
Photograph of a carved decorative vine in Vienna, Austria. The vine is backed by a white wall. There are numerous carved figures without legs interspersed throughout the vine branches. Some of the figures have gold crowns.Photograph of a stone foundation in Austria. The remaining foundation is visible in the foreground. Trees and grass are visible in the background.
[Goldenes Dachl]
Photograph of the Goldenes Dachl (Golden Roof) in Innsbruck, Austria. There are multiple people outside the building in the bottom foreground. The building in the foreground has carvings on the balconies and roof. The roof is made from golden tiles. On the second story, there are colorful frescoes on the exterior of the building. The wall built around the building has windows going up four stories; each with a window box full of pink flowers.
Hat of faux fur (Jaguar?). Constructed on a felt base, the conical crown has a flattened top, and is encircled by a wide band of black grosgrain ribbon. At front of hat ribbon is tied into a bow, and enhanced with a rhinestone-set spherical ornament. The wide brim curves down steeply. The hat is unlined, showing felt base, and has a black grosgrain ribbon inner hatband. Stamped inside the crown: "Imported Body / Made in Austria"
Photograph of a street in Innsbruck, Austria. The street is filled with people and outdoor cafes. A ship sign overhangs a doorway in the right foreground. Buildings of multiple colors line the streets. Red and white flags are mounted on the buildings.
[Innsbruck Street]
Photograph of a street in Innsbruck, Austria. The street is lined with buildings on both sides. Many people walk on the street. In the top right foreground, a metal ornament extends from the building..
[Jesuit Church]
Photograph of the interior of the Jesuit Church in Vienna, Austria. An ornate window is visible in the foreground. The window is encased in green marble with gold painted highlights on a white marble wall. A pink curtain is visible through the window. The church is located on the Dr. Ignaz Seipel-Platz.
[Jesus Statue]
Photograph of a tall pillar with a statue of Jesus in Austria. The pillar is visible on the right side covered with statues. Stone figures climb up the tower. Jesus is at the top. A building is visible in the background.
Photograph of the Karlskirche in Vienna, Austria. In the foreground, a black sculpture is visible in a pool of water. The left side of the church facade is visible in the background. The Karlskirche was designed by the architect Johann Bernhard Fischer von Erlach.
[St. Peter's Church]
Photograph of St. Peter's Church in Vienna, Austria. The church is visible in the foreground. The church has a dome roof and two bell towers.
[Stone Doorway]
Photograph of an arched stone doorway in Austria. The doorway and cracked stone brick wall fill the frame. A small illegible sign is posted on the left side of the door.
Photograph of a doorway in Vienna, Austria. In the foreground, doorway number three is visible; a figure immersed in shadow is visible through the open door. Ornate carvings frame the top of the doorway.
Photograph of a streetscape in Vienna, Austria. In the foreground, numerous shop signs and blue cafe umbrellas are visible; orange umbrellas are visible in the middle ground; more buildings and a sculpture in scaffolding are visible in the background.
[Window Painting]
Photograph of a window in Austria. The foreground is mostly hidden in shadow. In the center foreground, a window is visible inset into the wall. Next to the window, a fresco of a figure is painted on the wall.
[Wood Fence]
Photograph of a wood fence in Austria. The wooden fence is put together by hand with dried vines. The wall sits in front of a white wall.
[Wooden Door]
Photograph of a door in Austria. The door is in the center foreground with white walls on either side. The door is decorated with wooden carvings and metal ornamentation. The white wall forms an arch above the door. There are names written on the top of the door frame.
[Wooden Door]
Photograph of a wooden door in Austria. The wooden door is visible in the foreground. Stone columns flank the door. The door has a large iron lock.
Photograph of woodwork on a building in Austria. The top eve of a roof is visible. The decorative woodworking and lattice work are visible.
[Yellow Clocktower]
Photograph of a yellow clock tower in Austria. A white building is visible in the left foreground. A yellow clock tower sticks out of a building on the right.
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World's Largest Sheet Music Selection
Samtliche Sonaten fur Clavier II
Sonatas 13-24
By Leopold Kozeluch
Be the first! Write a Review
https://www.sheetmusicplus.com/title/samtliche-sonaten-fur-clavier-ii-sheet-music/17266312?aff_id=50330
Sonatas 13-24. Composed by Leopold Kozeluch (1747-1818). Edited by Christopher Hogwood. This edition: urtext edition. Paperback. Leopold Kozeluch. Complete Sonatas for Keyboard II. Performance score, anthology. Baerenreiter Verlag #BA09512. Published by Baerenreiter Verlag (BA.BA09512).
Item Number: BA.BA09512
ISBN 9790260105027. 31 x 24.3 cm inches. Text Language: English/Czech/German. Preface: Christopher Hogwood.
As the foremost representative of Czech music in 18th century Vienna, LeopoldKozeluch(1747-1818) was noted primarily as composer, pianist and keyboard teacher. His 50 keyboard sonatas cover his entire career and mark not only the transition from the harpsichord and clavichord manner to the fully idiomatic forte-piano style, but also the development of theclassical sonatawhich spanned several decades (from 1773 to 1809).
Until now, pianists have had little chance to acquaint themselves with the complete range of Kozeluch's sonatas since few existed in modern editions. For the first time this new complete edition by Christopher Hogwood presents all sonatas for keyboard solo. There will be four volumes in total and the works will be presented chronologically. Volume IV also contains those sonatas which are found only in manuscript sources.
- The first complete edition of all keyboard sonatas by the Czech composer Leopold Kozeluch
- Fills a gap in the repertoire of the Czech and Central-European classical repertoire
- Suitable for amateurs as well as professionals; ideal for teaching purposes
- Includes a detailed introduction (Eng/Cz/Ger), critical commentary (Eng)
and facsimiles
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Jane Bown
A quiet focus on the relevant
Since the 1950s, she has been known as one the of the most important portrait photographers in the UK: Jane Bown, born in 1925 in Dorset. She’s portrayed all the important personalities of her time: artists Francis Bacon and David Hockney, actors and directors such as Woody Allen and Dennis Hopper, fashion designers like Vivienne Westwood, musicians such as the Beatles and Björk, and important political figures including Richard Nixon, Margaret Thatcher, and the Queen. Her more than 60-year long working relationship with the Observer began with her first portrait in 1949 of the philosopher Bertrand Russell. His distinctive profile, giving off a silent pride, emerges from an abstract background in black and white contrast.
All of her portraits exhibit a high degree of focus. Her simple technical means have not changed until today: no artificial light, no requisites, no assistant, no color. She does not even use a light meter.
“I always look at the light on the back of my hand and calculate it that way.” Starting out with a Rollei, then a Pentax, and finally landing on an Olympus she still uses today, she developed her own distinctive style. She concentrates on a person’s head, above all on their eyes, and isolates them in front of a vague background. She has perfected her minimalist photography over time to achieve technical and compositional completeness.
In one of her rare interviews Jane Bown was asked if she agrees with Richard Avedon that most photography is very precise, but doesn’t tell the truth. After hesitating a bit she said: “I think my pictures do.”
According to her own understanding, the photographer should always be invisible and be able to catch the right moment: “The best pictures come from the unforeseen. They suddenly appear out of nowhere. One moment they are there, the next they are gone. It is very simple to take a picture, but it is very difficult to make a good photograph.” She would do anything to catch that good photograph, as was the case with Richard Nixon: The assignment came in late and all other journalists were already there, blocking her view. There was nothing left other than to get down on her knees and shoot the image from this position. The first one didn’t work out. Nixon asked: “Do you have it?” She said no. He posed again and asked: “Do you have it?” And then she got it.
Most of the time she had only ten minutes to take pictures, something which requires precision, perception, and for a shy person like Jane Bown, a high degree of determination. When she met Dennis Hopper 1982 at the Savoy Hotel, she marched straight to his room and took stock of the situation. Within seconds she came up with her idea for the picture and within a few attempts, she had the portrait: The actor, in a hat, smoking in front of a mirror. Samuel Beckett had wanted to cancel their appointment due to a lack of time, but Bown didn’t allow him to shake her off so easily and caught him at the stage exit. Within only five shots she captured one of the most memorable portraits of him that’s ever been made. Her work reached critical acclaim in 1995, when the National Portrait Gallery had a show and catalogue of her work, titled “The Gentle Eye.” In 1995 she also received the British Order of Merit for her exceptional achievements in photography. Various publications document her work, including a coffee table book titled “Faces” from 2000.
Geraldine Blum
1925Born in Dorset
Jane Bown studied photography at Guildford Shool of Art, Surrey (1946-50). Joined Observer newspaper in January 1949 and her first published work for the paper was a portrait of Bertrand Russell that appeared the same month. In 1964, worked in colour for 3 years for Observer Colour Magazine but disliked it and returned to working predominantly in black and white. Her extensive photojournalism output includes series on Sinti and Romanies, Greenham Common evictions, and in 2002, the Glastonbury Festival. Her sitters include Björk, Queen Elizabeth II, Jean Cocteau, Samuel Beckett, Orson Welles, David Hockney, Sir John Betjeman, Jayne Mansfield and The Beatles.
2014Passed away
Awards (Selection)
1995Barry Award, 1995
1995What the Papers Say, 1995
1995CBE, 1995
1986DLitt Bradford, 1986
1985MBE, 1985
Collections (Selection)
National Portrait Gallery, London
Palace of Westminster, London
Buckingham Palace, London
The Royal Ballet School, London
Exhibitions (Selection)
Single Exhibitions (Selection)
2007 - 2008
'Unknown Bown 1947-1967' The Newsroom, London
2003'Rock: 1963-2003', The Newsroom, London
1980 - 1981'The Gentle Eye', National Portrait Gallery, London
Group Exhibitions (Selection)
2007How We Are - Photographing Britain, Tate Britain, London
Woman’s Hour, BBC Radio 4, March 2006:
Books/Catalogs (Selection)
1980'The Gentle Eye', 1980
'Women of Consequence', 1986
1987'Men of Consequence', 1987
1988'The Singular Cat', 1988
1991'Pillars of the Church', 1991
2000'Faces: The Creative process Behind Great Portraits, 2000
2003'Rock: 1963-2003', 2003
2007'Unknown Bown', 2007
2009‘Exposures’, 2009
> read more
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Submit your work, meet writers and drop the ads. Become a member
Bohemian Apr 12
My neck feels so anxious
The last time it had laid on a pillow
It felt an utter discomfort
Where on the bed should my hair be placed
For each strand has grown so tall with such a pace
My callus is so pale
Frozen are my palms
Lips fall dead dry ,no, I don't apply any flavoured balm
Eyes behold an anchor upon
I curl up under the sheets
But by the morning I'm fresh and flushed.
Bohemian Apr 6
You can delve it out,
Without sinking into it.
If it is to be said
It has to be said blatantly.
Bohemian Mar 31
Committing mistakes ,
Dwelling in it ,afterwards,
Accepting it.
There's a difference ,the expressions might not be too vivid to clarify, rather plain, but most of us have sensed it.
Mar 26 Bohemian
Dermot Kirwan
I have got through life like a wounded animal.
Head down, avoiding further conflict.
When I look back on it all, I see no trace of me, no flattened grasss, no displacement.
Even the air remains undisturbed.
I want to come back as a crazy African rhino with a arrow lodged in his ear.
My best work seldom trends.
Imagine the disappointment
That the lack of that annointment
To the fragile sends.
It’s sheer luck
That I don’t give a ****
And completely possible
But more likely
Some AI algorithm decides
Whether my work is seen or obscure dies.
Don’t seek validation
From social media engagement
Your audience is so diluted
The metrics so easily disputed.
Art is;
Art does;
Art takes it time
To connect audience to your rhyme.
Art lives;
Art serves;
Art is the power of your words.
Don’t measure it by likes nor loves or views
Or any other social cues.
Have you best expressed the sentiment you feel?
If yes then ******* my friend your art is real.
Don’t measure your worth by what social media says.
Mar 25 Bohemian
I wonder what I'm doing
I wonder who I'm being
I wonder where I'm going
I've asked these questions so many times
The answer is never forthcoming
Wake up every morning
****, shower and shave
Put on the mask and join the parade
Numbness if you can find it
Has its rewards.
It's a difficult complex dance
Particularly when your mind and body
Don't understand choreography
Though dancing as fast as you can
The moves you ought be able to master, but never do
We're all doing
the daily stumbling Can-can.
The Can-can originated in the 1840's, a high energy chorus line, kicking its way on stage.
Bohemian Mar 25
Those two could never be made, walk apart
Her serene giggle doesn't elsewhere reside
His humour is just to decorate a crescent moon countenance around
Those two may brawl on days
Yet on others without each other cannot survive
If I believe in love,proclaimed
Watching them ,I feel this is how love's to be made famous to children's eyes
Next page
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The Venice Beat
Luciano Benetton’s Imago Mundi Exhibition Opens in Venice
For his Imago Mundi exhibition, which opens this week in Venice, Luciano Benetton invited 1,000 artists worldwide to create works no larger than a postcard.
Benetton’s famous “shock factor” may have been discarded but Luciano Benetton’s vision is still a global one. Never one to shy away from a challenge, the ex-head of the international fashion brand (and former Italian senator) has now turned his attention to contemporary art.
The first stage of his Imago Mundi collection has taken Benetton and his team five years to curate. It currently contains over 1,000 paintings, both commissioned and collected, from emerging artists in Australia, India, Japan, South Korea, and the United States. The travelling exhibition will make its debut at the Fondazione Querini Stampalia in Venice on August 28th and will run through October—simultaneous to the Venice Biennale.
The concept is an innovative but simple one. Locally selected artists from each region were asked to produce any image they wished, with whatever medium. There was only one condition: that they restricted their creations to the uniform dimension of 12cm by 10cm, about the size of a postcard. The resulting collection is an intriguing combination: huge, wooden framed mosaics of tiny images, each standing over six feet high. Bright daubs of color sit alongside, dark, meticulous illustrations—each piece bursts off the canvas, vying for audience attention.
It’s a project that 78-year-old Benetton says he hopes will celebrate cultural differences between artists and draw the critical spotlight onto lesser-known, international talent.
“What we really want to do is to eventually map the contemporary art situation all over the world, trying to include as many countries as possible. No countries excluded,” he told The Daily Beast, speaking from his Italian home in Treviso.
The collection is organized and curated by geographical location. According to Benetton, every piece acts as “a unique business card” for the individual artists whilst also presenting a snapshot of their region’s cultural diversity. The techniques and materials used are as varied as the images, piecing together a creative landscape as rich as it is wide-ranging.
“What was difficult was when I had this idea in the very beginning, because there was no previous precedent for what was being done,” said Benetton, adjusting his trademark round glasses. “But the more works I collected, the more I realized how important this project was,” he said. “I want these artists to be discovered, to be known, to come to light,” he added. With the help of curators and local experts, Benetton aims to expand the collection to include over 10,000 artists by 2016.
As well as creating a showcase of contemporary talent, Benetton also hopes the exhibition will facilitate a wider dialogue between different cultures, particularly opposing ones. “I’ve always thought that while in politics it might be very difficult to smooth conflicts between neighbouring cultures, whereas artists can do it very well and much more easily,” he said. “They help us to value and treasure differences.”
Imago Mundi will be on view at the Fondazione Querini Stampalia in Venice from August 28th—October 27th.
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Artists aged 12 to 18 are invited this summer to participate in a mask pattern design competition to raise awareness about the need to care for youth who lack access to quality masks, and to express their creativity through art. The winning design will be printed on 100,000 masks with a significant portion donated to communities in need, especially low-income or at-risk children returning to school.
This student-led initiative envisions a city where each youth has access to quality masks, empowers one another, and uses creativity to help communities during difficult times. The theme of the competition will be ‘There To Care’, as inspired by the ways that communities have stood together in the face of this pandemic. This competition provides young people with the chance to convey what being ‘There To Care’ means to them, whilst promoting a culture of cooperation between corporations and the wider community.
Students are encouraged to design the patterns on the template on Colour Away Covid’s website, and submit their artwork on the same page. The judging panel is composed of several renowned local artists, including Mr. Jonathan Jay Lee, named as World’s Best 200 Illustrators, and Ms. Winnie Davies, President of Hong Kong Oil Painters’ Guild (HKOPG) and Founding Chairman of Club 4 Art.
Inspired by a friend who contracted COVID-19, founder Bakhita Fung, a student at Georgetown University, believes in the importance of protecting youth. As the virus broke out in the US, she recalls her ambivalence: “I told my dad that it would be fine if I contracted the coronavirus, after all, youth didn’t seem to be at risk. Until one of my friends caught it.” She continues to share about her friend’s difficult journey and recovery: the loneliness, isolation and physical struggle. “Youth are not immune to the virus, and more needs to be done to protect us if we are planning to resume school.”
See also
17 Best Outdoor Playgrounds In Hong Kong
Therefore, the ‘Colour Away Covid’ team has partnered with a Hong Kong-based surgical mask manufacturer, Zionburg who will produce the winning pattern. Charities such as The Society for Community Organization (SoCO), Hands on Hong Kong and other established organizations are committed to distributing the customized masks to youth in need. “Even though Hong Kong has had success in its fight against coronavirus, more needs to be done to help children,” Bakhita continues. She cites the recent deaths of children in New York of inflammatory complications possibly linked to Covid-19. “It’s essential that they feel safe enough to resume school in September.”
The competition starts 8 June 8 and will end on 8 July. Companies or individuals interested in supporting this initiative or purchasing masks can contact projects@zionburg.com. For more information, check them out on Facebook or Instagram. and enter the competition here.
5/5 - (1 vote)
Created by Hong Kong lovers for Hong Kong lovers, The HK HUB offers you a daily dose of stories, deals, and tips about this unique and amazing city. If you're looking for the best places to visit, to know more about the Hong Kong Culture, to find a cool restaurant or bar to chill with your friends, or an exciting thing to do over the weekend with your family, we've got you covered. The HK HUB opens the doors to Hong Kong.
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Ilya Glazunov Art Gallery
Ilya Glazunov Art Gallery
• The exhibition contains over 700 paintings, illustrations of literary works by Dostoyevsky and other classical Russian writers and stage set designs.
• Eternal Russia (1988) is a well-known painting depicting the entire history of Russia from the Arian exodus to the 20th century.
• Photographs of Glazunov’s architecture projects include the interior of the State Kremlin Palace and the study of Russia’s president.
• Visitors to the art gallery can, additionally, go to a concert or to attend a lecture.
• Important information is translated into English; visitors are offered audio guides and guided tours.
31_image2_sThe Ilya Glazunov Art GalleryRussian: Kartinnaya galereya Ili Glazunova or Картинная галерея Ильи Глазунова presents works by a prominent Russian painter of our age and holder of the UNESCO medal for outstanding contribution to world culture. Glazunov became known internationally as a master of portrait painting. He painted portraits for the kings of Sweden, Laos, and Spain, the Pope, the President of Finland, Indira Gandhi, etc. However, his works are more diverse than portraits, as he also interprets the history of Russia and its role in the development of human civilization in his artwork. The museum displays over 700 paintings, including the famous monumental works Eternal RussiaRussian: Vechnaya Rossiya or Вечная Россия, The 20th Century MysteryRussian: Misteriya XX veka or Мистерия XX века, The Kulikovo FieldRussian: Pole Kulikovo or Поле Куликово; a field in Tula Oblast in Russia where the famous Battle of Kulikovo took place in 1380, a series of illustrations of literary works of Dostoevsky and other classic Russian authors and drafts of stage settings for many renowned theatre and opera performances. The gallery is located in VolkhonkaRussian: Волхонка, on a crossroads of tourist routes, with the Pushkin State Museum of Fine ArtsRussian: Muzey izobrazitel’nykh iskusstv im. A. S. Pushkina or Музей изобразительных искусств им. А. С. Пушкина directly in front of it. It is also neighboured by the Cathedral of Christ the SaviourRussian: khram Khrista Spasitelya or храм Христа Спасителя on the right.
32_image3_sThe Ilya Glazunov Moscow State Art Gallery opened in 2004. The painter donated his art and graphic works to the city. A close look at all of the exhibition halls will take you a couple of hours. The permanent exhibition covers the period of the artist’s creative life from adolescence until now, a total of almost 70 years (Ilya Sergevich celebrated his 86th birthday in 2016). The earliest period is presented in the first hall, displaying the very profound autobiographic painting LoveRussian: Lyubov or Любовь, which Glazunov created after he met his wife Nina Vinogradova-Benois. The second hall is home to the famous huge (3 x 6–8 m) paintings drawn in the 1980s–1990s.
If the Russian history is a subject of your interest and you want to know, for example, what is the oldest church in Moscow, what are the famous monasteries around Moscow, which style of Moscow architecture you can see only in this town, you can read on our website pages about Red square Moscow and “History and Architecture”.
One of the most recognised, Eternal Russia (1988), depicts an endless flow of people. The procession is led by Tsarevich Alexei, the son of the assassinated Emperor Nicolas II, accompanied by the great Russian saints Boris and Gleb, Sergius of Radonezh, Seraphim of Sarov, etc. The Tsarevich is followed by Dostoevsky, Gogol, Pushkin, Lermontov, emperors and tsars, scientists, and great Russian philosophers. In one painting, Glazunov depicts the whole history of Russia, from the exodus of the Aryans from the Holy Mountain (in the upper left corner) up until the 20th century. Glazunov completed this painting in 1988 to celebrate the millennium of the Christianisation of Kievan Rus’.
33_image4_sThe 20th Century Mystery (1999) is another famous work. The painting depicts the violent events of the 20th century, its wars and cataclysms. Glazunov made a sketch of this painting in the spring of 1968, when he witnessed the riots in Paris. The protesters set fires, smashed shop windows, and hacked down the centuries-old chestnut trees glorified by French poets. Glazunov felt a strong desire to illustrate this century full of blood and conflagration. The painting was completed within a short period of time so it could be displayed in the his solo show in Moscow. However, he wasn’t allowed to display it. Moreover, the exhibition was cancelled and the Central Committee of the Communist Party was convened urgently to decide whether Glazunov should be deported. Only one vote saved the painter from being denaturalized as it was with the famous writer Aleksandr Solzhenitsyn.
Картинная галерея Ильи Глазунова 9Despite not having lived through these events, Glazunov felt keenly the effects of the October Revolution of 1917, the collapse of the monarchy and the disappearance of centuries-old Russian traditions. This topic is repeatedly addressed to in his works. His last completed monumental painting on this issue was DekulakizationRussian: Raskulachivanie or Раскулачивание; the Soviet campaign of political repressions, including arrests, deportations, and executions of millions of the better-off peasants and their families in 1929–1932. The painter depicts how peasant families in Russian villages were exiled and deprived of their homes, cattle and land when kolkhozesRussian: колхоз; a form of collective farm in the Soviet Union were created. The painting was finished in 2010. In his Smashing of the Church on an Easter NightRussian: Razgrom khrama v paskhalnuyu noch or Разгром храма в пасхальную ночь, the artist also touches upon the rise of the Bolsheviks to power and the fight against faith and the Church they initiated.
34_image5_sKievan Rus’ is one of the central motives in Glazunov’s oeuvres. The Kulikovo Field series is dedicated to the era of Mongol invasionthe attempted conquest of Russia by the Mongol Empire and the decisive Battle Kulikovo (1380). The painter compels us to never forget our history and roots.
Illustrations of literary works of great Russian writers and poets are another thread in Glazunov’s creative heritage. He illustrated books by Aleksandr Kuprin, Nikolay Nekrasov, Alexander Blok, Pavel Melnikov-Pechersky, Nikolai Leskov, etc. Ilya Glazunov has been the only painter who illustrated all the works by Feyodor Dostoevsky, his favourite author, from the 1960s to 2008.
A few halls house only portraits painted by Glazunov. You can see portraits of Sergey Mikhalkov, Valentin Rasputin, 35_image6_sEugene Kozlovsky, Yelena Obraztsova, Sergey Bondarchuk, and other politicians, cultural figures, and artists.
A separate hall is dedicated to the architectural oeuvres of Ilya Glazunov. It presents photos of the interiors of the Grand Kremlin PalaceRussian: Bolshoy Kremlevskiy dvorets or Большой Кремлевский дворец, designed by the artist. He managed to reproduce the majesty and power of the Russian Empire that overwhelmed foreigners who visited the Palace a century prior. Glazunov also designed the President of Russia’s private study.
The art gallery in Moscow offers a café, hosts concerts, lectures, conferences, and wedding ceremonies. Free entry is offered on the third Sunday of each month.
Ilya Glazunov is a famous collector. His unique collection provides the basis for the new permanent exhibition, The Museum of Russia’s Classes, in the gallery. It will tell the history of artistic culture in pre-revolutionary Russia of the 16th–20th centuries.
© 2016-2019 moscovery.com
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total number of grades: 6, average rating: 4.67 (from 5)
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Within Garden Ring
Nearest Metro Station
13 Volkhonka Street, Moscow
http://glazunov-gallery.ru
Museum Opening Hours / Ticket Office Opening Hours
Tu: 11 a.m. - 7 p.m.
We: 11 a.m. - 7 p.m.
Th: 11 a.m. - 9 p.m.
Fr: 11 a.m. - 7 p.m.
Sa: 11 a.m. - 7 p.m.
Su: 11 a.m. - 7 p.m.
Days off
Ticket Price
From 50 to 150 rubles depending on visitor's category and programme of visits.
Photo and video filming is prohibited.
Visiting Rules
Additional Information
There is an opportunity to buy tickets online.
Ilya Glazunov Art Gallery
Ilya Glazunov Art Gallery
Ilya Glazunov
Destruction of the church on Easter night
Kulikovo Field
Nina Vinogradova-Benua
Nicholas II of Russia
Ilya Glazunov. Mystery of the 20th century
Ilya Glazunov Art Gallery
Ilya Glazunov Art Gallery
Ilya Glazunov Art Gallery
Ilya Glazunov Art Gallery
Ilya Glazunov Art Gallery
Ilya Glazunov Art Gallery
Ilya Glazunov Art Gallery
Ilya Glazunov Art Gallery
Ilya Glazunov Art Gallery
Rooms on the 3rd floor
Rooms on the 3rd floor
Room on the ground floor
Room on the ground floor. Book illustrations of Russian classical literature
Room 4
rand Kremlin Palace. Malachite Hall. Designer: Ilya Glazunov. 1999
Grand staircase
Ilya Glazunov painting Gina Lollobrigida. 1961
Ilya Glazunov writes a portrait of the King of Spain. 1991
Room on the ground floor. Book illustrations of Russian classical literature
Left Right
Featured reviews
Visitor rating: 4.5
January 2017
After visiting the gallery, there are many positive impressions. I did not expect such a large scale from a modern artist. I was especially impressed with the artist's enormous paintings and historical subjects.
December 2016
The art of the master is presented widely, the works occupy 3 floors of the museum. There is also a basement level, there are photos of the artist with various VIPs, as well as pictures and sketches from his Vietnamese series (I really liked it). Well, there are just a lot of works, it's impossible to see all at a time. It's ambiguous attitude to the works, but you need to watch it, because Glazunov is our great contemporary, his art inspires respect.
September 2016
I was particularly impressed by Glazunov's illustrations to the works of Dostoevsky and other authors. Still couldn't take my eyes off the image of Jesus with a bloody tear ("Golgotha", 1983). The entrance to the gallery is free on the third Sunday of every month. You can treat the artist's works in different ways, especially the works of the 90s, but no doubt, there are works in the gallery that satisfy the taste of each visitor.
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We custom build Native American Styled PowWow drums of different sizes and of the highest quality.
PowWow Moose Artistic
All of our PowWow drums are hand built in Waynesboro, Virginia and constructed of top quality wood frames. We opt for a traditional Eastern Red Cedar, Douglass Fur, or a durable Hard Maple frame. Douglass Fur is an excellent choice for larger Ceremonial Drums as it has lower density that enhance low end frequencies, as well as structural stability.
Eastern Cedar is traditionally used and is also a softer wood so it will resonate with the lower tones and absorb some of the higher frequencies, giving a pure, deep bass.
Hard Maple is more structurally sound, but very dense. The density gives the drum more attack and a harder projection, but not quite as mellow sounding.It's all custom, so write us and we can discuss options in detail to build the custom drum just for you!
Our PowWow drums can shake a room! They come in a few sizes that we have found gives good results, but most of our orders are for custom sizes. The largest we have built to date was a huge 40 by 18 inch Ceremonial PowWow Drum.
There are two main building styles RHD uses to construct these drums. The traditional style uses rawhide lace to tune the drum; where the more modern design uses rope. The advantage of rope is that the drum is easily tuned and can compensate for changes in humidity that effect the sound. Rawhide stretches with humidity, and having a hide and lacing stretch and retract means that your drum will sound very different depending on where you are playing. Coming from a more percussive background, I prefer rope. Knowing that many prefer hide lacing I offer this as a more traditional style and actually enjoy heading these powwow drums with rawhide lace because it contracts when it drys, cutting out a lot of my work!
Either way you want to go, contact Rhythm House Drums about your PowWow drum purchase, as we have some very fair prices for the most excellent drums!
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Dribbble Meetup
Hi Dribbblers!
We are inviting all of you into our studio space for a fun and interactive meetup! We will provide pizza and beer as well as a ping pong tournament for all you athletes!
If you are more about learning than playing we have something for you too! A few members of our team will be sharing some tips and tricks from their expertise in the fields of: interaction design, development, UX and 3D design.
Please spread the word and join us for a fun interactive meetup!
http://www.meetup.com/dribbble/Sacramento-CA/1144522/
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Buy collectable artworks backed by comprehensive market information and impeccable provenance
Lofty Nabardayal Nadjamerrek
AKA Nabageyo, Nabarrayal, Nabadayal
73 Career Overall Rank
107 2017 Market Rank
• Born: 1926 - 2009
• Active: 1969
• Region: Western Arnhem Land NT, Western Arnhem Land NT
• Community: Oenpelli, Oenpelli
• Outstation: Kurrukkurrh, Marlkawo, Mankungdjang
• Language: Kunwinjku, Mok
Crossing Country
Considering the serious push behind his work by a number of important galleries including Sydney’s Annandale Galleries, and the records set for works by John Mawandjurl and several North East Arnhem Land painters in recent years, Lofty’s best works are seriously undervalued in the secondary market. His works did not finally rise above $10,000 on the secondary market until 2008, despite the variety of their subject matter and the four-decade period over which they were painted. While Lofty had been a most important Arnhem Land artist, his lack of stellar sales was due principally, in my opinion, to the under appreciation of barks paintings in general, and the fact that few of his finest works had been offered for sale at auction.
In 2008 and 2009, three works transcended his record price that had stood since 2000, when $8,625 was paid against an estimate of $5,000-8,000 at Sotheby's in June for Namarrkon - The Lightning Man, an image composed of a highly potent bold singular figure against a red ochre background (Lot 98). It is surprising to look at the image, which is a very long way from his best work, and imagine that this could possibly have held his record price during an eight year boom for Aboriginal art, especially in light of prices charged for his paintings on the primary market. However, in 2008 no less than four works entered his top ten results, making this his most successful year historically to that time and lifting his career average price by close to $500 and his AAMI by 14%.
Despite the success of Nawaram - Rock Python Eating Dreamtime Woman–Ngalyangdon and Male and Female Mimihswhich became the artists two highest records at $14,400 and $11,400 when sold at Sotheby’s in October 2008 (Lots 70 and 71) both were relatively static compositions created in the early to mid 1970s. They both lacked particular distinction other than their provenance, having once been part of the Jerome Gould collection in Los Angeles.
By far the finest work that had been offered at auction to that time was Creatures of the Sacred Maraian Ceremony 1991, which sold at Sotheby’s in July 2004. In what is a complex compositional arrangement, an array of animal and plant imagery central to the Sacred Maraian Ceremony were depicted with stunning execution on a full sheet of Arches paper. One can only envy the purchaser of this beautiful 100 x 153 cm piece, which was estimated at just $7,000-10,000 and sold for a mere $8,100.
In 2013, however, Bonham's held a sale of the Clive Evatt Jnr.'s collection of Arnhem Land barks and scultpure. The lively octogenarian was renowned for taking a punt. He had famously bought a major painting from Brett Whiteley with a boot full of cash after a massive win at the races. He reputedly won the building where he established the Hogarth Galleries, which became Sydney’s first privately owned commercial gallery of Aboriginal fine art in Australia during the mid 1970s. Its founding director, Kerry Steinberg (better known by her maiden name, Williams) built the Arnhem Land collection and for a period of eight years, at least a decade before institutions began purchasing in any quantity directly from the communities, a significant proportion of the Australian National Gallery’s collection was purchased through the Hogarth.
The sale of Evatt's bark paintings and sculptures was held on 24 November 2013, and it was touted in the media that he had left his most treasured barks till last. Lofty Bardayal Nadjamerrek and Munggurrawuy Yunupingu were the undisputed stars of the sale. No less than four works by Lofty smashed his previous record. Lighning Spirit (Namarrkon) sold for $47,580, Mimi Spirits Dancing achieved $36,600, and images of Ngalyod (The Rainbow Serpent) and Kolobarr (The Plains Kangaroo) both sold for $28,060. On the strength of this sale, Lofty was recorded as the 6th most successful artist in 2013 after no less than 6 individual paintings entered his top ten result. In fact, 4 of these works broke his previous highest record at auction and these propelled him from 102nd to 72nd on the list of Aboriginal art’s most successful artists. The 92% success rate in this one sale lifted his career success rate at auction from 68% to 72% and his average price at sale to $6,596.
Lofty has created a great many works on paper and, in general, these have not been popular on the secondary market indicating collectors’ ethnographic preference. In fact, the majority of his works that have failed to meet their reserves are works that were created on paper. This is to be expected, since his early works in good condition are favoured over his later ones, and it was not until the early 1990s that paper was available to Arnhem Land artists. However, if it is a particularly good image with his wonderful rarrk-work, neither the date of execution nor the medium seems to affect the sale price, as witnessed by his sixth highest price at auction to date. During the last decade of his productive life, Lofty’s works lost much of their precision and commonly appeared messy due to his infirmity. Nevertheless, galleries preferred to sell them without having any blemishes ‘touched up’. Although he had all but ended his artistic career, he continued to paint the odd work for the Injaluk Art centre while providing paintings to outlets in Jabiru and Darwin, including Phil Hall's Aboriginal Fine Arts Gallery and Marrawuddi arts.
Lofty painted for almost 40 years and fine works are likely to come up for auction on a regular basis. Prior to 2013, I had consisently advised collectors to buy his works while they could be obtained for no more than $10,000. The effect of his passing in late 2009 had yet to be seen on the market, and like the passing of fellow Arnhem Land artist Mick Kubarkku the previous year, a spike in both works on offer and sales results was always on the cards. Indeed, the time for purchasing his works at reasonable prices may well already be over. His retrospective at the Sydney MCA at the start of 2011 saw his artistic contribution finally recognised and the secondary market was always going to follow suit.
Given the invaluable legacy of a 40 year long artistic career and the high regard in which his art is held, it was surprising that Lofty Nadjamerrek’s most prized works did not fetch infinitely higher prices until fairly recently. It seems to have been forgotten that there was a time in the late 1960s, prior to the genesis of the Western Desert art movement, when the international demand for bark paintings was so great that it far exceeded supply. After Baldwin Spencer initiated the first major commission of bark paintings from Oenpelli artists in 1912, a string of visiting anthropologists followed, culminating in Roland and Catherine Berndt’s visit in the 1940s. This marked a pivotal moment in the growth of public awareness about Indigenous Australia’s rich cultural heritage. At that time Western Arnhem Land X-ray and Mimi paintings had become firmly established in the Australian psyche as the ‘epitome of Indigenous art' (West 1995: 5). Seen in this light, it seems bewildering that, apart from a small number of Wandjina barks of the Kimberley, few Western Arnhem Land artists have attracted sales that come even close to those paid for top works on canvas, with the very rare exception of major works by historic figures such as Yirawala that have sold for more than $20,000.
Outside this limited, and very specific category of early bark paintings, historically important figures like Lofty Nabardayal Nadjamerrek, who have painted well into the boom period of the Aboriginal art market, continue to sell for far less.
Lofty Nadjamerrek was born and spent his youth at Kukkurlumurl and his clan lands in the Mann River region of Western Arnhem Land. It was amongst these rocky outcrops and caves, where they camped during the wet season, that Nabardayal's father, Yanjorluk, taught him the art of rock painting. Indeed a number of Yanjorluk and Nabardayal’s earliest cave paintings survive to this day, in the Kodwalehwaleh region of the Djordi clan estate.
Nabardayal left Arnhem Land as a teenager, migrating to the tin mining region of Maranboy, a two hundred kilometer walk to the south. He worked at the mine, where his European boss dubbed him Lofty, a reference to his tall stature, until the mine’s collapse in the face of the Federal Government’s equal pay legislation. Prior to this time, Indigenous workers were paid in rations and tobacco. Bardayal then took up stock work on various cattle stations until the onset of WWII. He left for the bush at one point, but was promptly brought back and forcibly made to work at the Army’s Stirling Mill near Mataranka. ‘We had to work, we were all frightened, there was nothing we could do and all that working has given me grey hair‘ (cited in West 1995: 8). With the end of the war Lofty returned to his clan lands and then into Oenpelli (Gunbalanya), where he worked as a buffalo-shooter. He married Mary Kalkiwarra, who gave birth to three of their eight children there.
Though a number of anthropologists had visited Oenpelli and collected paintings on bark, beginning with Sir Baldwin Spencer in 1912, it was not until Peter Carrol had arrived that bark paintings were created ‘commercially’. Encouraged by Carol’s energy and enthusiasm, his linguistic interest in the culture, and a policy of paying 60% ‘up-front’ for bark paintings, Bardayal began to paint in earnest from 1969 onward. Even though there was a significant international demand for bark paintings at this time, no ‘official’ art centre existed in Oenpelli until 1989. Between 1970 and 1987 the Aboriginal Development Commission’s Aboriginal Arts and Crafts, later renamed Aboriginal Arts Australia, exhibited bark paintings in its galleries located in each of the capital cities. Lofty’s bark paintings were a familiar mainstay and ‘field operatives’ including Dorothy Bennett aided in their collection and documentation, with additional works being sent to dealers such as Jim Davidson in Melbourne and emerging privately owned outlets such as Sydney’s Coo-ee and Hogarth Galleries. During this period, Lofty’s career continued to blossom and receive recognition in group shows that focused on the art of the ‘Stone Country’ and the Oenpelli region in particular. By this time, with the encouragement toward self-determination initiated by the Whitlam government, Bardayal had moved from Oenpelli and lived at a number of outstations, before establishing his own at Malkawo in 1980. Tragically, in 1988 the family Lofty had been living with was shot, and this preempted his move to Kamarrkawarn, in his mother’s country on the Mann River, where he and his family resided until his death in October 2009.
The establishment of Injalak Arts at Gubalanya in 1989 finally brought about the recognition that Lofty deserved, as one of the community's most significant artists. His subjects range across a wide array of secular and spiritual themes. Bardayal’s style is firmly seated within Western Arnhem Land conventions, with figurative elements contained within an unadorned red, brown or black ochre background. His predominantly white figures are in-filled with a combination of X-ray details of their internal organs and his own uniquely identifiable cross-hatched (rarrk) patterns. The design elements in his work differ from other Western Arnhem Land painters of his generation, such as Mick Kubarkku, with whom he is strongly associated since the important 1995 landmark exhibition Rainbow, Sugarbag and Moon - The Art of Mick Kubarkku and Bardayal Nadjamerrek. The exhibition was mounted by the Museum and Art Gallery of the Northern Territory. While both of these artists' styles are related to the rock art tradition, Bardayal confines his in-fill patterns to red parallel lines, that are more closely associated with these conventions than the geometric body paint designs from which Kubarkku derives his own unique cross-hatching. Judith Ryan, Senior Curator of Indigenous Art at the National Gallery of Victoria, praised him for his ‘sure draughtsmanship and sense of proportion, the mark of a great artist‘ and concludes, that his ‘ power of outline, not the patterning within each figure, is what transmits life to the compositions‘ (1990: 80).
During the later part of his life, Lofty continued to paint, most notably on Arches paper due no doubt to the difficulty of collecting suitable bark. Despite a long and enduring career, it is only since 2005 that solo exhibitions of his work were organized by Mossenson Galleries in Melbourne and Annandale Galleries in Sydney. However the group shows that he participated in were many and various since his first exhibition in 1975 at the Meadow Brook Art Gallery in Rochester, Michigan. In 1982 one of his paintings was used on the Australian 40c stamp, and in 1999 he won the Telstra Work on Paper Art Award at the Museum and Art Gallery of the Northern Territory, having been an entrant many times since the first Award was given in 1984. Furthermore, after a lifelong legacy of creativity, in 2004 he was a richly deserving recipient of the Order of Australia for his lasting contribution to Australian culture.
Profile References
Hetti Perkins and Theresa Willsteed (eds). 2004. Crossing Country - the Alchemy of Western Arnhem Land Art. Sydney. Art Gallery of New South Wales.
Ryan, Judith. 1990. Spirit in land : bark paintings from Arnhem Land in the National Gallery of Victoria. Melbourne. National Gallery of Victoria.
West, M., (ed.). 1995. Rainbow Sugarbag and Moon, Two Artists of the Stone Country: Bardayal Nadjamerrek and Mick Kubarkku. Darwin. Museum and Art Gallery of the Northern Territory.
Liverpool Ranges , Mann River Plateau , Kodwalehwaleh, Kuku, Marlkawo
Ngalyod Rainbow Serpent, Mimi Spirits, Lightening, Emu, Possum, Barramundi, Bush Turkey, Crocodile, Echidna, Kangaroo, Nail Fish, Snake , Wallaby, Spoonbill, Turtles, Yam, Water Lillies, Yingarna, Nakidjkidj , Sugar Bag Spirit (Wakkewakken), Namorrkon Lightning Man
Natural Earth Pigment on Eucalyptus Bark, Printmaking, Works on Paper
Regional Map
Note: This map is a representation and not accurate. Some sites are sacred and therefore not shown.
Market Performance
Career Totals
AIAM100 Rank
AIAM100 Rating
Sold/Offered
88/122
Clearance Rate
Average Price
Total Price
2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017
0.5020 0.2440 0.0775 0.0000 0.3592 0.2007 0.0580 0.2042 0.3950 0.3359 0.1792 0.2891 0.0763 1.5420 0.4956 0.5265 0.2066 0.1352
7/12 4/5 2/3 0/0 5/5 3/5 1/3 3/9 4/7 4/6 3/4 4/5 2/2 12/13 7/10 8/8 3/6 2/3
$5,144 $3,720 $1,500 $0 $5,160 $4,474 $3,360 $4,634 $9,750 $7,050 $3,567 $5,223 $1,457 $16,513 $5,012 $4,331 $4,741 $4,573
Yearly Market Performance Graph from 2000 - 2017
Top 10 Artworks Sold at Auction
Lightning Spirit (Namarrkon)
sale price: $47,580.00
auction: Bonhams, Sydney lot: 101 date: 24/11/2013
108 x 53 cm Natural earth pigments on eucalyptus bark
Mimih Spirits Dancing 1981
sale price: $36,600.00
auction: Bonhams, Sydney lot: 138 date: 24/11/2013
86 x 53 cm Natural earth pigments on eucalyptus bark
Ngalyod the Rainbow Serpent
sale price: $28,060.00
auction: Bonhams, Sydney lot: 1 date: 24/11/2013
129 x 49 cm Natural earth pigments on eucalyptus bark
Kolobarr, the Plains Kangaroo
sale price: $28,060.00
auction: Bonhams, Sydney lot: 102 date: 24/11/2013
97.5 x 64.5 cm Natural earth pigments on eucalyptus bark
Rainbow Serpent Beneath Waterlilies, C.1985
sale price: $14,640.00
auction: Bonhams, Sydney lot: 106 date: 11/05/2014
42 x 115.5 cm Natural earth pigments on eucalyptus bark
Nawaram - Rock Python Eating Dreamtime Woman -ngalyangdon
sale price: $14,400.00
auction: Sotheby's Australia Pty. Ltd., Sydney lot: 71 date: 20/10/2008
79.2 x 45.3 cm Natural earth pigments on eucalyptus bark
Male and Female Mimihs
sale price: $11,400.00
auction: Sotheby's Australia Pty. Ltd., Sydney lot: 70 date: 20/10/2008
35.5 x 41.5 cm Natural earth pigments on eucalyptus bark
Rock Kangaroo in a Cave
sale price: $10,980.00
auction: Bonhams, Sydney lot: 259 date: 24/11/2013
63.5 x 38 cm Natural earth pigments on eucalyptus bark
Bolung Kaberrekuwan, 2003
sale price: $9,760.00
auction: Bonhams, Sydney lot: 97 date: 24/03/2013
105 x 150 cm Natural earth pigments on paper
Rainbow Serpent, c. 1979
sale price: $9,760.00
auction: Bonhams, Sydney lot: 72 date: 16/06/2015
97.5 x 53 cm Natural earth pigments on eucalyptus bark
Available Artworks
Three Nailfish and Crocodile by Lofty Nabardayal Nadjamerrek
MP #202
Three Nailfish and Crocodile - 1985
Lofty Nabardayal Nadjamerrek 5
152 x 50 cm
MP #202 LOCATION: Bondi Beach
EST. $5,000 - $7,000
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Primal Mountain
Primal Mountain
NT$1,2imal Mountain
by Yuji Hamada
The photographs in Primal Mountain – a signature work of artist Yuji Hamada – appear at first glance to depict mountain sceneries. But looking closer, one realizes these are not a mountain in the literal sense; they are mountains composed of artificial materials near and dear to us. Hamada often handles the themes of “truth and falsehood,” together with “the seen and the unseen” in his works. One day, as he was coupling these motifs with experiences of the Great East Japan Earthquake disaster in 2011, Hamada received a postcard from a friend – a photograph of a mountain. Hamada found himself amazed by the beauty and the sense of falsehood present in the photo: and began to doubt that the mountains depicted there were even truly mountains at all – thus catalyzing his shooting process for Primal Mountain. What do mountains have that cause us, as human beings, to recognize them as such? The landscapes fabricated in his photographs convince our brains that the sights are those as found in nature – providing a pleasant, intriguing experience for the reader.
Primal Mountain makes use of double-leaved binding: the reverse side of each page depicts an enlarged shot of the picture on the front, allowing readers a view of the back-image by peeking through the side. The binding recreates mountains and valleys, with its construction simulating this motif of “the seen and the unseen” – as the reader flips through the pages, they gently sway in the realm between reality and fantasy. It causes one to question: what does it mean to see? Following the photographs is a text contributed by author Seigow Matsuoka, whose own work influenced Hamada’s thought process on the subject matter.
Yuji Hamada
Born in Osaka, Japan in 1979. Graduated from the Department of Photography, Nihon University College of Art in 2003. Currently based in Tokyo with works being exhibited worldwide.
Hamada experiments with a variety of unique approaches to create work that is highly conceptual yet rooted in the fundamentals of photography. Major exhibitions include “R G B,” “C/M/Y” (PGI, Tokyo), Photograph and Primal Mountain (GALERIE f5,6, Munich). Exhibited in the Swiss photo festival Images (2014) and France’s Phot’Aix Photography Festival (2015), among others.
Major publications include “photograph” (lemon books, 2014), “C/M/Y” (Fw:books, 2015), “BRANCH” (lemon books, 2015), “Broken Chord” (PGI, 2017).
Design: Yoshihisa Tanaka
Text: Seigow Matsuoka
Size: 212 x 289mm, Paper Back
Pages: 112P
Languages: Japanese, English
ISBN978-4-907562-19-9 C0072
All photos and info by torch press
Additional details
Related Products
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Kitchen Wall Art and Décor Ideas: Tips on How to Style Your Kitchen
Do More with Your Kitchen Art and Décor
The kitchen is the heart of the home — for cooking, eating, gathering, sharing, and living. As such, kitchens hold a special space in home design. The best kitchen décor combines form and function, bringing colors, patterns, and shapes together for a cohesive aesthetic.
The best of this season plays into a return to social. With more friends and family joining us for dinner or special events, trends are curated around updating our existing spaces to a relaxed yet luxurious environment that is perfect for living well and entertaining.
Organic Minimalism
The bright whites, stone, and ceramics that give Minimalist style a decidedly laid-back feel are enlivened with plants and natural elements. This season’s new neutrals like aqua, apricot, sky blue, stone, and sand call upon nature for design guidance. Organic Minimalist style is perfect for smaller kitchens or for creating an open feel. White walls throughout the home add continuity to shake off the feeling of containment or space separation. Art is a perfect nature complement, especially for infusing more light and depth into your kitchen.
Add a large statement piece (e.g., 32”x48”) to a wall that lacks cabinets or shelving. We love these pieces for Minimalist kitchens:
Herbs Watercolor by Modern Tropical - Framed Print
Broken Edges by Sakshi Modi - Wrapped Canvas
Traditional Cottage
The traditional cottage is an update on the modern rustic that has met mainstream saturation. Cottages kitchens give cozy feels with stone hearths and shaker cabinets, mismatched teacups on flannel, and bread baking in the oven. Traditional kitchens may be a design choice or an inherited style, but just because they are an older design does not mean they cannot have a spark and “now” feeling of their own.
Use art to tie together new designs with older features like a framed piece above a stove or a set or grouping on a wall that needs extra visual interest.
Herbal Botanical by Wild Apple - 2 Piece Framed Print Set
Traditional kitchens also look amazing with a wallpaper update like:
Peel & Stick Wallpaper roll - Green Spring Elder Flowers by Decoworks
Life of the Party
Maximalism is one of our favorite trends because it encompasses anything and everything, completely customizable for the individual. Whether it’s jewel-tone painted cabinets, bold wrapped canvases, art galleries, or busy backsplashes, the Life of the Party trend toes a line between visual carnival and too much. And we are here for it.
Don’t hold back with Life of the Party. Choose everything that makes you happy and arrange, and arrange, and arrange some more. Find floating shelves for special collections or to prop up art pieces that complement your Maximalist scheme.
Be a Fruit Loop by Motivated Type Framed Print
Kitchen by Louise Robinson - Framed Print
Our design experts have curated collections that easily fit into any space or style. Shop design themes from this article, including Organic Minimalism, Traditional Cottage, Life of the Party, and more. Visit our Pinterest or Instagram for more design inspiration and get busy planning your art and décor update!
Regresar al blog
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yellow fliwers us art diamond bar paint with diamonds kit
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colorelaxation diamond painting
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Now Reading
1917 and the “Cinema of the Moment”
1917 and the “Cinema of the Moment”
Nils Gollersrud
1917‘s long takes and hidden cuts create a “cinema of the moment” that immerses us into a visual experience free from the logic of time and visible editing.
I’ve been in quarantine for almost two months and I desperately miss going to the cinema. I miss sitting in a darkened theater, leaving the outside world behind for a couple of hours and losing myself in the overwhelming presence of a film on the big screen. My last trip to the cinema felt like it was ages ago, in January when I saw 1917. While watching this, I spontaneously conceived a film theory that helped me understand how to best engage with the film and gave me a deeper appreciation for its technical and narrative merits.
I call this theory the “cinema of the moment,” which I understand as an approach to film concerned with capturing a “moment,” using visual techniques to immerse us into a time and a place. Film is the perfect medium to immerse us into new experiences: it is equipped with images, sound, time, and motion, and even on the two-dimensional screen, films can realize their imagined worlds with an organic sense of visual depth.
Loud and Clear reviews 1917 cinema of the moment George McKay
George MacKay in 1917 (Universal Pictures)
1917 centers itself on the visual experience. Long takes and hidden cuts mimic a continuous shot for its two hour runtime, a technique seen in films like Rope and Birdman. It’s an impressive cinematic trick that deepens our immersion into the world onscreen—the absence of discernable editing makes us forget that we are watching a film. At first, the long takes suggest the events unfold in real time, but the story occurs over a period of about twenty four hours. There’s no temporal logic to 1917, as the film asks us to ignore measurements of time like hours and minutes, and instead lose ourselves in images uninterrupted by visible transitions between shots.
There is a remarkable sense of dimension and depth to this film’s cinematic world. Almost always in motion, the camera dances with graceful, ethereal maneuvers to establish spatial geography and change perspective even within the long take shots. Hidden cuts occur when objects appear in the frame, briefly covering the direct line of sight of our protagonists Schofield and Blake as the camera follows them. Fixtures of scenery like trees, artillery guns, passing soldiers, and trench and farmhouse architecture populate the frame, adding layers to the spatial world these characters inhabit and travel through. Smoke and rubble from artillery blasts add murky texture, and there’s even a shot where the camera suddenly pivots with the motion of an explosion, letting us feel the power of its shockwave. It’s a compelling experience to enter this film, letting the camera take us on an unpredictable visual journey through this world.
Loud and Clear reviews 1917 filming behind the scenes
The filming of 1917 (Universal Pictures)
Narratively, 1917 is sparse and contained. The film is so hyper-focused on its story that everything that occurs before and afterwards is irrelevant, and by the end, everything even seems inconsequential in the grand scheme of the surrounding First World War. It’s just a simple story of two solders on a mission that takes place over one day, in the middle of a four year war that involved millions of lives. This is why the film is so gripping and suspenseful—it magnifies its small scale story into a material experience for us to witness, to watch as if we were present running through trenches and across battlefields to deliver a message.
See Also
In 1917, visual technique is more than just a gimmick: it presents us with a new way of “seeing” a film. We are encouraged to ignore the logic of time and to witness images unbroken by traditional forms of editing. We are invited to surrender to the screen, to be immersed in a particular time and place, to feel the immediacy and thrill of danger and to experience being in the moment of the race against time on an urgent mission.
1917 is now available on Digital, DVD & Blu-Ray everywhere. Click here to read our full review of the movie.
Copyright © Loud And Clear All Right Reserved.
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Rustic Pumpkin - Acrylic Painting - ready to ship!
Rustic Pumpkin - Acrylic Painting - ready to ship!
Ask a question
* Please note-item may appear larger than scale in the first photo. Some are enlarged to show detail. Please note the actual size in item description below if considering purchasing this artwork.
This is an original acrylic on canvas, drawn and painted by me.
This cute little painting has a rich texture, and colors are yellow ochre, naples yellow, raw umber, indigo hue, and titanium white.
**Buying original art can be difficult online due to different computer monitors. I try to photograph to portray the colors as accurately as possible...please let me know if additional photos are needed to help you make a decision**
TITLE: Rustic Pumpkin
MEDIUM: Professional grade acrylic paint on mini gallery wrap canvas
Mini easel is included
Titled, signed, and dated on back
Painting has a protective varnish
Copyright Mary Lynch of Hickory Studio 2015
Ships FREE via USPS within the United States. Fed Ex available for additional charge. Tracking and insurance provided.
Thanks for visiting my shop!
I accept Direct Checkout and PayPal. You can use a Debit or Credit card with either option. I also welcome Etsy Gift Cards.
Payment is greatly appreciated at time of purchase of finished items. For paintings of $300.00 or more, I do offer layaway. For layaway items, 1/3 is requested as a deposit, with the full balance due within 2 months. The painting would be shipped after full payment us received.
A 20% down payment is requested for commissioned paintings. This will be refunded if you do not approve of the finished work.
Shipping from United States
Currently shipping U.S. only:
Most of my paintings ship in the standard 3-5 business days, but recently completed oil paintings or custom orders will show the extended 3-4 week period. Please note the shipping for each item before placing an order. If viewing on my custom website, please send me a convo to inquire about shipping time.
Packages will be shipped via USPS Priority Mail, which delivers 2-3 days after shipment. If you have courier preferences (Fed Ex or UPS) please contact me before purchasing so that I can adjust the cost accordingly. I will email tracking information so that you will know exactly when your package should arrive.
I want you to be thrilled with your painting! I post numerous photos, including several close-ups as well as lengthy descriptions. If you are not happy with your painting, please send me a convo notifying of return, and send to me in original condition within 5 days of receipt for a full refund of purchase price. Since I offer free shipping for all of my items, the return shipping cost is not refunded. I do not offer refunds on items damaged during shipment, or stolen from delivery address.
* I gladly accept commissioned orders, and a 20% deposit is requested. I will send frequent photos as I work on your painting, and there is no obligation to purchase if you do not approve of the finished product. Custom/commissioned paintings are non-refundable after shipment.
*Not responsible for items lost or stolen after shipment.
*A minimum of $50 insurance is provided for each shipment*
All artwork is original by Mary Lynch - artist and owner of Hickory Studio
All rights remain with the artist and paintings are not to be resold or copied for personal or commercial profit.
I am always happy to answer questions, so don't hesitate to ask about shipping times, custom orders, etc.
*If you would like a custom order - whether it's a different size of one of my originals or a painting of your idea - please message me and I will create a listing just for you.
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Cedric ‘Winter Wolf’ Clitheroe
I make my way through the world one step at a time.
I’m an explorer before anything else; I can’t help but look for the edges, fringes, and uncharted spaces. If it’s innovative, on the edge, or world-changing, I’m in, and all of that exploration goes into my work.
These Totems are the physical manifestation of concepts and powerful ideas that inspire me. Particularly the ones that have improved my life for the better.
Put into something you can hold.
As for me? I’m easy to keep track of but impossible to find. This is the way of being a fringe Guide that I am. Always sharing, Never staying put. Explorer.
I’m an old-world archetype. In another life I would have been a royal jeweler, wilderness ranger, deep space scout, or apocalypse wasteland wanderer.
I love the power of mythology, stories, and words in creating the exact life we desire.
I’ll bring courageous honesty, creative problem solving, and old-soul clarity to your jewelry.
Contact Me Here
5 + 7 =
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Asian Wedding Photography & Cinematography
Luxury Asian Wedding Photography
Samsara Studios are specialists in the art of Asian wedding photography and videography, capturing the intimate moments of your special day.
Founded in 2011, we have built a foundation of diversity and innovation with our highly skilled team of professionals – shaping and enhancing our techniques to bring you the best service.Asian Wedding Photographer Keythorpe
We understand that having high-quality photos to look back on is such an important part of your wedding – which is why we offer a selection of fully customisable packages to choose from.
We provide both exquisite photography and elegant cinematography, bringing your special day to life and allowing you to cherish your memories for a lifetime.
Located in the heart of the Midlands, we offer a personalised service to clients in London, Leicester, Birmingham and also across the UK. We cover Sikh, Hindu and Muslim wedding photography and cinematography – providing you with a complete, full coverage package that meets your requirements and needs.
Our Asian wedding photography packages provide you with the ultimate experience, and you can be assured that your most intimate moments filled with love, care and compassion will be caught on camera – allowing you to relive your special day whenever you like.
Why not take a look at our videography packages? Bring your special day to life with our luxury videos, providing you with an innovative and state-of-the-art digital record of your wedding events.
When you choose Samsara Studio, you choose excellence.
You can be assured that your wedding photographer will show the true essence of your love and affection on your wedding day. Expressing the best moments with an economical price to match.
Hindu Wedding Photography
We believe in taking a personal approach from day one which is why when you enquire, we will proceed with a consultation that allows you to tell our team your bespoke requirements, allowing us to understand exactly what you would like.
Once we understand the angle and direction you wish to pursue on your special day, we can create stunning and timeless imagery, capturing the essential and significant moments of your day.
Complete our enquiry form or contact us on 0777 3813 812 to find out more about our luxury wedding photography packages.
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YOU ARE HERE: LAT HomeCollections
Music Reviews : Quartet Serves a Stew From Latin America
October 11, 1994|HERBERT GLASS
The crucial difference between the Cuarteto Latinoamericano now and when first encountered a couple of seasons back is that its ever-present passion is today integral to the sort of polished ensemble that would allow for convincing interpretations of any repertory.
As if to underline the point, the Mexican idiom so brilliantly evoked in their very different ways by Silvestre Revueltas and Mario Lavista, composers prominent on past Cuarteto programs, was superseded in the Sunday program at Schoenberg Hall on the UCLA campus by an attempt to display the cosmopolitanism of Latin American music.
It didn't work in the opener, a pair of facelessly didactic "Sketches in Quarter-Tones" by Mexico's Julian Carillo, dating from the 1920s, when rigidly microtonal composing had its brief innings.
The members of the Cuarteto--violinists Saul and Aron Bitran, violist Javier Montiel, cellist Alvaro Bitran (the Bitrans are brothers)--are superbly equipped teachers, but their skills were more rewardingly employed elsewhere.
In "Metro Chabanco," another Mexican, Javier Alvarez, has produced a witty, minimalist-inspired bit of urban motorism, counterbalanced on the second half of Sunday's program by the tingling edginess of the equally brief "Four for Tango" by Argentina's Astor Piazzolla. Both pieces were delivered with irresistible panache and alluring tone.
The first of two more extended works heard, "Yiddishbuk" (the title of a collection of Yiddish "pseudo-psalms" that survive in fragmentary form in notebooks of Franz Kafka, it seems to have said in the confusing program notes), is a gripping creation by the Argentine Osvaldo Golijov, and which might have been written anywhere.
Golijov's programmatic references are to Terezin, to Isaac Bashevis Singer and to Leonard Bernstein, while stylistic references suggest a wide variety of sources, none Latin American.
The "classic" offering on the program was Heitor Villa-Lobos' voluptuous, superbly crafted Eighth Quartet (1946), in which Brazilian folk idiom--most clearly displayed in the carnival rhythms of the swirling Scherzo--becomes part of a highly personal and sophisticated style.
Its performance by Cuarteto Latinoamericano was masterful: sonorous, rhythmically incisive, faultlessly balanced.
Los Angeles Times Articles
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The Making of Gary Hill’s Gold Bar
Northwest Territorial Mint: The Making of Gary Hill's Gold Bar425-Ounce Gold Bar Covered in Oil at Chelsea Art Gallery
Pouring a 425-ounce gold bar is no small feat. As one might imagine, it requires advanced machinery and a whole lot of technical skill; in fact, it's the kind of undertaking that most people would assume only a huge government mint, like the U.S. Mint, could handle.
But, amazingly, this daunting task was successfully completed just recently by a private mint located near Seattle. Northwest Territorial Mint - which specializes in designing and producing custom-minted products in many metals, including precious metals like gold and silver - took on the challenge of creating the massive 425-ounce bar at the request of world-renowned artist Gary Hill.
The Seattle-based artist required the bar for his new exhibit entitled Frustrum, which is currently being exhibited at the Gladstone Gallery in lower Manhattan's Chelsea art district. Throughout his remarkable career, which spans more than three decades, Hill's installations have been featured in the world's leading galleries, from New York's famed Museum of Modern Art to the Fondation Cartier Pour L'art Contemporain in Paris.
In Frustrum, the near-thirty-pound solid gold bar produced for Hill by Northwest Territorial Mint sits in a shallow pool of oil, over which an animated eagle violently flaps his wings, struggling to break free from a transmission tower. A soundtrack of jarring whip cracks creates conflict with the sensual surrounds of gold and oil, forcing the viewer to confront the deeper ramifications of their union. Engraved in large letters across the top of the bar is the cryptic phrase "For everything which is visible is a copy of that which is hidden." An accompanying piece, Guilt, reinforces the formal qualities unique to gold which have made it a prized material for artists and influential people throughout history.
"The use of real gold is essential to the power of this unique exhibit," said Miciah Hussey, artist liaison for the Gladstone Gallery. "It would not have been possible to convey the work's central theme in the absence of this material," Hussey said.
Creating this giant gold bar required careful planning and precise execution on the part of Northwest Territorial Mint. To prepare the gold for pouring, the company's expert team heated 520 ounces of pure .9999-fine gold - contained in a specially designed Silicone-Carbide crucible - to a temperature of approximately 2,400 degrees Fahrenheit. The molten gold was then poured into a custom-built graphite mold and allowed to cool. Once the bar had fully hardened, it was carefully extracted from the mold. To conform to Hill's precise specifications, nearly 100 ounces of gold were shaved from the bar before it was buffed, engraved, and ready to be shipped off to New York.
From January 13, and through February 10, 2007, this enormous bar of pure gold bathed in oil commanded the rapt attention of all those who visit the Gladstone Gallery to view Gary Hill's latest installation. Gladstone Gallery is presenting the United States premiere of Frustrum, which was previously shown in Paris at the Fondation Cartier Pour L'art Contemporain
Click on the images below to view the gallery of the making of the gold bar:
Northwest Territorial Mint: Insights & Ideas
Telluride Silver Bar
Hot Topic: Unforgettable Calling Card
Paper business cards just don't get respect anymore. But some of our customers have found a way to make sure their business card is prized and respected, and certainly not tossed into the trash. Telluride Real Estate had us mint their 10 ounce silver bar, which was given an antique finish. Now this is a business card that commands attention and never escapes notice.
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Northwest Territorial Mint: In The News
Vulcan, God of Fire and Iron
Northwest Territorial Mint: Did You Know?Vulcan, the Roman god of fire and iron was, more often than not, portrayed in coins with blacksmith tools or using them. This bust of Vulcan has the trademark tongs behind the head. The reverse has an eagle perched on a thunderbolt. Vulcan was not a frequent coin subject for the Romans, however.
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Skip to main content
Seven Weeks of Summer
Five museum shows to enrich your summer excursions, from Connecticut to Maine
ALEXIS ROCKMAN: OCEANUS Rockman has been portraying environmental calamity in his paintings for decades, often with a nightmarish, finely detailed dystopian aesthetic that might bring to mind Hieronymus Bosch (a recent series on the Great Lakes featured views bisected by the waterline, with fresh hells both above and below). For this exhibition, he’s created a series of cascading watercolors with the despoilment of the ocean in mind. That he doesn’t lack for material shouldn’t surprise; his oeuvre is a guarantee of career longevity, if not longevity more broadly for the planet itself. Through spring 2024. Mystic Seaport Museum, 75 Greenmanville Ave., Mystic, Conn.. 860-572-0711, mysticseaport.org.
PAINTED: OUR BODIES, HEARTS AND VILLAGE From 1915 to 1927, the Taos Society of Artists worked to transform their adopted New Mexico hometown from an outpost to an artistic hub. It worked — Sante Fe, down the road, hosts one of the most significant contemporary art events in the country, and the region is lousy with artists — but they forgot someone: The society was exclusively Anglo-American, and Native American Pueblo artists had been creating remarkable works there for centuries. This exhibition reverses the gaze, examining the society from the Indigenous point of view, and stacks up their work against contemporary Pueblo artists to amend the narrative the society created. Through July 28, 2024. Colby College Museum of Art, 5600 Mayflower Hill, Waterville, Maine. 207-859-5600, museum.colby.edu.
PORTRAIT OF A PLACE: STUART DAVIS AND GLOUCESTER When it comes to local art history, the Cape Ann Museum has an embarrassment of riches upon which to draw. Along with its Edward Hopper blockbuster this summer, it’s opening another significant chapter with this exhibition of the work of Stuart Davis. Davis, whose kinetic, freewheeling pictures of Gloucester harbors, schooners, and piers are infused with the energies of the jazz music he so loved, loved Gloucester just as much. When in search of an outpost to serve as a summer painting refuge from New York, he bopped around the Atlantic coast until he landed in Cape Ann, where he found a place with “the brilliant light of Provincetown, but with the important addition of topographical severity and the architectural beauties of the Gloucester schooner.” July 22 to Oct. 16. Cape Ann Museum, 27 Pleasant St., Gloucester. 978-283-0455, capeannmuseum.org.
GIO SWABY: FRESH UP A quiltmaker with a thoroughly contemporary vision for the medium, Swaby, who is in her early 30s, makes portraits of the women in her immediate social circle with needle, thread, and fabric. A gesture of tenderness and care, Swaby is also subverting the perception of the medium as utilitarian craft as she imbues it with deeply personal, emotional value and a desire to be seen on her own terms. Aug. 12 to Nov. 26. Peabody Essex Museum, 161 Essex St., Salem. 978-745-9500, www.pem.org.
2023 JAMES AND AUDREY FOSTER PRIZE This biennial ICA exhibition celebrates three Boston-area artists in a local showcase of the best in contemporary art made right outside our doorsteps. This year’s cohort represents a diverse array of materials, methods and practices: Cicely Carew, a painter who works across media that includes sculpture, installation, and printmaking; Venetia Dale, who works in pewter and in fiber; and Yu-Wen Wu, whose work encompasses public art, video, community intervention, filmmaking and drawing. Aug. 24 to Jan. 28. Institute of Contemporary Art Boston, 25 Harbor Shore Drive. 617-478-3100, www.icaboston.org.
Murray Whyte can be reached at murray.whyte@globe.com. Follow him @TheMurrayWhyte.
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Bloomerstudio was hired by Becker & Becker to design and fabricate ornament for the parking garage and retail space at the base of a new LEED certified apartment tower in downtown New Haven. The project, located at the corner of historic Chapel Street and State Street revitalizes a long-underutilized 1.5-acre site in a prime downtown location, a block away from the New Haven Green.
The different elements of the studio’s design, the aluminum trellis, the ornamental railings, the reed ornament and the cast stone frieze, break down the mass of the parking plinth and introduce a human scale. The ornamented facade integrates itself into New Haven’s shopping district architecture and provides rich visual texture on the street.
360 State Street, New Haven
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MA Jewellery
Our MA Jewellery programme encourages the development of an individual and distinctive jewellery practice through engagement with contemporary approaches to materials, and its relation to body and form.
<p>Pursuing exploration through a diverse range of material expressions, you will be encouraged to challenge preconceptions about materials and status within the world of jewellery, fashion and craft. The programme is uniquely placed to offer a rich cross-disciplinary practice; you will have access to our spacious and well-equipped metal and jewellery studios, as well as ceramics, glass and resistant materials workshops, and our superbly equipped Fab Lab.</p>
MA Jewellery graduate Petra Cerna's work showcases responsible design with a positive social impact. Here, she designed a sound-producing necklace for pregnancy that can be heard by the baby inside the womb. When the baby is born, the necklace can also be used to soothe and calm them, and to support bonding.
<p>You will have the opportunity to critically engage with current debates within the subject area, and be encouraged to consider what it means to be a craftsperson in the 21st century. Key issues include sustainability, material life cycles, added value and approaches to the creative industries, museum and gallery interpretation and curation.</p>
Radius 50mi exhibition of jewellery at Ocean Studios, including work by Arts University Plymouth staff and graduates. Co-curated by lecturer Rachel Darbourne.
<p>The programme addresses histories, technologies, contexts, material qualities, conceptual and narrative developments. Current issues around craft are explored such as the rise of digital tools and technologies, hybrid practices, sustainability and globalisation. You are encouraged to consider these issues through testing, making, re-making, evaluating and positioning your critically engaged practice.</p> <p>This programme encourages entrepreneurial creativity through self-initiated and independent approaches to making, whilst considering the subject at its extreme edges in relation to process, technique, application, potential customer use and audience.</p>
The Sleight of Hand exhibition at MIRROR, in collaboration with the Association of Contemporary Jewellery, showcased 29 makers and 54 pieces from ACJ members as far afield as Vienna and Australia, as well as jewellers working in all corners of the UK. The makers presented a wide range of techniques, from traditional to contemporary, whilst utilising unusual materials (including plastics, paper, resin, glass, found objects and various metals).
<p>MA applicants are normally expected to have an undergraduate degree at 2:2 or above. However, the strength of your creative practice and other forms of experience will be taken into account at the interview stage and we encourage you to start a conversation with us.</p>
<p>Arts University Plymouth graduates are offered a <strong>discount of 15% on Masters programme fees</strong>, regardless of when they studied with us previously. The discount applies if you studied on one of our pre-degree, foundation or undergraduate programmes.</p>
<p>Your portfolio should give us an indication of the work that you have made, organised or been involved in. For our postgraduate arts, craft and design courses, we expect to see examples of work you have created. </p> <p>For our MA by Research, MA Museum Studies, and MA Creative Education courses, we don't expect you to have traditional artworks; instead you can share examples of projects you have worked on, classroom experiences you have created, and so on. Please ensure that your portfolio includes descriptions, website links and visuals if they are available.</p>
<ul><li><strong>Email:</strong> <a href="mailto:admissions@aup.ac.uk">admissions@aup.ac.uk</a></li><li><strong>Tel:</strong> +44 (0)1752 203434</li></ul>
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It’s 9 after sundown. Traffic has thinned comparatively; this otherwise busy Mahim lane seems to be at peace. Except for the rhythmic chipping in Imran’s roadside shop of hand carved wooden goods. The smell of varnish and raw wood is hypnotic. I’m drawn in. Imran lets me flip through their catalogue of mandirs, bookshelves, mirrors and more. His eyes light up each time he speaks of every masterpiece sitting on display. Some are chipped from teak; some of rosewood. Rosewood ones are expensive, he says. The portfolio I’m looking at is awe-inspiring.
Every picture speaks volumes about the endless hours of dedication, persistence, focus and dexterity of its creator. Of countless efforts, strained eyes, sweat running down the brows and bruised palms, that must have gone into the intricate carving of even a single lace of few centimeters, every pillar, motif, ladder, that adorn and complete a piece. These articles, when sold in fancy shops cost more than twice what the likes of Imran sell in their roadside shops lit by just a hanging light- bulb, a half-torn sofa to sit and breeze of the road for cooling…
Mandir unfinished
Mandir finished
Artist in action
The machine
Orders ready for dispatch
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insta files friday: dope illustrators
Photo via @lauracallaghanillustration instagram
check it.
We all enjoy a Kardashian, a Jenner, and even a Hadid on our Instagram feed (oh, that rhymes!). And sure, we'll throw a like at your photo of the Grand Canyon or those bachelorette party shenanigans, but sometimes it can all get a little old. If you're hurting for a fresh perspective or something new to scroll through and get lost in, how about some trill illustrations?
We rounded up a list of 10 insanely incredible illustrators to follow on Instagram. Some of their work appears within the pages of NYLON itself, and one even works in television animation. Click through the gallery and be prepared to see some rad drawings of some famous faces, gorgeous life-like women, and, of course, some fashion influences.
Jennifer Williams is a Brooklyn-based artist documenting kids and their personal style. This makes for a fun and colorful Instagram that showcases different personalities through their clothes, which range from James Franco leggings to flower crowns.
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Raffle Drawing Software - repost
How It Works:
Inputting the data:
- Data is imported by using a file in either of the formats of that attached (you can choose which one is more suitable)
Program Setting:
- The user must be able to create and store the program settings with the settings listed below:
The description of the draw (heading) (see sample mock up)
Any accompanying logo / graphic (see sample mockup)
The number of winner there will be in a draw
The prize for each winner (optional)
Total number of Tickets in draw (optional to show)
Total Prizepool (optional to display)
Ability to redraw if prize is unclaimed
'Rescue' feature so you can continue draw where you last left it
Can set if users can/can not win more than once per draw
Feature to pre-select winner in advance of the draw
Option to draw First Prize to Last Prize or last to first
Visual setting: Option to a) Winning Entry is revealed or b) Cycles through all names before resting on a winning name (see below)
How it operates:
After the settings have been chosen/loaded and the list of entrants imported the software will be viewed on a screen where, through the press of a specified button (or mouse click) the drawing will begin.
A winner will be chosen randomly from the list either though revealing itself (slowly) or it will cycle through the names and then slow down before resting on the name name (which the same result as above - only it gets there in a different way for visual effect)
The winner will then be displayed on the winners panel and the user will press the button to randomly chose the next winner.
The process continues until the draw is over and all winner selected.
If you are serious about this project end your application with the words: Pick Me
At this point the winners can be exported to an excel file. (See the attached image)
Habilidades: Java, JavaFX, Arquitetura de software, Teste de Software
Veja mais: winner drawing software, how to create architecture logo, how excel works, graphic drawing, create logo in cycle, create logo drawing, create architecture logo, c# drawing application, advance excel 2013, up to 10 winners, redraw a image, raffle, prize draw, pick winners, pick me, image to drawing, if winner is not chosen, entrants, architecture drawing, create project prize, software draw, application drawing, drawing excel, excel java application, excel drawing
Acerca do Empregador:
( 0 comentários ) Sri Lanka
ID do Projeto: #5112865
3 freelancers estão ofertando em média $740 para esse trabalho
Greetings sir, i am an expert freelancer. for this job and your 100% satisfaction is assured if you allow me to serve. Here is the reason. Why you should pick me? a) I am a very expert desktop software/macro/bot/ Mais
$1000 USD in 7 dias
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Sunday, May 28, 2017
Photography Conference
Alley in Southbridge, MA
The last time I attended a photography conference/workshop my daughter was a senior in high school. To put that in perspective, she has been out of college for two years now.
At that time I worked part-time in retail, I shot in automatic mode, had no inkling that I would soon begin this photography journey, and had no idea what a blog was. Still, I agreed to join a friend who did know something about photography for a workshop in a place I love - Sleeping Bear Dunes National Lakeshore. I was hopeful that I would learn a few things, and that my friend would pull me aside and clue me in on all the things I didn't understand. It was a great workshop, early fall in northern Michigan, the weather was perfect and the light...that was where I began my love affair with light. But...I felt like I was underwater, the instructors were talking, I could see the bubbles coming out of their mouths, but the words were garbled, a language I could not understand.
Over the years I have taken MANY on-line courses on every aspect of photography. Slowly the language began to make sense, and what I didn't understand I watched video after video on, until I did understand. Still, I continued to stay away from in-person workshops and conferences, remembering that underwater feeling.
Kelli and me
That all changed early this spring when Kelli DeWaal of kjdewaal.com posted in a Facebook group that we are both a part of about a Creative Photography Conference she was going to be teaching at in May. The conference was being organized by Hazel Meredith of Meredith Images whose webinars I have watched on Topaz Lab products and love her style. I also knew this was a direction I wanted to take my photography, continuing to build on the painterly style I have started to develop. One little glitch, the conference was in Massachusetts, I live in Michigan, no small trip. I set about convincing my husband that we should take a vacation to the east coast in May. We would vacation for a week first and then I would attend the conference while he relaxed and read his book for a couple of days. It wasn't an easy sales pitch, but in the end I wore him down.
We had a great vacation prior to the conference, full of adventures and stories. It was the time alone we needed for our marriage, even after thirty years you still need this kind of alone time. I will share in future blog posts more from our vacation, but I thought I would start with the conference since it is fresh in my mind.
The conference was May 20-21, 2017 in Southbridge, MA at the Southbridge Hotel and Conference Center, a beautiful hotel that is set inside an historic eye glass factory. Spacious rooms, and great conference facilities.
I went with some expectations of what I wanted to learn, mostly to learn more about painterly processing using Topaz Labs and other software plug-in programs that work with Lightroom and Photoshop. I take pretty good pictures now, no longer operating in automatic mode. I understand the f/stop, shutter speed, ISO language, but the creative post-processing in Photoshop is still is a little garbled to me.
The first day of the conference all seven of the instructors presented for an hour. They are all extremely talented, and there was a nice variety of styles amongst them. It was like being at a buffet of fine restaurants, seeing every delicious morsel and then choosing the ones that smelled the most enticing.
The surprising thing to me was that the painterly post-processing in Photoshop with Topaz Labs wasn't the most delicious morsel at the buffet for me. Instead it was Kelli's presentation on the iPad Pro with Apple Pencil, as she showed us the different apps she uses to create her image blended masterpieces. It was Michael & Suz Karchmer's presentation on iPhoneography, I loved this couple, they remind me of my husband and myself. Gerri Jones' presentation was the closest to what I expected I wanted to learn, but it was her work with dog photographs and textures that made my heart flutter. I was expecting to learn textures and landscapes.
Photo Credit: Susan Karchmer - original before Snapseed
Susan Karchmer's edited photo in Snapseed with listing of steps
Day two of the conference we were able to select hour-long workshops with the individual instructors. I chose Kelli's Encaustic Wax class, she demonstrated her process and let us have a hand at applying the wax on a wood cradle board. I am going to need some practice. Then it was off to Gerri's Lensbaby Lens workshop, love my Lensbaby even more after that. Finishing with Michael & Suz's iPhone and Creative Apps class, an hour was too short. They demonstrated the Snapseed app for the hour, even though I use Snapseed on every iPhone photo I process, I still learned so much more, and it renewed my love of Snapseed.
Susan Karchmer's finished iPhone edited masterpiece
My edited version of Susan's photo from class - Snapseed and Stackables
I made a couple of new friends at the conference - Roberta and Dawn - if you two read this, please email me so we can stay in touch. I wish I had had my picture taken with them too.
The conference inspired me in so many ways: new ideas, renewed loves, new friends, surprises about where my creative heart really lies, at least at the moment.
The best part of the conference though, was that I am no longer underwater, I understood every word perfectly. I will not let seven years pass before I attend my next one. Actually it will only be a month. I have coerced my husband into joining me for a iPhone Photography workshop in Indiana at the end of June, and by join I mean he is taking it with me.
**A heartfelt thank you to Suz Karchmer for granting me permission to use her photographs in this post.
Sunday, May 14, 2017
"Constraints are the secret to creativity, to new ideas, to getting things done, and most of us want fewer of them, which is why we flounder. Creative freedom is found in choosing and embracing constraint and having the courage to see what happens."
~David duChemin
I need constraints. I need one thing to focus on instead of twenty. I need time limitations and deadlines. I need to-do lists to get things done.
This has been my most productive year-to-date in my creative life; we won't talk about the household tasks. The reason why my creative output has been strong this year is because I am working under constraints, not always happily, but carrying on nonetheless.
In April I put the Lensbaby Velvet 56 lens on my camera, and I haven't taken it off yet. I am learning so much about composing, manually focusing, and the sweet spot of the lens. I am happy with this constraint, it is bringing my creativity to an exciting new level.
This week I have been participating in Susan Licht's #weekofdiptychs on Instagram. I missed it when she hosted it last fall, but I quickly jumped on board this spring. Diptychs are something I have always wanted to learn to create. What are diptychs you ask? Here is the definition:
a painting, especially an altarpiece, on two hinged wooden panels that may be closed like a book.an ancient writing tablet consisting of two hinged leaves with waxed inner sides.
In this case it is two photographs paired together.
I have tried to create them in Lightroom before and ended up being very frustrated. Discouraged, I gave up. But I am not a quitter, so this time I gave them a try in Photoshop. One of the on-line classes I took last year with Christina Greve had the perfect tutorial for making them. I love lifetime access classes. I looked up the tutorial, followed it step by step, and conquered the making of a diptych.
I also wanted to have a better understanding of what images made good diptychs so I found these videos by Julianne Kost. I have been basing my pairings on color. Since I tend to lean towards neutral colors, this has been good for me to look at a wider range of colors.
Diptychs are a great storytelling tool, I have more to learn before I am anywhere near proficient. But I am enjoying this new constraint and have a feeling I will continue working within it, even after Susan's #weekofdiptychs is over.
Sunday, May 7, 2017
Scene & Story - April 2017
Everybody's doing a brand new dance, now.
(Come on Baby, do the loco-motion)
I know you'll get to like it if you give it a chance, now.
(Come on Baby, do the loco-motion)
The song comes on the radio and I can't help singing along. Not out-loud of course, but mouthing it with all my might.
Today feels like a good day for antiquing. The rain has finally stopped, the sun is shining. I am on the hunt for things that make me happy.
I am wandering the aisles of our local antique store. Fascinated by the items that find their way to vendors' booths. There are the objects I remember from my childhood; the avocado-green bun warmer my mom always kept our hamburger buns in, the black metal lunchpail with the silver ribbed thermos that my dad carried to work everyday. I wonder how these memories can be antiques, but then I remember that I am almost fifty, and these items were around before I was.
I am on the hunt for a couple of specific treasures. First is a table for my daughter's dining room, we just finished painting the room, and now she is extra aware of how empty the space is with the much lighter color on the walls. She is anxious to get a table so she can stop eating her meals on top of the cabinet that covers the radiator. There was a time when I couldn't drag her into an antique store, who would want to buy something old and used. But now she understands the quality and craftsmanship that went into those old pieces. Her Pinterest boards are full of timeless antique objects. With age comes wisdom.
The second treasure I am hunting for is something I am always hunting for: green depression glass plates. I saw some once being used in a coffee shop and I fell in love with them.
There are a couple of table possibilities here, so I snap pictures with my phone and text them to my daughter. There is nothing else to do with that now, except wait.
I am in the last aisle at the last booth and there in the open display case are two green, oval depression glass plates with matching cups. I lift them out and hold them in my hand, they are perfect. I look for a price, both on the plates and on the cups, no price. Then I see six more oval plates on the bottom shelf of the case, maybe they have a price, no such luck. One of the owners walks by, I stop her and ask about the price. She says, "Oh that gal is here today, I'll go get her for you." Hallelujah!
The booth owner comes to her space and I show her the plates and cups. She says, "I was just using those for display since there are eight plates but only two cups, I didn't think anybody would buy them." The cups are a bonus to me, I want the plates. She says, "I will gladly sell them to you, if you don't mind not having all the cups. How about $20 for the whole lot?" Sold!
Come on, Come on
Do the loco-motion with me
**In April I participated in Susannah Conway's April Love. I am also doing the #the100dayproject - This year I am doing 100 days of writing prompts. This photo and story were from the April Love prompt Patterns.
Sunday, April 30, 2017
Velvet 56 Love
Late last fall, I purchased the Lensbaby Velvet 56. Lensbaby was having a pre-Christmas sale on some of their lens. I have always been intrigued by them, but wasn't sure if I was ready to be that brave and different. The sale was too good to resist (Merry Christmas to me), so I clicked "purchase", and waited for my new lens to arrive.
The demo video that sold me on it, showed beautiful, shallow depth of field portraits of people, hmm... self portraits? My daughter? and of dogs...Findley?
As soon as it arrived via UPS, I sliced open the box and put it on my Canon 6D. Findley...where was Findley? What I wasn't prepared for, was the manual focusing, and I total skipped over the fact that I had to manually set the aperture. Let me say, manually focusing on an energetic puppy, well...the photo says it all.
I slid the Velvet 56 into an empty lens slot in my camera bag, and returned to my 35mm auto-focus lens. The Velvet 56 would stay in the camera bag until this month.
April, a new season, and new subjects to photograph. I dug the Velvet 56 out of the camera bag. I did not go looking for Findley, instead I went to the garden center.
I do get frustrated with not being able to do something well, but rarely do I give up, so I watched some Lensbaby videos and actually learned what to do with the Velvet 56, there was that bit about manually setting the aperture.
A successful outing at the garden center, and I was ready to try the Velvet 56 on a trip. I was tagging along with my husband on a business trip to my favorite part of northern Michigan. A good place to try the lens, on things I know and love, and have photographed many, many times. I was looking for a different approach to these places.
The Velvet 56 stayed on my camera the whole time we were gone. This time the 35mm stayed in the camera bag.
I still have more to learn, more videos to watch, and more practice is needed, but I love the look I am achieving. The Velvet 56 sees the world the way I do - one spot of sharp focus and blurry around the edges.
My husband and I are leaving for vacation in a couple of weeks. We are going through upstate New York, to Boston and to a photography conference in another part of Massachusetts. I have a feeling the Velvet 56 will be getting a lot of use.
***Scene & Story Blog Link Up - Reminder that next Sunday is the first Sunday of the month and time to share your favorite photograph and a story on the blog link-up that I host along with my friend Lee of Sea Blue Lens. New here and curious what Scene & Story is - here is the link to last month's post.
Thursday, April 20, 2017
Practicing Slow
I just finished a book that I can't stop thinking about, Chasing Slow by Erin Loechner. Erin is a Lifestyle Blogger who shows us through her blog what a beautiful life we can all have. The book however, takes us behind the curtain, into Erin's real life, a life anything but always picture perfect. Her honesty, and writing won me over from the first chapter.
But it is the title that I keep coming back to Chasing Slow, something I am forever doing. My middle name is Get It Done, I can enjoy it later. But what if later never comes, how many things have I sped through to cross them off my list...done.
Slow is never going to be easy for me. I take after my dad, a man in his eighties still out cutting firewood to add to the multiple rows of firewood he already has. And maybe that is what keeps my dad going and why he is still alive in his eighties. But when we were sitting in the hospital waiting room last summer we talked, there are so many things he wishes he had done. I don't want to have those same unfulfilled wishes in my eighties.
This week I took my first step toward practicing slow. I went to the Garden Center, to buy some plants for the weed-riddled flower bed I pinky promised my husband I would maintain this year. Instead of buying the first plants that met my criteria: full sun, not too tall, long blooming. I took my camera and wandered. I did ask permission to photograph first, which was met with a pleasant, "Of course you can, and if anybody gives you any trouble send them to me". My new best friend Kathy, doesn't know what beast she just unleashed.
What did I discover as I wandered? I love containers more than plants. Put a plant in a container and then I am in love with it. I never would have discovered this if I wasn't practicing slow.
Photographing flowers in my own garden, or anybody else's garden will never delight me, but let me loose in a garden center with plants in pots, or just pots, and I could really start to enjoy gardening.
I am going to keep practicing slow at the garden center, because that weed-riddled flower bed needs a lot of help, and I want to see what other revelations slow reveals.
Monday, April 17, 2017
Make A Wish
Can you make a wish in a fountain that has no water? Is it the water that makes a wish come true, is it the penny, is it the fountain? Or is it the person who believes in magical things.
Standing with penny in hand, ready to throw, I ponder this thought.
The fountain in front of me is filled with last autumn's leaves, crumpled candy wrappers, and pennies from the past, but no water. Will adding my penny make any difference?
What things will I wish for if I throw my penny?
I wish...
--to stop trying to figure out either/or and be content being both a photographer and a writer
--for a long and happy marriage
--for my daughter to find someone who cherishes her. Don't we all deserve that?
--to travel near and far
--to have a dog like my dear Scout again someday
--to have a cottage on a small lake with a dock, where magical things happen
--to be involved in art retreats for women
We don't get all our wishes, and some of our wishes will change over time, but we must keep collecting those pennies and tossing them in fountains, whether they have water or not.
Sunday, April 9, 2017
I type the word Pleasures into the search bar at the top of my Pinterest page, a little afraid of what I am going to find. My writing directive for the day is Pleasures, and my notebook of pleasurable ideas is a little soggy at the moment, so I thought I would look and see what brings other people pleasure.
I click enter. The first photograph is of a well thought-out picnic on a riverbank; on a salmon-colored tablecloth sets a wicker picnic basket with a french baguette peeking out the top. There is another baguette on a wooden cutting board, partially sliced. There is a stack of salmon-colored salad bowls awaiting the freshly torn lettuce in the serving bowl next to them. Multi-colored cherry tomatoes sit on a cream-colored snack plate. Six glass jars hold various salad toppings. Salmon-colored linen napkins, along with real silverware are ready and waiting to be used. I find pleasure in this idlic scene, especially if someone else made all the food and laid it out for me.
Continuing down the page of pleasures, I see there are mostly pictures of food, apparently food brings a lot of pleasure.
Then there are fuzzy, yellow ducklings walking in a line down a perfectly mulched garden path, lush green grass on either side of the pathway. That would bring me pleasure too until one of the ducklings poops on the perfect path and ruins my photographic moment.
The next non-food photograph, sort of, is of three kids sitting on the tailgate of a vintage, red delivery truck, half slices of juicy, red watermelon in their hands. Their faces and shirts are amazingly juice free.
As I look at all these flawless photographs, I know that none of them would be the things that bring me true pleasure, except maybe the picnic. But mine would be paper plates, plastic silverware, an old faded quilt, plastic red Solo cups filled with a favorite white wine, and plastic containers with fresh pasta salads from a local deli. Sitting on the faded, old quilt would be my husband and myself enjoying a perfect date day.
Sunday, April 2, 2017
Scene & Story - March 2017
Too bad you can't take a photograph of accomplishment, because accomplishing things has been my goal in March, and I have succeeded.
This might be one of my all time favorite photographs that I have ever taken, it was taken with my iPhone and edited with the app. Stackables. It was taken on the first day of March, thick atmospheric fog enveloped objects along my walk to the beach.
I love everything about it - the pier posts dancing in the water, the buoy that looks like a bobber, the two mallard ducks that flew into my frame at the perfect moment, the leafless trees, the processing that lends that perfect foggy morning feel.
One of my accomplishments in March was to get this photograph printed. I must admit I have never had many iPhone photos printed, and the ones I had done I wasn't that impressed with. But I think that was my early tendency to process everything with an overly warm cast. I have since developed my own slightly cooler style.
I started with having a 5 X 7 printed, big enough to get a good feel for the photograph, but not too expensive in case it was a disappointment. It was not! So I thought I would push it and try an 8 X 10 and an 11 X 14. Both are fabulous! The 11 X 14 is in a black frame with white matting waiting to be hung on the wall in the family room. The family room is waiting to be painted a nice Simply White. That will be next month's accomplishment.
Wednesday, March 29, 2017
When I am feeling stuck I like to make lists. They bring a sense of calm and order to my life. There is something about writing my tasks down, getting them done, and crossing them off, that gets my life flowing again.
I have recently started a new weekday routine. I make two lists each morning. The first is called Domestic Tasks and the second is called Creative Tasks. On each list I write down things I would like to accomplish for the day. I usually start with creative tasks because I am my most creative in the morning, and I feel better about those nasty domestic tasks if I have been creative first.
I know there are apps on my phone for this kind of list making, but I prefer making my lists on separate small yellow legal pads. Writing in pencil, numbering each task and when it is completed, crossing the task off with a colorful Sharpie marker. Both lists sit at the end of my kitchen counter so I have to walk past them numerous times throughout the day.
Lately the Domestic Task list has been longer than the Creative Task list. At first I thought it was because I was letting the Domestic list rule, but then I realized I have actually been accomplishing many of the things that have long been on the Creative list. Now I am doing things that should have been part of my daily routine all along: writing, photographing, walking, art journaling, selecting photos to be printed. I am between photography e-courses at the moment, so I don't have to add daily assignments to the list, but I have finished all of the work in both of my recent on-line courses thanks to my Creative Task list, something that rarely ever happens.
They say it takes twenty-one days to form a habit. I wonder if that is longer when you take weekends off. Weekends are just for fun.
**Reminder - The next Scene & Story blog link-up will be this coming Sunday, April 2. Wondering what Scene & Story is? Visit the last link-up here.
Tuesday, March 21, 2017
Constructive Criticism
I have always shied away from constructive criticism when offered in on-line classes. It isn't that I don't want to get better, because I do, it's because I am afraid that my fragile self-confidence can't take it. I would rather hear "That's beautiful", "Great Shot", "Well done". Or so I thought. But the truth is those kind affirmative comments leave me feeling a bit empty, like a whisper of air passing by my ear, but the words don't fill me. Instead, I want to know what someone sees or feels when they look at one of my photographs, does it resonate within them.
I just completed an on-line photography course called The Personal Project You Already Shot, taught by Pam Korman. The course built upon the weekly photography projects I had been doing. I liked this class because I didn't have to figure out what to shoot each week, I could look through the thousands of photos I already have stored in my Lightroom catalog, searching for project themes. It would also teach me more about editing and sequencing a project, something that caught my attention after watching a Kelby One course taught by Stella Kramer. I also had a chance to delete some hideous work from years past and make some extra room on my external hard drive.
It was a four week class. Two weeks to nail down your project's theme, and two weeks to get the editing and sequencing done. The third and fourth weeks we could take screen shots of our Lightroom grids showing our sequencing and get feedback from fellow classmates and Pam, the instructor. I was only too happy to review and comment on other's projects, but I stubbornly held my own screen shot back. After seeing everyone else's work, I was sure they would think "what an amateur" if I posted mine.
Finally, midway through the fourth week I gathered up my courage, opened Lightroom pulled up my project grid and took a screen shot. Before I had a chance to talk myself out of it, I clicked over to the Facebook Group and posted it.
I got amazingly helpful critique. One gal loved the anonymous feel of it. I loved the word anonymous. The best advice came from Pam. She said "It seems like at times your photos show you feeling stuck, but then you gather yourself up and move on, I would love to see some photos of movement in your sequence, the moving being the bridge between feeling stuck and progress." Once I read that I thought "yes that is exactly it." At times on the journey we make steady progress, but then we slow down or get stuck, but usually after a time of rest the journey continues.
We are often too close to our own work and can't see the bigger message. That's when we need fresh eyes, people who don't know us, to tell us what they see within us.
I am in the final stage of sequencing my project and hope to have a Blurb book completed by the end of next week. Work is also underway on a portfolio.
Looking back through my photos in Lightroom, I found a couple of other possible projects that I would like to develop for portfolio pieces. The journey continues...
Sunday, March 12, 2017
I signed up for Vivienne McMaster's year long self-portrait photography class Body Peace 2017 when it was first advertised last fall. The first class started January 1st and ran for 15 days, then we had a 15 day break before the second one started February 1st. In my mind this was an ideal schedule; 15 days on, 15 days off to catch up on the few lessons I may have fallen behind on.
I started out strong, as I always do with on-line classes, obediently working on each day's prompt.
The class is intended to help us, especially women, to be more accepting of the body we have right now. Always the rebel in a group, I also choose to use the prompts as starting points for well-thought out, creative self-portraits. Now don't think that I don't have body issues I need to deal with because I do, but for me it is about becoming a better self-portrait photographer as well. It is amazing the details you pay attention to when you are the subject of your photograph.
My self-portrait creative perfectionism meant that I could only shoot with my Canon dSLR, no iPhone allowed. That perfectionism carried me for about three days, after that life got in the way, as it always does. I no longer had an hour each day to set up the perfect vignette. So instead of loosening my criteria and adapting to what life was at the moment, I quit. I didn't do any more lessons for January, and in February when life got even crazier, I didn't even start.
But here's the thing, I'm not a quitter. So when March 1st came around, I opened my Morning Pages journal and did some soul searching:
• I paid for this year long class, so stop wasting the money
• I enjoy the prompts - they make my creative mind start working again
• I love the community and sharing with other classmates
• I need to find a way to adapt
So I slid off my creative high-horse and I got out my iPhone, my GorillaPod tripod for my phone and my remote shutter release and set about doing the daily prompts.
When I was having my weekly Skype conversation with my friend Leon of Sea Blue Lens, I was lamenting to her about lowering my standards but at least getting it done. I also said, the ones I really like I can go back and take with my Canon. Then she said "It sounds like you're doing sketches with your phone". There is was! The artistic term that I needed to make it alright to shoot with my iPhone. I am an artist and I understand things in artistic terms, the term "sketches" made it creative. Thank you Lee, you are a Godsend, in so many ways.
So now I happily get my iPhone out almost every day, some days I have to do a couple prompts to catch up, but I am keeping up. When I have extra time I do get out my dSLR, making vignettes like the one above that actually made Flickr's In Explore, which surprised me to say the least.
But my favorite one thus far is this one, taken with my iPhone while messing around with the grand puppy. There is no way I would have been able to take this with my big camera.
The takeaway - If you need to give something a different name to make it work for you, do it! The most important part is not to quit. You will be creatively blessed by staying the course.
Sunday, March 5, 2017
Scene & Story - February 2017
Deep breath and release.
That's how I feel now that February is over. What is usually the longest short month of the year due to Michigan winters has passed in one quick blink.
The weather in February was unnaturally warm, many 40 and 50 degree days, the average is usually around 20 degrees. We have had very little snow. I don't think I got the snowblower out once. We also saw more sunshine than all four winter months put together.
Big changes also occurred in our house. Our daughter moved into her own apartment with her dog. It is very weird to be living in a house with no dog, we have had a dog or dogs for the past thirty years, I am still getting use to the emptiness. I spent a couple of weeks helping her find furniture for her place and painting the dark brown walls light and airy shades of gray. All of this left me with very little time for exploring.
This photograph was taken on the second to last day of the month. My husband took the afternoon off for a date day. For Christmas we tend to do experiences instead of big gifts. I gave him 12 date days for 2017, one per month, vacation days were required. He always ends the year with too many vacation days unused, I plan to change that this year.
For our date afternoon we went to a Bar & Grill we had never been to for lunch, after that I made us climb 300+ stairs to the top of a small mountain with great views of a resort town and Lake Michigan. The day wouldn't have been complete without a trip to the beach. In summer you have to pay $8 to park at this beach, but off-season equals free. My husband and I explored a natural area at the end of the beach, and then wandered down to the lake. As my husband lingered on this path I captured the moment with my iPhone.
Sunday, February 19, 2017
I use to occasionally paint for others. By paint I don't mean a landscape painting, I mean painting their bathroom, their bedroom, their living room. It isn't that I love to paint, but over the years of painting all the rooms in our houses multiple times, I have my system down to a science, and a little extra hobby money never hurt.
I went through the faux texture wall application phase, I went through the focal wall a bold color phase, I went through the colorful walls phase, and now I am settling into the simply white walls phase.
Over the past two weeks I have been doing another painting job, and this one is without pay, at least in the monetary form. But it also a painting job that brings me great joy. For the past two weeks I have been helping my daughter paint her new vintage apartment.
My beautiful girl is moving out, and most likely for the last time, with a taste of true freedom I doubt she will return. I had a moment the other day while driving to her new place when it hit that this is it and I could feel the tears well up. But I pulled myself together and said she is only ten minutes away, not like college when she was eight hours away, she can stop by any time...
Sunday, February 5, 2017
Scene & Story - January 2017
It was about this time last year that I began to become disenchanted with iPhone photography and the driving force of social media linked to iPhone photos - Instagram. I can't put my finger on one specific reason for the dissatisfaction. Two things do stand out though. First - I had grown extremely lazy with my photography. My iPhone and various apps. could do everything for me and fix almost any technical error. Second - Instagram, something that had once been a community of "my people" had turned into one more way to prove my self-worth based on how many "likes" a photo received. I was posting to post and to get likes, not to create and that bothered me.
Over the course of the year I continued to fall off, at one point even temporarily suspending my account, I needed a break for a while. Eventually I did reinstate it, probably prompted by a class that encouraged Instagram sharing.
Some really good things have come out of this disenchantment; I use my big camera on an almost daily basis now, as opposed to my phone, I also feel my photography skills have grown with my recommitment to my dSLR. Using my Canon has also made me strengthen my Lightroom and Photoshop skills, as well as, learn some new programs like Topaz Texture Effects and Impressions. I have also rediscovered Flickr and some pretty amazing groups there.
A couple things I have missed with my iPhone: the easy portability, and apps. like Stackables, iColorama, and Brushstrokes. I will probably never return to the level of obsession I had before, but I am slowly finding a place for it in my life again.
This photo was taken with my iPhone on a cold, damp, foggy day in January at the Lake Michigan beach near my house. The day was too cold to lug my dSLR around and freeze my fingers off fiddling with dials. Seeing the potential in this shot, I did some editing in Snapseed and Stackables and created the image at the beginning of this post.
No matter the camera device or the editing software, I still love the creating.
Sunday, January 29, 2017
It has been an unusual January here in Michigan. We have had a couple of cold blasts and enough measurable snow to break out the snowblower a time or two. But for the most part the days been a dull gray with temperatures hovering in the 30's and 40's Fahrenheit. There was even a day that it reached into the 50's.
Photo Credit: Glen Huizenga
I have a gym membership for the rainy days, the snowy days and the bitter cold days, but given a choice I prefer to be outside. The need for fresh air, natural light and wide open space is irrepressible. Most of the year I am happy to walk along the beaches near my house, but in the winter, when I am craving creative visual stimulation, I hop in my car and drive to our thriving downtown.
I begin my walk in near darkness, the sidewalks illuminated by street lamps, car headlights and the lights of store window displays. It is the window displays that draw me downtown, so much creativity and imagination goes into each store's presentation of who they are. Following the holidays, my mind seems to be empty of creativity. I walk, I look, I dream, I am inspired.
Photo Credit: Glen Huizenga
There are also office buildings at the east end of our downtown, many of the offices have windows looking out onto the main street. As I walk past and the lights begin to come on, I see the photographs that adorn the desks and walls of these spaces. The smiles of children and spouses often shine bright from the desk or the shelves behind the desk, my favorites are when the family pets have their own framed portraits, this office belongs to someone I would like to know.
The walls though are the most interesting, family photographs tell a part of their story, but what about the artwork on the walls. Did they get to chose their own pieces? Or did the interior designer chose what should adorn their walls? I like to think if you have to look at it all day, you get some say in it. Judging by the variety I have seen, it seems most people get to pick their own, to me that tells another part of their story.
Some have large, matted realistic photographs of the big red lighthouse near our local beach, a much photographed icon in our town. But the pieces that catch my eye are the painted canvases; open fields with rustic barns in the distance, painterly lake shores with iconic lighthouses. I always wanted to learn to paint, lacking the patience for that, I became a photographer instead.
I have many empty walls in my own house. I have talked for years of printing and hanging my own work, and I have done some over the years. What I mostly print is realistic photographs and then frame those 8 X 10's in 11 X 14 matted frames. They have never stirred me. The few canvases I have had printed of creatively altered photographs are the ones that move me, and the bigger the better.
You can guess and assume what your preferences are, but until you actually take action you don't really know. By seeing my small 8 X 10's printed I found out I prefer bigger prints. Realistic photographs don't thrill me, creating painterly images from my photographs in Photoshop and Topaz Labs programs, that makes me happy. Taking that knowledge and the inspiration from those downtown offices, I ordered a 24 X 36 canvas of a digitally altered portion of snow fence I shot in December. For the first time in almost fourteen years in our house, we finally have something on the wall above our bed. I kept waiting to find the right thing, little did I know I just had to create it myself.
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Jessica Pierotti is an interdisciplinary artist, photographer, teacher, and organizer living in Chicago, Illinois, USA. She received her Masters in Fine Arts from the University of Illinois at Chicago in 2016 and works as the Deputy Director for a small arts non-profit, LATITUDE Chicago.
Jessica's personal work deals with themes of control, anxiety, desire, and femininity, often working with personal content and everyday objects as a means of focusing in on modest gestures.
jessica[at]pierottiphoto.com for commissions, assignments, or lively debate.
Insta: jesspierotti
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Newborn Portraits At Home
When you’re searching for a photographer for your newborn portraits at home, you want to know you’re in safe hands. Today I wanted to share just some of my professional biography with you on the blog.
In November of 2021, I was the Featured Artist of Inspired Magazine. (You can find the link at the bottom of this post.) Expertise.com named me Best Newborn Photographer in Miami, West Palm Beach, Ft. Lauderdale, and Boca Raton for 2021 and 2022. Prior to that they named me Best Newborn Photographer in Alexandria, Virginia from 2017-2021 when we moved here. And I earned my Master Photographer Certification in Maternity & Newborn Photography with NAPCP. You can find more stats and information about me here. I promise, you are in good hands when you choose me to photograph your newborn portraits at home.
Take a look at the newborn portraits at home below for just one example of my work.
This sweet Miami area family of four was a true joy to work with. The true highlight of it all was watching Big Sister be such a wonderful sister and incredibly sweet. As a mom of two, I connect deeply with watching your oldest become a big sibling. And lastly, how lovely is the nursery?!
Hi there and thank you for stopping by! I’m Melissa, owner of Melissa Arlena Photography, a Miami FL lifestyle photographer specializing in young and growing families in South Florida. I hope you enjoyed the Newborn Portraits at Home feature I shared today and if you are interested in talking with me more about a newborn lifestyle
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Martin graduated from the acclaimed Azrieli School of Architecture and Urbanism in Canada in the mid 90s before relocating to South East Asia where he attained his design knowledge on large-scale projects with HOK Asia Pacific in Hong Kong. Martin also worked in Singapore for 3 years as Senior Design Architect with award winning Kerry Hill Architects. After moving to Dubai in 2005 his work has since matured on multi-disciplined design on a variety of buildings types.
Throughout his career Martin’s design has been instrumental in attracting highly regarded clients expecting only the finest quality development with an international elegance. He has worked closely and directly with prestigious clients such as Hines US, IBM PRC, China Telecom PRC, Centrair Japan, Aman Resorts Singapore, GHM Hotels, Beaufort Group HK and Abu Dhabi National Exhibition Company UAE to name a few.
B.F.A. | B.Arch. | RIBA | PARTNER
- B.A. Fine Arts—University of Ottawa, Canada
- B. Eng Civil—University of Ottawa, Canada
- B. Arch—University Carleton, Canada
- Royal Institute of British Architects | Chartered Architect
- M.R.A.I.C—Canada
- Royal Institute of British Architects
- Society of Engineers—Dubai, UAE
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Visiting Artists’ Residency Exhibition
Main Gallery: Visiting Artists' Residency Exhibition, 2022. Artwork by Rachel Crummey.
Main Gallery: Visiting Artists' Residency Exhibition, 2022. Artwork by Laura Findlay.
Main Gallery: Visiting Artists' Residency Exhibition, 2022.
Main Gallery
Visiting Artists’ Residency Exhibition
Nour Bishouty, Rachel Crummey, Laura Findlay
October 28, 2022 – December 3, 2022
We are excited to announce our 2020 – 22 Visiting Artists’ (VA) Residency exhibition featuring work by Nour Bishouty, Rachel Crummey and Laura Findlay.
The Visiting Artist Residency Program allows artists to realize a creative project in print media using traditional and experimental methods.
During the residency, visiting artists work with a collaborative printmaker and are encouraged to explore how print can contribute to, or expand, their artistic practice. The culmination of this exploration results in a dynamic group exhibition.
The 2022-23 Visiting Artist Residency Program was also made possible thanks to the educational and collaborative support of the following printmakers: Heather J.A. Thomson, Meggan Winsley and Joy Wong.
Nour Bishouty
During her residency, Nour Bishouty developed new work that expanded on current themes and concerns in her practice including landscape, land, and botany—this time centring on cartography as a mode of knowledge production.
She created four screenprints in which she used reproductions of illustrated plants native to Lebanon, Jordan, Palestine, and Syria as primary motifs to generate compositions that play with visual tropes of cartography and map-making and create distorted and abstracted landforms. Bishouty tapped into printmaking as a medium historically used for disseminating knowledge, thinking of her “maps” as abstracted gestures that subvert their own form.
This project was printed at Open Studio in collaboration with Miles Ingrassia under the auspices of the Visiting Artist Residency Program, 2020-22.
Nour Bishouty is an artist working with video, sculpture, digital images, installation, works on paper, and writing. Her practice engages familial and material histories exploring colonial legacies and posing questions around dissonance, opacity, legibility, and the generative possibilities of misunderstanding. Bishouty has an MFA in Visual Arts, the University of Massachusetts Amherst (2014) and was a fellow at the 2014/15 HWP program at Ashkal Alwan in Beirut. Her work has been exhibited in Canada and internationally including Gallery44 (Toronto), the Museum of Contemporary Art (Toronto), Access Gallery (Vancouver), Darat Al Funun (Amman), the Beirut Art Centre, Casa Arabe (Madrid & Córdoba), and the Mosaic Rooms (London).
Nour gratefully acknowledges funding support from the Ontario Arts Council.
Rachel Crummey
During her residency, Rachel Crummey created A Spider’s Diary, a series of hybrid monoprints/screenprints that emerged during a fraught and uncertain time. The residency was begun just as the pandemic gained momentum, and its disjointed rhythm echoed the closures and re-openings that came to punctuate the time that followed. The drawing process became both a refuge from and an extension of uncertain outcomes. What does it mean to think with the hand? What do our bodies know? What links objects and events, and how do they spread through space and time? An unhinged web becomes a loose framework for delineating space.
This project was printed at Open Studio in collaboration with Jessica Palmer under the auspices of the Visiting Artist Residency Program, 2020-22.
Rachel Crummey is a visual artist and writer of settler descent based in Tkaronto / Toronto. Her poetry and visual art have been published in the Capilano Review, Maisonneuve, and the Malahat Review. She is currently working on a research project, What Can Fungi Teach Us About Improvisation, funded by the Canada Council for the Arts.
Laura Findlay
Working primarily through gestural representational painting, Laura Findlay compresses massive sublime natural forces to the confines of a canvas, while exposing and enlarging the quiet and mysterious world of nocturnal bodies.
During her residency, Findlay used a dark field monotype printing process to render images from a garden at night, considering it as a transitory site to examine the interplay in notions of nature, the environment, and technology. A garden serves as a junction between natural and man-made environments, offering both unmistakable and ambivalent encounters with beauty. The imagery she used to make this work reference photography through an exaggerated flash and artificial lighting that points to photography’s quality of freezing time. This draws from the theories of the photographic medium and its ontology of death: a subject captured in a photograph is made real by being recorded in a tangible form. The works permanently affix the life and death cycle of a living garden, not alive but also impervious to death.
The cycle of life and death and rebirth in a garden echoes the sequence of how Findlay produces a print by adding, manipulating, and wiping away ink to produce an image before affixing it to paper. She explores how these subjects and actions can be intertwined in a project that marries the process and the idea on the surface of the work.
Pamela Dodds provided educational support for this residency project under the auspices of the Visiting Artist Residency Program, 2020-22.
Laura Findlay (b. 1984 Montreal) received her BFA from Concordia University in 2011 and her MFA from the University of Guelph in 2014. Her practice encompasses painting, drawing, and installation, with recent exhibitions at Gallery 1C03, Winnipeg; Norberg Hall, Calgary; Egret Egress, Toronto; Galerie Division, Montreal; Arsenal Contemporary, Toronto, and Forest City Gallery, London. She has been an artist in residence at the Vermont Studio Center, the Banff Centre, and at the Brucebo Foundation in Gotland, Sweden. She now lives and works in Toronto, Canada.
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Pin It
Mike + Doug Starn: Bambú Shots
Named After a Cheech and Chong Album
click to enlarge "At Ten and Twenty Weeks," Mike + Doug, installation
• "At Ten and Twenty Weeks," Mike + Doug, installation
I first saw Big Bambú on the roof of the Metropolitan Museum in 2010. Looking up at the densely built jungle gym of 5,000 bamboo poles (which was actually titled "You Can't, You Don't, and You Won't Stop") I found myself wondering: How did the Starn brothers convince the most important museum in the US to trust them?
The issue of trust is central to Big Bambú. To build the structure, Doug and Mike Starn seek out rock climbers, because of their ease with heights and familiarity with knots. The team of builders learn to trust one another, and to trust the bamboo (first used for construction 5,000 years ago in China). As visitors climb the structure, they must believe that the thousands of knots supporting them will hold. It's rare that an art lover is asked to trust her life to a sculpture. One might call Big Bambú a network of faith, a trust machine.
"Mike + Doug Starn: Bambú Shots" at the Kleinert/James Gallery in Woodstock documents Big Bambú since its origins in 2008. (The Starn brothers were photographers before they began erecting scaffolding.) Looking at pictures of the rock climbers / builders—many of them with long hair or beards—I was reminded of Occupy Wall Street, another collective "art installation" that grew organically in response to practical needs. Big Bambú has no blueprint. The Starns give a description of the width and height they're looking for, choose the location, and allow the workers a maximum of freedom.
One of these builders was Derin Tanyol, curator of the Kleinert show (although she prefers to call herself the "organizer"); she worked on the installation at the Venice Biennale in 2011. This show was her idea. "I saw the photographs of Big Bambú as a body of work; they are not simply snapshots," Tanyol remarks. This is the first photographic exhibition documenting Big Bambú.
Some of the photographs offer vistas from the bamboo towers. One photo resembles a tribal hut in the sky above Manhattan, looking out on Central Park and the skyline. It might be a bucolic postapocalyptic postcard of Balinese villagers camping atop the abandoned Metropolitan Museum.
Fernand Léger, the French Communist artist, often painted construction workers laboring within a lattice of steel beams, as if to suggest that all humans inhabit a network of mutual support. A photo of 11 builders, standing together in the sky, enmeshed within a lattice of bamboo, seems to quote Léger. Other pictures focus on the structure of Big Bambú. Against the sky, with no sense of scale, the installation becomes abstract, evoking a geometric bird's nest, or a three-dimensional Jackson Pollock canvas. Also in the show are two bamboo sculptures. The larger one, mounted on the wall above the stage at the Kleinert, looks like a Laotian pipe organ from the third century BC.
The progenitors of Big Bambú, Doug and Mike Starn, are identical twins born in 1961 in New Jersey. They have been collaborating on artworks since they were 13. "When I think about Mike and Doug Starn, I think of them as one artist," notes Tanyol. "They never disagree in public. They are famous for finishing each other's sentences." The highly collective enterprise of Big Bambú emerges from a collective of two.
Mike and Doug Starn (plus a team of rock climbers) will appear at the Kleinert Gallery on Saturday, July 12, at 4pm for the closing party. "Mike + Doug Starn: Bambú Shots" will be at the Kleinert/James Gallery in Woodstock until July 13. (845) 679-2079. Woodstockguild.org.
Related Locations
Speaking of Kleinert/James Arts Center
• Artists Mike and Doug Starn have a new show at the Kleinert/James Gallery
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Category: updates
The Uncanny & London Exhibitions January – March 2020
Introduction: Reflections on the Uncanny “The uncanny” is a bemusing, unsettling, strangely familiar phenomenon characterised by a feeling of disruptive eeriness and unreality piercing through the fabric of the mundane; it generates a particular type of response in one’s psyche and evokes an ineffable feeling. The uncanny generally teeters on the
Various poems
Catatonic state I feel your ashes like quicksand I’m sucked into so I’m standing still trying to enjoy the view. Your faith I never confessed this but your faith helped keep me anchored in myself whenever the currents started hitting from all sides. I just wanted to thank you
Identity & divided introspection
As a Postgraduate student in the arts (the extended definition of art, including film, photography, and literature), I often find that I have to reconcile two sides of myself when it comes to my blog and digital footprint, both of these sides being complex and assertive to the point that I can
Pleasures in life
My happiness is sometimes derived from: The scents of acacia flowers, honeysuckle and snowdrops; the taste of greengages. Moments when I feel I love what I am doing: when I get excited while reading research or creative writing – and, consequently, when I feel like I can contribute to the
Create a website or blog at WordPress.com
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16eb655f-1c21-4d07-84bb-658659fe6421
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How To Choose A Landscaper
A good landscaper is creative and is generally open to new ideas; They will not impose their beliefs on you. They work with you to develop a design you’ll landscaping denver love, while making sure it works for the available space. Knowing what you want in your landscape is the first step to finding the right designer.
Thank you for pointing out that having a professional landscape architect can preserve nature and provide habitats for birds, butterflies, and more. My wife and I want to redecorate our garden and are looking for ways to do so without displacing too many creatures. I will definitely find a good land architect near me so that I can minimize my impact on the environment while making my garden the way I would like. A professional landscape architect understands what you want today and can also tell you what you want in a few years. Thanks to their experience, they know how much money everything will cost and where you can save money. Hiring a landscape architect isn’t the first thing you think of these days when designing a personal patio or garden, but we think it’s something worth considering.
When a new garden is created, the plant material used looks small, but there is a reason for that. Designers take into account the mature size of the plant and plan the space it needs to grow. Each plant has a different growth rate, some ornamental grasses and perennials can grow in one season, but larger woody material, such as trees and shrubs, can take some time to fill. We can say that the year after your landscaping installation will definitely look more amazing than when it was first installed.
Learn about the benefits of landscape architects that come with working with a professional. Selecting the floor early is one of the main benefits of landscape architects that you should consider. One of the main advantages of the landscape architect is that a professional can give you valuable advice before you start building. Lisa Hallett Taylor is an expert in architecture and landscape design who has been writing more than 1,000 articles on pool, patio, garden and home improvement for 12 years. She holds a bachelor’s degree in Environmental Design and is certified in the assessment of visual and decorative arts.
In some cases, design services are free when plants are purchased at the garden center. References are crucial in refining your list of potential landscape designers. If you know a neighbor, family member, or friend whose landscaping projects have been done correctly, talk to them and ask them about their experiences. His background emphasizes design for large public and commercial spaces such as parks and commercial landscapes, although some specialize in residential projects. After you’ve shared some of your preferences, ask the designer what he thinks. This is also a good time to convey what you want and what you don’t want, whether it’s a simple tool shed and orchard or intricate water features.
Take the time to review portfolios of landscape designers and read company reviews. It can give you the assurance that most people who work with them have positive experiences and also show their design style. Opting for below-average landscape costs can mean sloppy work.
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Get a Design - 21/11/2016 04:35 EST
Need a Logo for a Tracking Platform.
The logo will be used as white label on a website.
The logo name is Eye Defend.
We are a security company that provides tacking capability to track your vehicles, assets or people though GSM and Satellite.
Umiejętności: Projekty graficzne, Projektowanie logo
Zobacz więcej: graphic design get paid, graphic design get estimate, freelance design get paid, app design get freelancer, animation logo design get, est design karate websites
O pracodawcy:
( 3 ocen ) Dubai, United Arab Emirates
Numer ID Projektu: #12145196
83 freelancerów złożyło ofertę na średnią kwotę w wysokości $254 do tego projektu.
Welcome to theDesignerz ( World #1 Graphic Design company on Freelancer ) If you are looking for some real quality graphics work and willing to pay fair price for that then you are reading the right proposal. We ar Więcej
$55 USD w ciągu 1 dnia
(2054 Ocen)
Hello, Thank you for taking the time to review our bid! I am really eager to work on your project. I believe in ORIGINAL and QUALITY work since Work is my solo identity. I am highly motivated and professional so ca Więcej
$35 USD w ciągu 3 dni
(3236 Ocen)
Hello, Thank you for taking time to review our proposal. Having designed many logos before, we are sure, that it can be done with perfection. Sometimes it's best to give chance to youth. I am an award winner Graphi Więcej
$50 USD w ciągu 1 dnia
(858 Ocen)
Hello! Greetings from Eclick Softwares. Hope u are doing great! After carefully studying your project details, we are glad to work with you on this project being confident enough to provide the most innovative and Więcej
$250 USD w ciągu 1 dnia
(404 Ocen)
I can create an unique LOGO design for your Tracking Platform, EYE DEFEND in a creative yet professional way. I have years of experience in Graphic Designing so I am confident that I can give you a design that will f Więcej
$50 USD w ciągu 3 dni
(1225 Ocen)
Hi, Greetings of the day We would love to work on your project of logo designing and assist you with the best of our services. We would be providing 6 options for the logo for you to choose from. Logos are status Więcej
$250 USD w ciągu 2 dni
(622 Ocen)
Hello sir , i am proffesional designer with more than 10 years in graphic design field like ( logos , corporate identities , flyers , banners and cartoons ) ... Kindly check my best logos till now among the best com Więcej
$120 USD w ciągu 0 dni
(39 Ocen)
Standout in the Crowd with grafikguru , For more details and portfolio please check PMB. If you aim for excellence, Quick turnaround times, Great customer service and 100% original designs within your budget range Więcej
$360 USD w ciągu 2 dni
(486 Ocen)
Hello sir, I HAVE DONE 1000+ LOGO DESIGN PROJECTS IN FREELANCER.com Just one request before you hire someone. Please just check my portfolio in below link once. http://tanvirmrt.com/portfolio.htm Sir, if you like Więcej
$30 USD w ciągu 0 dni
(1006 Ocen)
Hello, I will create and show you 4 different logo concepts for your Eye Defend company and will give you revisions based on feedback for selected one. Final files will deliver you Web & Print Format: .JPG, .GIF, . Więcej
$250 USD w ciągu 1 dnia
(702 Ocen)
Hello! I can draw a unique and creative logo for you. Let's discuss the details of the project? I am a master of Photoshop 90 lvl ! And also I work in Cinema 4D. In my projects I combine Photoshop and Cinema 4D Więcej
$144 USD w ciągu 3 dni
(225 Ocen)
Hello Client, Scope of project: We offer you our services for the logo of your website. We have reviewed your design requirements and our creative design specialists’ team will strive to achieve the best according to Więcej
$49 USD w ciągu 1 dnia
(360 Ocen)
Hi, I just checked the description you have provided regarding the project and would be a pleasure to assist you on your project. I will work with full dedication to give you the best output within the desired timef Więcej
$250 USD w ciągu 0 dni
(405 Ocen)
Hello, I have read the project brief, and i am interested to work for this project. Experience: I have experience in Graphic designing Such as logo design,Business card design flyer design, Banner design,Website Więcej
$250 USD w ciągu 1 dnia
(211 Ocen)
Hi, I have expertise in 2D and 3D Graphics design. I can design logo for you as per your requirement. I will sure give you high quality and eye catchy work. There will be no delay in my work. I have done nu Więcej
$251 USD w ciągu 1 dnia
(470 Ocen)
Hello! I'm super-cool photoshoper and I can make really high-quality job for you. Of course I also work in other programs. I am working ONLY till full satisfaction of employer. You can see my profile and be con Więcej
$250 USD w ciągu 3 dni
(63 Ocen)
Hi, I have read Your project description. I will Provide you with Great Options in less than 12 Hours. You can check my profile & Portfolio here and then make decision. I am here for long term work relatio Więcej
$252 USD w ciągu 1 dnia
(271 Ocen)
Hello, my name is Victoria. I've got acquainted with Your description of the task. We have creative designers in our team and offer unlimited revisions in the design phase until you are perfectly happy. You can Więcej
$412 USD w ciągu 3 dni
(32 Ocen)
Hi,how are u? will design 3 different high resolution logos for u to choose , and in the end will deliver the final in all formats u need:Ai,Psd,jpg,Png,pdf,jpg... here is my portfolio- https://www.freelancer.com/u/ Więcej
$250 USD w ciągu 2 dni
(162 Ocen)
Project Scope: Design a Logo for Tracking Platform We have Completed more than 140 Logo design jobs over freelancer.com in last 10 months and this makes us one of the fast growing profile over freelancer.com in th Więcej
$74 USD w ciągu 3 dni
(180 Ocen)
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Round trip to Godøy & Alnes Lighthouse
Ålesund - Alnes - Ålesund
At Alnes you can enjoy the magnificent sea landscape which is as beautiful on a sunny summer day as in the winter storm.
You may visit Alnes lighthouse, which is still in operation. The tower features a permanent exhibition of watercolor works and sketches by the famous local artist Ørnulf Opdahl.
In the summer period you may visit the original lighthouse keeper’s house. Here you will find an exhibition about the history of the lighthouse, a summer café, and temporary art exhibitions.
The new Alnes Cultural Center features a café that is open all year round where you can buy homemade cakes and traditional food from the area. There is also an art gallery. In the café there is a permanent exhibition made by the Norwegian Coastal Administration illustrating the current activity at Alnes Lighthouse. See www.alnesfyr.no for opening times and information.
You can choose any combination of departure time and return time from the timetable below.
Departure from: Ålesund bus terminal (Rutebilstasjonen), track 5
1. Ålesund
2. Ytterland
3. Alnes
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By using this site you accept the use of cookies. Read more
Contests / Your Umbrella Your Perletti / Brief
Contest detail page.
What should i do now?
• Read the brief
• Download the material files (if available)
• Upload your design
• upload phase
• community vote
• client choices
upload phase
55 days left
24 entries
New contest on Desall.com: Perletti and Desall invite you to create a new umbrella, able to distinguish itself from the competitors thanks to its design and style details that make it a very distinguishable product.
Company description
PERLETTI: passion for umbrella. Perletti is an Italian company, specialized in the distribution of umbrellas and rain accessories for adults and kids.
Perletti products are all based on a concentration of passion and life styles, projected daily into the future.
Thanks to its experience and a history of over 40 years, Perletti is today a leading company throughout Europe with over 6 million umbrellas sold annually.
What we are looking for
The brief is available in the following languages:
Download the Material files
Start creating your inspiration wall using the Inspiration tab and get inspired by the hints of other creatives!
Perletti is looking for concepts and product ideas for a new umbrella; you are thus invited to explore solutions aimed at its customisation and style that may help the Perletti brand to be easily recognised by the final user. You are free to give your own interpretation to the product drawing on your creativity and background.
For the correct realisation of your proposals, keep into consideration the following guidelines:
Product typology: the umbrella – available both in long and mini versions – shall be customised through various elements that will contribute to make it a highly distinguishable product for the final user.
Customisation elements: in order to make the umbrella an iconic product, you may include various customisation elements, including for example the ones listed below. For more info about the current product range and for some examples, please see the Material files attached and the website www.perletti.com . For the purpose of the contest, you may focus even on one single customisation element.
Handle: usually available in various shapes and styles, both for the long and mini versions, it is one of the most important elements in the customisation of the umbrella. The handle leaves space to various customisation possibilities that you are invited to explore as you prefer, for example in the choice of materials, finishes (soft touch, carbon finish, pearlescent, iridescent, rubber, etc.), shape, juxtaposition of materials or other processes.
In addition to the style requirements, keep also into consideration the ergonomic features of this element, to offer both great aesthetic value and good usability for the final user.
Tips: end elements of the ribs where the canopy is fixed; they are another element for your customisation of the umbrella. You are free to give them shape and colour at your discretion.
Top: depending on the umbrella typology – long or mini – there’s a top element, that you may consider for customising your umbrella.
Ribs: they are currently made of fibreglass, iron or aluminium mainly – for instance, they may be customised in the colour or in the design of the joints.
Case: it is a very characterising element, giving the fact that – in addition to the handle – it constitutes the visible part when the umbrella is closed.
Closing strap: you are free to explore new solutions to make it a very charactering element for your umbrella, also exploring at your discretion the use of different materials (ex. fabric, cords, chains, etc.).
Canopy: it is customised through graphics, colours, patterns, solid colours, etc.
Other elements or accessories: at your discretion, you may suggest the use of other customisation elements such as labels, pendants, etc. to make your umbrella really unique and distinguishable.
In addition to the elements described above you may suggest other elements or customisation solutions that make your products a really distinguishable product for the Perletti brand.
Style: you are free to adopt the style you prefer, even in discontinuity with the current stylistic language used by Perletti. At all events, your umbrella shall be designed for the city and be perceived as a dynamic and modern product, which favours clean lines.
Shapes: you may suggest innovative shapes for the various elements, still keeping into consideration its ergonomic aspects and in view of its industrialisation.
Size: the new umbrella shall comply with the standard for this product typology, both for the long and mini versions. You are invited to take into consideration also the proportions between the various elements of the umbrella (for ex. handle size vs the overall umbrella dimensions, etc.). For more details, please refer to the Material files attached and to the collections available on the Perletti website.
Materials: you may suggest the use of various materials (for ex. ABS, PVC, metals, etc.) including finishes (soft touch, carbon finish, pearlescent, iridescent, rubber, etc.) or various material combinations. You are nevertheless free to suggest possible innovative solutions, always in view of the product industrialisation. For some examples about the materials used by Perletti, please refer to the Material files.
Values to convey: your umbrella shall be perceived as a very recognisable, original product, able to constitute a very distinguishable element in the market, thus becoming an iconic product for the Perletti brand.
Logo: for the purpose of presenting your project, you may include the Perletti logo in a discreet way, using one of the versions provided in the Material files.
Deliverables: upload all the images that better present your projects, giving maximum visibility to the customisation elements you suggest. If necessary, remember that you can also attach a .ZIP archive containing extra materials.
Evaluation criteria: in the evaluation of your submissions Perletti will take into account the following criteria:
Degree of distinctiveness (5/5)
Degree of innovation (4/5)
Aesthetics (4/5)
Economic sustainability (4/5)
Functionality/usability (3/5)
Contest timeline
Add the contest to your calendar
Upload phase: 19th March 2019 – 18th June 2019 (1.59 PM UTC)
Client Vote: from 18th June 2019
Winner announcement: approximately before the end of September 2019
Optional deadlines
Concept revision: 19th AprilYour Umbrella, Your Perletti” will be accepted.
1°: €5000
The selection of the winner by Perletti will be the result of an unquestionable evaluation and it will take into account originality, feasibility and consistency with the brief presented.
Option right
For the duration of the option right, the Sponsor offers an extra chance to all participants setting a fee of Euro 2,000.00= (twoYour Umbrella Your Perletti"?
Sign up in Desall, save the contest in your favourites and edit the notification preferences in your account.
Desall required files
Minimum 1 image, up to 5.
Recommended dimensions: 960 x 720px (player size) ; allowed format: .jpg , .gif , .png; color mode: RGB;
allowed resolution: 72 dpi ; max file (for each one) size: 1 mb.
Contact us
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79d29923-167f-47a6-88fd-2af695e12d7d
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The Architecture of Luxury (Ashgate Studies in Architecture)
Format: Hardcover
Language: English
Format: PDF / Kindle / ePub
Size: 9.48 MB
Downloadable formats: PDF
The Struggle for Recognition: The Moral Grammar of Social Conflicts, trans. by Joel Anderson. But if you did keep reading, you’d find that Koolhaas' views are more complicated. Business requirements of an enterprise may be used to identify the necessary definitions and selections in the Foundation Architecture. Bordass and Leaman provide a recent example of the consequences of a lack of feedback and unmonitored building prototypes: ‘the UK’s recent Building Schools for the Future programme. and should be treated so. or a recently merged businesses.
Pages: 182
Publisher: Routledge; New edition edition (May 7, 2014)
ISBN: 1409433218
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Shining Through the 1960s: A Visual Journey of Iconic Lighting Designs
The Importance of Lighting in the 1960s
Lighting played a vital role in shaping the visual aesthetic of the 1960s. With the advent of new technologies and a changing social climate, designers and artists experimented with lighting ideas to create unique and groundbreaking designs that reflected the era’s spirit. This period saw the emergence of a new form of lighting design, which became an essential part of pop culture and artistic expression.
Emergence of New Lighting Forms
One of the most iconic lighting designs that emerged in the 1960s was the lava lamp. Created in 1963 by British inventor Edward Craven-Walker, the lava lamp became an instant sensation and became synonymous with the psychedelic and countercultural movements of the time. Its hypnotic, mesmerizing glow created by the rising and falling wax in the lamp was perfect for setting the mood in hip hangout spots and nightclubs.
Luminous Art Installations
The 1960s was also an era of experimental art and design, and lighting played a significant role in this trend. Artists like Dan Flavin and James Turrell experimented with light and space to create luminous art installations that transformed the perception of space. Flavin created minimalist works that used neon tubes of different colors and sizes to create a play of light and form while Turrell used simple geometric shapes and light to create the illusion of infinite space.
Industrial Design
Lighting was also an essential part of industrial design in the 1960s, where the focus was on creating functional and innovative designs for everyday items. Designers like Achille Castiglioni and Gino Sarfatti created lighting fixtures that blended aesthetics with functionality. Castiglioni’s iconic Arco Floor Lamp was an innovative design that provided overhead lighting without the need for electrical wiring while Sarfatti’s 2097 chandelier used a futuristic design to create a striking centerpiece for any room.
The Legacy of 1960s Lighting Design
The lighting designs of the 1960s had a significant impact on the world of design, pop culture, and art. From the emergence of new lighting forms like the lava lamp to the experimental art installations of Flavin and Turrell, the era’s lighting designs exemplified the spirit of innovation and experimentation of the time. Many of these designs continue to inspire and influence designers and artists today, exemplifying the timelessness of good design.
Innovation and Creative Expression
The 1960s was a decade of rapid change and social upheaval, and lighting design was no exception. With new technologies and materials available, designers and artists experimented with lighting in creative ways, defying convention and imagining a new future. The legacy of these designs lies in the innovation and creative expression they embodied, setting the precedent for generations of designers to come.
The Power of Lighting
The importance of lighting in the 1960s was more than just aesthetic; it had the power to shape moods, transform spaces, and reflect the cultural zeitgeist of the time. The innovative lighting designs of this era demonstrated the potential of lighting to go beyond mere function and become an expressive art form that defines spaces and experiences.
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Drawn to the area - 26 artists who took inspiration from East Anglia
Grayson Perry with his House for Essex in Wrabness, Essex. Picture: Channel 4/PA Wire
Grayson Perry with his House for Essex in Wrabness, Essex. Picture: Channel 4/PA Wire - Credit: PA
East Anglia has an amazing artistic heritage. As well as all the sculptors, painters, print-makers and more who have been born here or made their homes here, many more have been inspired by holidays on the Norfolk or Suffolk coast.
John Constable
John Constable - Credit: Archant
Here are just 26 of the many talented artists, both past and present, linked with the region - but there are countless more to discover.
John Constable: It’s impossible to wander through the area known as Constable Country without thinking of the artist’s famous paintings. Born in East Bergholt in 1776, he spent his early years exploring the Suffolk and Essex countryside, His most famous painting, The Hay Wain, shows the River Stour and Willy Lott’s Cottage, while his other masterpieces include Flatford Mill, Wivenhoe Park and Dedham Vale. The largest collection of his paintings outside of London is housed at Ipswich’s Christchurch Mansion. You can also retrace Constable’s steps by walking or cycling along the Painter’s Trail, a 69-mile route along the river Stour.
Thomas Gainsborough: Famed for both his portraits and landscapes, Gainsborough is known as one of the most important British 18th-century artists. His most famous works include works such Mr and Mrs Andrews, The Blue Boy and The Morning Walk. Gainsborough’s House in Sudbury, the museum in the building where he was born in 1727, is currently closed for a £9million development project - and some of the paintings have been loaned for a Russian exhibition of his work at the Pushkin Museum of Fine Arts in Moscow.
John Crome: The son of a weaver. Crome was famously one of the founding members of the Norwich School of Painters, the first provincial art movement in Britain. He was born in Norwich in 1768 and spent most of his life in Norfolk, painting hundreds of landscapes featuring local scenes, especially the River Wensum and Great Yarmouth. Crome’s Broad in the Broads National Park is named after him, and Norwich Castle Museum, which is currently closed, has many of his paintings in its collection. Two of Crome’s sons, John Berney and William Henry, were also fine painters.
John Crome, co-founder of the Norwich School of Artists, and heavily influenced by Dutch landscape p
John Crome, co-founder of the Norwich School of Artists, and heavily influenced by Dutch landscape painters. - Credit: Archant
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John Sell Cotman: Cotman’s atmospheric landscapes might appeal to us now - but Norwich Castle curator Giorgia Bottinelli has told how he was once regarded as “too colourful”, and did not achieve fame in his lifetime. Another leading member of the Norwich School, Cotman was born in the city in 1782 and spent much of his life in Norwich and Great Yarmouth, although he lived in London as a young man. The Eel Boat by John Sell Cotman will feature in the exhibition Where Land and Water Meet: Norfolk’s Rivers, Streams, Brooks and Broads, at Norwich Castle when it reopens. A preview of the exhibition can be seen on the Art UK website.
Sir Alfred Munnings: Munnings was known as one of Britain’s finest painters of horses. He had links all over the region, as he was born in Mendham, just over the Suffolk border from Harleston in Norfolk, in 1878, and attended Framlingham College before being apprenticed to a Norwich printer. He later lived at Castle House at Dedham in Essex, in the heart of Constable Country, which is now a museum displaying many of his works. The Munnings Art Museum is currently closed because of coronavirus restrictions, but hopes to reopen soon.
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Frederick and Emma Sandys: Born in Norwich in 1829, Frederick Sandys was a member of the Pre-Raphaelites, and created striking portraits of women with Titian-style hair. Some of these were on mythological themes, such as Medea and Helen of Troy. He was at one time a close friend of Dante Gabriel Rossetti, though they later fell out. Frederick’s sister, Emma Sandys, born in 1843, was also an artist influenced by the Pre-Raphaelite group, and stayed at home in Norwich when her brother went to London. Sadly, she died aged 34. Norwich Castle Museum’s collection includes paintings by both Frederick and Emma.
Edward Seago: One of the leading landscape artists of the 20th century, Edward Seago was a friend of the Royal family and inspired both the Duke of Edinburgh and the Prince of Wales to paint. He was born in Norwich in 1910 and, although he travelled all widely, his home was always in Norfolk and the county’s landscapes form a major part of his work. He also studied horses and spent time travelling with circus people. His exhibitions in London regularly sold out within minutes, a testament to his huge popularity. The Queen Mother bought many of his paintings and he also presented many of his works to the Royals, so the Queen now has what is probably the largest collection of his paintings.
Boats on the Hard, Blakeney by Edward Seago
Boats on the Hard, Blakeney by Edward Seago - Credit: SUPPLIED
Edward Ardizzone: The artist and children’s illustrator, born in 1900, lived in Ipswich as a child, and was educated at Ipswich School. He was responsible for more than 20 children’s books, including the Tim series, and won the British Library Association’s Kate Greenaway medal for illustration with 1956’s Tim All Alone. Ardizzone used scenes at Ipswich docks in his illustrations, and a blue plaque in his honour was put up on Ipswich Waterfront in 2015, saying that the artist “gained inspiration here”.
Lucien Freud: One of the most famous artists of the 20th century, Lucien Freud’s links with Suffolk hit the headlines a couple of years ago. There was excitement when a rare landscape of his was discovered hidden under a painting by a Suffolk pub sign artist, Tom Wright. A member of the famous Freud family, Lucian was born in Berlin in 1922. He was one of the first students at the avant-garde East Anglian School of Painting and Drawing created by Sir Cedric Morris and Arthur Lett-Haines, first in Dedham and then at Benton End, Hadleigh. The pair were also the mentors of other artists including, later on, a teenage Maggi Hambling.
Maggi Hambling: East Anglian art icon Maggi Hambling has been associated with the area all her life. She was born in Sudbury in 1945 and has a studio in north Suffolk. Her most recent works include a portrait of Sir Andy Murray, who visited her Suffolk studio to pose for her. Maggi Hambling’s works have often taken inspiration from the area, including her tempestuous Wall of Water sea paintings, which were created as a result of her walks along shingle and cliff tops between Aldeburgh and Southwold. Of course, her most celebrated - and criticised - creation in East Anglia is the famous Scallop sculpture at Aldeburgh, her sculptural tribute to composer Benjamin Britten.
Carl Giles: The “Grandma” statue on Giles Circus in Ipswich is a testament to the love felt locally for the artist, who was voted ‘Britain’s favourite cartoonist of the 20th Century’ in 2000, five years after his death. Born in London in 1916, Giles moved to Suffolk just after the Second World War, and lived at Tuddenham, just outside Ipswich. His characters were adored by millions, and the New Wolsey Theatre even staged a musical in his honour, Grandma Saves the Day, based on the Giles Family.
Kieron Williamson (mini-Monet) hosting his work at The Gallery, Holt, with Keith Williamson, Michel
Kieron Williamson (mini-Monet) hosting his work at The Gallery, Holt, with Keith Williamson, Michelle Williamson,Adrian Hill, managing director of the gallery, and Harriet Harvey, exhibition manager Picture: BRITTANY WOODMAN - Credit: Archant
Kieron Williamson: Kieron, born in Norfolk in 2002, is by far the youngest artist in this list. He was nicknamed “Mini Monet” when he produced beautiful landscapes at the age of six - but is now about to turn 18 and is a full-time professional artist. He has just unveiled an exhibition, The Next Chapter, at The Gallery in his home town, Holt, where it will be on show until August 4. Kieron now lives in Cornwall with his family, but has a home in Ludham which he often visits for artistic inspiration.
Beatrix Potter: The much-loved Peter Rabbit author and illustrator, who was born in 1866, often visited Suffolk, as a cousin of Ethel, Lady Hyde Parker, who lived at Melford Hall. She used to bring her small animals with her on her visits, much to the delight of the children, who were excited to see her arriving with creatures such as mice and porcupines. Now owned by the National Trust, the hall has a Beatrix Potter room displaying some of her artworks, as well as a model of Jemima Puddle Duck which she gave to the Hyde-Parker children. Never before seen drawings by her were discovered during a spring clean in 2016. Melford Hall has not yet reopened to the public.
Grayson Perry: Born in Chelmsford in 1960, this Turner Prize-winning artist celebrated his home county with his unique creation, A House for Essex, at Wrabness. The house is an artwork in its own right and also contains a number of works by Perry, exploring the life of fictional character Julie Cope. People can only stay there if they win a ballot to book a two-night stay, but the booking is not currently open.
Dame Elisabeth Frink: One of the most acclaimed sculptors of the 20th century, Frink was born in Great Thurlow, near Bury St Edmunds, in 1930 and spent her formative years in East Anglia during the Second World War. An exhibition of her work at the Sainsbury Centre in 2018-19 brought together 130 of her works, lookeing at her radical and bohemian beginnings in 1950s London and examining her major themes, including the relationship between humans and animals. She died in 1993.
Sean Hedges-Quinn sculpts Captain Mainwaring Picture: ROCHDALE BOROUGH COUNCIL
Sean Hedges-Quinn sculpts Captain Mainwaring Picture: ROCHDALE BOROUGH COUNCIL - Credit: Archant
Sir Antony Gormley: The world-famous creator of the Angel of the North in Gateshead and Another Place on Crosby Beach in Liverpool, Gormley has his studio at High House near Swaffham, after moving there in 2010. His works are also included in the Sculpture Park at the UEA’s Sainsbury Centre. Born in London in 1950, the sculptor is a former winner of the Turner Prize, and last year the Royal Academy held an exhibition filling its 13 main galleries with his works. He recently posted on the Kettle’s Yard gallery’s website about how he has been working in his Norfolk studio during lockdown, with glimpses of some of the works he is currently creating.
Colin Self: Celebrated pop artist Colin Self was born in 1941 in Rackheath and lives and works in Norwich. At Slade School of Fine Art, he was encouraged by Peter Blake and David Hockney. Cold War politics have been a major theme in his work, and, following a trip to the US in 1965, he created drawings featuring nuclear fall-out shelters and Art Deco cinema interiors, as well as hot dogs. But his etchings also cover a huge range of other themes, and he has also created many Norfolk landscapes and still lifes. He was one of the Norfolk artists, alongside Anthony Gormley, whose work featured in a new Norwich City of Sanctuary art trail created earlier this year in aid of refugees and asylum seekers.
Anna Airy: Anna Airy, who lived from 1882-1964, was one of the first women to be officially commissioned as a war artist. She painted at munitiions factories during the First World War in often difficult conditions. She was born in Greenwich and trained at the Slade in London, but moved to Playford near Ipswich in 1933 and lived there for the rest of her life. She was president of the Ipswich Art Society, which holds an Anna Airy award and exhibition, featuring work by young people, in her memory.
John Craske: Interest has been growing over recent years in the folk art, including embroidered seascapes, created by this fisherman turned artist. Born in Sheringham in 1881, John Craske also lived in Blakeney and Hemsby. He was invalided out of the First World War and spent time in an asylum, and continued to suffer from ill health. Craske began to paint sea scenes on anything he could find, then turned to embroidery, after being taught by his wife Laura, because he could stitch while lying down. Some of Craske’s embroideries and other artworks, including a painting on the lid of a ‘bait box’, are in the collection at Sheringham Museum, which has not yet reopened.
Long Melford Hall discovered never before seen drawings by Beatrix Potter during a spring clean in 2
Long Melford Hall discovered never before seen drawings by Beatrix Potter during a spring clean in 2016. Pictured is house manager Josephine Waters. Picture: ARCHANT - Credit: Gregg Brown
Sybil Andrews: A school in Bury St Edmunds, Sybil Andrews Academy, takes its name from this inspirational printmaker - and students took part in the celebrations for the 120th anniversary of her birth two years ago. Sybil Andrews, was born in Bury in 1898, and found success as an artist in the 1930s after a chance meeting with fellow artist Cyril Power in the town. The two collaborated for a number of years on innovative works under the pseudonym of Andrew Power. The school has called for the artist to have a higher profile in the town, and holds an annual Sybil Andrews day on her birthday, April 19.
Joseph Stannard: Marine and landscape artist Stannard only lived to be 33, sadly succumbing to tuberculosis - but during his short life he became known as one of the leading members of the Norwich School of Painters. Born in Norwich in 1797, he was already exhibiting as a teenager. He painted mainly landscapes of coastal and river scenes and took inspiration from the Dutch Old Masters. The Stannard family also included several other acclaimed artists, including Joseph’s younger brother, Alfred, wife, Emily Coppin Stannard, their daughter Emily Stannard and their niece Eliose Harriest Stannard.
Emily Coppin Stannard: Known as one of the finest still life painters of the 19th century, Emily Coppin travelled to the Netherlands with her father as a teenager to study the work of the Dutch masters. She was born in Norwich in 1802, and carried on painting for 50 years after the death of her husband, Joseph Stannard. The largest collection of her works is held at Norwich Castle.
Sean Hedges-Quinn: The sculptor was born in Ipswich in 1968 and works from a studio near Stowmarket. He is famed for his many striking statues, including the Captain Mainwaring bronze statue in Thetford, and the figures of Sir Alf Ramsey and Sir Bobby Robson, which both stand at Portman Road. “Coach” has now created a new statue of Town’s greatest-ever player, Kevin Beattie, which has still to be unveiled due to the coronavirus restrictions. Money was raised through the £110,000 Beat Goes On appeal - a joint initiative between the EADT/Ipswich Star, BBC Radio Suffolk and the TWTD website. As well as his statues, he has also worked in the film industry.
Colin Self in St Andrews's Hall, Norwich, for Art Fair East in 2018 Picture: SONYA DUNCAN
Colin Self in St Andrews's Hall, Norwich, for Art Fair East in 2018 Picture: SONYA DUNCAN - Credit: Sonya Duncan
Leonard Squirrell: Born in Ipswich in 1893, Squirrell spent most of his life in the town and is one of the best-loved artists from the area, known for his water-colours, pastels and etchings. He produced railway posters, and images for many commercial companies.
Bernard Reynolds: The famous sculptor was born in Norwich in 1915 and lived in Ipswich for nearly 50 years. He created many pieces of public sculpture in Ipswich, the most famous being The Ship outside the Civic Centre and the pylons outside the former Suffolk College. Other public works included cement reliefs on the Castle Hill and Sprites Lane schools, a stone relief on the Eastern Counties Farmers Head Office in Princes Street and a 24ft stained-glass window in St Matthew’s School. A major retrospective of his work was held on Ipswich Waterfront in 2015.
Have we missed out your favourite artist? Which artwork in the area is your favourite? Send us an email.
Maggi Hambling with the Scallop on Aldeburgh beach Picture: ARCHANT
Maggi Hambling with the Scallop on Aldeburgh beach Picture: ARCHANT - Credit: Archant
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Alana Bartol, Artist – Calgary
Alana Bartol comes from a long line of water witches. She is the founder of the Orphan Well Adoption Agency – an organization exploring dowsing as method of remediation for sites contaminated by the oil and gas industry. She also teaches at the Alberta College of Art and Design. Her work has been presented in venues across Canada including the Walter Phillips Gallery, Plug In ICA, Access Gallery, and the M:ST Performative Arts Festival, as well as in Romania, Germany, Mexico, and the United States. Her collaboration with Mia Rushton and Eric Moschopedis, a hint of perennial magic lingers in its fingertips, is on display at Esker Foundation Project Space until October 28. She will be presenting a Water-witching Workshop and perform a slick, a smear…. awash in green on September 23 at the Clarkson Wastewater Treatment Facility in Mississauga as part of the Blackwood Gallery’s ten-day contemporary art festival The Work of Wind: Air, Land, Sea.
1. Nematodes
Alana Bartol, Nematode, 2015, ink and watercolour on paper
These under-recognized creatures are essential to our planet, playing an important role in ecosystem health. They make their home all over the world in water and soil, feeding on bacteria, fungi, and protozoans. A handful of soil can hold over a million where they share a vital role in plant growth.
2. The Marrow Thieves
A moving and powerful novel about Indigenous survival and resilience in a near-future dystopic Canada: this book by Cherie Dimaline should be on everyone’s reading list. Thank you, Carrie Alison, for recommending.
3. Water Witch
The Marvel Comic character Water Witch appeared in only seven issues. She could be found in Subterranea, a kingdom beneath the earth’s surface where outcasts from the surface world dwell. She was also a member of the Femizons, a group of all-female supervillains whose number one enemy was Captain America. Her current whereabouts are unknown…
4. Fatbergs
Photo of fatberg specimen in London, UK (AP Photo/Matt Dunham)
The massive congealed lumps of non-biodegradable solid matter (like grease and non-flushable garbage) now commonly found in sewer systems. Sad to think that as icebergs are rapidly melting, fatbergs are steadily growing. Shout out to fatbergs for reminding us to think before we flush or dump it down the drain.
5. My cat Bean aka Bee Boo
It has been over a year since we lived together, but we were recently reunited. I have missed this furry face. She was found eight years ago running through a glass factory in an industrial park in Michigan. This cat has moved with me over twenty times, living in Vermont, Michigan, Ontario, and now Alberta, where she is still learning to stay away from magpies.
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EINSTEIN GOD LETTER IN ENGLISH copy.jpgNew York -- Bonhams announces the seventh installment collector Eric C. Caren's voluminous collection of How History Unfolds on Paper, an online-only sale from March 6-14, with an exhibition in the New York galleries March 7-11. The collection begins in the 17th century and covers 4 decades of American and world history, focusing primarily on letters, documents, and printed media.
Highlighting the sale is an Albert Einstein letter written to a young U.S. Naval Officer near the end of World War II (estimate: $100,000-200,000). The young man had written to Einstein relaying a conversation he'd had with a Jesuit priest who claimed he had convinced the scientist to believe in a "supreme intellect which governs the universe." Rather than his usual cagey response, Einstein admits that he has always been an atheist, but that the world is indeed wondrous: "We have to admire in humility the beautiful harmony of the structure of the world--as far as we can grasp it. And that is all." The letter includes its original envelope, and copies of the original outgoing correspondence.
From America's pre-Revolutionary War period, two highlights include examples of patriot Paul Revere's artwork: a first issue of his famous engraving of Boston Harbor, published in a 1770 Boston almanac (estimate: $15,000-25,000); and a rare variant of his even more famous engraving of the Boston Massacre showing British soldiers firing on American colonists (estimate: $8,000-12,000).
An important Revolutionary War highlight is the military commission appointing Benjamin Lincoln as Major General of the Army of the United States, signed by John Hancock as President of the Continental Congress (estimate: $60,000-90,000). Issued in February 1777, the appointment was signed at Baltimore during the brief window of time that city served as the nation's capital. Interestingly, this appointment as Major General (one of 5 suggested by George Washington), provoked jealousy and outrage in Benedict Arnold, who was not one of the 5 promoted, and who nursed a grudge which likely led him to betray his country a short while later.
Further highlights include reportage of Alexander Hamilton's duel with Aaron Burr, providing both an account of the tragic event and printing the correspondence exchanged between the two in the run up. Most devastatingly for Burr, the paper prints Hamilton's message to his family, in which he announces his intention to throw away his shot (and make Burr look the villain) (estimate: $3,000-5000); two remarkable broadsides from the War of 1812: a Baltimore paper's first hand account of the bombardment of Fort McHenry (estimate: $8,000-12,000), and a rare, early printing of the full lyrics of the "Star Spangled Banner" (estimate: $8,000-12,000).
The sale also offers several items of Mormon interest, including a fine copy of the 1830 first edition of the Book of Mormon (estimate: $40,000-60,000), and an 1844 letter from an early church member relaying a first-hand account of Joseph Smith's last words to his flock before his death at the hands of a mob (estimate: $10,000-15,000).
From the realm of sports, the collection offers the earliest known newspaper coverage of Babe Ruth (estimate: $6,000-9,000). In an April 4, 1914 issue of the Baltimore News, as the Babe's first professional season with the Orioles got underway, the newspaper emphasized the young player's prowess as a pitcher, not a batter, reporting that the "St. Mary's schoolboy is going to do plenty of twirling." Not long after this story appeared, Ruth was traded to the Red Sox, who would infamously trade him to the Yankees after only 2 years.
Image: Einstein "God Letter" in English. Einstein, Albert. 1879-1955. Estimate: $100,000-200,000
Lot 20-Hallo.jpgNew York-Swann Galleries’ February 7 sale of Vintage Posters saw numerous firsts and records. Nicholas D. Lowry, Swann President, noted, “Lively bidding for ski posters and Art Nouveau images set the pace for an enthusiastic auction where eager bidders drove prices high for rare examples. Collectors dominated the activity.”
The sale was led by Alphonse Mucha’s Documents Décoratifs, 1902, a complete portfolio with 72 plates displaying examples of jewelry, furniture and silverware, as well as illustrations of how to draw women and flowers. The portfolio, which prominently displayed Mucha’s stylistic expertise, reached $18,750. Other notable works by the artist included Rêverie, 1897, which sold for $8,125; Biscuits Lefèvre - Utile, 1897, The Seasons, 1896, a group of four decorative panels on fabric, and The Times of the Day / Éveil du Matin, 1899, each earning $7,500.
Additional Art Nouveau posters included records for La Garonne, 1898, a whimsical image by Arthur Foäche, at $5,460, and The Studio, 1899, by Frank Brangwyn, with $5,000. Louis J. Rhead’s colorful image, Le Journal de la Beauté, 1897, originally commissioned by La Plume, sold for $6,750.
Firsts at auction included a 1927 advertisement for the Stockholm premier of Josephine Baker’s La Sirène des Tropiques, which featured Baker in her “pearl and feather” costume, and brought $9,750; Gli Avvisi Delle Officine G. Ricordi E C., a complete portfolio with 70 plates, by G. Ricordi celebrating the rise of the poster in Italy, was won for $7,500; and Walter L. Greene’s circa 1924 oil painting for the cover of The GE Monogram garnered $6,500.
Posters promoting travel to popular ski destinations proved successful, with Emil Cardinaux’s Palace Hotel St. Moritz, 1922, depicting an alpine round of golf and picnic, brought $5,500, and Jungfrau Bahn / Berneroberland, Schweiz, a 1919 German advertisement showing a group of skiers overlooking Aletsch Glacier in the Alps, earned $5,000. A Chamonix - Mont Blanc, 1927, by Alo (Charles Hallo), a lively image of a mid-air skier, set a record with $5,000.
The next auction of Vintage Posters at Swann Galleries will be held on May 23 with Graphic Design. Visit www.swanngalleries.com or download the Swann Galleries app for catalogues, bidding and inquiries.
Additional highlights can be found here.
Image: Lot 20: Alo, Charles Hallo, A Chamonix - Mont Blanc, 1927. Sold for $5,000, a record for the work.
Federalist Heritage copy.jpgDallas, Texas - A rare copy of The Federalist: A Collection of Essays, Written in Favour of the New Constitution and an extraordinary collection of more than 230 mystery fiction books from the owner of the world’s oldest and largest premiere mystery specialist bookstore, headline Heritage Auctions’ Rare Books Auction March 6 in New York.
Popularly referred to as The Federalist Papers, the two-volume set is considered by American historians as the cornerstone of the new nation’s theory of government. The essays are attributed to founding fathers Alexander Hamilton, James Madison and John Jay.
The Federalist Papers were written as part of an effort to get the New York delegation to ratify the Constitution - it made the case for Federalism and sought to convince the citizens of the states,” Heritage Auctions Rare Books Director James Gannon said. “Probably around 500 copies were printed, and this example is particularly rare because it’s still in the publisher’s boards. You just don’t find them like this.”
A Maurice Sendak “Moo-Reese” Tabletop Cow (estimate $75,000+) was drawn and painted in 2000 by Sendak, with help from Lynn Caponera. As a part of the “Cow Parade” in New York, Chicago and Zurich, Sendak was invited to decorate a full-sized cow, but chose instead to use this one, which measures 27 inches long. The molded plaster figure, decorated in pencil and water color with multiple characters from the popular children’s book Where the Wild Things Are, was sold at a 2003 fundraiser to support the Chicago Opera Theater.
Otto Penzler won an Edgar Award as co-author of the Encyclopedia of Mystery and Detection, founded The Mysterious Press and owns The Mysterious Bookshop in New York. His collection of mystery fiction is considered among the most extensive in the world.
“Otto Penzler is among the most important book collectors anywhere, and is a fixture in the mystery books community,” Gannon said. “He has spent a lifetime assembling an incredible collection, and his decision to bring them to auction represents a rare opportunity for serious book collectors to acquire some incredible volumes.”
Among the top lots from the Penzler collection:
· A rare first edition in the original first printing dustjacket of Dashiell Hammett’s Red Harvest (estimate: $60,000+) prompted Penzler himself to call it the world’s best copy
· Raymond Chandler’s 1939 The Big Sleep (estimate: $30,000+) is a first edition signed by Chandler on the front free endpaper with the note “With kindest regards.” Donald A. Yates’ copy, in an exceptional dust jacket, features his own signature in ink.
· Dashiell Hammett The Maltese Falcon (estimate: $30,000+) is a first edition and perhaps the highspot of the hard-boiled canon. The first book to feature Sam Spade, it was adapted for the screen four times; the third and best-known version, which was shot in 1941, starred Humphrey Bogart and Mary Astor, and was directed by John Huston.
· Dashiell Hammett The Dain Curse (estimate: $25,000+) is another first edition that is difficult to locate in a nice jacket, especially one that is unrestored. The author’s second book and the final Continental Op novel, it originally was published in four parts in Black Mask from November 1928 to February 1929.
· A first edition association copy, inscribed for literature professor Donald A. Yates, Raymond Chandler Farewell, My Lovely (estimate: $20,000+) is the author’s follow-up to The Big Sleep. It is the second title featuring Philip Marlowe but the first to reach the big screen, when it was released in 1944 as “Murder, My Sweet.”
· Hammett’s $106,000 Blood Money is an original paperback first edition (estimate: $20,000+) that combines “The Big Knockover” and “$106,000 Blood Money” into a single novel. This association copy is inscribed by Hammett to Lillian Hellman: “To Lillian - on the occasion / of one of her birthdays / Dashiell (nothing is too good for the ‘ little woman) Hammett / June 20, 1943” in a note written just five days after publication.
· Edgar A[llan]. Poe. Tales (estimate: $12,000+) is a first edition, first printing. A remarkably clean copy, it includes bookplates of Edwin Marion Cox (identified in the holdings of Penn Libraries) and Michael Sadleir, an English author and noted book collector known for his 19th-century British Fiction collection at UCLA and his Gothic Romance collection at the University of Virginia.
Other top lots include, but are not limited to:
· David Roberts The Holy Land, Syria, Idumea, Arabia, Egypt & Nubia (estimate: $30,000+)
· Ludwig Bemelmans’ Madeline in London: A Little Sunshine, A Little Rain (estimate: $20,000+)
· Harper Lee. To Kill a Mockingbird. Philadelphia: J. B. Lippincott Company, [1960] (estimate: $15,000)
· J. R. R. Tolkien. The Lord of the Rings Trilogy, comprising: The Fellowship of the Ring (estimate: $12,000)
· Lewis Carroll. Alice's Adventures in Wonderland. London: Macmillan, 1874 (estimate: $7,500)
Heritage Auctions’ Rare Books Auction Featuring The Otto Penzler Collection of Mystery Fiction, Part One will take place March 6 in New York.+
Philadelphia - Declared by the National Register of Historic Places to be “a noteworthy representative of a peculiar residential building type prevalent in the late-nineteenth and early-twentieth century period of American architecture,” Virginia House was the permanent residence of American diplomat Alexander Weddell (1876-1948) and his wife Virginia Chase Steedman Weddell (1874-1948). Their 16th century English manor was originally constructed as “Hawk’s Nest” by Thomas Hawkins (aka Fisher) in Warwick, England out of materials salvaged from the Warwick Priory; it was saved from demolition by the Weddells, who ultimately deconstructed and shipped the predominantly Tudor house overseas to Virginia where it was reassembled and modified in the late 1920s.
An amalgam of architectural styles, the house is also furnished eclectically, enhanced by furniture, textiles and decorative arts hailing from different geographical regions that were acquired during the Weddells’ personal and professional travels. Relatively unchanged since the Weddells’ untimely death in 1948, the house remains a time capsule -- a glimpse back to an era when affluent Americans adopted a Eurocentric aesthetic for their homes, grounds and gardens. Perhaps moreso though, the house’s furnishings are imbued with personal meaning, remaining as souvenirs of the couple’s stays in foreign and exotic regions such as India, Mexico City, Argentina, and Spain, as dictated by Mr. Weddell’s shifting ambassadorial duties.
In 1907, Weddell secured appointment as secretary to the minister to Denmark, beginning a successful career in Foreign Service punctuated by appointments to Zanzibar, Sicily, Beirut, Athens, Cairo. Later in Calcutta, Weddell met his future wife, Virginia Atkinson Chase, who was at the time on a round-the-world tour with her friends. Bonding over their mutual love of travel, history, art and collecting, the couple began a whirlwind romance that culminated in their marriage in 1923. Weddell opted to retire from the Foreign Service in 1928 after a four year stint in Mexico City, he was called out of retirement in 1933 by President Franklin D. Roosevelt, who appointed him Ambassador to Argentina and then to Spain. Weddell retired permanently in 1942, and the couple then returned to Virginia and to their permanent home, Virginia House, which Alexander fondly named after his beloved wife.Through the Weddells’ remarkable travels they lovingly assembled a cohesive and impressive collection of English, Spanish, Ottoman, and Latin American furniture, decorative arts, and paintings, as well as silver, Southeast Asian bronzes, Gothic and Renaissance sculpture, Brussels and Mortlake tapestries, carpets, and textiles. Enamored of the erudite and genteel English country life, Alexander built a refined and extensive library of early manuscripts and reference texts in the gentlemanly tradition, while Virginia developed a very fine collection of English and Spanish embroideries, French and Italian silks and velvets, and ecclesiastical vestments to furnish their home and upholster their antiques. Furniture highlights from the collection include a fine Spanish Baroque walnut and giltwood vargueño on stand, a rare Elizabethan marquetry oak court cupboard, an exceptional late Elizabethan/early Jacobean carved oak court cupboard, and a very early Ottoman inlaid walnut chest circa 1400. Of special note are a group of Himalayan bronze, copper alloy, and carved wood Buddhist works of art, collected by the Weddells on their travels in India and China. The earliest works date to the 15th century and include a fine figure of Buddha with elaborate engraved robe, and two large Nepalese figures of bodhisattvas. Ottoman silver and tombak; Russian niello snuffboxes from the period of Catherine the Great; and English, French, American, and Mexican silver are also represented.
The Weddells carefully chose paintings that complemented the Jacobean interiors of their home, and foremost among them are an impressive Jacobean portrait of an English nobleman and his child, thought to be Sir Francis Clarke and his daughter Dorothy; a period portrait of Sir Henry Norris, Baron of Rycote; as well as a rare portrait of a female courtier by German artist Franz Kessler, executed in 1620. During their time in South America, the couple also brought home several fine examples of the Spanish Colonial School. Of particular note is a 17th century painting done in the style of the Cusco School that the Weddells purchased in Lima, Peru in 1937. The work depicts the Death of the Virgin, surrounded by numerous mourning saints dressed in richly decorated gold brocaded robes.
In 1929, Virginia House was presented by the Weddells to the Virginia Historical Society, where Alexander served as President, under an agreed lifetime tenancy. Following the Weddells’ tragic and unexpected deaths in a train accident on New Year’s Day 1948, the Historical Society took ownership and management of the property, serving as faithful stewards of the house and collection for seventy years. Virginia House has remained open to the public as a historic house museum, and in 2017 the Historical Society’s board of trustees approved a plan to increase the use of Virginia House with a focus on donor stewardship, public and private events, and interpretive programs. The Historical Society has partnered with Freeman’s to assist in the thoughtful deaccessioning of items unrelated to the mission of the Virginia Museum of History and Culture, the Historical Society’s primary accessioning institution. Proceeds from the sale will be placed in a restricted fund for the preservation of the property’s historic structures and landscape features and the acquisition and direct care of collections used to interpret the site and the extraordinary story of Alexander and Virginia Weddell.
Thursday & Friday, April 04 & 05: 10am-5pm
Saturday & Sunday, April 06 & 07: 12pm-5pm
Monday & Tuesday, April 08 & 09: 10am-5pm
By appointment only on the morning of the sale
Wednesday, April 10, 2019: 10 am
138.jpgFalls Church, Virginia - A letter written by Abraham Lincoln in the early days of the Civil War, a document from 1793 signed by Washington and Jefferson; and a rare first-edition copy of Uncle Tom’s Cabin (1852) are a few of the highlight lots in a February 28 auction to be hosted by the Waverly Rare Books division of Quinn’s Auction Galleries. Start time is 6 p.m. Eastern, and all forms of bidding will be available, including absentee, phone and live LiveAuctioneers.
The one-page Lincoln letter, framed and handwritten on Executive Mansion stationery, was penned on June 10, 1861, just two months after the firing on Fort Sumter. Lincoln writes to Captain John Adolphus Dahlgren (1809-1870), asking about the possible government purchase of a new gun. He signs it, “Yours truly, A. Lincoln.” The letter should command $6,000-$8,000.
The 1793 document, signed by George Washington as President and Thomas Jefferson as Secretary of State, regards the appointment of Thomas Benbury to “Inspector of the Revenue for Survey Number Two in the District of North Carolina,” just a week before Benbury’s death. Affixed with the Seal of the United States and nicely framed, the document has an estimate of $5,000-$7,000.
The first-edition, first-printing copy of Harriet Beecher Stowe’s classic book Uncle Tom’s Cabin (or, Life Among the Lowly), is expected to reach $3,000-$5,000. Published in 1852 by John P. Jewett & Co. (Cleveland, Ohio), the book includes several anomalies (example: it says “cathecism” rather than “catechism”). It has a modern, tan leather binding, with the book’s title on the spine.
Also among books pertaining to Black Americana and slavery, a first-edition copy of Frederick Douglass’s My Bondage and My Freedom (Miller, Orton & Mulligan, 1855), should knock down $800-$1,200. With an introduction by Dr. James McCune Smith, the book shows the ownership inscription of Mrs. Mary Huntington (Mexico, N.Y.) and is dated 1855.
Items pertaining to the Kennedys seem to hold endless fascination for collectors. A 1961 inaugural-edition hardback copy of John F. Kennedy’s best-selling book Profiles in Courage (Harper & Brothers, N.Y.), with dust jacket, carries a pre-sale estimate of $400-$600. The book is inscribed: “For Betty Osborn - with every good wish,” possibly written by JFK’s secretary.
Jackie Kennedy memorabilia often has more value than items directly connected to JFK, as is the case with her black lace mantilla (or head scarf), which is expected to realize $1,000-$2,000. The 60-inch by 23-inch mantilla is from the collection of Mary B. Gallagher, Jackie’s personal secretary, secretary to John F. Kennedy when he was a U.S. Senator, and the author of My Life with Jacqueline Kennedy.
A pair of Confederate Civil War diaries is being offered as one lot, with an estimate of $1,000-$2,000. One, from 1862, is presumed to be that of Private John Carpenter, who writes with clarity and immediacy about the battles of Fredericksburg, Antietam and Pickett’s Brigade. The other one, from 1865, is from Private H.H. Ewbank and contains notes about the post-war period.
A first-edition copy of The Gospel According to Saint John, one of 2,000 copies printed by the British and Foreign Bible Society (London, 1804), with text in English and Mohawk on facing pages, should fetch $800-$1,200. According to the book, “The translator was a young educated Mohawk named Teyoninhokarawen, commonly called John Norton.”
A Ronald Reagan briefing sheet, signed by Reagan and dated August 11, 1988, is expected to make $200-$400. The matted sheet measures 24 inches by 18 inches and reads, “START: Are we better off with a START agreement?” Below that Reagan inscribes, “Yes. Ronald Reagan.” From the Reagan Foundation’s diary entry: “A fruitful meeting with the Joint Chiefs of Staff.”
One lot containing more than 40 photographs from the Secret Service archives carries a pre-sale estimate of $200-$400. The photos are of historical luminaries including Presidents Jimmy Carter, Calvin Coolidge, Dwight Eisenhower, Woodrow Wilson, Herbert Hoover, John F. Kennedy, Richard Nixon, Franklin D. Roosevelt, Theodore Roosevelt, William Howard Taft and Harry Truman.
The Feb. 28, 2019 Presidential & Americana Auction will be held at Quinn’s gallery, 360 S. Washington St., Falls Church, Virginia. Bid live at the gallery, by phone, absentee, or live via the Internet through LiveAuctioneers. For preview hours, please consult the company’s website, www.quinnsauction.com. The gallery is closed on Sundays.
For additional information about any item, please call 703-532-5632, extension 575; or e-mail waverly@quinnsauction.com. View the online catalog and register to bid absentee or live online, at LiveAuctioneers.com. Visit Quinn’s and Waverly’s online at: http://www.quinnsauction.com
Image: Lot 138, First-edition, first-printing copy of Harriet Beecher Stowe’s Uncle Tom’s Cabin (or, Life Among the Lowly), published in 1852 by John P. Jewett & Co. (Cleveland, Ohio), est. $3,000-$5,000
Boston Athenaeum Announces Expansion
4th floor_LongRoom-Rendering w label.jpgBoston—The Boston Athenæum, a distinguished and vibrant independent library and cultural institution, announces its expansion via a long-term lease of 19,400 square feet in an adjacent building at 14 Beacon Street.
The lease will provide the Athenæum’s historic and contemporary collections with room to flourish, while better serving patrons and simplifying staff workflows. It will:
• restore much-needed space for library members in the peaceful, architecturally-significant reading rooms at 10 ½ Beacon Street, while enhancing acoustics and accessibility;
• add shelves for the continually-growing library of more than half a million items in the circulating library;
• increase and improve spaces for events, discussion groups, visitors, and rentals;
• create connected workspaces for cataloging, conserving, digitizing, curating, and teaching with the special collections, comprising more than 100,000 rare books, manuscripts, artworks and other materials; and
• connect floorplates in the two buildings to facilitate open circulation between patron and staff spaces in both 10 ½ Beacon and 14 Beacon, a move that will foster collaboration and innovation to serve patrons better.
“The board has long known of the need for additional space to care for our library’s valuable and ever-expanding holdings,” says John S. Reed, president of the Athenæum’s Board of Trustees. “We looked at a range of options for responsible growth over time, including moving collections off-site—a prospect soundly rejected by our members. After months of careful deliberation, we are happy to have identified a practical, cost-effective solution right next door.”
“Contiguous space has become available only a handful of times in the last century,” Reed says. “We appreciate the singular opportunity to enter into a long-term lease with Faros Properties. They appreciate the Athenæum’s mission of engaging people who seek knowledge, and stewarding our library full of treasures. They understand the importance of this historic library to the city of Boston.”
The two-year project is advancing with an experienced team: owner’s project managers Smith+St. John; the architecture firm of Schwartz/Silver, known for its award-winning designs for libraries, museums, and historically-significant structures; and Windover Construction of Beverly, MA, a construction management firm with expertise in historic renovation and preservation for museum, cultural, academic, and institutional clients.
“The expansion will benefit Athenæum members and staff, and it will also serve those in the scholarly community who will come to conduct research,” says Creelea Pangaro, a vice president of the Board. “We will be able to move employees out of improvised workspaces that developed over time in the architecturally-significant rooms at 10½ Beacon, and into connected, efficiently-organized offices at number 14. We will be renovating 2,000 square feet of space for storing our special collections. Most significantly, the move will free up more than 4,000 square feet in the one-of-a-kind library environment for the use of the library’s devoted members, who come to read, think, write, and gather together for discussions and events.”
Additionally, members and visitors will find improved first-floor facilities for visiting, reading, and attending lectures and concerts. Beautiful, rentable meeting and social spaces will be made available to the Boston community during times when members are not using them for discussion groups, book talks, and other activities.
This year marks the Athenæum’s 170th anniversary at 10½ Beacon Street, an edifice that was named a National Historic Landmark in 1966. The library has undergone renovations frequently through its history, to accommodate the rapid growth of the collections, fire-proof the building, and install modern climate control, security, and accessibility elements. Partial expansion into the basement and first floor of 14 Beacon was completed in 2002; before that, the last major space expansion took place in 1914-15 with the addition of two additional levels, the fourth and fifth floors, to the original structure.
“The Athenæum is a breathtaking special resource—for its members, our neighbors in Boston, and scholars from around the world,” Pangaro says. “Over many decades, the spaces and activities within its walls have evolved to meet the needs of library patrons—some changing, and others constant. We’re proud to announce a thoughtful expansion that will build on the library’s legacy and demonstrate our investment in its continuation and betterment, far into the future.”
For additional information and visuals, including periodic progress reports, visit the Boston Athenæum online or on Facebook, Twitter, and Instagram.
Image: Rendering of the renovated fourth floor.
Lux Mentis - higher res req.jpegNew York—The beloved New York International Antiquarian Book Fair (NYIABF) produced by Sanford L. Smith + Associates returns to the Park Avenue Armory for its 59th edition March 7-10, 2019. A mecca for bibliophiles and seekers of the curious and quirky, the fair will present a vast treasure trove of material - rare books, maps, illuminated manuscripts, incunabula, fine bindings, illustrations, historical documents and print ephemera.
The Book Fair, widely considered the finest antiquarian book fair in the world, has been a must-see event for seasoned connoisseurs and scholars. In recent years, it has increasingly captivated young collectors with unique offerings at accessible price points. The specialties encompass art, science, medicine, literature, history, culinary culture, fashion, first editions, Americana, philosophy, children’s books and much more. From the historic and academic, to the religious and spiritual, to the bedrock of secular culture - sex, lies, rock-n-roll, money, politics - the fair has offerings in every conceivable genre and subject. NYIABF is officially sanctioned by Antiquarian Booksellers' Association of America (ABAA) and International League of Antiquarian Booksellers (ILAB).
In its 59th edition, NYIABF will present more than 200 exhibitors culled from the finest American and international antiquarian dealers. In addition to 102 U.S. galleries, NYIABF enjoys strong international participation with galleries hailing from the United Kingdom (38), France (19), Germany (10), Italy (11), The Netherlands (6), Spain (1), Denmark (2), Australia (3), Austria (4), Argentina (3), Canada (2), Japan (2), Belgium (2), Czech Republic (1), and Switzerland (5).
Image: Credit Timothy Ely. Courtesy of Lux Mentis Booksellers.
gclmmjkibimagdod.jpgNew York-Swann Galleries’ March 5 auction boasts property from the Ismar Littmann Family Collection, a 160-lot offering of German Expressionism and European Avant-Garde. The afternoon session of 19th & 20th Century Prints & Drawings features an array of works from notable Modern, nineteenth-century and American artists.
Compiled in a separate catalogue, the Littmann offering celebrates a singular collector. Ismar Littmann began collecting in the 1910s, and his habits and tastes were individual and contemporary to the time-a parallel to the independent spirit of the Breslau art scene. The personal relationships he held with the artists, particularly Otto Mueller, had a deep influence on him and resulted in a collection with depth and insight, consisting of not only works of art, but correspondence between the collector and artists. By the end of the 1920s Littmann had acquired more than 6,000 works. The Nazis’ rise to power put a strain on the collector’s livelihood as well as art patronage, and much of the collection was lost or destroyed. Littmann’s combined financial and personal losses, as well as the overwhelming persecution of his faith and culture, led him to commit suicide in September of 1934. Littmann’s eldest son was able to immigrate to the United States with a portion of the family collection that same year. These works, along with additional pieces sent later, have since remained with the family. Swann Galleries is very pleased and honored to have been trusted with the historic offering.
Notable lots include Otto Mueller’s color lithographs from 1926-27, Zwei Zigeunerinnen (Zigeunermutter mit Tochter) and Lagernde Zigeunerfamilie mit Ziege which are expected to bring $25,000 to $35,000 and $30,000 to $50,000, respectively. Max Pechstein’s portfolio of 50 lithographs, Reisebilder: Italien-Sudsee, 1919, depicting scenes from Italy and Germany (Estimate: $25,000-35,000), as well as the watercolor Russisches Ballet, 1912, and a woodcut, Sommer I, 1912, are among the highlights ($15,000-20,000 and $10,000-15,000, respectively). Further works include Allee im Tiergarten, Berlin, circa 1920, a color pastel depiction of an urban landscape by Lesser Ury, and a Nicolas Ghika oil on canvas, Intérieur avec chevalet d’artiste, circa 1920s, that portrays the artist’s studio. Both are estimated at $50,000 to $80,000.
The afternoon session following the Littmann Collection offers a broad selection of high-end prints and drawings. The top lot is Edvard Munch’s Kyss IV, 1902-a first-state woodblock print based on the artist’s oil painting of the same title. Only six other impressions of Kyss IV have come to auction in the past 30 years ($150,000-250,000). Additional works by Modern masters include Sonia Delaunay’s color pochoir and watercolor illustration of Blaise Cendrars’ poem La Prose du Transsibérien et de la petite Jehanne de France, 1913, which explored the frustrated yet wonderous experience of living through a period of ever-accelerating modernity ($70,000-100,000); Natura Morta con Cinque Oggetti, 1956, a still-life etching by Giorgio Morandi ($30,000-50,000); and Joan Miró’s La Permissionaire, 1974, ($40,000-60,000).
Nineteenth-century stalwarts include artist-friends (and rivals) Paul Gaugin and Vincent van Gogh, with remarkable works on paper: Noa Noa, 1893-94, a superb color woodcut by Gaugin, is estimated at $40,000 to $60,000, and Van Gogh’s Homme à la Pipe: Portrait du Docteur Gachet, 1890, the artist’s only known etching, comes across the block at $80,000 to $120,000. William Blake’s Illustrations of the Book of Job, 1826, complete with 22 engravings, is expected to bring $30,000 to $50,000.
Highlights from the American section include Winslow Homer’s Mending the Tears, 1888-a line-based etching of rural women darning a fishing net ($10,000-15,000). Martin Lewis’s quintessential New York drypoint Rain on Murray Hill, 1928, displays the artist’s mastery of depicting nocturnal and atmospheric conditions ($15,000-20,000). Works by Thomas Hart Benton, Childe Hassam, and Joseph Pennell ensure a standout selection.
Exhibition opening in New York City February 28. The complete catalogue and bidding information is available at www.swanngalleries.com and on the Swann Galleries’ App.
Additional highlights can be found here.
Image: Lot 112: Otto Mueller, Lagernde Zigeunerfamilie mit Ziege, color lithograph, 1926-27. From the Ismar Littmann Family Collection. Estimate $30,000 to $50,000.
Talbot_RooflineLacock_sharpened_PR 2.jpgNew York - Photography on paper was born in 1839 in England at Lacock Abbey. A new exhibition of photographs juxtaposes the work of its inventor William Henry Fox Talbot (1800-1877) with the contemporary work of Hiroshi Sugimoto, Abelardo Morell, and Mike Robinson. Lacock Abbey: Birthplace of Photography on Paper will be on view at Hans P. Kraus Jr. Fine Photographs from March 2 through May 10, 2019. The exhibition, which pays tribute to Talbot’s beloved ancestral home in Wiltshire, features architectural exteriors and interiors, still lifes, portraits, and tree studies by Talbot, complemented by interpretations from three contemporary artists, who have been inspired by his pioneering photographs.
Among the highlights of the exhibition is one of the earliest examples of Talbot’s calotype negative process, Stable roofline, northeast courtyard, Lacock Abbey, a salt print from September 1840, made the year after he announced his invention to the world. This apparently unique print has never before been exhibited. (This is confirmed by The William Henry Fox Talbot Catalogue Raisonné, which was just released by the Bodleian Libraries.) Set in Lacock’s northeast courtyard, this spectral image of shows Talbot’s innate compositional talent emphasizing the geometric proportions of his home.
Talbot demonstrated that photography could serve as a bridge between the ancient and modern worlds with his Bust of Patroclus, 1842. The plaster bust of Patroclus, defender of Achilles, was one of Talbot’s most frequently used subjects. Unlike a person, a plaster cast remains steady during the long exposures and experiments with lighting. This boldly sculpted, highly reflective head modulated light and shadow in an infinite number of ways from a wide variety of angles. Talbot’s brush strokes around the border of this exceptional salt print identify this as an early print coated by hand. Later prints appeared in Talbot’s The Pencil of Nature, the first commercially-published photographically-illustrated book (1844-1846). The print on view was made from the same calotype negative as was later used in The Pencil. Art historians are indebted to Talbot, because his invention allowed scholars to study objects in photographic reproduction.
Also on display is Lace, a fine early 1840s salt print. The negative for this print was made without a camera by placing an intricate piece of lace on a sheet of photographically-sensitized paper, capturing its shadow, and producing the boldly graphic image. When Talbot held Lace in front of a group of people they believed it to be an actual piece of lace and were astounded to learn that it was a photographic representation instead. Physically flat, highly detailed, and possessing myriad distinctive anomalies such as torn threads, Lace was an ideal exemplar of Talbot’s method of demonstrating photography’s ability to record a level of detail comparable to that found in still lifes by the most accomplished Dutch painters.
Talbot’s home and his interpretations of it have inspired several living artists. Hiroshi Sugimoto (Japanese, b. 1948) renews our sense of the wonder and mystery that accompanied the dawn of photography and pays homage to Talbot in An Oriel Window at Lacock Abbey, probably Summer 1835, a toned gelatin silver print from 2010. Sugimoto photographed one of Talbot’s earliest photogenic drawing negatives, inverted the image during the production process, and greatly enlarged it, obtaining a positive print of a negative the inventor had never printed. He then toned the image in colors corresponding to the colors of Talbot’s own prints. Sugimoto’s creative intervention is a reflection on the medium, implicitly narrating its beginnings while gesturing toward his vision of its future.
Abelardo Morell (American, b. 1948, Cuba) made his first picture using camera obscura techniques in his darkened living room in 1991. The exhibition includes a print of Camera Obscura: Courtyard Building, Lacock Abbey, England, from 2003, made by the artist partly in homage to Talbot and partly to suggest the ongoing spirit his invention continues to instill in the curiosity and practice of present day artists.
Ironically, the most recent pictures in the show are daguerreotypes made in 2018 by Mike Robinson (Canadian, b. 1961). He boldly brings his mastery of the French inventor Daguerre’s process to the home of the British inventor of photography on paper.
A reception for the exhibition is being held on Saturday, March 2nd in conjunction with the first ADAA Upper East Side Gallery Walk.
Image: William Henry Fox Talbot (English, 1800-1877); Stable roofline, northeast courtyard, Lacock Abbey, September 1840; Salt print from a calotype negative, 8.0 x 8.2 cm
ce4673ff640bf7adc4bd70f2_1220x574.jpgNew York-The Morgan Library & Museum announced today the exterior restoration of J. Pierpont Morgan’s Library, designed by McKim, Mead & White. The four-year, $12.5 million project, which marks the first preservation of the landmark library’s exterior in its 112-year history, will restore and conserve one of the finest examples of Neoclassical architecture in the United States, enhance the surrounding grounds, improve the exterior lighting of the building, and increase public access to and appreciation of this historic architectural treasure.
J. Pierpont Morgan’s Library is the heart of the Morgan Library & Museum. Commissioned in 1902 by financier John Pierpont Morgan as his private library, the building was completed in 1906 and is considered one of McKim, Mead & White’s finest works, perfectly embodying the Renaissance ideal of the unity of the arts through the integration of architecture, sculpture, and painting with exceptional craftsmanship and materials. The structure reflects its contents: majestic in design, yet intimate in scale.
In 2010 the Morgan restored the interior rooms of J. Pierpont Morgan’s Library. In 2016 the Morgan began planning for the exterior restoration by engaging Integrated Conservation Resources (ICR), a firm specializing in the restoration of historic structures, to provide an initial needs assessment of the Library’s condition. Following the needs assessment, the Morgan engaged ICR to undertake a more detailed analysis of the building, which resulted in a fully articulated restoration approach. ICR, supported by the architecture firm Beyer Blinder Belle, carefully studied and documented existing conditions, installed data loggers to monitor the performance of the exterior envelope, tested proposed remediations, and finalized the restoration’s details.
The forthcoming restoration will be comprehensive and will address issues such as masonry deterioration, masonry joint failure, roof conditions, deterioration of the fence and other metalwork corrosion, and sculpture conservation.
In conjunction with the restoration, exterior lighting on J. Pierpont Morgan’s Library—currently minimal and ineffective—will be improved by enhancing existing light emanating from the interior, using historic fixtures coupled with new technologies. The scheme will create a painterly effect of layered light at dusk and dark. Developed by Tillett Lighting Design Associates, the new lighting design will give the Library a subtle, timeless, and inviting presence.
Restoring J. Pierpont Morgan’s Library presents a unique opportunity to reimagine the natural setting around it and to provide for visitor access to the site’s exterior for the first time in the institution’s history. The current landscaping—comprising a simple lawn and trees—does little to complement the architecture of the Library, nor does it provide accessible pathways or spaces to encourage visitor interaction with the landmark building’s exterior. By creating new spaces and opportunities for engagement, the project will help to reinvigorate this portion of the Morgan’s campus, which has been less visible to visitors since the Morgan’s entrance shifted from 36th Street to Madison Avenue as part of the 2006 Renzo Piano-designed expansion.
After an extensive search, the Morgan has engaged Todd Longstaffe-Gowan Landscape Design to develop designs to address these issues. An accomplished landscape architect, historian, teacher, and author, Todd Longstaffe-Gowan has led notable projects in the United Kingdom, including for Hampton Court Palace, Kensington Palace Gardens, and the Royal College of Art. This is his first appointment in the United States. Longstaffe-Gowan will collaborate with New York-based Future Green Studio to ensure the development of plantings that will flourish in New York City’s dense, challenging environment.
“Restoring the sublime exterior of J. Pierpont Morgan’s Library is far and away our most important capital project for the next decade,” said Director Colin B. Bailey. “This is our responsibility. And, in many respects, it is our privilege.Once the restoration of the Library is complete and the grounds are revitalized, the public will be able to engage more fully with one of McKim, Mead & White’s most important architectural achievements. The enhanced grounds will create a generous new space for outdoor programming and allow visitors to look closely at the exterior architectural and sculptural details of the Library.”
To date, 74 percent of the required $12.5 million is funded. On-site work will commence in February 2019, directed by Sciame and executed by Nicholson & Galloway, longtime partners in the architectural expansion and stewardship of the Morgan. Restoration of J. Pierpont Morgan’s Library will be completed by December 2019, at which point work will commence on the surrounding grounds.The library will still be open to visitors during the restoration process.The entire restoration and rehabilitation of the grounds will be unveiled to the public and accessible in fall 2020. The unveiling will be accompanied by an exhibition chronicling the history of the Library, as well as a scholarly publication.
Image: Wurts Bros. (New York, N.Y.) Madison Avenue near East 36th Street. J.P. Morgan Library. Museum of the City of New York, X2010.7.1.197.
d85ac479-596f-4459-aa6d-3ba960b0a23e.pngTo celebrate the 145th anniversary of Ernest Shackleton's birth, Jonkers Rare Books are pleased to stage a selling exhibition featuring some of the rarest books about his life and expeditions, as well as items referring to other famous expeditions from the history of Polar exploration. Shackleton was recently voted by the British public as the greatest explorer of the 20th Century in the BBC Icons series.
Jonkers are exhibiting a remarkable collection of books, manuscripts and artwork at their showroom, 27 Hart Street, Henley on Thames, on his birthday, Friday, February 15, 2019, and publishing an accompanying catalogue with full descriptions of the expeditions and the rare items offered. The exhibition will move to the New York Antiquarian Book Fair, March 7-10. All listed items are for sale.
Some books are remarkable for what they have to say about the polar regions, others were actually produced by Shackleton's men in the Antarctic.
Shackleton highlights from the exhibition include:
20 - Aurora Australis The First Book Printed And Bound In Antarctica. A remarkable feat of publishing, book design and determination in the conditions most ill-fitting on the planet for book production.
Three of the expedition's crew were trained in book production by the printers Joseph Causton and Sons in advance of the expedition, who also donated the expedition a print press. But little could prepare them for the problems they would face. A candle had to be kept under the ink to prevent it from freezing, and only a page or two could be produced per day throughout the winter. The finished product, a book of incredible beauty and a testament to the perseverance of the Antarctic explorers who produced it, is the holy grail of Antarctic books. This copy is one of only a few signed by Shackleton, and it is priced at £150,000.
21 - Shackleton's Antarctic Menu. How Shackleton's Men Celebrated Midwinter. The other item printed on Shackleton's printing press in the Antarctic is this very rare menu, which was set around the table for the expedition's Midwinter Feast of 1908. The feast was, according to Shackleton himself, "a release, and an occasion for a wild spree." This tongue in cheek menu captures the high-spirits of the occasion. It proposes a starter of Turtle Soup, followed by Penguin Patties and Seal Cutlets. The pièce de résistance was Roast Reindeer and Black Currant Jelly with a garnish of Potatoes and Green Peas. Dessert was a selection of Plum Pudding, Ealing Cake and Mince Pies. Champagne and whisky are prescribed throughout, followed by Coffee, Cigars and Cigarettes. A 'drunk' typesetter then proposed yet "MORE WHISHKY!!!!!?" before "Sledges at 12-30". There was likely little more than a dozen copies of this menu originally printed, and only a handful of those are known to survive today. This copy is the one brought back from the Antarctic by expedition's cook, William Roberts.
No. 22 - An Original Employment Contract For Shackleton's Nimrod Expedition. This collection also features an original employment contract for the Nimrod expedition between Ernest Shackleton and the expedition's cook William Roberts. Unruly cooks had caused problems on previous Antarctic expeditions but Roberts was sound choice, who had experience both on land and sea and had most recently been the pastry chef at the Naval & Military Club. His work seems to have been appreciated. A visitor to the Cape Royd's kitchen years later commented "Shackleton's men must have fed like turkey cocks for all the delicacies here". Original contracts of this kind for Antarctic expeditions are extremely rare. We are aware of no other surviving copies of contracts for Shackleton's Nimrod expedition. It is priced at £6,500.
Image: No. 20 - Aurora Australis. The first book printed in Antarctica.
1- Sappho to send.jpgNew York — His work was startling and new. It had the power to surprise, shock and even haunt the viewer. William Mortensen was a highly controversial artist during his lifetime, stirring up the photographic world in the early twentieth century with images that were in direct opposition to the prevailing realism of his contemporaries. Today, we recognize Mortensen as the trailblazer he was -- the first to use highly manipulated imagery in a way that wasn’t embraced until Photoshop almost a century later.
The New York City Book & Ephemera Fair, will mount a special exhibition of the artist’s work when it returns to the Sheraton Central Park/Times Square hotel, (7th Avenue, between 52nd & 53rd Streets) March 9 & 10. Curated by author/art historian, Brian Chidester, courtesy of the Stephen Romano Gallery, “Celluloid Babylon” draws from the artist’s Hollywood years in the 1920s and 30s.
Mortensen, the son of Danish-born parents, was the first photographer to take still-photos of actors on Hollywood sets, rather than photographing film stars like Jean Harlow, Rudolph Valentino and John Barrymore in posed studio settings. It all started, when, as a costume designer on Cecile B. DeMille’s epic Hollywood film, The King of Kings, the artist decided one day to snap photographs of the actors while moving around in the opulent costumes he had designed. Director DeMille immediately saw the marketing potential of having such images available prior to the film’s release. The movie lobby card was born!
Mortensen was known for retouching prints (though seldom negatives) with an abrasion process that used razor-blades, carbon pencil, ink, eraser and pumice to create manipulated images almost indistinguishable from etchings or paintings. His subject matter was theatrical, gothic, and often strange. “A Pictorial History of Witchcraft and Demonology,” and “Monsters and Madonnas,” are two of his best-known works.
Mortensen clashed openly with the better-known Ansel Adams and his New Realism contemporaries in the 1930s and 40s. Adams’ classic and stately images of Rocky Mountain peaks and valleys at sunset were a world away from Mortensen’s satanic rituals, ancient Hindu goddesses, witch doctors with scary masks and vengeful gorillas. Ansel Adams wrote, “photography is an objective expression and a record of actuality,” - a philosophy which became even more influential after the hard realities of World War II. Mortensen disparaged such “literal recordings,” calling them “a good beginning, but not an end in itself.” Adams called him the “Antichrist of Photography.”
Today, Mortensen’s altered images are right at home in a world where we are surrounded by fantasy figures in both movies and video games. His work finds an affinity with all forms of story-telling, whether they be fantasy, horror, or mysticism. He was able to tap into that euphoric aspect that humans share with each and every image. From his early movie lobby cards, which were all about selling fantasies, Mortensen then developed a private art style that took Hollywood iconography into a more timeless space. Anything could be a part of Mortensen’s fictional ecosystem so long as it was emotionally and visually rich. Celluloid Babylon is a testament to this vision. He predicted the imagery to come in the 21st century.
Fair hours are:
Saturday, March 9, 2019, 8AM - 4PM
Sunday, March 10, 2019, 9AM - 3PM
Sheraton Central Park / Times Square
811 7th Avenue
New York, NY, 10019
Admission - $15 each day, with student ID - Free
Pre-purchase a weekend pass online and save $5 or register for a complimentary pass for Sunday, March 10 - http://bit.ly/NYCBook19.
Image: Sappho the Poetess of Old Greece, circa 1928. William Mortensen (1897 - 1965, American) Bromide Print with Pencil.
Astonomical almanac cat 16-b-ti01101246 copy.jpgThousands of years before books were contained within a hand-held technological tablet or phone, there were cuneiform tablets no bigger than the size of a quarter. On view from March 5 through May 19, 2019 in the second floor gallery of the Grolier Club are 275 rare diminutive texts and bindings from around the world that have been created over the span of 4,500 years. Size matters: these tiny tomes range in size from a maximum of four inches to less than one millimeter. Drawn from the collection of Patricia J. Pistner, the exhibition represents the history of the book in miniature form.
A Matter of Size: Miniature Bindings & Texts from the Collection of Patricia J. Pistner includes cuneiform tablets and other antiquities, medieval manuscripts and early printed materials, books and bindings by women, imprints of Benjamin Franklin and Abraham Lincoln, as well as contemporary design bindings and artists’ books.
The exhibition is selected and organized by Pistner, along with Jan Storm van Leeuwen, former keeper of rare bindings at the Royal Library in The Hague and winner of the ILAB Breslauer Prize for Bibliography for his important study, Dutch Decorated Binding in the 18th Century.
A collector of miniature books for over thirty years, Pistner’s love for very small tomes began at the age of seven when she began “publishing” tiny books for her first doll’s house. As an adult, her passion was reignited after being inspired to fill the small library shelves of the miniature French townhouse she had commissioned.
“The plan to fill that library with real, readable, printed miniature books led to assembling the most aesthetically compelling, representative samples of the history of the book in the smallest formats,” says Pistner. “My hope is that fellow bibliophiles find tomes here that spark their interest and lead to an increased interest in and respect for the format.”
Highlights include:
• Cuneiform Tablets and other examples of ancient texts dating from 2500 BCE.
• Hyakumantō-daraniNara, Japan: c. 764-770 CE. Among the oldest block printed texts, housed in its original wooden pagoda.
• Almanac, written in the style of Nuremberg writing masters, Diocese of Bamberg, c. 1450. Illustrated manuscript on vellum, with seven colorful astronomical and astrological circular diagrams, one with a multi-colored patterned centerpiece, with a pinhole for a volvelle.
• Septem Psalmi poenitentiales, cum alijs multis devotissimo orationibus. Ac Kalendario Gregoriano. Venetiis: Nicolaus Misserinus, 1593. Measuring a mere 2.4” tall, this binding has rock crystal covers painted in reverse in the verre églomisé depicting St. Francis receiving the stigmata and the Adoration of the Magi.
• Enchiridion p[re]clare ecclesie Sarum …. [Book of Hours, Use of Salisbury]. Paris: Widow Thielman Kerver, 1528. Printed by Yolande Bonhomme, the only female printer in Paris and daughter of the famous printer and bookseller, Pasquier Bonhomme. This elaborate mosaic binding by Lortic was done in the 19th century for Charles-Louis de Bourbon (bookplate). The book is in Latin but the captions are in English.
• Bird’s Egg Nécessaire for Sewing Kit, with Étrennes a l'innocence [including an almanac], Paris: 1820. A very rare type of object, which was not made for any practical purpose, but is a thing of beauty and was probably given by a young man to his beloved.
• Bibliothèque portative du voyageur, 33 vols. 1801- 1804. Napoleonic era traveling library housed in a book-shaped case contains a collection of works written by the most famous French writers.
• The Proclamation of Emancipation. 1862. The first separate printing in book form of the Emancipation Proclamation that the Union Army distributed in the South.
Lunchtime Exhibition Tours
March 6 and April 24, 1:00 - 2:00 PM;
May 18, 3:00 - 4:00 PM.
Curator Patricia J. Pistner will lead guided tours of the exhibition.
Open to the public free of charge. No reservations required.
Currently on View in the Exhibition Hall:
Alphabet Magic: A Centennial Exhibition of the Work of Hermann & Gudrun Zapf
Upcoming in the Exhibition Hall:
Poet of the Body: New York's Walt Whitman: May 15 - July 27, 2019
47 East 60 Street, New York, NY 10022
212-838-6690
Hours: Monday - Saturday, 10 am to 5 pm
Admission: Exhibitions are open to the public free of charge
Image: Almanac, written in the style of Nuremberg writing masters, Diocese of Bamberg, c. 1450. Illustrated manuscript on vellum, with seven colorful astronomical and astrological circular diagrams, one with a multi-colored patterned centerpiece, with a pinhole for a volvelle. 77 x 52 mm, 3 x 2.” Collection of Patricia J. Pistner
4- colette1 copy.jpgThe Fair that is known as the satellite event, during Manhattan’s celebrated Rare Book Week, has great news for the hundreds of followers who pack its aisles each year, searching for the exceptional “finds” that have made this event a stand out. The fifth edition of the New York City Book & Ephemera Fair has added, by popular demand, a second day when it returns to the Sheraton Central Park/Times Square hotel, on 7th Avenue between 52 & 53 Streets, Saturday March 9th & Sunday March 10th.
Over 100 rare book and ephemera dealers from all parts of the country and Europe are featured - up from 65 last year. This is the show where first editions, beloved classics, fine & rare books, autographed historical documents, vintage photography, old maps, and more, are just waiting to be discovered. Now, show goers will have an extra day to take it all in!
Premiering this year is the first annual Booklyn Artists’ Book Fair (BABF) - a special section devoted to contemporary artists’ books, that is literally a fair-within-a-fair! Curated and organized by Marshall Weber, co-founder of Booklyn, a dynamic, artist-run non-profit organization based in Booklyn, the inaugural event features over 40 tables of work by member artists and artists groups.
While books by well-known artists are prized by museums, libraries and educational institutions, the increase in awareness of artists’ books has been spurred by a new generation of cutting-edge young artists, working in a variety of media -- aquatint, collage, fine letterpress, hand-painted , photo-art, screen prints and risograph, They produce unique books that not only express their own vision, but communicate ideas that are of timely concern.
Chilean-born BABF exhibitor, Maria Veronica San Martin’s powerful books are deeply connected to the deconstructions of the Pinochet era in her native country and its missing war victims. Internationally known artist Xu Bing, has turned recently to the impact of modern technology on the environment and the human mind in his work. Swarthmore College’s “Friends, Peace and Sanctuary” will premiere collaborations between American artist bookmakers and artists, poets and artisans from the Syrian and Iraqi refugee community in Philadelphia. The fair will also showcase provocative new work, including the New York premiere of Sofia Szamosi’s “#Metoo On Instagram: One Year Later”, along with vibrant pop-up books from artist, Collette Fu.
This year the New York City Book & Ephemera Fair is also proud to present a special exhibition, “The Celluloid Babylon,” of photography by visionary artist, William Mortensen whose controversial images launched a whole new photographic movement in the 1930s and 40s. Curated by author/art historian, Brian Chidester, courtesy of the Stephen Romano Gallery, the exhibition draws from the artist’s celluloid years, starting at the point, where, as a costume designer, he worked on Cecile B. DeMille’s epic Hollywood film, The King of Kings. The artist decided one day to snap photographs of the actors while they were moving around in his opulent costume designs. Director DeMille immediately saw the marketing potential of having such images available prior to the film’s release. The movie lobby poster was born! The exhibition highlights these golden years when stars such as Faye Wray, Jean Harlow, John Barrymore and Rudolph Barrymore were the subjects of his photographic creations.
And then there are the books - wonderful first editions, beloved classics and fine books on almost every subject imaginable! For Star War buffs, exhibitor Pryor & Johnson Rare books will have a first edition of “Star Wars,” that was ghost-written by Alan Dean Foster. It appeared before the first film debuted and made history. Harry Potter devotees will love Pryor & Johnson’s first two volumes of the Harry Potter series, both signed by Rowling. The first limited edition of William Faulkner's Snopes Trilogy, each volume signed by Faulkner, is another special find from this rare book specialist. Exhibitor Stan Gorski calls on Stephen King followers to check out an early King book called Firestarter. Zoe Abrams rare books take us back in time with a series of almanacs & agendas documenting more than a century of merchant life in Ghent (ca. 1720-1845). They are a delight to behold!
Fair hours are: Saturday, March 9, 2019, 8AM - 4PM; Sunday, March 10, 2019, 9AM - 3PM
Sheraton Central Park / Times Square
811 7th Avenue
New York, NY, 10019
Admission - $15 each day, with student ID - Free
Pre-purchase a weekend pass online and save $5 or register for a complimentary pass for Sunday, March 10 - http://bit.ly/NYCBook19
Image: Luoma, Yi Tiger Festival, Photographic Pop-up Book. The Yi people from China’s Yunan province, worship the tiger as their grandest totem. disturbed by Under the direction of the black “Tiger King,” they offer sacrifice and dance to reflect the journey and way of life of the Yi people as they visit each house to guard the village from evils. Thus “Luoma,” the Tiger Festival, was created to display the Yi people’s tiger-like strength and valor. Artist: COLETTE FU makes one-of-a-kind artist’s books that combine photography and pop-up paper engineering.
c7422b9221bbfb9a0251551046cec0ba83162d46.jpegBoston—A James Joyce signed vintage photograph sold for $25,826 according to Boston-based RR Auction.
The exceedingly rare glossy close-up photo of Joyce wearing his polka-dot bow tie and round spectacles, neatly signed in fountain pen, "James Joyce." Reverse bears an "Atelier Ruth Asch" credit stamp.
This magnificent portrait is believed to have been produced in 1929 by Ruth Asch, likely at the request of the publisher Rhein-Verlag; one of the images in her series of Joyce portraits would be used to advertise the original German edition of Ulysses in 1930.
An absolutely spectacular 'fadograph' that perfectly captures the revered Irish author, whose innovative prose forever revolutionized the written word.
Additional highlights from the sale include, but are not limited by:
Pierre-Auguste Renoir Ledger sold for $37,462.
Lyndon B. Johnson signed letter as President to Speaker of the House sold for $19,133.
George Washington signed three-language ship's papers from 1794 sold for $14,948.
Woodrow Wilson Twice-signed official typed transcript of proceedings relating to the Treaty of Versailles sold for $11,952.
The Fine Autographs and Artifacts Auction from RR Auction began on January 18 and concluded on February 6. For information, visit the RR Auction web site at www.rrauction.com
TaleofGenji_MetApp_1536x1024_082818.jpgA major international loan exhibition focusing on the artistic tradition inspired by Japan's most celebrated work of literature will go on view at The Metropolitan Museum of Art beginning March 5, 2019. Bringing together more than 120 works of art from 32 public and private collections in Japan and the United States—including National Treasures and Important Cultural Properties, most of which have never left Japan—The Tale of Genji: A Japanese Classic Illuminated will explore the tale's continuing influence on Japanese art since it was written around the year 1000 by the noblewoman Murasaki Shikibu (ca. 978-ca. 1014). Often referred to as the world's first novel, The Tale of Genji has captivated readers for centuries through its sophisticated narrative style, humor and wit, and unforgettable characters, beginning with the "radiant prince" Genji, whose life and loves are the focus of the story.
"The Tale of Genji has inspired generations of artists over centuries, and ours is the first exhibition to explore this phenomenon in such a comprehensive way," said Max Hollein, Director of The Met. "The magnificent works of art in the show will also offer a view into the development of Japanese art, a testament to the prevalence and impact of the renowned story."
The exhibition is organized by The Metropolitan Museum of Art and The Japan Foundation, with the cooperation of the Tokyo National Museum and Ishiyamadera Temple.
It is made possible by the Mary Livingston Griggs and Mary Griggs Burke Foundation Fund, 2015; the Estate of Brooke Astor; the E. Rhodes and Leona B. Carpenter Foundation; and Ann M. Spruill and Daniel H. Cantwell.
The exhibition will present the most extensive introduction to the visual world of Genji ever shown outside Japan. It will feature nearly one thousand years of Genji-related art—an astonishing range of works including paintings, calligraphy, silk robes, lacquerware, a palanquin for a shogun's bride, and popular art such as ukiyo-e prints and contemporary manga—and provide viewers with a window into the alluring world of the Heian imperial court (794-1185) that was created by the legendary authoress.
Exhibition Overview
Comprising 54 chapters, The Tale of Genji describes the life of the prince, from the amorous escapades of his youth to his death, as well as the lives of his descendants, introducing along the way some of the most iconic female characters in the history of Japanese literature. Organized thematically in eight sections, the exhibition will pay special attention to the Buddhist reception of the tale, while also giving prominence to Genji's female readership and important works by female artists.
Among the works on view, highlights will include two of Japan's National Treasures. The first, on loan from Seikado Bunko Art Museum, is a pair of screens by the Rinpa master Tawaraya Sotatsu (ca. 1570-ca. 1640)—Channel Markers and The Barrier Gate—depicting two chance encounters between Genji and a former lover. The second is the breathtaking Heian-period Lotus Sutra with Each Character on a Lotus, from the Museum Yamato Bunkakan. These works will be on view for six weeks and then rotated with other masterpieces over the course of the exhibition. A number of works recognized as Important Cultural Properties will be on view throughout the exhibition, including beautifully preserved album leaves by Tosa Mitsuyoshi (1539-1613), from the Kuboso Memorial Museum of Arts, Izumi, which will be shown together with rare Tosa School album paintings from the Harvard Art Museums and The Met's own collection.
The exhibition will also include a section featuring important works of art from Ishiyamadera Temple whose hall contains a "Genji Room" that commemorates the legend that Murasaki started writing the novel within the temple precincts. The final section of the exhibition will feature a series of original manga drawings by Yamato Waki that were inspired by The Tale of Genji. She translated Genji into the comic book idiom, making Murasaki's tale accessible to a whole new generation of readers.
Education Programs, Catalogue, and Credit
A site-specific opera entitled Murasaki's Moon—commissioned by MetLiveArts, On Site Opera, and American Lyric Theater in conjunction with the exhibition—will be presented in The Met's Astor Court on May 17, 18, and 19.
This exhibition will be the opening highlight of Japan 2019, a series of events organized by The Japan Foundation to introduce Japanese arts and culture in the United States throughout 2019.
The Tale of Genji: A Japanese Classic Illuminated will be accompanied by a fully illustrated catalogue.
The catalogue is made possible by The Andrew W. Mellon Foundation; the Florence and Herbert Irving Fund; the Charles A. Greenfield Fund; the Miriam and Ira D. Wallach Foundation; the Mary Livingston Griggs and Mary Griggs Burke Foundation Fund, 2015; the Parnassus Foundation; and Richard and Geneva Hofheimer Memorial Fund.
The exhibition is curated by John T. Carpenter, Mary Griggs Burke Curator of Japanese Art in the Department of Asian Art at The Met; and guest curator Melissa McCormick, Professor of Japanese Art and Culture at Harvard University; with Monika Bincsik, Diane and Arthur Abbey Assistant Curator for Japanese Decorative Arts at The Met; and Kyoko Kinoshita, Professor of Japanese Art History at Tama Art University.
The exhibition will be featured on The Met's website, as well as on Facebook, Instagram, and Twitter using the hashtag #MetGenji.
Image: Tosa Mitsuoki (1617-1691). Portrait-Icon of Murasaki Shikibu (detail). Edo Period (1615-1868), 17th century. Hanging scroll; ink and color on silk; 35 5/8 x 20 3/4 in. (90.5 x 52.7 cm). Ishiyamadera Temple, Shiga Prefecture, Courtesy of Ishiyamadera Temple, photo by Kanai Morio
marion-crawford_0.jpgSan Marino, CA —The Huntington Library, Art Collections, and Botanical Gardens announced today that it has acquired the largest trove of writing by American novelist F. Marion Crawford (1854-1909) in existence. Crawford was admired in his day by Robert Louis Stevenson for his vivid portrayals of foreign lands and envied by Henry James for his ability to churn out bestsellers. He was a prolific author, publishing 44 novels and scores of short stories, essays, and plays. In addition, Crawford may be the first author to portray Sicily's mafia in an English-language novel, Corleone. The collection includes complete autograph manuscripts for seven novels and two plays, partial manuscripts for five works, and outlines and notes for several novels and essays.
The works were purchased recently at The Huntington’s 22nd annual Library Collectors’ Council meeting. The Council also purchased two large, rare, and detailed maps, created in 1900, that depict the foreign legation (or diplomatic) quarter in Beijing during China’s Boxer Rebellion. Among the first and most important maps ever created to illustrate the dramatic course of events during the siege of the Legation Quarter, they also offer invaluable clues about a fire at an adjacent library from which The Huntington’s single volume from the Yongle dadian, a rare 15th-century Chinese encyclopedia, was rescued.
In addition, The Huntington acquired a collection of 142 letters by Warren D. Chase (1827-1875), a white soldier in the Civil War who wrote vivid, candid, and often heart-rending accounts of his experiences in the Union Army, which included a stint in the newly organized 14th Colored Infantry Regiment. As a former Shaker—a religious sect that separated itself from the secular world—Chase provided an outsider’s perspective on the grim realities of African-American service and the war’s horrors.
Further treasures acquired include a prayer book with a black silk velvet cover and gleaming heraldic device (produced around 1590 for Gilbert and Mary Talbot, the 7th Earl and Countess of Shrewsbury) that includes Catholic prayers at a time when England was officially Protestant; and a single bound volume containing four rare first editions of books by Paracelsus (d. 1541), one of the most influential medical authors of the 16th century.
The Library Collectors’ Council is a group of 45 households that assist in the development of the collections by supporting the purchase of important works that the Library would not otherwise be able to afford.
“These new acquisitions will help researchers push out the boundaries of human knowledge in numerous directions—in the history of the Pacific Rim and the literature and history of 19th-century America, to name just a few,” said Sandra Brooke, Avery Director of the Library at The Huntington. “We are forever grateful to the Collectors’ Council for its generous support in helping us continue to build The Huntington’s dynamic library collections.”
Highlights of the newly purchased materials include:
Papers of F. Marion Crawford (1854-1909)
“In the early 20th century, it would have been unthinkable that F. Marion Crawford’s name would fade from public view,” said Karla Nielsen, curator of literary collections at The Huntington.
A hugely popular writer on both sides of the Atlantic, Crawford was born to expatriate parents in Italy, where he lived for most of his life.
He was a master storyteller in an astonishing array of modes: historical romances, tales of the strange and uncanny, society dramas. His horror and fantasy stories are still frequently anthologized. “The Upper Berth,” a maritime ghost story, is the most commonly reprinted, followed by the vampire tale “For the Blood is the Life,” which features a female vampire.
The Huntington’s newly acquired archive includes drafts of novels set in Gilded Age New York City; one of his histories of Rome, Ave Roma Immortalis; one of his longer supernatural novels, The Witch of Prague; and two unpublished plays, Marion Darche and By the Waters of Babylon. Also represented are manuscript drafts for two in a series of Italian historical romances, including Saracinesca (1887), which has been considered his most accomplished work. Another book in that series, Corleone, focuses on the maffeosos in Sicily.
“Academics working in book history and publishing studies will be interested in Crawford’s outlines and the markups in his manuscript drafts,” said Karla Nielsen, curator of literary collections at The Huntington. “They reveal an author deftly plotting his novels within market constraints, thinking about the word count and pacing limitations of serial publication.”
230.jpgChicago — True to its title, this sale featured a spellbinding selection of traditional, foreign, limited edition, and art books. Lot #298, a c. 1895 edition of Paul de Musset's The Last Abbe more than tripled its low estimate, making $1,875. This gloriously detailed and illustrated livre d'artiste was published in Parish by Societe des Beaux Arts and was copy “H” of 20 copies of the Edition de Deux Mondes. Lot #230, a first edition of Charles Bukowski's South of No North was estimated at $1,500-2,000 and traded hands at $2,280. It was published by the Black Sparrow Press in Los Angeles in 1973 and was number 5 of 50 hand bound copies. This important lot included an original signed painting by the controversial author. And lot #528, sixteen 1920s-30s titles from the Wizard of Oz Series by L. Frank Baum and Ruth Plumly Thompson sold for $1,188 on its $500-750 estimate. This fine grouping included color plates and illustrations by W.W. Denslow and John R. Neill as well as several early and collectable editions.
Comic books featuring some of the 20th century's most popular superheroes also had strong results at this auction. Lot #697, a CGC graded and encapsulated Marvel Comics X-Men No. 1 was estimated at $1,500-3,000 and realized $3,500. This 1963 edition, by Stan Lee with artwork by Jack Kirby, featured the debut appearance and origin of the X-Men (Professor X, Cyclops, Iceman, Angel, Beast, and Marvel Girl) and Magneto. And lot #647, a Marvel Comics Incredible Hulk No. 181 from 1974 was estimated at $1,800-2,400 but tipped the scales at $2,880. This CGC graded rarity came to life through Len Wein's story and Herb Trimpe and Jack Abel's illustrations, and included the first full appearance of Wolverine as well as an appearance from Wendigo.
Finally, the Chicago themed artifacts and antiques on offer through this event generated national attention. Standing tall amongst all others was lot #38, a labeled wooden column from the Marshall Field & Company building. This attractive Neo-Classical sculpted column, from the legendary department store in downtown Chicago, measured 73-1/2" high and featured a recessed top to accommodate a flower pot or other seasonal ornament. It realized $1,920 on its $300-500 estimate.
According to Gabe Fajuri, President at Potter & Potter Auctions, "We were thrilled to have a gallery filled with fine art, and more importantly, artifacts and art related to the history of the city in which we live and work. There's something special about offering relics related to the buildings, builders, and important historical events of the place in which you live and work. Many bidders from Chicago felt the same way, and said so on auction day - by bidding and buying, or attending the auction."
Image: Lot 230, South of No North, sold for $2,280.
Alexander Hamilton.jpegWestport, CT - A signed copy of Franklin D. Roosevelt’s first book, authored before he became President, a newly discovered handwritten and signed letter by Alexander Hamilton, and a typewritten letter by J. Robert Oppenheimer regarding the development of the atomic bomb are expected top lots in University Archives’ next online-only auction on Wednesday, February 27th.
Live bidding for the 266-lot auction is scheduled to start promptly at 10:30 am Eastern time. As with all University Archives auctions, this one is loaded with rare, highly collectible autographed documents, manuscripts, books, photos and relics. The full catalog can be viewed online now, at www.UniversityArchives.com. Online bidding is via Invaluable.com and LiveAuctioneers.com.
“Our last auction was the best one yet, with over 3,000 registered bidders from over 50 countries and well over an 80 percent sell-through, which is unheard of in our industry,” said John Reznikoff, president and owner of University Archives. “People come back because they know that we have the finest material available anywhere and yet there are still great deals to be had.”
Mr. Reznikoff added, “This sale promises to outperform the last one, as it includes some stellar consignments, many of which have not seen the light of day for years. The Hamilton letter, and a Ben Franklin letter, for example, have been off the market for over 140 years. The virgin FDR signed book is part of a collection, 24 strong, with incredible provenance. It’s also market fresh.”
The FDR book, titled Wither Bound (Houghton Mifflin, Boston and New York, 1926) is an important presentation copy, signed and inscribed to Missy LeHand (“M.A.L.”), Roosevelt’s private secretary for 21 years, including while he was President. The book, based on a lecture at Milton Academy on the Alumni War Memorial Foundation in 1926, should bring $4,000-$4,500.
The newly discovered two-page Hamilton letter, apparently unpublished, was dated March 20, 1791 and boldly signed with a flourish, “A Hamilton”. In it, he forwards George Washington’s appointment to Edward Carrington as supervisor of the eventual Capitol city of Washington. It also discusses other salient issues, to include the Compromise of 1790 (est. $30,000-$35,000).
The typewritten letter from J. Robert Oppenheimer to Leslie Groves, who headed the top-secret Manhattan Project toward the end of World War II, resulting in the development of the very first nuclear weapon, is part of a significant atomic bomb-related archive originally from the Groves family. It’s likely the finest known letter of Oppenheimer in private hands and should make $10,000-$12,000. There are about 20 other Groves related items from an archive that came from his family. Included is Harry Truman talking about the bomb.
A remarkable collection of autographs from all 39 signers at the U.S. Constitutional Convention - to include Washington, Hamilton, Franklin and Madison - gathered before, during and after the signing of the U.S. Constitution (circa 1752-1835), all generally very good, is estimated at $60,000-$70,000.
An important 1781 letter signed by George Washington, as then Commander-in-Chief of the Continental Army, written in the hand of his aide Tench Tilghman, to the German Major General Baron de Riedesel, regarding the sensitive matter of prisoner exchanges, carries an estimate of $35,000-$40,000. The letter mentions Alexander Hamilton and British General John Burgoyne.
A substantial archive of nearly 50 Civil War-era theater playbills (circa 1861-1864), mostly from theaters in Boston but also to include New York City, is expected to garner $30,000-$35,000. What makes the collection significant is that nine of the playbills advertise Lincoln assassin John Wilkes Booth, plus three others with Booth associations. Most show wear typical of their age.
Also expected to change hands for $30,000-$35,000 is a two-page letter signed by Benjamin Franklin (as “B. Franklin”) that was last on the market 140 years ago. Addressed to his nephew Jonathan and ending with “I am ever your affectionate uncle”, the letter, dated Dec. 22, 1779, discusses funds to outfit the 10,000 troops under the command of General Marquis de Lafeyette.
An autographed letter, written and signed by Abraham Lincoln (as “A. Lincoln”) on Executive Mansion stationery and dated May 24, 1864, while the Civil War was still raging, is expected to finish at $13,000-$15,000. The letter is written to Secretary of War Edwin Stanton, instructing him to promote a New Jersey colonel - “the one having best testimonials” - to brigadier general.
A rare manuscript page from the Nobel Prize-winning physicist Richard C. Feynman (b. 1941), written at the dawn of the computer age, in which he illustrates how a computer program can approximate a solution to a differential equation using first-order and second-order Runga-Kutta methods (developed around 1900 by two German mathematicians) should hit $9,000-$10,000.
A four-page letter written and inscribed by then-teenager Jacqueline Lee Bouvier (later Jackie Kennedy) to her childhood best friend Rosamund Lee during the spring of 1943, is estimated to sell for $3,500-$4,000. The letter, signed “Love, Jackie XXX”, is accompanied by a photo of her playing baseball and an original pencil horse drawing by her. It was written from McLean, Va.
Other noteworthy lots include a 1920s-era baseball signed by Babe Ruth, Connie Mack and Gabby Street, in special presentation from the early sports syndicator Christy Walsh (est. $3,000-$3,500); and a formal document from 1932 signed by Japanese Emperor Hirohito (Showa), with calligraphic script, unfolding to 18 inches by 13 inches, in very good shape (est. $2,400-$2,800)
For more information about University Archives and the Wednesday, February 27th internet-only auction, please visit www.universityarchives.com.
Image: Newly discovered handwritten and signed letter by Alexander Hamilton, apparently unpublished, dated March 20, 1791 and boldly signed with a flourish, “A Hamilton” (est. $30,000-$35,000).
The Hours of Marie_Folios 16v-17r_a noblewoman with her daughter kneeling before the Virgin and Child enthroned copy.jpgThis is the twenty-sixth year that Les Enluminures will be exhibiting at TEFAF. To celebrate this occasion, the gallery will launch a special exhibition based on new high-profile acquisitions and entitled "Painting in Manu-scripts in France and Flanders during the Middle Ages and Renaissance."
A select group of nearly a dozen stunning single miniatures is exhibited for the first time. Illustrating David and Bathsheba and Job and his Friends and Family, two of these by the MASTER OF FRANCOIS DE ROHAN come from a presumably lost Book of Hours, most likely made for a patron at the court of King Francis I (r. 1515-1547). They display this artist's imaginative subject matter and lively narration set in elaborate architecture enlivened by putti on the eve of the French Renaissance.
A monumental miniature of the Crucifixion, painted with a brilliant palette and charged with emotion, boldly expresses an accomplished new figural style emerging from Italy in the wake of the Renaissance. It can now be added to a group of thirteen other historiated initials, mostly in major museums, from an enormous pair of Choir Books commissioned by Philippe de Levis, bishop of Mirepoix from 1493 to 1537. A recent study convincingly identifies the artist as a Toulouse-based painter, ANTOINE OLIVIER. Complementing the group of miniatures are several illuminated volumes of exceptional richness that reveal the full flowering of the Middle Ages. One of two centerpieces is THE HOURS OF MARIE. This is one of the oldest and most important of all early Books of Hours and one of few thirteenth-century books unambiguously painted for a named laywoman, perhaps Marie de Bra-bant Queen of France. Its pages virtually explode with a richness of imagery. Nearly 300 images display with unusual frequency women in daily life and are set in the royal court.
The second featured work THE ROMANCE OF TROY includes seventeen large paintings by a rare and accomplished illuminator-painter known as the Master of Girart de Roussillon who worked for the court in the then-Southern Netherlands, probably in Brussels. According to Christopher de Hamel: "The addition of a newly attributed manuscripts to the elusive and incomparable Master himself is a major event in the scholarship of southern Netherlandish art."
Founded by Dr. Sandra Hindman nearly thirty years ago and with locations in Paris, Chicago, and New York, Les Enluminures has forged long-standing relationships with major museums and prestigious private collections throughout the world. It exhibits at TEFAF Maastricht, TEFAF New York, Masterpiece, the Winter Show, Paris Fine Art, and Frieze Masters. The gallery is well-known for the level of its scholarship but also for the diversity, high quality, and provenance of the works it offers for sale.
Sandra Hindman states: "We are proud to continue our participation in TEFAF Maastricht, which in my opinion remains unchallenged as the premier venue for the display of world-class, museum-quality works of art. Hats off once again to the astute organizers."
Image: THE HOURS OF MARIE (USE OF SENLIS) In Latin and French, illuminated manuscript on parchment Northeastern France, probably Reims, c. 1270-1280 22 historiated initials by a Reims Master, 2 illuminated borders by the Master of Johannes de Phylomena
1. BRITISH ANTARCTIC EXPEDITION Sledge copy.jpgLondon -- A sledge from the first expedition to the Antarctic led by Ernest Shackleton sold for £143,750 in the Bonhams Travel and Exploration Sale today. The sale made a total of £875,525.
Estimated at between £60,000-100,000, the sledge was the subject of fierce competition from bidders in the room, on the phone and on the internet.
The sledge was used on the 1907-9 British Antarctic (Nimrod) Expedition by Eric Marshall - one of the four men, with Shackleton, Jameson Adams, and Frank Wild, to undertake the sledge march to the South Pole. Although they had to abandon the attempt, they reached within 100 geographical miles of the Pole - at the time, the furthest south ever travelled.
Eric Marshall’s sledge flag which had been estimated at £30,000-50,00 sold for £75,000.
Bonhams Head of Books and Manuscripts Matthew Haley said: “This was a fantastic result for a rare survivor of one of the great journeys of Polar exploration.”
A detailed account of the expedition and the sledge’s crucial role in it can be found here: https://www.google.com/search?q=Bonhams+Magazine+Shackleton&ie=utf-8&oe=utf-8
Other highlights included:
• Views of Trinidad by Michel Cazabon, sold for £60,000 (est £3,000-5,000)
• The Tomb of Esther and Mordechai, Hamadan, Iran, with the Alvand range of the Zagros Mountains in the distance by Charles-Théodore Frère, sold for £47,500 (est: £20,000-30,000)
• Edward Roper (British, 1830-1909), The Goldfields of Australia, Ararat, sold for £32,500 (est £6,000-8,000)
• Diary written by Stephen B. Church, Signalman aboard the H.M.S. Perseus that sold for £32,500 (est £2,000-3,000)
The Library of Congress announced that it has received a $540,000 grant from The Andrew W. Mellon Foundation to evaluate the physical health of the national collection of books in American research libraries and to guide their archive retention and preservation decisions. Since there currently is no objective formula to assess the condition of millions of books in the custody of the nation’s libraries, this scientific study will help inform best practices and provide a baseline for libraries to analyze their print collections based on established scientific guidelines.
This is the first effort of its kind to lay the scientific groundwork for the development of a national effort to preserve the corpus of books held in American libraries. Entitled “Assessing the Physical Condition of the National Collection,” the 40-month grant project through the Scholarly Communication Program will compare the physical, chemical and optical characteristics of a representative sample of bibliographically identical books across five large research libraries in distinct regions of the country to quantify and objectively assess the condition of these volumes. The five participating institutions are Arizona State University, Cornell University, University of Colorado at Boulder, University of Miami and University of Washington.
The study will help provide a comparable and reliable decision-making method for libraries to follow in deciding what books and how many should be kept in the national collective. The collected data will build a knowledge base for how materials naturally age and decompose, provide a rich set of data about books as artifacts and lead to a stronger predictive model for the condition of books. One objective of the project is also to develop simpler testing tools that could be used on-site in library book stacks.
“Contemporary scholarship crosses boundaries of format, institution, and discipline,” said Jacob Nadal, the Library’s director for Preservation. “Libraries are enabling this through sophisticated partnerships and services that draw on print and digital resources for the distinct qualities that each format offers. This project unites the most current library science with our long history of cooperation to help libraries advance our core professional goals: providing access to research materials and preserving the published record in its original forms.”
The Library of Congress is well suited to conduct this scientific research because of its extensive preservation programs and research laboratories. The research work will take place in the Preservation Research and Testing Division (PRTD) at the Library of Congress and build on the institution’s extensive research into noninvasive and microsampling analytic methods. These techniques enable large scientific analysis of library materials to be conducted at a speed and scale that were not practical before.
“Until we can understand and compare the actual condition of the printed volumes in America, we won’t know how to ensure these are available for future generations,” said Fenella G. France, PRTD chief and the project’s principal investigator. “We may be moving to an increasingly digital world, but so much of our history is retained on the printed record and we must preserve this.”
PRTD will host two researchers for three years, each of whom will complete the analysis of 500 of the same volumes from the five selected American research libraries, totaling 2500 volumes. The Library will convene an expert advisory body to review the work in process and schedule conferences periodically to report the project’s progress. The study’s findings will be shared nationally at a major event in 2022.
The Library of Congress has one of the most extensive library and archival preservation programs in the world. The Library’s Preservation Directorate staff evaluates, manages and responds to the challenges of ensuring access to the Library’s collection of more than 167 million items in a diverse and expanding range of formats. The Library’s Preservation Research and Testing Division has been a world leader in developing preservation research to prevent degradation and extend the life of collections. The chemical, mechanical and optical properties labs have developed many innovative research applications and collaborate with colleagues in academia, cultural heritage, science and forensic laboratories.
London — The Folio Society and House of Illustration are thrilled to announce the longlist for the annual Book Illustration Competition (#BIC2019).
Now in its ninth year, The Book Illustration Competition is a partnership between The Folio Society and House of Illustration. To date, the competition has distributed nearly £60,000 worth of prizes and has received thousands of entries.
This year from over 500 excellent entries, an increase of 17% on last year, 25 have been selected for the longlist.
The winner will receive a prestigious £5,000 commission from The Folio Society to illustrate their new edition of Diana Wynne Jones’s Howl’s Moving Castle. Five other shortlisted entrants will each receive £500. As part of the Book Illustration Competition’s committment to nurturing new talent, the judging panel ensures that student entries form part of the shortlist.
The difficult task of selecting the longlist fell to Sheri Gee, Art Director at The Folio Society, and Colin McKenzie, Director of House of Illustration.
Sheri Gee said ‘I was really impressed by the standard of entries this year from both students and professionals. Looking at over 500 interpretations to the brief, we found it so interesting how certain scenes clearly resonated more than others, inspiring a myriad of visual interpretations.‘
Colin McKenzie noted ‘We were delighted by the record number of entries to this year’s competition, more than for any previous year. The standard was extremely high and demonstrated not just how popular this book remains, but also that it is a story that really catches the imagination. As a result we have a very strong longlist.’
Entries were received from 47 countries including the USA, Brazil, Singapore, New Zealand and Armenia, and over 30% of them were from students.
This year also sees the return of the popular stand alone People’s Choice award. Voted for online (http://bicpeopleschoice.org), the People’s Choice can be selected from any of the longlisted entries.The People’s Choice winning artist and one member of the public who voted for them will receive £100 worth of books from The Folio Society and a one-year membership to House of Illustration.
The shortlist and the winner will be selected from the longlist by Laura Cecil, literary agent for Diana Wynne Jones; Sheri Gee, Art Director and Sophie Lewis, Editor both from The Folio Society; Colin McKenzie, Director and Olivia Ahmad, Curator both from House of Illustration and Max Löffler, winner of the Book Illustration Competition 2018.
The awards will be announced at an exclusive ceremony at House of illustration on 26 February 2019.
Hours_Fauquier_Besancon_1420-40_16r_Majestas copy.jpgDr. Jörn Günther Rare Books AG returns to TEFAF Maastricht (16-24 March 2019) with an exceptional collection of museum-quality, Medieval and Renaissance illuminated manuscripts, miniatures, and early printed books.
This year’s highlights focus on the finest French illumination across the centuries and on the ability of true artists to convey stories. The first outstanding manuscript in the TEFAF Maastricht 2019 line-up is a stunningly beautiful French Book of Hours that shows the exquisite refinement and sophistication of two great artists. The amazing Fauquier Book of Hours only recently resurfaced after having disappeared from the public eye for more than 50 years. The manuscript is rich in iconography and subtle in colours, with 13 miniatures of exceptional quality, all of which showcase their creators’ extraordinary storytelling abilities. It was a commission for a gentleman living in the diocese of Besançon, likely a member of the family Fau(l)quier of Poligny. The Master of Walters 219 contributed two miniatures to this manuscript, while the second master, whose style points to Amiens, was responsible for the remaining eleven images. The style of the first illuminator, the Master of W. 219, likely an itinerant painter who came from Lombardy, is marked by ingenuous scenes that are rich in Italianisms and occupied by many small characters. He worked in the context of some of the best of French and Netherlandish traditions, where he may also have met the second illuminator.
Another impressive manuscript highlight that Dr. Jörn Günther Rare Books is bringing to Maastricht is a previously unknown and unpublished legal codex from the 13th century, illuminated by the workshop of Maître Honoré. This exciting new find offers a glimpse into medieval customs, since the law reflects the spirit of the time. The present manuscript is a comprehensive compilation of canon law issued by successive popes, including decisions of Church councils, papal bulls, and excerpts from texts by church fathers and theologians. The manuscript is a high-quality, legal textbook executed under the supervision of a university stationer, whose corrective notes (“cor”) are preserved at the ends of some quires. The layout of the manuscript’s pages is typical of a university law book, containing - in addition to the texts of the various constitutions - the Glossa ordinaria, a systematic commentary in the form of marginal glosses.
The legal codex features miniatures and decorated initials of the finest quality, which were painted by the hand of the famous illuminator Maître Honoré and his workshop in Paris. The five miniatures stand at the beginning of each book: iudex - iudicium - clerus - connubia - crimen (jurisdiction - procedure - clergy - marriage - delinquency and criminal procedures).
Image: Fauquier Book of Hours. Courtesy of Dr. Jörn Günther Rare Books
Lot 122-Delaunay.jpgNew York — Swann Galleries opened the 2019 season with Fine Illustrated Books & Graphics on January 29, boasting numerous auction records and several new buyers.
Leading the sale was Cirque de l’Étoile Filante, 1938, by Georges Rouault. The publication, depicting circus performers in 17 color aquatints by Rouault and 82 wood engravings by George Aubert, in characteristic Fauvist style, sold for $35,000. Rouault’s final work, Passion, 1939, also found success, selling for $21,250. Additional livres d’artiste included Klänge, 1912-13, Wassily Kandinsky’s masterpiece of expressionism and one of the earliest artist’s books to contain nonrepresentational art, which reached $31,200; and a first English translation of Marcel Duchamp’s The Bride Stripped bare by Her Bachelors, Even, 1960, a typographic version by Richard Hamilton, brought $1,500, a record for the signed trade edition.
An array of Art Deco material was led by a run of works by George Barbier and François-Louis Schmied: Personnages de Comédie, 1922, ($9,375), Vies Imaginaires, 1929, one of 120 copies created for members of the French bibliophile group, Le Livre Contemporain ($8,750), and Les Chansons de Bilitis, 1922, ($8,125). Solo works by Schmied featured Le Cantique des Cantiques, 1925, which brought $12,500. Sonia Delaunay’s Ses Peintures, Ses Objects, Ses Tissues Simultanés, Ses Modes, 1925, a tour de force of Simultaneous Contrast design theory, set a record for the work with $13,750, and 20 color pochoir plates of butterflies by Emile-Alain Seguy, 1925, realized $9,100.
Alphonse Mucha’s Ilsée, Princesse de Tripoli, 1897, brought a record price for a copy of the publication in its original folder at $13,000. A rich Art Nouveau section continued with Eugène Grasset’s La Plante et ses applications Ornementales, 1895, 72 richly colored and intricately designed plates that brought $7,250.
Works from the Cheloniidae Press found buyers with The Birds and Beasts of Shakespeare, 1990, which brought $6,500, a record for the work; and the artist’s proof copy of Tortoises, 1983, featured sculptural leather binding evoking a turtle shell and garnered $5,750.
Additional highlights include Strickland’s Lithographic Drawing of the Ancient Painted Ceiling in the Nave of Peterborough Cathedral, returning to auction after over 30 years ($1,500), and Richard Diebenkorn’s etchings for Poems by W.B. Yeats ($11,050). Records were set by Diptera: A Book of Flies & Other Insects, 1983, by Leonard Baskin with $9,750; Die Buecher der Chronika der drei Schwestern, 1900, by Heinrich Lefler and Josef Urban with $2,250; and Wiener Mode 1914, a portfolio of fashion designs by Viennese publication Werkstätte, with $2,375.
Christine von der Linn, Senior Specialist, noted that “collectors enthusiastically received this smaller, thoughtfully curated fine books auction. What struck me most was the global participation in this sale, and the growing number of bidders on our recently launched Swann Galleries app, which reflects how people are becoming increasingly comfortable with this type of digital platform and appreciate the convenience it offers.”
The next auction of Books at Swann Galleries will be held on March 7 with Early Printed, Medical, Scientific & Travel Books. Visit www.swanngalleries.com or download the Swann Galleries App for catalogues, bidding and inquiries.
Additional highlights can be found here.
Image: Lot 122: Sonia Delaunay, Ses Peintures, Ses Objects, Ses Tissues Simultanés, Ses Modes, with 20 pochoir plates, Paris, 1925. Sold for $21,250.
9b9b81b3-d204-4fac-8e9a-73189f21de23.jpgLondon — Firsts, London’s Rare Book Fair, presented by the Antiquarian Booksellers’ Association, is delighted to announce that the Official Fair Partner is international online rare bookseller Biblio, and Charity Partner for 2019 is Shakespeare’s Globe.
Firsts London, the ABA’s annual flagship event and one of the most prestigious rare books fairs in the world, will open its doors to visitors from 7 - 9 June in beautiful Battersea Park. More than 150 exhibitors from around the world - sole traders and larger companies - will showcase rare, unique and unusual works for visitors with a wide range of cultural interests and a passion for the printed word, art, books maps and related ephemera from museum-quality medieval manuscripts to modern signed first editions.
“In the year which sees Shakespeare’s Globe celebrate the centenary of the birth of pioneering and acclaimed actor Sam Wanamaker whose passion led to the rebuilding of the iconic theatre and the 400th anniversary of the death of the famous Globe actor Richard Burbage, we are excited to be staging an exhibition at the Fair of highlights from the Globe Library including books from The John Wolfson Rare Book Collection,” says Pom Harrington, Chairman of Firsts London. “The exhibition will offer visitors an unrivalled chance to see editions which are not normally on show.”
New York-based collector and author, John Wolfson is the Globe’s Honorary Curator of Rare Books. He will curate the Exhibition and give an exclusive talk, accompanied by actors, on the opening day.
Bringing a strong rapport with booksellers and a genuine enthusiasm for books and book collecting, North Carolina-based Biblio is the perfect fit for Firsts London. It works with the finest booksellers in the world to cultivate a truly remarkable collection that strikes the perfect balance between quantity and quality of selection. With British, Australian and New Zealand websites and over 5000 dealer members worldwide, the company is looking to expand into continental Europe, as well as the UK.
Brendan Sherar, Founder & CEO of Biblio: “We launched Biblio.co.uk almost ten years ago and we believe there’s an opportunity for significant growth in the UK. We’re looking forward to strengthening our relationships with our existing British booksellers, meeting potential new clients and having an opportunity to listen and understand the unique challenges facing booksellers and book collectors here.”
The company has strong business ethics. In 2005 Biblio founded non-profit organization, BiblioWorks. Since then, they have used their profits to build twelve public libraries in rural villages of South America. After the success of the first library project in Morado K'asa, Bolivia, BiblioWorks became a major contributor in the efforts to bring literacy and education to impoverished indigenous communities.”
Firsts London at Battersea Evolution is open from noon - 8pm on Fri 7 June, 11am - 7pm on Sat 8 June, 11am - 5pm on Sunday 9 June and also includes live demonstrations, tours and talks.
Image: Shakespeare's Globe, photo by Clive Sherlock
Three early and signed editions of North of Boston by Robert Frost.jpgThomaston, Maine — On Friday, March 1, an exceptional selection of rare books, graphic arts, and important documents will be sold at Thomaston Place Auction Galleries.
The 89 lots of important first edition, signed, and fore-edge painted books in the sale are from a collection of 19th and 20th century literature assembled in the 1960s through 1980s by an international investment banker.
The books will include 21 lots of first, limited and/or signed edition titles by Robert Frost, such as: three editions (first and signed limited, and first American printing) of his 1914 work “North of Boston”; four editions (signed, limited and firsts) of “New Hampshire”; and two editions (first edition-first printing and later) of “Mountain Interval”.
Also, from the rare book group will be: a 1935 limited deluxe edition of Edgar Allan Poe’s “Tales of Mystery & Imagination”, illustrated and signed by Arthur Rackham; a first edition copy of “Huckleberry Finn” by Mark Twain with fore-edge painting depicting two scenes in the book; and a second edition two volume set of “The Complete Angler” by Izaak Walton and Charles Cotton, (London, Nattali and Bond, 1860), each volume with fore-edge painting and in fine calf binding by George Bayntun.
A first edition copy of John Thomas James’ “Journal of a Tour in Germany, Sweden, Russia, Poland, During the Years 1813 and 1814” (London, John Murray, 1816) will be sold. This was one of only 12 copies of this title issued with 18 fine engraved India proof plates of scenic views of Germany, Sweden, Russia and Poland, a vignette title page, and tailpiece plan of Moscow.
The auction will present a group of important photographic images, such as: “Pingpank Barber Shop” by Berenice Abbott (NY/ME, 1898-1991); “JFK in the Oval Office” by George Tames (DC, 1919-1994); and “Qunia’ika, Mohave”, a 1903 large format photogravure from “The North American Indian” by Edward Sheriff Curtis (WI/CA, 1868-1952).
There will also be a variety of art prints, including: “I’m Busy for the Rest of My Life”, a signed archival inkjet print by Peter Tunney (NY, 1961- ); a 1959 signed linocut by Pablo Picasso (Spain/France, 1881-1973) titled “Picador et Torero”; a Fernand Leger (CT/CA/France, 1881-1955) 1924 limited edition signed and numbered serigraph “Composition Abstraite”; and “Love 2000”, a composition printed on self-adhesive vinyl for exterior display by Robert Indiana (ME, 1928-2018).
The collection of ephemera will include two King Louis XV signed military documents, two letters signed by Napoleon; two lots of Admiral Byrd/Antarctic Expedition related documents; and an 1850-1870s autograph book containing signatures of U.S. Grant, his cabinet and other significant individuals from that time.
This sale will represent the first day of a three-session auction event. On Saturday and Sunday, March 2 and 3, a glorious inventory of fine art, early American furniture, Chinese antiquities, rare watches and jewelry, estate silver, decorative arts, and oriental carpets will be sold.
The auction will begin at 11:00 a.m. EST each day. A complete, full color catalog, with detailed descriptions and photographs, is available, and all lots can be viewed at Thomaston Place Auction Galleries’ website, www.thomastonauction.com.
In addition to live bidding in the auction hall, Thomaston Place accepts bids via absentee, telephone, and on the internet. Please call 1-207-354-8141 for more information, or to reserve seats in the auction hall.
The gallery will be open for previews Monday, February 25th through Thursday, February 28th (between 9:00 a.m. and 5:00 p.m. each day) and from 9:00 to 11:00 a.m. on Friday, Saturday and Sunday morning before the auction begins.
Thomaston Place Auction Galleries is Maine’s premier international auction company located on U.S. Route 1 in Thomaston. Thomaston Place is a leader in discovering Maine’s antique and fine art treasures by offering Free Appraisals each Tuesday at the gallery, creating fundraiser events for civic and charitable organizations, and providing house call appraisal services. Their expertise in researching and marketing antiques and fine art has earned Thomaston Place the respect of buyers, collectors and experts worldwide.
Image: Three early and signed editions of “North of Boston” by Robert Frost
Federalist Boards.jpgDallas, TX - An important piece of American history will be offered when a rare copy of The Federalist: A Collection of Essays, Written in Favour of the New Constitution still in its original publisher’s boards crosses the block in Heritage Auctions’ Rare Books Auction March 6 in New York.
“The Federalist Papers were written as part of an effort to get the New York delegation to ratify the Constitution - it made the case for Federalism and sought to convince the citizens of the states,” Heritage Auctions Rare Books Director James Gannon said. “Probably around 500 copies were printed, and this example is particularly rare because it’s still in the publisher’s boards. You just don’t find them like this.”
The board bindings were meant to be temporary, and purchasers of books in the 18th century would have their binders trim the edges and then rebind the book in calf, so a copy in this configuration is an undeniable rarity.
The books, with a pre-auction estimate of $75,000+, originally were published in New York newspapers under the pseudonym, “Publius,” and without the authors’ names in this first collected edition. But the real names of the authors - Alexander Hamilton, James Madison and John Jay - are hand-written on the title page.
The lot is in two volumes, published two months apart: March 22 and May 28, 1788. According to Printing and the Mind of Man, “The eighty-five essays, under the pseudonym 'Publius,' were designed as political propaganda, not as a treatise of political philosophy. In spite of this The Federalist survives as one of the new nation's most important contributions to the theory of government.”
rejlander23_low.jpgLos Angeles - Oscar G. Rejlander (British, born Sweden, 1813-1875) was one of the 19th century’s greatest innovators in the medium of photography, counting Queen Victoria, Prince Albert, Charles Darwin, Lewis Carroll and Julia Margaret Cameron among his devotees. Nevertheless, the extent of Rejlander’s work and career has often been overlooked. Oscar Rejlander: Artist Photographer, on view March 12-June 9, 2019 at the J. Paul Getty Museum, Getty Center, Los Angeles, is the first exhibition to explore the prolific career of the artist who became known as “the father of art photography,” and whose bold experimentation with photographic techniques early in the medium’s development and keen understanding of human emotion were ahead of their time.
The exhibition features 150 photographs that demonstrate Rejlander’s remarkable range, from landscapes and portraits to allegories and witty commentaries on contemporary society, alongside a selection of his early paintings, drawings, and prints.
“Rejlander tells us in his writings that ‘It is the mind of the artist, and not the nature of his materials, which makes his production a work of art,’” says Timothy Potts, director of the J. Paul Getty Museum. “While technologies have dramatically changed, some of the fundamental issues that Rejlander grappled with in his photographs still resonate with photographic practice today. His photographs, though made a century and a half ago, are both meticulously of their time and timeless, foreshadowing many later achievements of the medium through to the digital age.”
Oscar G. Rejlander was born in Sweden and moved to England in 1839, working first as a painter before turning to photography in 1852. He made a living as a portrait photographer while experimenting with photographic techniques, most notably combination printing, in which parts of multiple negatives were exposed separately and then printed to form a single picture. Rejlander moved to London in 1862, where his business continued to grow and where his wife, Mary Bull, worked alongside him in his photography studios.
Portraits and Images of Everyday Life
Portraiture, particularly of members of the higher ranks of London society, was Rejlander’s main professional activity and supported his livelihood. Art critics and clients alike admired his skill with lighting as well as the natural and seemingly spontaneous expressions he was able to capture. Rejlander photographed some of the most important figures of the day, including the English scientist Charles Darwin, known for his theory of evolution, and poets Alfred Lord Tennyson and Henry Taylor. He also guided the first photographic efforts of the writer and mathematician Charles Lutwidge Dodgson (known as Lewis Carroll), the creator of Alice’s Adventures in Wonderland, as well as photographer Julia Margaret Cameron.
From the beginning of his career as a photographer, Rejlander was keenly interested in depicting the activities of ordinary people, particularly the middle and lower classes of society. It was through his staged domestic images that he illustrated familial relationships with tenderness and humor, often using models and props to re-create in his studio the scenes he had witnessed in the streets, from young boys who swept up dirt and debris in exchange for tips, to street vendors such as “flower girls” who offered bouquets for sale to passersby. Like a modern street photographer, Rejlander chose his compositions and subjects based on what he saw and heard, realizing the final images in the studio.
In 1863 Rejlander constructed a unique iron, wood, and glass “tunnel studio,” where the sitter, positioned in the open, light-filled part of the studio, would look into the darker part of the room where the camera and operator were situated, nearly invisible. The pupils of the sitters’ eyes expanded, allowing for “more depth and expression,” as a writer observed in Photographic News. In addition to this technique, Rejlander often exploited his own unique ability to enact exaggerated emotions to assist his subjects. Charles Darwin illustrated many of Rejlander’s expressive photographs in The Expression of the Emotions in Man and Animals, published in 1872.
Combination Printing and Two Ways of Life
Rejlander holds an important place in the history of photography primarily because of the groundbreaking way he applied the technique of combination printing. On view in the exhibition is the most ambitious example of the artist’s pioneering experimentation, the epic photograph, or Hope in Repentance (1857). It attracted immediate attention upon its exhibition both for its large size and the ambition of its production, which included the combination printing of over 30 separate wet collodion on glass negatives, a process that took more than three days.
The work represents an intricate allegory of two opposing philosophies of life: Vice and Virtue. In the center of the picture, a wise man guides a younger man to the right, toward a life of virtue—work, study, and religion. To the left, a second young man is tempted by the call of desire, gambling, idleness, and vice. Prince Albert may have worked with Rejlander on the overall conception of the picture, and he and Queen Victoria purchased three versions for their art collection.
Despite this support from the Royal Family, Two Ways of Life divided the photographic community, with professional photographers considering it a technical tour de force, and amateurs seeing it as not only artificial in production but also immoral in its subject. However, it remains one of finest examples of combination printing to come from this period.
Art and Photography
Today, the debate about photography’s status as an art may be obsolete, but the arts community in 19th-century Britain was passionately divided over Rejlander’s chosen medium. Rejlander strongly advocated the view that photography was an independent art, while he was also convinced that a photograph could help artists by providing an effective substitute for working from live models. He was possibly the first to provide artists with visual references for their work in photographs, creating figure studies in a range of poses and costumes, including close-ups of hands, feet, drapery, and even fleeting facial expressions. Although many painters were reluctant to disclose their reliance on photography, several collected Rejlander’s photographs, including George Frederic Watts (English, 1817-1904) and Henri Fantin-Latour (French, 1836-1904).
Paintings also strongly influenced Rejlander’s choice of subjects, leading him not only to imitate the styles of artists but also to re-create the figures found in their compositions. He frequently photographed actors or models posing as a “Madonna,” a “Devotee,” a “Disciple,” or specific Christian figures such as John the Baptist. He may have intended these studies, as well as others showing figures in classical robes, for artists to consult as well.
“What we hope comes through in the exhibition is Rejlander’s humanity and humor, as well as his humble nature, particularly evident in the fact that he often sent his work to exhibitions under the name ‘amateur,’” says Karen Hellman, assistant curator of photographs at the Getty Museum. “His explanation: ‘When I compare what I have done with what I think I ought to do, and some day hope I shall do, I think of myself as only an amateur, after all—that is to say, a beginner.’”
Oscar Rejlander: Artist Photographer, is on view March 12-June 9, 2019 at J. Paul Getty Museum, Getty Center. The exhibition is curated by Lori Pauli, curator of photographs at the National Gallery of Canada, and Karen Hellman, assistant curator of photographs at the J. Paul Getty Museum.
Image: Untitled Album of Forty Photographs by Rejlander, about 1865. Object credit: Sir Nicholas Mander
Frazetta Famous FUnnies.jpgDallas, TX - One of just eight Famous Funnies covers by the legendary Frank Frazetta and an unrestored Superman rarity are expected to headline Heritage Auctions’ Comics & Comic Art auction Feb. 21-23 in Dallas, Texas.
“Heritage has enjoyed a streak of several exceptionally successful comics auctions in recent years, and we anticipate that collectors will find similarly irresistible materials in this auction, as well,” Heritage Auctions Vice President Lon Allen said. “This sale features extraordinary lots at the top of the auction - the Frank Frazetta Famous Funnies cover is the first we have offered in 15 years - and includes highly intriguing options for collectors at all levels.”
Frank Frazetta Famous Funnies #209 Cover Original Art (Eastern Color, 1953) is one of just eight covers for the title by the hugely popular artist. With a pre-auction estimate of $300,000+, this is one of the most coveted Frazetta covers for any comic. The image is a prime example of why the artist is revered for his ability to draw women, and of the 1950s-esque “retro” style that is so popular among many collectors. An image like this is extraordinarily rare - the last time Heritage offered a Frazetta Famous Funnies cover was 15 years ago - which understandably fuels the demand among collectors.
Superman #1 (DC, 1939) CGC VG+ 4.5 Cream to off-white pages (estimate: $300,000+) is an exceptionally popular issue, the first in one of the most popular titles in comic history. Considering the issue is nearly 80 years old, nearly all known copies are restored, but the allure to collectors for this copy is due in part to the fact that this one is not. Superman #1 hit the newsstands after his debut in Action Comics #1, boosting the Man of Steel’s popularity to new levels. This issue marked the first time a character created for comic books was given his own title. Roughly a million copies were printed in 1939, but very few are known to have survived at this grade or higher, making it a must-have issue among serious collectors. The issue is ranked No. 3 on Overstreet’s “Top 100 Golden Age Comics” list.
The Incredible Hulk #1 (Marvel, 1962) CGC VF/NM 9.0 Off-white to white pages (estimate: $200,000+) is an exceptional copy of the second-most valuable Silver Age issue. Copies with such a high grade are nearly impossible to find, and this issue with the origin and first appearance of the Hulk is inarguably a highlight in the auction. The issue also features the first appearances of supporting characters Rick Jones, Betty Ross and Thunderbolt Ross, and features art and cover by Jack Kirby.
One of the most dramatic images in the auction is Dave Gibbons Watchmen #1 Cover Original Art (DC, 1986) (estimate: $200,000+). Among the most influential and iconic comic series of the 1980s, Watchmen by Gibbons and Alan Moore had a lasting impact on the industry. The cover of the first issue remains one of the most recognizable images in the series, with the drip of blood on the smiley face button reminiscent of the hands of a clock striking 12 as “time running out” was a recurring theme throughout the series.
Another bold, dramatic image is found on the cover of Journey Into Mystery #83 (Marvel, 1962) CGC NM 9.4 Off-white to white pages (estimate: $200,000+), featuring the origin and first appearance of Thor, who is billed on the cover as “The Most Exciting Super-Hero of All Time!!” This copy carries one of the highest grades known to exist, and is the highest-graded issue offered by Heritage in three years. No. 6 on Overstreet’s “Top 50 Silver Age Comics” list, this issue is considered one of the four most legendary “origin” issues of the early Marvel Age. The cover is by Jack Kirby, who collaborated with Steve Ditko on the issue’s art.
Other top lots include, but are not limited to:
· Amazing Fantasy #15 (Marvel, 1962) CGC VF- 7.5 Off-white pages: $140,000-up
· Steve Ditko Strange Tales #117 Splash Page 1 Doctor Strange Original Art (Marvel, 1964): $100,000-up
· Robert Crumb Help! #24 “Fred the Teen-Age Girl Pigeon” Complete Two-Page Story Original Art (Warren Publishing, 1965): $75,000-up
· Jack Kirby and Sol Brodsky Fantastic Four #3 Story Page 7 Original Art (Marvel, 1962): $75,000-up
· Jack Kirby and Dick Ayers Avengers #1 Story Page 4 Hulk and Loki Original Art (Marvel, 1963): $75,000-up
Dr. Seuss Letters Sell for $8,529
Los Angeles - Three letters and two pages of illustrations by Dr. Seuss sold tonight for $8,529 at Nate D. Sanders Auctions. The letters and illustrations were directed to fellow author and long-time friend Mike McClintock.
The letters were written in 1957, which was a blockbuster year for Seuss (Theodor Geisel) as both The Cat in the Hat and How the Grinch Stole Christmas were published that year. Dr. Seuss enthusiastically wrote about the success of his new books and addressed the marketing potential of toys and games based on his characters. The lot comes from the estate of McClintock, who wrote the 1958 children’s book, A Fly Went By.
The first letter in the lot is dated May 19, 1957 and is written on Seuss’ personal stationery. It reads in part, “...you picked me off Madison Ave. with a manuscript that I was about to burn in my incinerator, because nobody would buy it. And you not only told me how to put Mulberry Street together properly...(as you did later with the 500 Hats)...I definitely am going into the by-product field this year. Because the CAT will reach 100,000 very shortly, and the print order on HOW THE GRINCH STOLE CHRISTMAS will in the first edition be over 50,000. And the Sat. Eve. Post will talk about this shortly in a profile that I wish to hell that you had written, / ANYHOW, if you want to talk toys and games, I'd rather talk to you than anyone I know…”
In the second letter, Seuss analyzes McClintock’s manuscript for A Fly Went By and also wrote “Cat Reading Game is a swell idea!''
Seuss’ last letter was written on December 5, 1957, in which he elaborates on game opportunities for The Cat in the Hat. It reads in part, “…The Hat Cat is doing a thousand a day. Latest printing brings print up to 200,000 in nine months...Which brings me to our toy-making-policy-planning... I believe that by fall...when my 'HAT-CAT COMES BACK' comes out, we'll have the biggest character that has ever come out of childrens' trade books...So, I think we're idiots if we don't think non-educationally, and start off on an opportunistic line......with a Cat-in-the-Hat Doll, Toy, put-together plastic, rag, fuzzy or whatever. But fast! / I'm riding a wave right now that may never again roll so high. So I think we oughta and gotta start in a different way than we planned. And get a Cat Character out as soon as we can. And THEN follow up with the game and the blocks and all the other things we want to do that make sense…”
The lot also includes two pages of several illustrations by Seuss.
Bidding for the lot begins at $3,500.
Additional information on the letter can be found at
https://natedsanders.com/Fantastic_Dr__Seuss_Lot_of_3_Letters_Signed___Illu-LOT51334.aspx
250x250_Books-kovats.jpgOxford, England - Acclaimed British contemporary artist Tania Kovats has created a new public artwork at the Bodleian Libraries in Oxford. Titled The Space of Reading, the permanent commission is a sculpture created from casts of 21 open books and has been installed above the public entrance of the Weston Library.
The artwork was unveiled on 29 January and was commissioned by the Bodleian Libraries with funding from Art Fund and the Henry Moore Foundation. The work has been installed in the ceiling of the colonnade on the south side of the Weston Library, located at the Library’s public entrance on Oxford’s historic Broad Street.
The Weston Library opened to the public in 2015 following a three-year renovation of this 1930s Giles Gilbert Scott building by WilkinsonEyre architects. It is now the Bodleian’s Special Collections library and includes a stunning visitor space with exhibition galleries, a lecture theatre, café and shop.
The Space of Reading focuses on the physical presence of the book and alludes to the diversity and richness of the Libraries’ collections, which include more than 13 million printed items. Kovats drew inspiration from the ceiling of Duke Humfrey’s Library, the oldest reading room at the Bodleian Libraries. The sculptures were cast from actual books taken from Kovats’ personal collection of books, mainly books she read with her son.
Tania Kovats said: “It was the flying books on the panelled ceiling of Duke Humfrey’s Library that were the starting point for this work - I found these completely magical. I saw them on the same day that I was given a tour of some of the treasures of the Bodleian’s collections when I saw first-hand things like fragments of papyrus with Sappho’s poetry. These completely blew my mind.
“The Space of Reading is inspired by the idea of what is housed in the Bodleian - more than a single brain could ever assimilate. And yet there is still more to be said and written and understood. So this work is about some specific books but also about the future books that will be written in the Bodleian Libraries.”
Richard Ovenden, Bodley’s Librarian, said: “The Weston Library is a space where the historic and the contemporary come together so we’re delighted that Tania Kovats’ new artwork creates a new ‘way in’ to the building, inviting visitors to explore the Bodleian Libraries’ historic collections. I hope visitors will look up as they enter the building and be inspired by this fantastic new work.”
Stephen Deuchar, Director of Art Fund, said: “We are pleased to support the commission of Tania Kovats’ subtle intervention which seamlessly captures both the rich history of the Bodleian as well as its purpose today as a space for everyone who finds joy in the book.”
Kovats gave a public lecture about her work on 29 January at the Weston Library and on 26 January, the Bodleian held a special day of workshops and tours celebrating the role of art in the Libraries.
The Space of Reading’s focus on the physicality of the book reflects the Libraries’ strengths in research and teaching around the book as object. In particular, the Centre for the Study of the Book promotes scholarship in this area through a Visiting Fellows Programme, research projects, training courses and events, and the Libraries’ Heritage Science team uses high-tech scientific techniques to uncover new details about treasures in the Libraries’ collections, such as what an object is made of, how it was made, and revealing hidden text and other features.
In its 400-year history, the Bodleian has a long tradition of art in the Libraries. In addition to the written word, the Libraries holds significant collections of works of art and photography, including more than 300 drawings, paintings and prints as well as 50 works of sculpture, antique furniture and historic printing presses. The Libraries also have a long history of commissioning new arts and crafts, with precedents including painted ceilings and friezes, portraits, decorative glass, gargoyles, ironwork and in-built furniture.
In addition to Kovats’ latest work, visitors to the Weston Library can see other artistic features inside the building. These include the Sheldon tapestry Map of Worcestershire, a huge, beautifully woven map created in the 1590s, and the Ascott Park Gateway, which was created in the late 16th century for the Ascott estate in Oxfordshire and is now on long-term loan to the Bodleian Libraries from the V&A.
Since opening in 2015, the Weston Library has proved hugely popular with readers, scholars, local residents and visitors from around the world and has won a string of architecture and design awards. The Library hosts an extensive programme of free exhibitions and displays, lectures and events, and attracts, on average, more than 750,000 visitors each year. Forthcoming exhibitions in 2019 include Babel: Adventures in Translation, opening on 15 February, Thinking 3D: From Leonardo to Present, opening on 21 March, and Talking Maps on 5 July.
In addition to exhibitions showcasing the Libraries’ own collections, recent displays by contemporary artists have proved a major draw to the Library. These have included Cornelia Parker’s Magna Carta in 2015 and early 2016, and a display of her Fox Talbot’s Articles of Glass series in 2018, showcasing nine photogravure etchings that the artist made using glassware items from the Bodleian’s archive of the 19th century photography pioneer William Henry Fox Talbot. Other recent displays include the works of renowned British photographer Martin Parr in 2017 and a display of designer bookbindings as part of the Designer Bookbinders International Bookbinding Competition in 2017.
ImageThe Space of Reading by Tania Kovats. Photo by John Cairns.
9966db6bf97a169d7905be1c5bca814b6d08b12d.jpegIn honor of Washington's Birthday, RR Auction's February Fine Autograph and Artifact Auction includes a remarkable assortment of nearly 200 presidential autographs with online bidding through February 6, 2019.
The sale is highlighted by an excessively rare William Henry Harrison document signed as president. The rare one-page document signed "W. H. Harrison,” dated August 28, 1841.
The right half of a four-language ship's paper issued to "Theodore Wimpenney, master or commander of the Ship called the Margaret…lying at present in the port of Newport (RI), bound for Pacific Ocean and laden with provisions, Tackle & stores for a voyage in the whale fishery."
Crisply signed at the conclusion by President Harrison and countersigned by Secretary of State Daniel Webster. Archivally double-matted and framed behind UV-protective acrylic.
This is a highly unusual piece, as by the time it was issued, President Harrison was dead. Four-language ship's passports were customarily left blank and signed in advance by the president before being sent out to American ports, where they were filled out and issued as needed. This section comprises the English and Dutch segments of the typical four-language document, with the French and Spanish areas absent. This document would have been signed by Harrison some time during his 31-day presidency, sent to a port, and then ultimately issued almost five months after his death.
"Given his historically short tenure in office, Harrison's autograph as president is of the utmost rarity, and this is a boldly engrossed, supremely desirable example," said Bobby Livingston, Executive VP at RR Auction.
Among other presidential material is a rare autographed letter from President Johnson to Speaker McCormack, a key supporter of the 'Great Society.’
Autograph letters and notes by Johnson are extremely scarce in general, with his letters as president standing among the rarest presidential autographs—this is just the second Johnson signed letter as president on standard White House stationery that we have ever offered. That it is to Speaker of the House John McCormack is equally notable. During his own time in the House and Senate, Johnson had emerged as one of the most capable legislators of his time, utilizing his domineering personality to persuade other politicians in his favor.
The sale also contains a significant selection of free franks among them; a Revolutionary War-era free frank from General Washington, another from President Lincoln to Mary Todd's New York hatmaker, and a President Jefferson free frank to his Philadelphia bookseller.
Other top lots include an extraordinary signed portrait of James Joyce, Pierre-Auguste Renoir's personal ledger, an Einstein letter on a childhood game, and Warren Buffett's personal set of golf clubs.
The Fine Autographs and Artifacts Auction Featuring Presidents from RR Auction will conclude on February 6. For information, visit the RR Auction web site at www.rrauction.com
Lot 228-Maier copy.jpgNew York — An upcoming sale of Photographs: Art & Visual Culture, February 21 at Swann Galleries, celebrates photographs as objects. Daile Kaplan, the house’s Director of Photographs & Photobooks, explains the theme in an introduction to the catalogue, “Seeing photographs as physical objects, as works meant to be carefully held in one’s hands, is key.” The auction features an array of material typifying this appreciation for the tangible: archives and albums that record visual culture of bygone eras, photobooks and vernacular photography, all presented in dialogue with modern and contemporary market favorites.
A standout selection of cartes-postales from prominent artists and collectives is led by six printed postcards of Italian Futurist Anton Giulio Bragaglia’s iconic photographs from 1911-13. The photographs are offered in a small archive alongside business cards, a 1932 typed letter to Filippo Tommaso Marinetti, and a Teatro Delle Arti ticket, estimated at $30,000 to $45,000.
André Kertész’s 1927 portrait of photographer Edwin Rosskam, a vintage silver print on carte-postale paper, is available at $7,000 to $10,000. Notable exhibition postcards include a suite of 33 from the 1913 Armory Show, illustrating iconic works (Estimate: $4,000-6,000); and from the Société Anonyme, a collection of nine real photo postcards of works by Katherine Dreier, Marcel Duchamp and Man Ray, who together founded the society to promote contemporary art to American audiences. They produced more than 80 exhibitions between 1920 and 1940. This scarce group, dating from 1920-30, carries an estimate of $25,000 to $35,000.
A fine selection of nineteenth-century photography includes the unique copper plate for Horse Capture, Atsina, 1908, by Edward S. Curtis. The plate, one of the original matrices for the large-format photogravures that comprised the portfolios of The North American Indian, is presented in a custom frame, elevating an already beautiful utilitarian object to the sublime ($60,000-90,000).
Engaging works exemplifying the visual culture of their time include a NASA archive with 351 prints documenting missions over four decades ($6,000-9,000). Images from the 1960s include a chromogenic print of John F. Kennedy in his motorcade minutes before his assassination ($2,000-3,000), and a binder of 26 vintage photographs and five halftone prints of The Beatles and Yoko Ono ($700-1,000). Industrial lots from across the globe complete the vernacular selection.
Among fine art is a personal album compiled and sequenced by Vivian Maier. The album, consisting of 22 never-before-seen color photographs shot with a Rolleiflex in Maier’s inimitable visual style, documents her 1959 trip to Europe and Asia ($10,000-15,000). The auction debut is the first known auction appearance of vintage color work by Maier.
A run of works by Ansel Adams is led by a limited first edition of his first book-Taos Pueblo, 1930. The scarce publication, containing 12 silver bromide prints made by the photographer when he was just 28, is expected to bring $30,000 to $45,000. Iconic silver prints by Adams include Winter Sunrise, Sierra Nevada from Lone Pine, California, 1944, printed early 1960s, ($15,000-20,000), Monolith, the Face of Half Dome, 1927, printed 1959, ($7,000-10,000), and Mt. Williamson, from Manzanar, Owens Valley, California, 1944, printed early 1950s, ($5,000-7,500).
The auction will have its share of contemporary artists, headlined by Malick Sidibé’s installation of 38 exuberant silver prints housed in custom frames. The grouping, which highlights elements of West African culture from 1946-2001, is estimated at $30,000 to $45,000. Tina Barney’s The Hands, from the series The Europeans, 2002-04 is available at $12,000 to $18,000. Works by Manuel Álvarez Bravo, Roy Decarava, Peter Hujar, Graciela Iturbide, Mary Ellen Mark and James Welling ensure a stand-out section.
Exhibition opening in New York City February 14. The complete catalogue and bidding information is available at www.swanngalleries.com and on the Swann Galleries app.
Additional highlights can be found here.
Image: Lot 228: Vivian Maier, a personal album of Maier’s trip to Europe & Asia compiled and sequenced by the artist, 22 Kodacolor prints, 1949. Estimate $10,000 to $15,000.
Dallas, Texas - Sales of vintage comic books and comic art soared to a world record $58,544,323 in 2018 at Heritage Auctions. The auctioneers’ Comics & Comic Art Department recorded the highest sales totals in the 17-year history of the department, representing the non-stop trend of high demand for original comic book artwork, rare comic books and animation art.
Numerous records fell in 2018, further strengthening Heritage Auction’s grip on the title of the top comics and comic art auctioneer in the world. Last year’s sales represent a 32 percent increase over the department’s previous record, which was set in 2017. Sell-through rates exceeded 99% by value and by number of lots.
“Our results in 2018 exceeded our loftiest expectations,” Heritage Auctions Co-Founder Jim Halperin said. “Part of the gratification when reflecting on 2018 is the variety of our success: we were able to realize exceptional prices on individual comic books and original art, but were fortunate that the results were not top-heavy. We also established new records for the most valuable Comics auction and most valuable Animation Art auction ever held, and set a new record with our weekly auctions three times during the year.”
Among the records that fell in 2018:
· Frank Frazetta's Original Art titled Death Dealer 6, 1990, published first as the cover for Verotik’s 1996 Death Dealer #2 comic book, brought $1,792,500 at Heritage’s Comics & Comic Art Auction May 10-12 in Chicago. That price nearly tripled the most ever paid at auction for a piece of U.S.-published comic book art.
· Meanwhile, that auction’s total of $12,201,974 in realized sales also set a new world record for any individual comics auction.
· Original art by John Romita, Sr., and Frank Giacoia for the Amazing Spider-Man #100 cover drew bids from three dozen collectors before bringing $478,000, eclipsing pre-auction estimates by nearly 20 percent and establishing a new world record for the most expensive Marvel Comics Silver or Bronze Age cover ever sold at a public auction.
· A new record for artwork by famed Disney artist Mary Blair was established when her Cinderella Magic Coach Concept Painting (Walt Disney, 1950) drew $60,000 in Heritage’s Animation Art auction June 16-17 in Dallas.
· A little over a month later, competitive bidding drove the final price for original art and a copy of Kaja Foglio's Magic: The Gathering: Arabian Nights "Shahrazad" Card (Wizards of the West Coast, 1993) to $72,000 in the July 22 Sunday Internet Comics, Animation & Art Auction, a record for any Heritage Weekly Comics auction lot.
Animation Art auctions were extremely strong in 2018. Heritage’s Dec. 8-9 Animation Art auction brought in $1,956,926, making it the most successful Animation Art auction in the history of the company. The sale showed the growing global love of animation art, and was highlighted by numerous record sales, including Disney, Hanna Barbera and Warner Brothers.
Savvy collectors realized there was ample value to be had in Heritage’s weekly Sunday Internet Comics, Animation & Art auctions. The weekly evening sales, now frequently including lots that can produce five-figure prices, established a new record for total sales three different times during the year, including in the firm’s Aug. 5 sale that yielded a record $466,512.20. The 936-lot auction’s top lot was Amazing Fantasy #15 (Marvel, 1962) CGC VG- 3.5 Cream to off-white pages, which brought $20,400.
“The days of Heritage Auctions’ weekly auctions offering lower-value lots exclusively are over,” Halperin said. “We average about 800 lots per week, and it no longer is a rarity for some lots to crack the five-figure plateau. Our collectors know the value that exists in many of the offered materials, some of which are fresh-to-the-market personal collections. So while there always are outstanding deals to be had for collectors of all levels, our weekly auctions now include many exceptional items, which routinely set new price records.”
343.jpgChicago — Potter & Potter Auctions is pleased to announce their Rawlins Magic Collection I Auction to be held on Saturday, February 23rd, 2019 starting at 10am at the company's gallery, located at 3759 N. Ravenswood Ave., Chicago, IL 60613. Jim Rawlins was a devoted student of magic and its history who spent nearly three decades building his impressive, important, and diverse collection. All items from this upcoming sale will be on display and available for public preview on Wednesday, February 20th, Thursday, February 21st, and Friday, February 22nd from 10:00am to 5:00pm in the Potter & Potter facility.
Pre-1925 magic apparatus are important headliners in this sales event and represent many of the top lots on offer. Of royal stature is lot #125, Joseffy’s Expanding Queen from c. 1906. This complicated, Rube Goldberg-like apparatus is comprised of lazy-tongs and a spring-loaded mechanism, and includes its original hand-painted silk card. Estimated at $8,000-12,000, this rarity is framed and accompanied by a series of photographs showing the steps required to reset the device. Lot #56, Carter the Great’s center table, used as the centerpiece for many of Charles Carter's tricks in his illusion show, is estimated at $6,000-8,000. This c. 1910, heavy carved gold leaf wooden table has cabriole legs and a folding rear servante. This lot comes with a photograph of Carter and Evelyn Maxwell beside the table and a letter of provenance from Carter biographer Mike Caveney. And lot #109, a c. 1920 cage transposition owned and used by Fu Manchu is estimated at $4,000-6,000. This complex trick, likely made by Carl Willmann, allows a gleaming metal cage to vanish from under a handkerchief, only to visibly reappear in a skeleton-frame stand in the blink of an eye.
Midcentury magic tricks and tools also take center stage in this can't miss, mid-winter auction. Lot #159, a handsomely decorated, c. 1952 club sized checker cabinet by Okito is estimated at $8,000-12,000. This apparatus enables the magical transposition of a stack of checkers and a glass full of rice. It's a superb example of Okito’s masterful craftsmanship and appealing, timeless aesthetic. Lot #15, a c. 1935 carousel birdcage production from New Haven, CT's Petrie and Lewis is estimated at $4,000-6,000. This complex and visually stunning trick includes a small, square table, a tall spinning brass stand, and four sold brass bird cages. This rarity is only one of five examples produced. And lot #14, a set of five c. 1940 nesting wooden boxes owned and used by magician McDonald Birch is estimated at $1,500-2,500. In this signature trick, a watch vanishes on command, only to reappear in the smallest of the boxes. The lot includes a signed and inscribed 8' x 10” photograph of Birch and his wife Mabel Sperry, as well as a signed photo of the couple performing with the boxes.
Collectors interested in magic props by Thayer and Owen will delight in nearly 100 temptations from this this legacy manufacturer. Lot #296, a 1930s-1940s collection of 130 original cloth “negatives” used to create the famous master blueprints sold through the company's catalogs is estimated at $5,000-7,000. The illusions explained and diagrammed include many of the firm's most famous, including the Mummy Case, Buzz Saw, Morritt Cage, The Girl in the Drum, Zenith Water Fountain, New Flyto, Lester Lake Guillotine, and others. All are housed in the original cardboard tubes as kept in the Thayer workshops, with nearly all bearing typed labels describing their contents. Lot #267, a c. 1955 set of seven, locked hardwood chests fitted with brass hardware, is estimated at $1,500-2,000. This set, one of only two seven-box sets constructed by Carl Owen and part of his own personal collection, was passed from Owens to his friend and business partner John Daniel. And lot #251, a c. 1930s flap die box, is estimated at $200-300. This round, mahogany box allows a magician to control the numbers on the two dice inside even when the box is shaken. This example, the only one known with this feature, is possibly a prototype or a custom-ordered item. It was most likely turned by Floyd Thayer himself, as the quality of the workman ship is extremely fine; it was also owned at one time by The Great Virgil.
Potter's Rawlins Magic Collection I Auction offers wall to wall selections of important magic related posters, prints, and broadsides. Lot #479, a c. 1909 small format window card for the Great Lafayette (Sigmund Neuberger) is estimated at $5,000-7,000. This 10" x 7” example features a full length portrait of the performer in a Louis XIV-style costume with a fan or hat in one outstretched hand. Lot #487, a Thurston the Great Magician Do The Spirits Come Back framed and matted litho from c. 1910 is estimated at $5,000-7,000. This paranormal poster is eerily illustrated with green smoke, ghosts, and apparitions floating up from a skull in the magician’s hand. And bird's the word with lot #475, a c. 1908 framed Chung Ling Soo (William Ellsworth Robinson) From the Land of the Peacock broadside. It is estimated at $4,000-6,000 and is decorated with a bust portrait of the magician, a Chinese lantern, and a peacock, all surrounded by Chinese trappings and a black border.
There's no need to paper over this sale's remarkable selections of magic-centric books, catalogs, publications, and ephemera. Lot #343, a 1908 first edition of Harry Houdini's The Unmasking of Robert-Houdin, published in New York by The Publishers Printing Company, is estimated at $1,500-2,000. It includes an inscription from Houdini reading, “To my old friend R.M. Scott with compliments and best wishes from the author, Harry Houdini 1908. May the perusal of my book conjure up pleasant memories of the dim past. HH.” Lot #360, a 1929 first edition of My Life of Magic by Howard Thurston, is estimated at $400-600. This book was published in Philadelphia by Dorrance & Company and is inscribed and signed by Thurston, “For my old friend “Tommy” Downs who has traveled the same road & speaks the same magic language. The road that is [illegible] much travelled. See you in Eternity Tommy. Affectionately Howard Thurston June 3/30.” Lot #415, a c. 1910 Harry Houdini translucent window decal is estimated at $2,500-3,500. This example, one of only a handful extant, retains its original printed instructions to verso describing the method for wetting the print and applying it to a glass window. And lot #373, a 1927 souvenir program from the second gathering of the International Brotherhood of Magicians is estimated at $400-600. It has lithographed string-bound wrappers designed by Merle Fleming; its final three pages are filled with dozens of autographs of magicians in attendance, including T. Nelson Downs, Harry Blackstone, Floyd Thayer, Rajah Raboid, Harlan Tarbell, S.S. Henry, Robert Nelson, and many others.
This sale rounds out with museum-quality offerings of stage costumes, magic sets, automatons, and magical-themed treasures that span traditional categories. Lot #494, Robert Heller’s c. 1870 top hat and leather carrying case is estimated at $5,000-7,000. This important artifact, from one of magic's great Victorian practitioners, is accompanied by documentation from descendants of Heller tracing ownership of the hat through the family. Lot #136, a c. 1985 Zdenkakey wound automata of a levitating doll, is estimated at $1,500-2,000. As the automaton performs, “Edelweiss” plays on a concealed Swiss Reuge music box. Lot #495, Doug Henning's c. 1985 floor length purple robe decorated with purple, blue, yellow, and silver stars and moons is estimated at $1,000-1,500. And its case closed with lot #311, a c. 1908 rare and early Mysto Magic Set, estimated at $600-800. This set includes many popular and well-made small props, all housed in a wooden crate stenciled with the word “magic" and decorated with a fan of four cards pasted to the top.
According to Gabe Fajuri, President at Potter & Potter Auctions, "Jim Rawlins was truly dedicated to building and developing a special collection of historically important magic memorabilia. I've seen how - in the nearly twenty years we've known each other - how he sought out the best of the best for himself, and especially how he focused on historically significant association items. He also managed to build a diverse collection that, while certainly strongest in the apparatus field, includes significant objects in all areas of the hobby: posters, ephemera, books, and costumes. Jim's refined taste and "eye" for the rare and unusual will be showcased in each of the four sales we have planned over the next two years, and I couldn't be happier to be the one bringing his collection to market."
Potter & Potter, founded in 2007, is a Chicago area auction house specializing in paper Americana, vintage advertising, rare books, playing cards, gambling memorabilia, posters, fine prints, vintage toys, and magicana - antiques and collectibles related to magic and magicians. Bids for these extraordinary offerings can be made in person at the sale, placed directly on the company's website, or by phone by arrangement. Please see www.potterauctions.com. for more information. Follow us on Facebook (potterandpotterauctions), Twitter (PnPAuctions), and Instagram (potterauctions).
Image: Lot 343, The Unmasking of Robert Houdin, estimate $1,500-2,000
Harriet Beecher Stowe Autograph Letter Signed 56439a_lg.jpegLos Angeles - A rare 1852 handwritten letter signed by renowned abolitionist Harriet Beecher Stowe will be auctioned by Nate D. Sanders Auctions on January 31, 2019.
Stowe, the author of the landmark novel “Uncle Tom’s Cabin,” was a famous abolitionist who supported the Underground Railroad. She and her husband Calvin Ellis Stowe temporarily hosted runaway slaves in their Cincinnati home and traveled extensively through New England. Stowe’s breakthrough 1851 novel depicted slavery’s cruelty and was influential in turning the north against the practice. President Abraham Lincoln was reported to have said to Stowe in 1862, “'so you are the little woman who wrote the book that started this great war.''
The letter being auctioned is a response to a correspondence Stowe received from an unnamed man who sent her an article about slavery’s negative impact on the country. Stowe’s letter written while she was in Andover, Massachusetts is dated October 27, 1852 and reads in part, “…I am obliged to you for sending me the 'text to my subject' enclosed in your letter. It will be a very good one. Any one that stirs up this subject of southern law as a defence of slavery emphatically wakes up the wrong passenger. Nothing more is needed than to awaken the attention of the public to an expose of the slave law system. If they desire law on this subject, they shall have it…” The letter continues with a request from Stowe to send her other advertisements which would help her in her crusade against slavery.
Bidding for the letter begins at $21,000.
Additional information on the letter can be found at
https://natedsanders.com/Superb_Harriet_Beecher_Stowe_Autograph_Letter_Sign-LOT51305.aspx
New York - LiveAuctioneers, the world’s leading online marketplace for exceptional fine art, antiques and vintage collectibles, has released its 2018 Annual Report indicating not only another year of record results that outperformed competitors, but also a continued year-over-year pattern of growth that remains unrivaled in the industry.
“Every year, LiveAuctioneers empowers auction-house partners to sell the most items possible to qualified art and collectibles bidders online. In 2018, over 630,000 items were won through LiveAuctioneers.com -- that’s 135,000 more than our closest competitor,” said LiveAuctioneers CEO Phil Michaelson. “Our team continues to find new ways to use incredible technology - including machine learning, streaming video, mobile apps, and auto-scaling cloud servers - to get the right bidders to the right auctions at the right time.”
A staggering $196.9 billion in total bid value was processed through LiveAuctioneers in 2018. Also, mobile bidding continued its nonstop upward run, with a 46% year-over-year increase in the number of users opting to bid via LiveAuctioneers’ mobile apps. In all, 653,474 bids were lodged through this method, a testament to the commitment LiveAuctioneers made to app technology in 2009 with the introduction of an app for iOS (Apple) devices and the first live-auction bidding app for Android.
LiveAuctioneers’ notable 2018 year-over-year comparisons include:
• An increase of nearly 756,000 new bidders, reflecting 162% growth in the U.S., 110% growth in Asia, 172% growth in Europe, and a 161% increase in the number of new bidders across the rest of the world
• 80% growth in lots sold via timed auctions with automated clerking
• 271% growth in bidders joining auctions through LiveAuctioneers’ Custom Websites
• 75% increase in Saved Search alerts, with 6.7 million Saved Items
In addition, in 2018:
• LiveAuctioneers’ traffic surpassed other live online bidding platforms by 65%
• Over 5 million results were added to the complimentary online price results database
• 100,000 estate and individual consignment leads were provided to auction-house partners
During 2018, there were 63.8 million auction registrations, and a 281% increase was seen in the number of potential bidders who placed a credit card on file. More than 433.3 million pageviews were recorded, leading to more than 77.1 million bids being placed through LiveAuctioneers.
On May 12, 2018, LiveAuctioneers partnered with cryptocurrency and decentralized title registry Codex to present a groundbreaking auction of crypto-theme art. All lots were successfully sold - 80% of them through LiveAuctioneers, including the top lot: Guilherme Twardowski’s “CryptoKittie.” The winning bidder purchased the digital artwork through LiveAuctioneers for $140,000 and paid with cryptocurrency.
“While leading the industry in innovation and sell-through rates, LiveAuctioneers also places a priority on providing stable technology solutions. Our cloud-based systems achieved 99.99% uptime during the broadcasting of 120,000 hours of live auctions in 2018, while at the same time supporting the largest volume of web traffic and deepest level of engagement in our sector. We’re known for being ‘first to market’ with revolutionary technologies such as mobile apps and automated clerking, and the year ahead will show that our world-class engineering team has not been resting on its laurels. The best is yet to come, and it’s going to benefit auction houses worldwide in ways they couldn’t even imagine.”
Click to view LiveAuctioneers’ Annual Report containing additional information about the company’s growth, trends and highlights of the past year.
Screen Shot 2019-01-29 at 10.06.29 AM.pngNew York—A first edition of one of the most influential books in Western medicine, De humani corporis fabrica (On the fabric of the human body) by the Flemish physician Andreas Vesalius, is the highlight of Bonhams sale of the Medical and Scientific Library of W. Bruce Fye in New York on Monday, March 11. It is estimated at $300,000-500,000.
Vesalius (1514-1564) was only 28, and a Professor at Padua University, when he published De humani corporis fabrica. It transformed the science of anatomy and the way it was taught, by applying the critical methods used by humanists.
Specifically, Vesalius:
• provided a fuller and more detailed description of the human anatomy than any of his predecessors
• corrected errors in the traditional anatomy teaching of Galen (the 2nd century Greek physician regarded as the father of medicine, and a major influence on Vesalius)
• asserted that the dissection of cadavers should be performed by physicians themselves
The book was published in Basel in 1543, with more than 600 pages of text and beautifully detailed engravings by artists from the workshop of Titian. It was originally owned by Vesalius’s great friend, the German physician Achilles Gasser.
Bonhams Director of Books and Manuscripts in New York, Ian Ehling, said: “De humani corporis fabrica is the cornerstone of the science of anatomy, and changed the way we looked at the world. The book itself, with its blend of scientific exposition, art and typography, is a pleasure to look at and hold, and the association with Achilles Gasser makes it even more desirable. I expect great interest from collectors and institutions.”
The sale of the Medical and Scientific Library of W. Bruce Fye comprises about 400 lots divided into four sections: Classics of Medicine; Johns Hopkins and the First Faculty; Early Medical Photography and Books and Manuscripts by important cardiologists. A further 400 lots will be sold in an online sale starting on March 12.
Highlights from the collection include:
• A letter signed by William Harvey (1578-1657), the royal physician to Charles I (estimate: $25,000-35,000)
• A very rare autograph manuscript of William Osler (1849-1919), a commentary on the remarkable knowledge of tuberculosis and its contagiousness (estimate: $6,000-8,000)
• First edition of Wilhelm Konrad Röntgen's (1845-1923) first original communication of the discovery of the x-ray (estimate: $6,000-8,000)
• An autograph letter signed by Edward Jenner (1749-1823) to an unidentified correspondent expressing pleasure for a patient's seeking a second opinion (estimate: $3,000-5,000)
vcsPRAsset_3568579_79012_959f49a9-65a2-4869-9341-5967db45e1c8_0.jpgParis — On February 20, Christie’s will present the Marc Litzler Collection, in collaboration with Bertrand Meaudre of Librairie Lardanchet. Composed of 248 lots, the Collection is notable for the quality and rarity of its illustrated editions and art books which comprise the majority of the sale. On public view and to be auctioned prior to the traditional book fairs in Spring, this sale will mark the opening of the bibliophilic season.The Marc Litzler Collection features what is considered to be the first “Painter’s book”, L’Apocalypse, executed by the artist Albercht Dürer, the result of two years of work and published in 1498. This publication includes a series of 15 xylographies, while the dual text columns were written and printed in Koberger’s workshop. Dürer breaks with the traditional medieval representations of the 15th century with a new and personal vision influenced by his trip to Italy to study the novel works of the Renaissance, featuring more dramatic subjects portrayed through wood engravings, and partly inspired by Schongauer’s etchings. L’Apocalypse is estimated at €150,000 - €200,000.
In contrast, the Marc Litzler Collection also features the groundbreaking Jazz by Matisse (1869-1954). Marking Matisse’s transition to a new form of medium, according to Jean Leymarie the publication is comparable to “an album of chromatic and rhythmic improvisation…with a lively and violent aura”. Made of 20 stenciled colour plates "from Henri Matisse's collages and cutouts" and a signed text, it takes the form of a succession of Matisse’s reflections and thoughts. Originally a gift from the editor Albert Skira to his wife Rosabianca for her birthday, this is offered with an estimate of €200.000 - €300.000.
Book lovers will also have the possibility to acquire the mythical object-book La Prose du transibérien et la petite Jehanne by Blaise Cendrars, illustrated by Sonia Delaunay (1885-1979).
This copy comes from André Lefèvre’s library, one of the most important modern art collectors of the 20th century. Maintained in a notable condition, the copy is provided with a painted cover by Sonia Delaunay, and the stenciled announcement banner that became even rarer than the Prose itself. The estimate is set at €150,000 - €200,000.
The Marc Litzler Collection demonstrates a fascination for binding. In addition to a predilection for Henri Creuzevault, the collector often mentions Les Cent vues du Mont Fuji, a masterpiece of the Japanese Print master, Hokusai, as one of his favorite books. Comprising three volumes, the copy was gently bound in the “Japanese style” by Jean de Gonet who used, for the flat parts, shagreen’s soft and tinted skin, and is estimated at €50,000 - €70,000.
The bookbinding realised by Georges Leroux on Georges Bataille’s Madame Edwarda, is adorned with arabesques implying feminine shapes and luscious lips. It is illustrated by Jean Fautrier and enriched with original drawings from the same artist who found inspiration from the erotic book he decorated (estimate: €12,000 - €18,000).
A notable bestiary is another highlight. Among the several illustrated copies of Histoires naturelles - Bonnard in 1904, Benjamin Rabier in 1918, Auguste Roubille in 1928 - the one by Lautrec is regarded as the most original. His admiration for animals, which he talked about with all the confidence of a specialist, enabled Henri de Toulouse-Lautrec (1864-1901) to produce this exceptional example comprising 22 lithographs, enriched by an exceptional Pierre Legrain bookbinding. Estimated at €40,000 - €60,000, this example also features an Edouard Degaine (1887-1967) wildlife lacquer on the first flat, one of the few contributions by this artist featured in book form.
Another bestiary, Apollinaire’s Bestiaire ou cortège d’Orphée (1911), in which the poet’s texts interact with the 39 woodcuts by Raoul Dufy, was finely bound by Jean de Gonet and is estimated from €25,000 - €35,000. The Second Livre de la jungle (1919) by Rudyard Kipling (1865-1936), illustrated by Paul Jouve (1878-1973), is estimated at €35,000 - €45,000 euros, and this edition marks the beginning of the partnership between Paul Jouve and François-Louis Schmied (1873-1941).
In addition to the 130 colour compositions by Paul Jouve interpreted on wood by Shmied, the owner of this copy further enriched it with seven original gouaches by Jouve.
Among the plurality of the subjects which inspired M. Litzler, we must pay special attention to those books illustrated by Georges Barbier, a significant fashion illustrator, as well as books displaying Paul Poiret’s creations.
Auction : 20 February 2019 at 2 pm
Viewings : From 15 to 20 February from 10 am to 6 pm except on Sunday from 2pm to 6 pm and Wednesday 20 from 10 am to noon
Christie’s : 9 avenue Matignon, 75008 Paris
Walt Kelly and Dr. Seuss Lot 56569A_lg.jpegLos Angeles - Three letters and two pages of illustrations by Dr. Seuss will be auctioned by Nate D. Sanders Auctions on January 31, 2019Screen Shot 2019-01-25 at 3.56.09 PM.pngNew York - Sotheby’s 2019 Americana Week auctions concluded yesterday in New York with an outstanding total of $21.3 million - our highest Americana Week series total since 2007*. Led by a printing of the celebrated William J. Stone reproduction of the Declaration of Independence that achieved $975,000, over 1,250 lots spanning more than five centuries of American history were sold over the course of five auctions.
The week began last Thursday with the first session of Important Americana, which offered a diverse array of silver, Chinese export ceramics and prints. The following day, on 18 January, more than 280 exquisite pieces of furniture and decorative objects from the collection of Nelson & Happy Rockefeller realized an impressive $3.3 million, led by a superb ensemble of Chinese export porcelain. Over the weekend, Sotheby’s presented the Collection of Anne H. and Frederick Vogel III - one of the finest assemblages of early Americana and early English pottery, which brought $4.2 million, with an outstanding 94.4% of lots sold. On Sunday, the important American folk art collection of visionary collector, David Teiger, achieved $2.5 million with proceeds to benefit Teiger Foundation — soon to be one of the world’s largest Contemporary Art foundations. The day continued with our second session of Important Americana, which totaled $6.8 million and was topped by a notable selection of fine furniture from distinguished private collections and institutions. Our success across all categories was sealed yesterday, with our dedicated offering of Fine Manuscript & Printed Americana achieving $4.5 million, led by exceptional historical documents that bear witness to the full sweep of American history.
Erik Gronning, Head of Sotheby’s Americana Department, commented: “We are pleased with the results of our 2019 Americana Week thus far - our horses galloped, eagles soared, shaker shook, ceramics shone and furniture shined through its original old surface. As the results show, both seasoned and new clients responded very favorably to our continued curated presentation of Americana across all categories as exceptionally made and historically important works of art.”
Yesterday’s Fine Manuscript and Printed Americana sale offered an impressive span of historical documents and artifacts chronicling the history of the United States from the colonial period through World War II.
The Americana Week series was led by the only known privately held copy of the celebrated William J. Stone facsimile of the Declaration of Independence for which provenance can be traced back to a direct ancestor who received it in 1824. The historical printing sold for $975,000 (estimate $600/800,000), acquired by Mr. David Rubenstein to be loaned to a Washington, D.C. institution. As the original Declaration became increasingly fragile, then-Secretary of State John Quincy Adams commissioned William J. Stone to engrave a facsimile on a copper plate in 1820. The present printing is marked by its exceptional provenance - it has descended through the family of its original recipient in 1824, Thomas Emory (1782-1842) of Maryland, through to the present owner. Adams may have presented this Stone Declaration to Emory in order to help win Maryland in the hotly- disputed presidential election of 1824. Earlier in the sale, probably the finest copy extant of the first book-form printing of the Declaration of Independence sold for $471,000 (estimate $300/500,000). Done by patriot printer Robert Bell on 8 July 1776, the present copy had descended through the family of a French officer serving in the American Revolution.
A broadside printing by John Dunlap of the official proclamation of the Treaty of Paris, signed by the President and Secretary of the Continental Congress, was another star of the auction series, selling for $855,000 (estimate $800,000/1.2 million). The broadside carries the complete, official text of the articles of peace signed at Paris that brought the Revolutionary War to an end, signed in type by David Hartley for Great Britain and by John Adams, Benjamin Franklin, and John Jay for the United States. Additional highlights across yesterday’s sale included a first edition, second state, original hand-colored copy of Paul Revere’s famous Boston Massacre print from 1770, an icon of the American Revolution that brought $362,500 (estimate $150/200,000), as well as a collection of personal items owned by the Marquis de Lafayette that descended through the family of his granddaughter to the present owners. The group featured a portrait of Lafayette at age 15, sold for $81,250 (estimate $25/35,000), as well as Lafayette’s mourning ring worn in memory of his “adopted father” George Washington, which brought $50,000 (estimate $25/35,000).
Canada Hitler Book.jpgOttawa, Ontario—Library and Archives Canada announced the recent acquisition of a rare 1944 book previously owned by Adolf Hitler.
The 137-page German language report, Statistik, Presse und Organisationen des Judentums in den Vereinigten Staaten und Kanada (Statistics, Media, and Organizations of Jewry in the United States and Canada), was compiled in 1944 by Heinz Kloss.
The data contained within the book provides details on population statistics in certain cities as well as key organizations and presses of Canadian and American Jewish communities.
This work hints at the story of what might have happened in Canada had the allies lost World War II. It also demonstrates that the Holocaust was not a purely European event, but rather an operation that was stopped before it reached North America. The book adds a great deal of insights worthy of reflection for Canada about World War II, and is an important tool to fight Holocaust denial.
The bookplate bears a stylized eagle, swastika, and the words “EX LIBRIS ADOLF HITLER” indicating it came from Hitler’s personal library.
The acquisition of this book highlights our mandate to acquire material that reflects the published record of Canada as well as to preserve the memory of the Holocaust. It is also a way to let us reflect on what would have happened in Canada had the Second World War ended differently.
Image: CNW Group/Library and Archives Canada
Yellow Submarine.jpgNew York -- A wide selection of important and timeless prints from heralded artists such as Steven Frykholm, Keith Haring, E. McKnight Kauffer, Alphonse Mucha, Edward Penfield, Henri de Toulouse-Lautrec, Andy Warhol and many others will be in Poster Auctions International’s Auction #77, scheduled for Sunday, February 24th.
The Rare Posters Auction will be held online at posterauctions.com, and in PAI’s gallery, at 26 West 17th Street in New York City. The auction will begin promptly at 11 am EST.
“From beloved masterpieces to rarely seen iterations, this auction is bursting with 435 lots,” said Jack Rennert, president of Poster Auctions International, Inc. “These include lithographs, maquettes, oil paintings, and rare books, with estimates ranging from $1,000 to $150,000. The offerings are suited to the newly inclined and seasoned collector alike.”
Notable in the catalog are full, rare collections, such as Steven Frykholm’s Herman Miller Picnic: 20 Posters - a delightful mid-century modern foray expected to command $14,000-$17,000; the lively Collection of 37 Polish Circus Posters (est. $5,000-$6,000); and Alphonse Mucha’s renowned four prints from The Seasons (est. $60,000-$70,000).
Sixteen additional Mucha works will be presented, including Bières de la Meuse (est. $25,000-$30,000), Job (est. $20,000-$25,000), a small format La Plume portion of the Plume et Primevère set accompanied by a hand-signed dedication (est. $12,000-$15,000); and the complete two-sheet of the rare Moravian Teacher’s Choir (est. $12,000-$15,000).
Also up for bid will be posters from Henry de Toulouse-Lautrec, to include classics like Aristide Bruant Dans Son Cabaret (est. $60,000-$70,000); and a hand-signed, dedicated Jane Avril (est. $100,000-$120,000). Rarities include a variation of Débauche, printed on silk in an edition of three, the only one known to be hand-signed (est. $50,000-$60,000).
Fans of Modernism will be treated to the dizzying and instantly recognizable drawings of Keith Haring, with works such as Keith Haring at FUN Gallery (est. $1,000-$1,200); The Montreaux Jazz Festival (est. $1,200-$1,500); and Absolut Vodka (est. $1,700-$2,000).
The Haring selections will be appropriately offered alongside Andy Warhol’s Bank/RCA Color Scanner (est. $1,200-$1,500) and their collaborative Rain Dance (est. $1,000-$1,200), with Roy Lichtenstein, Jean-Michel Basquiat and Yoko Ono. The experimental art scene of downtown New York City will feel very much alive at PAI’s Auction #77.
Sold will be rare posters for The Beatles’ films All This and World War II (est. $3,000-$4,000) and The Concert for Bangladesh (est. $1,500-$2,000), featuring hand-signed autographs by members of The Beatles, as well as Bob Dylan, Leon Russell, Elton John, Tina Turner, Rod Stewart and Peter Gabriel. Also certain to delight Beatles fans will be an Italian announcement for Yellow Submarine, which is expected to hit $1,700-$2,000.
E. McKnight Kauffer’s sensational use of line and color can be found in his elegant images for American Airlines (est. $1,000-$1,500), and his ambitious Underground / Power for the London Underground, which has a pre-sale estimate of $12,000-$15,000.
Further domestic delights will include Edward Penfield’ Save Wheat and The Girl on the Land (each est. $1,200-$1,500); as well as five posters for Harper’s (each est. $800-$1,500); and rare prints of Buffalo Bill in performance and film (range: $1,200-$6,000).
Rounding out just some of the auction’s anticipated highlights are works by Cappiello and Chéret, classics of early transportation, propaganda posters from around the world, and a wide selection of the best and most interesting Art Nouveau and Art Deco posters.
Pubic viewings will be held daily, from February 8th thru 23rd. For more information, visit www.posterauctions.com or www.rennertsgallery.com. Or, you may call the gallery at (212) 787-4000. The 180-page, full-color catalog is available for $40. Call to order one.
Jack Rennert, president of Rennert’s Gallery / PAI, is the world’s foremost authority on rare original poster art and is the author of over a dozen books on the subject, including the catalogue raisonée for the ‘father’ of modern French poster art, Leonetto Cappiello.
Image: Two-sheet Italian poster promoting The Beatles’ 1969 animated film Yellow Submarine, unsigned and by an anonymous artist, 52 1/2 inches by 76 7/8 inches (est. $1,700-$2,000).
Los Angeles - The J. Paul Getty Trust announced today it will present the annual J. Paul Getty Medal, its highest honor, to renowned Classicist Professor Mary Beard and artists Lorna Simpson and Ed Ruscha.
Established in 2013 by the trustees of the J. Paul Getty Trust, the J. Paul Getty Medal has been awarded to 11 distinguished individuals to honor their extraordinary contributions to the practice, understanding and support of the arts.
“We award the Getty Medal to recognize outstanding achievement in the fields in which we work,” said Maria Hummer-Tuttle, chair, J. Paul Getty Board of Trustees. “We are honored to present the medal this year to three leaders who have helped transform and deepen our understanding and appreciation of the visual arts and the humanities.”
James Cuno, president and CEO of the J. Paul Getty Trust, said of artist Lorna Simpson, “She is at once a photographer and multimedia artist whose work is both trenchant in its critique of race, gender, and identity, and exquisite in its formal beauty and technical execution.”
“I am humbled by this honor,” said Ms. Simpson. “I am so thrilled to receive the Getty Medal.”
Mr. Cuno hailed Mary Beard, Professor of Classics at Cambridge, author of numerous books on Roman history, Classics Editor of the Times Literary Supplement, and, with Simon Schama and David Olusoga, presenter of the BBC series “Civilisations,” as “one of the world’s premier public intellectuals and Classical scholars, whose scholarship is both deeply original and broadly accessible. Professor Beard has illuminated the ancient world for countless readers and students.”
Said Professor Beard, “I am very honored by this award, and appreciative of the Getty and its trustees for the work they do to further knowledge and appreciation of the ancient world.”
Mr. Cuno praised Ed Ruscha as “one of our generation’s most original artists, a distinguished and profound painter, draftsman, photographer and bookmaker who finds profundity in the commonplace, through art that is at once highly conceptual, elegant, witty and technically masterful,” noting the Getty Research Institute’s recent acquisition of Mr. Ruscha’s “Streets of Los Angeles” archive.
“I am deeply honored to join my fellow Getty Medalists in receiving the Getty Medal,” said Mr. Ruscha.
The awards will be presented in September at the Getty Center in Los Angeles.
Past recipients of the J. Paul Getty Medal have included Harold Williams and Nancy Englander, who were honored for their leadership in creating today’s Getty; Lord Jacob Rothschild, for his leadership in the preservation of built cultural heritage; Frank Gehry, for transforming the built landscape with buildings such as the Walt Disney Concert Hall; Yo-Yo Ma, for his efforts to deepen understanding of the world’s diverse cultures; Ellsworth Kelly, for paintings and sculptures of the highest quality and originality; Anselm Kiefer, for his powerful, complex paintings and sculptures; Mario Vargas Llosa, Peruvian writer, politician, journalist, college professor and recipient of the 2010 Nobel Prize in Literature; Thelma Golden, for her influential leadership; Agnes Gund, for her philanthropy and commitment to justice; and sculptor Richard Serra, who expanded our definition of sculpture.
Haggard Manuscript 4 copy.jpgA local BC author recently discovered a rare manuscript stowed in the archives at the Lake Cowichan Museum while doing research for an upcoming book. The manuscript was written by Lieutenant-Colonel Andrew Haggard, a famous Victorian author, who often visited the area on sporting trips, and eventually purchased an estate along the Cowichan River.
“I was only a few days into my research when I spotted an unassuming grey box sitting on a high shelf among some books. A label affixed to the outside read, “Haggard Manuscript.” Initially I was a little punch drunk at the sight of the label. I was well-familiar with the author's brother, H. Rider Haggard, from my book collecting exploits, but I almost didn't believe what I was seeing," says Dean Unger. "I quickly rationalized that it must be some kind of photo-stat copy. I was shocked to see an actual hand-written manuscript, fairly tome-like in aspect, tucked neatly inside. A note on top reads: “Col. Haggard Manuscript. Died late 20s. Came into the Green's possession when Colonel Haggard left Lake Cowichan for Victoria 1922 - 1924. Sealed into a garret at the Green place. The first manuscript page is titled, Book 1: Louis the Desired. Chapter 1: The Last Bourbon King.”
I didn't recognize the title as it was and wondered whether it might be an unpublished work, but some quick digging revealed that this is likely the first draft manuscript of what would later become what is arguable his most famous title, Louis XIV and Antoinette.
“I've collected books most of my adult life and have seen some beautiful rarities. This was the first manuscript, that has been raised to a level of esteem by its success over time, that I've seen in person. This a 19th century writer we are talking about here,” Unger says, “so to many people, is fairly obscure. Speaking in contemporary terms, Haggard's work itself is not considered on the calibre of a Hemingway or Poe, but is somewhere on par with an Atwood, or Robertson Davies. However, the fact it is hand-written (a non-sequitur these days) and is from the turn of the century, and contains seminal, definitive research by the hand of one of the best of the time, is significant.”
“I was keyed onto the subject of famous personages who'd once lived here by my good friend, Dustin Lebeaux, who explained that certain members of the Bram Stoker family had an estate here at one time, on the Youbou side. At first I was in disbelief. I began research on the subject and found that, in addition to the Stoker family, there were numerous writers and famous artists who travelled here, or set up shop in the Cowichan Valley during the 19th and early 20th centuries, attracted to the area by the majestic beauty here. Many of them touted the area as unequalled in the world - Rudyard Kipling was one of the Island's biggest advocates. These were bold assertions they were making. However, many of them were ex-military people, much decorated for campaigns in British-held territories from the 1850s onward. Others were diplomatic dignitaries who travelled for politics, rather than war. Any case, Vancouver Island fast became the rage back in the mother land, and many writers relocated to Victoria, and from there, further up-Island, seeking solitude and a place in the world from which to ply their craft. Among these were Rudyard Kipling, who was in Victoria for a time; Robert Service - who resided in Cowichan Bay, during his formative years in the early 1900s; the Stoker family; Frederick Whymper, the famous 19th century artist who was the hired to record visual impressions of the Vancouver Island Exploration Expedition in 1863, for posterity. There are many others who've come here over time. A little further this way time-wise, one of the Apollo 13 Mission astronauts, Edgar Mitchell, even spent several years of his childhood here in Lake Cowichan.
According to Tony Green, present owner of Greendale Riverside Cabins - what was once the Haggard property, it was Norm Wood, an English teacher at the Lake Cowichan High School, who prompted Green senior to help him search the attic for any clues of Haggard's presence. The manuscript was found and soon-after donated to the Lake Cowichan Museum.
In her Blog, An Angler's Paradise ~ Sport fishing and Settler Society on Vancouver Island, 1860s-1920s, Diane Pedersen, points out that Andrew and his wife, Jeannette Ethel Fowler, owned the retirement property in Lake Cowichan from 1906 to 1919. In 1906 the two purchased the property on the Cowichan River, less than a mile from the Riverside Hotel, and christened their estate “Camp Haggard” - an epithet that suggests a wry wit beneath his serious writer's mind.
The larger part of Haggard's canon of work comprised French histories, poetry, historical fiction, and roving accounts of his military exploits and sporting excursions. Through his fishing stories of angling on the wild and remote Cowichan River, he published in international sporting magazines and brought fame to the area's rich sport fishing. Later on, in 1914, Haggard was credited with saving the Cowichan River after he levied a state-of-the-nation statement titled, “Proposed act of violence” - essentially a letter-writing and publicity campaign through the auspices of the Victoria Times Colonist, and in strict opposition to a plan by the Vancouver Power and Land Company who intended to divert water to generate power. On March 11, 1914, Haggard's assertions to save the river were officially backed by Charles Lugrin, then editor of The Colonist. Both Haggard and Lugrin were ardent supporters of new environmental laws and thinking around sustainability and conservation that had then just begun.
Pedersen points out that an earlier story in the Colonist, dated April 19, 1893, states that the Haggards were ensconced at the Riverside Hotel, where they intended to remain for the newly opened fly fish season. This was among some of the earliest references to the author carousing in the area, thus his love affair with the region was borne. On May 26, 1899, the Colonist again reported that the Haggards had once again taken rooms at the Riverside and were officially the first guests to stay there after a recent hotel renovation was completed.
“Like his brother, another successful Victorian author, Henry Rider Haggard,” Unger says, “James adopted the technique of writing his manuscript entirely by hand, and with little editing or revision. This done, he would type-script the work and this would serve as his editing draft - the crucial first stages of the Haggard literary process. When compared to the eventual published book (1909), one can see his style begin to emerge as he became acquainted with his characters; decisions around word economy and refinement and imagery are evident. It's a rare glimpse inside his mind, his process, that would not be afforded otherwise.”
“The staff at Lake Cowichan Museum have done an excellent job of to preserve the subtleties of local culture here over time and through its emerging history,” Unger says. “In 1919, Haggard sold Camp Haggard to James Dunsmuir, Vancouver Island coal magnate. That the manuscript survived hidden there in the attic garret is incredible. The manuscript is, in a way, like a final gift to the community from Lieutenant-Colonel Andrew Haggard, that there yet remains a rare gem beneath our feet here in Cowichan.”
RGFyd2luIGxldHRlcnMucG5n.pngPeter Harrington, the UK’s largest rare bookseller, this year celebrates its 50th anniversary. In 1969 Peter Harrington, the founder of the business, issued the first catalogue from a stall at Chelsea Antiques Market on Kings Road and this year the business which carries his name is launching its 150th catalogue on Tuesday January 22nd. This special anniversary blockbuster catalogue offers fifty notable, and unique, books and manuscripts, from the fifteenth to the twenty-first century.
Pom Harrington, the owner and son of Peter Harrington Rare Books says “I know my father would have been staggered at some of the books that have passed through our hands in recent years and I hope this catalogue conveys the spirit of Peter Harrington. Where the future will take us, who knows? But we will keep doing what we love — finding rare and interesting books and manuscripts, and, equally important, new collectors to look after them.”
Pom Harrington joined the business in 1994 and this year celebrates his 25th anniversary.
Highlights of Catalogue 150 include:
• A newly discovered pre-publication inscribed copy of Love in the Time of Cholera by Gabriel Garcia Márquez (£50,000);
• A first edition of Frankenstein by Mary Shelley which is from a Stoke Newington circulating library (£275,000) and a groundbreaking manifesto of women’s rights written by Mary Shelley’s mother, Mary Wollstonecraft, over 200 years ago both of them uncut in their original boards bindings (£25,000);
• The captain of the Beagle’s own set of Darwin’s first published 4 volumes of his voyage to the Southern Shores of South America (£100,000) and a life-time correspondence between Darwin and the German botanist Friedrich Hildebrand (£125,000);
• A rare true first edition of Les Misérables by Victor Hugo in its original wrappers (£45,000);
• A copy of Casino Royale by Ian Fleming inscribed to his employer who allowed him special leave to write his James Bond novels (£135,000);
• A remarkably rare first edition of the paper Ada Lovelace, the first computer programmer, wrote which belonged to her maths tutor who has extensively annotated it (£250,000);
• The Second Folio, the first practically obtainable edition, of the collected Shakespeare plays bound in contemporary calf which makes it rare and desirable (£350,000);
• A notably rare first edition, first issue of Dracula which has been inscribed by Bram Stoker (£135,000);
• A 400-year-old plus copy of On the Fabric of the Human Body by Andreas Vesalius which marked the beginning of the study of modern anatomy (£250,000).
Catalogue 150 also contains remarkable books by Jane Austen, Charles Darwin, Winston Churchill, Leo Tolstoy, Karl Marx, Charlotte Bronte, Jeremy Bentham and James Joyce. The 50 unique books selected range in price from £22,500 to £350,000 and come from the fields of travel, economics, philosophy, medicine, poetry, mathematics, computing, as well as literature.
Peter Harrington Rare Books is a member of the Antiquarian Booksellers’ Association and offers an ‘unconditional guarantee’ for each item it sells on its authenticity and completeness, as described.
Image: Original autograph correspondence with Friedrich Hildebrand by Charles Darwin (1862-79) £125,000
chagall copy.jpgFalls Church, Virginia - An auction of fine-quality modern prints, posters and works on paper ranging from the late 19th century to present day is planned for Thursday, January 24, by the Waverly Rare Books division of Quinn’s Auction Galleries. More than 250 lots carry estimates of $200 or less, making them accessible to new collectors as well as those who are more seasoned in their buying. In addition to live bidding at the company’s northern Virginia gallery, Waverly is pleased to accept bids through all remote methods, including by phone, absentee or live via the Internet through LiveAuctioneers.
An impressive lineup of artists is represented in the sale, including David Hockney, Alfredo Castaneda, Tsuguharu Foujita, James Montgomery Flagg, Pablo Picasso, Joan Miro, Sol LeWitt, Marc Chagall, Marino Marini, Raphael Soyer, Jacques Villon, Clay Huffman, Salvador Dali, Charles Bragg and many others.
A serigraph in colors of the first silkscreen print by Mexican artist Alfredo Castañeda (1938-2011), titled Demostracion (Demonstration), carries an estimate of $2,000-$3,000. It is #46 out of an edition of 50 and is signed and dated 1974 in pencil. Presented in a 24- by 32-inch frame, the work comes with a certificate of authenticity and its original bill of sale.
Bearing one of the most recognizable images in all of American art, James Montgomery Flagg’s (1870-1960) iconic 1917 World War I offset lithograph poster titled I Want You, measures 40¾ inches by 31 inches in the frame (the sheet is 30 inches by 40 inches). Produced by Leslie Judge (New York), this poster of Uncle Sam encouraging enlistments to wartime military service should realize $5,000-$7,000 at auction.
An etching by Pablo Picasso (Spanish, 1881-1973) from the artist's edition of 310 titled Vollard Suite #53: Les Repos du Sculpteur devant le Petit Torse (1933) is signed in pencil and rendered on Montval laid paper with the Vollard watermark. Framed, it measures 15½ inches by 10¾ inches. The pre-sale estimate is set at $6,000-$9,000.
A single limited-edition porcelain plate by Sol LeWitt (American, 1928-2007), untitled and made especially for the Bonnefanten Museum in Maastricht, the Netherlands, will cross the auction block with an $800-$1,200 estimate. Measuring 11½ inches in diameter, the vibrantly hued plate is #439 from an edition of 500. It is artist-signed in glaze on verso. Sol LeWitt was a talented multimedia artist linked to various movements, including conceptual art and minimalism. He rose to fame in the 1960s, with hundreds of museums and galleries hosting solo exhibitions of his work since 1965.
A lithograph in colors on Arches paper by the renowned French-Russian artist Marc Chagall (1887-1985), titled David (1973), is estimated to garner $2,000-$4,000. It is signed in pencil at lower right and editioned (131/150) at lower left. Produced by Editions des Musees Nationaux in Paris, the lithograph’s sheet size is 12 inches by 9¾ inches; the frame measures 27¾ inches by 25 inches.
British artist David Hockney (b. 1937-) is one of the most highly valued of all living artists. His original creations sell well into the millions. A color offset lithograph of Hockney’s The Prisoner (For Amnesty International) from 1977, signed in pencil at lower right and editioned at lower left, should easily achieve $1,000-$2,000. The litho is edition #75 of 100 and comes in a 29¼-inch by 24-inch frame.
A rare artist’s proof lithograph in colors by Tsuguharu Foujita (French-Japanese, 1886-1968), titled La Reve (The Dream) from 1947, is expected to bring $4,000-$6,000. Signed in pencil at lower right and uniquely editioned “I.I” at lower left, the artwork measures 27¼ inches by 34¾ inches in the frame. It is signed H.C. (hors de commerce), indicating it was the artist's personal choice as best of the series and therefore was not to be made available for sale. Typically, artworks signed "H.C." are selected for use as the display example at exhibitions and/or to be presented as a gift to the publisher or retained for the artist's personal collection.
Waverly Rare Books is located at 360 South Washington St., Falls Church, VA 22046. The January 24 auction will commence at 6 p.m. Eastern time. Preview daily from 10 a.m. to 6 p.m., now through auction day. Refreshments will be served at the preview party to be held from 10 a.m. to 1 p.m. on Saturday, January 19. For additional information about any item in the sale, call 703-532-5632, extension 575; or e-mail waverly@quinnsauction.com. View the online catalog and register to bid absentee or live online, at LiveAuctioneers.com. Quinn’s and Waverly are always accepting consignments for future auctions. Visit Quinn’s and Waverly online at http://www.quinnsauction.com
Image: Lithograph in colors on Arches paper by Marc Chagall (French/Russian, 1887-1985), titled David (1973), signed in pencil lower right, est. $2,000-$4,000. https://www.liveauctioneers.com/item/68363272_marc-chagall-david-1973
rb-open copy.jpgIrvine, CA - Suntup Editions, publisher of fine limited edition books and art prints, is delighted to announce the upcoming publication of Ira Levin’s classic novel Rosemary’s Baby, with an exclusive introduction by Academy Award winning writer/director Jordan Peele.
The Limited edition is a quarter leather binding and is limited to 250 copies for sale. The leather spine is stamped in silver foil, and the boards are covered in Japanese cloth. Endpapers feature flecks of metallic gold and silver, and the edition is printed letterpress on Mohawk Superfine. It is housed in a custom cloth-covered slipcase.
Lettered Edition
Hillerman.jpegOakland, CA - The 52nd California International Antiquarian Book Fair, one of the world's largest and most prestigious exhibitions of antiquarian books, returns to Northern California, Friday, February 8 through Sunday, February 10, 2019 at the Oakland Marriott City Center. The Book Fair is known for its vast collection of rare books, treasures and curiosities that tell fascinating stories. Notable items this year include a $40,000 crayon drawing by Picasso, a first edition of Ansel Adams’ first book, an 1835 caricature of women’s fashion, a 130 year-old German pop-up book, the 1515 first use of Greek typography in Rome, and more.
Sponsored by the Antiquarian Booksellers’ Association of America (ABAA) and the International League of Antiquarian Booksellers (ILAB) and featuring the collections and rare treasures of nearly 200 booksellers from over 20 countries around the world, the three-day Book Fair offers a rich selection of manuscripts, early American and European literature, modern first editions, children’s books, maps and autographs, as well as antiquarian books on history, science, law, architecture, cooking, wine and a wide range of other topics.
From the wonderful to the weird, the 2019 Book Fair will feature thousands of interesting items, including these notables:
A Postcard from Picasso - Greetings from Cannes! An original six-color crayon drawing of a grinning face on a postcard that Picasso sent from Cannes to his friend’s son, Pablo, a six year-old boy named after the artist. Picasso wrote a note to the boy: “Para mi amigo Pablito, Picasso, 5.11.58.” Perhaps inspired by the treasured postcard, Pablo Frasconi would grow up to become an acclaimed documentary filmmaker. (Offered by Ralph Sipper Books at booth #304 for $40,000)
First Edition of Ansel Adams’ Taos Pueblo - Ansel Adams published his first book of photographs, Taos Pueblo, in 1930, when he was 28 years of age. This is the first edition of his first book, copy 46 of only 108 and signed by both Adams and Mary Austin, the book’s author. The book features 12 original photographs, including several formal portraits, intimate landscapes and architectural studies. The first edition sold out over a two-year period at .75 each. (Offered by Argonaut Booksellers at booth #903 for $45,000)
The Original ‘Math for Dummies’ - A teaching tool that pre-dated the popular “…For Dummies” series by 150 years, The First Six Books Of The Elements Of Euclid In Which Coloured Diagrams And Symbols Are Used Instead of Letters For The Greater Ease of Learners was created by Oliver Byrne to help students better understand the abstract theories of Euclid. Byrne was convinced that by using color and diagrams, students could learn the elements of Euclid in 1/3 of the time. Not surprisingly, this wasn’t a best seller: only 250 copies were sold. (Offered by Roy Young Bookseller Inc. at booth #311 for $6,400)
Edward Abbey's National Park Services Hat and Shirt - These two items were unique personal items belonging to Edward Abbey during the time he worked as a fire lookout in the North Rim of the Grand Canyon, beginning in 1971. This period in Abbey's life stands out because this was when he wrote his novel "Black Sun," a romantic story of a solitary man in nature, set in the North Rim. (Offered by Ken Sanders Rare Books at booth #1002 for $7,500)
Dying for Fashion - The things we do to look good! The horrors of fashion are depicted in “The Cholic,” an original hand-colored print by caricaturist George Cruikshank of London. The scene is a lean, elderly woman sitting on a setee shrieking in pain while little demons cinch her waist with rope and attack her with sharp objects while a heavy woman, bottle in hand, watches on laughing. The scene depicts the agonies of being fashionable and the abuse of women. (Offered by Dark Parks Books & Collectibles at booth #704 for $300)
Chinese Feminist Martyr - Qiu yu qiu feng [Memorial booklet for the executed feminist revolutionary Qiu Jin] is an original booklet published shortly after Qiu Jin’s execution in 1907 containing a collection of Qiu’s writings and musings from supporters. Qiu Jin was raised in a wealthy family in Shaoxing who left her arranged marriage and two children to join a group of expat revolutionaries in Japan. She advocated equal rights for women, including marriage by choice and the abolition of foot binding. After returning to China, she was eventually captured, tortured and beheaded for her “revolutionary” activities. She has since been hailed as a martyr. (Offered by Bolarium Books at booth #216 for $200)
Original Tony Hillerman Novels - Tony Hillerman brought the Southwest’s Four Corners area to life with his Navajo Tribal Police series of nonfiction murder mysteries. The popular series was illustrated by Navajo artist Ernest Franklin. Offered are several signed first editions of this series with original art by Franklin. (Offered by James M. Dourgarian Bookman at booth #206, $300 to $15,000)
A Collection of Sonnets by Elizabeth Barrett Browning - A first edition from 1897 with an exquisite white pigskin binding by Charles Ricketts - a celebrated binder of his time. (Offered by Nudelman Rare Books at booth #105 for $6,250)
Japanese Triptych from 1830 - When the Japanese government banned the use of extravagant colors in the mid-1800s, artists rebelled against these “Sumptuary” laws and got creative by using indigo coloring as alternatives. Tosei Fuzokukuo is a Triptych created in 1830 by Kuniyoshi. The use of indigo became very popular with the public. (Offered by Ohya-Shobo Co., Ltd. at booth # 612, for $6,800)
The true first printing of Beatrix Potter’s first and most famous book - This copy of The Tale of Peter Rabbit includes the author’s signed presentation inscription “For Miss [Caroline] Hutton with love from Beatrix Potter Christmas 1901”. Potter was 27 and living at home when she wrote The Tale of Peter Rabbit. Five publishers rejected her illustrated manuscript but Potter arranged for it to be privately printed and its immediate success launched her career. (Offered by John Windle Antiquarian Bookseller #618 for $125,000.
Original Pop-Up Book - They don’t make ‘em like they used to. International Circus by Lothar Meggendorfer from 1887 is a first edition pop-up book that is considered a masterpiece of the genre. The book showcases a circus in incredible detail with pop-up artwork. (Offered by Roy Young Booksellers at booth #311 for $4,750)
First use of Greek typography in Rome - An important early printed edition of Pindar's Odes, produced at Rome by Zacharias Kallierges in 1515, which includes the first use of Greek typography in Rome, as well as the first extensive classical and medieval scholia of this ancient Greek lyric poet. (Offered by Hackenberg Booksellers at booth #707 for $7,500)
The Book Fair will also highlight Matthew Wills, the winner of the first-ever California Young Book Collector’s Prize from the Northern California Chapter of the Antiquarian Bookseller’s Association of America (ABAA). The competition was open to California collectors aged 35 and under, and their works. Wills’ collection “Anti-Confucian Propaganda in Mao’s China” will be on display in the exhibits area.
This year’s Book Fair will also include a special exhibit by the Book Club of California, an active association of over 800 major California collectors with interests in rare books and manuscripts of all types. Founded in 1912, the Club’s library is dedicated to collecting and sharing works of California fine printers; resources on book making, book design, and book history; and books of historical significance. One side of this bi-faceted exhibit will display a selection of materials by California women printers and book artists, with a spotlight on Jane Grabhorn’s test prints for the illustrations of the Grabhorn Press’ Shakespeare plays.
Joel Harris, a local member of the International Wizard of Oz Club, will be loaning a portion of his collection for a curated exhibit of first edition books by L. Frank Baum and the subsequent authors of the “Wizard of Oz” series. The theme of a Saturday lecture jointly sponsored by the Antiquarian Booksellers' Association of America and the Bibliographical Society of America will be Cyclone on the Prairies: The Magic of the Land of Oz.
Designed with the budding collector in mind, "Book Fair Finds" is a program in which dealers spotlight items priced at $100 or less. Visitors can look for the Book Fair Finds sign in participating booths.
Other highlights of the Book Fair include an interactive and entertaining exhibition that showcases local artists and organizations specializing in book arts. Calligraphers, bookbinders and a small press operator will once again be creating unique souvenirs for attendees to take home.
The Book Fair is BARTable! The event’s venue in downtown Oakland is an added convenience for bibliophiles. The Oakland Marriott City Center is just steps away from the 12th Street BART Station, making it easily accessible to attendees from San Francisco and all over the East Bay. Out-of-town visitors can stay onsite at the Marriott, plus fair visitors arriving at both Oakland and San Francisco airports can take BART directly to the venue.
Media sponsors for the Book Fair include: KQED, ABC7, The San Francisco Chronicle/Datebook and BART.
Tickets and Information
The 52nd California International Antiquarian Book Fair will be held at the Oakland Marriott City Center at 1001 Broadway in downtown Oakland from 3 p.m. - 8 p.m. on Friday, February 8; 11 a.m. - 7 p.m. on Saturday, February 9; and 11 a.m. - 5 p.m. on Sunday, February 10.
Friday Opening Day admission tickets are $25; Saturday and Sunday tickets are $15. Tickets allow return admission for the remainder of the fair. For more information about tickets or exhibiting, visit www.cabookfair.com. Free admission for all students with a current valid student ID.
For more information about the 52ndCalifornia International Antiquarian Book Fair, please visit the website at www.cabookfair.com or contact Fair Managers Doucet Productions at info@cabookfair.com, (415) 919-9220.
Screen Shot 2019-01-16 at 9.13.51 AM.pngNew York — In its 40th year, the Greenwich Village Antiquarian Book Fair is a West Village neighborhood tradition that brings together some of the country’s best known dealers, collectors, and community members to benefit PS3 The Charrette School. This year’s event will take place on Feb. 16-17 at the historic school.
Those with a keen eye for rare and vintage books, first editions, ephemera, posters, art books, unique children’s books, manuscripts, and hard-to-find collections are sure to uncover something coveted. Dealers at this fair are eager to help collectors new or veteran navigate the items for sale..
“We’re thrilled to gather some of the world’s preeminent dealers under one roof for a fair that has become a touchstone of this tightknit community,” said Marvin Getman, founder of Book and Paper Fairs, who is managing this year’s event for the third time. “While the fair has its roots in this neighborhood, it’s an opportunity for anyone with an interest in starting or growing a collection, or finding a one-of-a-kind gift.”
The Greenwich Village Antiquarian Book Fair is one of many fundraisers that help to provide exceptional academic and extracurricular activities for students in grades pre-k through 5.
“We’re pleased to be featuring a section for photo dealers specializing in snapshots, ambrotypes, daguerreotypes, cyanotypes, cabinet cards, tintypes, CDVs, and photo albums.
The public is welcome to visit the fair on Saturday, Feb. 16, from 11 a.m. to 6 p.m., and on Sunday, Feb. 17, from 11 a.m. to 5 p.m. Admission is $10 per person. Half price coupons are available on the website GVABF.com. Children under 16 and students with a college I.D. are admitted free. The school is located at 490 Hudson St. in the West Village.
Lexington, Mass.-based Book and Paper Fairs specializes in the production of rare book and ephemera fairs in the Northeast. The company organizes notable events such as the New York City Book and Ephemera Fair which this year is adding the first Booklyn Artists’ Book Fair featuring 40 talented book artists, the Brooklyn Antiquarian Book Fair, The Ephemera Fair in Greenwich, CT., and the Boston Book Print and Ephemera Fair.
For more information about this or the other fairs contact Marvin Getman at info@bookandpaperfairs.com.
Portrait-1-.jpgThe Library of Congress has acquired and made available online the
Image: A portrait of Omar Ibn Said around the 1850s. Photo courtesy of Yale University Library.
Lot 291-Les Maîtres.jpgNew York--Swann Galleries will offer a sale of Vintage Posters on Thursday, February 7. The auction comes packed with memorable Art Nouveau images and rare advertisements, alongside seasonal ski and winter resort posters.
Ski and winter posters are well represented with Walther Koch’s 1908 Art Deco inspired poster for the World Allround Speed Skating Championships in Davos, Switzerland (Estimate: $4,000-6,000). The German version of Emil Cardinaux’s advertisement for skiing in Switzerland from 1919 depicts a snowy scene of skiers as they overlook the Aletsch Glacier ($3,000-4,000). Advertisements for North American winter destinations include Roger Couillard’s Visit Canada / Travel Canadian Pacific, circa 1955, ($1,000-1,500), and Willian Willmarth’s Sun Valley Idaho / Summer Holiday, 1939 ($2,000-3,000).
Also available are posters advertising travel to popular destinations of the time such as Vichy, 1911, by Louis Tauzin ($3,000-4,000) and Southport, circa 1935 by Fortunino Matania ($5,000-7,500); additionally, images promoting travel by ocean liner, rail and plane form a robust section of the sale.
Among the rarities offered in the sale a 1927 poster for the Stockholm premiere of Josephine Baker’s silent film La Sirène des Tropiques stands out. The image is rendered after a photograph taken by Lucien Walery which had appeared in a program for the Folies Bergère and depicts the star in her recognizable “pearl and feather” costume. The poster comes across the block estimated at $12,000 to $18,000.
Italian and French poster designer Leonetto Cappiello is present with a run of lots including “Borea” / Calze per Uomo, 1923, an amusing poster for men’s socks, and Lait Gallia, 1931, a first at auction for the image, each estimated at $4,000 to $6,000, and Contratto, 1922, which is expected to bring $3,000 $4,000.
Nicholas D. Lowry, Director of Vintage Posters, noted of the auction, "In many ways, it is books and portfolios that steal the show in our sale. Those offered are among the rarest and most desirable editions in the poster world. The publications fall into the Art Nouveau category which is as strong a category as it has been in many years and includes masterworks by Alphonse Mucha, prominent and talented artists of the era, as well as the books.”
The sale is led by Les Maîtres de L’Affiche, a breathtaking group of five complete volumes-a total of 256 plates-of reproductions of the most notable posters from Europe and America as selected by the famed critic Roger Marx. Published from 1896-1900, each plate is a full-color lithograph bound in special bindings by Paul Berthon and carries an estimate of $40,000 to $60,000. Additional portfolios include a rare standout work by Alphonse Mucha, Documents Décoratifs, 1902, complete with 72 plates displaying examples of jewelry, furniture and silverware, as well as illustrating how to draw women and flowers each demonstrating Mucha’s stylistic expertise ($15,000-20,000), and L’Estampe Moderne, 1897-99, a complete volume of 100 plates designed by favorite artists of the day ($15,000-20,000).
Works by Mucha stand out in of a run of ethereal Art Nouveau images. Highlights include two offerings of the artist’s allegorical rendering of The Seasons, both from 1896 ($8,000-12,000 and $20,000-30,000, respectively), and the artist’s advertisements for Job cigarettes are present with versions from 1896 and 1898 ($10,000-15,000 and $6,000-9,000, respectively). The Italian poster, Biscottini E. Amaretti Desler, circa 1900, by Osvaldo Ballerio, makes its auction debut at $4,000 to $6,000. [La Vitrioleuse], 1894, by Eugène Grasset is the artist’s most accomplished example of Japonisme. Initially printed for L’Estampe Originale, the lithograph depicts an unusual subject matter for Art Nouveau: woman filled with vitriol holding a cup of poison, however, the work remains an outstanding example of the genre ($2,000-3,000).
A selection of political and wartime advertisements, as well as artist and exhibition posters with the likes of Jean Cocteau, Miró and Picasso, and Pop artists Robert Indiana and Roy Lichtenstein will round out the sale.
Exhibition opening in New York City February 2. The complete catalogue and bidding information is available at www.swanngalleries.com.
Image: Lot 291: Les Maîtres L’Affiche, various artists, group of five complete volumes, 1896-1900. Estimate $40,000 to $60,000.
mappingspace18_low.jpgLos Angeles - Photography’s dynamic relationship to the landscape can be traced to the origins of the medium, when the camera offered a revolutionary method for recording the world. The 19th century witnessed a range of approaches, from land surveys that systematically documented the topography of unsettled regions, to artistic depictions of nature’s majesty that rivaled landscape painting. Beginning in the 1960s, many artists sought novel approaches to representing their surroundings by incorporating personal, critical, and symbolic references to their work. Mapping Space: Recent Acquisitions in Focus, on view February 26-July 14, 2019 at the J. Paul Getty Museum, features a selection of recently acquired works by artists whose photographic views have been informed by new ways of thinking about a familiar subject.
On view at the Getty for the first time are works by five artists: Robert Kinmont (American, born 1937), Wang Jinsong (Chinese, born 1963), Richard Long (English, born 1945), Mark Ruwedel (American/Canadian, born 1954), and Uta Barth (German, born 1958). These artists draw from a variety of influences, ranging from photography’s documentary tradition to Conceptual Art, a movement that first gained significance during the 1960s for its prioritization of ideas over the production of objects. Operating against conventional notions of landscape photography, each of these artists has developed his or her own approach to site-specific spaces.
“The In Focus gallery in the Center for Photographs provides us an opportunity to highlight the Museum’s collection in telling ways, frequently with thematic overviews of the history of the medium, or, as in this case, by emphasizing recently acquired works that indicate an area of collecting interest,” says Timothy Potts, director of the J. Paul Getty Museum. “Spanning almost half a century, from the late 1960s to 2012, the works in this presentation build on the Museum’s important holdings of landscape photography while revealing the importance of site-specificity and a personal response to our environment.”
Robert Kinmont’s photographs of the landscape emphasize the mundane over the majestic. His series of gelatin silver prints My Favorite Dirt Roads (1969) features empty and unpaved roads that lead to Bishop, California, where the artist grew up. These images show open, unpaved roads and views of the horizon that, with their occasional stippling of powerlines, indicate the presence of communities. In documenting the vastness of this remote landscape, Kinmont communicates a personal connection to a place that most people would overlook.
Destruction, symbolism, and power are encapsulated in Wang Jinsong’s series One Hundred Signs of the Demolition (1998). Depicting brick walls painted with the Chinese character “chai,” which translates to “tear down,” these photographs document buildings slated for demolition in order to make way for new construction. The artist’s decision to focus on a written notice that signals demolition instead of the act, or the aftermath, serves as a quiet critique of a carefully coordinated government practice of the 1990s that discarded vestiges of the past to accommodate rapid growth in cities such as Beijing. The massive scale of these prints, their extreme frontal view, and the elimination of all architectural surrounds heighten the immediacy of this programmatic urban transformation.
Richard Long’s iconic work A Line Made by Walking (1967) depicts a field outside of London in which the grass has been flattened in a straight line by the artist’s footsteps. Performed in the landscape, this modest intervention underscored the potential for an ordinary act to become a work of art that is a meditation on the relationship between the artist and the landscape. This photograph reflects not only the artist’s interest in nature but represents his role in the Land Art movement that emerged in the late 1960s and operated on the notion of direct engagement with the environment.
Mark Ruwedel’s We All Loved Ruscha (15 Apts.) (2011-2012) is deeply informed by the legacy of Conceptual Art. In returning to the urban and suburban locations of the apartment buildings originally captured by the artist Ed Ruscha (American b. 1937) almost 50 years earlier and published in the 1965 book Some Los Angeles Apartments—photographs from this publication are well represented in the Getty’s collection—Ruwedel pays homage to a project that is widely associated with defining the tone of West Coast Conceptual photography. Displaying the same deadpan approach that became a hallmark of Ruscha’s style, these photographs are also documents of the changes these buildings have undergone.
Photography’s perceived ability to faithfully describe the environment has long been a central concern for Uta Barth. Made between 1981 and 1982, the nine untitled gelatin silver prints in this exhibition present some of her earliest investigations of the medium’s limitations in conveying the spatial dimensions of a specific area. After photographing her immediate surroundings, Barth marked the surface of each print with black and red grease pencils to delineate various compositional elements. The inclusion of numbers, brackets, and occasional curvilinear forms suggests a desire to create a rational order. These markings also guide the viewer’s eyes to consider areas of each print that are not the obvious subject, thereby creating additional layers of meaning.
“Conceptual Art has been a major source of inspiration and influence for many contemporary photographers,” says Arpad Kovacs, assistant curator of photographs at the J. Paul Getty Museum and curator of the exhibition. “The Department of Photographs has made the collecting of Conceptual photography a priority over the last decade and this show provides an opportunity to display some of the works acquired.”
Mapping Space: Recent Acquisitions in Focus is on view February 26-July 14, 2019 at the J. Paul Getty Museum, Getty Center. The exhibition is curated by Arpad Kovacs, assistant curator of photographs at the J. Paul Getty Museum.
Image: © Mark Ruwedel Object Credit: The J. Paul Getty Museum, Los Angeles, Purchased in part with funds provided by Daniel Greenberg and Susan Steinhauser
Minnesota Center for Book Arts (MCBA) announced today that Elysa Voshell will be its next Executive Director. Elysa Voshell will lead a new era of community engagement and sustainability for the internationally-recognized book arts organization. Voshell joins MCBA from Venice Arts, a nonprofit media arts organization in Venice, CA, dedicated to igniting, expanding, and transforming the lives of Los Angeles’ low-income youth through photography and film education. As Venice Arts’ Associate Director, Voshell provided broad leadership and managed day-to-day operations of the organization. She has been with Venice Arts since 2009. Additional career highlights include her role as Associate Editor at the Philadelphia Museum of Art, Staff Writer at the Institute of Contemporary Art, University of Pennsylvania, and Artist in Residence in Book Arts at the Oregon College of Art and Craft.
KC Foley, MCBA Board Chair, speaking on behalf of the board and search committee, stated, “We are delighted to have attracted someone of Elysa Voshell’s talent and accomplishment. She brings all the key skills that MCBA needs to be successful at this stage in its history. As a graduate of the Arts Innovation & Management program from the DeVos Institute of Arts Management, Elysa not only understands the value of successful education and community programs, but also the importance of strong fiscal management and integrated marketing and development. Her track record of working with diverse communities, broadening funding sources,and building stable financial foundations are exactly what MCBA needs going forward.”
Voshell will assume the directorship of MCBA in late January 2019. She states, “Coming to MCBA feels like a synthesis of my key passions: creating and stewarding accessible nonprofit arts spaces that foster the creativity of others, and my own artistic practice in book arts and letterpress. My passion for the arts and their ability to transform individuals and communities goes beyond my career; it is an essential part of my character. I am humbled to be named MCBA’s new Executive Director, and to have the opportunity to lead this incredible organization into its next phase of development.”
“Elysa has been an extraordinary leader at Venice Arts. She’s a creative and strategic thinker, an excellent designer and communicator, and a caring and thoughtful leader. While I’m sad to see her leave, I can’t think of a better position for her, marrying her nonprofit experience with her artistic practice. MCBA is so lucky to have her and, I am certain, she will be instrumental in MCBA’s future success,” comments Venice Arts’ founder and Executive Director, Lynn Warshafsky.
Voshell notes the similarities between Venice Arts and MCBA as hubs for creative practice, education, and community: “Venice Arts serves as a vibrant center for photographic and film education, creation, and presentation in Los Angeles, much as MCBA does for the fields of letterpress printing and book arts not only in Minneapolis but also around the country and around the world. I’m so impressed with the scope and vitality of MCBA’s programs, and with the creative community that is fostered here. MCBA’s world-class printing facilities not only preserve an incredible array of printing, papermaking, and binding equipment, but also make these beautiful, specialized tools available to community members of all ages. I am looking forward to working with MCBA’s Board, staff, and community stakeholders to grow MCBA’s programs and support, and expand the communities it serves.”
MCBA’s search committee—which consisted of board members Ronnie Brooks, KC Foley, Mary Pat Ladner, Monica Edwards Larson, Diane Merrifield, and Deborah Ultan, as well community representative Cathy Ryan—began the national search in July, ultimately interviewing 10 finalists from around the country for the position. “The search committee was impressed by the depth and breadth of the pool of candidates. But Elysa, with her strong background in arts management and leadership, as well as her commitment to the arts community and the role of book arts in the contemporary art world, stood out as someone with the vision to lead MCBA forward,” commented Cathy Ryan.
For the past year and a half, Amanda Kaler has served as Interim Executive Director, as well as Director of Development. “We were fortunate during this time that our Development Director, Amanda Kaler, was able to fill the Interim Executive Director role, as we clarified our organizational needs and conducted a national search for our next Executive Director,” said Diane Merrifield, past Board Chair. Kaler, who has been with the organization since 2013, will become Director of Development and Operations and will continue to work with Voshell on MCBA’s strategic vision.
A native of the Philadelphia area, Voshell has nearly two decades of experience as an artist, curator, and arts executive, and a deep commitment to fostering creativity and expanding cultural equity, diversity, and inclusion, as well as to the book arts form. As Venice Arts’ Associate Director, Voshell led initiatives that enabled the organization to grow both its visibility and community support, leading public programming, strategic planning, development, and communications. As the organization’s first Gallery & Public Programs Director, launched in 2010, Voshell built this new programmatic initiative from the ground up, forging community partnerships and organizing dozens of exhibitions and over 100 public programs.
Before joining Venice Arts in 2009, Voshell worked as the Staff Writer at the Institute of Contemporary Art, University of Pennsylvania, served as the Exhibitions and Events Board Chair of the Philadelphia Center for the Book, and was an Artist in Residence in Book Arts at the Oregon College of Art & Craft, as well as a Fellow at the Center for Book Arts in New York. She started her career as an Associate Editor at the Philadelphia Museum of Art.
Voshell holds an MA in Book Arts from Camberwell College of Arts, University of the Arts London, and a BA in English/Creative Writing and MLA in Visual and Curatorial Studies from the University of Pennsylvania. Her masters’ thesis exhibition, Reading in Installments: Book Arts Meets Installation, was selected as the Visiting Curator exhibition by Philadelphia’s Center for Emerging Visual Artists, and Voshell’s work and writing has appeared in Paperback LA, The Blue Notebook, and the Lark Books’ 500 Artists Books series.
Screen Shot 2019-01-15 at 3.36.53 PM.pngPasadena, California - Rare Books LA, an antiquarian book, fine print, and photography fair featuring more than 120 specialist dealers from around the world, will showcase books from the private library of Hugh M. Hefner (1926-2017). The Playboy founder was a champion of First Amendment rights who launched the groundbreaking men’s lifestyle magazine and built it into an empire by transforming Playboy into an iconic global brand.
Books from Hefner’s library will be offered for sale by johnson rare books & archives, located in Booth 718 at Rare Books LA, which is being held at the Pasadena Convention Center, 300 E. Green Street. The event is open to the public on Friday, February 1 from 2 p.m. to 8 p.m. and Saturday, February 2 from 10 a.m. to 6 p.m. Opening night tickets are $20 with all proceeds benefitting The Huntington Library. Saturday show tickets are $10 and can be purchased on site or through the website: www.RareBooksLA.com
“My father’s book collection showcases some of the extraordinary contributors to Playboy magazine through the decades, including Gahan Wilson, Shel Silverstein, George Plimpton, David Halberstam, Helmut Newton and Gay Talese," said Hefner’s daughter Christie Hefner.
Along with books by these writers, one of the most iconic books from Hefner’s library being offered at Rare Books LA is an inscribed first edition of Ian Fleming’s On Her Majesty’s Secret Service (1964). The novel was serialized in Playboy before its publication in book form.
“We are honored to represent Hugh Hefner’s library at Rare Books LA and to help find new homes for the books that once filled the shelves of the Playboy Mansion,” said Jen Johnson, co-owner of johnson rare books & archives and producer of Rare Books LA.
Hefner published the first issue of Playboy in 1953. Celebrities and models clamored to pose for the magazine that showcased beautiful women, lifestyle advice and some of the most acclaimed and famous journalism and literary pieces of all time, including a 1965 sit down with Martin Luther King Jr., 1974’s "The Great Shark Hunt" by Hunter S. Thompson, and fiction by Margaret Atwood.
“This collection provides a link to a man who was more than just an icon, he was a self-made businessman, artist, advocate for First Amendment rights, and so much more. His library not only reflects his personal interests but also his influence on our society and popular culture,” said johnson rare books & archives co-owner Brad Johnson.
The net proceeds from sales of books from his library will benefit The Hugh M. Hefner Foundation. Since its founding in 1964, the Foundation has supported organizations that advocate for and defend civil rights and civil liberties, with special emphasis on First Amendment rights and rational sex and drug policies.
The legendary magazine founder was recognized as one of the leading voices in the ongoing battles for freedom of expression, civil rights, and sexual freedom, including reproductive and LGBT rights.
theprintedworld-promo-1000x563.jpgThe Printed World: Masterpieces of Seventeenth-Century European Printmaking opens February 3 and remains on view through March 24, 2019, at the Harnett Museum of Art, University of Richmond Museums. The seventeenth century, often called the age of the Baroque, was a period that saw important changes to European society and culture. The settlement of the Americas and continuing exploration of the planet, motivated by religion and commerce, are symbolic of the ambitious spirit of the time, which confronted newness in many realms. In particular, the scientific revolution, with the invention of the telescope and the microscope, furthered new ways of seeing the world empirically. This is also an important era of consolidation: in politics, rulers such as Louis XIV of France and Philip IV of Spain dominated; the religious climate included the Counter-Reformation seeking to overcome Protestant beliefs that had arisen in the sixteenth century; and large-scale wars were carried out by sacred and secular armies.
These historical changes had a deep impact on the art of the time, perhaps nowhere more extensively than in the medium of prints, which were quickly distributed and had broad and engaged audiences. Etching became the dominant form of expression, with great artists such as Rembrandt exploiting the aesthetic capabilities of the medium. In seventeenth-century prints, subjects from biblical and classical literature reached a new refinement, while landscape achieved a new prominence. The exhibition examines these developing genres and how they were depicted by the printmakers of the Baroque period.
Selected from the Frank Raysor Collection and the Harnett Print Study Center Collection, the exhibition features works by more than thirty artists, such as Jacques Callot (French, 1592-1635), Stefano della Bella (Italian, 1610-1664), Hendrick Goudt (Dutch, 1583-1648), Wenceslaus Hollar (Bohemian, 1607-1677), Claude Lorrain (French, 1604-1682), Rembrandt van Rijn (Dutch, 1606-1669), and Jacob van Ruisdael (Dutch, 1628-1682).
The exhibition is a collaboration of the University of Richmond Museums with Frank Raysor and the Virginia Museum of Fine Arts, Richmond. It includes selections from the Harnett Print Study Center Collection, University Museums, and promised gifts to the Virginia Museum of Fine Arts from the Frank Raysor Collection. Presented as a companion to Hollar’s Encyclopedic Eye: Prints from the Frank Raysor Collection (on view February 2 to May 5 at the VMFA), the exhibition was curated by Mitchell Merling, Paul Mellon Curator and Head of the Department of European Art, VMFA; Richard Waller, Executive Director, University Museums; and Morgan Mitchell, ’20, art history major, the 2018 Harnett Summer Research Fellow, and Curatorial Assistant, University Museums. The exhibition and related programs are made possible in part with funds from the Louis S. Booth Arts Fund.
Sunday, February 3, 2:00 to 3:30 p.m., Curators’ Talk and Reception, Harnett Museum of Art, Modlin Center for the Arts: “Deciphering Prints of the Seventeenth Century." Richard Waller, Executive Director, University Museums, and Morgan Mitchell, ’20, art history major, 2018 Harnett Summer Research Fellow, and 2019 Curatorial Assistant, University Museums. Reception and viewing of the exhibition follow talk. Harnett Museum of Art, Modlin Center for the Arts.
Monday, February 4, 1:30 to 2:30 p.m., Gallery Walk-Through with the Curators, Harnett Museum of Art, Modlin Center for the Arts. Richard Waller, Executive Director, University Museums, and Morgan Mitchell, ’20, art history major, 2018 Harnett Summer Research Fellow, and 2019 Curatorial Assistant, University Museums.
Image: Giovanni Benedetto Castiglione (Italian, 1609-1664), Noah and the Animals Entering the Ark, circa 1650, etching on laid paper, 8 x 15 3/4 inches, Joel and Lila Harnett Print Study center, University of Richmond Museum, Gift of the Richmond Public Library Board of Trustees, by transfer, H2008.01.070
New York — Doyle to the role of Chief Executive Officer (CEO) and Joanne Porrino Mournet to the role of President. The appointments mark a new generation of leadership at one of the world’s premier auction houses. Kathleen M. Doyle, who has served as the company’s CEO for the past twenty-five years, will continue as Chairman, and Kenneth McKenna will continue as Chief Financial Officer (CFO).
Established in New York in 1962, Doyle is recognized worldwide for its commitment to providing professional auction and appraisal services of the highest standard. A vital player in the global auction market, Doyle combines vast scholarship and in-depth knowledge of industry trends with the latest digital strategies and technological capabilities. This winning strategy attracts thousands of seasoned buyers and newly affluent collectors from over ninety countries around the world, setting world auction records across all sale categories.
“Laura Doyle and Joanne Mournet are experienced and accomplished business professionals who will continue to advance the expansion of Doyle while adhering to our core values of Integrity, Expertise and Service,” said Kathleen Doyle. “I am delighted to be working alongside this dynamic team leading us into the future!”
“I am passionate about the auction business. We are so fortunate to work with beautiful objects and fascinating people,” said Laura Doyle. “New generations of buyers are continually entering the auction market globally, creating new trends in collecting. Never has there been a more exciting time in our industry!”
“Doyle is privileged to bring to auction property from distinguished collections and prominent estates throughout the year,” said Joanne Mournet. “Together with our team of specialists and regional representatives, I look forward to expanding our relationships with the national trusts and estates community while maintaining the level of excellence that our clients rely on.”
The youngest daughter of company founder William Doyle, Laura Doyle quite literally grew up in the auction business. During her almost twenty years at Doyle, she has spearheaded digital strategies and continues to implement new technological capabilities with an eye toward the future. An accomplished and articulate spokesperson for the industry, she, together with Kathleen Doyle, discussed technology and the future of the auction industry in a televised program on Yahoo Finance with Andy Serwer.
In 2016, Laura Doyle was the founder of Doyle’s online-only Hayloft Auctions division in the burgeoning and artistically vibrant South Bronx. A successful Internet start-up, and a valued member of the neighborhood, Hayloft Auctions was honored by the Bronx Overall Economic Development Corporation (BOEDC) for its work and commitment to Bronx residents and the community. Laura Doyle and Hayloft Auctions were also recognized by Crain’s New York Business in a feature on Bronx business and real estate trends.
Ms. Doyle was educated at Deerfield Academy and earned a BA in the History of Art from the University of Pennsylvania, during which time she spent a year studying at the Courtauld Institute in London. She began her career at Doyle in Client Services, later serving as Director of the Jewelry Department. As Vice-Chairman, she expanded Doyle’s network of regional representatives while focusing on strategies for global growth in collaboration with Doyle’s luxury, digital and real estate marketing partners. She recently oversaw a major renovation of the company’s Manhattan headquarters and the acquisition of a new warehouse in the Bronx.
Joanne Porrino Mournet has held senior positions at Doyle for over twenty-five years, most recently as Executive Vice President and Executive Director of Estate and Appraisal Services. In her new role as President, she will continue serving as Doyle’s senior liaison with prominent banks and law firms in providing Doyle’s comprehensive range of professional appraisal and auction services.
Highly regarded in the field of Trusts and Estates, Ms. Mournet is frequently invited by law firms and banks to speak as an expert on estate appraisals and the auction industry. She regularly represents Doyle at professional estate planning conferences, among them the New York State Bar Association, The Estate Planning Council of New York, The American College of Trust and Estate Counsel (ACTEC), UJA law conferences, and The University of Miami Philip Heckerling Law Institute. A graduate of Douglass College, Ms. Mournet is a member of the Professional Advisory Council of The Metropolitan Museum of Art and the American Heart Association Trust and Estates Advisory Council.
An accomplished auctioneer, Ms. Mournet has sold collections totaling well over one billion dollars over the course of her career. She has presided over the landmark auctions of countless estates of celebrities and prominent figures of society and commerce, as well as property from our nation’s most distinguished public and private institutions.
“At Doyle, we believe that every estate and collection is unique,” Ms. Mournet is fond of saying. “We excel at tailoring our services to meet the individual needs of each client.”
Continuing that thought, Laura Doyle stated, “Our goal in this digital age is to ensure that every client, whether a buyer or seller, whether in New York or across the world, receives the personal attention that has always been a hallmark of Doyle.”
01-palm-tree-near-the-church-of-saints-theodore-athens.jpgOpening January 30, 2019 at The Metropolitan Museum of Art, Monumental Journey: The Daguerreotypes of Girault de Prangey will present masterpieces of early 19th-century photography by one of its unsung pioneers. A trailblazer of the newly invented daguerreotype process, Joseph-Philibert Girault de Prangey (1804-1892) traveled throughout the Eastern Mediterranean from 1842 to 1845, producing more than one thousand daguerreotypes—the largest known extant group from this period and the earliest surviving photographs of Greece, Egypt, Syria, Lebanon, Turkey, and Jerusalem, and among the first depicting Italy. Featuring approximately 120 of his daguerreotypes, supplemented by examples of his graphic work—watercolors, paintings, and his lithographically illustrated publications—the exhibition will be the first in the United States devoted to Girault, and the first to focus on his Mediterranean journey. Many of the sites depicted have been permanently altered by urban planning, climate change, or conflict.
The exhibition is made possible by the Arête Foundation/Betsy and Ed Cohen.
Additional support is provided by Jennifer S. and Philip F. Maritz and the Alfred Stieglitz Society.
It is organized by The Metropolitan Museum of Art, New York, in collaboration with the Bibliothèque nationale de France, Paris.
Daguerreotypists in the early 1840s faced enormous technical challenges, especially in the desert, so daguerreotypes from these years are exceedingly rare. No other photographer of the period embarked on such a long excursion and successfully made a quantity of plates anywhere near Girault’s production of more than a thousand daguerreotypes. The resulting photographic campaign remains an unparalleled feat in its appearance, scope, scale, and ambition. Using an oversize, custom-made camera, he exposed more than one image on a single plate to create at least six different formats, including unexpected horizontal panoramas and narrow vertical compositions.
The fact that a collection of this size survived at all is extraordinary and attests to the achievement of an unheralded innovator working with unprecedented technology. The survival of this monumental and exemplary collection is also a result of Girault’s meticulous archival process—precocious at the time, even if today it seems commonplace. The artist stored his daguerreotypes in custom-built wood boxes; in addition, he carefully sorted, labeled, and dated the images so that he could retrieve them for future use, occasionally recording when he utilized them, for example, as the basis for a painting or published print. He also had them inventoried several times during his lifetime. In essence, he created the world’s oldest photographic archive.
“The exhibition reveals Girault as the originator of a thoroughly modern conception of photography, by which visual memories can be stored, retrieved, reassembled, and displayed,” stated Stephen C. Pinson, Curator, Department of Photographs. “At the same time, it is perhaps more important than ever to recognize that Girault was himself the product of a complex network of political, social, and historical forces that had far-reaching impact on the West’s relationship with the world he photographed.”
The exhibition presents a unique opportunity to experience these rarely seen works, as Girault never exhibited his daguerreotypes and died without direct heirs in 1892. In 1920, a distant relative, Charles de Simony, purchased Girault’s estate outside Langres, France, and discovered the photographs—labeled and carefully stored in their original wood boxes—in a storeroom of his dilapidated villa. A handful of intrepid collectors and curators were henceforth aware of the collection, but its dramatic content and scope remained little-known to the world until 2003, when the first of several auctions of material drawn from the original archive was held.
Monumental Journey: The Daguerreotypes of Girault de Prangey is curated by Stephen C. Pinson, Curator in the Department of Photographs at The Metropolitan Museum of Art.
The exhibition is accompanied by a catalogue published by The Metropolitan Museum of Art.
The catalogue is made possible by the Diane W. and James E. Burke Fund.
The exhibition is featured on The Met website, as well as on FacebookInstagram, and Twitter via the hashtag #MonumentalJourney.
Image: Girault de Prangey (French, 1804-1892), Palm Tree near the Church of Saints Theodore, Athens (89. Athènes. 1842. Palmier près S Théodore.), 1842. 9 3/8 × 7 3/8 in. (23.9 × 18.7 cm). Bibliothèque nationale de France, Paris (EG7-750)
2. Jennifer Rose Wolken, Into the Fire (front) copy.jpgMinnesota Center for Book Arts (MCBA) presents Chronicled in Clay: Ceramics and the Art of the Story, an exhibition that brings together ceramics and contemporary book arts. Chronicled in Clay is presented in conjunction with Claytopia, the National Council on Education for the Ceramic Arts’ (NCECA) 53rd Annual Conference, which explores “the human imagination as a vehicle of restless yearning for a more livable, just, and meaningful world.”
Chronicled in Clay: Ceramics and the Art of the Story examines how contemporary artists express narratives in clay through text, imagery, multiples, and sequence. The jurors, Tetsuya Yamada (artist and faculty at the University of Minnesota), Monica Edwards Larson (MCBA Board member and artist / proprietress of Sister Black Press), and Torey Erin (MCBA Exhibitions and Artist Programs Manager), have composed an exhibition that provokes new perspectives and challenges traditional ideas of narrative and linear storytelling through clay form, including notebook tablets, book vessels, a wall installation of wave-like ceramic pages, and more.
Participating artists include:
Eileen Cohen, Minneapolis, MN
Corie J. Cole, Colorado Springs, CO
Paula McCartney, Minneapolis, MN
Stefana McClure, Newburgh, NY
Teri Power, Amery, WI
Derek Prescott, Columbia Heights, MN
Nicole Roberts Hoiland, Saint Paul, MN
Jennifer Rose Wolken, Springfield, MO
Molly Streiff, Missoula, MT
The exhibition will be on view and open to the public February 8th, 2019 through April 28th, 2019 in MCBA’s Main Gallery, with an opening reception on Friday, March 28th, 6-9pm.
Minnesota Center for Book Arts (MCBA) is a visual arts nonprofit organization that supports creative expression through traditional and contemporary book arts, including papermaking, bookbinding, and letterpress printing. MCBA’s philosophy and artistic vision challenges its artist community to think beyond the traditional notion of “book.” Today, books can be bound and unbound, fabricated into sculptures, interpreted as metaphor, experienced as installation or performance, and interacted with virtually. What unites this varied work is a focus on the interdisciplinary expression of narrative. To learn more, visit our website at https://www.mnbookarts.org
Image: Into the Fire by Jennifer Rose Wolken
20.jpgChicago—Potter & Potter Auctions is pleased to announce its nearly 800 lot Fine Books and Manuscripts sale to be held on Saturday, February 2nd, 2019 starting at 10am at the company's gallery, located at 3759 N. Ravenswood Ave., Chicago, IL 60613. All lots from this upcoming sale from are on display and available for public preview on Wednesday, January 30th, Thursday, January 31st, and Friday, February 1st from 10:00am to 5:00pm in the Potter & Potter facility. Everyone is also welcome to attend a special gallery celebration with hors d'oeuvres and beverages on Thursday, January 31 from 6:00pm to 7:30pm. All times noted are CST.
This event features over 200 lots of materials honoring a century and a half of Chicago's remarkable history. Chicago has been making headlines since its incorporation as a town in 1833 and as a city in 1837. As such, presidential-caliber antiques related to this key city in the Land of Lincoln are well represented in this sale. Lot #153, a collection of John Dillinger materials, including his death mask, hair from his moustache, and a letter from Melvin Purvis, is estimated at $6,000-9,000. Dillinger, an infamous Depression-era gangster, was responsible for over two dozen bank robberies and multiple other crimes. On July 22, 1934, he was captured, shot, and killed by FBI agents - including Purvis - at the Biograph Theatre near Lincoln Park in Chicago. This fascinating grouping of Dillinger materials is from the collection of noted crime collector Michael Webb (1950—2009). Lot #172, a 20th century handmade model of Fort Dearborn said to have been displayed at the 1933 World’s Fair, is estimated at $900-1,300. Fort Dearborn's history and that of the city are deeply intertwined and include the war of 1812 and the great Chicago Fire of 1871. This skillfully rendered mixed-media model is mounted on an oak base with glass sides and features a painted canvas background. It measures 10" x 22" x 22” and is accompanied with an inlaid Fort Dearborn marquetry sign. And lot #33, a mid-century yellow enameled Diversey Avenue street sign is estimated at $300-500. Diversey Avenue is now a major east-west Chicago roadway; it was named after 19th century brewer, philanthropist, and alderman Michael Diversey.
Also on offer are a number of important antique reference publications documenting the geography, roads, infrastructure, and buildings of the Chicago area during the last quarter of the 19th century. Lot #3, Atlas of the Village of Hyde Park is estimated at $250-350. Published by Rhoades, Dobson, and Rascher in the 1870s, this 23" x 25" time capsule includes an index map showing the area from 130th Street to 39th Street, and from State Street to Lake Michigan. Rare in any state of completeness, the atlas is listed on the title page by the publisher at the handsome sum of $100 - the equivalent of nearly $2,000 in 2019 dollars. And lot #131, Edwards’ Thirteenth Annual Directory of the City of Chicago, 1870—71 is estimated at $300-500. According to its front page, this scarce tome includes a full listing of the areas "Inhabitants, Institutions, Incorporated Companies, and Manufacturing Establishments." One can only imagine how different subsequent editions would read, given the monstrous hit every aspect of the city took with the 1871 Chicago fire.
Now let's focus on this auction's offering of collectible posters capturing stunning Chicago images. Lot #20, a 1929 color litho poster from Chicago/ New York Central Lines featuring some of the city's highlight buildings of the "roaring 20s" is estimated at $2,600-3,500. It is by commercial artist Leslie Ragan (1897—1972), who is known - among other things - for his fantastic rendering of clouds. And lot #19, a c. 1950s Chicago via Braniff Airways color silkscreen poster by Don Marvine is estimated at $800-1,200. It features a a trio of travelers, including a cowboy, under the neon lights in downtown Chicago at night, each apparently hailing taxis.
Impressive selections of livre d'artiste works add an international dimension to this Midwest sale. These items fall at the intersection of illustration, books, and limited editions and are often housed in boxes or folders that are works of art in themselves. Lot #297, a group of twelve erotic pochoir plates after watercolors by Gerda Wegener is estimated at &1,800-2,600. This cloth-backed portfolio from 1925 is printed in gilt and is one of 350 copies. Lot #290, Les Aventures du Roi Pausole featuring seventeen erotic illustrations by Brunelleschi colored in pochoir is estimated at $1,200-1,500. It is number 56 of 450 and is presented in a navy morocco over midnight blue calf binding with gold-veined marbled endpapers. And lot #264, Oscar Wilde's Ballade de la Geole de Reading with artwork by Andre Dignimont is estimated at $1,500-2,600. This rarity from 1942 is number one of three deluxe artist's copies. It is signed by Dignimont on the limitation page, housed in a slipcased chemise with files of original and proof artwork, and includes more than 40 original drawings.
First edition and other important traditional bound books are also page turners at this can't miss auction. Lot #244, a first American edition of Aldous Huxley's Brave New World is estimated at $2,600-3,500. Published in 1932 by Doubleday, Doran & Company, this is number 64 of 250 specially-printed and bound copies, and is signed and numbered by the author. It includes its near fine original slipcase - which often lacking or damaged - all handsomely enclosed in a quarter leather slipcase and box. And lot #230, a first edition of Charles Bukowski's South of No North published by the Black Sparrow Press in Los Angeles is estimated at $1,500-2,000. This book from 1973 is number 5 of 50 hand bound copies and includes an original signed painting by the author.
Potter & Potter Auctions enjoys a worldwide reputation of presenting the most eye-catching archives of all sorts, and this event will only confirm that leadership position. Lot #520, a Christine Jorgensen (1926-1989) archive from the 1940s-50s is estimated at $600-900. Entertainer Jorgensen was an American transgender woman, and the first who became widely known for having undergone sex reassignment surgery in Sweden in 1951. This collection includes sixteen original photographs featuring Christine as well as an oversized, illustrated advertising program headlined, “America’s No. 1 Box-Office Attraction.” Lot #71, an archive of photographs, documents, and ephemera from Chicago Fire Marshal Charles Seyferlich is estimated at $400-600. These materials span the 1890s—1910s time frame and include a bound memorial album, a lithographed memorial resolution issued and signed by the Chicago Board of Underwriters, 49 snapshots of intense scenes of firefighting at the Stockyard Fire, Seyferlich’s business card as Fire Marshal, postcards, news clippings, and other materials. And lot #165, a collection of 1933—34 Chicago World’s Fair souvenirs and ephemera is estimated at $200-300. Highlights of this most eclectic archive include a glass and rubber Firestone Tires ashtray, an engraved Oneida spoons depicting Fort Dearborn, a tin Sky Ride ashtray, a box of eight sealed souvenir matchbooks, a boxed souvenir jumbo “Key to the Chicago World’s Fair”, and three sealed “souvenir views” photo-card sets.
This sale offers many distinctive ephemeral items, including photos, postcards, blueprints, and "everyday" goods that bring the past to life. Lot #512, a cabinet photo of actor Richard Mansfield as Dr. Jekyll and Mr. Hyde from c. 1887 is estimated at $1,000-1,500. Lot #151, a collection of eight Chicago Police Department Daily Bulletin "Wanted Flyers" from 1961 is estimated at $50-100. These are ominously illustrated with photos of wanted criminals and missing persons, including men wanted for bogus checks, bond forfeiture, armed robbery, deceptive practices, burglary, and other crimes. Lot #8, architect Frank Lloyd Wright's signed, original 36" x 46” floor plan for the Louis Frederick House from 1956/57 is estimated at $6,000-8,000. This 2,550-square-foot home, located in Barrington, IL, was one of Wright's last projects and most recently sold for $795,000 in 2016, a mere three days after its listing. And it’s easy to get carried away over lot #409, an all-original Andy Warhol Campbell’s Soup shopping bag from 1966. This first printing, color silkscreen depicts a Campbell’s Tomato Soup can on a wove Guild Paper Products shopping bag and is estimated at $800-1,200.
This auction comes full circle with carefully curated offerings of prints and drawings, photos, atlases, antiques, and other rarities, including early and collectible comic books. Lot #647, a Marvel Comics Incredible Hulk number 181 from 1974 is estimated at $1,800-2,400. This monster of an edition features the first full appearance of Wolverine as well as an appearance from Wendigo.
According to Gabe Fajuri, President at Potter & Potter Auctions, "As a proud "Windy City" business, we are thrilled to be offering this fine collection of Chicago materials. Despite their regional theme, they should have enormous universal appeal given our city's prominent role on the global stage. Looking over these items, it is so interesting to me to see how much the city has evolved and changed - and not - over time. The sale's other key categories, including important books, ephemera, and livre d'artiste, also offer spectacular temptations."
Potter & Potter, founded in 2007, is a Chicago area auction house specializing in paper Americana, vintage advertising, rare books, playing cards, gambling memorabilia, posters, fine prints, vintage toys, and magicana - antiques and collectibles related to magic and magicians. For more information, please see www.potterauctions.com. Follow us on Facebook (potterandpotterauctions), Twitter (PnPAuctions), and Instagram (potterauctions).
Image: Lot 20. Chicago-NY Central Line. Estimate $2,600-3,500
Screen Shot 2019-01-14 at 8.50.39 AM.pngPhiladelphia—Kicking off Freeman’s 2019 auction season is the January 31 sale of Books, Maps & Manuscripts. The inaugural auction features over 400 lots of rare and important books, historical documents, photography, prints, posters and ephemera.
Anchoring the sale is the She’arit Haple’atah Archive (Lot 163, estimate: $100,000-150,000). Approximately 200 titles—in 240 volumes—comprise this collection which were printed for, and relate to, Jewish Displaced Persons living in camps in Eastern Europe between 1945 and 1949; they were called the She’arit Haple’atah, or “the surviving remnant.”
After their liberation from the Nazis in the spring of 1945, hundreds of thousands of Jews lived in camps—often former concentration camps or German army camps—that were run by the Allied authorities. The mission of Displaced Persons camps was to repatriate people to their home countries, but they also fulfilled a practical need for temporary shelters which provided food, clothing, medicine and transportation.
She’arit Haple’atah literature is extremely rare. The vastness of this particular collection provides invaluable insight into Jewish life in Europe in the post-World War II period. This type of literature was only intended for distribution in the camps—it was not available for sale—so many people did not have access to it outside of the camps. The materials printed were quickly and inexpensively produced, and when survivors left the camps they often left these materials behind, which were then destroyed when the camps were razed; hence the rarity and fragility of the surviving items.
“This transformative but all-too-hidden chapter of Jewish history was obscured first by the enormity of the Holocaust and then by the shining promise of the emerging state of Israel,” Books, Maps & Manuscripts Vice President and Senior Specialist, David Bloom said.
Other highlights of the January 31 auction include a first edition of Spanish architectural works, “Monumentos Arquitectónicos de España” (Lot 83, estimate: $10,000-15,000). The lot features 253 lithographic and engraved plates, and was initiated with the support of the Spanish Ministry of Public Works in the early 19th century in order to record the architectural heritage of Spain’s various provinces. The lot comes from the library of Philadelphia banker and developer Clarence H. Clark, Sr.
Parisian opulence of the 19th century is also represented in the sale with “Le Nouvel Opéra de Paris” (Lot 84, estimate: $10,000-15,000). The lot highlights across eight volumes the jewel-box Paris Opera House, designed by the French architect Charles Garnier and built over a 14-year period during the Second Empire under Napoleon III. This rare and complete set documents the lavish facades, interiors, vestibule and statuary of the opera house in full-page chromolithographs, engravings and photographs.
Pop artist Andy Warhol another feature of the sale, represented across various media. Highlights include: Holy Cats is a first and only edition of 20 offset lithographs by Warhol with lettering and an inscription by his mother, Julia Warhola (Lot 301, estimate: $3,000-5,000). A group of the first 34 issues of Warhol’s Interview magazine (1969-1972), the self-proclaimed “Crystal Ball of Pop,” (Lot 302, estimate: $800-1,200) are also a veritable time capsule of cool.
The auction includes a varied assortment of counter-culture material including an original color lithograph poster from the original Woodstock (Lot 276, estimate: $800-1,200), a now iconic image representing far more than the three-day festival, as well as the first published issue of Penthouse magazine, from 1965 (Lot 282, estimate: $200-300). A rare collection of 32 pre-war issues of Paris Magazine, spanning 1933-1939 (Lot 338, estimate: $800-1,200), with its sophisticated design and a better sense of humor than the “girlie” magazines being produced in the States at the same time, is an extraordinary find. There are posters from the 1960s-1980s (Lots 267-275), an FBI Wanted poster for Patty Hearst and her Symbionese cohorts (Lot 264, estimate $100-150), a psychedelic coloring book by Timothy Leary among others (Lot 265, estimate $300-500) and more.
There are nearly 60 lots of photography by the likes of Alfred Stieglitz, Edward Steichen, Margaret Bourke-White and O. Winston Link. Of note, the sale will include half a dozen photographs by pioneering female photographer Berenice Abbott, whose large-format depictions of New York were inspired by French city photographer Eugène Atget. Abbott’s work provides an historical record of the changing Manhattan of the late 1920s. “Pier 13, North River, Manhattan” (Lot 308, estimate: $5,000-8,000) and “Pennsylvania Station Interior #1” (Lot 307, estimate: $2,000-3,000) are among the highlights.
Close to one dozen lots of books, representing 37 volumes in total, relating to Court Tennis come from the Library of William J. Clothier II, tennis champion and grandson of the co-founder of the Philadelphia department store, Strawbridge & Clothier. Court Tennis is an indoor racquet sport and a precursor to the modern game of tennis. The game was considered “the sport of kings” for its roots in several European monarchies from the 15th century onward. “The Annals of Tennis” by Julian Marshall, published in 1878 (Lot 235, estimate: $1,000-1,500) is of particular note.
Those interested in our nation’s history will enjoy the opportunity to own a copy of “Journals of Congress. Containing the Proceedings in the Year, 1776. Volume II,” Philadelphia, 1777, first edition, first issue, untrimmed and in its original boards. It contains a very early printing of the Declaration of Independence (Lot 111, estimate: $6,000-9,000). Many presidential letters and autographs will be on offer as well (Lots 129-161).
Doyle Map.jpgNew York - Following the recent success of the online sales of property from the collection of Arnold “Jake” Johnson (1930-2017), Doyle is pleased to offer an impressive array of Americana from the same collection. The current sale comprises over 300 lots of books and maps and is offered as a timed online-only auction on Doyle.com. Bidding will close on Tuesday, January 29, 2019 beginning at 12pm EST. The public is invited to view the books at Doyle from 10am-5pm on Friday, January 25 and Monday, January 28. Doyle is located at 175 East 87th Street in Manhattan.
The auction is particularly rich in a certain aspect of American history: pioneer narratives of the American West. Dozens of lots narrate an author’s true (but often exaggerated) experiences crossing the Plains on the Oregon Trail, settling rugged terrain of Texas and Oklahoma, exploring the rivers of Canada and the Rockies, risking all for the riches of the Colorado, California and Alaska Gold Rushes, as well as the travelogues of many Englishman and foreigners as they adventured in the country. Many works deal directly with the negotiations, wars, and encounters with the American Indian as the country surged West. Also offered in the sale is a selection of Adirondack literature and a wide range of traditional Americana.
Featured among the selection of maps in the sale are two maps of the American West at the time of William H. Emory’s 1857 survey to finalize the US-Mexican boundary (est. $400-600) and Emory’s report in three volumes.
A true bibliophile, Johnson was an inveterate collector of rare items related to angling, travel, expeditions in India and Africa, English sporting and color-plate, 19th century big game hunting, and Western Americana. His collection includes hundreds of rare books, hand-written accounts of hunting expeditions, striking examples of 19th century photographic travel albums, and elusive bibliographies and facsimiles of major works. This remarkable and extensive collection, numbering in the thousands of volumes, is being offered an ongoing series of live and online auctions.
Bidding in the timed online-only auction will open on Monday, January 19 and close on Tuesday, January 29 beginning at Noon EST. Lots will close sequentially, one lot per minute, with a soft close. Should any bids be placed in the final minute, bidding will remain open on that lot for one additional minute.
All of the books will be on public exhibition at Doyle on Friday, January 25 from 10am-5pm and Monday, January 28 from 10am-5pm. Doyle is located at 175 East 87th Street in Manhattan.
Payment can be made by cash, check, credit card or wire transfer. The final purchase price will include the successful hammer price plus the Buyer’s Premium of 25% and any applicable sales tax.
Doyle can facilitate shipping using a third-party shipper. For details please contact client.accounts@Doyle.com
Image: EMORY, WILLIAM H. Report on the United States and Mexican Boundary Survey, Made Under the Direction of the Secretary of the Interior ... Volume I. Estimate: $400 - $600
Are_These_Men_Collaborators_72dpi.jpgAustin, TX — More than 35 years ago, prominent artists Robert Frank, Dave Heath, Robert Heinecken and John Wood agreed to participate in a project exploring creativity in photography. Led by art historians Susan E. Cohen and William S. Johnson, the three-year collaborative project examined the artists’ creative process. Until now, no comprehensive record of those efforts has been accessible.
The Harry Ransom Center at The University of Texas at Austin has acquired the Susan E. Cohen and William S. Johnson Creativity Project archive.
Conceived in the early 1980s by Cohen and Johnson, the project included the participation of photographers Frank, Heath, Heinecken and Wood. Years later, Cohen and Johnson reflected that the artists “agreed to collaborate with each other and with us to make an exhibition that presented not only their finished work, but also the decisions and actions they made during the creative process.”
Starting in January 1983, the historians conducted interviews with each of the artists, facilitated meetings among them and observed them in the studio.
Cohen and Johnson worked with each artist to select work for the touring exhibition “Four Photographers: Robert Frank, David Heath, Robert Heinecken, John Wood,” organized at the Visual Studies Workshop in Rochester, New York. Artist Joan Lyons, director of the Visual Studies Workshop Press, designed an illustrated catalog to include a 16-page signature created by each participating artist and essays by Cohen and Johnson.
The planned exhibition and catalog were never completed, and the project came to a halt when a corporate sponsor redirected additional funding. Cohen and Johnson’s catalog essays were published in “Horses, Sea Lions, and Other Creatures: Robert Frank, Dave Heath, Robert Heinecken, and John Wood” (Joshua Press, 1986), a privately printed book. An edition of 15 copies was produced for participants and supporters.
The archive includes more than 50 hours of audio and video interviews and conversations, research notes and essay drafts, letters and postcards, layouts and revisions and photographs of meetings and studio sessions. Among the materials are the artist’s maquettes that Frank, Heath and Wood designed for their signatures in the “Four Photographers” catalog. Also included is a copy of Heinecken’s artist’s book “1984: A Case Study in Determining an Appropriate Newswoman (A CBS Docudrama in Words and Pictures),” printed from his maquette for the project in 1985.
The archive is an important “time capsule,” said Jessica S. McDonald, the Ransom Center’s Nancy Inman and Marlene Nathan Meyerson Curator of Photography. “It represents a remarkable coming together of people and ideas at a pivotal moment in photography’s history.”
Rare monographs and artist’s books such as first editions of Frank’s “Les Américains” (Delpire, 1958) and Heath’s “A Dialogue With Solitude” (Community Press, 1965) are included, as well as Heinecken’s “MANSMAG: Homage to Werkman and Cavalcade” (published by the artist, 1969) and Wood’s “Lap Dissolve—Joan Lyons” (published by the artist, 1973).
Throughout the project and after, the artists wrote letters and inscribed photographs to Cohen and Johnson. Photographs in the archive include Frank’s “U.S. 90, en route to Del Rio, Texas,” 1955, inscribed to Cohen and Johnson and their children; a triptych by Heath, with a printed poem titled “For Susie (and Bill),” 1984; a 20- by 24-inch photogram by Heinecken titled “Iconographic Art Lunches #3,” [1983], made as Johnson observed in the studio; and Wood’s “Eagle Pelt,” 1985, the photograph that became the first image in Wood’s maquette for his signature in the planned exhibition catalog.
The archive also contains Cohen and Johnson’s research materials on each artist, including periodicals, exhibition catalogs, tear sheets, exhibition notices, press releases and other ephemeral publications, many now scarce.
The archive is an especially fitting addition to the Ransom Center’s internationally renowned photography collection, which traces the advancement of photography as a creative art from the earliest days of the medium.
Once processed and cataloged, the materials will be available for research.
Image: Joan Lyons (American, b. 1937), Are these men collaborators?, 1983. Photolithograph from pinhole negative, 57.3 x 44.4 cm. Susan E. Cohen and William S. Johnson Creativity Project Archive, Harry Ransom Center, The University of Texas at Austin © Joan Lyons
Shackleton (945x1024).jpgAn important private library of polar exploration, travel and local history books exceeded expectations when it was auctioned by Tennants Auctioneers on 10th January, attracting both book collectors and Polar enthusiasts alike. Bidders joined the sale from North America, Canada, Australia, India and Europe, and one buyer travelled all the way from Canada for the sale. The library achieved a total hammer price of £220,000, and an impressive 96% sold rate testifies to the level of interest seen in this unique collection.
Including many rare and important volumes, the Roger Casson Collection was put together over many years by the late Roger Casson, an architect from North East England. It was notable for the outstanding condition of much of the collection. The focus of the library was Polar Exploration in the 19th and early 20th century, which accounted for over 200 lots in the sale. Of particular note were a good collection of works recounting the ill-fated final expedition made by Sir John Franklin in 1845 to find the North-West Passage, and the numerous search missions that followed the disappearance of his ships and their crew.
One of the most valuable lots in the sale, selling for £14,000 (plus buyer’s premium), was a limited-edition copy of The Heart of the Antarctic, Being the Story of the British Antarctic Expedition 1907-1909 by Ernest H. Shackleton. Published by Heinemann in 1909, the two-volume set, which included two panoramas and three folding maps, is one of only three hundred sets that were produced bound in vellum. Also included in the lot was the accompanying The Antarctic Book, Winter Quarters, 1907-1909, which contained sixteen signatures of the Shore Party from the famous expedition.
Antarctic Days, Sketches of the homely side of Polar life by two of Shackleton’s men…and introduced by Sir Ernest Shackleton by James Murray and George Marston (1913), a limited edition signed by Murray, Marston and Shackleton, also generated a buzz in the saleroom when it sold for £8,000 (plus buyer’s premium) against an estimate of £3,000-5,000. In demand too was a manuscript by Cdr. Frank Wild - a seven-page autograph account describing his experiences in the Antarctic - written in 1917 for Miss Kathleen M. Blocksidge of Surrey. Wild describes icebergs, food supplies and eating seal and penguin, of which he wrote: ‘the penguins are really nice, the legs taste like mutton and the breast very like hare’. The lot sold for £7,500 (plus buyer’s premium) against an estimate of £1,000-2,000.
The sale resulted in a total hammer price of £220,120 for 344 lots, with a 96% sold rate.
Full results are available on our website. www.tennants.co.uk
Image: Ernest H. Shackleton The Heart of the Antarctic, Being the Story of the British Antarctic Expedition 1907-1909, and The Antarctic Book, Winter Quarters, 1907-1909 with signatures of the Shore Party: Sold for £14,000
Bob Dylan.jpegWestport, CT - Bob Dylan’s signed, handwritten lyrics to his iconic song Like a Rolling Stone, items relating to the recently deceased former President George H.W. Bush, plus rare and highly collectible items pertaining to Washington, Lincoln and other luminaries will be featured in University Archives’ next major online-only auction, scheduled for Wednesday, January 23rd.
Live bidding for the 260-lot auction is scheduled to start promptly at 10:30 am Eastern time. As with all University Archives auctions, this one is loaded with rare, highly collectible autographed documents, manuscripts, books, photos and relics. The full catalog can be viewed online now, at www.UniversityArchives.com. Online bidding is via Invaluable.com and LiveAuctioneers.com.
Major categories will include Civil War and Revolutionary War collectibles, space and aviation (including letters written and signed by deceased moonwalkers Neil Armstrong and Jim Irwin), science (including lots signed by Sigmund Freud, Charles Darwin and Samuel F.B. Morse), World War II items, and U.S. Presidents memorabilia, for which University Archives is famous.
“This might not be our largest sale ever, but in terms of value and quality it could very well be our best,” said John Reznikoff, president and owner of University Archives. “There are more than a few items in this sale that are simply ‘the finest known’, ‘the best’ or ‘the rarest’. And after 40 years in the business, when we make such lofty claims they’re uttered authoritatively.”
Dylan’s signed, handwritten lyrics to Like a Rolling Stone - voted the #1 rock song of all time by Rolling Stone magazine in 2004 - was consigned by the same person who sold Dylan’s signed lyrics to The Times They Are A-Changin’ in University Archives’ recent auction (they realized $137,500). Like a Rolling Stone is arguably the superior collectible and has a pre-sale estimate of $50,000-$60,000. Also sold will be a copy of the Dylan album Blonde on Blonde, signed by him.
The George H.W. Bush lots include a three-page letter typed on White House stationery in 1991, signed by Bush and written to journalist Richard Cramer, in which he explains his rationale for launching Operation Desert Storm and calls Saddam Hussein the “Picture of Evil” (est. $8,000-$9,000); and Bush’s own Timex watch presented by him to incumbent Republican Congressman Bill Young in 1990, along with a hand-signed note to Young and his wife (est. $5,000-$6,000).
Collectors can’t get enough of George Washington. Lots pertaining to the first President include a letter signed by Washington in 1780 (with the main body penned by military secretary Robert Hanson Harrison), in which he writes of the harsh winter in Morristown, N.J. (est. $15,000-$16,000); and a signed document from 1785, endorsing Thomas Tillotson, a medical surgeon in the Revolutionary War, for membership in The Society of Cincinnati (est. $12,000-$14,000).
A unique Lincoln Memorial dedication program signed by four U.S. Presidents and more than 30 Lincoln scholars, artists and other important attendees is bound to attract keen bidder interest. The handsome, oversized presentation album is hand-signed by former President William H. Taft, Warren G. Harding (the sitting president at the time), and future presidents Calvin Coolidge and Herbert Hoover. Measuring 10 ¾ inches by 13 inches, the book should bring $6,000-$7,000.
Space and science - two burgeoning genres of collectible - will be well-represented in the sale. A letter handwritten and signed by Neil Armstrong on NASA letterhead, addressed to a “Mr. Glass” in which Armstrong mentions his seven X-15 flights, should soar to $7,000-$8,000; while an original two-page scientific manuscript, inscribed overall by French physicist Antoine Henri Becquerel (1852-1908), the discoverer of radioactivity, is expected to finish at $3,000-$3,250.
A highly important document from 1919, typewritten in Russian and boldly signed by Joseph Stalin (1878-1953) and others (including Czar Nicholas’s executioner, Felix Dzerzhinsky (1877-1926), on cream letterhead, should bring $12,000-$14,000; while a glossy black and white photo signed by Douglas MacArthur, showing the World War II general landing at Leyte Island in the Philippines in Oct. 1944, one of the finest examples known, has an estimate of $3,000-$3,250.
In one of the early real-life examples of “fake news”, a photo of President Harry S. Truman holding up a copy of a newspaper that carried the false headline “Dewey Defeats Truman” from the 1948 presidential election, signed by Truman, has an estimate of $6,000-$7,000. Also, a letter typed on White House stationery in 1974 and signed by President Richard Nixon, in which he thanks a supporter for “urging me not to resign the Presidency,” should garner $4,000-$5,000.
Rounding out just a couple more highlights from the catalog, one of the finest known signed images of Bruce Lee, pictured as “Kato” from The Green Hornet in a program guide for the National Karate Championship of 1967, inscribed to a fan, is expected to hit $15,000-$17,000; while a document twice-signed in 1791 by John Marshall, while Secretary of State under John Adams, selling four shares in The Bank of the United States, should commandJanuary 23rd internet-only auction, please visit www.universityarchives.com.
Image: Bob Dylan’s signed, handwritten lyrics to his iconic song Like a Rolling Stone, voted the #1 rock ‘n’ roll song of all time by Rolling Stone magazine readers in 2004 (est. $50,000-$60,000).
Swann Baskin.jpgNew York-Swann Galleries opens their winter season with a boutique sale of Fine Illustrated Books & Graphics on Tuesday, January 29. Coinciding with Bibliography Week in New York City, the auction offers fine books, design and contemporary volumes with work from collections of notable bibliophiles, as well as twentieth-century livres d’artiste and Art Deco masterworks.
The collection of Richard Lee Callaway forms the cornerstone of the fine printing and private press section of the sale. Callaway was a longtime friend and admirer of artist Alan James Robinson. Through their relationship Callaway became involved in The Press of the Sea Turtle-an incarnation of the Cheloniidae Press-and collaborated with Robinson on numerous publications as his representative on the West Coast. Highlights include Cheloniidae’s first book, Poe’s The Raven, 1980, a publisher’s proof copy for the artist with deluxe binding and featuring seven original pencil drawings, 12 titled and signed proofs, an artist’s proof and a signed prospectus (Estimate: $2,500-3,500), as well as the artist proof copy of a special deluxe edition of Robinson’s Cheloniidae: Sea Turtles, 1987, which includes one of only four bronze cover sculptures, signed and inscribed by Callaway ($3,000-5,000).
Grabhorn Press’s 1930 edition of Whitman’s Leaves of Grass comes to auction from the collection of bibliophile Irving Robbins, Jr. The work features 37 woodcuts by Valenti Angelo and is specially signed by the artist, as well as Edwin and Robert Grabhorn ($2,500-3,500). From Leonard Baskin’s Gehenna Press comes a sumptuous and rich double-suite set of Diptera: A Book of Flies & Other Insects, 1983, number eight of 15 dedicated and inscribed by Baskin and Gray Parrot to Eliot Stanley of the Baxter Society ($6,000-9,000).
A robust selection of livres d’artiste features publications from German Expressionists as well as an assortment of Modern artists. Wassily Kandinsky’s Klänge, 1913, is a masterly array of his modernist woodcuts alongside poetry and music. This copy, numbered 216 of 300, is presented in original bindings, and carries an estimate of $30,000 to $40,000. An unusually bright limited first edition of Umbra Vitae, 1924, by Ernst Ludwig Kirchner, a masterpiece of expressionist book design, is available at $6,000 to $9,000. Georges Rouault makes a splash in the sale with Cirque de l’Étoile Filante, 1938, with 17 color aquatints and 82 engravings, the book is expected to bring $30,000 to $40,000; and the artist’s last work, Passion, 1939, estimated at $15,000 to $25,000. A first edition of Joan Miró’s first illustrated book, Il était une petite pie, 1928, rounds out the selection ($2,000-3,000).
Collaborations between George Barbier and François-Louis Schmied stand out in a run of Art Deco masterworks. One of the best examples of Barbier’s early work, Les Chansons de Bilities, 1922, is available signed by the artist, at $5,000 to $7,500. Vies Imaginaries, 1929, with 60 Barbier illustrations, and designed by Schmied, is a collection of 22 semi-biographical short stories created specially for members of the French bibliophile group Le Livre Contemporain, expected to bring $10,000-15,000. Solo works by Schmied include Le Cantique des Cantiques, 1925, considered the artist’s most elaborate book, featuring 80 pages of lavish wood-engraved illustrations ($10,000-15,000). Sonia Delaunay’s 1925 tour de force of Simultaneous Contrast design theory, Ses Peintures, Ses Objets…, is estimated at $6,000 to $9,000.
Other rarities include Frank Lloyd Wright’s Wasmuth Portfolio, 1910, the deluxe edition offered in its original leather-bound portfolio, of which fewer than 10 copies are thought to have survived ($8,000-12,000); one of only 40 sets of the desirable suite of signed etchings by Richard Diebenkorn for Arion Press’s Poems of W.B. Yeats, 1990, ($12,000-18,000); and Eugène Grasset’s La Plante et ses applications Ornementales, 1895, with 72 richly colored and intricately designed Art Nouveau plates ($6,000-9,000).
Exhibition opening in New York City January 25. The complete catalogue and bidding information is available at www.swanngalleries.com.
Additional highlights can be found here.
Image: Lot 20: Leonard Baskin, Diptera: A Book of Flies & Other Insects, with 66 etchings, Gehenna Press, 1983. Estimate $6,000 to $9,000.
K13.jpgNew York - The Association of International Photography Art Dealers (AIPAD) has announced participating galleries for the 39th edition of The Photography Show, April 4-7, 2019, at Pier 94 in New York City. More than 75 of the world’s leading fine art photography galleries will present museum-quality work including contemporary, modern, and 19th-century photographs, as well as photo-based art, video, and new media. AIPAD is working closely with gallerists, curators, artists, and collectors to create a tightly-focused program for the Show, including a special exhibition curated by photographer Alec Soth, the presentation of the annual AIPAD Award, and the acclaimed AIPAD Talks program with prominent speakers. An essential annual event for the international photography community, The Photography Show presented by AIPAD commences with an Opening Preview on April 3, 2019.
The Photography Show, one of the world’s most highly-anticipated annual art fairs, is the longest running and foremost exhibition dedicated to the photographic medium. The 2019 Show will feature leading fine art galleries from 9 countries and 33 cities from across the U.S. and around the world, including Europe, Asia, Canada, and South America. In addition, the Show will present a lively bookseller and publisher section with more than 25 exhibitors.
The Show will include four new participants: Boccara Art, Brooklyn; Louise Alexander Gallery, Encino; CA; Momentum Fine Art, Miami; and Voltz Clarke Gallery, New York. AIPAD also welcomes new exhibiting members including Utópica, from Sao Paolo, the organization’s first member in Brazil, and Arnika Dawkins Photographic Fine Art Gallery from Atlanta.
How should the photography world respond to the times in which we live? “A Room for Solace,” a special exhibition curated by Alec Soth for The Photography Show, will feature scenes of domestic interiors that speak to the possibility of finding refuge during turbulent times. Comprising portraiture, still life, and reportage chosen from exhibiting galleries, what connects these pictures is a quality of intimacy. Says Soth, “With this exhibition, I want to take a break from the fractious public square of photography and wander quietly into people’s homes. Behind these doors I hope to find a sliver of solace in these unstable times.”
A partial list of participating galleries includes:
Alan Klotz Gallery, New York
Arnika Dawkins Photographic Fine Art Gallery, Atlanta
Atlas Gallery, London
Augusta Edwards Fine Art, London
Barry Singer Gallery, Petaluma, CA
Baudoin Lebon, Paris
Boccara Art, Brooklyn, NY
Bruce Silverstein Gallery, New York
Bryce Wolkowitz Gallery, New York
Candela Gallery, Richmond, VA
Catherine Couturier Gallery, Houston
Catherine Edelman Gallery, Chicago
Charles Isaacs Photographs Inc., New York
ClampArt, New York
De Soto Gallery, Venice, CA
Edwynn Houk Gallery, New York
Elizabeth Houston Gallery, New York
Etherton Gallery, Tucson, AZ
Fahey Klein Gallery, Los Angeles
Flowers Gallery, London/New York
Galerie 402 Catherine et André Hug, Paris
Gallery 19/21, Guilford, CT
Gary Edwards Gallery, Southampton, NY
Gilles Peyroulet & Cie, Paris
Gitterman Gallery, New York
HackelBury Fine Art Ltd, London
Hans P. Kraus Jr. Inc., New York
Holden Luntz Gallery, Palm Beach, FL
Howard Greenberg Gallery, New York
Huxley-Parlour Gallery, London
Ibasho, Antwerp
In The Gallery, Copenhagen
Jackson Fine Art, Atlanta
James Hyman Photography, London
Joel Soroka Gallery, Aspen
Jörg Maass Kunsthandel, Berlin
Joseph Bellows Gallery, La Jolla, CA
Keith de Lellis Gallery, New York
L. Parker Stephenson Photographs, New York
La Galerie de l'Instant, Paris
Laurence Miller Gallery, New York
Lee Gallery, Inc., Winchester, MA
Louise Alexander Gallery, Encino, CA
MEM, Tokyo
Michael Hoppen Gallery, London
Michael Shapiro Photographs, Westport, CT
Momentum Fine Art, Miami
Monroe Gallery of Photography, Santa Fe, NM
Paul M. Hertzmann, Inc., San Francisco
PDNB Gallery, Dallas
Peter Fetterman Gallery, Santa Monica, CA
PGI, Tokyo
Polka Galerie, Paris
Richard Moore Photographs, Oakland, CA
Robert Klein Gallery, Boston
Robert Koch Gallery, San Francisco
Robert Mann Gallery, New York
Rolf Art, Buenos Aires
Scott Nichols Gallery, San Francisco
Sears-Peyton Gallery, New York
Sous Les Etoiles Gallery, New York
Staley-Wise Gallery, New York
Stephen Bulger Gallery, Toronto
Stephen Daiter Gallery, Chicago
The Halsted Gallery, Birmingham, MI
Throckmorton Fine Art, New York
Todd Webb Archive, Portland, ME
Toluca Fine Art, Paris
Unix Gallery, New York
Utópica, Sao Paulo
Voltz Clarke Gallery, New York
William L. Schaeffer, Chester, CT
Winter Works on Paper, Brooklyn, NY
Yancey Richardson Gallery, New York
(List in formation. As new galleries and exhibitors are added, an updated list will be available at AIPADShow.com/Exhibitors.)
Pier 94, 711 12th Avenue at 55th Street, New York City
Opening Preview, Wednesday, April 3
VIP Hours: 2:00 p.m. - 5:00 p.m.
Public Hours: 5:00 p.m. - 8:00 p.m.
Thursday, April 4, 12:00 p.m. - 7:00 p.m.
Friday, April 5, 12:00 p.m. - 7:00 p.m.
Saturday, April 6, 12:00 p.m. - 7:00 p.m.
Sunday, April 7, 12:00 p.m. - 6:00 p.m.
(The Show is open daily to VIP guests one hour prior to public hours.)
Tickets and information are available at AIPADShow.com/Tickets. For further details, visit AIPADShow.com, email info@aipad.com, or call +1-202-367-1158.
Photo credit: Eamonn Doyle, K13, 2018. Archival pigment print, 75 x 56 cm. Courtesy of Michael Hoppen Gallery, London
xl_2018_43_1.jpgAmherst, MA—The graphic novel is arguably the single most exciting new development in illustrated literature for children and teens in a generation. As pioneers of a rapidly-evolving art form, graphic novelists explore the vast middle ground between the picture book and text-only narrative. The Eric Carle Museum of Picture Book Art debuts its first exhibition on the topic, Out of the Box: The Graphic Novel Comes of Age, on February 10. It will remain on view through May 26, 2019. Curated by children's book historian Leonard S. Marcus, the exhibition examines the graphic novel genre through a close look at ten poignant coming-of-age stories by Vera Brosgol, Catia Chien, Geoffrey Hayes, Hope Larson, Jarrett J. Krosoczka, Matt Phelan, David Small, Raina Telgemeier, Sara Varon, and Gene Luen Yang.
"The coming-of-age story has long been fertile ground for the literature of preteens and teens," says Marcus. "It was only natural then that the graphic novel for young readers would often concern itself with a theme already so firmly embedded in young people's lives." The ten graphic novels featured in Out of the Box explore the often confusing and painful journey from childhood to adulthood. "Novel" is somewhat of a misnomer as graphic novels frequently address real-life events. Two haunting examples are Jarrett J. Krosoczka's Hey Kiddo (2018) and David Small's Stitches: A Memoir (2009). Krosoczka lays bare his adolescence with an incarcerated mother, an absent father, and two strong-willed grandparents. In stark monochrome, Small gives an unsparing account of a dysfunctional family and a devastating cancer diagnosis. Raina Telgemeier's Smile (2010) and Vera Brosgol's Be Prepared (2018) are also autobiographical stories from the artists' childhoods, told with empathy and humor for younger audiences. Telgemeier reaches deep into the emotional well of her own coming-of-age years to tell a tale of physical transformation, social distress, and self-discovery, while Brosgol recalls a pivotal summer spent at a sleep-away camp for Russian-American children. In all four books, the young protagonists' proclivity for art provides safe refuge from chaotic familial and social situations.
Gene Luen Yang's American Born Chinese (2006) follows Jin Wang, the only Chinese American student in his middle school, as he grapples with his identity and heritage. Yang caricatures--in order to disarm--hateful stereotypes in this ingeniously layered story. Hope Larson's 2012 adaptation of Madeleine L'Engle's classic science fiction novel A Wrinkle in Time gives potent visual form to Meg Murry and her quest to find her father and save her brother. In Bluffton: My Summer with Buster (2017), Matt Phelan presents a wistful account from the early life of silent film star Buster Keaton. In contrast to most artists in the exhibition, Phelan rejects digital imagery in favor of traditional watercolor applied with a painterly lyricism. Sara Varon's New Shoes (2018) is a heartwarming graphic novel for young readers. Set in Guyana, New Shoes is an idiosyncratic animal fable about friendship, devotion to craft, and the courage it takes to venture into wild, unknown terrain alone for the first time.
The Carle is proud to present two never-before-seen stories in the exhibition. Lovo and the Firewolf was to be Geoffrey Hayes's long anticipated breakout book: his headlong leap into long-form comics and darker imaginative territory. At his untimely death in 2018, he had completed a pencil version and had inked, colored, and lettered the first chapter. The opening sequence on view represents the first public showing of the work that is sure to be judged as Hayes's masterpiece. Catia Chien created the vibrant, mixed-media art for Animals expressly for Out of the Box. It represents the first chapter of a work in progress, a graphic novel with text by her husband, the poet Michael Belcher, titled This Tenderness in the Attending. The story concerns a young person's deepening awareness of death and its role in the natural order.
Out of the Box is an exhibition The Carle has long contemplated. "As stewards of a museum dedicated to picture books," says executive director Alexandra Kennedy, "The Carle's staff has cheered on the creation of comics for young readers and pre-readers. When Leonard S. Marcus, a trustee at The Carle, began researching his book Comics Confidential: Thirteen Graphic Novelists Talk Story, Craft, and Life Outside the Box (2016), we knew we had the right curator."
In addition to curating the exhibition, Marcus also wrote the catalog essay, in which he succinctly traces the history of the graphic novel and its rise in popular culture. Marcus states, "The graphic novel-comic is a hardy hybrid, a global phenomenon, and an art for our time. It is a narrative format whose roots reach back centuries and span continents, a teller of tales that have generated huge fan bases and at times spirals of controversy."
Out of the Box features a reading area with more than 100 graphic novels for guests to peruse. A timeline traces the evolution of graphic novels with examples of groundbreaking books, comics, zines, and manga. A gallery activity titled The Story Board invites guests to create a short graphic novel or contribute drawings to a community-generated tale.
Marcus notes that graphic novel artists have pushed the boundaries of the form over the last 25 years: "Beyond the accolades, the value of the books can be measured in many ways and can hardly be overstated. The genre's cross-generational appeal has shown that as readers we do not (as was long supposed) outgrow the need--or love--for stories told in words and pictures."
Out of the Box: The Graphic Novel Comes of Age is made possible with generous support from Macmillan Children's Publishing Group and Scholastic, Inc.
Image: Geoffrey Hayes, Illustration for Lovo and the Firewolf (unfinished). © 2017 Geoffrey Hayes. Used by permission of Edite Kroll Literary Agency Inc.
Douglass.jpgDallas—Heritage Auctions will present its first sale dedicated exclusively to African Americana on Jan. 15: “Say It Loud,” The John Silverstein Collection of African American Social History. The auction includes a thoughtful and carefully curated selection of items that tell the sweeping story of the trials and triumphs of black life in America.
The Silverstein Collection “is the most comprehensive and voluminous collection of photographs and related materials of its kind ever to be offered for sale at public auction in North America,” writes Cheryl Finley, an Associate Professor Art History at Cornell University. “It is distinguished by its historical breadth, spanning the 19th century daguerreotype to the early 21st century digital prints, and its attention to black life in America through the lens of social political activism, especially of the 1960s and 1970s.”
The collection as a whole provides a panoramic overview of the black experience, ranging from slavery to emancipation and reconstruction, the decades-long struggle for equal rights, and the aspirations and achievements and of African Americans in politics, the military, the arts, literature, film, sports and much more.
A lifelong collector, Silverstein formed the collection over a 10-year period. His pursuit of the artifacts and objects being offered for sale combined his deep interest in history with his belief that social justice is the most relevant theme of our historic moment. “The result,” says Finley, “is a treasure trove ripe with rare and iconic photographs, albums, posters, books and documents that tell the story of why African American social and cultural history is so vital, especially today.”
As nationally prominent collector, dealer and appraiser Wyatt Houston Day has written:
“The Social History of the African American diaspora is rich, nuanced and complex. In its deepest and enduring roots, it is a chronicle of suffering and loss; one of righteous anger, defiance and a continuing struggle for justice. It is also a story of hope, aspiration and compassion.” The collection weaves a story told in equal detail by the instantly recognizable faces of Frederick Douglass, Martin Luther King, Jr., and Muhammad Ali, as it is by the unknown and unnamed personages who posed in photographers’ studios in their desire to have their everyday lives documented.
The sale includes more than 380 lots, many of which are rare or of unusual scarcity, and many appearing at auction for the first time.
Of note among the 19th century photographs is an unprecedented appearance at auction of a group of four small-format photographs, known as “cartes de visite” (CDV), portraying the great orator and abolitionist, Frederick Douglass. Particularly significant among these is the photo of Douglass taken by the Cincinnati-based African American photographer, James Pressley Ball, one of only a small handful of black photographers active anywhere in 19th-century America.
Another 19th century standout is a CDV of the brutally scarred back of Private Gordon, an illustration of which was published in a July 1863 article about Gordon in Harper’s Weekly, the most widely read journal during the Civil War. The image of Gordon's mutilated back provided Northerners with evidence of the brutal treatment of slaves and inspired many free blacks to enlist in the Union Army.
A highlight of the 20th century photographic section of the sale is the lifetime James Van Der Zee portfolio of 18 signed and editioned photos published in 1974. Included in this group is Van Der Zee’s most famous photo, Couple In Raccoon Coats.
An important photograph also on the auction block is a large-format example of Ernest Withers’ best-know image, “I Am A Man”, depicting the Memphis Sanitation Workers Strike of 1968. Martin Luther King, Jr. was in Memphis at the time of his assassination in support of the striking workers.
A major component of the collection is on the Civil Rights and Social Protest movements of the 1960s and 70s. Included in the sale is a massive accumulation of more than 450 press photographs, divided up into several lots, covering the major Civil Rights, School Integration, Race Riots and other Black Activist events of the era.
Perhaps the most familiar civil rights era photo, captured at the time by Associated Press photographer Bill Hudson, is of the German shepherd dog attacking teen-aged Walter Gadsen in Birmingham, Alabama on May 3, 1963. The publication of this photo the next day on the front page of The New York Times stirred national outrage and did much to sway public opinion on the Civil Rights movement.
Of tragic prominence among the many other well-documented images in this press photo archive is a select group of four photographs, taken by Joseph Louw, of the moments leading up to and after the assassin’s bullet hit Martin Luther King, Jr. on April 3, 1968 as he stood on the balcony of the Lorraine Hotel in Memphis, Tennessee.
Individual photographs depicting black life by such acclaimed 20th century photographers, both black and white, as P.J. Polk, Ernest Withers, Robert Sengstacke and Robert Haggins; Kamoinge Workshop photographers Anthony Barboza, Mikki Ferrell and Shawn Walker; Jazz Photographers William Gottlieb, Herman Leonard, Ted Williams, Chuck Stewart, and many others, are also included in the sale.
“Without a doubt,” Finley says, “the most remarkable aspect of the Silverstein Collection is in its unparalleled emphasis on the activities, leaders and artistic production of the Black Panthers.”
A true rarity in this group, and only the second example ever to be offered at auction, is the first poster to use an image of a stalking black panther with text reading “Move On Over Or We’ll Move On Over You”. The poster was created for the Student Non-Violent Coordinating Committee (SNCC) circa 1966 to promote the voter registration campaign in Lowndes County, Alabama. When the Black Panther Party of Self-Defense was officially founded in Oakland, California, the next year it, adopted the animal as its symbol.
Of equal, if not greater scarcity, and possibly the only known example, is a group of 14 black and white crime scene photographs, taken by the Chicago Tribune, along with another four color photos, of the apartment where Black Panther leader Fred Hampton was murdered on Dec. 4, 1969 in his bed by the Chicago police. These are gruesome images and not for the faint of heart, but of utmost social significance.
Also of note in this section are the more than 100 copies of The Black Panther newspaper; the largest representation of posters designed by Emory Douglas ever to be offered in a single sale; and the finest collection of posters and other ephemera representing the trial of Angela Davis and the national and global campaign to win her freedom.
And, of course, also included in the sale is the best known Black Panther poster of all from 1968, showing Black Panthers Minister of Defense Huey Newton seated on a wicker throne with a rifle in one hand and a spear in the other.
Additional highlights of the sale include:
· A selection of more than 25 “all-colored-cast” movie posters, including the most difficult to find in the collecting field, the one-sheet poster for The Bull Dogger, a silent western made in 1921 starring cowboy actor Bill Pickett
· Flip Schulke’s dazzling 1961 image (printed later) of Ali Underwater
· One the most iconic images in sports history, Neil Leifer’s color photograph of Team USA members Tommie Smith and John Carlos’ defiant black power salute on the medal stand at the 1968 Olympics in Mexico City
· SNCC and CORE (Congress of Racial Equality) posters from the mid-1960s with photos by Danny Lyon and Bob Adelman that were used to generate awareness of the Voter Registration movement in the deep South
· A circa 1940s-50s enameled metal box-office sign for Negro League baseball
· A painted metal sign for the Booker T. Motel in Humboldt, Tenn., advertising accommodations for African American travelers in the 1940s and ‘50s deep South. This is the kind of hotel that the Don Shirley character in the current film, The Green Book, would have had to stay in
“Say it Loud” The John Silverstein Collection of African American Social History is presented in two sessions Tuesday, Jan. 15. A grand format floor session begins at 11 a.m. Central time and an internet-only session starts at 4 p.m. Central time on HA.com.
Hindman LLC announces today that it has acquired auction houses Leslie Hindman Auctioneers and Cowan's Auctions. The new venture brings together two of America's defining auction firms, uniting a nationwide network of specialists and resources. Born to serve and grow the industry landscape through digital transformation and customer service, Hindman LLC reflects the shared vision of Leslie Hindman and Wes Cowan, the respective founders of each firm.
“We're thrilled to join forces with Cowan's who shares many of our core values, including our vision for a national client-centric auction house,” said Leslie Hindman, Co-Chair of the newly formed Hindman LLC. “We’ve both grown by connecting local communities to the global art market and by providing excellent service across all categories, sales channels and price points. And now we can further accelerate our vision through this combined effort.”
Leslie Hindman founded Leslie Hindman Auctioneers in 1982 in Chicago. Wes Cowan founded Cowan's Auctions in 1995 in Cincinnati. Both will remain intimately involved in developing the strategy and vision of Hindman LLC where Leslie Hindman will serve on the Board as Co-Chair and Wes Cowan as Vice Chair.
“Leslie and I have known each other for many years, so this shouldn't be a surprise to anyone who knows us,” said Wes Cowan. “We decided to partner because we both recognized that the new digital landscape and growing auction customer base provides the best opportunity to realize our vision of creating a national client-centric auction house. This means we are locally available to serve the complete needs of our clients and give them access to international buyers. This is an exciting continuation of our vision but with more resources and thought leadership backing it up.”
Hindman LLC will create one of the largest auction firms in America with its combined expertise and footprint. It will be led by CEO Thomas Galbraith, who will work closely with senior leadership at both companies to oversee the collaboration.
“Leslie and Wes have a history of making bold moves. They've each built companies from the ground up by responding to the needs of clients and taking them along on their journeys to innovate,” said Thomas Galbraith, CEO of Hindman LLC. “This next chapter holds that theme as we build new tools and expand our expertise to be as diverse and dedicated as the clients we serve.”
Leslie Hindman Auctioneers and Cowan's Auctions will continue to operate under their respective brands and with uninterrupted service. Both auction firms will retain current locations: Atlanta, Chicago, Denver, Milwaukee, Naples, Palm Beach, Scottsdale and St. Louis for Leslie Hindman Auctioneers and Cincinnati, Cleveland and Denver for Cowan's Auctions.
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 salerooms and business offices in Chicago, Atlanta, Denver, Milwaukee, Naples, Palm Beach, Scottsdale and St. Louis but serves a global client base through its position at the forefront of technology. Visit www.lesliehindman.com for more information.
About Cowan’s Auctions
A full-service auction house, Cowan's Auctions is a leader in the industry, having disrupted the marketplace since its founding in 1995. From its Cincinnati and Cleveland salesrooms, Cowan's holds over 60 auctions a year in the categories of historic firearms and militaria, American Indian art, American history, Americana, folk art, fine art, furniture, Asian art, coins and currency, rare books, fine jewelry and more. Cowan's has always been at the forefront of the digital revolution in the auction industry as one of the earliest auction houses to launch a website and to auctions items online. For more information, visit www.cowans.com.
Bube_ Travel Ban.JPGNew York- The Center for Book Arts is proud to present the latest exhibition, Politics of Place, curated by Alexander Campos and Monica Oppen. The exhibition will be held from January 18 through March 30, 2019.
From the mechanisms of colonialism, to intractable wars, displacement has become a catalyst to a contemporary discourse surrounding belonging, homeland and nationhood. Politics of Place highlights artist books, mainly from Australia and North America, both new world territories that share parallel histories, to explore the longstanding issues centered in indigeneity, enslavement, conflict-caused immigration. These issues reflect the undercurrent of political motives and decisions often decentering and ignoring the voices of those displaced.
Artists and Authors include: Sue Anderson, Julie Barratt, Aileen Bassis, Neda, Parastoo and Maryam Bahrami, Doug Beube, Tia Blassingame, Bonney Djuric, Jas Duke, Noga Freiberg, Colette Fu, Anne Gilman, Parra Girls, Adam Golfer, Lyall Harris, Gwen Harrison, Claudia, Heinermann, Michal Iwanowski, Murtaza Ali Jafari, Ann Kalmbach, Tatana Kellner, Peter Rutledge Koch, Taller Lenateros, Jason Lujan, Peter Lyssiotis, Clyde McGill, Vivienne Mehes, Gideon Mendel, Mohammed , Tammy Nguyen, Iviva Olenick, Lefteris Olympios, Fakhruddin Rajai, Madina and Yalda Sayer, Indre, Michael Serpytyte, Patricia Silva, Anne Twigg, Juana Valdes, Judy Watson, Philip Zimmermann, Debra Magpie Earling, Lily Hibberd Dominique Malaquais, Paul Mason and Sonya Winterber.
Meet the artists and curators at the opening reception on January 18th at 6:30pm, and the Roundtable discussions on January 25 and February 28, 2019 at 6:30pm Founded in 1974, it was the first not-for-profit organization of its kind in the nation.
Support for the Center for Book Arts’ Visual Arts Programs is provided, in part, by the New York State Council for the Arts, with the support of Andrew Cuomo and the New York State Legislature, by public funds from the New York City Department of Cultural Affairs of the city of New York in partnership with the City Council, and by the National Endowment for the Arts. The 2019 History of Art series is co-sponsored by the New York Chapter of the American Printing History Association.
William Page.JPGA collection of watercolour sketches by English artist William Page (1794-1872) sold for £8,500 (plus buyer’s premium) in Tennants Auctioneers’ Books, Maps and Manuscripts Sales on 19th December. Page, who attended the Royal Academy Schools in the early 19th Century, travelled widely across Europe and the Ottoman Empire, capturing the landscape and architecture of the places he visited in his atmospheric watercolours. Page also depicted figures in their national costume, examples of which were included in the lot. There were forty-two watercolours and fourteen ink and wash drawings in the lot, which drew heated bidding to soar above the £1,500-2,500 estimate.
A second collection of 19th Century travel sketches depicting the Far East, this time by an unknown amateur hand, also sparked interest to sell at £4,000 (plus b.p.). Executed by a traveller aboard the East India Company ship ‘The Inglis’, it was one image in particular that elevated this lot from just a charming travelogue; a sketch of the first ordained Chinese Protestant minister - Liang Fa (1789-1855). Shown seated with his wife and grandson, Liang Fa had a far-reaching influence. Born into a poor family in the Guangdong Province, Liang Fa became the second Chinese convert, baptised by Protestant missionary Robert Morrison in 1814. Amongst a steadily growing congregation, Liang Fa became the first Chinese fully ordained Minister in 1827, and soon published his own tract ‘Good Words to Admonish the Age’ - which would have extraordinary consequences. Amongst its readers was Hong Xiuquan, a Christian convert who went on to found the Taiping Heavenly Kingdom in Southern China in direct opposition to the Imperial State, and who claimed to be Christ’s younger brother. Hong Xiuquan and his followers rose up and attempted to overthrow the Qing Dynasty in what became the Taiping Rebellion - fourteen years of civil war which resulted in an estimated death toll of 20-30 million civilians and soldiers.
Another item of note in the sale was a copy of Humphry Repton’s Designs for the Pavilion at Brighton. The volume contains his plans and designs for a redevelopment of the pavilion as a Mughal pleasure palace. Repton's genius was in marketing. He produced 'little red-books' to show landowners, and thus prospective customers, views of proposed projects. He would illustrate the current view on a flap, which could be lifted to reveal the proposed design - an easy way to show a client before and after comparisons of their houses. Repton was commissioned by the future George IV but the Prince ran out of money. It was partially realised by John Nash in 1814. The volume was sold for £4,200 (plus b.p.).
The sale resulted in a total hammer price of £72,800 for 232 lots, with a 79% sold rate.
We are currently accepting lots for the next sale of Books, Maps, Prints & Manuscripts on 15th March 2019, please contact us on 01969 623780 or enquiry@tennants-ltd.co.uk for details.
Full results are available on our website. www.tennants.co.uk
Image: William Page - Watercolour of a Woman in National Costume, detail from Sketchbook: Sold for £8,500
Lot 342-Currier & Ives.jpgNew York -- Swann Galleries closed out their fall season with a marathon sale of Maps & Atlases, Natural History & Color Plate Books on Thursday, December 13. The auction saw a sell-through rate of 89%, five records, and steady interest across categories.
The runaway top lot of the sale was Across the Continent, 1868, a Currier & Ives print depicting the changing landscape of the mid nineteenth-century American frontier upon the completion of the Transcontinental Railroads. Significant for its subject matter and memorable provenance, the work came across the block, by descent, from the noteworthy collection of Thomas Winthrop Streeter who was gifted the lithograph on his 80th birthday by his children. Across the Continent reached $62,500-a record for the print.
Maps and atlases represented a generous portion of the sale with several lots taking top spots and setting records. Maps included Samuel de Champlain’s scarce 1664 record of his later discoveries in Canada with $22,500, and John Overton’s New and Most Exact Map of America from 1671 with $11,875. Additional cartographic material featured a chart of the middle Atlantic Coast including New York, New Jersey, Pennsylvania, Maryland, Virginia and North Carolina by Joseph Frederick Wallet Des Barres ($13,750); Joan Vingboons’ Caarte van Westindien, circa 1700, a large engraved chart of Florida, Mexico, Central America and the Caribbean ($10,625); and a 1676 New and Accurate Map of the World by John Speed ($9,375). Atlases included George Woolworth Colton’s Atlas of America on the physical and political geography of North and South America and the West India Islands, which set a record with $11,250, and a first edition of a rare atlas of Spanish-controlled harbors in North America, Central America and the Caribbean, which earned $11,700.
Perhaps in response to the political climate, satirical color plate books performed well: Caricaturana, 1836-38, Honoré Daumier’s collaboration with Charles Philipon, taking aim at French society sold for $18,750; and The Caricature Magazine, circa 1806, by George Moutard Woodward, which satirized various elements of nineteenth-century British social and political themes, garnered $16,250. Later in the sale, individual Gillray prints saw a 100% sell-through rate.
Additional highlights from color plate books included John James Audubon’s The Birds of America, 1859, which featured seven volumes and 500 tinted and hand-colored lithograph plates. The publication was offered together with Audubon’s The Quadrupeds of North America and reached $16,250. Michele Rene d’Auberteuil’s eighteenth-century weekly Parisian theatre journals, Costume et Annales des Grands Theatres de Paris, set a record with $11,875. Also from the selection was Thomas Say’s American Conchology, 1830, and a well-illustrated manuscript ciphering book from the eighteenth century by William Greene ($8,750 and $8,125, respectfully).
A run of Japanese material was led by a color woodblock map of Uraga and Edo Bay relating to Commodore Matthew Perry and His Black Ships at $15,600. Additional Perry material included a manuscript report on the arrival of the commodore, featuring two large portraits of Perry and Commander Henry A. Adams, which was sold for $6,500. A panoramic color woodblock map of the roadways, waterways, cities, towns and topography of the entire island chain of Japan; and a large Edo-period woodblock Japanese atlas and encyclopedia were won for $8,450 apiece.
Caleb Kiffer, Specialist of Maps & Atlases, noted of the sale, “In many ways this sale showed a great confidence in the antique map market with more interest than has been seen and strong prices to back that up. It was also encouraging to witness a surge in the middle-market items. The highlight of the sale, Currier & Ives' Across the Continent was an exceptional result. It is a beautiful, historic image, but it was the fact that it was such a meaningful piece of Thomas Winthrop Streeter's personal collection that propelled it into record territory.”
The next auction of Maps & Atlases, Natural History & Color Plate Books at Swann Galleries will be on June 6, 2019. The house is currently accepting quality consignments.
Additional highlights can be found here.
Image: Lot 342: Currier & Ives, Across the Continent / Westward the Course of Empire Takes Its Way, formerly in the collection of Thomas Winthrop Streeter, New York, 1868. Sold for $62,500, a record for the print.
Roni_Peter.jpgNew York — No artist is an island. Harnessing wide-ranging interests to create striking works unconfined by limitations, Joseph Cornell's life and art are the inspiration behind Introspective Collective. Aspects of Cornell’s output—visual and lyrical poetics, collage, assemblage, found objects, and dance—provide a framework to show how the individual and the community interconnect to create art that can be reflective while also contributing to discussions about societal concerns.
Drawing on Cornell’s life and art as the framework, this exhibition seeks to explore the crosscurrents where the individual artist intersects with the wider community. The captivating artwork on display is well worth a visit to the gallery. A wall of shadow boxes addressing climate change hangs opposite an installation concerning Hurricane Maria. Scrolling images of ballerinas in unexpected places are projected alongside a collage of broadsides on loan from The Center for Book Arts.
Visit The Clemente through January 20th to catch this show!
Participating artists: Damali Abrams, Golnar Adili, Aravind Enrique Adyanthaya , Jose Ambriz, Tomie Arai, Milcah Bassel, Elizabeth Louise Castaldo, Ana Paula Cordeiro, Aurora De Armendi, Roni Gross and Peter Schell, Barbara Henry, Wennie Huang, James Kelly, KS Lack, Norah Maki, Colin McMullan DBA Emcee C.M., Master of None, Luis Pons, paul singleton iii, and Daphne Stergides
Panel Discussion: Altruism and art-making: inherent contradictions - January 19th, 2019 at 2:30PM with Amanda Deutch, paul singleton iii and Aurora De Armendi, moderated by Drake Tyler
Project website https://introspectivecollective.home.blog/
Image: Undertow Roni Gross and Peter Schell
sothbook.jpgNew York — Sotheby’s December auctions of Books & Manuscripts concluded on Monday, with nearly 700 works sold across six live and online-only sales for a total of $6.1 million. From a newly-discovered manuscript of poems by John Donne, to the ‘dissolution of contract’ that formally ended the Beatles, below is a selection of highlights from the two online-only auctions at the center of this sales series.
Richard Austin, Head of Sotheby’s Books & Manuscripts Department in New York, commented: “Building off the success of our online-only auction of Books & Manuscripts this June, whose $3.3 million total achieved the highest result for an online-only sale at Sotheby’s in any category, we are very pleased with the results of our December auctions both live and online. In particular, we were excited to see more than half of all sold lots in our online-only sales exceeding their high estimates. From classical music manuscripts to pop music history, rare first editions to newly-discovered autographed letters, we saw many strong prices across the diversity of our field.”
A previously unrecorded handwritten manuscript by 16th-century British poet, John Donne, which was recently discovered by a Sotheby’s specialist at Melford Hall in Suffolk, sold for $595,315 - marking Sotheby’s highest-ever price achieved in an online-only auction. Described by Sotheby’s book specialists as ‘one of the supreme literary achievements of the English language’, the manuscript is one of the largest contemporary collections of Donne’s poems.
A contemporary of William Shakespeare, Donne was born into a Catholic household, and experimented with careers first as a soldier-adventurer, and then as secretary to the Lord Keeper in Elizabeth I’s court, a position from which he was promptly sacked, and briefly imprisoned, for eloping with his employer’s niece. His rakish life provided ample material for the poems in this collection - songs and sonnets, erotic elegies and satires. Converting to the Church of England, Donne rose to become Dean of St Pauls in the 1620s with the support of King James I. His extraordinary body of lyrics, full of frank eroticism, theatrical arrogance and jarring rhythms, were considered unlikely output from one of England’s leading priests.
Sold to benefit the Rare Book Acquisition Fund of the Library of the Jewish Theological Seminary, a rare first edition of Joseph Penso de la Vega’s Confusion de Confusiones written in 1688 achieved $375,000 (estimate $200/300,000). Likely one of less than ten surviving copies, Confusion de Confusiones represents the first book ever to describe a stock exchange. It gives a detailed explanation of the Amsterdam stock exchange, and outlines practices such as puts, calls, pools and manipulations, which remain relevant in today’s exchanges. Despite its great accuracy and keen insights, Confusion was relatively unknown until German economist Richard Ehrenberg published an influential essay in the 1892 Jahrbücher für Nationalökonomie und Statistik, “Die Amsterdame Aktienspekulation un 17. Jarhhundert.” The historical significance of the work was further enhanced by translations into German and Dutch in 1919 and 1939, and in 1957 an abridged translation in English by Hermann Kellenbenz brought the text even wider recognition.
Published according to the true Originall Copies, Shakespeare’s Comedies, Histories, and Tragedies brought $300,000 - double its high estimate of $150,000. The present edition was printed by Thomas Cotes, who had taken over Isaac Jaggard’s shop in 1627, for publishers Robert Allot, John Smethwick, William Aspley, Richard Hawkins, and Richard Meighen - each of whom had rights in one or more of the plays.
Marking the end of a global phenomenon, Apple Corps Limited Dissolution of Contract, Signed by All Four Beatles fetched $118,750, more than double its high estimate. While The Beatles had creatively parted ways in 1969, they had reached an accord to formally dissolve by 1974 following years of litigation, and the documents were meant to be signed on 19 December at a meeting at the Plaza Hotel in Manhattan. McCartney and Harrison were there in person, while Starr, having already signed the document, was on the telephone. Although Lennon lived a short distance from the Plaza, he left his former band mates waiting, purportedly giving the excuse: “the stars aren’t right” (in reality his absence was due to lingering concerns over taxation).
On 29 December, a lawyer met a vacationing John with the amended contract in Disney World. The moment was captured by John’s partner May Pang, who remarked that Lennon “looked wistfully out the window” before signing underneath his band mates’ signatures.
A remarkable letter written in German from Gregor Mendel to his parents mentioning Friedrich Franz reached $300,000, more than 20x its high estimate of $15,000, with 45 bids placed. Given the tone of the letter, it is assumed that it dates to the 1840s, when Mendel, upon the recommendation of his physics teacher Friedrich Franz, entered the Augustinian St. Thomas's Abbey in Brno. Mendel had not planned to be a monk, but the Augustinian's valued science, research, and education. Mendel was one of Franz's favorite students, and the two men eventually became good friends and often debated a number of topics including the origin of the solar system and of life as such, Goethe's philosophy, and the purpose of human life. Mendel passed away in complete obscurity, and as a result manuscripts relating to his life very rarely appear at auction, and no other autograph letters by Mendel are known to have appeared auction.
Image: A rare first edition of the first book to describe a stock exchange, Confusion de Confusiones achieves $375,000. Courtesy Sotheby's.
Dallas, TX - - the program’s two most successful years - of more than $16 million. The MOtO program has been particularly popular among Sports and Comics collectors.
3f7db8c354cf83d542b33caa_1220x946.jpgNew York — The Morgan Library & Museum presents an exhibition of photographs from one of the most comprehensive repositories of photography on the continent, the collection at the National Gallery of Canada. The first in a series of three major photography shows at the Morgan in 2019, The Extended Moments: Photographs from the National Gallery of Canada is organized into a sequence of pairings that underline the persistence, over time and across space, of trends and tensions central to photography. The moment in each photograph in the sequence is “extended” by images neighboring it on either side, even as the exhibition as a whole presents the age of photography, from its beginning in 1839 to now, as a single “extended moment.”
Included in the show are 68 works representing photography's role in art, journalism, science, exploration, activism, warfare, the chronicling of family and community histories, and many other subjects. Spanning a period of 180 years, the exhibition also features works by notable artists such as Edward Burtynsky, Julia Margaret Cameron, Henri Cartier-Bresson, Lynne Cohen, John Herschel, Richard Learoyd, Lisette Model, Zanele Muholi, Edward Steichen, and Josef Sudek.
Canada’s was the first national gallery to actively start collecting photography. In 1967 the Gallery began building a collection that chronicles the medium from its prehistory to the present, including major contributors to the field. The gallery’s holdings are distinguished by coverage of the complex history of photographic processes and by deep historical strengths, including the daguerreotype and early French and British photography. More recently, the Gallery has expanded the collecting mandate for photographs to take a more inclusive look at photography as a cultural phenomenon.
“Photographs have influenced the human imagination in myriad, complex ways from the very beginning of the medium’s history,” said Colin B. Bailey, Director of the Morgan. “Images are made daily and document our national and global histories. Photography is also a deeply personal art that asks questions about how the world works. This is an incredible opportunity for the Morgan to familiarize visitors in the U.S. with one of the most distinguished photography collections on the continent.”
“The Morgan is at once the newest kid on the block. The Department of Photography here is only six years old—and a place where photography gets seen in long historical perspective among the arts of communication,” said Joel Smith, curator of the Morgan exhibition. “It is an honor to host the venerable collection of the National Gallery of Canada here; it also feels like a case of natural synergy.”
Image: Zanele Muholi, ZaVa, Amsterdam, 2014. National Gallery of Canada. Courtesy of the artist, Yancey Richardson, New York, and Stevenson Cape Town / Johannesburg.
raw pcard front.jpgRaw is a new exhibition presented by Minnesota Center for Book Arts (MCBA). The exhibition is on view from December 14th - February 3rd in the Open Book Cowles Literary Commons. The opening reception for raw will take place on Thursday, January 10 from 6-8pm. Both the exhibition and opening reception are free and open to the public.
Raw features work by eleven MCBA Artist Cooperative members: Wendy Fernstrum, Georgia A. Greeley, Marvel Grégoire, Karen Kinoshita, Monica Edwards Larson, Raven Miller, Charles Nove, Paul Nylander, Bridget O’Malley, CB Sherlock, and Emily Umentum. Exploring the intersection of ideas, objects, and emotions, artistic methods represented include handmade lace paper, photogravure prints, monotype, intaglio, chapbooks, experimental books, and broadsides.
MCBA’s Artist Cooperative is a community of artists dedicated to book arts. Co-op membership is open to artists with demonstrated interest in papermaking, bookbinding, letterpress printing, screen printing, or related arts. Membership offers 24/7 access to a wide range of equipment in MCBA’s studios, exhibition opportunities, class tuition discounts, peer support, and more
Image: Laima by Emily Umentum
5639a46bda86eabb9e15e422_884x1100 copy.jpgNew York — This winter, the Morgan Library & Museum offers a once-in-a-generation opportunity to see a remarkable collection of materials related to one of the world’s most beloved authors, John Ronald Reuel Tolkien (1892-1973). Tolkien’s adventurous tales ignited a fervid spark in generations of readers. From the children’s classic The Hobbit to the epic The Lord of the Rings, Tolkien’s stories of hobbits and elves, dwarves and wizards have introduced millions to the rich history of Middle-earth. Opening January 25, Tolkien: Maker of Middle-earth—a new exhibition at the Morgan organized in collaboration with the Bodleian Libraries, University of Oxford—celebrates the man and his creation.
This exhibition provides the largest collection of Tolkien material ever assembled in the United States. First presented at the Bodleian Libraries in 2018, the 117 objects on view include family photographs and memorabilia, Tolkien’s original illustrations, maps, draft manuscripts, artefacts, and designs related to The Hobbit, The Lord of the Rings, and The Silmarillion. The exhibition guides visitors through Tolkien’s development as a writer and artist, from his childhood and student days, through his career as a scholar of medieval languages and literature, to his family life as a husband and father. It presents a unique opportunity to understand the intensely visual imagination, the dedicated scholarship, and the aspects of daily life that shaped Tolkien’s most treasured works.
Notable objects in the exhibition include draft manuscripts of The Hobbit and the original manuscripts of The Lord of the Rings and The Silmarillion, displayed alongside striking watercolors, dust jacket designs, and drawings. Other highlights are the photographs and letters from Tolkien’s childhood and student days. Drawn from the collections of the Tolkien Archive at the Bodleian Libraries (Oxford), Marquette University Libraries (Milwaukee), the Morgan, and private lenders, the objects on display introduce visitors to Tolkien’s creative process from his early abstract paintings in The Book of Ishness and the letters written and illustrated for his children to his epic fantasy novels.
The exhibition also offers a rare look at Tolkien’s artistic output, which was wide-ranging and experimental, naturalistic and abstract. In his landscapes of Middle-earth and intricate designs, visitors can catch a glimpse of Tolkien world-building and working out his ideas on paper.
Since the publication of his novels, Tolkien has amassed a variety of admirers including poet W.H. Auden and singer Joni Mitchell,” said Colin B. Bailey, director of the museum. “This exhibition helps us see what was so extraordinary and universally appealing about his gifts as a storyteller and his ability to combine the scholarly with the artistic. The show presents an intimate look at Tolkien’s world through his handwritten and drawn works. We are grateful to the Bodleian Libraries, The Tolkien Estate and The Tolkien Trust for this landmark collaboration.”
“It is exciting to see so much material in Tolkien’s own hand,” said John McQuillen, Associate Curator of the Printed Books and Bindings Department. “It’s as if we are looking over his shoulder while he composes and illustrates his vision of Middle-earth. We get to glimpse moments in the creation of the narrative, such as when he changes the wizard’s name to Gandalf or suddenly comes up with the idea of the One Ring. It is almost voyeuristic: we have the opportunity to see the creative process that brought us the books with which we are so familiar.”
Image: J. R. R. Tolkien (1892 - 1973), Dust jacket design for The Hobbit, April 1937, pencil, black ink, watercolor, goache. Bodleian Libraries, MS. Tolkien Drawings 32. © The Tolkien Estate Limited 1937. ® TOLKIEN is a registered trademark of The Tolkien Estate Limited.
eedfemeejcaehclf.jpgNew York-Swann Galleries’ auction of Illustration Art on December 6 saw a bustling auction room as well as live bidding from the newly launched Swann Galleries app. Original works from children’s literature and Peanuts comic strips from Charles M. Schulz were among highlights. Of the sale, Illustration Art Specialist Christine von der Linn noted, “We had a strong turnout and set records for six illustrators. The breadth and quality of the material enabled us to further the appreciation and enjoyment of this specific category of art.”
Illustrations from children’s literature saw outstanding results, boasting five of the six records: Eric Carle’s The Very Hungry Caterpillar with $20,000; H.A. Rey’s color pencil work for Cecily G and the 9 Monkeys, 1939-the first book to introduce Curious George-earned $17,500; a watercolor and ink alternate version of the title page for Angelina Ballerina by Helen Craig saw $5,460; and Leonard Weisgard’s double-page illustration for The Golden Christmas Tree brought $5,000. Two archives from Helen Stone found buyers: a rich collection of production material from Tell Me, Mr. Owl, 1957, which included sketches, studies and thoughtfully composed finished drawings garnered $3,500, a record for the artist; and the 50-page mockup of Watch Honeybees with Me, 1964, with numerous illustration, was collected by an institution for $688. Also present was Jerry Pinkney’s special holiday watercolor for a 2009 cover of School Library Journal, which realized $7,000.
The runaway top lot of the sale was a pen and ink drawing of the Marx Brothers by famed cartoonist Al Hirschfeld. The illustration for the cover of Why a Duck?, 1971, which features Chico, Harpo and Groucho in classic Hirschfeld style, barreled through its high estimate of $7,500 selling for $26,000 after a bidding war.Charlie Brown, Snoopy and the Peanuts gang took the spotlight with five original Peanuts comic strips by Charles M. Schulz earning top spots in the sale. The Years are Going by Fast, 1979, which put Schroeder, his piano and Lucy’s fussbudget personality on display; along with Everyone Needs to Have Hope, 1971, with Snoopy atop his doghouse, were sold to collectors. Eventually, That Could Wear Out My Nose, 1971, Woodstock is Searching for His Identity, 1972-each featuring Snoopy and Woodstock; and Neighborhood Dog of the Year, 1973, with Linus and his ever-present security blanket, were won by an institution. Each of the five strips brought $12,500.
Additional cartoons included an original 11-panel Doonesbury strip, Is Rufus Ready for his Lesson? by Garry Trudeau. The comic was dedicated and inscribed to the influential psychologist, educator and civil rights activist Kenneth B. Clark ($5,750).
Illustrations from The New Yorker performed well, with a cartoon by Charles Addams of a couple passing a giant bird house which sold for $16,250, and a 1926 New Yorker cover by James Daugherty-the earliest cover for the publication offered at Swann to date-realized $3,750.
Other notable lots included: a previously unknown work by Rockwell Kent, To All Fascists for the League of the American Writers ($6,500); and Mary Mayo’s illustration for a General Mills Wheaties advertisement ($3,000, a record for the artist). Scottish illustrator Sir William Russell Flint found success with a watercolor and gouache scene from Homer’s Odyssey of Penelope weaving her shroud selling for $22,500.
The next auction of Illustration Art at Swann Galleries will be on June 4, 2019. The house is currently accepting quality consignments.
Additional highlights can be found here.
Image: Lot 233: Al Hirschfeld, The Marx Brothers, illustration for the cover of Why a Duck?, pen and ink, 1971. Sold for $26,000. (Pre-sale estimate: $5,000-7,500).
Shackleton Landing Party (1024x692).jpgAn important private library of polar exploration, travel and local history books, including many rare and important volumes, is to be auctioned at Tennants Auctioneers in North Yorkshire on 10th January in a single-owner sale.
The library was put together over many years by the late Roger Casson, an architect from North East England, and is notable for the outstanding condition of much of the collection. The focus of the library is Polar Exploration in the 19th and early 20th century, which accounts for over 200 lots in the sale. Of particular note are a good collection of works recounting the ill-fated final expedition made by Sir John Franklin in 1845 to find the North-West Passage, and the numerous search missions that followed the disappearance of his ships and their crew.
One of the most valuable lots in the sale is a limited edition of The Heart of the Antarctic, Being the Story of the British Antarctic Expedition 1907-1909 by Ernest H. Shackleton. Published by Heinemann in 1909, the two-volume set, which includes two panoramas and three folding maps, in one of only three hundred sets bound in vellum. Also included in the lot, which is offered with an estimate of £7,000-10,000 (plus buyer’s premium), is the accompanying The Antarctic Book, Winter Quarters, 1907-1909, which contains sixteen signatures of the Shore Party from the famous expedition.
Other highlights include a copy of the three-volume The South Polar Times, published by Smith, Elder between 1907-1914, of which a numbered limited edition of 250 were produced, and in this case includes two of the very rare dust wrappers (Estimate: £4,000-8,000 plus b.p.). Also of note is a copy of James Murray and George Marston’s Antarctic Days, Sketches of the homely side of Polar life by two of Shackleton’s Men (Andrew Melrose, 1913). The limited deluxe edition is signed by Murray, Marston and Shackleton, and is being offered with an estimate of £3,000-5,000 (plus b.p.).
The sale will also include numerous books on other travel, including early voyages, and exploration of the Middle East, the history of the North East and architecture.
A fully illustrated catalogue for the sale will be available on our website, www.tennants.co.uk, two weeks before the sale, alternatively, please contact the salerooms for further details.
Image: The Antarctic Book, Winter Quarters, 1907-1909 with signatures of the Shore Party: Estimate - £7,000-10,000
DS Gunners copy.jpgLondon--A sketchbook showing the original hand-drawn costume designs for key characters in Star Wars - including Darth Vader, Chewbacca and the Stormtroopers - sold for an impressive £125,000 at Bonhams, New Bond Street, on Tuesday 11 December 2018.
The sketchbook was part of the 73-lot sale: Designing an Empire: The John Mollo Archive, and in the collection belonging to the family of John Mollo, the double Oscar®-winning costume designer for Star Wars, Gandhi, Alien and Chaplin.
Katherine Schofield, Head of Bonhams Entertainment Memorabilia department, said, “John Mollo’s personal sketchbook provides a unique insight into the creation of the Star Wars universe. We are delighted that his historic work has been celebrated with bidders from around the globe eager to own this piece of cinematic history.”
The story began in 1975, when Mollo was commissioned by George Lucas to work on the Star Wars series. Lucas urged Mollo to avoid the stereotypical space-age look of earlier science fiction productions and instead to focus his designs on the pivotal concept of light versus darkness - ‘I just want to see light versus dark,’ he said.
The sketches include mechanical diagrams exploring how Darth Vader’s helmet would allow the actor to breathe, the first drawing of Chewbacca’s legendary suit and detailed sketches revealing every detail of the stormtroopers’ costumes. It was these, and other, designs that give John Mollo iconic status in Hollywood.
Other highlights of the sale included:
• Napoleon: A fine collection of costume designs by John Mollo from Stanley Kubrick’s unfinished production, 1970, sold for £14,375
• Star Wars Episode IV - A New Hope: pre-production line drawing of Princess Leia in her white hooded gown sold for £10,625
Bonhams Entertainment Memorabilia sale also took place on Tuesday 11 December with 161 lots on offer.
Highlights from the sale included:
• Ken (K.K) Downing/ Judas Priest: A Gibson Flying V guitar, 1967, sold for an astonishing £150,000 (Estimate £15,000-18,000), a world record result for a ‘lead heavy metal guitar’
• The HeliosCentric Helios console: constructed in 1996 through an amalgamation of part of the Island Records Basing Street Studio 2 Helios Console (1970-1974) sold for £112,500.
• Ken (K.K) Downing/ Judas Priest: A Gibson Flying V Medallion Guitar, 1971 sold for £81,250 (Estimate £12,000-14,000).
• Ian Fleming/ James Bond: A second draft treatment carbon copy for ‘James Bond of the Secret Service’ from Ian Flemings office, October 1959 sold for £35,000.
artfulwords1(1) copy 2.jpgLos Angeles - The written word was a major art form in the premodern world. Calligraphers filled the pages of manuscripts with scrolling vines and delicate pen flourishes, and illuminators depicted captivating narratives with large letterforms. These decorative embellishments reveal the monetary, cultural, and spiritual value placed on handmade books at the time. Offering an exploration of decorated letters, Artful Words: Calligraphy in Illuminated Manuscripts, provides insight to the artistic trends that shaped calligraphic practice from England to Central Europe and beyond for nearly one thousand years.
Three types of decorated letters were employed in the handwritten book arts of the Middle Ages: ornamented letters, formed by abstract foliate motifs; inhabited letters, in which strokes of the letter are made up of animal, human, or hybrid forms; and historiated initials, in which the letter includes figures or other content related to the text.
The alphabetic adornments in this exhibition appear in manuscripts that range from a Bible and a Qur’an to books of prayer, law, and history. The calligraphers who made them combined script and ornament to embellish pages, while illuminators developed original and complex strategies for fitting miniature stories into individual letters. Several of the manuscripts feature signatures by the scribes, calligraphers, or artists.
“We consume words in a variety of ways—in handwritten, printed, and digital media—decoding messages that are communicated not just by the combination of phrases but also by their design and styling,” said Bryan C. Keene, associate curator of manuscripts. “Among the highlights in the exhibition is a grouping of manuscripts penned by the famous scribe David Aubert for Duchess Margaret of York, as well as a Qur’an paired with an Italian ceramic vase with imitation Arabic script.”
Artful Words: Calligraphy in Illuminated Manuscripts will be on view December 18, 2018, through April 7, 2019 at the J. Paul Getty Museum. The exhibition is curated by Keene and Katherine Sedovic, former graduate intern in the Manuscripts Department. Related programming will include gallery talks, lectures, and more. Additional information can be found at getty.edu/360.
Image: Butterfly, Marine Mollusk, and Pear, 1561 - 1562; illumination added 1591 - 1596, Joris Hoefnagel (Flemish / Hungarian, 1542 - 1600) and Georg Bocskay (Hungarian, died 1575). Watercolors, gold and silver paint, and ink on parchment. Leaf: 16.6 × 12.4 cm (6 9/16 × 4 7/8 in.). 86.MV.527.118. The J. Paul Getty Museum, Los Angeles, Ms. 20, fol. 118
Frederick Law Olmsted Central Park Letter Signed 56429a_lg.jpegLos Angeles - A handwritten letter from renowned landscape architect Frederick Law Olmsted to a Central Park volunteer will be auctioned by Nate D. Sanders Auctions on December 13, 2018.
Olmsted is known as the father of American landscape architecture. He was most famous for co-designing Central Park, which opened in 1858.
The letter was written while Olmsted was Superintendent of Central Park and was managing the construction of the open space he designed. The letter requests volunteer participation from a local musician to help draw the public to the city’s most famous green space. In the letter, Olmstead describes his social perception, tremendous commitment to egalitarian ideals and how these beliefs translate to his obligation to provide managed open space for passive recreation and enjoyment.
Olmsted famously advocated “common green space” must always be available to everyone, and was to be defended against private encroachment. These principles are now considered fundamental to the idea of a "public park," but was considered groundbreaking thinking in 1858. Olmsted's tenure as New York City’s park’s commissioner and later as an architect for public green spaces throughout the United States was a long well-documented struggle to preserve these ideas.
Auction owner Nate Sanders said, “This letter is incredibly timely and it is being auctioned in the midst of today’s national conversation regarding the value of open space and parks. The letter provides a beautiful example of Olmsted’s advocacy and is very prescient, as the importance of open federal lands are being debated in Congress.”
Olmsted’s 1859 letter was composed on Central Park stationery and was embossed “Office of the Arch’t in Chief / CENTRAL PARK / 5th Avenue and 79th St.” It reads in full, “It is proposed to provide by subscription a band of music upon the finished portion of the park for a few hours during one or two afternoons a week, for the purpose of increasing its immediate value to those who cannot leave the city. It is believed that after this year the Commissioners of the Park will be able to furnish the means for this purpose without drawing upon their construction fund, but their arrangements cannot be completed at present without the aid of voluntary contributions from citizens who will be influenced by motives of kindness toward those who have no means to go into the country for relief from the heat and turmoil of the city. [Signed] Fred. Law Olmsted. / Superintendent.”
Bidding for Olmsted’s letter begins at $35,000.
Additional information on Olmsted’s letter can be found at
https://natedsanders.com/LotDetail.aspx?inventoryid=51270
7673632dd7c16ca4ecb40184_560x502.jpgNew York — The 2019 winter season at the Morgan Library & Museum continues to celebrate visual artists and writers whose experimental methods and innovative creative processes have transformed our understanding of drawing, illustration, writing, and photography. Over the course of January and February, the Morgan will open a series of varied exhibitions, ranging from a look at the creative enterprise of J.R.R. Tolkien, to a focused examination of unconventional practices in contemporary drawing, to the first display in the United States of the storied photography collection of the National Gallery of Canada, to a survey of celebrated early Italian Drawings from our collection.
By Any Means: Contemporary Drawings from the Morgan
January 18, 2019 through May 12, 2019
Contemporary approaches to drawing are often experimental and expansive. By absorbing and building upon the legacy of avant-garde experimentation in the first half of the twentieth century, artists from the 1950s to the present have pushed beyond the boundaries of traditional draftsmanship through their use of chance, unconventional materials, and new technologies. Emboldened by the accessibility, scale, and relative affordability of paper, and informed by the developments of Cubist, Futurist, Dada, and Surrealist predecessors, these artists have pursued drawing by any means--whether by pouring, pressing, rolling, rubbing, folding, pasting, printing, plotting, or pushing. By Any Means brings together about twenty innovative works from the Morgan’s collection, including many recent acquisitions, by artists such as John Cage, Sol LeWitt, Vera Molnar, Robert Rauschenberg, Betye Saar, Gavin Turk, and Jack Whitten.
By Any Means: Contemporary Drawings from the Morgan is made possible with the support of Louisa Stude Sarofim and Nancy Schwartz.
Tolkien: Maker of Middle-earth
January 25 through May 12, 2019
“In a hole in the ground there lived a hobbit.” With these words the Oxford professor J.R.R. Tolkien ignited a fervid spark in generations of readers. From the children’s classic The Hobbit to the epic The Lord of the Rings, Tolkien’s adventurous tales of hobbits and elves, dwarves and wizards have introduced millions to the rich history of Middle-earth. Going beyond literature, Tolkien’s Middle-earth is a world complete with its own languages and histories. Tolkien: Maker of Middle-earth celebrates the man and his creation. The exhibition will be the most extensive public display of original Tolkien material for several generations. Drawn from the collections of the Tolkien Archive at the Bodleian Library (Oxford), Marquette University Libraries (Milwaukee), the Morgan, and private lenders, the exhibition will include family photographs and memorabilia, Tolkien’s original illustrations, maps, draft manuscripts, and designs related to The Hobbit, The Lord of the Rings, and The Silmarillion.
Tolkien: Maker of Middle-earth is organized by the Morgan Library & Museum in collaboration with the Bodleian Libraries, University of Oxford, and with the support of The Tolkien Estate, The Tolkien Trust, and members of the Tolkien family.
The exhibition is made possible through the generosity of Fay and Geoffrey Elliott.
®TOLKIEN is a registered trademark of the Tolkien Estate Limited.
Invention and Design: Early Italian Drawings at the Morgan
February 15 through May 19, 2019
The Morgan’s impressive collection of Italian Drawings documents the development of Renaissance drawing practice from its beginnings in the fourteenth century and over the following two centuries. From the influence of medieval manuscript and painting workshops to the new practice of sketching, artists gradually moved away from imitation of standard models and to the invention of novel ways of thinking on the page and representing traditional subjects. As artists came to be recognized more as intellectuals than as craftsmen, a new class of collectors and connoisseurs created a market for autonomous drawings of classical subjects and other compositions. Portrait drawing emerged as an independent genre during this period, while artists invented new ways approaches to landscape drawing. Invention and Design explores these developments and celebrates more than a century of innovation in drawing. This exhibition will be the first to focus on this material, featuring works by artists such as Mantegna, Filippo Lippi, Filippino Lippi, Botticelli, Leonardo da Vinci, Raphael, Fra Bartolomeo, and Andrea del Sarto.
Invention and Design: Early Italian Drawings from the Morganis made possible with generous support from the Scholz Family Charitable Trust, the Eugene V. and Clare E. Thaw Charitable Trust, the Alex Gordon Fund for Exhibitions, and the Andrew W. Mellon Research and Publications Fund.
The Extended Moment: Photographs from the National Gallery of Canada
February 15 through May 26, 2019
Through a selection of around seventy works, The Extended Moment reveals the historical, technological, and aesthetic richness of the photography holdings of the National Gallery of Canada, a major collection little known in this country. In the exhibition’s presentation at the Morgan, works of far-flung origins appear side-by-side in a sequence that highlights recurring trends and tensions in the history of the medium. Surprising parallels and hidden histories link images drawn from the worlds of art, fashion, journalism, propaganda, scientific research, social activism, and beyond. Thus on one hand, the “moment” in each photograph is “extended” into collaboration with its immediate neighbors; on the other, two centuries of history emerge as an “extended moment” in which the unifying element is photography in its many manifestations. Artists include Edward Burtynsky, Julia Margaret Cameron, Henri Cartier-Bresson, Lynne Cohen, John Herschel, Richard Learoyd, Lisette Model, Edward Steichen, and Josef Sudek.
The Extended Moment: Photographs from the National Gallery of Canada is made possible through the generosity of the Thompson Family Foundation, Inc.
Organized by the Canadian Photography Institute of the National Gallery of Canada in collaboration with the Morgan Library & Museum, New York.
Image: Giovanni Agostino da Lodi (active ca. 1467 - ca. 1524), Head of a Youth Facing Left, 15th century, red chalk on paper. The Morgan Library & Museum, 1973.35:2
9886 Lot 74.jpgNew York - Sotheby’s Geek Week auctions concluded Friday in New York with a total of $7.4 million, featuring sales dedicated to Space Exploration and The History of Science & Technology.
Cassandra Hatton, Vice President & Senior Specialist in Sotheby’s Books & Manuscripts Department commented: “It was so exciting to see such enthusiasm for our first ever ‘Geek Week’ auctions. I am incredibly honored to have been entrusted with the sale of the Nobel Prize, papers, and books of Richard P. Feynman, one of my personal heroes, and I am thrilled with the outstanding results. The depth of bidding and impressive prices achieved are a clear indicator that Feynman’s work and legacy continue to resonate with collectors today, and in particular, the prices achieved for the manuscripts would indicate that Feynman’s scientific work is more precious than gold. It was also especially exciting to become one of only two people, along with Sotheby’s former Vice-Chairman David Redden, to have sold the only known documented samples of the moon available for private ownership.”
Below is a look at some of the highlights that drove these results.
Auction Total: $4.9 Million
Sotheby’s second annual History of Science & Technology auction was led by the Nobel Prize, papers and books of the brilliant, inspiring, and much-beloved theoretical physicist Richard P. Feynman, which were offered across 42 lots. Spanning the full length of his career - from his early days at Los Alamos and Cornell through his final days at the California Institute of Technology (Caltech), and covering topics such as the atom bomb, QED, Nanotechnology and Computing - the remarkable and enlightening collection of papers are the only known archive of Feynman manuscripts to exist outside of the archive at Caltech, where he taught for nearly 4 decades.
In the year of the centenary of Feynman’s birth, his 1965 Nobel Prize in Physics achieved $975,000. The prize was awarded to Feynman along with fellow physicists Julian Schwinger and Shin’ichiro Tomonaga, “for their fundamental work in quantum electrodynamics, with deep-ploughing consequences for the physics of elementary particles.” The three physicists independently developed different ingenious methods to reconcile the electromagnetic field theory of the 19th century with the quantum mechanics theory of the 20th. Feynman’s method involved his invention of the revolutionary ‘Feynman Diagram’ - innovative pictorial representations that provided a clear visual explanation of every possible interaction between electrons and photons.
Leading the collection of Feynman manuscripts was a group of papers showing his derivations of the Schrödinger Equation via the Feynman path integral. Illuminating the equivalence of these distinct but complementary formulations of quantum mechanics, the papers fetched $399,000.
Another top lot of the collection was an autographed draft for Feynman’s famous lecture "There's Plenty of Room at the Bottom; An Invitation to Enter a New Field of Physics." Widely credited with sparking the field of Nanotechnology, the draft sold for $387,000. In his address Feynman imagined "that we could arrange atoms one by one, just as we want them," and in this spirit he posed two challenges that would lead to the development of the field of Nanotechnology, offering $1,000 dollars each to whomever could 1) construct a tiny motor, and 2) to whomever could fit the entire Encyclopedia Britannica on the head of a pin.
Auction Total: 2.5 Million
Held just a month before the 50th anniversary of Apollo 8 - the first mission to orbit the moon - Sotheby’s second-annual Space Exploration sale was led by the only known lunar samples with clear and documented provenance to be available for private ownership - three moon rocks returned to earth from the unmanned Soviet Luna-16 Mission in 1970, which sold for $855,000. That price nearly doubles the amount achieved when the samples were offered at auction in Sotheby’s iconic Russian Space History sale in 1993.
The present lunar samples have remained in the same private American collection since Sotheby’s iconic Russian Space History auction in 1993, when they sold for $442,500 - marking the first time that a piece of another world had ever been offered for sale to the public. The samples were consigned to the 1993 sale by Mme. Nina Ivanovna Koroleva, widow of Sergei Pavlovich Korolev - the former “Chief Designer” and director of the Soviet space program and had been presented to her as a gift on behalf of the USSR in recognition of her late husband’s incalculable contributions to the program.
Another highlight of the auction was the exceptionally rare full Gemini Spacesuit - the only known complete American spacesuit to come to market, which fetched $162,500. Built specifically for conducting spacewalks the present suit features gloves that were made for Pete Conrad, the 3rd man to land on the moon, and boots that were made for Frank Borman, one of the first men to ever orbit the moon.
Image: Lot 74. Feynman, Richard P. “Two Objectives. (1) To Point out the Peculiar Point. (2) To Formulate a Me in a Definite Number of Assumptions (Non-Relativistic Schröd),” ca 1946-51. Autograph Manuscript. Sold for $399,000. Property from the family of Richard P. Feynman. Courtesy Sotheby’s.
spectacularmysteries9(1) copy.jpgLos Angeles - During the Italian Renaissance—the period from about 1475 to 1600 that is often seen as the foundation of later European art—drawing became increasingly vital to the artistic process just as it grew dramatically more sophisticated in technique and conception. Today, Italian Renaissance drawings are considered some of the most spectacular products of the western tradition. Yet, they often remain shrouded in mystery, their purpose, subjects, and even their makers unknown.
Featuring drawings from the Getty Museum’s collection and rarely seen works from private collections, Spectacular Mysteries: Renaissance Drawings Revealed, on view December 11, 2018—April 28, 2019, at the J. Paul Getty Museum, highlights the detective work involved in investigating the mysteries behind master drawings.
“The Getty’s collection of Italian drawings counts among the greatest in this country, and this exhibition will surprise many visitors with how much we still have to learn about these rare works of art,” explains Getty Museum Director Timothy Potts. “This display, which includes some of our best Italian drawings, provides many insights into the methods curators use to investigate the purpose and meaning of these superlative works of art, and some of the revelations they have disclosed.”
The practice of drawing flourished in Italy during the Renaissance, due to a surge in patronage for paintings, sculpture, and architecture, which went hand in hand with the rise of artists’ studios and a rigorous production process for these works. Many of the drawings produced at the time tell stories of their creation and the purposes they served, yet sometimes even the most seemingly simple question—who drew it?—is a mystery. Given the ease and informality with which a sketch can be made, its purpose and other information about it must be discovered from the only surviving evidence: the drawing itself.
Clues about the artist can be uncovered by comparing a drawing with the stylistic characteristics of other sheets. In 1995, for example, a Sotheby’s expert looked at Study of a Mourning Woman (about 1500-05), and immediately recognized the distinctive penwork and handling of the drapery of Michelangelo. Subsequent study confirmed this attribution. The Getty acquired the drawing in 2017.
Inscriptions can sometimes also be a useful clue to the artist, but should be treated with caution since they often reflect the over-optimistic attribution of a past owner. One work in the exhibition - Exodus (about 1540) - features many inscriptions. It took some time and much research to decipher which inscriptions belonged to past owners and which was that of the artist. Eventually, the drawing was attributed to Maturino da Firenze.
Mysteries about the sitter, subject, and purpose can sometimes be revealed by linking a drawing to a painting, sculpture, or print. The purpose of Two Male Standing Figures (about 1556) was unknown until 2001 when the work was auctioned and identified as the work of Girolamo Muziano. At that time, it was determined to be a study for figures in an altarpiece the artist painted for the cathedral in Orvieto.
“As I try to learn more and more about these captivating works, I sometimes feel like a detective,” says Julian Brooks, senior curator of drawings and curator of the exhibition. “In the end, this exhibition is the story of what we know, what we don’t know, what we might know, and what we can’t know about these extraordinary works of art and their world.”
Spectacular Mysteries: Renaissance Drawings Revealed will be on view December 11, 2017 -April 28. 2019, at the J. Paul Getty Museum at the Getty Center. The exhibition is curated by Julian Brooks, senior curator in the Department of Drawings.
Image: The Head of a Young Man, about 1539 - 1540, Parmigianino (Francesco Mazzola) (Italian, 1503 - 1540). Pen and brown ink. 16 × 10.5 cm (6 5/16 × 4 1/8 in.). The J. Paul Getty Museum, Los Angeles
50e1cccab8438dc767c7ed043464920e25f428ef.jpegBoston—A Charles Dickens handwritten signed quotation from “A Christmas Carol” sold for $23,597 according to Boston-based RR Auction
Immensely desirable quotation on an off-white stationery sheet, which reads, in full: "And so, as Tiny Tim observed, God bless us every one!' Charles Dickens, Knebworth, Tuesday Eighteenth June, 1861."
Housed with a handsome engraving of Dickens inside a red leather presentation folder, with attractive gilt text and design to cover and interior boards.
Boasting bold handwriting and a crisp, neat signature, this handwritten quote captures the final line of Dickens’s classic 1843 novella A Christmas Carol.
"This is only the third autographed signed quotation we have offered from the great Victorian scribe, and the very first from what is perhaps his most enduring and celebrated work," said Bobby Livingston, Executive VP at RR Auction.
Also up for auction was an Al Capone signed Christmas and New Year's card that sold for $13,581.
The front of the card featuring a serene artistic portrait of the Virgin Mary cradling baby Jesus in a meadow, that is signed and inscribed inside, "Your Dear Friend, Al Capone, Regards to Frank & Joe.”
Capone grew up in a Catholic family, and had attended a strict Catholic school until the age of 14—after that, he seems to have had little to do with the church. Still, Capone was known to be especially charitable at Christmas, delivering boxes of candy, fruit baskets, turkeys, and gifts to students and teachers at local schools, in addition to dressing up as Santa Claus for family and friends. The notorious gangster's autograph is scarce in any format, and this outstanding personal Christmas card offers a unique glimpse into his softer side.
Additional highlights from the sale include, but are not limited by:
Rare Beatles-signed 1963 PYX program with classic Hoffman cover sold for $17,762.
Beatles limited edition set of six oversized color 'outtake' photographic prints for the cover of the Abbey Road album sold for $14,826.
Robert E. Lee handwritten letter from May 11, 1861 sold for $13,021.
Pearl Harbor archive including items recovered from the USS Arizona after Pearl Harbor attack sold for $12,154.
Original handwritten score for the 1971 classic Willy Wonka & the Chocolate Factory sold for $10,003.
The Fine Autographs and Artifacts auction from RR Auction began on November 16 and concluded on December 5. More details can be found online at www.rrauction.com
vcsPRAsset_3568579_76629_949a39f0-bbba-40f4-ae55-b6acd8a06be8_0.jpgNew York - Christie’s December 13 sale of Fine Printed Books and Manuscripts realized a total of $5,425,625 achieving 75% by lot and 81% by value. Selling in a stand-alone sale ahead of the various owner auction, Albert Einstein: The God Letter realized a total of $2,892,500 and set a world auction record for an Einstein letter after a four-minute bidding battle between two clients on the phones. The bid was won by Books and Manuscripts Senior Specialist, Christina Geiger. Other great results in the Fine Printed Books & Manuscripts sale were achieved for a collection of original printing blocks for the first editions of Alice's Adventures in Wonderland which realized $81,250 against an estimate of $20,000-30,000, Charles Darwin’s On the Origin of Species by Means of Natural Selection which realized $162,500 and the rare true first edition of Harry Potter and the Philosopher's Stone which achieved a world auction record for Harry Potter and more than doubled its high estimate realizing $162,500.
Quote from Sven Becker, Head of Books & Manuscripts: “Collectors worldwide competed very strongly, in the room, over the phone and online, for this finely curated auction which comprised masterpieces and fresh-to market property across a wide range of subjects: from Copernicus to Harry Potter by way of Darwin, Washington and countless other signposts of written culture. The New York Books Department is thrilled to close this year with such a strong auction, as market leaders for fine books and manuscripts.”
Image: Einstein, Albert (1879-1955), Autograph letterto Eric Gutkind, Princeton, 3 January 1954. In German. Price Realized: $2,892,500
638.jpgChicago — Potter and Potter's December 1st Vintage Travel Poster Sale was first class all the way, attracting eyeballs and bids from around the globe. After the hammer fell for the last time, 94 lots realized between $500-999; 39 lots made between $1,000-2,999; and six lots broke the $3,000 barrier. Prices noted include the company's 20% buyer's premium.
Travel posters for Disney destinations held the keys to the kingdom at this sale. Lot #634, a Stanley Walter Galli United Air Lines Disneyland example was the top lot in the sale, selling for $6,000 on its $500-700 estimate. This 1950s era piece, which generated 31 bids, was charmingly illustrated with a ferry full of families riding through a swamp safari. Lot #640, a 1983 Fly Eastern Walt Disney World poster soared to $1,320. It featured a welcoming Mickey Mouse pointing out all the resort highlights at Walt Disney World. A lucky bidder will soon feather their nest with lot #638, a United Air Lines Presents Walt Disney's Enchanted Tiki Room poster from 1968. This color offset litho depicted Jose the Macaw - one of the four masters of ceremonies and the main Tiki Bird at the attraction - and made $4,320. And lot #636, a 1960s-era Los Angeles Disneyland Go Greyhound poster took the wheel at $2,880.
Posters representing India as a destination were also hot ticket items in this sale. Lot #391, a 1950s era See India Mysore Madras example produced by Associated Printers made $3,120 on its $400-600 estimate. It featured the Nandi Statue, which is situated outside Mysore in the Chamundi Hills, and the devotees that travel to make offerings and pray. Lot #388, an India Car Festival At Puri poster produced by the M/S Bombay Fine Art Offset & Litho Works in 1957 raced its way to $3,120. Millions of devotees gather to drag the chariot and be blessed at this annual event. Also making a big impression was lot #400, a Taj Mahal Visit India Bangalore/Madras poster from the 1950s. This offset litho was issued by the Ministry of Information and Broadcasting of the Government of India and traded hands at $2,880. And lot #393, a poster illustrated with an Indian woman with intricate face jewelry hiking in the mountains with two chickens under her arm, and lot #389, a poster featuring a colorful illustration emblematic of the culture in Udaipur, added a touch of foreign intrigue to the sale. Each was produced in the 1950s and realized $2,640.
Travel posters illustrated by David Klein (1918 - 2005) also took off at this auction event. Klein was talented artist best known for his work with TWA and Howard Hughes in the 1950s and 1960s. Lot #23, a c. 1958 Fly TWA San Francisco example featuring a vibrant mid-century view of the Golden Gate Bridge, spanned its $800-1,200 estimate to make $3,120. Lot #17, a New York World's Fair Fly TWA Jets from 1961 sold for $2,640. This example, which simply explodes with its fireworks themed illustration, is considered one of the rarest of all New York World's Fair posters. And lot #8, a Fly TWA Hollywood poster featuring a Lockheed Constellation plane flying over the Hollywood bowl, with searchlights streaking the night sky, was also a breakout star in this sale. This c.1955 masterpiece more than doubled its high estimate, selling for $3,120.
According to Gabe Fajuri, President at Potter & Potter Auctions, "We saw strong interest in mid-century designs in this sale, which is no surprise considering current collecting trends in all fields. Chicago-related posters also did quite well, and we're happy to offer more in this genre early next year, so collectors should take note."
Potter & Potter, founded in 2007, is a Chicago area auction house specializing in paper Americana, vintage advertising, rare books, playing cards, gambling memorabilia, posters, fine prints, vintage toys, and magicana - antiques and collectibles related to magic and magicians. The company's next sale, an online only magic sale, will be held on December 15, 2018. For more information, please see www.potterauctions.com. Follow us on Facebook (potterandpotterauctions), Twitter (PnPAuctions), and Instagram (potterauctions).
Image: United Air Lines Walt Disney's Enchanted Tiki Room. Disneyland. Sold for $4,320
Oakland, CA - The 52nd California International Antiquarian Book Fair, recognized as one of the world's largest and most prestigious exhibitions of antiquarian books, returns to Northern California, Friday, February 8 through Sunday, February 10, 2019 at the Oakland Marriott City Center. Also on display will be some of the Club’s oldest and most sought-after books, including a beautifully ornamented Virgil printed by Miscomini in 1476 and Ansel Adams’ Taos Pueblo.
Joel Harris, a local member of the International Wizard of Oz Club, will be loaning a portion of his collection for a curated exhibit of first edition books by L. Frank Baum and the subsequent authors of the “Wizard of Oz” series. The theme of a Saturday lecture jointly sponsored by the Antiquarian Booksellers' Association of America and the Bibliographical Society of America will be Cyclone on the Prairies: The Magic of the Land of Oz.
In recognition of the next generation of bibliophiles, the California Book Fair is pleased to announce The California Young Book Collectors’ Prize. The competition is open to collectors aged 35 and under who are living in California. All collections of books, manuscripts, and ephemera are welcome, no matter their monetary value or subject. The collections will be judged on their thoroughness, the approach to their subject, and the seriousness, with which the collector has catalogued his or her material.
The winner of the competition will be awarded the opportunity to exhibit and showcase the winning collection at the 52nd California International Antiquarian Book Fair; a gift certificate of $500 to spend at the Fair; a $250 stipend for exhibition travel and other expenses; plus a one-year membership to the Book Club of California, the Bibliographical Society of America, and a one-year subscription to The Book Collector. Additionally, in celebration of young collectors, all students with current valid student ID will be admitted to the Book Fair for free.
The deadline to enter is December 1, 2018 and the winner will be notified by January 5, 2019. For further details, rules, and to participate, please visit cabookfair.com or email Ben Kinmont, Chair of the Northern California Chapter of the ABAA, at bkinmont@gmail.com
Designed with the budding collector in mind, "Book Fair Finds" is a program in which dealers spotlight items priced at $100 or less. Visitors can look for the Book Fair Finds sign in participating booths.
Other highlights of the Book Fair include an interactive and entertaining exhibition that showcases local artists and organizations specializing in book arts. Local libraries and universities will be exhibiting one-of-a-kind works from their collections. Calligraphers, bookbinders and a small press operator will once again be creating unique souvenirs for attendees to take home.
The Book Fair’s schedule will also include the following events and special exhibits, free with Fair admission:
Saturday, February 9:
1:00 pm - : Cyclone on the Prairies: The Magic of the Land of Oz
Peter E. Hanff, Deputy Director of The Bancroft Library, will be presenting a lecture on L. Frank Baum jointly sponsored by the Antiquarian Booksellers' Association of America and the Bibliographical Society of America.
More programming will be announced soon.
Sunday, February 10
9:30 am: Zamorano Celebrates 90
(Please note that this panel takes place at the Oakland Marriott City Center prior to the Fair opening and is open to the public)
A panel discussion organized by the ABAA Women’s Initiative with project coordinator/editor Jean Gillingwators; first woman president of the Zamorano Club Judy Sahak; and contributors Jen and Brad Johnson who will speak on fine press printer Lillian Marks of the Plantin Press and bookseller Peggy Christian. The Zamorano Club is Southern California’s oldest organization of bibliophiles and manuscript collectors. Founded in 1928, it sponsors lectures and publications on bookish topics. Most noteworthy is the Zamorano 80 (1945)—a member-selected and -written catalogue of the most significant books in California history. The event is free and open to the public.
12:30 - 1:15 pm: Book Collecting 101
Learn from ABAA president Vic Zoschak, Jr., Tavistock Bookshop to create a strategy for collecting books, as well as how to spot a “first edition,” judge a book’s condition, and learn bookish terms and jargon.
1:15 - 2:00 pm: What’s This Book Worth?
Vic Zoschak, Jr., Tavistock Books will discuss the primary factors that give books commercial and monetary value, as well as strategies for appraising and selling books.
2:00 - 3:30 pm: Discovery Day
This is the public’s chance to discover if those old books gathering dust are worth something. The public will receive free, expert oral appraisals on up to three books. Appraisals are limited to a first come, first served basis - within the scheduled times.
The Book Fair is BARTable! The event’s venue in downtown Oakland is an added convenience for bibliophiles. The Oakland Marriott City Center is just steps away from the 12th Street BART Station, making it easily accessible to attendees from San Francisco and all over the East Bay. Out-of-town visitors will appreciate staying onsite at the Marriott, plus fair visitors arriving at both Oakland and San Francisco airports can take BART directly to the new venue.
Sponsors for the Book Fair include: KQED, ABC7, The San Francisco Chronicle/Datebook and BART. California International Antiquarian Book Fair, please visit the website at www.cabookfair.com or contact Fair Managers Doucet Productions at info@cabookfair.com, (415) 919-9220.
Oxford, England — The Bodleian Libraries will present novelist Sir Kazuo Ishiguro with the Bodley Medal, the Libraries’ highest honour. Sir Kazuo will receive the award at the FT Weekend Oxford Literary Festival on 3 April 2019, when he will deliver the annual Bodley Lecture.
Sir Kazuo is an award-winning British novelist, screenwriter, short story writer and songwriter. He is widely considered one of the greatest contemporary fiction authors in the English-speaking world.
He was born in Nagasaki, Japan, in 1954 and moved to Britain at the age of five. His eight works of fiction have earned him many awards and honours around the world, including the Nobel Prize in Literature (2017) and the Booker Prize (1989). His work has been translated into more than 50 languages. His novels The Remains of the Day and Never Let Me Go were made into acclaimed films. Sir Kazuo was given a Knighthood for Services to Literature in 2018, and also holds the French decoration, Chevalier de l’Ordre des Arts et des Lettres, and the Japanese decoration, Order of the Rising Sun, Gold and Silver Star.
The Bodley Medal is awarded by the University of Oxford’s Bodleian Libraries to individuals who have made outstanding contributions to the worlds in which the Bodleian is active including literature, culture, science and communication. Past winners include biographer Claire Tomalin, novelist and screenwriter William Boyd, classicist Mary Beard, physicist Stephen Hawking, film director Nicholas Hytner, novelist Hilary Mantel, the late poet Seamus Heaney, writer and actor Alan Bennett and inventor of the World Wide Web Sir Tim Berners-Lee.
Sir Kazuo will appear in conversation with Richard Ovenden, Bodley’s Librarian, at 6 p.m. on 3 April in the University of Oxford’s Sheldonian Theatre as part of the FT Weekend Oxford Literary Festival. Following the event, Ovenden will present him with the Bodley Medal.
The Bodleian Libraries is a cultural partner of the FT Weekend Oxford Literary Festival, which runs from Saturday, 30 March to Sunday, 7 April 2019. Events will take place at the Bodleian’s Weston Library and Divinity School as well as at venues across the city. For more information, and to book tickets for the Bodley Lecture, visit the FT Weekend Oxford Literary Festival website at: http://oxfordliteraryfestival.org/
flnfambnikkfclkl.jpgNew York - Swann Galleries’ auction of Maps & Atlases, Natural History & Color Plate Books on Thursday, December 13 offers an impressive group of Japanese maps, East Coast cartography, American atlases and important non-cartographical works.
A robust selection of Japanese cartography, representing both the East and the rest of the world, sets this maps auction apart. A color woodblock map of Uraga and Edo Bay relating to Commodore Matthew Perry and his Black Ships leads the assortment and is offered with a complete bound volume of 18 miniature kawaraban (early Japanese newspapers with woodblock illustrations). The archive shows the course of Commodore Perry’s Black Ship squadron and illustrates the opening of Japan’s trade with America in 1854. It is expected to bring $7,000 to $10,000.
Additional Japanese cartography includes an extensive panoramic diagram of the roadways, waterways, cities and topography of the entire island chain of Japan, and a large woodblock plan of Kyoto (Estimate: $2,500-3,500 and $1,200-1,800, respectively). A run of sugoroku-Japanese game boards-feature in the sale: an unusual and rare world map manga gameboard takes its player around a variety of international sites and was published for young women in 1934, and Eisen Tomioka’s Shina Seibatsu Sogoroku, a Sino-Japanese War propaganda game, each at $700 to $1,000.
Cornelis De Jode’s rare world map, Hemispheriu ab Aequinoctiali Linea, leads the sale. The second of two that appeared in De Jode’s Speculum Orbis Terrarum, 1593, the map features a two-paged double-hemispheric view of the world and carries an estimate of $20,000 to $30,000. Other world maps include John Speed’s A New and Accurate Map of the World, 1676. The double-page, double-hemispheric decorative world map is hand colored in full and expected to sell for $6,000 to $9,000.
A selection of maps relating to the North America’s East Coast include a 1780 chart of the middle Atlantic Coast including New York, New Jersey, Pennsylvania, Maryland, Virginia and North Carolina by Joseph Frederick Wallet Des Barres. The sea chart is monumental at nearly six feet tall and is valued at $18,000 to $22,000. A panoramic excursion view of Rhode Island’s Narragansett Bay and Block Island, housed in a charming device that allows you to slowly scroll through the area as if you are on a paddle steamer, is estimated at $6,000 to $9,000; William Faden’s The Province of New Jersey, 1778, features The Jerseys divided into East and West, at $6,000 to $9,000; and Otto Sibeth’s large map of Central Park in New York City, showing the park in detail and noting species of plants, is expected to bring $1,500 to $2,500. A New American Atlas Containing Maps of the Several States of the North American Union, 1825, by Henry Schenck Tanner is valued at $12,000 to $18,000. Tanner’s atlas received contemporary praise for its clarity, attractiveness and attention to American detail. Additional atlases include the 1827 North American volume of Philippe Vandermaelen’s monumental world atlas, Atlas Universel de Georaphie Physique. The work is distinct for being the first to utilize lithography as the method of production and features newly emerging areas of the American West in a larger scale than had previously been seen ($6,000-9,000).
A highlight of color plate books is John James Audubon’s The Birds of America, 1859, with seven volumes and 500 tinted and hand-colored lithograph plates. The work is offered together with Audubon’s The Quadrupeds of North America, all in matching octavo bindings at $20,000 to $30,000. Art Nouveau artist Anton Seder is available with Das Trier in der Decorativen Kunst, 1896-1903, a rare portfolio featuring dragons, lizards, lobsters, birds and other exotic, fanciful and beguiling beasties ($2,000-3,000).
Of the historical prints and drawings available in the sale of note is Across the Continent, 1868, from Currier & Ives which demonstrated the changing landscape of the mid-nineteenth century American frontier upon the completion of the Transcontinental Railroads. The present example comes by descent from the collection of renowned Americana collector Thomas Winthrop Streeter ($7,000-10,000). English artist and illustrator Edward Lear makes an appearance with an assortment of watercolor illustrations of Castello di Melfi in Basilicata and Castello di Lagopesole, each valued at $3,000 to $5,000.
Ephemera features an enormous album of wide-ranging postcards from Frank Crowe, a musician who in his youth stole away to join the circus. The nearly 2,500 postcards come from the late-nineteenth and early-twentieth centuries and showcase Crowe’s adventures touring Europe and America with Barnum and Bailey, King and Franklin, and other circuses ($700-1,000).
The complete catalogue and bidding information is available at www.swanngalleries.com
Additional highlights can be found here.
Image: Lot 110: Color woodblock map of Uraga and Edo Bay showing the course of Commodore Perry’s Black Ship squadron, Japan, circa 1854. Estimate $7,000 to $10,000.
bbb1a82f6edb5977588103f0_880x682.jpgNew York — The Morgan Library & Museum is proud to announce the recent acquisition of a large-scale study of two figures for Pierre-Auguste Renoir’s celebrated canvas, The Great Bathers of 1884-87, in the collection of the Philadelphia Museum of Art. Beginning December 18, 2018, visitors will have the chance to see the monumental drawing in the Gilder Lehrman Hall lobby at the Morgan. The drawing has never been exhibited or reproduced in color. A gift from the estate of prominent philanthropist and long-time Morgan Trustee Drue Heinz (1915-2018), Bathers is the first major compositional study by the artist to enter the Morgan’s collection, enriching the holdings of drawings by artists associated with the Impressionist movement.
As Renoir (1841-1919) sought a new direction in his work during the 1880s, he experimented with the classical subject of female bathers. He turned to a seventeenthcentury relief sculpture at Versailles, the Bain des nymphes by François Girardon (1628- 1715), as inspiration for the contemporary scene of three women bathing. Beginning in 1884, Renoir spent nearly three years developing the composition, producing numerous preparatory studies, ranging from small scale sketches to full-scale drawings.
In this study for his painting of modern naiads, the artist explored the pose of the bather in the left foreground of the painting, recoiling as one of her companions splashes her. While the figure appears almost identical in the painted version, Renoir replaced her passive companion by the river bank with a more animated bather, wrapping herself in a sheet.
Among the at least twenty studies for The Great Bathers, the Morgan sheet stands out for being one of two full-scale model drawings for the final composition. Executed on paper mounted to canvas, the drawing’s condition is remarkable. The surface itself is striking: it retains the original powdery white chalk used for the flesh of the figures and to outline their forms.
“The bold, sensuous lines of this expressive drawing present a different side to the Renoir we know through his paintings,” said director of the museum, Colin B. Bailey. “The Morgan’s Drawings Department is renowned for its collection of works that illustrate the creative process, and this drawing gives us a glimpse into the mind of a master. We are delighted to share it with visitors soon.”
Image: Pierre-Auguste Renoir (1841-1919), Bathers, 1884-85, red and white chalk, with smudging and blending on wove paper lined to canvas. The Morgan Library & Museum, Bequest of Drue Heinz, 2018.71. Photography by Graham S. Haber.
Philadelphia—For its second survey of photography, the Barnes Foundation is presenting nearly 250 early photographs—most of which have never been exhibited before—created by British and French photographers between the 1840s and 1880s. Curated by Thom Collins, executive director and president of the Barnes, From Today, Painting Is Dead: Early Photography in Britain and France is drawn from the private collection of Michael Mattis and Judy Hochberg and spans the invention of the daguerreotype to photography on paper and beyond. The show is on view in the Barnes’s Roberts Gallery from February 24 through May 12, 2019.
From Today, Painting Is Dead: Early Photography in Britain and France is sponsored by Comcast NBCUniversal.
Following the production of the first photographs in the 1830s, and before the advent of Kodak’s point-and-shoot camera in 1888 and the industrialization of photography, artists experimented with photography, creating innovative processes and uniquely compelling representational tropes.
“When the influential French painter Paul Delaroche saw a photograph for the first time, he proclaimed, ‘From today, painting is dead!’ This sentiment captures the anxiety with which photography was greeted by artists, though it would be nearly 50 years before technology evolved enough to approximate the work Delaroche and his fellow painters were already doing,” says Collins. “This exhibition explores the very fertile period in the early history of photography, when the medium’s pioneers were grappling with the complex inheritance of official, state-sponsored visual culture.”
For the better part of the 19th century—before rebellious groups like the impressionists challenged the status quo—powerful fine arts academies in Paris and London governed the official style for painting and even guided what subjects artists should depict. Some themes were considered more important than others, based on their cultural significance and the skill required to render them. Moralizing historical subjects were generally the most valued; next came portraiture, then genre (or scenes of daily life), then landscape, and finally still life.
Photography developed amid this stringent artistic climate. Between 1840 and 1870, photographers of all stripes—both amateurs and an emergent class of professionals, makers of vernacular pictures and those aspiring to create fine art—experimented with the new medium, not only its mechanics and chemistry, but also its representational potentials. In doing so, they inevitably absorbed—and transformed—the well-established tropes of the dominant academic painting tradition.
From Today, Painting Is Dead: Early Photography in Britain and France features over 60 photographers, including such masters as William Henry Fox Talbot—the scientist and inventor credited with developing the first photographic prints on paper; Félix Nadar, the great portraitist of Paris high society; Roger Fenton, the English painter turned celebrated photographer who achieved widespread recognition for his photographs of the Crimean War in 1855; Gustave Le Gray, the leader of 1850s French art photography; and Julia Margaret Cameron, whose literary and biblical-themed figure studies and captivating portraits were unprecedented in her time.
Exhibition highlights include:
• Original calotypes from 1840 to 1845 by William Henry Fox Talbot, including still lifes, portraits, landscapes, and street scenes from both England and France.
• The earliest war photographs, taken of the Crimean War by Roger Fenton, including his iconic Valley of the Shadow of Death as well as the 11-plate panorama of Sebastopol.
• An 1844 daguerreotype of Jerusalem—one of the first of the city—by Joseph-Philibert Girault de Prangey.
• A full-plate daguerreotype of the Fontaine des Innocents in Paris by Baron Jean-Baptiste-Louis Gros from 1850.
• Some of the earliest existing travel photographs of the Middle East, Southern Europe, Africa, India, Burma, Ecuador, Mexico, and New Zealand.
• Portraits by Félix Nadar, Napoleonic Paris’s great portraitist and larger-than-life personality, with subjects ranging from literary legends—including an oversize 1885 deathbed portrait of Victor Hugo—to the first official Japanese delegation to France (1864). Also included are Nadar’s 1860s photographs of the Paris catacombs and sewers, which represent one of the first uses of artificial lighting in photography.
• Pre-Raphaelite allegorical portraiture by Julia Margaret Cameron.
• French physiologist Étienne-Jules Marey’s 1880s motion studies of athletes, which prefigure the development of motion pictures, much like Eadweard Muybridge’s motion studies in the US.
• Seascapes, landscapes, photographs of military maneuvers, and other works by Gustave Le Gray, the leader of the 1850s French movement of fine art photography.
All works are from the collection of Michael Mattis and Judy Hochberg. This exhibition was organized by the Barnes Foundation in association with art2art Circulating Exhibitions. The presentation at the Barnes Foundation is curated by Thom Collins, executive director and president of the Barnes.
This exhibition was produced as part of a new educational venture between the Barnes and the University of Pennsylvania led by Thom Collins and professor Aaron Levy, with curatorial contributions from students in the 2018 Spiegel-Wilks Curatorial Seminar “Ars Moriendi: Life and Death in Early Photography.”
Boston - The acclaimed North Bennet Street School (NBSS) has selected Sarah Turner as the institution’s next President, effective December 1. Turner will spearhead expansion of the School’s public programs and community partnerships within the craft-education world, while continuing the School’s 137-year legacy of training students for careers in traditional trades and fine crafts.
From its beginnings as a settlement house offering vocational training, NBSS has become a unique, professional craft school, recognized internationally for its excellence as a learning institution. The School offers nine full-time programs—Bookbinding, Carpentry, Cabinet & Furniture Making, Jewelry Making & Repair, Locksmithing & Security Technology, Piano Technology, Preservation Carpentry, and Violin Making & Repair—in addition to dozens of continuing education classes. Since 1881, America’s first trade school remains committed to fostering individual growth, attention to detail, and technical mastery.
Turner brings more than 20 years of experience in contemporary craft and design, as an educational leader, instructor, and artist at a number of celebrated institutions, including Cranbrook Academy of Art, Rhode Island School of Design, Oregon College of Art and Craft, and the State University of New York at New Paltz. Notably, at Cranbrook, Turner redesigned the Academic Programs and implemented an international Teaching fellowship to bring art and design thinkers to studio practice. Turner also launched a new public lecture series, instituted regular symposia on changing topics, and developed new community and institutional partnerships.
“My heart lies in leadership work; helping studio-craft institutions draw together the contributions of all members to make something unique, useful, and forward-looking,” says Turner. “The strong sense of this, past and present, at North Bennet Street School drew me to the position. I am excited to get started on bringing about new connections and ideas.”
Turner has unique perspective on an educating artisans. She earned a BA in Sociology from Smith College, a Certificate in Metalsmithing from the Oregon College of Art & Craft, and an MFA from Cranbrook Academy of Art.
According to Marc Margulies, Chair of the School’s Board of Directors, the nationwide search for a new President resulted in dozens of well-qualified candidates before Turner's selection. “Sarah has the training, experience, and passion necessary to lead the institution,” he says. ”We are thrilled to have her as our next president. She understands the context of teaching in a workshop, knows first-hand the details of running a postsecondary school, and appreciates the significance of a career in craft and the trades.”
Turner succeeds Miguel Gómez-Ibáñez, the School’s first leader to also be a graduate, who will retire in December. Among other accomplishments, during his successful 12-year tenure Gómez-Ibáñez secured and led the renovation of the School’s new 64,000 sf facility, established multiple strategic partnerships, and oversaw the School’s recent $20 million fundraising campaign, which will help to fund $1 million in student scholarships annually.
“This transition is coming at an ideal moment,” adds Margulies. “Sarah inherits an institution with a tremendous legacy and bright future, supported by a dedicated community of alumni, donors, and friends. The Board looks forward to working with her to enhance the School’s presence, reputation, and impact in the world.”
About North Bennet Street School
North Bennet Street School (NBSS) trains students for careers in traditional trades that use hand skills in concert with evolving technology, to preserve craft traditions and promote a greater appreciation of craftsmanship. Since 1881, America’s first trade school remains committed to teaching the whole person while fostering individual growth, attention to detail, and technical mastery. The private vocational school’s programs and experienced faculty draw students worldwide who graduate with the skills, tools, and practical understanding needed to build self-sufficient, meaningful, and productive lives. For more information, visit: www.nbss.edu.
San Francisco — Letterform Archive, the nonprofit library and museum dedicated to the history, preservation of and education in graphic design and letterform arts, announces its new membership program and the launch of the Online Archive. Beginning on November 29, 2018, charter participants in Letterform Archive’s membership program will receive access to the online Archive, a digital repository of highlights from the non-profit center’s collection of over 50,000 items related to lettering, typography, calligraphy, and graphic design. While the physical Archive is located in San Francisco, it is connected to an international community, and the new membership program and online Archive will serve designers and students around the world as a resource for serendipitous discovery and creative inspiration.
The online Archive launches with 1,000 items spanning two centuries and captured by the Archive’s state-of-the-art photography, allowing users to explore the collection at exceptional resolution. A digital tool to discover the unexpected, the online Archive’s intuitive search and browse methods employ metadata developed specifically for graphic design. After the site opens to the general public, Archive members will have exclusive access to special upcoming features, such as the ability to create their own custom sets, or “tables”, a term that references the physical table at Letterform Archive around which
bespoke collections are curated for guests. It’s the perfect metaphor for the community and connection inspired by each visitor’s experience.
Highlights from Letterform Archive’s distinguished collection include Zuzana Licko’s and Rudy VanderLans’ work as Emigre, Inc. As early adopters of digital tools, Emigre were design pioneers, and their Emigre magazine represents a critical turning point in the history of the craft. Soon after Letterform Archive was founded, Emigre donated a major collection with the goal of making it as accessible as possible. The first 11 issues of Emigre magazine are now available in the online Archive, marking the first occasion these full issues have been available in digital form. The quality of the images allows users to zoom into each tabloid-size page to see all the graphic detail and read the text of every article.
“During my days of editing Emigre, I often wished something like Letterform Archive had existed,” VanderLans said. “If it lives up to expectations, and I’m sure it will, this new website will be a boon to editors, researchers, curators, and design aficionados alike.”
The online Archive contains sketches and inkings by LA-based designer and illustrator Michael Doret, who is behind some of the most recognizable artwork in recorded music and professional sports, as well as the logos and title graphics for many Disney and Pixar films, including Inside Out , Moana , and Zootopia. Because pencil-on-paper sketches are unique, these images represent the only copy of these objects in the world, and, because many concepts end up on the cutting room floor, this is the first time they’ve been seen outside Doret’s studio.
Also in the online Archive is work by Jacob Jongert, an under-appreciated Dutch modernist who perfected the branding power of lettering and color. Letterform Archive’s collection of his work is the most complete in the U.S., with hundreds of items created in the 1920s and 1930s for Van Nelle, a Rotterdam-based manufacturer of coffee, tea, and tobacco. Together, the collection is a tremendous resource to learn about designing a cohesive brand. Letterform Archive offers the best view of Jongert’s work on the web, with hi-res images of labels, boxes, tins, in-store displays, posters, advertising, and other collateral, like pocket notebooks and calendars.
These three highlights represent just a sampling of the 1,000 imaged items in the online Archive at launch. The growing collection also includes advertising design, book jackets, calligraphy, corporate identity manuals, experimental design, packaging, posters, typeface specimens, and more.
Since Letterform Archive opened its doors in 2015, its mission has been to democratize design. Members help take accessibility to the next level, and their gift helps provide resources for students, educators, designers, and a global community of those who love letters. Letterform Archive offers members tremendous benefits, including the opportunity to access its Salon Series both in-person and online and the ability to experience lectures and materials related to specific topics of interest. Membership options are outlined below, and the packages are outlined at the link here
About Letterform Archive
Letterform Archive is a nonprofit center for education, inspiration, and community, with a collection of over 50,000 items related to lettering, typography, calligraphy, and graphic design, spanning 2,000 years of history. Since opening to the public in early 2015, we’ve welcomed nearly 5,000 lovers of letters through our doors in San Francisco. We also share the collection through educational programs, original publications, social media, and - now - an online Archive.
The University of Puerto Rico Graduate School of Information Sciences and the Library Sciences and Informatics Library will establish the first Puerto Rico Center for the Book in 2019 as the 53rd affiliate center of the Library of Congress, the two institutions announced today. The Library’s Center for the Book is a network of U.S. sites promoting an interest in reading and literacy.
The newest affiliate center will be housed at the University’s Rio Piedras Campus in San Juan. It will be based in the Library Sciences and Informatics Library, with an online presence to highlight Puerto Rican books and authors.
A launch event for the new center is planned for Jan. 25, featuring a reading and program with U.S. Poet Laureate Tracy K. Smith. Smith has been visiting several states across the nation to engage Americans in conversations about poetry.
The Puerto Rican Center will celebrate books and work to develop literacy skills, cultivate lifetime reading habits among young people and stimulate research into the history and culture of books and Puerto Rican literary heritage. The Center will also seek to enhance the role of libraries and information professionals to promote a culture of reading, writing, creativity and innovation.
“The Center for the Book in the Library of Congress welcomes the Puerto Rico Center for the Book into our family of affiliated centers,” said John Van Oudenaren, director of the Library’s Center for the Book. “We look forward to co-sponsoring events and other activities with our new center as they promote the rich literary heritage of Puerto Rico.”
Preliminary activities include guided walking tours of literary sites in Old San Juan, mini book fairs showcasing Puerto Rican books, writers and publishers, and other special events.
“The Graduate School of Information Sciences and the Library Science and Informatics Library at the University of Puerto Rico are highly honored to have the Puerto Rico Center for the Book included as the 53rd affiliate of the Library of Congress’ Center for the Book,” said Luisa Vigo-Cepeda, the Puerto Rico Center’s project director. “Efforts will be geared to develop a wide range of events, such as authors colloquia, workshops, reading festivals and contests to explore the making and writing of books. A makerspace is being developed at the site as well as in the virtual space to stimulate creativity and innovation in reading and writing.”
About the Poet Laureate
As poet laureate, Smith has traveled the country to connect with rural communities and engage Americans in conversations about poetry with her project “American Conversations: Celebrating Poems in Rural Communities.” This year she also unveiled a new anthology, “American Journal: Fifty Poems for Our Time,” featuring the works of 50 living American poets of different ages and backgrounds. She is also launching a new weekday podcast and public radio feature titled “The Slowdown.” Smith is the author of four books of poetry published by Graywolf PressAbout the Center for the Book at the Library of Congress
Congress created the Library’s Center for the Book in 1977 to stimulate public interest in books and reading. It has become a national force for reading and literacy promotion with affiliates in all 50 states, the District of Columbia and the U.S. Virgin Islands. The affiliates meet every spring at the Library of Congress to exchange ideas. For more information, visit read.gov.
The Library of Congress is the world’s largest library, offering access to the creative record of the United States - and extensive materials from around the world - both on-site and online. It is the main research arm of the U.S. Congress and the home of the U.S. Copyright Office. Explore collections, reference services and other programs and plan a visit at loc.gov; access the official site for U.S. federal legislative information at congress.gov; and register creative works of authorship at copyright.gov.
Skinner Tales.jpgBoston - An attic discovery of the rare 1845 first edition of Poe’s Tales (Lot 224, Estimate: $60,000-80,000) in paper wrappers surpassed all expectations to sell for $315,000 after fierce competition from internet and telephone bidders. Based on the context of the discovery of this copy of Poe's Tales, the original owner presumably bought this and other similar contemporaneous books to be read for amusement in the 1840s. Once read, the Poe and its companions were bundled and stored away in a trunk in the attic until they were found during an in-home auction evaluation by Skinner specialists. In the rare book trade, it was thought that all copies of Poe's Tales in wrappers were known.
Department director, Devon Eastland notes that the annual November Fine Books & Manuscripts Auction is timed to coincide with the long-running Boston International Antiquarian Book Fair, a venue that guarantees that serious American and international collectors and dealers are in Boston and able to view sale material in person. She notes “Bidders appreciated that the copy of Poe’s Tales was a previously unknown copy fresh to the market, having been in a private collection for some time which garnered excitement in the market.”
The 350 lot auction included works from New England estates; printed books, documents, literary first editions, natural history prints, and maps. Books & Manuscripts are offered twice-yearly at Skinner and consignments are being accepted for spring 2019 auction.
Image: Poe, Edgar Allan (1809-1849) Tales, First Edition, in Paper Wrappers, New York: Wiley & Putnam, 1845 (sold for: $315,000 on November 18, 2018)
Auction Guide
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How it Works | Lovable Photography and Cinematography
How it Works
How it works
Planning is one of the most important steps in booking process. We provide consultations and guidance for your wedding day to make sure that everything runs smoothly, and you have the best experience. We always have a plan B (sometimes C) to avoid unexpected scenarios like weather conditions and traffic.
Getting to know each other is our most important goal. For this reason, we offer pre-wedding shoot option in our packages to simply connect with our couples in a friendly approach and take some great shots while having some fun together.
We have knowledge and access to numerous beautiful locations throughout Melbourne. These include woods, gardens, parks, cityscapes and beaches. We will guide you deciding on the type of your location relying on your style.
All usable, high resolution images and videos individually edited and delivered on a stylish USB drive and on a private online gallery within 4 – 10 weeks after your wedding.
We do recommend that your wedding photos to be displayed in the best way possible. A custom, high-quality album is simply one thing that a bride and groom can’t do without. Sure, there are plenty of places like Vista Print where you can use a pre-made template and drag and drop your photos. There is nothing wrong with them for iPhone photos, but those albums are not made to stand the test of time and they are not meant to display high quality photographs.
The quality of those albums is simply nowhere near what you want to have as your first family heirloom. You want an album that you can hand down to your grand kids one day and it still look just as good as the day you received it. We believe that your memories deserve better!
"Gulsah and the Lovable Photography & Video team were everything we could have asked for any more. Gulsah was so friendly, happy to talk shots and meet up prior to the big day to make sure we were comfortable. On the day, Gulsah and her video team were perfect. Got some amazing shots, never felt in the way, able to direct what they needed easily. We could not recommend Lovable Photography & Video enough!!"
Ryan Wilson
"I am so incredibly happy with my choice to use Lovable Photography for our wedding. Gulsah is an incredible photographer and is so lovely to work with. She made sure she captured everything we wanted and we were also pleasantly surprised to see she captured some beautiful images without us even knowing! If you are looking for amazing, dreamy and candid photographs that you will forever treasure and can't stop looking at, then you need to book Lovable Photography 😀 Thank you so much for giving us such a beautiful way to share and remember the day, Gulsah!"
Alyssa Pepi
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Qi Baishi
(China 1863 – 1957)
Two mice and an oil lamp
Not on display
Further information
QI Baishi (also known as Qi Huang amongst numerous other names) was one of the most famous painters of twentieth century China. He came from a poor peasant family in Hunan Province, not learning to paint until he was 27 years old. Qi Baishi was to go to both Eastern and Western sources to gain an understanding of painting including the Mustard Seed Garden Painters Manual, and also copied photographs to learn realistic portraiture painting in 1889. For the next 10 years he would go on to learn calligraphy, poetry and seal carving. Qi Baishi's prominence comes in his contribution to a new style of painting that assembled skills employed in 'woodblock design, realistic representation and calligraphic brushstrokes' (Fong 2001:142).
Later in his 40s Qi Baishi travelled extensively throughout China, and was to be influenced by artists such as Chen Hengke. Although he was to settle in Beijing in 1919, the nostalgia he felt for his peasant life could still be seen in his paintings. Throughout his lifetime he was a prolific painter, painting such subjects as plants bamboo, palm trees, lotus blossoms, or vegetables and animals such as birds, insects, fish, shrimps, crabs, frogs, cats and mice.
With the help of Lin Fengmian he was to join the Beijing Academy in 1927 as a professor teaching traditional painting. He had been awarded a number of accolades during his lifetime, including Chinese Peoples Distinguished Artist in 1953 and the International Peace Prize by the World Peace Council in 1955.
The work presented here features 2 mice eating cherries, in front of an oil lamp. Some of his earlier work made reference to an oil lamp next to an inkstand, and this work similarly alludes to a melancholy, or reminiscence of his simple life in the past. The inscription reads, Old Man of White Stone, Master of the Jieshanyin Studio ('Jieshanyin guan zhu zhe bai shi lao ren').
Asian Art Department, AGNSW, 2007
Place of origin
20th century
ink and colour on paper
80.0 x 35.0 cm image
Signature & date
Signed u.r., in Chinese, inscribed in black ink "…Baishi laoren". Not dated.
Signed c.r., in Chinese, stamped in red ink "Baishi [artist's seal]".
Gift of Nancy and Terry Lee in memory of Nancy's husband Charles, father of Terry 2007
Accession number
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My little boy wears his sister's dresses - Off-Ramp for July 19, 2014
So my son wears a dress; what's it to you?
They apologize for confusing my 2-year old son's gender, but I tell them, “He’s in a purple dress with sparkly shoes. How would you know?”
Undated drawing of the Globe Grain & Milling Co. headquarters and warehouse, at 907 E. 3rd Street in Los Angeles, now an arts district. The complex is the location for Hauser Wirth & Schimmel's new LA gallery.
A look at 2 big new art spaces coming to downtown LA
John Rabe gets an update on the Hauser Wirth & Schimmel gallery, coming to the downtown Arts District, and the Broad Museum coming to Grand Avenue.
Roger Guenveur Smith as "Rodney King"
One man 'Rodney King' show returns to LA
The life and death of Rodney King is examined on stage by writer/performer Roger Guenveur Smith.
Off-Ramp contributor R.H. Greene and director Spike Lee.
Spike Lee Retrospective: 'As an artist you want to have longevity'
Spike Lee: "It's not good to be a flash in the pan. As an artist you want to have longevity, because longevity will let you do your work. And artists want to build up a body of work."
Christine Rush speaks during a consciousness raising session in Womanhouse.
Womanhouse: Hollywood's 'bad-dream house' of feminist art
In the Fall of 1971, CalArt's Feminist Art Program converted a run-down Hollywood mansion into an enormous and immersive feminist art exhibition.
Can you pass the Donald Sterling test? Hear KPCC staffers try their best
KPCC staffers try two of the mental tests doctors gave Clippers owner Donald Sterling as part of their examination into whether he has Alzheimer's Disease.
He was shoplifting from toy stores at 12, snatching purses at 15, and by the time he'd grown up he was robbing stores and dealing drugs.
Siike Donnelly - 1
After suffering aneurysms, artist Siike Donnelly fights to remember how to draw
Multiple brain aneurysms have left Siike Donnelly with a fractured memory. The graphic novelist hopes to regain the memories he's lost--and his ability to draw.
Sophia Loren and 400 of her closest friends are in Napa next weekend for her 80th birthday. LA restauranteur Piero Selvaggio is cooking something special.
John Rabe talks with Mike Sheehan, Off-Ramp's sketch artist, about what he can capture with his pen that can't be captured by the camera.
The social worker who saved Taylor Orci from child abuse
"Sweetheart, this man wants to ask you some questions," my dad said as he knelt down and looked me in the eyes so intensely I thought I would shatter into pieces.
Off-Ramp host John Rabe, KPCC Chief Engineer Lance Harper's Tesla coil, and Mythbuster Kari Byron.
John Rabe talks with Mythbuster Kari Byron, who's in town to help open Mythbusters: The Explosive Exhibition, at the Discovery Science Center in Santa Ana.
Marvel is tackling the universe with the "Guardians of the Galaxy" movie. Writer Sam Humphries is the one who makes the unknown lead character a star in comics.
At the Getty Center and Villa: What civilization lasted 1,100 years that hardly anyone thinks of as a civilization? Byzantium. And, they invented the fork.
Find an archived Episode:
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Portfolio Lounge > Interior Design > Victoria Zenon-Weir
Victoria Zenon-Weir
Based out of Kelowna, BC, and recently graduated from Centre for Arts and Technology, I am eager to start creating designs and new projects which I am passionate about.
The areas in which I find most inspiring are residential as well as smaller-scale hospitality. The tools that I use to fulfill my designs include AutoCAD, Sketchup, and Enscape. Other aspects of the process which I excel at are meeting client needs and desires, visual presentation, and designer/client relationship. The spaces I create are designed in a way in which the client will feel comfortable and welcomed when they take a step through the front door. This is done through the use of biophilic elements, open areas, and innovation. I strive to have every space affect the user in the most positive way possible.
Demo Reel
CAPSTONE: Anthurium - Healthcare Services
The Grande Portage - Hospitality: Restaurant
The MSA Group - Corporate Office
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Hammered by Guarantees
By Scott Reyburn
Andy Warhol’s ‘‘Four Marilyns.’’CreditCredit2015 The Andy Warhol Foundation for the Visual Arts, Inc., via Artists Rights Society (ARS), New York, via CHRISTIE'S IMAGES LTD. 2015
LONDON — In the end, what should have been one of the biggest weeks in the art world was overshadowed by events in the wider world.
On Nov. 13, just as Christie’s afternoon auction of Impressionist and modern art in New York was ending, terrorists were attacking a stadium, a concert hall and cafes in Paris. The assault on a city where Picasso, Modigliani, Giacometti and so many other artists have lived and worked had a special poignancy for the art world.
Before the attacks occurred, those in the art business were already trying to make sense of the results in New York. The recent sales suggest challenges ahead, particularly in the key sector of 20th- and 21st-century art.
The $170.4 million with fees — the second-highest price ever paid for a work at auction, not accounting for inflation — tendered by the Chinese collector Liu Yiqian for Modigliani’s 1917-1918 “Nu couché” at Christie’s “Artist’s Muse” sale on Nov. 9 inevitably created a sense that the auction market was booming.
But overall numbers were down. Last May, evening sales of contemporary and modern art at Christie’s, Sotheby’s and Phillips netted a total of $1.8 billion with fees. Six months later, the total for these events dropped about 33 percent, to $1.2 billion. And even as economic uncertainty cools overall demand for investment-grade 20th- and 21st-century Western art, the dominant driver of growth in the market, auction houses are still facing the consequences of offering generous guaranteed prices to sellers.
A huanghuali wood altar table that sold at Sotheby's.CreditSotheby's
“We’ve seen a reduction in sales value correlated to the amount of guaranteed lots,” said Anders Petterson, the managing director of ArtTactic, a research company in London. “It looks as though May 2015 was the peak. Since then we’ve seen Sotheby’s and Christie’s trying to wind down their financial exposure. People are still prepared to pay huge prices for selected lots, but guarantees have created a perception that the market is stronger than it is.”
In May, 84 of 180 lots, or 47 percent, carried guarantees in Christie’s “Looking Forward to the Past” sale of 20th-century masterworks and in Christie’s and Sotheby’s evening contemporary auctions. But this time, just 37 of 154 lots, or 24 percent, had guarantees at the equivalent three evening auctions.
Those figures would seem to support the notion that wealthy sellers’ ability to make Christie’s and Sotheby’s compete for the privilege of guaranteeing them minimum prices — waiving fees and giving them a portion of the buyer’s premium — has artificially inflated the market. It has certainly made it more difficult for the auction houses to make money.
In a recent instance, the Taubman family’s deft use of competitive tendering led Sotheby’s to pay out $515 million to secure the collection of A. Alfred Taubman, the auction house’s former chairman. The first two Taubman estate auctions, of Impressionist, modern and postwar masterworks and of contemporary art on Nov. 4 and Nov. 5, netted a total of $419.7 million respectively.
Immediately after the two sales, Tad Smith, the president and chief executive of Sotheby’s, said in a news release that with hundreds of more works from the collection to be offered this year and next, the auction house expected to “cover the Taubman guarantee in its entirety.” He added that “that these first two auctions represented 90 percent of the value of the property in the collection.”
The stock market has been less impressed. The release on Nov. 6 of third-quarter results showed commissions from Sotheby’s sales were down 12 percent from the same period in 2014 because of “significantly weaker sales results in higher margin categories such as old master paintings, Asian art and jewelry.” On Nov. 6 Sotheby’s stock was valued at $34.09. At the close of trading on Thursday the price stood at $28.97, a decline of 15 percent. On Nov. 13, the day after Sotheby’s evening sale of contemporary art brought in $294.85 million (a 22 percent decline from a sale in May), Bloomberg News reported that the auction house was offering buyouts to its employees in an effort to reduce costs.
Christie’s, which is privately owned, also has had problems with guarantees. The top price at its New York auction of contemporary works on Nov. 10 was $36 million — for Andy Warhol’s “Four Marilyns” (1962), which had a presale estimate of $40 million and had been guaranteed by Christie’s itself. The work had been bought privately eight months before by the Turkish collector Kemal Has Cingillioglu for a reported $44 million. Guarantees are generally based on prices that include the buyer’s premium, and sellers generally don’t want to lose money, so the guarantee was likely to have been about $45 million.
Roy Lichtenstein’s ‘‘Nurse’’ was part of Christie's ‘‘Artist’s Muse’’ sale.CreditEstate of Roy Lichtenstein, via Christie's
The themed sale, “The Artist’s Muse,” brought in $491.35 million. It was widely viewed as having a less coherent premise than its May predecessor, which raised $705.9 million.
“On the one hand, they’re taking hits, but they’re also trying to offload the risk,” Lisa Schiff, an art adviser in New York, said of the practice of collectors or outside investors providing all or part of some guarantees. “It just can’t keep going up and up. This is the ebb and flow of the market. It’s the healthy course of any capitalist enterprise.”
Nonetheless, auction houses are still making money from bread-and-butter contemporary sales. Sotheby’s, for instance, grossed $98 million at its Nov. 12 day auction in New York. Though many owners would also be selling for free or minimal charges, guarantees are rare at this lower price level and virtually all of the buyer’s premium — a total of perhaps $20 million in this case, i.e. 20 percent — would have gone to the house.
So-called higher-margin categories, including Asian art, can yield a combined 40 percent of fees from the seller and the buyer. Unfortunately for Sotheby’s and Christie’s, the market for these categories appears to be contracting, with recent sales showing mixed results. That may reflect a simple drop in demand, but also sellers’ and buyers’ reluctance to pay 15 percent and 25 percent apiece for the privilege of using Sotheby’s or Christie’s when cheaper live and online alternatives are available.
Sotheby’s achieved a notable success on Nov. 11 in London, selling out a private European collection of classical Chinese furniture, a hot subsector of the market. The 26 lots netted a total of 11.1 million pounds, about $17 million, 10 times the presale estimate. A huanghuali wood altar table sold to a Chinese collector for £1.8 million. But another Sotheby’s auction of Chinese ceramics and artworks on the same day raised just £2.7 million, with half of the 195 lots failing to find buyers. Its equivalent auction last year brought in £8.9 million. Bonhams, which has been a force in the Asian art market in recent years, also found it hard going, with a Nov. 13 sale of Chinese art raising £2.3 million, less than half the proceeds of its similar sale a year earlier.
The latest auctions have done little to calm the market’s nerves. In Sotheby’s sale on Wednesday night of the latest Taubman tranche — 31 lots of American art — eight works failed to find buyers, and the total of $13 million still left an $82 million gap between achieved sales and the total guarantee for the collection. Martin Johnson Heade’s superb but unfashionable 1887 landscape, “The Great Florida Sunset,” which had a presale estimate of $7 million, sold for $5.85 million with fees.
It would appear that the art world, like the world at large, has some challenging times ahead.
A version of this article appears in print on in The International New York Times. Order Reprints | Today’s Paper | Subscribe
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Making Passive House Standard
Hear from a leading design firm on how they successfully implemented passive house strategies on a number of their large scale urban buildings.
Buildings are responsible for a significant chunk of our world's carbon emissions and their rate of impact is particularly high in dense, diverse, and culturally rich urban environments. In response, New York (among other cities) is seeing an uptick in low-energy, high-performance building standards, predominantly Passive House, for their large multifamily and mixed-use buildings. While Passive House can certainly be a powerful tool in combating global warming, buildings constructed to meet this standard have also proven to provide tenants with safer, more resilient, healthier living environments that are also more affordable to operate and maintain.
Taking from the initial successes in NYC, are we able to scale up Passive House construction in our urban areas and beyond? Do technologies exist that will allow us to seamlessly, and affordably, transition to a low-carbon future for our built environment? Can we make Passive House standard?
In this session we will hear from a leading design firm on how they successfully implemented passive house strategies on a number of their large scale urban buildings. We will explore the technologies they adopted and take a close look at the products that have helped them to transition, both seamlessly and affordably, to make passive house principles standard in their practice.
Learning objectives
• Learn varied methods and concepts of how to apply the Passive House Design standard to large, multi-story buildings, including material selection.
• Learn the difference between prescriptive and performance-based design standards, and specifically how the Passive House performance-based standard allows the design team flexibility during the architectural process to respond to various program requirements, client expectations, and construction budgets.
• Learn how the challenges and lessons learned from The House at Cornell Tech were applied to the design and construction for Sendero Verde, Winthrop Center, and University of Toronto Scarborough. The lessons will focus on the exterior envelope design, interior air quality and occupant comfort, HVAC systems, and how total energy demand is lowered in large buildings (>200,000 SF).
• Learn about the challenges presented by designing extremely energy-efficient buildings and how they can be effectively addressed with readily available products and technologies. In particular, they will discover some innovative stone wool solutions that can be applied to solve these design challenges.
This session was recorded live on September 28, 2021.
This free course is brought to you through a partnership with Rockwool. By registering for this course, you grant AIA permission to share your name and email address with Rockwool.
User rating:
Average: 4.2 (1449 votes)
$0 non-member
$0 member
1.00 LU
• Todd Kimmel
Architectural Manager | Rockwool
Todd Kimmel is the NYC Architectural Manager for Rockwool Insulation and is Chairperson for the...
• Ryan Lobello
Senior Associate | Handel Architects
Ryan Lobello is a Senior Associate at Handel Architects, which he joined in 2012. His work has...
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Minimalist Game of Thrones poster art
2D animator and designer Jerry Liu posted this minimalist art based on the Game of Thrones TV series. The latest season may be over but it seems to available everywhere for legal streaming; Netflix, Blinkbox, NowTV and the rest.
I think these minimalist clips would work best a wallpaper. Not a stretched wallpaper but as a tile off centre on a background matching the tile. What do you think?
Jerrfy Liu GoT 1
Jerrfy Liu GoT 2
Jerrfy Liu GoT 3
Jerrfy Liu GoT 4
Jerrfy Liu GoT 5
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Dead Sea
West Bank
Copyright: Furman artjem
Type: Spherical
Resolution: 9256x4628
Uploaded: 27/10/2010
Actualizat: 26/08/2014
Tags: dead sea; israil
comments powered by Disqus
yeuda asulin
Flood in the Judean Desert "tkoha"
Dead Sea not dead
Renaud Toussaint
Fault Mirror in Carbonates along the dead sea
Yosi Karl
Pano 20140606 121954
Renaud Toussaint
Renaud Toussaint
sinkholes-deadsea
John Romano D'Orazio
Qumran Caves near the Dead Sea
JAN Maglasang
Qumran Caves (where Qumran scrolls were found) with Mercedes Maglasang
JAN Maglasang
Qumran Caves (where Qumran scrolls were found)
JAN Maglasang
Qumran Caves (where Qumran scrolls were found)
JAN Maglasang
Qumran Caves (where Qumran scrolls were found) with Berning Maglasang
JAN Maglasang
Qumran Caves (where the Qumran scrolls were found) with JAN Maglasang
Thomas Stano
The Double Arch
Thomas Schwarz
Wiesbaden Igstadt Sunset
Alan McLean (Albiphotography)
Kilchurn Castle , Loch Awe , Scotland
bibouroku tabito
Santa Claus carries "a pig causing happiness" Ⅰ (Shizuoka City)
Marco den Herder
Eindhoven - Skating rink in the city centre (lights: Luminarie de Cagna)
Unkle Kennykoala
Canberra - Lake Ginninderra / John Knight Memorial Park
Littleplanet.nl - Roelof de Vries
On top of a windmill
Ingo Tolks
Pizza is ready!
Sasa Vukovic
Shëngjin - Albania, Medova, Sveti Jovan Medovski (it. San Giovanni di Medua, en. St. John)
roman codavr
Kyrgyzstan, Middle Tyan-Shan,Terskey, Archator, elevation 3920m
miki arregui
Thomas Stano
Low Tide
Furman Artjem
ЦЭО. Поленово.
Furman Artjem
Portrait room. Big house. Polenovo
Furman Artjem
Studio room. Big House. Polenovo
Furman Artjem
Лестница. Большой дом. Поленово.
Furman Artjem
Grave of V. D. Polenov and his family
Furman Artjem
Sunset at the beach in Polenovo
Furman Artjem
021 1
Furman Artjem
Church Bekovo Russia
Furman Artjem
The Muristan, Jerusalem Old City, Israel
Furman Artjem
Church of the Beatitudes 2. Israel
Furman Artjem
Night in Polenovo
Furman Artjem
У Мержановых в Поленово
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51d6cf8e-0ff5-4352-9387-629bb822d221
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Posts Tagged ‘Tattoos’
Graffiti in the Temple
Unknown-1
“Life is a blank canvas and you need to throw all the paint on it you can.” -Danny
If the Bible says to keep your body clean as a temple then I suppose I’m in trouble.Usually I write about more serious or inspiring subjects.However as the holidays get thrust upon us and lurch ever closer,just like recess why not have some relaxing fun!?
Over the years,whenever I had to do a historical report or speech I would choose the subject of tattooing(sometimes vegetarianism) because I found that a once taboo art form reserved for Sailors and Prisoners was interesting.Also not to mention it can be pretty if done right.
tumblr_mskeu6acQU1r5cuu2o1_500Photo:Torrie Blake on Tumblr) Her leg piece!
I fully plan to get yet another(#8) to mark the experience of nearly dying and surviving to
begin a recovery with a flowing phoenix surrounded by peach and robins egg blue flowers.What’s more, thanks to the mention from a friend I plan on earning the money for it myself doing a small humble(but paid!) job.It may take awhile but it will only make it even more meaningful.Because,I wasn’t expected to live much less work a job! If our bodies are temples then you can call me a graffiti artist.
Unknown-3Photo: art by Banksy)
In closing,dear readers don’t be afraid to express yourself! Life is too short to worry about what other people think.
Be you Be beautiful,
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We offer a graded level of classical ballet. Beginning with basic dance and continuing through advanced, classes are available for ages 3 and up.
Jazz instruction can follow in conjunction with classical ballet and is available for ages 6 1/2 and above.
We offer tap for adults. It is a great way to have some fun, get some exercise and learn something new.
Celebrating over 35 years on the Gulf Coast, Pensacola School of Ballet teaches the fine art of classical ballet, tap, and jazz with a commitment to excitement, excellence and to setting the highest standards of achievement in developmental dance training programs.
Pensacola School of Ballet presents an annual student recital at the University of West Florida Mainstage Theatre during May of each year, which is the culmination of many hours of dedicated preparation, and for the participants, a continuation of their dance education in the performing arts.
Register Now…
Ready to sign up? Register online now.
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e0dd6a4a-23a7-41e9-8957-a8df35efefd0
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Design. Colour. Theory.: Bernat Klein – Eye for Colour
“It is possible to live without taking colours in daily life seriously just as it is possible to live and to ignore music, sculpture and other arts” opines the textile designer Bernat Klein in his 1965 book Eye for Colour, and thereby not only freely equating colour with other cultural goods but also very neatly setting up the refutal, “no one will doubt, however, that life will be fuller and richer if colours are daily absorbed, handled and savoured as they can and should be”.1
Eye for Colour is both an introduction to how Bernat Klein arrived at such a position, and an argument in support of its validity…….
Design. Colour. Theory.: Bernat Klein – Eye for Colour
Born on November 6th 1922 in Senta, then northern Yugoslavia, today northern Serbia, as the eldest child of the textile merchants Leopold and Serena Klein, the young Bernat enjoyed, as best we can ascertain, a comfortable, largely untroubled, childhood in the rural familiarity of Senta until in 1936, aged 13, he was sent to boarding school: first for two years in Galanta in, then, Czechoslovakia, and subsequently Jerusalem, in, then, Mandatory Palestine. Experiences which, as one can read in Eye for Colour, he neither particularly enjoyed nor particularly engendered in him the deep, orthodox, committent to the Jewish faith they were supposed to. But did lead him to Jerusalem’s Bezalel School of Arts and Crafts.
Established in 1906 Bezalel School of Arts and Crafts, and summarising more than is prudent, was in many regards imbued with a new lease of life in the second half of the 1930s by the numerous young Jewish creatives who moved to Mandatory Palestine by way of escaping the rising fascism of Europe, took up positions at the school and thereby brought the contemporary creative positions of Europe, for all Germany, to Bezalel. Creatives such as the painter Mordecai Ardon, who between 1921 and 1925 had studied at Bauhaus Weimar, and who was Director at Bezalel when Klein enrolled in 1940; thus placing Klein’s arrival at Bezalel, as one of just 40 students in 19402, at an important moment in the (hi)story of not just the institution but in the development of art, craft and design in the contemporary Israel.
And an arrival in 1940 at a timeous moment for the development of Bernat Klein: during his second year Bezalel opened a textiles department3, a department specialising in that branch of design the scion of a textile merchant family had long considered pursuing professionally, as a youth in Senta he had, by his own account, “spent many a day-dreaming hour imagining how one day I might learn to be a designer and run a mill of my own”. Thus, not illogically, a new Bezalel textile department in which the young Klein spent most of his time, and where the feeling hardened that “what I wanted more than anything was to design textiles”. A desire that took a step nearer fulfilment when in August 1945, and after a great deal of effort, and the end of the War, Bernat Klein swapped the warmth and brightness of Jerusalem for the dank and grey of northern England and a Textile Technology degree course at Leeds University.
A mohair tweed designed by Bernat Klein based on his painting “Roses”, and which marked the start of his international breakthrough in 1962 (Image via Heriot-Watt University’s Bernat Klein Collection on JSTOR)4
Under the programmatic titles of The Warp and The Weft the opening chapters of Eye for Colour take one on a chronological tour through Bernat Klein’s first 40-ish years, elucidating not only the importance of his formative years on what would later come, but also recounting his journey, and the relevance of that journey, from Leeds University over stations in Bolton and Edinburgh and on to Galashiels in the Scottish Borders where Eye for Colour opens, specifically in Klein’s Galashiels office in the spring of 1962 and where Klein is skimming through the latest edition of the magazine Elle, when “to my amazement, there in front of me, in full colour and over several pages, was our newest cloth, modelled by Chanel.”
You can almost see the feather knocking him down and the delighted disbelief that so obviously shone from his entire being.
And that not least because that new cloth was not just new in sense of colour or pattern or material, but in terms of concept: or as Klein explains in Eye for Colour the aim of the project was a cloth “bright and living with colour”, and that to be achieved through the incorporation of “dozens of colours into a single piece of colourwoven cloth”. To this end he and his team sought to place “as many colours as was economically practical into each single thread”, which “meant that instead of dyeing a yarn to a solid colour I wanted to dye it to seven or more colours”, and thereby producing multi-coloured yarns which could serve as the basis for “a non-repeating colour pattern in woven cloth”, a cloth featuring a random mix of small patches of colour, random small patches of colour which “the eye could either add them all up together and so enjoy the fun of their varied subtlety amounting to a clear hard fact or it could see them merging in their multitude to remain an amorphous, cloud hint of tints, of softness and of endless possibilities”. But for all, so hoped Klein, random small patches of colour which meant that the “colours in my new cloths would blaze or shimmer”. A blaze and shimmering to be enhanced through Klein’s decision to use brushed mohair as the yarn, a relatively novel material in early 1960s Europe, a novel material for whose production there were no machines in the UK when Klein started to work with it. The very first being Bernat Klein’s.
Now we hear you at the back, “multi-coloured yarn, multi-coloured woven cloth, and???” A valid enough response today, but in the early 1960s the natural retort to your unnecessary sarcasm would have been “AND!!!”; what Klein and his team, and in Eye for Colour Klein makes very clear that it was a team effort, makes very clear that in achieving what he did he was reliant on the knowledge and skill of the yarn dyers and the weavers, if one so will, on that craft understanding we discussed, for example, in context of Glass – Hand Formed Matter at the Bröhan Museum, Berlin, craft understanding coupled to his design positions, aesthetic positions and technical knowledge; and a team effort that produced something mildly revolutionary in the (hi)story of textile design.5 A genuinely new type of cloth with new properties. A patented production process. And a minor revolution employed not just by Chanel, but by many of the larger Parisian couture houses including, for example, and amongst many others, Dior, Balenciaga, Pierre Cardin or Yves Saint Laurent. And that at a time when Paris and Parisian couture was still very defining. For those people for whom clothing is important, obviously.
Yet our interest here is not the cloth itself, interesting as it is, but the why of the cloth?
Why a cloth driven by the desire of achieving such a complex, multifarious, endless colouration in and of the finished cloth?
Space-Dyed Mohair Yarn 1960s (Image via Heriot-Watt University’s Bernat Klein Collection on JSTOR)
The short answer is that, as Eye for Colour helps one appreciate, Bernat Klein had a life long obsession with colour. An obsession that began in his childhood in Senta and not only accompanied him on his many journeys, but grew with each journey to become what he refers to as an “incoherent enthusiasm for colour”. An incoherent enthusiasm he was equally enthusiastic about sharing.
The longer answer can be best approached in the chapter The Liberation of Colour, for us the key chapter in Eye for Colour6, and which takes the reader on Klein’s interpretation of the evolving function, relevance, contribution of colour in society, primarily European society, throughout history as expressed in and through art.
“Liberation presupposes suppression” he announces, and that suppression of colour, he argues, was of fundamental importance in ancient societies including ancient Egypt or ancient Rome, and was primarily expressed through specific significances attached to colours, significance and symbolism irrevocably assigned to colours, a strict symbolic significance of colour which he argues continued on into the European Middle Ages where “religious paintings had to follow certain rules of colour or lose their impact”. And while Klein can see in the Middle Ages the start of the liberation of colour, for all in the works of a Giotto, the first sustainable change, he argues, comes in the 19th century: “Turner departed from representation and began to express his internal feelings about his subject in terms of paint”, was an artist who “painted what he saw, not what others taught him to see”. Of particular relevance for Klein is Turner’s ca 1837 work “Interior at Petworth” of which he notes “only colour matters”, continuing to argue that Turner must be considered the first Impressionist for it was Turner who “first broke through centuries of convention by endowing colour with new powers of expression and giving it a primary function in painting as compared to the function of almost pure form”.
And having sensed liberty, there was no stopping colour: Klein’s argument moving from Turner via Manet to the French Impressionists “the first who purified colours so that they could vibrate in their natural intensity” on to Van Gogh, Seurat and Matisse, the latter who “felt that the artists must each time try to find colours to fit his sensations” and further to the Cubists, the Futurists, the Surrealists and onto to the Objective Expressionists and Abstract Expressionists, amongst the latter of whom one painter in particular is deemed worthy of extended discussion: Paul Klee. A Paul Klee of whom Bernat Klein states “is particularly a designer’s painter for he was outstanding as a colourist”. A Paul Klee whose simile of the “passing stream of image and experience”7 which feeds the artist as roots feed a tree, providing nourishment which having arrived in the artist/tree leads to an expression in a crown incomparable with the roots “explains the freedom of colour and form that has been achieved by painters in the last hundred years”, the freedom to interpret inputs as one feels most appropriate based on personal positions rather than as the truthful 1:1 repetitions of yore.
A Paul Klee who was also one of the aforementioned Mordecai Ardon’s teachers at Bauhaus Weimar. Bernat Klein doesn’t mention this fact. He may not have known. May not have considered it important. We very much like the link. And are very keen to understand it better. Not least because of the very obvious warmth and respect in Klein’s, albeit brief, recollections of Mordecai Ardon.
And a Paul Klee with whom Klein’s sprightly tour through art (hi)story largely ends, for although there is mention of (predominately) post-War artists such as Jean-Paul Riopelle, Peter Lanyon or Nicolas de Staël, artists where colour is very much in the foreground, as Klein notes, “it is difficult to say what their influence on the general trend of colour use has been or is likely to be”; a sage point that these days we all too often forget when hyping living, working, creatives as having irrevocably changed their genre. They might not have. And certainly not on their own. And it would be interesting if someone more qualified than us could take up Klein’s journey, for surely enough time has now past to allow one to approach a meaningful assessment of such artists’ “influence on the general trend of colour use”, or lack of, and in doing so bring Klein’s discussion closer to our contemporary age. Bring Bernat Klein’s tour through the (hi)story of art closer to our contemporary age.
A 1960s velvet tweed by Bernat Klein. inspired by his painting “Seascape” (Image via Heriot-Watt University’s Bernat Klein Collection on JSTOR)
A tour through the (hi)story of art, a tour through Bernat Klein’s personal understandings and interpretations of the (hi)story of art, which allows one to appreciate from where Klein’s new approach to yarn, weaving, cloth, and textile design came. One is left at then end of the tour with a very clear understanding of Bernat Klein’s revolutionary, blazing, shimmering, new cloth “bright and living with colour” as Bernat Klein’s liberation of colour in textiles, as an expression of Klein’s understanding of the necessity of a new approach to textile design, of Klein’s understanding of the necessity of a new approach to colour in textiles, of Klein’s new cloth breaking the bounds, the rules, the conventions in textile design much as artists past had done in painting to realise a work appropriate and meaningful for contemporary society: for lest we forget we’re in that decade when the privations of War have been forgotten in Europe and when European society was becoming ever brighter, ever more Pop, ever more tactile, ever more colourful, ever more liberated, ever closer to the moon, ever more aware of its “endless possibilities”, ever closer to the oil crises of the 1970s. And a liberation of colour in textiles Eye for Colour allows one to appreciate was fed, as with Klee’s tree, by the impetuses of Bernat Klein’s biography and by that which he had learned from art, from artists, for all, in our reading of Eye for Colour, from Klee, from Turner, from Cézanne and from Seurat whose Une Baignade, Asnières was, as one reads in Eye for Colour, a very direct inspiration and motivation for the development of Klein’s multi-coloured cloth.
A tour through the (hi)story of art which neatly elucidates the reciprocal relationship between art and society, that art is life and life is art, or is when the art is an honest response to, reflection on, criticism of contemporary society; and thereby by extrapolation an elucidation of both the reciprocal relationship between art and design and also, and, as discussed from The Magic of Form – Design and Art at Kunsten Museum of Modern Art, Aalborg, of the increasingly complex functional demands of both art and design as life, society, has become increasingly complex.
A tour through the (hi)story of art without the academese and opaqueness of so much art theory which allows one to begin one’s own considerations on colour and society. Past. Present. Future. And which in doing so allows one to approach an appreciation that while painters may have liberated colour as European society evolved and developed, we today still (largely) ascribe colours attributes, significances and symbolisms, much as ancient Egyptians and ancient Romans once did.
When Klein notes that “one of the points I’m trying to make is that colour symbolism was all very well in its time; its use today, on the other hand, by modern artists or designers or indeed by anybody, would be a retrograde step”, your first response is, typical Modernist, and your second is, but we all do. Of our own volition.
Or put anther way, in his ca 1908 polemic Ornament and Crime Adolf Loos argues that the “evolution of culture is synonymous with the removal of ornament from everyday objects”, and considers the use of ornament “backwardness” and those who use ornamentation “degenerates”.8 Here is, sadly, neither time nor place for a comparison of Loos and Klein, but in many regards Eye for Colour develops a similar position, argues, in effect, that the evolution of culture is synonymous with the liberation of colour and that the use of the symbolism is “retrograde”
Yet today ever more individuals adorn their bodies with the tattoos that set Loos in an apoplectic fit, and a majority of us still suppress colour.
A 1970s Diolen cloth by Bernat Klein in greens (Image via Heriot-Watt University’s Bernat Klein Collection on JSTOR)
Both Loos and Klein are discussing a possible removal and liberation, are arguing that evolution in culture enables, empowers, a removal and a liberation which at earlier stages of that culture would have been not only impossible but unimaginable.9 The freedoms in approaching the subject we have today simply didn’t exist previously. Couldn’t have existed. But just because it is now possible doesn’t mean that we all grasp it, or must grasp it. Freedom is (also) about taking or leaving, about finding your place as an individual in a community, and decisions for or against ornamentation and/or colour symbolism are invariably personal decisions made in context of shared social structures and positions. Through its discussions on colour, the liberation of colour and use of colour, Eye for Colour offers, for us, insights into three contributing factors for our continued suppression of colour.
On the one hand, as Eye for Colour helps one glean, for all European painters may have helped liberate colours, may have liberated colours in their art, many of the frameworks that enforced colour symbolism in painting, and society, in days of yore remain; reinforces an appreciation that as, for example, discussed from exhibitions such as Green Sky, Blue Grass. Colour Coding Worlds at the Weltkulturen Museum, Frankfurt or Color as Program. Part One at the Bundeskunsthalle, Bonn, cultural colour coding is an inherent, inherited, feature of all societies and communities. Fairy tales, folk tales, folk legends, for example, are heavily imbued with a colour coding that passes from generation to generation, as does the colour coding of religion, Bernat Klein discusses at length the colour coding of the Orthodox Judaism he was raised in, but all faiths have their unshakable colour codes as much as their unshakable moral codes.
On the second hand, as Eye for Colour encourages one to consider rather than directly tackling, our scientific exploration of colour and for all our development of systems and orders for colours have established their own inheritable codes and traditions; codes and traditions we’re all taught as young children and which, as Verner Panton would no doubt argue, rob us of our innocence in our use of colour. Bernat Klein, for example, speaks at various points of warm or cold colours and of contrasting and harmonising colours: but such don’t exist in nature, such are artificial concepts we humans have devised to help us to define colour, to manage colour, to deal with colour. To suppress colour every bit as much as the ancient Egyptians or Romans once did. And although colour systems have been developed since antiquity they are very much associated with developments of the late 19th/early 20th century, and thus one of the central moments in Klein’s liberation of colour: as for example noted in context of Amédée Ozenfant and colour, the scientist Charles Henry, whose Cercle chromatique was important in establishing ideas of colour harmony in late 19th/early 20th century France, was very closely involved with the likes of a Georges Seurat. Not that Seurat’s association with Henry places his role in the liberation of colour in question, far from it, for as Klein convincingly demonstrates Seurat was, as with all, a moment in an ongoing journey. And Seurat did literally liberate individual spots of colour from their neighbours. But it does allow for appreciations that the liberation of colour in the late 19th/early 20th century, and by extrapolation Modernist positions on and to colour, occurred (largely) in a rational scientific framework.
And on the third hand, “then one day when I was being interviewed by the fashion correspondent of one of the large weeklies, that perennial question: “Which will be next season’s colour? was again put to me. I found myself blurting out, with more conviction than I had ever managed before, that I didn’t know and that as far as I was concerned it didn’t matter”. Bravo Bernat! Bravo!!! But for a great many it does matter. There are today industries involved in little more than announcing that next season’s colour will be Wistful Orange or Ashen Faced Teenager or Chicken Beak or whatever. And within 24 hours of the announcement Instagram is full of mood-boards in Wistful Orange, or posts explaining how to dress and/or furnish your home in Chicken Beak. While in the clothing and furniture stores of the land it’s all but impossible to escape the omnipresent Ashen Faced Teenager.
“A question started to nag at me and it was about fashion in colours: where do colours come from and why? And where do good colours go when they die?” The concept of a colour dying perfectly encapsulating for us the absurdity of a marketing driven approach to colours, of colour as a commodity, of our ongoing obsession with fashion colours and t**** colours. And also of the ongoing suppression of colour.
Religion and superstition once bound our colours, then science and rationality and today big commerce and a manufactured fear of missing out.10 Colours, as Bernat Klein convincingly argues, have long been liberated but, so the inescapable conclusion, we’re not comfortable with that. Collectively or individually. And so in our lives, in our objects of daily use, we contrive ever new ways to contain colours. To ensure we don’t have to decide for ourselves.
But what if we did decide for ourselves?
Bernat Klein is acutely aware of this imbalance between what is possible and what is and Eye for Colour is his gentle attempt to encourage us all to dispose of our colour crutches. He himself doesn’t manage completely: while his multi-coloured mohair cloth, arguably, demonstrates that that liberation is possible, and that, again arguably, more clearly than had been achieved previously, he still talks in context of the science and rationality of compliment and harmony, of warm and cold colours, when advising readers on how to choose the colours for their clothes. Typical Modernist. But as a work Eye for Colour is an argument against definitives in colour, against symbolism in colour, against marketing in colour, an appeal to us us all to make our own decisions.
An appeal for us all to personally liberate colour in our lives.
A 1960s tweed by Bernat Klein in grey yellow and blue (Image via Heriot-Watt University’s Bernat Klein Collection on JSTOR)
As a work Eye for Colour is a discussion on colour told in colour with a passion for colour, a passion for colour expressed not only in Klein’s use at every opportunity of a hued adjective, nor only in the pro-colour arguments he advances but also in examples of Bernat Klein’s own art presented alongside examples of his cloths, juxtapositions which help one appreciate the direct connection between art and design in Klein’s work. And it is design not applied art, for Klein’s work started not with the cloth but with the yarn, and was primarily about developing a system for producing cloth through the integration of craft, technology, science, art, reflections on contemporary society and a healthy dose of an “incoherent enthusiasm for colour”.
And thus as a work Eye for Colour is today, arguably, most relevant for designers and manufacturers, for all textile designers and textile manufacturers: the multi-coloured yarns Klein developed and whose existence he saw as essential may be commonplace today, but the question of appropriate and meaningful contemporary textiles will always remain in need of an answer. As will questions of the textile industries approaches to and use of colours, questions of the colours offered, of why those colours are offered, of how one can bring more flexibility into colour programmes, how can manufacturers offer the colours individuals want rather than trying to get individuals to want the colours manufacturers offer? “Where do good colours go when they die?” Why do colours die? Can colours die?
However as a work Eye for Colour also remain relevant for us all, yes, primarily in context of textiles, be they clothing textiles or domestic textiles, but also in context of the general colour composition of our spaces. Our worlds. As a work Eye for Colour enables, demands, a differentiated questioning on the hows, whys and wherefores of our colour consumption practices and a questioning of the symbolisms and associations and characteristics we assign to colour; or as disco pioneer Giorgio Moroder once phrased it in context of another cultural good, “once you free your mind about a concept of ‘harmony’ and of music being ‘correct’, you can do whatever you want”.11 Eye for Colour makes a similar point in terms of colour.
A concept of a correctness in colour Eye for Colour allows one to approach not only through the myriad perspectives on our relationships to colour it introduces, nor only through its demand for personal, individual approaches to colour rather than mass, collective, approaches, but also through the manner in which it expands on and compliments arguments advance elsewhere by others, not least in our own age by a Hella Jongerius, on the volatility of colours, that colours are alive and always exist in a particular context, that colours breathe. That if one things colours aren’t, it’s fixed and static.
Nor is our relationship with colours. As Eye for Colour neatly elucidates the function, the relevance, the contribution of colour in society, our relationships with colour, change with time, are in constant flux, and will continue to be, that colour is a cultural good and by necessity must evolve and develop as cultures evolve and develop. Which may be why colours die.12 And while art historians can only define the nature and significance of those changes long after the fact, we can all contribute to those changes in the now; we, as Bernat Klein encourages, just have to consider more critically how we absorb, handle and savour colour, learn to absorb, handle and savour colour more freely, with a greater sense of liberty. To absorb, handle and savour colour as they can and should be…….
A 1960s Mohair tweed by Bernat Klein inspired by his painting “Lichen 1” (Image via Heriot-Watt University’s Bernat Klein Collection on JSTOR)
A 1960s mohair tweed by Bernat Klein in browns, orange, blues and greens (Image via Heriot-Watt University’s Bernat Klein Collection on JSTOR)
A 1960s suiting fabric in purple by Bernat Klein (Image via Heriot-Watt University’s Bernat Klein Collection on JSTOR)
1. and all other quotes unless stated from, Bernat Klein, Eye for Colour, Bernat Klein Scotland with Collins, London, 1965
2. “there were about forty students studying painting, graphic art, sculpture and metal work and later weaving”, page 31
3. We currently can’t locate who was responsible for establishing the textile department at Bezalel, and/or who were the first staff of that department. In Eye for Colour Klein makes no mention of any particular individual and so presumably he didn’t feel them that important in his development. But in the interests of completion it would be important to know. And useful.
4. Further examples of Bernat Klein textiles, and objects created from them, are available via the Heriot-Watt University’s Bernat Klein Collection on JSTOR and in the National Museums of Scotland Collection.
5. We’re not 100% certain that Bernat Klein was the first person in the world ever to produce a commercial multi-coloured yarn, the (hi)story of yarn dyeing isn’t that simple to follow. Or if it is, we don’t know how to. The so-called space dyeing process he employed was, as best we can ascertain, known before Klein employed it, and indeed a 1964 amendment to his 1963 patent makes clear that there is no claim over the yarn dying process, even that is a large part of the patent. That may however be because patenting processes is harder than patenting a machine for a process. But we don’t know the details. Of what we can be certain is that Bernat Klein was a leading protagonist, developer and advancer of the process, and without question one of those designers, the designer, with the clearest position as to how to use the process to produce contemporary cloth.
6. Key chapter according to our singular reading of Eye for Colour. For others the more important chapters will be Klein’s reflections on choosing and combining colours in clothing and accessories, or his distinction between being fashionably dressed and being well dressed, or his thoughts on textile design education, or his assertion that when defining our own colour, when deciding what colours best suit us, the most important guiding factor is the colour of eyes.
7. Paul Klee, On Modern Art with an introduction by Herbert Read, Faber & Faber, London, 1924
8. Adolf Loos, Ornament und Verbrechen, in Adolf Loos: Sämtliche Schriften, Franz Glück, Wien, 1962 (amongst a great many other versions)
9. Both Klein and Loos use in context of their arguments a comparison of European societies with non-European societies, Papua New Guinea being the prominent non-European society in both. Non-European societies discussed by both Loos and Klein as being “primitive”, a problematic term for today’s eyes, but one must always remember that until the 1970s that was how non-European societies were understood, was the official academic view of non-European society until 1968 shook up European and American universities. Which doesn’t excuse it’s use today, doesn’t mean ¯\_(ツ)_/¯, but does explain and contextualise it.
10. As with so much in life the progression isn’t successive but aggregative, cumulative, all three forms of colour suppression exist simultaneously, certainly in European society. But you knew that, which is why we added the explanation as a footnote rather than boring you in the main text…….
11. Daft Punk, Giorgio by Moroder, Random Access Memories, 2013 Quote comes at around 5 minutes, just before Daft Punk, inspired by Moroder, do whatever they want
12. Reading Eye for Colour our thoughts kept returning to the avocado bathroom suites once so popular across Europe, a colour that, arguably, died on account of evolving social and cultural positions…. and a subject we will return to at a later date.
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Milan by Delhi Vintage Co.
Nestled inside the Dhanmill Compound in the burgeoning designer district of Chattarpur Farms, Delhi Vintage Co is a galleria that promises to be anything but an ordinary shopping experience.
Their most recent endeavor towards reviving age-old traditions of craft, technique and style was Milan, an evening that celebrated the splendid kaleidoscopic blend of music, poetry & art aimed at excluding an old-world charm, as they brought together artists, brands and like-minded souls all under one roof to officially launch their flagship store.
An exclusive evening was created to celebrate the magic of mehfils with the renowned ghazal singer Dr. Radhika Chopra performing for the esteemed guests adding more panache to the store’s ambiance.
Dr. Radhika Chopra, is an extremely talented and versatile artiste, who predominantly continues to excel and please connoisseurs with her traditional puritan raga based gayaki.
The evening baithak, was attended by some of Delhi’s eminent personalities including Vinod Dua, Pushpanjali Chawla and Arti Mehra among others.
The evening was a cultural experience like no other. Milan had a beautiful amalgamation of Indian brands coming together to celebrate the country’s unique cultural & age-old traditions.
Manish Chhabra the creative director & owner of Delhi Vintage Co started this business out of his love and passion towards handlooms and textiles, the art and the craftsmanship of our country.
“I have been lucky to be associated with the best craftsmen we have, and when I see this beautiful art dying it just keeps me going to do all I can to keep it going. All the efforts to revive and resurrect this craft are worthwhile.”
Delhi Vintage Co believes that their work is art on garments, as an experience and in their ambiance.
Under this roof, you will find a carefully curated selection of handlooms, bespoke bridals & couture, sharing the vibe with an equally soulful collection of vintage Indian folk art.
Website – https://www.delhivintage.in/
Instagram – https://www.instagram.com/delhivintageco_/
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Washing Off The Warlock Smell
Mechanicalpenguin, June 19th, 2012, 10:36 pm
Hrm - I have an unpopular BL comic. I suppose it is because I allow my characters to develop a relationship first?
Advertisement, December 12th, 2017, 5:50 pm
Average Rating: 4.50
Comments posted by:
animeotakuXIII, June 19th, 2012, 10:45 pm
- I personally like your comic BECAUSE you are letting them develop. And of course for the animating. It gets irritating after a while of "I thought I should tell you that I all of a sudden love you" "I love you too even though I just met you" "Now, lets go have some good ol' loving time"
..... Something like that xD
Mechanicalpenguin, June 19th, 2012, 10:51 pm
- @animeotakuXIII: I COMPLETELY agree with you. BL used to be good because it was complicated and wasn't instant love. (Unlike Hetero tended to be.)
Tailswish, June 20th, 2012, 10:33 am
- Advertising is everything. If your put those two little letters of BL on your banner, i'm pretty sure you'll get an increase of readers who will click and see your amazingness. I almost didn't click it because the majority of what I read is bl, and the warlock looked alittle feminine at first glance, so i was like "Ehhh" but then it turned out amazing. But it's all about that first draw in.
Mechanicalpenguin, June 20th, 2012, 10:38 am
- @Tailswish: Meh, adding a BL to my banner means I have to do work...
HAHA, thanks for the comment! I was thinking about adding it. I'll do that soon. Or maybe I'll just animate a whole new banner that would get peoples attention. *hmmm*
Mechanicalpenguin, June 20th, 2012, 10:45 am
- Okay, added the BL on the banner! Let's see what happens. =P
Tailswish, June 20th, 2012, 10:46 am
- @Mechanicalpenguin: As a dedicated lazy person, I know how you feel. I've been having the same thought about that book I have to read eventually before August, nearly 1500 pages and I'm on like, page 20. "But I'd have to do work." Hah. Anyways, the animation now was eye catching in general, but there are few banners I click that don't have a bl label on it, half of those who don't happen to be bl, and I appreciate their modesty of not trying to advertise it but in the end they have a smaller fanbase than those who do advertise it. Of course the art is important too but you dont have to worry about that.
Mechanicalpenguin, June 20th, 2012, 10:51 am
- @Tailswish: Haha, summer reading, I'm guessing. I'm so glad to be done with public school. (I never read any of my summer reading books.)
Thank you for your input. ^_^ It is greatly appreciated! Most my time is spent on commissioned work. The only time I get to draw BL is for my own boy. So I'm not used to advertising to the general public.
Tailswish, June 20th, 2012, 10:55 am
- @Mechanicalpenguin: Summer reading of Monte Cristo for an AP language class at that. Hnggg, summer's already half way done here, I started reading on monday and said I'd get it done in 2 weeks but now...Too bad I had the teacher last year and know for a fact she reads Spark Notes. Can't cheat fml. I tried a bl once, but since I can't digitally draw anything my banner sucked and it barely got 4 fans and by 10 pages I got depressed and deleted it, I'll try again eventually, this time I'll pre-do pages so I don't get stuck behind in pages like last time.
Mechanicalpenguin, June 20th, 2012, 11:01 am
- @Tailswish: Ahh, you are a smart kid. (I was not). I didn't even read the Spark Notes. I'm just a very good guesser and would take the multiple choice test and pass. I'm in college now and I'm a straight A student, though. Go figure.
Banners do seem important... Why don't you draw digital? If you ever get a tablet, I suggest Bamboo Fun. They are so small, cute, and come in many colors. (I've broken three very expensive tablets before this one. I haven't even hurt this one after three years of use!)
You just have to keep drawing. I used to suck, but now I'm pretty okay. xDD
Tailswish, June 20th, 2012, 11:09 am
- @Mechanicalpenguin: Not really, I'm at an academic school and it's required to have 3 advanced placement courses to pass, plus all my friends are going for the Diploma of distinction, which is 6 ap classes, and I'd have to take 4 ap in senior year to get that, but I might as well, I have no other courses planned or needed for next year. I think I have straight A's, if not, then it's one high B that pisses me off.But this year it's 2 classes of Ap 3-d art and 1 of graphic design, so it'll be fun.
I simply can't draw digitally, right now I have a laptop with a touchpad and my dad is a douchebag engineer who put a lock on my computer to need a password to download anything, and then proceeded to forget said password, I can't even update Adobe. And that means I can't download any good art program like Sai and my most advanced tool is the old MSPaint. Fml. Plus I erase all too often to do it digitally, so I'll just continue to use my sketch book, and I've already gone through 2 of them in the last year. Eventually I'll take drawing and painting 1, probably senior year.
Mechanicalpenguin, June 20th, 2012, 11:19 am
- Wow, I'm glad I didn't go there... I'll keep the metal detector screenings every day at my high school before I'd take an AP class. +.+
Erasing is easier in digital! I'm a huge eraser as well. Hopefully you will be able to get yourself settled with a good computer soon.
Are you thinking about an art major for college?
Tailswish, June 20th, 2012, 12:48 pm
- @Mechanicalpenguin: Loss of eraser is one of the ways I use up so many mechanical pencils. Fff. And I have no idea, I either want to be working at a video game company as an artist or designer or so something with aeronautics, like making planes, I'm thinking for my Senior project I could try to make a hoverboard, I take physics this year and I think it'll go well, I understand most aspects of it and how to put it together, I just need the materials to do it, but I already have blueprints.
Mechanicalpenguin, June 20th, 2012, 2:09 pm
- @Tailswish: I'd suggest you don't get into the videogame industry. (Many gaming companies have fired upwards of 50% of their workforce in the last few years.) (There is few jobs for artist and even fewer that pay well.) My brother is in game design and will never have a job, xD. As for aeronautics, that sounds cool! But hard...
Tailswish, June 20th, 2012, 2:39 pm
- @Mechanicalpenguin: Well that's dissappointing. I'll probably end up being a computer engineer like my dad in the end anyways.
Mechanicalpenguin, June 20th, 2012, 2:46 pm
- @Tailswish: Still a good career to go into. Goodluck. ^_^
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A modern symphony.
A highly interactive compilation of an original repertoire featuring the dynamic and innovating artistic talents of KEVIN HARRIS & FABIO ROJAS.
It seeks to interpret a message of curiosity, persistence, courage, and exploration.
“CONTRALUZ”, Spanish for "backlight", is an invitation to hold one’s own truths and beliefs up to a backlight, to examine the new perspectives offered from a vantage point. An invitation to imaginatively shift one’s views to see an alternative picture, reality, or truth.
In the same way that new viewpoints warrant unfolding possibilities, Harris and Rojas see this compelling project as a modern symphony that also, continuously, is unfolding.
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Dominik Raskin creates 3D-printed vases with fabric-like textures
3D printed Inflate Vases came to life by using dynamic cloth simulation within 3D modeling software. Different types of cloth are simulated by inflating a geometric shape and adding constraints along certain seams or buttons. This process attained the look of a puffer jacket or Chesterfield sofa. This imitation makes the vases look soft although they are made from rigid PLA 3D printing filament.
Captivated by how modern 3d software can simulate cloth in a very realistic manner, designer Dominik Raskin (Dora) explored ways to materialize these simulations. Starting from various geometric shapes and applying different inflation setting such as pressure, cloth properties, gravity, etc. a collection of 3D-printed Inflate Vases were made.
After a frame within the cloth simulation is chosen to become the final geometry for the vase, the model is prepped to be 3d printed with PLA filament, an ecological compound based on corn that is biodegradable under industrial composting conditions. Following this process, vases with multiple “fabric” looks were created. The look and feel of a puffer jacket or tufted sofa are a few of the outcomes.
Dora designs explore digital tools and fabrication to create common objects with distinctly new identities. Founder Originally from Belgium, Dominik Raskin holds a Master’s in Architecture from KU Leuven University (Sint-Lucas Brussels Campus) and is obsessed with conceptualization, visualization, and production.
He worked as an architect in Brussels and has taught interior design in Singapore, Vietnam, and since 2013 based in Mumbai, India
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Identity & Editorial Design for a quarterly design journal and a bimonthly magazine based in Monterrey & Mexico City.
Folio is a quarterly design journal distributed in Monterrey and Mexico City, two of the busiest, most design-driven centers in the country. Creatively conceived as a stylish shell, a simple and unobtrusive design fashioned to allow its content to shine through, we applied this philosophy to everything from naming to editorial design. The result is a bold, straightforward look that appeals to a wide-range of tastes whilst pushing the line for a growing standard of good design.
We chose a simple name that wouldn't only be memorable, but also make sense for the project. The easiness of keeping track of the issue number with this name system is the cherry on top. The layout is based on self-explaining technical documents, a very straight-forward, efficient manner of labelling the content. A collection of stylish, fool-proof fonts and the overlapping of photos enhance the aesthetic appeal.
1-folio-logo
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About Habitusliving
Habitus is a movement for living in design. We’re an intelligent community of original thinkers in constant search of native uniqueness in our region.
From our base in Australia, we strive to capture the best edit, curating the stories behind the stories for authentic and expressive living.
Habitusliving.com explores the best residential architecture and design in Australia and Asia Pacific.
Learn more
Have You Met The Women Of The Indesign Office?
In celebration of International Women’s Day 2020 on Sunday March 8th, this year Habitus looks inwards at our own team and our personal/professional accomplishments.
Happy International Women’s Day 2020! What a great reminder to pause, acknowledge, share and celebrate the accomplishments of Women across the world. We look to our industry, across industries, across borders and oceans, to our phone and social media and ask others who they are inspired by.
But we forget to look inwards, at ourselves and own accomplishments. Thinking of how we could celebrate International Women’s Day 2020, at the Habitus desk we sat and looked around the office, looking to others wondering what they would suggest.
But when we looked to our colleagues for advice, we saw what an amazing office in which we work. What a wonderful team to be a part of, even the boys are pretty good.
So without taking anything away from the wonderful women of the architecture and design industry, this year we are looking inwards at the wonderful women of the Indesign Media Office. Have you met them yet?
First row from left to right
Karolina Rodriguez
My name is Karolina and I’m the Events Marketing Manager at Indesign Media, working across events such as Saturday Indesign, INDE.Summit, INDE.Awards, Sustainability Summit and Sustainability Awards. I’ve been working in events marketing for over a decade and at Indesign, I am lucky enough to combine my experience in events marketing with my passion for the design and architecture industry.
I’m always proud of something where I can make a positive impact, and something I’ve done which I’ve been proud of recently is that I spent the last year leading marketing change across a business unit made up of 420 employees working across 57 events. It was so rewarding to be able to implement positive change to so many people and improve how they work every day.
My mother has been a constant inspiration in my life and I’m so lucky to have such an intelligent, caring and supportive person in my life. Regardless of whatever hurdles came her way, she always has my best interests in mind and has always set such an amazing example for me.
Emily Sutton
I’m Emily Sutton – an editorial / content writer at Indesign.
My honours project for interior architecture is something that I will always be proud of. It has shaped the way I look at everyday experiences, places, people, objects and how all of these can create inspiration in ways that you least expect.
Throughout my degree, I constantly felt lost of what I wanted to do and achieve in the present and for the future; but at the end, I knew I had put my heart and soul of who I am into that project and today, when I’m feeling a little bit stuck or uninspired, I always go back to that. And now, I’m here writing about architecture and design – proud and grateful of what I do everyday!
Ellen DeGeneres – everyday, she gets to bring happiness and laughter into people’s lives, while using her platform to make a difference. And I feel like that’s an inspiring way to live your life.
Brydie Shephard.
What I do is a bit of a mixed bag really, head up our production for print and digital, manage our internal content agency, C-GEN, and just launched our newest initiative – Women Indesign
I’m definitely really proud of Women Indesign. It’s something I’ve wanted to do for a long time and really believe in. I’m really proud of the work I’ve done on it, the reception we’ve received and I’m really proud of the whole Indesign family for backing it!
I’m inspired by Alexandria Ocasio-Cortez. She’s intelligent, eloquent and unwavering in her beliefs.
Yvonne Grice
My name is Evie and I am the Customer Success Manager for Architecture & Design. I love people and my days are full of client interactions that keeps me motivated and busy.
I’m proud of being mum to a vivacious 7-year-old girl. I’m continually amazed by how much she teaches me not only about myself but the wider world we live in.
At the risk of sounding cliché but my mum is my hero. Immigrating to Australia in the early 90s, she has and continues to carry my family through every high and low with fearless resolve, compassion and humility. When I grow up I want to be my mum.
Sofie Teh
I’m Sofie Teh, Event Manager at Indesign Media – organising fabulous industry events, awards, exhibitions and occasional parties for our brands (with our stellar all-girl event team).
A while ago, powering on to finish my final year fashion collection while my hair was literally falling out from discovering I had Alopecia. And showing it at VAMFF with a bald head!
All the past generations of women in my family who have consistently passed on the values of being progressive, ballsy and independent regardless of time/place – endured and succeeded with their own ambitions alongside cultural traditions and domestic commitments. But to say just one, it’d be mum of course 😉
Cherie Nelson
My name is Cherie and I’m the marketing manager for Indesign Media, driving the transformation of our digital marketing and data management capabilities in order to create more meaningful conversations with our audiences.
I was introduced to Macquarie University’s early intervention reading program through a previous workplace volunteer initiative and when I came across it in my local school last-year I decided to sign up again. Carving out the time to commit to volunteering has been a challenge, particularly on top of work and family commitments – however seeing the two students each week and watching them find confidence and enjoyment from reading is really gratifying. I’m super proud to be involved with such an awesome initiative.
My Nan was one of my greatest inspirations growing up. She would teach my sisters and I how to weave baskets, spin wool into yarn, create copper artwork, make leather bags and hand build clay pots which she’d fire and glaze in her kiln. In her own time, she’d make room size rugs on a loom, and throw clay on wheel and turn wood on a lathe machine. One day, I watched her use a MIG welder to build a frame for her new greenhouse she was building. My Nan taught me that we are all creators and regardless of gender we can craft our own future and happiness – in our own unique way.
Sarah Buckley
I’m Sarah and I’m the deputy editor of Architecture & Design. I write about architecture and design, more so architecture, and its domino effect on industries pertaining to it.
I had a baby boy eight months ago, and returned to work two weeks after giving birth, and have been working full-time since. It’s a double-edged sword, but overall I’m quite proud of myself for that.
Grimes (Claire Boucher) is currently getting me out of bed in the mornings. I’m finding her brutal honesty, untrained media approach and billionaire boyfriend a commendable spectacle, all the while being pregnant. She’s a very interesting musician, and pop culture icon.
Second row from right to left
Sue Davies
I’m Sue and in short I’m about People, People and Design. Heading up the Recruitment Product at Indesign seemed like the perfect next step for me. Joining a team that already owns the conversation in the design world has given me a great fresh perspective on the industry and how we can make a difference. It is inspirational to be surrounded by so many fantastic women.
I am super proud of taking the initiative at the tender age of 25 to pack my life in a bag and move to the other side of the world. Alone. The life I have since forged for myself, whilst not always easy has rewarded me beyond belief; both in my career and personally, as a Mum, a friend and a colleague.
Maya Angelou was an early inspiration for me…………. a phenomenal Woman! “It’s the reach of may arms. The span of my hips. The stride of my step. The curl of my lips. I’m a Woman Pheomenally. Phenomenal Woman. That’s me.” I think that’s all of us.
Eve Milburn
I’m responsible for coordinating the digital content for the Architecture & Design website.
I am proud of my move to Australia and starting up a new life here!
A woman that inspires me is Greta Thunberg and how she’s such a boss when it comes to fighting for climate change.
Cazzie Zeng
I am Cassie Zeng, working at Indesign Media Asia Pacific as Accountant.
I am proud that I was vegetarian for three years, during that time I was really strict to myself, as not eating meat is hard.
Gabrielle Chanel. She is well known as a talented and creative fashion designer. She did not have a normal childhood and had to work hard and sacrificed a lot in order to be the person she is known for today, which in a way inspires me that being successful is not impossible for everyone.
Flora Li
I am an assistant account at Indesign (freshly started!). Mostly dealing with financial issue within the company.
I left my home country at 19 years old and came to Australia by myself to attend university.
My mum is a journalist and focusing mostly on Chinese worker’s social welfare/medical care. She always encourages me to read, to explore, to form my own opinion, and to think critically. She is my biggest supporter and my inspiration of all time.
Louise Gault
By day I am a senior designer at Indesign Media and by night a dance and Zumba instructor.
I am proud of the life I am building – the goal isn’t perfection, but richness in experience and sharing passion.
Frida Kahlo inspires me to meld creativity into my everyday, pride in where I come from and to be authentic.
Kavita Nandan
I’m Kavita, Managing Director of Indesign Media. Managing a media company with changing landscapes in the last 20 years has been challenging and rewarding at the same time. Indesign has always had a strong female representation and I am proud to nurture and support that. Proud to have great work culture of the “indesign family” where we work hard and also party hard. We couldn’t do what do we our amazing team of talented individuals, who are passionate in what they do.
I’m proud of starting Indesign with my partner, having a newborn, and moving states within the same couple of months. Juggling it all is something most females are doing more but I am most proud of the strong females I have raised with the moral compass to make good decisions independently. More recently I’m proud to have launch our Women Indesign supper series.
My mum is the glue for all our families. While we all strive to have work life balance, Mum knew how to provide an environment that was always safe, non-judgmental and full of laughter. That to me is real success!!
Holly Cunneen
My name is Holly and I’m the editor of Habitus and Habitus Living. My days are spent researching, learning, writing and reporting on architecture and design. Growing up I knew I wanted to write but architecture has been a love it took me 23 years to find.
Last year I ran in my first running event, the Blackmores 10km. I’ve been running for a few years now but I’d never run that length before and I did it without stopping. I was also surprised by how cool it felt to run down the centre of the Harbour Bridge.
When I was at university I worked retail for an Australian clothing designer and our national brand manager really impressed me from our first meeting. She was always so well put together, firm but fair, direct but friendly, brilliant at her job and invested in building up those around her, myself included. That was 10 years ago and I still look up to her professionally.
Ali Lawes
I’m Ali Lawes, Head of Events at Indesign Media Asia Pacific. Together with our events, and multi-disciplinary team, we deliver our unique and ever-evolving portfolio of events in both Australia and Singapore.
I’m proud of making the move to Australia by myself from the U.K. It was the first time I’d lived overseas and completely out of character. I’m forever grateful for the combination of events that drove me to do it. I couldn’t imagine my life anywhere else but here now. Looking back it was a bold change that has luckily paid off.
My Nan inspires me for so many reasons, but creatively for never stopping making incredible things for other people, whether sewn, or knitted or a multitude of other craft, until her very last days despite so many physical barriers. Creating and learning kept her going and made her feel alive.
Brunetta Stocco
I’m Brunetta and I’m so proud to be a Business Development Manager for Indesign based in our office in Melbourne.
Something I’m proud of is raising two sons who are thoughtful, kind and super respectful to women.
Someone who inspires me is Rosie Batty – I’m in awe of her courage and resilience; how she overcame personal tragedy to make such an amazing contribution to exposing family violence and ensuring that victims receive the respect, support and safety they deserve.
Jan Henderson
My name is Jan Henderson and I am acting editor of Indesign while the lovely Alice is on maternity leave. I have been working in editorial for many years now and find that my profession is ever stimulating and exciting…how lucky am I to be doing something I love.
Perhaps I’m most proud of the fact that I am in a situation where I am surrounded by truly dedicated, passionate and inspirational women and men and that I have the chance to keep learning and growing in my profession.
As far as a woman that inspires me…. well there isn’t just one but many. From my friends and colleagues, who have achieved success not just in the workplace but at home as well, each and every one who has crossed my path has a special quality that has influenced me and adds a valuable contribution to my life.
Alice Blackwood
I’m Alice, I’m a design editor with a journalistic background. I love sharing people’s stories, and curating ideas and thought-leadership. I find working in print and digital publishing to be a great creative outlet and wonderful challenge – as publishing is as much a business as it is an influencer of thought and producer of covetable products.
Over the years I’ve also developed a side career in content and communications strategy. To deeply understand a brand and craft its voice is a fascinating journey to share with a client.
I’m proud of my daughter. She’s revealed to me a new frontier beyond my all-consuming work-life. She reminds me to think and look with imagination, and boil the big problems down to the simple truths.
So many women inspire me! I’m deeply admiring of all the women running businesses in our highly competitive design industry, you have great energy. You know who you are! Also special shout-outs to my business mentor, Jo Hook, who was a positive and constructive influence in my life when I most needed it.
Dana Ciaccia
From her envious base in Noosa, Dana is Brand Director of Indesign, regularly flying down every month to check in and spend time with the team and collaborators. Her clear sense of direction and unwavering conviction in our products assures the whole office.
Colleen Black
Colleen is our Brand Director at Habitus and although she hasn’t been in the office much recently (she’s currently sailing around the world!) not a week goes by in which her name isn’t mentioned. Her love for the Indesign family and dedication to what we do here continues to inspire and motivated us from afar.
This is us! Thank you for listening!
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rna Newberry / Fire Dreaming (2A)
SKU: JOR201608
71cm x 56cm Acrylic on Linen
View more from artist
71cm x 56cm Acrylic on Linen Source Gallery: Yanda Aboriginal Art, Alice Springs, NT
Jorna Newberry is a Pitjantjatjara artist, born c.1959 at Angus Downs in the Northern Territory. Jorna lives between the communities of Warakurna and Irrunytju and the township of Alice Springs where she has family. By travelling from the remote communities to the town, Jorna continues to live both the traditional Aboriginal life of her indigenous background and the contemporary culture of modern Australia.
When visiting her lands she regularly goes bush with the women of her community to participate in traditional ceremonies and bush tucker gathering. Jorna began painting in mid 1990s at Warakurna, and now paints for Yanda Art Gallery in NT.
Over recent years Jorna has worked closely alongside her uncle, Yannima Pikarli Tommy Watson who is internationally recognised as one of the most significant aboriginal artists of our time. She follows his instruction to favour abstract styles as a means to ensure secrecy of important indigenous cultural matters, rather than taking a more figurative approach. She says “Uncle has had a big influence on me. He teaches me to be respectful in the way I paint”.
Jorna’s style of art is exciting and fresh, she is definitely an artist with a huge career in front of her.
Selected Group Exhibitions
Artplace, Perth WA
Harrison Galleries, Sydney NSW
Two Women Artists: Jorna Newberry & Maisie Campbell Napaltjarri, Japingka Gallery, Fremantle WA
Desert Gold, Japingka Gallery, Fremantle WA
Desert Song, Japingka Gallery, Fremantle WA
Story of the Artwork
Waru Tjukurrpa (Fire Dreaming) is the use of fire for hunting and for land management on traditional Aboriginal lands. Jorna Newberry has extended the imagery and story that she has previously represented under the title Walpa Tjukurrpa, or Wind Dreaming. Both these Dreaming stories relate to Jorna’s mother’s country at Utantja, on Pitjantjatjara country near the intersection of the three state boundaries of Western Australia, Northern Territory and South Australia.
In the paintings Jorna has represented the land being burned off in a controlled way. The swirling areas of red indicate the fire and the effects of the wind. The people would stand down-wind to create the line of fire. As it moved forward the fire would flush out lizards, snakes and goannas, which hunters ahead of the fire would attempt to catch. Jorna describes her mother’s country also as being filled with kangaroos and camels, rock wallabies and birds – larger game that was attractive to the hunte
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Author: Naomi Dunbar
We all want to take cracking photos of our motorcycle adventures so we can keep them in our memories forever, but sometimes, we can’t quite execute the type of epic imagery that we imagine in our head, and our images come out average (at best). Especially when solo riding. So, as we continue our collaboration with motorcycle insurance specialists, Bennetts, for the company’s ‘Make Your Own Adventure’ campaign, we’ve decided to take a closer look at how to capture stunning adventure motorcycling photos.
So far, we’ve looked at our 2018 bucket list, how to plan a motorcycle trip, and how to successfully pack for a motorcycle trip. Next up, we’ll also be looking at how to share your experiences with the world by writing for a publication, so keep your eyes peeled in the following weeks.
So, without further ado…
All the gear, no idea
First things first, you need to think about what you want to use your photography for and then what equipment you’re going to need to achieve this. If you’re a rider who wants some memorable snaps for a social media account or to look back on in years to come, you may find that smartphones these days offer you the kind of megapixels to achieve stunning ‘show off to your pals’ type photographs. However, if you’re a hobbyist or a rider who wants to up their photography game in order to improve their chances of being published, then you may want to invest in a decent DSLR camera.
If you’re riding solo, then a tripod is going to be your best friend. You can set up the shot you have in mind, then with the aid of self timer, a remote clicker or Bluetooth connection via your camera’s smartphone app (if it has one), you can take cool landscape images where you and your bike are the subject.
The rule of thirds
Role of thirds motorcycle photography
Most smartphone and DSLR cameras have a grid reference function, this is a really helpful tool for you to be able to nail the rule of thirds. But what is the rule of thirds? Well, using the rule of thirds means the subject isn’t centred in the image. It draws the eye of the viewer into the image by offering a balanced and harmonious composition, rather than leading them to glance at the centre. That’s not to say that you have to use this method every time you take a photo, but it’s a good place to start.
The rule of thirds is also a very useful tool when capturing images for, for example, a double page spread in a magazine. If the subject of your image is in the centre, then it’s going to be lost or distorted when the magazine goes to print – basically, you’re going to lose it in the centre fold and the magazine editor probably won’t use your image. Instead, you want to make sure the subject is away from the centre line and can be clearly seen in one of the other two thirds.
Honda Africa Twin adventure motorcycle
Photo: Björn
Images can get a little ‘samey’ if you’re taking them all at similar heights and compositions. So, we challenge you to mix it up a bit – think outside the box, as they say. When setting up your shot, take a step back or have a long look around you. Is there a different angle which would make the image more interesting or give it a new perspective? Remember, you are telling a story with your images, so how are you going to portray your story to the viewer? You may find that low shots, getting up high and taking a birds eyed view shot or taking a ‘look through’ shot where you frame your image with something like nearby foliage, may make your images more interesting to look at.
Shutter speeds
Motorcyclist mountain pass
Controlling the shutter speed on your camera will manipulate how clear moving subjects will appear in your images. For example, if you want to capture a motorcyclist riding down a section of a mountain pass in the Alps, chances are you want the rider and bike to appear crisp and not blurred in your photo. If this is the case, you need to significantly increase your camera’s shutter speed to a high number such as 1/160sec, to help freeze your subject and stop motion blur.
However, it’s not all about being fast. Playing around with a slow shutter speeds in low light or at night can create some truly magnificent photos. You’ll need your camera to remain completely still, therefore you will need a tripod in order to create these types of images. So, if you’re out in the wilderness with your tent and motorbike, and you want to capture the clear night sky that sits above you – have a play around. Lowering your shutter speed will allow more light to come into the lens of your camera, therefore it will capture the stars in the sky. Depending on the light conditions, you may need to leave your shutter open for over a minute.
High resolution
Motorcycle English countryside
If you’re going to be editing or professionally printing your photos, then you need to take the images in the highest resolution possible. So, before you start snapping, make sure your camera is set to produce the largest image or file size, and to the minimum compression setting (you’ll often find this is offered in the menu as fine or superfine). Many cameras these days also offer a RAW setting. Now, this is the best setting for you to use if you’re going to be delving into post production editing with software such as Photoshop or Lightroom, as this allows your camera to capture images with no compression at all.
Just keep in mind that RAW images take up a heck of a lot of storage on your memory card, so if you’re going to be shooting RAW images, make sure you have a card which has plenty of storage.
Shooting times
Motorcycle at sunset
Generally speaking, if you want to capture breathtaking landscape images which feature your bike, you’ll want to around the golden hour (the period shortly after sunrise or before sunset) at each end of the day when the sun is low. The light is softer, there is usually rich colour in the sky, and lots of shadows to add texture to your images. You’ll often find your images can become too washed out if you’re shooting around midday because the sun is too bright.
No matter how big or small your adventure, you need bike insurance you can rely on. Bennetts is a motorcycle insurance specialist which has been trusted by bikers for 85 years, and from the gnarly off-roader to the touring mile-muncher, the company currently provides cover for more than 230,000 motorcyclists. With a UK call centre, EU riding cover as standard, and a whole heap of excellent extras, Bennetts is an insurance company that’ll have your back.
To find out more about the company or to get a quote, head over to the Bennetts website.
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The owners of a downtown Davenport building are turning back the page on its history as they work to revive the long-ago cigar store and consider a new chapter by expanding it upward.
The one-story, former office building at 3rd and Main streets is the latest redevelopment project of downtown developer and insurance executive Jim Thomson and Big Dog Construction co-owners Shawn Larson and Chris Haber.
Thomson said the building dates back to 1916 and over the years has been the home of many retailers and commercial and office tenants. The partners, who have other downtown loft projects to their credit, acquired the building under the name United Cigar Building LLC in a nod to the original anchor tenant, United Cigar Stores Co.
According to Larson, working off the original blueprints and early photographs of the building, they plan to restore the look of the original façade by this summer.
“We’re working with Shive-Hattery to study the building in a structural sense,” he said, adding that it appears the building was designed to carry more floors. Like a lot of downtown structures built in the early 1900s “it looks like they had plans for more floors but they didn’t get built because the Great Depression hit.”
But its latest owners want to revive those plans and hope to add more floors to the 16,400-square-feet building. “We think the original design was to be 10 stories high. We probably wouldn’t do that many,” Thomson said. From the building’s exterior, he said, “We think the Putnam Building is similar in look (to what the original plans were).”
Although the building has a couple of current tenants who plan to remain and Big Dog Construction has relocated its offices there, the centerpiece of the project for now will be an upscale restaurant/bar. It will occupy about a quarter of the building as well offering a rooftop beer garden.
“Yes, there are strong rumors of somebody returning downtown and those rumors are true,” Larson said, declining to identify the restaurant operator, who will lease the space from United Cigar Building LLC. The restaurant is expected to be open by fall.
A proposed 2,500-square-foot beer garden will sit atop the building toward the corner of 3rd and Main streets and will open next year. If the developers get the green light to move ahead with upper-story loft housing, the units will wrap around two sides of the beer garden.
Larson said they were among the first developers to bring loft housing to downtown Davenport, where the urban-style of living has since exploded with new projects in every corner of downtown.
By coincidence, Clausen & Kruse Architects, the original architectural firm behind the United Cigar building, remains in business as Scholtz Gowey Gere Marolf. The building's owners are working with architect John Gere on the new design.
"We've always had a great interest in these old buildings in downtown and the three of us have a great partnership," Larson said.
In addition to the restaurant, the building will continue to house Rick Jennisch Photography, Ruby Slipper and Infinity Salon, which is a rebranded version of Studio One Eleven.
The building also has 1,300 square feet available for lease.
Larson said decisions are still being made about what amenities to include in the new lofts, which also could have access to the services next door in The Davenport.
"We're not talking about going up for a year or two,'' Thomson said. "But the facade will be done in June and all the tenants will be in by the first of Septemb
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Ballet West leaps at chance to feature new work
Published May 25, 2008 12:00 am
This is an archived article that was published on sltrib.com in 2008, and information in the article may be outdated. It is provided only for personal research purposes and may not be reprinted.
Christopher Ruud has danced starring roles in more famous ballets than he can easily count, which translates to playing a lot of handsome princes and dashing rogues. But until this spring, Ballet West's most visible male dancer was missing out on the kinds of opportunities that many dancers crave more than opening-night curtain calls.
New ballet roles have rarely been choreographed on Ruud's body during his 10 years at Ballet West. And he has never had the opportunity to create a ballet piece of his own - although he considers choreography a career goal and a chance to follow in the footsteps of his deceased father, dancer/choreographer Tomm Ruud.
Christopher Ruud and other Ballet West dancers are receiving those chances now, thanks to heightened emphasis on new choreography under artistic director Adam Sklute, who took the helm of Ballet West 14 months ago.
Last season, Ballet West's main offerings were the expected story ballets and an evening of brief 20th-century classics, presented in Salt Lake City's Capitol Theatre. But the company also offered an add-on: a chance to see freshly minted ballet choreography in a more intimate venue than the company's usual performance space at downtown's Capitol Theatre.
Strong public response to the "Innovations" program, which plays this week at the Jeann Wagner Theatre, has been a happy surprise. Sklute is impressed that in a town where audiences are known to love classic story ballets such as "The Nutcracker," and "Swan Lake," patrons are lining up for a ballet performance without knowing what to expect.
"New works are such a gamble, which is why this type of program is hugely important," Sklute said. "It allows audiences to come because they want to see new creations. There are no illusions; they are not coming to see something else."
Ruud sees new work as crucial to developing himself as a dancer and to securing the future of the art form he loves. "Performing new work is vital - it's imperative," Ruud said. "Dancers can only grow if they are given new challenges and asked to do things they haven't done before. If you keep doing work that is already set, you begin to stagnate a little bit. It's absolutely vital for ballet companies in this era to have new choreography set on them. If we don't, the art form will die out."
He's grateful for his chance to engage in the choreographic process from opposing angles during the past two weeks - while originating a role in the new Susan Shields ballet "Grand Synthesis" and while choreographing "One," his first ballet.
As the conservator of his father's works, Ruud travels widely to set Tomm Ruud's ballets, such as "Mobile," on other companies. But even with his long experience in drawing specific movements from dancers' bodies, Ruud was surprised by the pressure that accompanied the creation of his own dance movements.
"The burden is on you to come up with something good," he said. "Everybody is looking at you and wanting to know what to do next. If you don't have a good idea, everything kind of grinds to a halt."
According to Sklute, though, Ruud has plenty of good ideas and took well to choreography. Ruud's experience dancing major roles in a broad array of ballet styles coalesced into a "brilliant" ballet vocabulary for a pas de deux about the subtleties of human relationships.
Works by two other Ballet West artists also pleased
Sklute. Soloist Peggy Dolkas created a dance that is "energetic, funny, wry - and a little bit crazy," Sklute said. Megan Furse's brief ballet "makes one remember that new choreography doesn't have to be angular or unusual," Sklute said. "It can still be based on a classical model."
Sklute selected the three Ballet West artists who created new 10-minute ballets from concepts presented by a field of nine dancers.
Virginia-based choreographer Shields, who came to Salt Lake City to create "Grand Synthesis" on Ballet West dancers, said the administrative decision to provide studio space, time with professional dancers and a performance budget to such untried choreographers as Ruud, Dolkas and Furse is a rare gift. "They are very lucky, and they know it," she said.
As a dancer who became a choreographer, Shields believes greater gifts await any dancer who develops the ability to create dance movement. "Choreography is so exciting and stimulating and different from dancing," she said. "It re-engaged me with the art form, and it has kept me in love with dance."
Upon arriving in Salt Lake City, Shields was surprised to learn that Ballet West dancers were unaccustomed to having new choreography set on them. She found the dancers to be as shy about experimenting with new movement as they were expert in replicating movement from existing ballets.
Gradually, though, the dancers loosened up, learning to relish the sometimes-awkward process of giving birth to her new ballet, which is centered on an appropriate theme: the quiet incubation, and joyful expression, of artistic inspiration.
* BALLET WEST PRESENTS "INNOVATIONS," a program of new and recent ballets, at the Rose Wagner Performing Arts Center's Jeann Wagner Theatre, 138 W. 300 South, Salt Lake City. This add-on to the Ballet West subscription series includes the world premiere of Susan Shields' "Grand Synthesis" and a performance of James Canfield's "Equinoxe," as well as new works choreographed by Ballet West artists Christopher Ruud, Peggy Dolkas and Megan Furse.
* PERFORMANCES are Wednesday through Friday at 7:30 p.m. and Saturday at 2 and 7:30 p.m. Tickets are $40. Call 801-355-278
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Exceptional Homes. The Classic Style of Ralf Schmitz Est. 1864
• Dodaj recenzję:
• Producent: Te Neues
• Dostępność: Nakład wyczerpany
• 175,00 zł
ISBN 9783961710959
Oprawa: twarda, Format: 25x32 cm, Stron: 176, 2018 r., książka w j. niemieckim i angielskim
As good as living can get: real estate with a rare combination of outstanding location, timelessly classical architecture, and high-quality materials.
With an eye for architectural tradition, as well as an instinct for the finer details, Ralf Schmitz homes are outstandingly unique.
Redefining comfort zones— for designers, architects, and residents who have elevated standards for their living spaces.
Architectural mastery with handcrafted details, enhanced with all of today’s modern conveniences, is on full display in the elegant residences of Ralf Schmitz’s extraordinary portfolio. Whether urban villas or townhouses, Wilhelminian style or Art Deco, glimpse refined classical architecture combined with state-of-the art finishes as you tour an array of luxury interiors in this opulent book.
Exceptional Homes shows a variety of distinctive, newly-constructed buildings and ultra-stylish homes in prime locations. The showroom apartments in Berlin, Düsseldorf, and Hamburg feature exquisite furnishings and tasteful color combinations that make them truly inspiring. Traditional architectural layouts are skillfully re-imagined and re-designed for modern living, allowing for light-flooded floor plans with harmonious room sequences to create beautiful, upscale home environments.
Even the common areas of the unique properties are splendidly accentuated— lavish lobbies and elaborate elevators make the mere arrival to a building or residence a memorable experience. Exclusive cooperative projects with prestigious interior design professionals, such as the Italian luxury label Bottega Veneta, demonstrate the exceptional standard upheld by this historic company. All structures are designed by renowned, highly sought-after architectural firms.
“Only value endures” is the guiding principle of the Schmitz family, the real estate developers for subdued luxury. This is precisely what the founder of the company mandated in 1864. Today, the company embodies the same values: developing and building high-quality residential estates on exclusive properties on the basis of a building culture that stands for architectural perfection.
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Francis Dick Raven Embroidered Knitted Hat
$14.50 USD
This unique and stylish hat features the artwork of Native Kwakwaka'wakw artist Francis Dick. Embroidered on the side of this blue/teal beanie is the 'raven'. In Native stories Raven is the bringer of light. The smaller face at the bottom represents the humanity which the Raven brought light to. This hat is made of 100% acrylic and comes in one adult size for both men and women. It is large enough to fit over your ears and will keep you warm and comfortable during the winter. Enjoy this custom embroidered knit hat in a nice bright color.
ManufacturingDesigned In Canada by Francis Dick
SizeOne Size Fits All
Material100% Acrylic
FeaturesEmbroidered Raven
Artist Francis Dick
Francis Dick is a contemporary Native artist and a member of the Kwakwaka'wakw Nation. Francis was born in 1959 in ‘Yalis (Alert Bay) into the Musga’makw Dzawada’enuxw Band of Kingcome Inlet. She is a descendant of the Kawadelakala (Supernatural Wolf), who shed his animal form to become the first of the Kingcome people. She is adept in Dzawada'enuxw art style.
Francis’s work whether visual, lyrical or verbal is strongly influenced by her cultural heritage. Much of her earlier art contains images of her family’s Kawadelekala legend. However as Francis’s style and art form developed, she began to work on images outside of her culture. Nonetheless, her cultural traditions still have a strong influence on her work.
Francis finds meaning in her life through her creativity in art, which she ‘dreams up’ and constructs. She plays an integral part within the Native art community in Canada. She has been invited to speak for various community organizations, women’s groups and university classes.
Today, Francis’ art is internationally renowned. Her story has been heard in various universities around the world, and her art travelled worldwide and was exhibited in North America, Asia and Europe. She presently lives in Victoria, B.C. where she is continually working with her creative expressions to fabricate a meaningful way of life.
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Werewolf Drawings (Vector)
Sponsored Links
In this tutorial, I will show you how to draw cool werewolf drawings made from complex shapes and techniques. Don't worry, this lesson is still suitable if you only have little drawing experience. It's not for beginners, but it's not for advance users either.
If you are using a vector software to complete this drawing lesson, the challenge will be to duplicate all effects appropriately to make sure that you end up with something similar.
Step 1
werewolf drawings
Great! Start this drawing lesson with the creation of the body and the legs using simple rectangles. Make sure that the one on the bottom is smaller and narrower.
Next, draw the head using a square made from curved corners. Don't forget to draw the chin using this shape. On top of the head, draw two triangles to form the ears.
Finally, draw some hair all around the face. Most of the hair must be drawn behind the head, but you can add some hair on the face below the mouth and on the forehead.
Step 2
werewolf drawings
Next, it's time to add more details to complete the drawing part of the tutorial. Create a second shape inside each ear. You can also draw the eyes and the pupils using circles.
Add three lines to illustrate the nose, the mouth and the chin. You can add many small triangles under the mouth to represent all teeth of the werewolf.
Finally, draw the arms using long rectangles and create the hands with circles. The shoes must be done with triangles and a single line can be added to separate the legs.
Step 3
werewolf drawings
Time to add colors! For the skin, you can select a color similar to the one of a human being. Simply make it more brownish. The hair on the back can be dark while the one in front can be lighter.
Pupils are black while the eyes are white. Of course, all teeth must also be filled in white. The shirt is colored in green (or any other color you prefer to use). The pants are brown while the shoes are black. Nice work! All werewolf drawings out there should be similar to this one now! :)
Step 4
werewolf drawings
Time to create some cool effects. To give more depth to the illustration, I like to add a second color on all shapes using the gradient fill tool.
For example, the green shirt can be filled with a light and dark green color. As you can see, the bottom of the shirt is darker since it's not close to the light source.
Don't worry about the hair on the face. Right now, these elements don't blend properly with the skin, but this will be fix later when we create another simple effect on the face.
Step 5
werewolf drawings
Adding a second color to each shape is a good idea, but it's not enough to illustrate all the shadows and dark areas that we can find on a character like this one.
We need to add more shapes manually. Simply draw large circles around the eyes, dark areas on the left side of the head and more darker areas on the legs, the shirt and the hands.
You can also add subtle elements under the nose and the chin. If you are up to it, adding more depth to the hair can also be done (but it's not in the drawing on your left).
Step 6
werewolf drawings
These new shapes are perfect, but clearly too dark to create the proper effect. Therefore, we need to play with the opacity of these new shapes to create something more appropriated.
If possible, you can also make sure that transparency is more visible on the right side of each shape (and of course, less visible on the right side). Repeat the same process for all shapes created in the previous step.
Step 7
werewolf drawings
Nice! Creating darker shapes was a great idea, but we can do even more to give more volume to all werewolf drawings that are being created right now! Indeed, I also like to draw white shapes to illustrate lighter areas on the character. These areas are usually greatly affected by lighting.
Draw some white shapes on the face, inside the pupils, the shirt, on the pants and on the shoes. You can also draw some white circles inside the hands.
Step 8
werewolf drawings
Once again these shapes are too bright to be effective, so we need to play with the opacity to create something more subtle. This time, it's important to make sure that the right area of each white shapes remains more visible white the left side must be completely hidden. Once this is done, make sure that all hair drawn on the face are perfectly blended with the skin of the cartoon character.
Step 9
werewolf drawings
One last thing I like to do is modify the color of the outlines. Black lines are fun, but they are usually used for cute illustrations made for children. Simply select each shape and make sure that the line around it is filled with a color similar to the one inside the shape (but slightly darker).
Nice work! Don't hesitate to create your own werewolf drawings using all the tips available above. Have fun and happy drawing! :)
Go back to Character And Figure Drawing (Tutorials)
Go back from werewolf drawings (Sketching + vector)
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top of page
Okay Sweet
Where : Sydney, Australia
Duration : 2023
Roles : Web, illustration, graphic design, branding, motion graphics.
My Role (in Depth)
Okay Sweet was a project I worked on from beginning til the end. This included the graphics for the clothing, designing the t-shirt specs, putting together the website and photographing + editing footage.
When you create a clothing label you're not just selling clothes. YOU'RE SELLING YOUR BRAND - The idea that when people wear your clothes it doesnt just represent fabric but the ideals that the brand holds.
Photography/ Videography
Location and studio shots were used for this project to produce content for socials and the online catalogue. The first line of clothes were of a grungy nature so we took to the carpark to capture the essence of the style.
The following range was more sport oriented. For that reason we shot at an outdoor basket ball court in the early morning to get that sweet light and urban/sport aesthetic.
Sample, Samples, Samples
We went through quite the number of ideas and samples to get the product right. We built these clothes from the ground up. Quality was a huge factor for the team. Not in just the clothing itself but also how the imagery was applied to the fabric.
We'd often bring our audience behind the scenes with us. Sometimes to test designs or new product ideas. Finding your target audience can be a tricky process and making sure you stay on track with your brand is a necessary part of keeping them.
Never Miss A Moment
We took every opportunity we could to capitalise on moments with our clothes.
The beauty of the age we live in means that with the right environment we can
capture great candid moments to create content.
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Saturday, 26th November 2022
<To guardian.ng
Breaking News:
NCMM moves to stop illegal trade of Nigerian art
By Tajudeen Sowole
21 June 2020 | 2:14 am
About three weeks ahead of Christie’s and Sotheby’s sales of suspected illicit African artefacts, a ruling by the US Court of Appeal has strengthened the power of a sovereign state to stop commercial transaction of cultural objects.
Pair of Igbo Statues
About three weeks ahead of Christie’s and Sotheby’s sales of suspected illicit African artefacts, a ruling by the US Court of Appeal has strengthened the power of a sovereign state to stop commercial transaction of cultural objects.
In 2018, Greece prevented Sotheby’s from selling an ancient equestrian statue over questionable provenance and demanded that the sculpture be returned to the country. In response, the auction house challenged Greece’s claim in court.
And on June 9, 2020, the US Appeal Court ruled that Sotheby’s couldn’t sue Greece because the country’s interest in the artefact was non-commercial. Later this month, specifically, June 29, artefacts of West African origin, including some from Nigeria, Gabon and Benin Republic are going on sales at both Christie’s and Sotheby’s different auctions. Also, two weeks ago, a notice to stop sales of Nigerian origin artefacts by Barakat Gallery, London, UK and Seoul, South Korea was issued.
Like the contentious equestrian object, the African artefacts that the auction houses have publicised for sales carry questionable provenance. However, unlike the Greece’s situation, a legal process is not likely to open ahead of the sales.
As at the time of going to press, Nigeria’s National Commission for Museums and Monuments (NCMM) was already involved in some other cases to stop suspected sales of stolen cultural objects.
For the proposed Arts of Africa, Oceania and North America sales in Paris, some sculptures with Nigerian, Benin Republic and Gabonese origins also come with doubtful provenance. Listed among the lots in the online catalogue of Christie’s website for the June 29 auction are Belt Mask Edo and Edo Hip Mask (Kingdom of Benin), selling for Euro 10,000-15,000 ($11,247-$16,870); Edo Bronze Plate, estimated at Euro 30,000-50,000 ($ 33,740 – 56,233); Pair of Igbo Statues, which is selling for between 250,000 and 350,000 Euro; Urhobo-Meeting- House Posts is estimated for Euro 80,000-120,000 ($89,973-134,959) and Urhobo Figure, going for between 600,000 and 900,000 Euro ($674,797-1,012,195).
With no specific dates for any of the works, the provenance has created a deliberate distraction, perhaps meant to prevent any spotlight on the works as being from the Red List of UNESCO. Among the works described by UNESCO under its Red List are artefacts and other cultural objects not approved for export by country of origin.
Christie’s described Belt Mask Edo and Edo Hip Mask as sourced from Robert L. Stolper, Stolper Galleries, New York, but ‘acquired’ via the collection of James and Marilynn Alsdorf, Chicago, on April 24, 1961. How the foreign collectors got the works directly or not, from Nigeria, is not explained in the auction house’s provenance.
Also, lacking appropriate provenance are the Igbo Statues, described by the same auction house as from Jacques Kerchache Collection, Paris, Ana and Antonio Casanovas & Bernard de Grunne, Madrid / Brussels, 2010. Similarly, the Urhobo Meeting House piece on the list is said to be of Count Simon du Chastel (1926-2014), Brussels, acquired in 1972 from Philippe Ratton and Daniel Hourdé, Paris. In all, the artefacts do not have any date to place them, either as modern or ancient. From all indications, the collectors’ legitimacy in acquisitions of the African works being put up for sales by Christie’s and Sotheby’s have not been established. Basically, the date of an art piece, mostly of suspected artefact status, provides an easy ground to track its origin. None of the African art pieces for both the auction houses were dated.
Prof of Art History at the African and African Diaspora Art, Princeton University, Department of Art & Archaeology, Chika Okeke-Agulu, who, two weeks ago, raised the alarm over Christie’s decision to sell the Igbo Statues — has continued to challenge the auction house’s proposed sales. Perhaps the age or date of the Igbo pieces, if available, could give a path into whatever the auction houses might be hiding.
Prof. Okeke-Agulu said, “I cannot provide a definite answer,” as regards the age of the sculptures. “But, they were taken from shrines and community houses in Eastern Nigeria between 1968 and1970,” he stated via email.
He explained that being of wood medium, irrespective of how old the works are, the condition would still be fairly good. He suggested that the sculptures “must have been made in the 20th century, with a few perhaps even late 19th century.”
With or without evidence of illicit trade against Christie’s, NCMM, on Wednesday, said, “we are tracking the situation.” Babatunde Adebiyi, legal adviser at NCMM disclosed that the commission was already gathering information and would respond adequately.
Less than 24 hours after, NCMM stated that a letter dated June 17 has been sent to Christie’s, requesting the auction house to stop the proposed-sales.
The letter, addressed to Victor Teodorescu, Head of Sale, African and Oceanic Art Department, Christie’s Gallery was also copied Bruno Claessens, European Head of the African and Oceanic Art Department Christie’s Gallery.
Signed by the Acting Director-General, NCMM, Aliyu Abdu, excerpts from a copy of the letter received by this writer reads: “We are surprised to discover the advertisement of the under-listed artefacts on your website for a planned auction scheduled to hold on June 29, 2020, 3:00pm at 9 Avenue Matignon, Paris. France.
“These artefacts as you have stated are from Nigeria and they lack the proper providence. We thus request that you suspend the auction and provide us with the provenance of these artefacts because we are of the opinion that they belong to classes of antiquities that Nigeria will object to their exchange or transfer.
“Some of them are not just mere objects in some fancy collection. They have sacred purposes within the community.”The letter listed Lots 29, 30, 31, 47 and 49 as the contentious artefacts.
For Sotheby’s sales come provenance of a work taken from 1931, and described as “African reliquary” sculpture, of which the auction house provided no details of origin. Scheduled for sale at Sotheby’s evening of contemporary art in New York’ June 29, the statue has been labelled after one of its collectors, by the auction house, as ‘The Clyman Fang Head.’
Clearly, the sculpture has all the suspicions of going under the hammer without its origin known. The provenance available includes its movements from one collector to another after it first appeared in 1931. In fact, the name of the sculpture is derived from what appears as its second or third collector.
From Sotheby’s statement, no date, or cultural location in Africa was mentioned, even if the piece were of ancient origin.
“We are excited to present the exquisite Clyman Fang Head to a new audience of collectors for the first time in our Contemporary Art Evening auction,” David Galperin, Head of Sotheby’s Evening Auction of Contemporary Art in New York stated. “Beyond its renown as a legendary icon of classical African Art, what struck me about this singular sculpture when I first saw it in the Clyman home alongside their collection of Post-war art was how its form appeared so radical and purely modern.”
With presale estimate of between $2.5 million and $4 million, the piece is being featured alongside masterpieces from artists such as, Clyfford Still, Francis Bacon and Jean-Michel Basquiat. “The sculpture last appeared on the market in 1992 when the Clymans acquired it at auction in New York,” Sotheby’s disclosed.
While the date of the work, its cultural or religious link to specific place in Africa and artist are unknown, the provenance tracks index collection to Charles Ratton, the popular Parisian patron of African art. The provenance explains how, in the 1930s, a modern art curator and writer, James Johnson Sweeney, acquired the head from Ratton. And with the assistance of Ratton, Sweeney “organised the legendary 1935 exhibition African Negro Art at the Museum of Modern Art in New York.”
In his comment sent via Internet, Prof of Art, Dele Jegede of Miami University, Oxford, Ohio, U.S, described Sotheby’s inadequate provence of the works for sale as unprofessional re-branding. “I am apoplectic reading Sotheby’s flagrant and shameless re-branding of this exquisite Gabon mask as Clyman’s Collection.” Jegede traced such distortion to an unrepentant tradition of derogating African origin, in cultural context. “This whole episode strongly reifies the old, time-worm method of first de-legitimising Africanity, then forcibly stealing it only to finally appropriate and monetise it.”
He also highlighted a deliberate creation of anonymity being given the work on the commercial platform. “Equally on display in this ceaseless assault on Africa and its commonwealth is the shameless ploy of ascribing indigenous African art to the realm of anonymity: no name of artist, no name of work, place, or purpose for which the piece was made. Oh, excuse me; it is now to be known as Clyman Collection, right? Oh well… we’re back to where we started.” He asked: “who determines the value placed on this piece of unacknowledged and looted art?”
In this article
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About Pittsburgh Stickers
Pittsburgh Sticker Company offers stickers for sale.
Typically the artwork is related to The Iron City, though other collections may exist.
We are located in Pittsburgh, PA. Some of the artists travel around a bit for inspiration but Pittsburgh is the cauldron for our creative sauces to simmer within.
Our mission is to spread the joy of our art. Some of the art is political, and we trust every individual to express their own views and beliefs. So dont write in here all cross about anything.
Artist Membership
Yes we would love to host your artwork here. Please email ironartist@pittsburghstickers.com.
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www.ArtPal.com/garrity024
Painting is a medium of expression I enjoy in my free time. As of right now I have a few of my works up in the gallery. I am a dental hygiene student by day so I'm feeling out if my work is good enough to make a few dollars. I do and will create these pieces in different colors. Blasted heart is one of my more favorite styles.
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Liberated: Richard Matias releases first photography collection
Perth photographer Richard Matias is raising funds for the WA AIDS Council’s LGBTIQ+ youth space The Freedom Centre with the launch of his first hard-cover collection.
Matias is an expert at capturing the male form, with his work appearing in DNA Magazine, as well as being commissioned by 2Wink Australia, LOLOS and other swimwear brands.
We caught up with the local artist as he discusses the motive behind his work and why all proceeds from the sale of the book will go to supporting The Freedom Centre.
Matias begins by explaining how he arrived at the collection’s title; Liberated.
“I wanted it to be guided by what I was photographing. When I was finishing, the word ‘liberated’ seemed to fit with the theme of the book. While it’s not really an autobiography about me, it’s about me as a young guy coming out and the issues I was dealing with in my sexuality and I just thought that word means so much; A person free from social conventions or traditional ideas. What really struck me is that the model I photograph are quite liberated in their lives, their views and the whole project so it all tied in.”
In his study of the male form, Matias works primarily with subjects who do not work in the industry, but rather people who best capture a certain feeling.
“None of these guys are from modelling agencies, just people I’ve met or contacted through social media. They’re people with their own day jobs, so I was looking for people who could convey a particular mood with a pose.
“I was writing in conjunction with it as a personal diary, how I felt about life, so as I was writing I would take a photo of something happy if I was feeling happy. When I was writing about grief, as I lost my mother, I would look for someone who could capture a more moody shot.
“I didn’t think I’d have the text to finish a book, so the photos really helped. They are my way of dealing with life.”
Matias tells us the impetus for the collection and its focus on the masculine visage was not only to complement his own story.
“I think there’s a misconception that it’s easier to come out now. I don’t think it gets any easier to be different. I think we’re all at different stages.
“A lot of men don’t really express their feelings, not necessarily gay men, men just don’t. I thought if gay men find it hard to come out, perhaps all men are struggling to say how they really feel and how they really are. I thought maybe if I gave a little of myself, other people might say what they want to say.”
Matias says that the work of such organisations as The Freedom Centre help not only men, but all LGBTQIA+ youth find support and express their true selves.
“Growing up if I had somewhere like the Freedom Centre, I would go. I think young people need a lot of space and support, and Mark Reid from the WA AIDS Council is very passionate about the work, and it’s very hard to find people that passionate about what they do.”
“The Freedom Centre caters for people who are different, the LGBTIQ+ community and much more. Talking to someone can really benefit when life has its up and downs, and they really provide that support”
Richard Matias’ Liberated is available online now. To order your copy, head to waaids.com, or see more of Richard’s work at richardmatiasphotographer.com
Leigh Andrew Hill
Support OUTinPerth
Thanks for reading OUTinPerth. We can only create LGBTIQA+ focused media with your help.
If you can help support our work, please consider assisting us through a one-off contribution to our GoFundMe campaign, or a regular contribution through our Patreon appeal.
Become a Supporter→ Make a contribution→
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Staff Product Designer
Full-time
Competitive salary
About CoinTracker
CoinTracker makes cryptocurrency portfolio tracking and tax compliance simple. We generate your crypto tax forms in minutes with industry-leading accuracy. Our mission is to enable everyone in the world to use crypto with peace of mind.
Some things we’re proud of:
• 🛠️ Building foundational tools in the cryptocurrency space
• 💲 $50B+ in cryptocurrency is tracked on CoinTracker – over 5% of the entire crypto market
• 📄 1M tax forms filed
• 🤝 Partnered with Coinbase, Uniswap, OpenSea, eToro, H&R Block and other industry leaders
• 💼 Venture-backed by Accel, General Catalyst, Y Combinator, Initialized Capital, Coinbase Ventures, Kraken Ventures, Intuit Ventures, 776 Ventures, Balaji Srinivasan, Claire Hughes Johnson, Gokul Rajaram, Ryan Shea, Serena Williams, Zach Perret, and others
• 🗺️ Founders: Jon previously built TextNow (200M downloads), Chandan was previously a product manager at Google & Google[x]
Learn more about our mission, culture, and hiring process.
Your opportunity
Join our tight-knit, early-stage distributed team that thrives on interesting technical challenges and building magical products that improve peoples' lives. As a Staff Product Designer, you will play a crucial role in shaping the user experience of our crypto products. You will collaborate closely with cross-functional teams to translate user needs into compelling designs that resonate with our target audience.
You may enjoy this role if you
• Love to obsess over the design and details of a product, thinking holistically about the user experience from beginning to end.
• Have a wide range of hard and soft skills in your toolkit: prototyping, iterating, presentation, Eng handoff, collaboration and storytelling abilities.
• Are highly collaborative, team-oriented and demonstrate a solid foundation of design ‘best practices.’
You will
• Lead the end-to-end design process for CoinTracker products, from concept ideation to final implementation.
• Work closely with product managers, developers, and other stakeholders to define product requirements and ensure alignment with user needs and business goals. Mentor more junior members of the design team.
• Create interactive prototypes, and high-fidelity designs that effectively communicate design concepts and user flows.
• Utilize user research, usability testing, and data analysis to inform design decisions and iterate on product designs based on feedback.
• Help maintain our design systems and guidelines to ensure consistency and scalability across all product interfaces.
• Champion user-centric design principles and advocate for the importance of design within the organization.
• Stay current with industry trends, emerging technologies, and best practices in UX/UI design and the crypto space.
Skills that we are excited about (Qualifications)
• 7+ years of experience in visual design, with a strong portfolio showcasing your design skills. Bachelor's degree in Graphic Design, Visual Communication, or a related field. Master's degree and previous experience at a top tier crypto company is a plus.
• Demonstrates a high bar for craft and quality. Strong conceptual and design thinking is evident in portfolio. Passionate about creating appealing, simple, and memorable work.
• Ability to execute efficiently using a broad range of design tooling, including prototyping tools (Figma, Principle, Framer, or After Effects). Proficiency in design tools such as Figma, Adobe Creative Suite (Photoshop, Illustrator, After Effects), etc.
• Excellent communication skills with the ability to articulate design concepts and collaborate effectively with cross-functional teams.
• Motivated and thrives in an early-stage startup environment with less stability and more ambiguity.
• Aligned with our values of Obsess Over Users, Inspire Trust, and Think Long Term & Ship Today
• Nice to haves: Motion design, Brand and Design systems experience; knowledge of blockchain technology, cryptocurrency, and the fintech industry is a plus.
What's it like working at CoinTracker?
We are a fully internationally distributed, tight-knit team. We have minimal process, and the majority of our time is spent working and collaborating asynchronously through tools like Figma, Github, Google Meet, Linear, Notion, Slack, Zendesk. We also stay aligned and bonded through weekly sprints, standups, all hands, and socials. We aim to empower every individual on the team with full transparency, ownership, autonomy, and clear objectives. Learn more about our guiding principles.
If this sounds exciting, we'd love to hear from you! Not sure you’re a perfect fit? Reach out anyway. We’re looking for awesome individuals, not folks who perfectly match a job posting.
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Nama by Luiz Zanotello Creates Light and Sound
By: Meghan Young - Published: • References: viraseres & fastcodesign
Nama by Luiz Zanotello, a Brazilian designer, may look like a cloth, but there is much more to it than meets the eye. It has been technologically enhanced to create sound and light, thus turning into a musical instrument of sorts. Fabrics can often have a strong presence, be it a fashionable outfit or a flourished flag, so why not make them even more entertaining?
Created for his graduation project at São Paulo State University, Nama by Luiz Zanotello has five accelerometers sewn into it using conductive thread and is connected to a LilyPad Arduino microcontroller. The motion of the cloth is tracked by sensors and sent wirelessly to a computer to translate it into sound and light. By doing so, Zanotello succeeds in creating "something that could relate with its user through purely human feelings and non-verbal channels," as he wanted. Stats for Musical Instrument Fabrics Trending: Older & Average
Traction: 792 clicks in 109 w
Interest: 0.9 minutes
Concept: Nama By Luiz Zanotello
Related: 105 examples / 81 photos
Segment: Neutral, 18-55
Comparison Set: 39 similar articles, including: charming musical swing installations, underwater-simulating installations, and sporadic city swingsets.
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Mural Title:
Upfest Godmask
Date of Completion:
May 2022
Mural Location:
Upfest Mural Festival, Bristol, England
Artist Statement:
The inspiration for the piece is a motif that runs throughout my work I call Godmasks. They represent powers and attitudes that can empower and embolden us. This mask in particular is inspired by my Puerto Rican heritage and celebratory masks we make called vejigantes.
Murals of Bristol’s 2022 Upfest Street Art Festival, Inspiring City, May 2022
Upfest Mural Festival, Bristol, England
Upfest was founded in 2008, It was originally conceived to get a group of 20 like-minded artists together for a day of painting here in Bristol, however the first festival quickly grew to 50 artists once the word was out, after securing a fantastic Bristol venue, the Tobacco Factory, the first Upfest took place.
Since then the festival has grown year on year with artists travelling from around the world to paint the walls across Bedminster. With over 400 artists now painting each year in front of 50,000 visitors, the festival has moved to a two week painting event culminating in the festival weekend taking place at Greville Smyth Park and the original venue the Tobacco Factory.
For more information: https://www.upfest.co.uk/
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St James’s Market Pavilion x Andrea Tyrimos
MTArt Agency is proud to present “Lockdown Stories”, an art installation by Andrea Tyrimos, at St James’s Market Pavilion in collaboration with The Crown Estate to welcome Londoners back to the public realm. The show explores mental health issues and how people coped during the first lockdown. This art exhibition consists of a series of portraits and audio recordings of lockdown stories. You will have the chance to walk by our project and listen to the stories of a range of anonymous people from all backgrounds. In these beautiful stories, from students to an NHS doctor, you will have a glimpse of their daily lives, and how little things such as seeing the “lovely things that the local community have done to support [the NHS]” and “hanging art on walls” have helped them mentally to live lockdown in the most positive way possible.
Each and every one of us has been affected by lockdown in some sort of way, and all of us have tried to get through this difficult time with things that bring positive energy to our everyday life. Many of the participants mentioned that creative activities had helped them. Art has a powerful effect on your mental health. According to the Harvard Medical School, studies have shown that art and creativity “can help people with depression, anxiety, or cancer”. Maintaining health issues with art, whether it is installed in your home or on your streets, can have the ability to add some positive and inspiring visual to someone’s everyday life as well as being a daily source of empowerment. The show will be on until the end of June 2021, you can listen to the stories at St James’s Market Pavilion every day from 8 am to 8 pm or read the stories below (exact end dates to be confirmed).
Have a peek at the exhibition catalogue here
“I’m really proud of this collaboration with MTArt Agency and St James’s Market Pavilion – because not only is it bringing art to all, it’s giving people the opportunity to reflect on a historic time, their time during lockdown, and to take a moment to think about what they’re grateful for and how they’re maintaining their mental health.
The cabinets contain oil paintings on steel as well as portrait pencil studies of those who have taken part. Alongside these are objects from my studio showing my working process; palettes encrusted with dried oil paint sit next to stained jars and scraps of canvas – giving the visitor an insight into my own time during lockdown.” – MTArt Agency Artist, Andrea Tyrimos
We are inviting you to participate
Andrea Tyrimos and MTArt Agency are inviting you to participate in their current show « Lockdown Stories » at St James’s Market Pavilion.
How to record your audio & what is it about?
Our artist wants the participants to record themselves saying a message exploring how they’re maintaining positive mental health during this challenging time. If you can think of anything you are grateful for at this time/a positive message then get involved!
Please record via the voice recorder on your phone and then email it to info@andreatyrimos.com
It can be as short as you like, and no longer than 30 seconds. If you do feel you have a longer message to share, you can split in to 2 separate recordings. Please also ensure you wait at least 3 seconds before speaking and allow 3 seconds at the end of the recording. And for there to be no background noise ideally.
We are looking forward to hearing your beautiful stories.
About our Artist:
Andrea Tyrimos is a multidisciplinary artist based in London represented by MTArt Agency. Andrea explores mental health through paintings, installations, audio art and public art. Through her “Bipolar Picasso” series, Andrea pushes the boundary of portraiture by combining audio and visual elements. In this series, spectators are immersed in a sensory exploration of the mind of people suffering from mental health issues. In February 2021, Andrea joined the #LightItBlue project, an initiative part of the wider #MakeItBlue campaign in the UK, to encourage people to share their own messages of gratitude and solidarity to the NHS. Andrea’s portrait of an NHS worker was diffused on digital screens in central London.
mtart agency public art the corwn estate andrea tyrimos
Watch the video of our show “Lockdown Stories” (edited by Jennifer Moyes)
mtart agency andrea tyrimos the crown estate public art
Read the transcript of the audio recordings below:
“I wanted to share a few things that I am grateful for today, some small uplifting things, poetry in all its forms and the nourishment and the solace I find in words on a page, this is true magic. My tiny runner beans have germinated and look like they are trying to run to the garden and make it their home.”
“Sunshine makes me smile, grass makes me smile…and it has really helped not having to be busy, I don’t have to be on social media if I don’t want to. When I wake up in the morning and the sunshine is beautiful and the birds are so loud, it just makes me realise that there’s a beautiful world out there if I want to explore.”
“I think what I miss the most in lockdown, and what had a big impact on me was how much I miss greenery, the colour green on plants and trees and flowers and going for walks in the park had a huge impact and a positive impact in the way that I had never imagined… I just love being outdoors now and I’d never thought about it before because I always was.”
“Some of the other things that are really helping boost our morale is some of the really lovely things that the local community have done to support us, clap for carers is really heartwarming every week. The first time it happened I was really touched and the fact that every week people are going out and banging there saucepans for us is very sweet, and I think it does not only help NHS workers, I think it also helps the rest of the community feel united”
“I have been coping by maintaining my study, keeping up exercise, listening to podcasts and cooking for my parents and my siblings. We also visited grandparents through the window to keep them company which is nice.”
“I appreciate knowing my world can change with a few simple self-love thoughts and building up feelings of love, passion and the fact that everything is possible, that I really appreciate knowing.”
“Lockdown was a blessing, a moment in time I will never forget. A time I reconnected with family, friends, lost the old ways gained the new, no facade no potency, compassion, empathy, passion, togetherness, new business ventures, success, removing old personnel, embracing new personnel, the future not the past.”
“People who remind me to think about the things I am grateful for; my family, my home, my friends, my artist community, the NHS, all the key workers that are putting themselves at risk for the rest of us. The fact that it is spring, bird songs which can now be heard in North London, bees buzzing in the Spring blossom, connections we make despite isolation and love.”
“It’s been difficult for a social butterfly such as me to be confined to my flat, but I am really grateful for the technology that enables me to stay in touch with all my friends and family and also re-connect with those I have lost touch with.”
“I am grateful for where I live, with a garden, woodlands and lakes, flowers and birds songs and supportive neighbours. I have been doing a lot of self-development, with an online coaching course, daily meditation and yoga. I posted a daily cooping calendar on Facebook and got lots of positive feedback. I am grateful to have enough work to keep me occupied but also time to sleep, reset my body and recover.”
“Music, that’s the main abiding memory, learning music, playing music, picking up the guitar again after years away and actually having space to practice. Then singing, when I’ve never sung before and feeling brave enough to share it with others. It helps to form a connection with friends and family. Outside of lockdown, these were connections that just would not have happened, music became the one thing that brought us together and it has been a gift.”
“I am very grateful for my apartment in the North Italian mountains, having moved here one year ago was the best decision I ever could take, because looking at the mountains every day is calming me and even though I cannot go there, it just gives me tremendous pleasure knowing that they are waiting for me and I am also very grateful for my partner who was very patient with my emotions, because I am feeling in all the fields, endless friends who come in a check on me, and are totally fine with me not replying if I don’t feel so”
“During the lockdown, I am grateful for my career in music, which enables me to stay creative during this really challenging time of isolation. I find that by being creative and creativity in general really helps me and helps my anxiety, helps me stay sane, I love music so much it just gives me that freedom to express myself during this time of isolation when we are all stuck for something to do, or just going a little bit mad with being confined in the same space all the time, I find that music gives me that release, it helps me express myself and keeps me happy.”
“During this lockdown, the environment I was living in has helped a lot to go through it mentally, I hanged artworks that were created by artists and artworks that I created myself on my walls. Waking up every morning to these inspiring and colourful visuals has helped me a lot to be creative in what I do, and especially in the tasks that I found extremely hard to do as everything was closed. It was a source of inspiration that I had at home.”
“I remind myself, I am lucky to have food, a roof over my head and my health. I feel so grateful for my loving family and all the key workers helping us get through this very difficult time. And with all the extra time that I have now, I started doing all those things I was meant to do so someday, I actually went running for the first time a few weeks ago which was quite funny. I’ve painted a picture of some flowers from my garden, and I haven’t painted anything for years. I have also started an online book club with some friends and I have been cooking and baking more each week, but what I have loved the most about this time is hearing the birds and seeing paraqites in my area.”
“If this pandemic has taught me anything, it would be that learning a new hobby or a new skill definitely protects your well being, and honestly well being needs to take the front seat in these crazy times. I know a lot of people are probably in the same place, so you kind of got to give yourself credit for this scale of change, this global change that has happened to the human race. It’s an immense positive to learn something new.“
“My neighbour has developed new software to unite people with disabilities with their loved ones and support workers. The clematis in the garden is in full bloom and the bees have taken over which means we must have done something right. I finally returned to doing yoga today after a horrific accident and a diagnosis of PTSD, I finally feel like I am in my own skin. The sun is shining on the sink while I wash up”.
“For me, the simple things make me smile, the baths, the bubble baths, the smile from someone really, the ‘hello Emmy Lou’, from the postman made me really smile today. All the plants in my flat I took care of them all because I haven’t had the time before, so I just sprayed them all… and I planted them all with moss around them and remove all the crispy bits that were dying I got rid of, so I feel like not only are my plants being taking care of but so am I.”
“What I have learned through lockdown is understanding myself better, understanding the true value in my life, my children who are my true purpose to be happy and wake up every day to do my best as a dad. Just to become a better person, I value the love of my life.”
“There are many things I am grateful for during this lockdown, the first thing will be just being able to slow down and get a better routine and rediscover things of my life that I wasn’t able to give time to before because I was so busy working, whether that’s baking, things like fresh cheese scones that I and my family can have for breakfast and if the weather permits we can sit outside in the garden and eat them. Whereas before I couldn’t even eat breakfast because I was so busy running for the train. Another thing is just being able to spend time with family and my dog, I can take him out for walks at lunchtime and just basically have life.”
“I am glad to finally have time to explore my grandma’s recipes, with all the family joining in and that’s one little thing that makes all of this lockdown a little bit better.”
“The other lovely thing that I have seen is that the patients who are coming in at the moment are particularly thankful, in a way that I have not really seen before. I mean patients are always amazing and will say at the end ‘thank you so much, you have really helped me’. Those things are not the reason we do it, but it’s lovely to hear, and I think that particularly at the moment, patients are more willing to enter into that kind of dialogue and really ask how things are with us, which has not ever really happened before, and I feel quite touched that people are doing that and caring about us as we care for them, and those are little interactions with patients that are lovely and deeply going”
Listen to the stories right here:
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Logo Design Contest for Horizon Law Group
by jryden
congratulations to contest winner:
jryden picked a winner in their Logo Design Contest for Horizon Law Group
Their contest received 115 entries by 39 designers, it was viewed 4512
times. They paid just $50.00 for the winning design.
Start your own design contest today!
It's quick, easy, and it only costs $39 to start!
Company or website name
Horizon Law Group
Do you want any slogans or taglines on your logo?
Looking forward to finding: a logo for my upstart law practice that conveys a positive energy.
Who we are:
Estate Planning and Business Advisory
Describe your company and organization and target audience.
I am an upstart law practice looking to serve 1) young families wanting to establish comprehensive estate planning to keep their family out of court and conflict (Estate Planning practice) and 2) growing businesses as an Outside General Counsel looking to have an attorney "on their team" for predictable flat fee amounts (Business Advisory practice). I am not interested in running a typical law practice that is more attorney-centric than client-centric, and I look forward to having a positive energy that makes clients feel that working with my firm is a much different experience than they anticipated working with a lawyer.
The design should have the following:
I am curious whether an actual "horizon" shape could be featured as the logo next to the name, perhaps a rising sun in some form. I want it to look minimalist, non-cartoonish or playful.
This logo will be used for:
Print (business cards, letterheads, brochures etc.)
Online (website, online advertising, banner ads etc.)
Merchandise (mugs, t-shirts etc.)
Signs (including shops, billboards etc.)
Television/screen
We do not want this in the entries:
No cartoonish fonts or images.
Full Design Brief
Inc. Mashable. KillerStartups. Help! My Business Sucks. Yahoo! News.
Contact Support Prices and Fees Login
(C) 2008-2020 Hatchwise
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Siri Aurdal by Eline Mugaas
Siri Aurdal and Eline Mugaas
Siri Aurdal by Eline Mugaas is an artist book produced on the occasion of a two-person exhibition by the artists at Kunstnernes Hus (Norway). The publication features Eline Mugaas collaging together decades of drawings, documentation, collages, and ephemera by Siri Aurdal with a lyrical approach reminiscent of Mugaas’ work with the magazine ALBUM. This method unfolds the traditional logic of an exhibition catalog, replacing its typical organizational structure (chronology, installation views, thematic documentation) with the artistic agency of Mugaas.
Known for her social sculptures, Aurdal utilized common industrial materials (plexiglass and pvc piping) for the creation of modular sculptural systems that could be reconceived or reformulated for a range of sites, from the gallery to an elementary school playground. She encouraged the materials to be abandoned following an installation, eschewing the art object in favor of a sculptural practice that provided a platform for social engagement. Like many artists who work in ephemeral forms, Aurdal was left with only documentation, which culled into a makeshift archive that traces her practice. It was here, that Mugaas began working to create this publication.
Siri Aurdal is an artist living and working in Norway, where she began exhibiting work in the 1960s. Aurdal’s work with social sculpture is notable as a parallel to participatory performance of its time and a precursor to installation art and relational aesthetics to follow. She exhibited regularly in museums in Norway and other Scandinavian countries until 1980. Her work was featured in Hold Stenhårdt Fast På Greia Di: Norwegian Art and Feminism 1968-1989 at Kunsthall Oslo/Kunsthall Stavanger in 2013 and was the subject of a two person exhibition Aurdal/Mugaas at Kunsternes Hus (Oslo) in 2016.
Eline Mugaas is a Norwegian artist working primarily in photography, video, and collage. Since 2008, she has been publishing the fanzine ALBUM together with artist Elise Storsveen, with whom she curated the exhibition Hold Stenhårdt fast på greia di – Art and Women’s Rights in Norway 1968–1989 (Kunsthall Oslo, 2013; Kunsthall Stavanger, 2014). Her work has been exhibited at White Columns, Kunsthall Stavanger, Kunsthalle Zürich, the Museum of Modern Art (New York), Kunstraum D21 (Leipzig), and Fotogalleriet Oslo.
7.49 x 10.44 inches
348 pages
326 Color and B&W images
Edition of 1000
April 2016
ISBN: 97809906899676
Managing Editors: James Hoff and Miriam Katzeff
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"ART IN MY VEINS" Featured in Journal of American Medical Association
Art In My Veins, Philip Carey's medical self-portrait sculpture, was featured in the October 2016 issue of JAMA, the Journal of the American Medical Association. The article included a profile of Carey's work and his medical challenges:
A typical self-portrait documents the artist’s appearance. It may be self-serving, showing the subject’s more laudable attributes, or it may be more revealing of the sitter’s inner life. Artist Philip Carey has created a different kind of self-portrait, using disease as a catalyst to portray a universal feeling about the burden of being sick. His medical self-portrait, Art in My Veins, is a record of processes imposed on his body, a catalog of evidence that reflects excessive interventions required to heal.
The article can be previewed (and copies of the issue are available for purchase) here
Art in My Veins” is being exhibited in “The Big Hope Show” at the American Visionary Art Museum in Baltimore, Maryland through September 4, 2016. The sculpture, a life sized medical self–portrait, describes in a truthful but humorous way, Philip’s ongoing adventures with kidney failure, cancer, a heart condition and other medical annoyances. The work incorporates his medical postal envelopes, bandage faces and 10 years –worth of items saved from his medical procedures. As this show was being installed in Baltimore on September 18 2015, Philip was receiving his new kidney (thanks to his son, Ian) in California!
ArtPriz and ArtWalkCentral Accept 3D Collage for Exhibits
"I'm Being Attacked by the 1812 Overture" a large 3D collage with motion sensor has been accepted for ArtPriz and will be exhibited at Bridgewater Place in Grand Rapids, Michigan for ArtPriz Show September 24 - October 12, 2014. The piece has also been accepted by Art Reach of Mid - Michigan for the ArtWalkCentral Show in Mt. Pleasant, Michigan August 1 - 23.
News & Press Coming Soon!
Welcome to the Strange Art of Philip Carey! Here is where you'll find news, press items, exhibit photos and more, coming soon! In the meantime, here are some pictures from recent exhibits:
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artcritical » Lucian Freud Remembered http://www.artcritical.com Tue, 29 Jul 2014 16:00:41 +0000 en-US hourly 1 http://wordpress.org/?v=3.9.1 Copyright © Artcritical 2010 artcritical@gmail.com (artcritical) artcritical@gmail.com (artcritical) posts 1440 http://artcritical.com/wp-content/themes/artcritical/images/podcastlogosmall.png artcritical » Lucian Freud Remembered http://www.artcritical.com 144 144 artcritical artcritical artcritical@gmail.com no no Lucian Freud, 1922-2011 http://www.artcritical.com/2011/07/22/lucian-freud-1922-2011/ http://www.artcritical.com/2011/07/22/lucian-freud-1922-2011/#comments Fri, 22 Jul 2011 14:56:10 +0000 http://artcritical.com/?p=17577 We looked up to Freud as a symbol of seriousness, of investigative tenacity.
David Dawson, In the Stable, 2003 from "Inside Job: Lucian Freud in the Studio, Photographs by David Dawson" Hazlitt Holland-Hibbert, London, New York, 2004
David Dawson, In the Stable, 2003 from "Inside Job: Lucian Freud in the Studio, Photographs by David Dawson" Hazlitt Holland-Hibbert, London, New York, 2004
Lucian Freud has died. Not to minimize the sadness this must cause his survivors, his passing has hit a segment of the art world quite hard. “I always wished I could paint like him,” says the upstate New York painter Tracy Helgeson, summing up the feelings of many of us who admired his work.
Freud had a simple method, which was to arrange for models to pose in his studio for hundreds of hours while he rendered them with a loaded brush. His stroke was planar, slow, and decisive. Flake white, which is pigmented with lead and commensurately weighty, preserved every line raked into the paint by the hog bristles. His palette was neutral, causing the occasional cheery color to ring out with unexpected force. The final results were edifices of deliberation. Portraits and figures attained remarkable presence on the canvases, true, but even the floorboards took on an existential heft.
Beyond the considerable artistic achievement of his work, we looked up to Freud as a symbol of seriousness and investigative tenacity in an art world characterized by puerile whimsy and fashion. By way of illustration, in 2003 The Museum of Contemporary Art, Los Angeles mounted a retrospective of Lucian Freud alongside a sizable exhibition of paintings by Laura Owens. Walking from the latter to the former was like changing a radio station from Kajagoogoo to Beethoven. That’s all I remember of Owens.
A few hours of looking at Freud, though, made an indelible mark. People wandering about the exhibition began to look Freudian, fleshy and worn by time. Such was the power of his vision. Ever after his works became a standard by which I measure other contemporary figurative paintings, mine included. How seldom any of them begin to compare.
This tribute first appeared at nysun.com, website of The New York Sun.
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Anatomy of a Sitting: Lucian Freud Paints A Portrait http://www.artcritical.com/2011/07/13/martin-gayford-on-lucian-freu/ http://www.artcritical.com/2011/07/13/martin-gayford-on-lucian-freu/#comments Thu, 14 Jul 2011 01:36:42 +0000 http://artcritical.com/?p=17518 Review of Martin Gayford's recent book, Man with a Blue Scarf
Martin Gayford’s Man with a Blue Scarf: On Sitting for a Portrait by Lucian Freud
Lucian Freud with Martin Gayford. Photograph: David Dawson
Lucian Freud with Martin Gayford. Photograph: David Dawson
What does a portrait depict? In directing his inevitably subjective perception to his choice of subject, and bringing to bear upon it the idiosyncrasies of his powers of visual description, the portraitist reveals as much of himself as he does of the sitter, and often more. Richard Avedon summarizes this paradox: “Sometimes I think all my pictures are just pictures of me. My concern is… the human predicament; only what I consider the human predicament may simply be my own.” [Quoted in Peter Weiermair, Americans: The Social Landscape from 1940 Until 2006. Bologna: Damiani Publishers, 2006.]
A recent book suggests a more complex answer, that the subject of a portraitist working at the highest level of the genre is neither himself nor the flesh and bone before him but a complex and evolving matrix of relationships, a tissue of observation, expectation, and ego that proceeds from the painter’s perception but rapidly outpaces it. Art critic Martin Gayford is as sure a guide as one could wish for through the psychological labyrinth of the sitting, and in Man With a Blue Scarf he describes a nuanced exchange between intellects and imaginations that unfolds over time and is captured in paint.
In requiring little but relaxed alertness and the following of very simple instructions, “the experience of posing seems somewhere between transcendental meditation and a visit to the barber’s,” according to Gayford. Or that is how it seemed to him at the outset of the seven-month period during which he sat for Lucian Freud and which resulted in the oil-on-linen “Man with a Blue Scarf.” By the fortieth and final sitting, on July 4, 2004, his view had deepened considerably. His verbal portrait of Freud, based on notes he kept of their conversations; his private thoughts; and his observations of the painter at work, emerges as inexorably as does Freud’s likeness of him. It is a pleasure to read for the insights Gayford provides into this painter’s method and temperament, and for the light and playful touch with which he probes the conceptual core of portraiture, the nature of the self.
Lucian Freud, Man with a Blue Scarf, 2004. Oil on canvas, 66 x 50.8 cm. Private Collection. Lucian Freud archive, photography by John Riddy. Works by Lucian Freud © 2010 Lucian Freud.
Lucian Freud, Man with a Blue Scarf, 2004. Oil on canvas, 66 x 50.8 cm. Private Collection. Lucian Freud archive, photography by John Riddy. Works by Lucian Freud © 2010 Lucian Freud.
Gayford is forthright in his profound admiration of Freud’s work, asserting that Freud and his friend Francis Bacon are to British painting of the twentieth century what Turner and Constable are to that of the nineteenth. But he is not fawning: artist and model have been close acquaintances for years. His voice is droll, his humor unlabored, his diction precise but relaxed, focused but desultory—quite like the conversations he and Freud pursued during those many sittings. The book is a gem of pacing; wandering from the narrative thread long enough to outline a subtopic, flesh out a characterization, frame a paradox, or provide historical context to an observation, his account repeatedly snaps back to a description of the experience of being scrutinized by this particular painter, in this particular leather chair, in this room in this house in London.
Of course, Gayford scrutinizes right back. He reports that Freud, full of nervous energy, murmurs to himself and moves around a lot while at the easel. (Small and nimble, fond of horses, the young Freud seriously considered a career as a jockey.) He works extremely slowly, beginning in this case (after an initial roughing-out of the composition in charcoal) with a dab of paint in the middle of the forehead and working methodically across and down the face. He contemplates each brush stroke, assiduously covering the canvas inch by inch. Then, sometimes, he wipes out and repaints.
Often but not always, he talks — about old friends, chance encounters, memorable meals. We learn which painters he likes (van Gogh, Chardin, Goya, Ingres), dislikes (Raphael, Vermeer, Leonardo), and loathes (Dante Gabriel Rosetti: “the nearest painting can get to bad breath”). He prefers Matisse’s emotional authenticity to Picasso’s pictorial derring-do. He greatly trusts his instincts and often makes impulsive decisions—including whom to ask to sit for a portrait. Thus sitting for Freud is “a pleasure, an ordeal, and also a worry,” as Gayford is dogged by trepidation that his will be among the many portraits that have foundered when the interpersonal chemistry went wrong. (The book’s dust jacket is the spoiler, with a reproduction of the finished painting: a mound of black hair, gray at the temples; heavy eyebrows; a severe, somewhat elongated nose; and—a rarity in Freud’s oeuvre—a faint smile.)
The book’s best-known precursor in the tiny genre of sitters’ memoirs is A Giacometti Portrait by James Lord, published in 1965. Lord, a New Yorker visiting the great Swiss artist in his Paris studio, looks on helplessly as Giacometti, apparently angst-ridden and miserable, obliterates successive attempts to convey the essence of his sitter. Respectful of Giacometti’s obsession with failure as a method, Lord also wants the painting done and craftily intervenes in the nick of time. Mirroring Freud’s steady, workmanlike approach, Gayford’s book is devoid of such high drama, of crisis and catharsis. It hums along with a calmer but no less compelling consideration of the problematics of painting, and of being painted.
Puzzled by his own misplaced but understandable sense of propriety toward the bit of linen that bears his likeness, Gayford experiences pangs of existential anxiety. A brief mention of lunching with the California collectors who own the picture subtly underscores the idea that the activity of portraiture is itself an exchange between interested parties in which the sitter barters his time and his face to appear in a place in which time itself stands still.
The writer ultimately concludes that this particular portrait depicts a period of mutual, concentrated observation. It is an index of an interaction, testifying to a prolonged exchange of close attention symbolized, perhaps, by the “gimlet eye” Gayford fancies his friend has given his nuanced and now-permanent facial expression.
Martin Gayford, Man with a Blue Scarf: On Sitting for a Portrait by Lucian Freud. (London/New York: Thames & Hudson, 2010. 248 pages; ISBN 0500238758 $40)
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The Scabrous Intensity of Lucian Freud http://www.artcritical.com/2006/12/01/lucian-freud/ http://www.artcritical.com/2006/12/01/lucian-freud/#comments Sat, 02 Dec 2006 02:43:57 +0000 http://testingartcritical.com/?p=759 A review of his 2006 show at Acquavella Galleries
Acquavella Galleries
18 East 79 Street
New York City
212-734-6300
November 2 to December 6, 2006
Lucian Freud Eli and David 2005-06 oil on canvas, 56 x 46 inches Courtesy Acquavella Galleries
Lucian Freud, Eli and David 2005-06 oil on canvas, 56 x 46 inches Courtesy Acquavella Galleries
Exhibitions of paintings by Lucian Freud are always an event. Widely considered Britain’s pre-eminent living painter, the 83-year-old artist has for several decades imparted a uniquely scabrous intensity to masterful renderings of his acquaintances and other subjects in his London studio.
At Acquavella, the most recent figure paintings and etchings show him hardly missing a beat. As always, his portraits and figure paintings seem at once acidly detached and invasively intimate. “Eli and David” (2005–6) depicts a casual-enough scene: a whippet resting in the lap of a bare-chested, trousers-clad man. The artist’s confident brushstrokes place colors side-by-side, tangibly rendering volumes and even the man’s distracted expression and the dog’s sleepy oblivion. Mr. Freud’s palette, however, has a decidedly discordant edge, with caustic grays dividing vibrant yellow-pink and reddish brown skintones; dark reds settle eerily in the deepest shadows of face, hands, and dog’s legs. Even more disconcerting are the bits of crusted paint dragged and deposited by his dissecting strokes, tokens of the sitters’ transient fleshiness.
The faces in several up-close portraits in the exhibition practically condense out of rich, jostling ochres and siennas, interspersed with those insistent grays. Working their way across the features of a painting like “Man in White Shirt” (2002–3), these notes of color gel as individuals — here, as the slender, dense presence of a face emerging from a shirt’s silky folds. This exotic updating of Old Master techniques explains why, when most contemporary paintings sport simple strip frames, these paintings feel completely at home in more ornately traditional ones.
The intelligence of the sitters shines through these portraits’ raw surfaces, but Mr. Freud’s nudes can sometimes seem more like carnal specimens. The artist’s habit of depicting male and female genitalia prominently, with as much focus of detail as faces, suggests an indulgent voyeurism. The three recent paintings of nudes at Acquavella all happen to feature female models, but, at least in the case of “Naked Portrait” (2004), the artist has mellowed slightly; the young woman’s patient, upturned gaze, along with her somewhat less unflattering pose, suggests the artist’s empathy towardher vulnerability. The burnished, silvery tones of the rumpled sheet and flesh make this one of the exhibition’s most memorable works.
One of these paintings of nudes is unexpectedly dainty in size and texture, if not subject. Mr. Freud has left most of the surface of “Small Naked Portrait” (2005) unpainted, but with a relative handful of silky brushstrokes — radiant pink-yellows edged by subdued gray-browns — the artist has palpably caught the impression of limbs splayed revealingly across warm-toned sheets.
Lucian Freud The Painter Surprised by a Naked Admirer 2004-05 oil on canvas, 64 x 52 inches, Courtesy Acquavella Galleries
Lucian Freud, The Painter Surprised by a Naked Admirer 2004-05 oil on canvas, 64 x 52 inches, Courtesy Acquavella Galleries
The largest work here, “The Painter Surprised by a Naked Admirer” (2004–5), may also surprise viewers. Unlike typical recent work, it contains an explicit narrative — a female nude clasping the legs of the artist himself, standing fully clothed in his studio — and also renders the model with a gracefulness closer to classical conventions. It’s a daring move by the artist, though for me the humor is rather undercut by a relaxing of the usual tension in his art between detachment and invasiveness.
Moreover, like other, larger canvases here, it tends to highlight one limitation of his virtuosity. Mr. Freud’s vigorous rendering of his subjects tends to start from their centers, progressing outward in further modelings of forms. He shows less interest in composing from the outside in — that is, in pacing the overall pattern of color across an entire surface. You won’t find anything quite like the grave, measured momentum of the lifted blossom in Rembrandt’s “Woman with a Pink” (c. 1650s), or the out-flung limbs in Courbet’s “Woman With Parrot” (1866), both hanging nearby at the Metropolitan Museum of Art. By comparison, parts of a foreground chair and the artist’s own legs in “Painter Surprised” tend to melt into an indeterminate zone.
By any standards, though, Mr. Freud’s several etchings are masterful. The deep, crosshatched tones of “Before the Fourth” (2004) vividly bring out the quiet gleam of the surfaces of a reclining pregnant woman, her lengthening form animated by periodic swellings of hip, belly, and shoulder.
Older prints and paintings are on view in Acquavella’s upstairs gallery. Here one can savor the etching “The Painter’s Mother (first version)” (1982), in which spare lines impart a stately measure to the subject’s creased features. And don’t miss “After Breakfast” (2001), a small painting with the gem-like intimacy of a Dutch genre painting; the artist separates, with a truly tender discrimination of hues, the volumes of a female nude from a sheet’s surrounding folds.
As with Mr. Freud’s previous exhibition at the gallery, a first-floor room is devoted to recent photographs of his studio by hisassistant, David Dawson. One of these depicts studio walls thickly encrusted with paint wiped from palettes and brushes. Another shows the artist at work, naked from the waist up, as fierce and sinewy as his paintings. Several others poignantly picture his models posing, their smooth-skinned, youthful forms being transformed in paint under Mr. Freud’s caustic gaze. These aren’t entirely heartwarming images — the artist’s obsessive purpose suffuses their space — but they’re eloquent testimony to a lifetime spent uncovering painting’s carnal complexities.
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Lucian Freud: Realness That Transcends Realism http://www.artcritical.com/2004/04/29/lucian-freud-at-acquavella/ http://www.artcritical.com/2004/04/29/lucian-freud-at-acquavella/#comments Thu, 29 Apr 2004 20:17:23 +0000 http://testingartcritical.com/?p=4018 Exhibitions of new paintings and photographs of the artist by David Dawson in Spring 2004
“Lucian Freud: recent paintings and etchings” and “Inside Job: Lucian Freud in the Studio, Photography by David Dawson” through May 27
Acquavella Contemporary Art, Inc., 18 E 79 Street, between Madison and Fifth Avenues, 212 734 6300
Lucian Freud The Brigadier 2004-4 oil on canvas, 40-3/16 x 54-1/2 inches Courtesy Acquavella Contemporary Art, Inc. New York COVER May 7, 2004: Four Eggs on a Plate 2002 oil on canvas, 4-1/16 x 6 inches
Lucian Freud The Brigadier 2004-4 oil on canvas, 40-3/16 x 54-1/2 inches
The genius of Lucian Freud has nothing to do with technique and everything to do with energy. However much he looks to the Old Masters (and increasingly in his senior years, like one), he is quintessentially a mid-20th-century existentialist: a man striving against the odds for personal authenticity. His mentor and rival Francis Bacon coined a phrase that seems appropriate: “exhilarated despair.” Doubt is as much his raw material as paint.
Mr. Freud has a large public – when his new paintings and etchings were shown at the Wallace Collection in London last month, 50,000 people visited – and many will ask, isn’t it the sheer, mesmerizing laying on of paint, the magical mortgage of touch to vision, that keeps the eye lingering for so long upon what are, in many respects, repellant pictures?
For his work can certainly seem repellant, both in subject matter and surface, with unhappy-looking, ungainly nudes rendered in murky colors and blotchy accumulations of paint. The material facts of the paint will indeed detain the viewer, but reconciling what has been put down to the total design is more likely to confound than satisfy. . A finished work is more an accomodation of doubts than their resolution.
Those works are now on display at Mr. Freud’s New York dealer, Acquavella. The exhibition is his first since the 2002 retrospective, and for an artist of 81 who works at his agonizing pace, the output of almost two-dozen pieces in the intervening period is astounding. For it is well-known that his paintings take forever to make.
The artist has admitted that his sitters’ weariness gives him energy. Like the analysis offered by disciples of his grandfather, Sigmund Freud, the fiercely penetrating and revelatory observations of Lucian Freud take hundreds of sittings and do not come cheap. “The Brigadier,” (2003-04), a well-over life size portrait of Andrew Parker-Bowles (former husband of [either make this "Royal favorite" which I prefer, as its respectful and amusingly understated, or say "the Prince of Wales' companion"] Prince of Wales favorite Camilla and an old riding friend of Mr. Freud’s), took more than a year to complete.
At first “The Brigadier,” in which the sitter wears his dress uniform and medals, seems to belong to the tradition of the swagger portrait, of the dashing military types and dandies depicted by masters from van Dyck to Sargent. But in key respects it is different. There is a psychological charge, a sense of a man familiar with life’s vicissitudes, that sets the painting in a nobler tradition of portraiturethat of Rembrandt and Goya.
Despite the impression of bravura in its initial impact, a closer reading of this (or any) Freud, frustrates the first sensation of fluency or speed. It has the grinding, compacted energy of a steamroller. The registration of effort and commitment on the part of painter and sitter alike lends the work extra charge.
But what are we to make of the individual brushstrokes, the bewildering spread of local decisions that make up the whole? This is where the idea of energy versus technique comes into play. I’m not for a moment denying, or refusing to marvel at, the extraordinary facture of a Freud painting. It is, rather, a question of identifying the divorce between micro-effort and macro-result.
A Freud is, in its way, as bizarrely crafted as the breathtaking little devotional mosaics to be seen in the Byzantium exhibition at the nearby Met. In Mr. Freud’s case, the tesserae consist of what Cézanne called “petits sensations,” individually apprehended details that are captured in isolated brushstrokes or intuited in juxtapositions of color and plane. But Mr. Freud’s little sensations are joined up, so to speak. He is more like an Old Master than a modern in that – in contrast to the deconstructivist effect of Cézanne’s Cubist disciples, –he constructs a compelling whole, a cogent window onto the world.
Mr. Freud’s power and appeal comes from his art being joined to the great Western tradition of depiction, of offering a singular, convincing vision of the actual. For all the local painterly discoveries, he finds the strong, linear boundary of his figures and forms and accentuates them. But he is no academic, opting for a clichéd set of ready-made solutions like single-point perspective or anatomical correctness.
Perspective seems to be made up as he goes along. “David and Eli,” (2003-04) resorts to almost mannerist contortions of foreshortening to depict the sprawling male nude and his pet whippet, head lolling over the edge of the mattress. (Otherwise, the human sitter’s protruding right leg would absurdly dominate the field of vision.) “Irishwoman on a Bed,” (2003-04) is the oddest picture in the show: cherries defy gravity to caress the sitter’s mottled, gray legs; the hands and feet are grotesquely outsized. But the incredible details make the whole the more compelling. In Mr. Freud’s aesthetic, the solid truth of full, human presence must win out over the illusory truth of optical expectation.
Mr. Freud’s art is animated to its core by a tension between the visual and the tactile. In his early work, intensity was entirely sealed within the image. The surfaces were pearly smooth, like a Bronzino or an Ingres. One critic even dubbed him “the Ingres of Existentialism.” As Mr. Freud told Robert Hughes in 1987, “I hoped that, if I concentrated enough, the intensity of scrutiny alone would force life into the pictures.” But his art reached an impasse with all this smoothness and closure: the ethereal, aloof quality deprived it of the energy he was after. He found liberation in a switch from sable brushes to the much more painterly and open possibilities of hog’s hair. The surfaces of his canvases became, like the subjects depicted, visceral and contingent.
And yet, for all his little sensations, Mr. Freud is no sensualist. His impasto has nothing to do with the actual feeling of skin: Even the victim of an advanced dermatological condition wouldn’t have such blotchiness. Instead, the build up is of pentimenti, the result of layer upon layer of correction. What comes across is not the sensation of the sitter’s flesh but of the artist’s manic attempts to depict it. If a Freud conveys actual living presence, it is because of the oddity, distortion, and awkwardness of his means, not despite them.
Mr. Freud attains a level of realness that transcends Realism – which is, after all, only a style. When you look at the cramped, tired, alternately sagging and tense flesh and bones of a Freud figure, your own body comes out in sympathy: You begin to itch, to fidget, to sense your own physicality.
It is something of a cliché that naked equals true, but there can be no denying that Mr. Freud penetrates psychological depths in his depictions of the nude. They are plenty prurient enough in their improbable postures, but he does not eroticize his subjects. Flesh is empowered to convey personality with the force, almost, of a face. In this respect, a Freud nude is the conceptual opposite of Magritte’s “Rape” (1945), which rendered a woman’s face as a torso, with breast for eyes and so on. At the same time, the face of a Freud nude resigns itself to a deanimated anatomical state of muscle and skin hanging from a skull. The head is just another limb, not the privileged seat of reason.
If Mr. Freud can recall the animal in a person, he can also bring out the “humanity” of animals: His new show is a menagerie, almost a zoo. In addition to his own, late beloved whippet, Pluto, whose garden grave is the subject of a touching nature study, and his studio assistant David Dawson’s whippet, Eli, there is a masterful “portrait” of a gray gelding, and the rear of another horse in “Skewbald Mare” (2004), both uncharacteristic in the fluency and spontaneity of their brushstrokes. It is rare to see a modern painter of animals unconcerned with their symbolism and marveling instead in their sheer physical presence.
In his rapport with dogs and horses, Mr. Freud, a Berlin-born Jew, demonstrates an identification with the upper echelon of English society. But his depiction of animals also ties him to a specifically English tradition of naturalist painters like Stubbs and Constable. (Despite his ancestry and accent, Mr. Freud is, in temperament and taste, a very English artist.) Questioned once about the erotic potential of his subject matter, he responded that “the paintings that really excite me have an erotic element irrespective of subject matter – Constable, for example.” Mr. Freud, who helped select an exhibition of Constable organized by the Louvre last year, has an etching “After Constable’s Elm” in the exhibition. Serendipitously, Salander-O’Reilly, the gallery next door to Acquavella, will show Constable cloud studies later this month.
David Dawson In the Stable 2003 from "Inside Job: Lucian Freud in the Studio, Photographs by David Dawson" Hazlitt Holland-Hibbert, London, New York, 2004
David Dawson, In the Stable 2003 from "Inside Job: Lucian Freud in the Studio, Photographs by David Dawson" Hazlitt Holland-Hibbert, London, New York, 2004
The show at Acquavella is complemented by a display of photographs, taken by Mr. Dawson, of Mr. Freud. These frank, animated studies of the artist at work on various pictures in this show and at play – dining, for instance, with artist pals David Hockney and Frank Auerbach – debunk some of the myths about the squalor of the artist’s bohemian lifestyle. There is a fun moment when Mr. Freud leads the pony to have a look at her portrait in progress, which recalls Mark Tansey’s send-up of naturalism in which academic painters bring a cow into a gallery to admire a landscape.
This rather theatrical gesture on the part of the painter raises a question about intentionality. As his paint gets more succulent and his design hots up, the awkwardness and oddity if anything seem to increase. It is fair to ask: Is his awkwardness a side-effect of a lust for inclusiveness and truth, or a device, an expressive means of adding edge?
As if to preempt the question, in paint, Mr. Freud offers a six inch wide canvas of four eggs on a humble plate. A group portrait of sorts, this study could hang comfortably with any still life in art history. It is an exquisite homily on the origins of life and art.
A version of this article first appeared in the New York Sun, April 29, 2004
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Art Supplies
Peg and Awl Sendak Artist Roll
I recently bought a Sendak Artist Roll from Peg and Awl. I had wanted an artist roll for years now, but hadn't yet found one that truly called to me. When I first saw the Sendak online, however, I knew that it belonged in my life. Now that I've gotten it and had it for a few days, I can confirm that it is just as wonderful as I thought it would be. I chose my Sendak in the Spice waxed canvas with the brown leather strap, and I find it to be a very aesthetically pleasing combination.
Not only is it beautiful, but it is also sturdy! The waxed canvas feels very durable, like it will age well. I also enjoy the fact that the Sendak has a big carrying capacity compared to most rolls I've seen around. It keeps my favorite art supplies organized, which is a big relief for a messy person like me. That means that it also makes the art making process easier. Now, when I draw or paint I always know where everything is! It's a wonderful feeling!
I should mention that with all the supplies that I put inside it, it has become a little heavy and bulky. In my case, the weight and bulk have not deterred me from taking it with me every time I leave the house, a testament to how much I love my Sendak. I'm happy to support Peg and Awl, a family-run business committed to upcycling vintage and found materials. I really like their thoughtful designs as well as the care they put into their craft. Overall, I would say that the Sendak Artist Roll is a special treasure that I will cherish for years to come. I can see it sparking joy for a long time and going on countless adventures with me. I couldn't be happier with it!
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Little Brass Box Travel Palette
Little Brass Box Travel Palette
The Little Brass Box Company is a one-man artisanal workshop producing some of the finest solid brass paintboxes in the world. John Hurtley, the man behind the Little Brass Box Company, makes all of his brass paintboxes by hand in his U.K. home studio. After placing an order last spring, and waiting several months on a waitlist while saving money for it, I now count myself as the lucky owner of one of these little brass boxes. You can imagine my excitement when it came in the mail yesterday!
Read More
New Daniel Smith Colors
Last Sunday, I was fortunate to have my husband take me on a little day trip to Seattle. I had a wonderful time walking around Capitol Hill, delighting in the architecture of some of the homes near Volunteer Park, and also simply taking in the beauty of the newly arrived spring.
Since we were headed there, I decided that I wanted to stop by the Daniel Smith store. After all, I love Daniel Smith watercolors and I had wanted to visit their store for a couple of years. The staff members were all extremely kind. I decided to get a couple of 5ml watercolors, Raw Umber and Undersea Green, since they were a good deal. At checkout I asked if they had a dot sampler of the new colors that recently came out, and while they didn’t have one handy, they immediately offered to make one on the spot for me, which I really appreciated.
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A very nice makeshift dot sampler, as you can see. Thank you, Daniel Smith! I especially like the Wisteria and the Payne's Blue-Gray. What do you think about these new colors?
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Mako Design Named Top Product Design Agency | MAKO Design + Invent
DesignRush Names Mako Design Top Product Design Agency
Mako Design Named Top Product Design Agency
At Mako Design we are always proud of our accomplishments and love to see great results, not only from the work we do for our clients, but for own gratification in knowing that we deliver a great job! With the year steadily coming to end, we’ve taking the time to look back and appreciate all the awards we’ve won this year through our dedication, innovation and hard work. We’re glad to know that even with the year ending, we are still receiving constant praise, awards and ratings! With that being said, we are proud to announce that B2B marketplace, DesignRush has graciously named Mako Design + Invent as a top product design agency amongst many others!
About DesignRush
DesignRush is a B2B marketplace that helps connects brands with agencies. They are best known for creating thoroughly detailed and research lists that help let other brands, companies and businesses know who the best professional agencies are in their areas of expertise. DesignRush analyzes and ranked hundred of different agencies to help brands and businesses find top-notch and full-service agencies, companies and firms to help them solve their businesses and brands needs. Whether it may be marketing, advertising, tech or a top product design agency such as Mako Design and Invent, DesignRush provides the best lists, curated by a specialized team with an extensive background to recommend the best of the best to the businesses and brands that need it. DesignRush’s internal team of expert who have years of extensive direct agency experience analyze each professionals’ firm’s portfolio, past work, leadership, reviews, services and structure and rank the agencies that are proven to provide a strong return on investment to clients.
Mako Design as a Top Product Design Agency
As described from DesignRush, the top product design companies of 2019 include companies where top designers provide top-class design work such as wireframing, coding, prototyping, testing, maintaining overall performance following launches and more. With this description in mind, it is no surprise that Mako Design and Invent was listed as a top product design agency as we provide all of the before mentioned services as well as having an in-house industrial design, mechanical engineering, electrical engineering team, patent referrals, prototyping and manufacturing services to offer to our clients.
At Mako Design and Invent we are fully inspired and motivated by creating new, artistic, innovative and high-quality designs that meet and go above and beyond out client’s project and product design expectations. With a focus on home inventors and small businesses, we make sure our product designs are not only beautifully designed, but also practical and easy to market and cost-efficient to manufacture, always ensuring that our clients needs are met and cared for first. With all these aspects put together, we are proud to be listed as a top product design agency and will continue to provide our high-quality services in order to push the boundaries of innovation and design!
Thanks again to DesignRush for the amazing shout out and ranking
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Up Close: Paul Klee's Untitled, Dancer and Crescent Moon
Through ARTMYN’s pioneering scanning and display technology artworks come alive as never before, offering a unique interactive 5D experience. Users can now enlarge works dramatically, rotate and tilt them in space, and apply light sources from any angle to experience the touch of an artist’s brush like never before.
Below, explore Paul Klee's Untitled, Dancer and Crescent Moon, from the upcoming Actual Size: A Curated Evening Sale, which is in London on 21 June, preceeding the Impressionist and Modern Art Evening Sale.
How to Use ARTMYN: A One-Minute Guid
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