eA Library The Boston Letter from eAthenteum

No. 105 JUNE 1994

Work Proceeds on 14 Beacon Street Wing

OR those readers who missed the announcement in the Annual Report for 1993, it bears repeating that the Athenreum recently signed papers purchasing parts of the basement and sub-basement of the Congregational Building at no. 14 Beacon Street, which abuts the Athenreum's current residence at no. 10'h. It will come as no surprise to those of you who have over the years put up with wails and moans in these pages about dwindling space at lOlh that this announcement was greeted with a collective sigh of relief from the hearts and souls of both the staff and the Trustees. For now (or at least in an imaginable future) most, if not all, of our vol­ umes stored off -site in places such as Allston and Lawrence will be reunited with the rest of the collection, and many members of the staff who have worked for years in offices the size of closets will be able to spread out and breathe. And the Conservation Department will expand into new and enlarged space, enabling its staff to increase in number and more efficiently service some of our ailing books that have long been pa­ tiently waiting for treatment. The move is a milestone, representing the first real estate the A thenreum has pur­ chased in nearly 100 years. And, although much noise, dust, and some inconvenience will lie ahead, the initial phase of renovation is already complete, in the form of a "demising wall" which was installed in the 14 Beacon Street building to isolate the Athenreum's space from the upper floors of that building. What has been described by Associate Director Norman Tucker as a "Titanic-sized" cast iron water tank has been removed (in pieces) from the basement, along with a collection of other metal odd­ ments that accumulated there during the years when the Thomas Todd Printing Com­ pany used some of the space for their n1assive printing presses. Some services to this basement space have been installed, notably a rudimentary wiring connection between 2 ~ nos. 10~ and 14, a project that required a clattering slow grind through the six feet of solid granite that separate the two buildings. Next on the agenda will be the creation of an access portal between the two buildings to enable the serious renovations to begin. Mr. Tucker and James Righter, Chair of the Trustee Building Committee, are continuing to refine renovation plans with our architects, Schwartz/ Silver. When completed, the new wing will house two large levels of compact shelving with the capacity to accomodate 200,000 books, sunny new offices overlooking the Granary burial site, and, as mentioned above, an enlarged and much improved facility for our Conservation Department workers. Items readers will be kept up to date as this work progresses.

Welcome to Two New Trustees At its February meeting the Board of Trustees elected two new members to its ranks, Jill Ker Conway and John G. L. Cabot. Jill Conway is well known to Athenreum members from her books, which are usually read here to the point of disintegration. Born in New South Wales, which she describes so wonderfully in The Road From Coorain, she was educated at the University of Sydney, and received her Ph.D. from Harvard. From 1975 to 1985 she was president of Smith College, and since 1985 has been a Visiting Scholar and Professor at M.I. T. John G. L. Cabot was born in Rio, educated at Groton and Harvard, and is Vice Chairman and Chief Financial Officer of the Cabot Corporation. According to his Harvard Class Report, he is an avid flyer, fond of transporting himself around the country in a Cessna P337. His expertise in computers will serve him well on our Board, as the Athenreum almost daily expands and refines its stable of electronic systems. We warmly welcome both of these new trustees.

New Circulation and Fine Policies At its meeting on 15 March, the Trustee Library Committee voted to extend the circulation time for all "old" books (owned by the Athenreum for six months or more) to 60 days. "New" books (owned by the Library for six months or less) will continue to circulate for 14 days. Both new books and old books may be renewed (in person or by telephone) if no other reader is on the waiting list. At the same meeting the Committee voted to increase the fines for all overdue books from $.05 per day to $.25. Fines will accrue from the date stamped on the due slip.

Book Mailing Services With the coming of summer, and the departure of many of our members for parts far from Beacon Street, our requests for books by mail pick up. Stephen Nonack, head of our Reference Department, has provided Items with a guide to the highways and byways of ordering books by mail. ~3 Requests for books by mail may be placed with the Reference Department either by telephone or by mail. To assure that requests reach the source that provides the quickest service, please direct them to the attention of Mr. N onack, Trevor 1ohnson, or Rebecka Persson, all of the Reference Department staff. Circulation Regulations are the same as for books checked out in person at the Front Desk, except for over­ sized books and volumes in fragile condition, which are seldom mailed, and materials from Special Collections, which do not circulate. When books requested are posted, or if they cannot be mailed, are on reserve, or on order, readers are informed by post­ card. The Athenceum is responsible for books mailed to readers until the books reach their destination. Replacement costs for books lost or damaged en route to the reader will be assumed by the Athenreum. Replacement costs for books damaged while in the bands of the borrower, or lost on the return trip to the Athenceum, will be charged to the borrower. Books sent by mail are wrapped in corrugated cardboard and brown paper, sealed with adhesive tape. Return labels are provided. When returning books, readers are requested to use the sa1ne or equivalent packaging material; padded envelopes (jiffy bags) are not considered sufficient protection. Also note that the U.S. Post Office no longer allows packages to be secured with string. There will be a handling fee of $.50 added to the cost of postage for each package mailed. Readers will be billed twice a year and are asked not to include remittances when they make book requests. The Athenceum pays outbound postage; the borrower is responsible for postage on all packages returned.

A Mysterious Gift On the 20th of January the Director's Office received a very much appreciated con­ tribution which came in the form of a Shawmut Bank cashier's check. It arrived in one of our remittance enveolpes, but unfortunately lacked any indication of the gen­ erous donor's name. We do, of course, respect any donor's request for anonymity, but we would like to thank this particular contributor, and if he or she is so inclined we'd like to ask them to contact the Director's Office. However, if complete anonymity is desired, please accept our grateful thanks here for your thoughtful gift.

I've Written a Letter .. . There are five new postcards and a new notecard available at the circulation desk on the first floor. Four of the postcards reproduce pages from illustrated books in­ cluded in the exhibition "50 Books": a crimson morocco binding by Henry Bilson Legge for George Washington's own copy of his collected speeches from his library at Mt. Vernon, a sheet of butterflies from a mid-eighteenth century Dutch book illustrated by Pieter Cramer, a watercolor of scarlet tanagers by John James Au­ dubon, and two pages from a scrapbook compiled in the nineteenth century by 4 ~ James Hunnewell, which has also been reproduced as a notecard. The fifth postcard reproduces a witty photograph by Diane Asseo Griliches of the scrolls at the feet of the plaster "Lateran" Sophocles beside a stack of modern magazines, which comes from the series The Drama Within: Libraries and Their Inhabitants.

Among My Souvenirs The exhibition of "Body Parts" which recently took place in the Reading Room on the first floor set its curator musing about other bits and pieces of things in the collection which are best described as "objects of curiosity," or eccentric souvenirs. The Athenreum has acquired its share of such things over the years, and Michael Wentworth has gathered some of them together in the Reading Room cases for a display guaranteed to dazzle even the most jaded gallery goer. Here, a piece of the floating battery at Fort Sumter, a chunk of the USS Kearsage, and a piece of the first transatlantic cable. There, a scrap of Pizzaro's flag from the conquest of Peru, George Washington's spur, and Mrs. McKinley's dancing shoes. And, as the auction­ eers say, much, much more. Only a piece of Dante's tomb, sent from Italy by a mem­ ber of the Perkins family in the nineteenth century, is missing-having surely long since, alas, been confused with an ordinary piece of marble and consigned to the rock pile. A correction to the January I terns article about "Body Parts": Homer, or at least the Curator of Painting and Sculpture, nodded while writing this article and, thinking Powers, wrote Greenough instead, referring to Hiram Powers' sculpture of his daughter Loulie's hand praised by Hawthorne in The Marble Faun. To set the record straight, Loulie was-as Hawthorne correctly states-the daughter of Hiram Powers, not his distinguished contemporary Horatio Greenough, and the greatly admired hand now in the Fogg Museum is by her father.

In the Gallery Members Show Response to the call for works of art on paper and decorative arts for the Athenreum Members show ( 19 May-15 July) was enthusiastic, and readers will want to make sure to visit the Gallery to admire the variety and skill of the work exhibited by their fellow members.

Upcoming Exhibitions and Events

17 May Tuesday Edward Lamont will speak about his grandfather, Thomas Lamont, former CEO of J.P. Morgan, and sign copies of his new biography, Thomas Lamont: The Ambassador From Wall Street. 6:00p.m. ~5 19 May Thursday Opening reception for Members Show, 5:30-7:30 p.m. 23 June Thursday Susan Wilson will give an illustrated talk about her new book, Boston: Sites and Insights, and afterward sign copies of this publication. 6: 00 p. m.

aThe World is Full of Strangers" We are reminded of Florine Stettheimer on the occasion of a major retrospective of her work at the Whitney Museum, which will open in August 1995. Her oil paint­ ing Morning, a gift to the Athenreum in 19 55 from Miss Henrietta Stettheimer, the artist's sister, has been invited to be part of this exhibition; Morning was in Florine Stettheimer's only one-man show, at the Knoedler Gallery in New York in 1916, and has long been in residence on the wall of the ladies' lounge on the first floor. Curator of Painting and Sculpture Michael Wentworth offers his ruminations about this bizarre wielder of the brush, whose life was as much of an artistic showpiece as her painting.

The First World War brought the avant-garde to America as artists fled con­ flagration in Europe. It also brought any number of disgruntled expatriates home to the nest. A decade of leisurely travel came to an end for Rosetta Walter Stettheimer and her five children in 1914 when they sailed for New York, only slightly in advance of the outbreak of hostilities. The Stettheimers came from Rochester, but had no intention of returning, since an unfortunate domestic scandal had shattered the high teutonic respectability of family life and it was felt necessary to make a fresh start where they were less locally prominent. The scandal was this: Joseph Stettheimer­ husband, father, and pillar of the banking community-had disappeared, for parts, and reasons, unknown. No one would have been tactless enough to mention his dis­ appearance, and so the only tangible result of the sudden void was his wife's decision to dress henceforth in black and seek the comfort of anonymity in a string of fashion­ able European pensions and hotels. The Walters and the Stettheimers came from the impeccably correct fringes of the German-Jewish banking aristocracy, with an abundance of cousins named Warburg, Seligman, and Lewisohn, so Rosetta had plenty of the best financial advice, and whatever upheaval Joseph's sudden depar­ ture may have caused emotionally, no inconvenient aftershock was ever felt at her banker's. Rosetta's oldest daughter, Stella, and only son, Walter, would both marry-a means of escape more socially acceptable than Joseph's, but perhaps equally resented­ leaving Carrie, Florine, and Ettie, the lifelong companions of Rosetta's disappoint­ ment, made tactfully, but firmly, aware that mother must never feel deserted again. They took turns on duty like ladies-in-waiting or practical nurses, while Rosetta, delicate, vague, and indomitable, played back-to-hack games of solitaire. It was only when she died in 1935 that the sisters dispersed to find homes of their own, Florine in 6 ~ the Beaux-Arts Studios opposite Bryant Park, Carrie and Ettie in separate apart­ ments at the Dorset House. Back in New York, the Stettheimers first took a house in 76th Street which Ettie described as having all the distinction of a "second class waiting room." She knew what she was talking about when it came to domestics and domiciles, and it was exchanged for the more suitable venue of a smart new flat in the Alwyn Court at 182 West 58th Street. New York was still breathless with excitement about the Armory Show, "strange artists," as Henry McBride described them to Gertrude Stein, "from all over" arrived almost daily, and fashionable new apartment buildings were de­ signed to make Blois or the Alhambra look a trifle squalid. When the Stettheimers took up residence in the Alwyn Court, it bristled with enough self-confidently regal salamanders, crowns, cupids, and fleur-de-lis to satisfy even the most fastidious of New Yorkers. Their flat began as a Louis XVI concoction with taffeta curtains cas­ cading down the windows to pool on the floor, strangely shaped rococo furniture of more or less new lacquer, and crystal chandeliers which hovered close to the ceilings in the manner of the time. Italy prevailed in the dining room, where the massive silver, gilt crystal goblets, and crimson damask shaded by lace altar cloths set the tone for meals that lay well at the heavy end of haute cuisine. More than one guest is said to have confused the first course with the entire meal, but the Stettheimer ladies, natu­ rally, ate like birds. It might have been thoroughly awful but for the fact that it was all a carefully contrived take off on the German royal style of their European years. As it was rapidly diluted with the addition of the three sisters' do-it-yourself proj­ ects-Florine's family portraits, tinsel fringes, cellophane flowers, and beaded crys­ tal lamp shades-it quickly left Berlin and Potsdam, and indeed every other known point of art historical reference, far behind. Buttressed by a flock of impeccably trained German maids, Carrie took over the household, passing her leisure time with the creation of a doll house which would ultimately contain objects as desirable as a copy by Duchamp of his Nude Descending a Staircase (it is now in the Museum of the City of New York and is a masterpiece in its genre). She was forty-three when they returned and the most fashionable of the sisters, modeling her style on a supposed resemblance to Queen Mary that was played up with pearl dog collars, aigrettes, and tiaras. Florine was forty-one and already a painter. She had shown an adolescent interest in art, and as the family drifted from one city to another, she was trained by masters in Berlin, Stuttgart, and Munich- the Stettheimers clung to their German roots-and acquired a certain dex­ terity in fabricating pictures in the manner of Sargent. It was a skill she would banish in her later work: ultimately she would simply invent herself as a painter, self-taught, for all her teaching. She also wrote poems in the manner of a modern Emily Dickin­ son who was dressed by Bendel's, and favored white frocks to which she "did things" with the help of a little seamstress. The result of this artifice was a powdery, delicate look that was generally found delightful. Cecil Beaton, who wanted to photograph her but somehow never did, described her as looking like "a moth that had eaten a gold ~ 7 scarf," and allusions to butterflies predominate in most descriptions of her. Ettie was thirty-nine and her signature color was red-it appeared in capes and feathers and an occasional wig-and she liked to have fun. She wrote novels and was the intellectual heavyweight of the family, with a doctoral degree on the philosophy of William J an1es from the University of Freiburg. Once the roles had been distributed, they took on an air of timelessness. Carrie was regal and chic, planned the menus, and acted as official hostess; Florine wafted and drifted as gracefully as the winged creature she invented and called a "flutterby," while Ettie, once described as entering a room like a gypsy with a tambourine, kept the conversation going. Together, they assembled what is surely the most improb­ able salon of the twentieth century, and Florine, at least, would find an unlikely fame as one of the great naive painters of the century. With the eternal cosseting of Rosetta and the maintenance of the strictest standards of comfort, the Stettheimer salon remained as carefully regulated as a German court at a time when Germany was the world headquarters of etiquette, and, like a German court, it was unchanging in its rituals. It survived as it had started for two decades. However intimate or exclusive, a great formality was always exercised, and even when the sisters became "Ettie" or "Carrie" or "Florine," the aura of a "Miss" con­ tinued to hover about their names. Virgil Thompson described them as having been preserved like royalty in the eternal middle distance of ritual, but in a household composed entirely of women, the tone was as much cloistral as it was regal. The pitched battles of modernism were fought elsewhere, and artistic lions were never vulgarly lionized at the Alwyn Court. Gaston Lachaise, Georgia O'Keeffe, Elie Nadelman, Alfred Steiglitz, Edward Steichen, and Marcel Duchamp were treated with no less exquisite courtesy as they grew famous. The bolder element of Green­ wich Village was discouraged, and opportunities were sometimes regretfully but firmly declined-the "Stetties," as they were called by their friends, thought better of receiving Isadora Duncan, whose ravenous ego might well have taxed the resources of the Alwyn Court. Even for the happy few, taboos lay thick on the ground. Carrie might hint at a royal lack of amusement, and Florine would change the subject or simply disappear when anything she considered inappropriate came up, although Ettie was made of sterner stuff and occasionally demurred, once abruptly counter­ ing an attempt to shield the sisters from a bit of racy gossip with a pithy, "we may be virgins, but we know the facts of life." They were more than that. Eagerly curious, spontaneously kind, and exquisitely brought up, they were worlds beyond pretense or affectation, and if they gave the impression of fantasy or a kind of child-like self creation, it was simply the real thing. The household, with its teas and tete-a-tetes, and dinners composed of specialites like feather soup and oyster salad, was the Versailles of the avant-garde. It was per­ fectly real, and perfectly natural on its own terms, but like the reality of Versailles, it was easy to think of as never-never land, and it often created a heady suspension of belief close up. 8~ If Florine Stettheimer was an original-a position in which she delighted, but one that required a good deal of effort-she was also a "serious" painter, although she didn't quite like the professionalism of it bandied about. Not everyone who fancies themselves an original or an artist is necessarily either, but Florine was both. Her works were never a commercial proposition because of the conditions she put upon their exhibition and sale, but she nonetheless wanted them taken seriously. She said she liked her pictures and preferred to keep them safe at home where they could not be sold: "Suppose it were to hang in the bedroom of some man!" she murmured in horror as she contemplated a near disaster when a collector had been a bit too en­ thusiastic and nearly succeeded in acquiring a painting. The only exhibition of her work held during her lifetime took place at Knoedler and Co. in October, 1916. She had transformed the gallery into a copy of her bed­ room at the Alwyn Court, much to the conventional dealer's astonishment, hanging a picture beneath a canopy like the one over her bed, and insured the safety of her work by pricing it far beyond any remotely realistic expectation. Neither her tinsel-and­ lace decorations nor her feminine canvases were in step with taste in New York in the Ash Can-Armory Show era, and the exhibition passed without notice. Dis­ appointed, despite her seeming nonchalance, she confided to her diary, "Only one person asked to see the price list," and noted the close of the exhibition with the thud of a leaden, "Sold nothing." One of the pictures she exhibited was called Morning, and is now sometimes called White Curtains. It belongs to the Athenreum and is one of the most luxurious and de­ lightful of her flower pieces. At Knoedler's in 1916, the picture included a portrait of Marie Sterner, a friend whose husband had arranged the exhibition, but she is now gone, painted out after an unhappy parting of the ways, although it is still possible to see her figure at the right beneath the Prussian blue background and a white "flut­ terby." It is, to put it mildly, an extraordinary picture. Its technique, which is that of a gifted amateur or a talented child, is entirely personal. Her touch is casual, some­ times almost absent minded, and retains a bland empiricism throughout. Without system, she never reaches a degree of artistic integration that could be described as style, although whatever it is she does becomes an absolutely commanding vehicle of expression in her hands. Like all her pictures, Florine's Morning begins and ends as light that emanates from a crusty white pigment scrubbed and stained with color rather in the manner of a dry fresco. The transparency and lightness of cellophane and lace may have been the material of choice for her interiors, but when it came to her work, paint was put on the canvas like plaster, or perhaps icing, with a trowel. Bits were added in putty and gilded. Her canvases, which are often quite large, can weigh a proverbial ton. Relief comes before color in her work, but when color arrives, she can't be called timid. Primaries straight out of the tube jostle day-glow pastels in daft homage to the Russian ballets she had admired in Paris. Yell ow lawns and red trees suggest she took a long look at Gauguin, and in her diaries mentions a tanned bather at a resort ~ 9 as seeming "created" by him. In the end, her waywardly zany bouquets tip the paint box into the flower bed with an abandon that is infectious enough to silence the in­ tellectual games of art historical comparison. Still, few artists can claim to have been compared, with a straight face and a grain of truth, to artists as unlike as Bosch and Watteau (for the design of her figures and the creation of a private aristocratic world). Her flower pieces have been likened to Chinese painting and Persian miniatures, and, most often, to Redon- and each com­ parison is accurate enough to be suggestive, if not entirely useful. They have also been described with accuracy as "heraldic," and the curtains in a work like Morning have been likened to the canopy of a throne or the altar of a church. In his evocative, if maddening, biography of the artist, Parker Tyler takes what is surely the proper line about her work, suggesting that in the end influences and iconography were a matter of subconscious association rather than the product of any consistent intellectual program. In other words, her art was as ingrained and as natural as her manners and her tact. Gifted, as well as gilded, she was thought of by many as an amateur whose affinity with other artists was as much personal as professional, and it would never have oc­ curred to her to labor the point with too much shop talk. Duchamp, and many others, could not remember her ever talking about art- indeed, only Tchelitchcw could­ and in her studio her pictures were often veiled on their easels. As with royalty, one did not initiate conversation about them, much less peek: they remained invisible until Florine broached the subject. Her views on art were remarkable, considering the company she kept, and the pictures she produced. Pressed to name an artist she admired, she thought a long time and said, "Van Dyck-a little," then reconsidered and said, "Maybe it was Franz Hals." It hardly mattered- her admiration extended only as far as the lace collars and cuffs. Looking at a Cubist Picasso, the color of which was no brighter than her own, her thoughts reverted to the dressmaker: "what could you use this for but a sports suit?" And with a categorical enormity that has, perhaps, something true in its hyperbole, she called Matisse "the Bouguereau of the twentieth century." Her great moment of fame came in 1934 with the commission to design Virgil Thompson and Gertrude Stein's Four Saints in Three Acts at the Wadsworth Athen­ reum in Hartford. She pulled out all the stops, transferring the cellophane and lace of her boudoir to the stage, and it was a triumph-a triumph marred only by the su­ premely taxing moment when this most retiring of artists was called on stage at the end of the performance, and in her confusion forgot the long white gloves she was to wear-an oversight which her sisters, neither of whom would deprive the other and had both remained at home with Rosetta, later found "inelegant." Of the great night, Florine herself recorded only that "it was frightfully cold and my radiator made a noise." Four Saints was the high point of her public life, and it had no sequel. Florine re­ turned to private life and her luxuriously fey existence, working in her Beaux-Arts 10 ~ studio and having pale-colored meals sent in from local restaurants. When she died in 1944, followed a short time later by Carrie, it \Vas left to Ettie to wind up the sisters' affairs. She carefully excised all materials about the family from Florine's diaries with a razor blade, giving them in their mutilated but still enchanting state to Yale University. In 1946, the Museum of Modern Art mounted a retrospective ex­ hibition with a catalogue by her friend Henry McBride, bringing her work to the at­ tention of a wider, and increasingly appreciative, public. Florine's original will had specified that she rest in a mausoleum with her entire oeuvre. She later modified it, but-still smarting from that "sold nothing" at Knoedlers' in 1916-was specific in her direction that while her pictures could be sold, they could not be given away. Ettie wisely ignored her request, giving sixty-five paintings to Columbia University and thirty-seven others to various museums and institutions, with Morning coming to the Athenreum in 1955. Frail and in failing health, Ettie waited four years for the right October weather before she set off in a small boat on the Hudson River with her attorney to scatter Florine's ashes in a glistening ribbon on the swift current. It was, as she well knew, the date Florine's exhibition had opened at Knoedler's thirty-two years earlier, and Ettie, style bred in the bone, had packed sandwiches to make a little holiday of the occasion.

Is it possible we have all survived this snowiest of winters to at last consider read­ ing under a spreading chestnut tree while the grass grows up around us? Here, for summer recuperation, is a balm made up of

NEW BOOKS OF INTEREST SELECTED FROM THE FULL LIST OF ACCESSIONS

Art and Architecture ARGAN, GIULJO CARLO. Michelangelo Archi­ DALBY, LIZA CRniFIELD. Kimono: Fashioning tect. Culture. BAETJER, KATHERINE. Glorious Nature: British DER NERSESSIAN, SIRARPIE. Miniature Paint­ Landscape Painting, 1750-1850. ing in the Armenian Kingdom of Cilicia from BALL, THOMAS. My Fourscore Years: Autobi­ the Twelfth to the Fourteenth Century. ography. DIETRICH, DoROTHEA. The Collages of Kurt BERGERET-GOURBIN, ANNE-MARIE. Paul Hel­ Schwitters. leu, 1859-1927. EAKINS, THOMAS. Thomas Eakins and the BRESLIN, JAMES E. B. Mark Rothko: A Biog­ Heart of American Life. raphy. THE FORSYTH WICKES COLLECTION IN CHICAGO ARCHITECTURE AND DESIGN, THE MUSEUM OF FINE ARTS, BOSTON. 1923-1993. FREUND, THATCHER. Objects of Desire: The COLE, BRUCE. Giotto: The Scrovegni Chapel, Lives of Antiques and Those who Pursue Them. Padua. FROM LEONARDO TO REMBRANDT: COX-REARICK, JANET. Bronzino's Chapel of DRAWINGS FROM THE ROYAL LIBRARY Eleonora in the Palazzo Vecchio. OF TURIN. DAKERS, CAROLINE. Clouds: The Biography of GERE, CHARLOliE. Nineteenth-Century Design: a Country House. from Pugin to Mackintosh. ~ 11 A GIFT TO AMERICA: MASTERPIECES OF THE OXFORD ILLUSTRATED HISTORY OF EUROPEAN PAINTING FROM THE SAM­ CLASSICAL ART. UEL H. KRESS COLLECTION. POESCHKE, JoACHIM. Donatello and His HAHL-KOCH, JELENA. Kandinsky. World: Sculpture of the Italian Renaissance. HELLIER, CHRIS. Splendors of Istanbul: Houses QUINEY, ANTHONY. Kent Houses. and Palaces along the Bosporus. RIEMAN, TIMOTHY D. The Complete Book of HOCKNEY, DAVID. That's the Way I See It. Shaker Furniture. HUMFREY, PETER. The Altarpiece in Renais­ SCHAAF, LARRY J. Out of the Shadows: Her­ sance Venice. schel, Talbot & the Invention of Photography. JACOBS, ALLAN B. Great Streets. SEVERENS, .MARTHA R. Alice R avenel Huger JACOFF, MICHAEL. The Horses of San Marco Smith: An Artist, a Place and a Time. & The Quadriga of the Lord. SOTHEBY'S CONCISE ENCYCLOPEDIA OF JACOPO BASSANO, C. 1510-1592. SILVER. KINMONTH, CLAUDIA. Irish Country Furniture, STORRER, WILLIAM ALLIN. The Frank Lloyd 1700-1950. Wright Companion. KIRACOFE, RoDERICK. The American Quilt. STRONG, RoY C. Royal Gardens. KULTERMANN, UDo. The History of Art His­ SUTTON, PETER C. The Age of Rubens. tory. TURNER, RICHARD. Inventing Leonardo. LADIS, ANDREW. The Brancacci Chapel, Flor­ WELTGE-WORTMANN, SIGRID. Women's ence. Work: Textile Art from the Bauhaus. LE,MMEN, HANS VAN. Tiles: 1000 Years of Ar­ WILLIS-THOMAS, DEBORAH. VandDerZee, Pho­ chitectural Decoration. tographer, 1886-1983. MANN, SALLY. Immediate Family. WILTON-ELY, JoHN. Piranesi as Architect and MATHEWS, NANCY MoWLL. Mary Cassatt: A Designer. Life. WOOD, JoHN. The Art of the Autochrome: The MEYEROWITZ, JoEL. Bay/ Sky. Birth of Color Photography. MORA, GILLES. Walker Evans: The Hungry YEOMANS, DAVID T. The Trussed Roof: Its Eye. History and Development.

Belles Lettres, Poetry, and Criticism

ALCOTT, LoUISA MAY. From Jo March's Attic: HERBERT, RosEMARY. The Fatal Art of Enter­ Stories of Intrigue and Suspense. tainment: Interviews with Mystery Writers. AMIS, MARTIN. Visiting Mrs. Nabokov and JOLLY, RosLYN. Henry James: History, Nar­ other Excursions. rative, Fiction. THE ART OF THE PERSONAL ESSAY: AN KNOX, BERNARD MACGREGOR WALKER. Backing ANTHOLOGY FRO.M THE CLASSICAL ERA into the Future: The Classical Tradition and its TO THE PRESENT. Renewal. BUCKLEY, WILLIAM F. Happy Days Were OVID. The Metamorphoses. Here Again: Reflections of a Libertarian Jour­ PINKER, STEVEN. The Language Instinct. nalist. SAUNDERS, CoRINNE J. The Forest of Medi- CASTLE, TERRY. The Apparitional Lesbian: Fe­ eval Romance: Avernus, Broceliande, Arden. male Homosexuality and Modern Culture. SULTANA, DoNALD. From Abbotsford to Paris CHATWIN, BRUCE. Far Journeys: Photographs and Back: Sir Walter Scott's Journey of 1815. and Notebooks. VAN ANGLEN, KEviN P. The New England EMPSON, WILLIAM. William Empson: Essays Milton: Literary Reception and Cultural Au­ on Renaissance Literature. thority in the Early Republic. GLADDING, JoDY. Stone Crop. WILLIAMSON, JoEL. William Faulkner and Southern History.

Biography ARNETT, PETER. Live from the Battlefield: From ASTOR, BROOKE. Patchwork Child: Early Mem- Vietnam to Baghdad: 35 Years in the World's ones.• War Zones. 12 ~ AXSON, STOCKTON. "Brother Woodrow": A KESTING, JURGEN. Maria Callas. Memoir of Woodrow Wilson. KNIGHT, AMY W. Beria, Stalin's First Lieu­ BAKER, Jr:AN-CLAUDE. Josephine: The Hun­ tenant. gry Heart. KNIGHT, DAVID M. Humphry Davy: Science & BEAUMAN, NICOLA. E. M. Forster: A Biog­ Power. raphy. KROEGER, BROOKE. Nellie Bly, Daredevil, Re­ BERGMAN, INGMAR. Images: My Life in Film. porter, Feminist. BISHOP, TIM. One Young Soldier: The Mem­ LAMONT, EDWARD M. The Ambassador from oirs of a Cavalryman. Wall Street: The Story of Thomas W. Lamont, BLACKBURN, ABNER. Frontiersman: Abner J .P. Morgan's Chief Executive. Blackburn's Narrative. LEEMING, DAVID ADAMS. James Baldwin. BOGARDE, DIRK. A Short Walk from Harrods. THE LEGACY OF JAMES BOWDOIN III. BRANDT, CLARE. The Man in the Mirror: A LESHER, STEPHAN. George Wallace: American Life of Benedict Arnold. Populist. BROWN, LARRY. On Fire. LEVI, PETER. Tennyson. BROWNE, MALCOLM W. Muddy Boots and Red LEVINE, MIRIAM. Devotion: A Memoir. Socks: A Reporter's Life. LEVINE, PHILIP. The Bread of Time: Toward BROYARD, ANATOLE. Kafka was the Rage: A an Autobiography. Greenwich Village Memoir. LEWIS, DAVID L. W. E. B. DuBois- Biography CHARMLEY, JOHN. Churchill, the End of of a Race. Glory: A Political Biography. MABEE, CARLETON. Sojourner Truth-Slave, DUBcEK, ALEXANDER. Hope Dies Last: The Prophet, Legend. Autobiography of Alexander Dubcek. McCALL, NATHAN. Makes Me Wanna Holler: FRANEY, PIERRE. A Chef's Tale: A Memoir of A Young Black Man in America. Food, France, and America. MERRILL, JAMES INGRAM. A Different Person: GAINES, CHARLES. A Family Place: A Man Re­ A Memoir. turns to the Center of His Life. NEWSOME, DAVID. The Convert Cardinals: GOODMAN, ARNOLD ABRAHAM. Tell Them I'm John Henry Newman and Henry Edward Man- on My Way. n1ng.• GRAY, FRANCINE DU PLESS IX. Rage and Fire: A PATTON, RoBERT H. The Pattons: A Personal Life of Louise Colet, Pioneer Feminist, Literary History of an American Family. Star, Flaubert's Muse. PAVLOWITCH, STEVAN K. Tito-Yugoslavia's GRUMBACH, DoRIS. Extra Innings: A Mem- Great Dictator: A Reassessment. Otr.• PETERS, CATHERINE. The King of Inventors: A HAIZLIP, SHIRLEE TAYLOR. The Sweeter the Life of Wilkie Collins. Juice. REUTH, RALF GEoRG. Goebbels. HAMILL, PETE. A Drinking Life: A Memoir. ROBINSON, HARLOW. The Last Impresario: HAN, SUYIN. Eldest Son: Zhou Enlai and the The Life, Times, and Legacy of Sol Hurok. Making of Modern China, 1898-1976. SEDGWICK, CATHERINE MARIA. The Power of HARSCH, JoSEPH C. At the Hinge of History: Her Sympathy: The Autobiography and Journal A Reporter's Story. of Catharine Maria Sedgwick. HEDRICK, JoAN D. Harriet Beecher Stowe: A SHANNON, KATE WINNIFRED. A Victorian Life. Lady's Album: Kate Shannon's Halifax and HERSHBERG, JAMES. James Conant and the Boston Diary of 1892. Birth of the Nuclear Age. TRIMBLE, WILLIAM F. Admiral William A. HUYNH, JADE Nooc QUANG. South Wind Moffett, Architect of Naval Aviation. Changing. WARE, SusAN. Still Missing: Amelia Earhart JAMES, PAUL. Prince Edward: A Life in the and the Search for Modern Feminism. Spotlight. WHISTLER, THERESA. Imagination of the Heart: KAPLAN, ALicE YAEGER. French Lessons: A The Life of Walter de la Mare. Memoir. WHITE, EDMUND. Genet: A Biography. KEENE, DoNALD. On Familiar Terms: A Jour­ WHITE, G. EDWARD. Justice Oliver Wendell ney across Cultures. Holmes: Law and the Inner Self. KERSHAW, GoRDON E. James Bowdoin II: Pa­ WITNESS FOR FREEDOM: AFRICAN AMER­ triot and Man of the Enlightenment. ICAN VOICES ON RACE, SLAVERY, AND EMANCIPATION. 13 Children's Books ABERCROMBIE, BARBARA. Michael and the MARY, MARGARET. A Busy Day for a Good Cats. Grandmother. ADLER, DAVID A. A Picture Book of Robert MARK, JAN. Fun with Mrs. Thumb. E. Lee. McDERMOTT, GERALD. Raven: A Trickster ADLER, DAVID A. A Picture Book of Sojourner Tale from the Pacific Northwest. Truth. MITCHELL, BARBARA. Down Buttermilk Lane. ANDERSEN, H. C. Hans Christian Andersen's MITCHELL, MARGAREE KINo. Uncle Jed's Bar­ The Snow Queen. bershop. ARAUJO, FRANK P. Nekane, the Lamina & the MURPHY, JIM. Across America on an Emigrant Bear: A Tale of the Basque Pyrenees. Train. AXWORTHY, ANN. Anni's Diary of France. MYERS, WALTER DEAN. Malcolm X: By Any BABBITT, NATALIE. Bub, or The Very Best Means Necessary. Thing. NICHOL, BARBARA. Beethoven Lives Upstairs. BARTONE, ELISA. Peppe the Lamplighter. RASCHK.A, CHRISTOPHER. Yo! Yes? BLAKE, RoBERT J. Dog. R YLANT, CYNTHIA. Henry and Mudge and the BOULTON, JANE. Only Opal: The Diary of a Careful Cousin. Young Girl. SAY, ALLEN. Grandfather's Journey. BRUNHOFF, LAURENT DE. The Rescue of SENDAK, MAURICE. We are all in the Dumps Babar. with Jack and Guy. BRUTSCHY, JENNIFER. Celeste and Crabapple SHELDON, DYAN. Love, Your Bear, Pete. Sam. SILYERMAN, ERICA. Mrs. Peachtree and the BUSH, TIMOTHY. James in the House of Aunt Eighth A venue Cat. Prudence. SOUL LOOKS BACK IN WONDER. CONLY, JANE LESLIE. Crazy Lady! SPEAK!: CHILDREN'S BOOK ILLUSTRA­ COWEN-FLETCHER, JANE. It Takes a Village. TORS BRAG ABOUT THEIR DOGS. DIAZ, JoRGE. The Rebellious Alphabet. STANLEY, DIANE. The Gentleman and the DOUGLASS, FREDERICK. Escape from Slavery: Kitchen Maid. The Boyhood of Frederick Douglass in His Own THOMAS, JoYcE CAROL. Brown Honey in Words. Broomwheat Tea: Poems. FREEDMAN, RusSELL. Eleanor Roosevelt: A TUSA, TRlCIA. Family Reunion. Life of Discovery. VIORST, JUDITH. The Alphabet from Z to A: JOHNSON, ANGELA. Toning the Sweep. (with Much Confusion on the Way). KOMAIKO, LEAH. Great Aunt Ida and Her W AAS, ULI. Where's Molly? Great Dane, Doc. WILLARD, NANCY. The Sorcerer's Apprentice. LONDON, JoNATHAN. The Eyes of Gray Wolf. YOUNG, Eo. .Moon Mother: A Native Ameri- LOWRY, LoiS. The Giver. can Creation Tale. LUCAS, BARBARA M. Snowed ln. YOUNG, ReNDER THOMAS. Learning by Heart.

Fiction ACHEBE, CHINUA. Things Fall Apart. BUTLER, RoBERT OLEN. They Whisper. AIKATH-GYALTSEN, INDRANI. Crane's Morn- CHUTE, CAROLYN. Merry Men. 1ng.• COLLINS, WARWICK. The Rationalist. AMADO, JoRGE. The War of the Saints. CRICHTON, MICHAEL. Disclosure. AMIS, KINGSLEY. Mr. Barrett's Secret and D'ADESKY, ANNE CHRISTINE. Under the Bone. other Stories. DOYLE, RoooY. Paddy Clarke Ha-Ha-Ha. ATWOOD, MARGARET. The Robber Bride. FAULKS, SEBASTIAN. Birdsong. AUCHINCLOSS, Louis. Tales of Yesteryear. GADDIS, WILLIAM. A Frolic of His Own. BANVILLE, JOHN. Ghosts. GUPTA, SUNETRA. The Glassblower's Breath. BECKWITH, LILLIAN. An Island Apart. HEGI, URSULA. Stones from the River. BENITEZ, SANDRA. A Place where the Sea Re- HERMAN, GEoRGE. Carnival of Saints. members. HERSEY, JOHN. Key West Tales. BERGMAN, INGMAR. Sunday's Children. HILL, SusAN. Mrs. de Winter. 14 ~ HOFFMAN, ALICE. Second Nature. MUKHERJEE, BHARA TI. The Holder of the HOWARD, ELIZABETH JANE. Confusion. World. HRABAL, BoHUM1L. The Little Town Where PARKS, TIM. Shear. Time Stood Still; and, Cutting it Short. PATON WALSH, JILL. Knowledge of Angels. KERCHEVAL, JESSE LEE. The Museum of PHILLIPS, CARYL. Crossing the River. Happiness. QUINN, PETER . . Banished Children of Eve. LEE, Gus. Honor & Duty. SHADBOLT, MAURICE. The House of Strife. LOMBREGLIA, RALPH. Make Me Work. SHEPARD, JIM. Kiss of the Wolf. MAHFUZ, NAJm. The Harafish. STIRLING, JESSICA. Shadows on the Shore. MAITLAND, SARA. Ancestral Truths. WELDON, FAY. Trouble. MARSH, JEAN. The House of Eliott. WILSON, A. N. The Vicar of Sorrows. MASTERS, OLGA. Loving Daughters. WINDLE, JANICE Wooos. True Women. McCULLOUGH, CoLLEEN. Fortune's Favorites. WOODHOUSE, SARAH. Enchanted Ground. MOORE, SuSANNA. Sleeping Beauties.

Mysteries and Thrillers BEATON, M .C. Death of a Travelling Man. HALL, JIM. Mean High Tide. BELL, PAULINE. The Dead Do Not Praise. HEBDEN, MARK. Pel and the Sepulchre Job. BRAUN, LILIAN JACKSON. The Cat Who Came LEWIS, RoY. Bloodeagle. to Breakfast. LINSCOTT, GILLIAN. Stage Fright. CONDON, RICHARD. Prizzi's Money. MAcLEOD, CHARLOTTE. Something in the Water. COOK, THOMAS H. Mortal Memory. MEIER, LESLIE. Tippy Toe Murder. DAVIDSON, DIANE Morr. The Cereal Murders. NEEL, JANET. Death among the Dons. DAVIS, LINDSEY. The Iron Hand of Mars. RANICIN, IAN. Strip Jack. DUNNING, JoHN. Booked to Die. ROBINSON, PETER. Wednesday's Child. GILBERT, MICHAEL FRANCIS. Roller-Coaster. SHERWOOD, JOHN. Creeping Jenny. GIRARD, JAMES PRESTON. The Late Man. TAIBO, PAco IGNACIO. No Happy Ending. GRANGER, ANN. Murder Among Us.

History

APPLEBY, JoYcE OLDHAM. Telling the Truth FILIPOVIC, ZLATA. Zlata's Diary: A Child's about History. Life in Sarajevo. BERN, NOEL. Lindbergh: The Crime. FISCHER, DAVID HACKETT. Paul Revere's Ride. BELL, J. BowYER. The Irish Troubles: A Gen­ FORBES, EDWIN. Thirty Years After: An Ar­ eration of Violence, 1967-1992. tist's Memoir of the Civil War. BERENDT, JoHN. Midnight in the Garden of GEORGIANNA, DANIEL. The Strike of '28. Good and Evil: A Savannah Story. GILBERT, JAMES BURKHART. Perfect Cities: BRANDS, H. W. The Devil We Knew: Ameri­ Chicago's Utopias of 1893. cans and the Cold War. GUILLERMOPRIETO, ALMA. The Heart That BRAUDEL, FERNAND. A History of Civilizations. Bleeds: Latin America Now. COFFIN, HowARD. Full Duty: Vermonters in the HAMM, MICHAEL F. Kiev: A Portrait, 1800- Civil War. 1917. CURTIS, EDWARDS. Native Nations: First Ameri­ HAMPTON, BRUCE. Children of Grace: The Nez cans as seen by Edward S. Curtis. Perce War of 1877. DEIGHTON, LEN. Blood, Tears and Folly: An HARVEY, P. D. A. Maps in Tudor England. Objective Look at World War II. HIMMELFARB, GERTRUDE. On Looking into the EISENHOWER, JOHN S. D. Intervention!: The Abyss: Untimely Thoughts on Culture and So­ United States and the Mexican Revolution, ciety. 1913-1917. JOHNSON, HAYNES BoNNER. Divided We Fall: FARRELL, BETTY. Elite Families: Class and Gambling with History in the Nineties. Power in Nineteenth-Century Boston. KENWAY, RITA JoHNSON. Gotts Island, Maine: Its People, 1880-1992. ~ 15 LANGGUTII, A. J. A Noise of War: Caesar, O,TOOLE, JOHN M. Tornado! 84 \tfinutes, 94 Pompey, Octavian, and the Struggle for Rome. Lives. LINCOLN, W. BRUCE. The Conquest of a Con­ PFIFFNER, JAMES P. The Modem Presidency. tinent: Siberia and the Russians. RIASANOVSKY, NICHOLAS VALENTINE. A His­ LINDSAY, FRANKLIN. Beacons in the Night: tory of Russia. With the OSS and Tito's Partisans in Wartime ROEDER, GEORGE H. The Censored War: Yugoslavia. American Visual Experience during World War MANSFIELD, HowARD. In the Memory House. Two. McLOUGHLIN, WILLIAM GERALD. Mter the ROSS, JAMES R. Escape to Shanghai: A Jewish Trail of Tears: The Cherokees' Struggle for Sov­ Community in China. ereignty, 1839-1880. ROY, JAMES CHARLES. Islands of Storm. McPHEE, PETER. A Social History of France RUBY, RoBERT H. Indian Slavery in the Pa­ 1780-1880. cific Northwest. THE NATIVE AMERICANS: AN ILLUS­ THOMAS, HUGH. Conquest: Montezuma, Cortes, TRATED HISTORY. and the Fall of Old Mexico. NICHOLSON, HELEN. Templars, Hospitallers, THOROLD, HENRY. Collins Guide to the Ruined and Teutonic Knights: Images of the Military Abbeys of England, Wales and Scotland. Orders, 1128-1291. WILSON, A. N. The Rise and Fall of the House O'CONNOR, V. C. The Silken East: A Record of Windsor. of Life & Travel in Burma.

Music

GERSHWIN, IRA. The Complete Lyrics. Traveling Opera Troupes in the United States, LANDON, H. C. RoBBINS. Vivaldi: Voice of the 1825-60. Baroque. THE PUCCINI COMPANION. PHILLIPS-MATZ, MARY JANE. Verdi: A Bio­ SCHUMANN, RoBERT. The Marriage Diaries of graphy. Robert & Clara Schumann. PRESTON, KATHERINE K. Opera on the Road:

Philosophy, Psychology, and Religion

BIRRELL, ANNE. Chinese Mythology: An In­ O'MALLEY, JoHN W. The First Jesuits. troduction. OZMENT, STEVEN E. Protestants: The Birth of MUENSTERBERGER, WERNER. Collecting: An a Revolution. Unruly Passion: Psychological Perspectives. WERTHEIMER, JACK. A People Divided: Ju­ NULAND, SHERWIN B. How We Die: Reflec­ daism in Contemporary America. tions on Life's Final Chapter.

Social Issues, Education, Government, Law

BAWER, BRUCE. A Place at the Table: The Gay HOCKENOS, PAUL. Free to Hate: The Rise of Individual in American Society. the Right in Post-Communist Eastern Europe. BURROWS, WILLIAM E. Critical Mass: The Dan­ NITZE, PAUL H. Tension Between Opposites: gerous Race for Superweapons in a Fragment­ Reflections on the Practice and Theory of Poli­ ing World. tics. COOPER, GEORGE. Lost Love: A True Story of SCHAAFSMA, DAVID. Eating on the Street: Passion, Murder, and Justice in Old New York. Teaching Literacy in a Multicultural Society. COSE, ELLIS. The Rage of a Privileged Class. SCHWARZ, JORDAN A. The New Dealers: Power GOODWIN, JAN. Price of Honor: Muslim Wo­ Politics in the Age of Roosevelt. men Lift the Veil of Silence on the Islamic WRONG, DENNIS HuME. The Problem of Order: World. What Unites and Divides Society.