A Finding Aid to the Metropolitan Museum of Art Study Collection of American Sculpture Photographs

Total Page:16

File Type:pdf, Size:1020Kb

A Finding Aid to the Metropolitan Museum of Art Study Collection of American Sculpture Photographs A Finding Aid to the Metropolitan Museum of Art study collection of American sculpture photographs Nicole Semenchuk, 2009; with revisions by Christine Hennessey 2013 2013 Smithsonian American Art Museum, Research and Scholars Center PO Box 37012, MRC970 Washington, D.C. 20013-7012 http://www.americanart.si.edu/research/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Scope and Contents........................................................................................................ 2 Biographical / Historical.................................................................................................... 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Photographs, ca. 1898-1940.................................................................... 4 Metropolitan Museum of Art study collection of American sculpture photographs SAAM.Photo.MET Collection Overview Repository: Smithsonian American Art Museum, Research and Scholars Center Title: Metropolitan Museum of Art study collection of American sculpture photographs Identifier: SAAM.Photo.MET Date: circa 1910-1940, 1950s Extent: 21.3 Linear feet ((51 document boxes)) Creator: Metropolitan Museum of Art (New York, N.Y.) Language: Labels on photograph mounts are in English. Summary: Originally assembled by the Metropolitan Museum of Art for study purposes, this collection is comprised of 2,790 black-and-white photographs documenting the work of 250 sculptors. Administrative Information Acquisition Information Received from the Metropolitan Museum of Art as a gift. The initial batch of 2,612 prints was received in 2005. 178 additional photographs were received in 2011. Processing Information Upon receipt of the initial gift, the Collection was processed (the original alphabetic order by artists largely retained), rehoused and a preliminary inventory compiled. When the additional 178 photographs were received in 2011, they were integrated into the collection, arranged alphabetically by sculptor's last name. As part of the cataloging process, Photograph Archive staff researched the works depicted in each photograph. Some of the original label information was found to be incorrect. Current owners of art works and other descriptive identifying information was added to the online record when known. Images were digitized for online access. Preferred Citation Metropolitan Museum of Art Study Collection of American Sculpture Photographs, Photograph Archives, Smithsonian American Art Museum. Restrictions Open to researchers by appointment. Contact Photograph Archives, Smithsonian American Art Museum by email: [email protected]. Page 1 of 20 Metropolitan Museum of Art study collection of American sculpture photographs SAAM.Photo.MET Conditions Governing Use The photographs are owned by the Smithsonian American Art Museum and requests for permission to reproduce photographs from the collection must be submitted in writing to the Photograph Archives. Certain works of art, as well as the photographs of those works of art, may be protected by copyright, trademark, privacy or publicity rights, or other interests not owned by the Smithsonian American Art Museum. It is the applicant's responsibility to ascertain whether any such rights exist, and to obtain any other permission necessary to reproduce and publish the image. Biographical / Historical The Metropolitan Museum of Art was founded on April 13, 1870, "to be located in the City of New York, for the purpose of establishing and maintaining in said city a Museum and library of art, of encouraging and developing the study of the fine arts, and the application of arts to manufacture and practical life, of advancing the general knowledge of kindred subjects, and, to that end, of furnishing popular instruction." The Metropolitan Museum of Art collects, studies, conserves, and presents significant works of art across all times and cultures in order to connect people to creativity, knowledge, and ideas. Scope and Contents The bulk of the collection was assembled by the Metropolitan Museum of Art starting around 1910 and continuing up through 1940, with a few additions added in the 1950s. The images were assembled for study purposes for the Museum's American Department. Included are works from in-house Met staff photographers, as well as photographs acquired from outside sources, including works by commercial photographers and publishers (notably A. B. Bogart, Louis H. Dreyer, Detroit Publishing Company, Joseph Hawkes, and De Witt Ward). Also included are photographs assembled by the Carnegie Corporation of New York for the study of American art and presented to the Metropolitan Museum of Art in 1930. Among the artists well represented in the collection are: Herbert Adams, Robert Aitken, Alexander Archipenko, George Grey Barnard, Chester Beach, Karl Bitter, Solon H. Borglum, Alexander Stirling Calder, Gaetano Cecere, Henry Clews, Jr., Cyrus Edwin Dallin, Jo Davidson, John Donoghue, Ulric Henry Ellerhusen, Sir Jacob Epstein, Rudolph Evans, John Flannagan, James Earle Fraser, Daniel Chester French, Harriet Whitney Frishmuth, Emil Fuchs, John Gregory, Frances Grimes, Anna Vaughn Hyatt Huntington, Anna Coleman Ladd, Evelyn Beatrice Longman, Augustus Lukeman, Frederick MacMonnies, Hermon Atkins MacNeil, Paul Manship, Edward McCartan, Albin Polasek, Bela Lyon Pratt, Richard H. Recchia, Frederic Remington, Frederick George Richard Roth, Frederic Wellington Ruckstull, William Rush, Augustus Saint-Gaudens, Lorado Zadoc Taft, and Adolph A. Weinman. Of note, the collection includes a number of rare early photographs of outdoor sculpture and public monuments, including images of the Mount Rushmore National Memorial by Gutzon Borglum, South Dakota, the Emancipation Monument by Thomas Ball, Washington, D.C., the Dewey Monument by Robert Aitken in San Francisco, George Washington by Horatio Greenough in Washington, D.C., and the William Earl Dodge Memorial by John Quincy Adams Ward shown in its original setting in Herald Square, New York City, before it was moved to Bryant Park in 1941. In addition, the collection has some portraits of artists posing with their sculptures, including Robert Aitken, Gutzon Borglum, Solon Borglum, John Donoghue, Sally James Farnham, Daniel Chester French, Anna Hyatt Huntington, Albin Polasek, Richard Recchia, and Frederic Wellington Ruckstull; and some exhibition Page 2 of 20 Metropolitan Museum of Art study collection of American sculpture photographs SAAM.Photo.MET installation views, including works by Emil Fuchs exhibited at Fine Arts Building and Cartier Gallery in New York and works by Paul Manship exhibited at the Jessup Memorial Library in Bar Harbor, Maine. Arrangement The photographs are arranged alphabetically by the artist's last name, with unidentified artists at the end. Names and Subject Terms This collection is indexed in the online catalog of the Smithsonian Institution under the following terms: Subjects: Art, American -- Photographs Artists -- United States -- Portraits Outdoor Sculpture Sculpture, American -- 20th century Types of Materials: Photographs Page 3 of 20 Series 1: Photographs Metropolitan Museum of Art study collection of American sculpture photographs SAAM.Photo.MET Container Listing Series 1: Photographs, ca. 1898-1940 21.3 Linear feet 2,790 black-and-white photographs documenting the work of 250 sculptors. Photographs are mounted on 9 3/4 x 13 7/8 inch boards, with labels on reverse. Box 1 Adams, Herbert, 1858-1945 38 Photographs Box 2 Aitken, Robert, 1878-1949 60 Photographs Box 2 Aitken, Russell Barnett, 1906- 2 Photographs Box 3 Akeley, Carl Ethan, 1864-1926 4 Photographs Box 3 Akers, Benjamin Paul, 1825-1861 1 Photograph Box 3 Albright, Ivan, 1897-1983 1 Photograph Box 3 Amateis, Edmond, 1897-1981 1 Photograph Box 3 Angela, Emilio, 1889-1970 11 Photographs Box 3 Archipenko, Alexander, 1887-1964 25 Photographs Box 3 Augur, Hezekiah, 1791-1858 2 Photographs Box 3 Azzi, Marius A., 1892-1975 2 Photographs Box 4 Baerer, Henry, 1837-1908 1 Photograph Box 4 Bahnmuller, William, b. 1899- Page 4 of 20 Series 1: Photographs Metropolitan Museum of Art study collection of American sculpture photographs SAAM.Photo.MET 1 Photograph Box 4 Bailly, Joseph Alexis, 1825-1883 1 Photograph Box 4 Baker, Bryant, 1881-1970 1 Photograph Box 4 Baldrey, Haynsworth, 1885-1946 2 Photographs Box 4 Ball, Thomas, 1819-1911 5 Photographs Box 4 Barger, Raymond, 1906-2001 1 Photograph Box 4 Barnard, George Grey, 1863-1938 29 Photographs Box 4 Barnhorn, Clement John, 1857-1935 2 Photographs Box 4 Bartholomew, Edward Sheffield, 1822-1858 1 Photograph Box 4 Bartlett, Paul Wayland, 1865-1925 16 Photographs Box 5 Baskin, Leonard, 1922-2000 3 Photographs Box 5 Bates, Gladys Edgerly, b. 1896- 1 Photograph Box 5 Battaini, Ambrose 1 Photograph Box 5 Beach, Chester, 1881-1956 65 Photographs Box 6 Beck, George 6 Photographs Box 6 Bell, Enid, 1904-1994 Page 5 of 20 Series 1: Photographs Metropolitan Museum of Art study collection of American sculpture photographs SAAM.Photo.MET
Recommended publications
  • 1960 National Gold Medal Exhibition of the Building Arts
    EtSm „ NA 2340 A7 Digitized by the Internet Archive in 2012 with funding from LYRASIS Members and Sloan Foundation http://archive.org/details/nationalgoldOOarch The Architectural League of Yew York 1960 National Gold Medal Exhibition of the Building Arts ichievement in the Building Arts : sponsored by: The Architectural League of New York in collaboration with: The American Craftsmen's Council held at: The Museum of Contemporary Crafts 29 West 53rd Street, New York 19, N.Y. February 25 through May 15, i960 circulated by The American Federation of Arts September i960 through September 1962 © iy6o by The Architectural League of New York. Printed by Clarke & Way, Inc., in New York. The Architectural League of New York, a national organization, was founded in 1881 "to quicken and encourage the development of the art of architecture, the arts and crafts, and to unite in fellowship the practitioners of these arts and crafts, to the end that ever-improving leadership may be developed for the nation's service." Since then it has held sixtv notable National Gold Medal Exhibitions that have symbolized achievement in the building arts. The creative work of designers throughout the country has been shown and the high qual- ity of their work, together with the unique character of The League's membership, composed of architects, engineers, muralists, sculptors, landscape architects, interior designers, craftsmen and other practi- tioners of the building arts, have made these exhibitions events of outstanding importance. The League is privileged to collaborate on The i960 National Gold Medal Exhibition of The Building Arts with The American Crafts- men's Council, the only non-profit national organization working for the benefit of the handcrafts through exhibitions, conferences, pro- duction and marketing, education and research, publications and information services.
    [Show full text]
  • Cornell Alumni News
    Cornell Alumni News Volume 46, Number 22 May I 5, I 944 Price 20 Cents Ezra Cornell at Age of Twenty-one (See First Page Inside) Class Reunions Will 25e Different This Year! While the War lasts, Bonded Reunions will take the place of the usual class pilgrimages to Ithaca in June. But when the War is won, all Classes will come back to register again in Barton Hall for a mammoth Victory Homecoming and to celebrate Cornell's Seventy-fifth Anniversary. Help Your Class Celebrate Its Bonded Reunion The Plan is Simple—Instead of coming to your Class Reunion in Ithaca this June, use the money your trip would cost to purchase Series F War Savings Bonds in the name of "Cornell University, A Corporation, Ithaca, N. Y." Series F Bonds of $25 denomination cost $18.50 at any bank or post office. The Bonds you send will be credited to your Class in the 1943-44 Alumni Fund, which closes June 30. They will release cash to help Cornell through the difficult war year ahead. By your participation in Bonded Reunions: America's War Effort Is Speeded Cornell's War Effort Is Aided Transportation Loads Are Eased Campus Facilities ^re Saved Your Class Fund Is Increased Cornell's War-to-peace Conversion Your Money Does Double Duty Is Assured Send your Bonded Reunion War Bonds to Cornell Alumni Fund Council, 3 East Avenue, Ithaca, N. Y. Cornell Association of Class Secretaries Please mention the CORNELL ALUMNI NEWS Volume 46, Number 22 May 15, 1944 Price, 20 Cents CORNELL ALUMNI NEWS Subscription price $4 a year.
    [Show full text]
  • The Studio Homes of Daniel Chester French by Karen Zukowski
    SPRING 2018 Volume 25, No. 1 NEWSLETTER City/Country: The Studio Homes of Daniel Chester French by karen zukowski hat can the studios of Daniel Chester French (1850–1931) tell us about the man who built them? He is often described as a Wsturdy American country boy, practically self-taught, who, due to his innate talent and sterling character, rose to create the most heroic of America’s heroic sculptures. French sculpted the seated figure in Washington, D.C.’s Lincoln Memorial, which is, according to a recent report, the most popular statue in the United States.1 Of course, the real story is more complex, and examination of French’s studios both compli- cates and expands our understanding of him. For most of his life, French kept a studio home in New York City and another in Massachusetts. This city/country dynamic was essential to his creative process. BECOMING AN ARTIST French came of age as America recovered from the trauma of the Civil War and slowly prepared to become a world power. He was born in 1850 to an established New England family of gentleman farmers who also worked as lawyers and judges and held other leadership positions in civic life. French’s father was a lawyer who eventually became assistant secretary of the U.S. Treasury under President Grant. Dan (as his family called him) came to his profession while they were living in Concord, Massachusetts. This was the town renowned for plain living and high thinking, the home of literary giants Amos Bronson Alcott, Ralph Waldo Emerson, Nathaniel Hawthorne, and Henry David Thoreau at Walden Pond nearby.
    [Show full text]
  • 2425 Hermon Atkins Macneil, 1866
    #2425 Hermon Atkins MacNeil, 1866-1947. Papers, [1896-l947J-1966. These additional papers include a letter from William Henry Fox, Secretary General of the U.S. Commission to the International Exposition of Art and History at Rome, Italy, in 1911, informing MacNeil that the King of Italy, Victor Emmanuel III, is interested in buying his statuette "Ai 'Primitive Chant", letters notifying MacNeil that he has been made an honorary member of the American Institute of Architects (1928) and a fellow of the AmRrican Numismatic Society (1935) and the National Sculpture Society (1946); letters of congratulation upon his marriage to Mrs. Cecelia W. Muench in 1946; an autobiographical sketch (20 pp. typescript carbon, 1943), certificates and citations from the National Academy of Design, the National Institute of Arts and letters, the Architectural League of New York, and the Disabled American Veterans of the World War, forty-eight photographs (1896+) mainly of the artist and his sculpture, newspaper clippings on his career, and miscellaneous printed items. Also, messages of condolence and formal tri­ butes sent to his widow (1947-1948), obituaries, and press reports (1957, 1966) concerning a memorial established for the artist. Correspondents include A. J. Barnouw, Emile Brunet, Jo Davidson, Carl Paul Jennewein, Leon Kroll, and many associates, relatives, and friends. £. 290 items. Maim! entry: Cross references to main entry: MacNeil, Hermon Atkins, 1866-1947. Barnouw, Adrian Jacob, 1877- Papers, [1896-l947J-1966. Brunet, Emile, 1899- Davidson, Jo, 1883-1951 Fox, William Henry Jennewein, Carl Paul, 1890- Kroll, Leon, 1884- Muench, Cecelia W Victor Emmanuel III, 1869-1947 See also detailed checklists on file in this folder.
    [Show full text]
  • Joan of Arc" in the Artistic Development of Anna Hyatt Huntington
    Syracuse University SURFACE The Courier Libraries Fall 1975 The Significance of the questrianE Monument "Joan of Arc" in the Artistic Development of Anna Hyatt Huntington Myrna Garvey Eden Follow this and additional works at: https://surface.syr.edu/libassoc Part of the American Art and Architecture Commons Recommended Citation Eden, Myrna Garvey. "The Significance of the questrianE Monument 'Joan of Arc' in the Artistic Development of Anna Hyatt Huntington." The Courier 12.4 (1975): 3-12. This Article is brought to you for free and open access by the Libraries at SURFACE. It has been accepted for inclusion in The Courier by an authorized administrator of SURFACE. For more information, please contact [email protected]. JOAN OF ARC Bronze, 11.4 times life. 1915. Riverside Drive and 93rd Street, New York, New York. Anna Hyatt Huntington, Sculptor THE COURIER SYRACUSE UNIVERSITY LIBRARY ASSOCIATES VOLUME XII, NUMBER 4 Table of Contents Fall 1975 Page The Significance of the Equestrian Monument "Joan of Arc" in the Artistic Development of Anna Hyatt Huntington. 3 Myrna Garvey Eden The Sculpture of Anna Hyatt Huntington in the Syracuse University Art Collection. 13 Myrna Garvey Eden Clara E. Sipprell: American Photographer, In Memoriam 29 Ruth-Ann Appelhof News of the Library and Library Associates 33 Portrait of Anna Hyatt Huntington from Beatrice G. Proske's Archer M. Huntington, New York, Hispanic Society of America, 1963. Courtesy of Hispanic Society of America. The Significance of the Equestrian Monument "Joan of Arc" In the Artistic Development of Anna Hyatt Huntington by Myrna Garvey Eden The manuscript collection of Anna Hyatt Huntington, sculptor, 1876-1973, left to the George Arents Research Library at Syracuse University by Mrs.
    [Show full text]
  • 'A Baby's Unconsciousness' in Sculpture: Modernism, Nationalism
    Emily C. Burns ‘A baby’s unconsciousness’ in sculpture: modernism, nationalism, Frederick MacMonnies and George Grey Barnard in fin-de-siècle Paris In 1900 the French critic André Michel declared the US sculpture on view at the Exposition Universelle in Paris as ‘the affirmation of an American school of sculpture’.1 While the sculptors had largely ‘studied here and … remained faithful to our salons’, Michel concluded, ‘the influence of their social and ethnic milieu is already felt in a persuasive way among the best of them’.2 How did Michel come to declare this uniquely American school? What were the terms around which national temperament – what Michel describes as a ‘social and ethnic milieu’ – was seen as manifest in art? Artistic migration to Paris played a central role in the development of sculpture in the United States in the late nineteenth and early twentieth centuries. Hundreds of US sculptors trained in drawing and modelling the human figure at the Ecole des beaux-arts and other Parisian ateliers.3 The circulation of people and objects incited a widening dialogue about artistic practice. During the emergence of modernism, debates arose about the relationships between tradition and innovation.4 Artists were encouraged to adopt conventions from academic practice, and subsequently seek an individuated intervention that built on and extended that art history. Discussions about emulation and invention were buttressed by political debates about cultural nationalism that constructed unique national schools.5 In 1891, for example, a critic bemoaned that US artists were imitative in their ‘thoughtless acceptance of whatever comes from Paris’.6 By this period, US artists were coming under fire for so fully adopting French academic approaches that their art seemed inextricably tied to its foreign model.
    [Show full text]
  • A Finding Aid to the George Grey Barnard Papers, Circa 1860-1969, Bulk 1880-1938, in the Archives of American Art
    A Finding Aid to the George Grey Barnard Papers, circa 1860-1969, bulk 1880-1938, in the Archives of American Art Kathleen Brown Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee. August 03, 2009 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical/Historical note.............................................................................................. 2 Scope and Contents note................................................................................................ 3 Arrangement note............................................................................................................ 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Biographical Material, circa 1888-1955..................................................... 4 Series 2: Correspondence,
    [Show full text]
  • Julius Caesar
    Julius Caesar C u r r i C u l u m G u i d e for teachers and students a companion to the folger shakespeare Library edition i nside this G u i d e Shakespeare is for everyone! Overview from folger education Julius Caesar synopsis Characters in Julius Caesar From one classroom teacher to another Tips for teaching shakespeare Teaching shakespeare FAQs 2 Lesson Plans Famous Lines and Phrases from Julius Caesar Julius Caesar fact sheet Suggested additional resources About the folger O n t h e co v e r : Julius Caesar, folger shakespeare Library. see more images of Julius Caesar from the folger collection at www.folger.edu/digitalcollection. Image 1) hugo Kaeseberg and J.c.G. feldweg after Julius Kleinmichel. Shakespeare, Julius Cäsar, act III scene 2. Print, 1879. folger shakespeare Library. Image 2) 2003 children’s shakespeare festival. folger shakespeare Library. Image 3) John Gregory. Julius Caesar bas relief. Marble, 1932. folger shake- speare Library. Image 4) Julius Caesar. MGM Promotional Program, 1953. folger shakespeare Library. At the Folger, we love to see students take Shakespeare and make it their own. We believe that Shakespeare is for everyone and that students of all ability levels can successfully engage with his works. s hakespeare is f O r e v e r y O n e ! hakespeare isn’t an antiquated art form. his plays are full of explosive family ssituations, complex relationships, and deep emotions that today’s students can— and do—relate to. at the folger shakespeare Library, we love to see students take shakespeare and make it their own.
    [Show full text]
  • USDI/NPS NRHP Registration Form Atalaya and Brookgreen Gardens Page #1 *********** (Rev
    USDI/NPS NRHP Registration Form Atalaya and Brookgreen Gardens Page #1 *********** (Rev. 8-86) United States Department of the Interior National Park Service NATIONAL REGISTER OF HISTORIC PLACES REGISTRATION FORM NATIONAL HISTORIC LANDMARK NOMINATION FORM 1. Name of Property historic name: Atalaya and Brookgreen Gardens other name/site number: 2. Location street & number: U.S. Highway 17 not for publication: N/A city/town: Murrells Inlet vicinity: X state: SC county: Georgetown code: 043 zip code: 29576 3. Classification Ownership of Property: private Category of Property: district Number of Resources within Property: Contributing Noncontributing _10_ buildings _1_ sites _5_ structures _0_ objects 16 Total Number of contributing resources previously listed in the National Register: 9 Name of related multiple property listing: N/A USDI/NPS NRHP Registration Form Atalaya and Brookgreen Gardens Page #2 4. State/Federal Agency Certification As the designated authority under the National Historic Preservation Act of 1986, as amended, I hereby certify that this ___ nomination ___ req'uest for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property ___ meets ___ does not meet the National Register Criteria. __ See continuation sheet. Signature of certifying official Date State or Federal agency and bureau In my opinion, the property ___ meets ___ does not meet the National Register criteria. __ See continuation sheet. Signature of commenting or other official Date State or Federal agency and bureau 5. National Park Service Certification I, hereby certify that this property is: entered in the National Register __ See continuation sheet.
    [Show full text]
  • Brooklyn All Souls
    George G. Barnard, Noted Sculptor Was Working on Rainbow Arch, Peace Memorial When Stricken April 7 George Grey Barnard, noted sculptor, died yesterday of heart disease in the Harkness Pavilion of the Columbia-Presbyterian Center at the age of 74. He had been ailing there since April 7. The Metropolitan Museum of Art yesterday announced that on May 14, it would open the new Cloisters In Fort Tryon Park, a museum of medieval art and architecture with the nucleus pieces collected by Mr. Barnard and sold by him to John D. Rockefeller Jr. for $650,000 in 1925. His death left uncompleted the most ambitious work of his career—the Rainbow Arch, a 100-foot peace memorial standing in plaster model stage in a Third Avenue Railway powerhouse at 216th St. and the Harlem River. Mr. Barnard had planned to sell his private art collection to procure funds to complete the memorial In marble. Well Known in Brooklyn Although Mr. Barnard lived and worked in Manhattan, he was well known in Brooklyn. He was a close friend of the Rev. Cornelius Greenway, pastor of All Souls Universalist Church, to which he presented notable examples of his art. On Nov. 11, 1930, Mr. Barnard gave All Souls Church the sculptor's model of one of his most famous bronzes, "Brotherly Love." Appearing in person to present the model, the sculptor preached on "Sermons in Stone." A five-foot bas-relief, "The Descent From the Cross," was presented to All Souls Church by Mr. Barnard on Dec. 20, 1931. He said at the time that the gift was a token of his friendship for Mr.
    [Show full text]
  • The Martin Cohen Collection: Final Chapter New York | October 6 & 7, 2020
    The Martin Cohen Collection: Final Chapter New York | October 6 & 7, 2020 The Martin Cohen Collection: Final Chapter New York Tuesday October 6, 2020 at 11am | Lots 1 to 213 Wednesday October 7, 2020 at 11am | Lots 216 to 426 BONHAMS BIDS INQUIRIES ILLUSTRATIONS 580 Madison Avenue +1 (212) 644 9001 New York Front cover: Interior New York, New York 10022 +1 (212) 644 9009 fax Benjamin Walker Inside front cover: Lot 22 bonhams.com Global Head of Department Opposite page: Lot 420 To bid via the internet please visit +1 (212) 710 1306 Inside back cover: Lot 89 Back cover: Mixed lots AUCTIONEER www.bonhams.com/26575 [email protected] Jacqueline Towers-Perkins - 2068426-DCA Please note that telephone bids Dan Tolson REGISTRATION must be submitted no later than International Director IMPORTANT NOTICE Bonhams & Butterfields 4pm on the day prior to the +1 (917) 206 1611 Please note that all customers, Auctioneers Corp. auction. New bidders must also [email protected] irrespective of any previous 2077070-DCA provide proof of identity and activity with Bonhams, are address when submitting bids. Misha Sylver required to complete the Bidder PREVIEW Telephone bidding is only Administrator Registration Form in advance New York available for lots with a low +1 (917) 206 1614 of the sale. The form can be Wednesday September 30 estimate in excess of $1,000. [email protected] found at the back of every 10am to 5pm catalogue and on our website Thursday October 1 Please contact client services Los Angeles at www.bonhams.com and 10am to 5pm with any bidding inquiries.
    [Show full text]
  • Key Passages in Shakespeare's Plays
    The plays of the First Folio have been intensely studied, discussed, debated and performed. Some performances remain true to the text and others are adapta - tions. In fact, some tragedies were once thought to be more enjoyable to an audience if “happy endings” were added. Thomas Bowdler is remembered for publishing The Family Shakespeare in the early 19th century. This was an edi - tion of Shakespeare’s plays that omitted content that was considered offensive or inappropriate for children. Visit books.google.com/books?id=ZC4 U914O_F4C to see a copy of this text. Select a passage and look at it alongside another edition. How do they compare? Do you agree with the efforts to“bowd - lerize” Shakespeare’s work? Explain. • In his history plays, Shakespeare mixed fact with fiction to suit his dramatic needs by keeping the basic story intact while taking other liberties, such as em - bellishing details or creating new characters. Select a history play to investigate. Key Passages in Shakespeare’s Plays Read and study the play and then compare it to the actual people and events upon which the play is based. Grades 7-12 “All the world’s a stage…” Program Overview (Passage from Shakespeare’s As You Like It ) Discover some of Shakespeare’s most memorable passages from some of his most often-read plays. Why do they leave such a lasting impression? How are we able As You Like It (2.7.146-173). A helpful key to understanding this famous speech to connect to them today? Intense exchanges, moving speeches, revealing dia - is the metaphor established in the first five lines, where human life is compared logues and thoughtful soliloquies are discussed from Romeo and Juliet , Julius to a play.
    [Show full text]