DOCSLIB.ORG

Ursus Rare Books

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ursus Rare Books Ursus Rare Books Holiday Miscellany 2020 designs take three to five hours to complete, yet the pen returns microscopically to its starting point. The impoverished heir to these machines is the spirograph. Alabone was a defrocked medico who ran afoul of the anti-quackery and advertising crusaders. His claim to a cure for consumption led to his expulsion, in 1886, from the College of Surgeon and subsequent deregistration by the Medical Council. His effrontery in continuing to run a successful practice (he sported MDs from two suspect American institutions and called himself “ex-MRCS”) culminated in an unsuccessful prosecution by the Medical Council in 1900 which caused a ruckus in medical circles for years. He died in 1913. Presentation page with foxing, else fine. OCLC records only the Cambridge copy of this edition and 5 copies of the 1912 edition, of which none are in the US. (#165755) 1. Edwin ALABONE W. Poly-cyclo-epicycloidal and Other Geometric Curves. 8 ff., one photo plate and 77 colour plates of designs. 8vo., publisher’s gilt decorated cloth. London: privately published, 1910. $ 2750.00 First edition, presentation copy, of which the only copy in OCLC is the copy at Cambridge. A second edition, or a re-issue, appeared in 1912 with a few more designs. It would appear that a fire at the publisher destroyed many copies. The mathematical basis of design is an age-old pursuit and machines for producing geometric curves and forms of varying elaboration have been constructed for centuries. Richard Kerr’s preface to this book lists a number of then-popular machines, some of which “require the exercise of taste .. while others necessitate the application of mathematical calculation as well.” The “greatest, most costly and the most wonderful of all ... is the Epicycloidal Geometric chuck.” Alabone’s machine, illustrated in the photo plate, was made for him by Holtzapffel and was the “acme of perfection” given that some 4. L. BAUDRY DE SAUNIER L’Automobile Théorique et Pratique. Two volumes. 416; 512 pp. Illustrated throughout with wood engravings. 8vo., bound in publisher’s light blue and tan cloth. [Paris]; the Author, 1899- 1900. $ 750.00 Fine copies of these French turn-of-the-century guides to motoring. One volume is dedicated to ‘Voitures a Pétrole’ and the second features ‘Motocycles et Voiturettes’. Each is profusely illustrated with wood engraved technical diagrams and includes many delightful ads for motoring gear at toward the end. (#165758) 2. Richard AVEDON 5. Vincenzo BELLINI In the American West. Norma. Lyric Tragedy in Two Acts. Unpaginated. Contains 100 full page photographs. 270 pp. 8vo., bound in publisher’s green cloth. New Folio, bound in publisher’s cloth. New York: York: G. Schirmer, ca. 1972. Abrams, 1985. $ 500.00 $ 1250.00 Signed by Beverly Sills, James Morris and Signed and dated by Avedon. A catalogue of Antonia (Kitsopoulos). Since these three signed photographs from Avedon’s American West series. this copy, we are assuming this is from a performance This catalogue is an expansion of the exhibition at of Norma given on January 11, 1972 in which these the Amon Carter Museum in Fort Worth, Texas. three all sang. (#162606) (#165688) 3. Ellen BANKS Maple Leaf Rag. By Scott Joplin. 1 leaf text and 4 illustrationson 8 folded leaves. Folio, 345 x 300 mm. Loose as issued in a black cloth portfolio. Atlanta: Nexus Press, 1988. $ 475.00 An immaculate copy of this highly unusual and stunning work, which combines the creative efforts of two Afro-Americans, the Musician Scott Joplin and the artist Ellen Banks. Banks “translated Joplin’s written piano score into a visual scaffolding onto which notes are assigned specific colors and values”. (#168069) No. 3, Banks One of an edition of only 50 copies, all on Japon. OCLC lists only the copies in The Bibliotheque Nationale and the Bibliotheque Doucet.(#163171) 8. Jorge Luis BORGES Ficciones. xxxii, 306, [4] pp. Illustrated with 22 silkscreens by Jo Watanabe after original drawings by Sol Lewitt. Square 4to., 203 x 200 mm, bound by A. Horowitz & Sons in full black cowhide with author and title in blind on spine, in original black cardboard slipcase. New York: The Anthoensen Press for the Limited 6. W. Gurney BENHAM and Frank Editions Club, 1984. ADAMS $ 875.00 Arthur and the Boilybird. An A.B.C. Story. LeWitt’s conceptual illustrations, each based on the Unpaginated. With colour illustrations throughout elemental form of a cube, create a counterpoint by Frank Adams. Oblong quarto publisher’s colour with the text, which is enclosed within a linear illustrated boards with cloth spine. London: Blackie framework, and together they “offer a world of & Son [1909]. endlessly expanding mazes.” Watanabe was LeWitt’s $ 2500.00 printer of choice for his graphic work. Signed by LeWitt in the colophon. One of 1500 copies A delightful and scarce early twentieth century designed by Sol Lewitt and set in Cloister Bold by children’s ABC book in unusually fine condition. Mackenzie-Harris Corp OCLC lists only the Princeton copy. (#165808) Lewison, Tate Gallery Catalogue, p. 73. LEC 541. (#168493) 7. Pierre BETTENCOURT Deux sans Trois. Illustrated with 6 pochoirs by S. Hladky (Pierre Bettencourt). 8vo., bound in publisher’s wrappers and slip case. Belle-Roche (Saint-Maurice-d’Ételan): par Notre-Dame-de-Gravenchon, Seine-Inférieure, l’Auteur, 1940. $ 1750.00 A pristine copy of the first book written, printed, illustrated and published by the French printer-poet, Pierre Bettencourt. In this, his first book, he used pseudonyms for the names of the author, artist, printer and place of publication. The charming illustrations were executed in pochoir, and are, perhaps deliberately, reminiscent of the work of Serge Gladky. 10. Alexander CALDER A Bestiary. Compiled by Richard Wilbur. [8], 74, [4] pp. Illustrated with 56 original line drawings by Alexander Calder. Small folio, bound in publisher’s cloth in a new blue cloth folding box. New York: Printed at the Spiral Press for Pantheon Books, 1955. $ 2250.00 Illustrated with 56 of Calder’s animated line drawings, A Bestiary is a light-hearted compendium of animal tales and fables selected by Richard Wilbur from literary sources reaching across the timeline of Western literature. This is one of 750 copies printed on handmade Curtis rag paper, signed by both Calder and Wilbur on the colophon, and with a full page inscription on the front free endpaper strikingly written in Calder’s hand to Tanjas. 9. Constantin BRANCUSI Prather & Rower, Alexander Calder 1898-1976 Tales Told of Shem and Shaun. (National Gallery of Art) 288. (#165617) Preface by C. K. Ogden. [6], xv, 55, [3] pp. Illustrated with an original portrait frontispiece etching by Brancusi. 8vo., 210 x 165 mm, bound in original publisher’s wrappers and gold covered cardboard slipcase. In a new yellow cloth folding box. Paris: Black Sun Press, 1929. $ 2750.00 First Edition of these three Joycean fragments which were later included in Finnegans Wake. This handsome book was printed by Harry and Caresse Crosby in a limited edition of 500 copies on Holland van Gelder paper. The original Brancusi portrait of Joyce spawned one of the memorable Joycean stories. Joyce’s brother Stanislaus had not seen James for some time when a copy of this book arrived in the mail. After studying the abstract Brancusi portrait of Joyce, comprised of circles and straight lines, Stanislaus remarked how much his brother had changed since the last time he saw him. This represents one of the very few examples of original Brancusi graphic art. A fine copy in the scarce slipcase. The Artist and the Book 32. Johnson, Artists’ Books in the Modern Era 1870-2000, No 99. Slocum and Cahoon, A36. Minkoff, A-21. (#165316) 12. Henri CARTIER-BRESSON The Decisive Moment. Unpaginated with 126 full-page monochrome photographs, and pamphlet of captions laid in. Folio, publisher’s cloth and dust-jacket designed by Matisse. New York: Simon & Schuster in collaboration with Verve, 1952. $ 4750.00 A fine copy of a book which is notoriously hard to find thus, especially with the fragile dust-jacket designed by Matisse. Published by Teriade, the publisher of Jazz and the magazine Verve, this is one of the most handsome of the twentieth- century photobooks. Simultaneously published in France as “Images a la Sauvette,” the book was an immediate success, and has been sought-after ever since, and has recently been issued in facsimile. Some minor tears or chips to the jacket, but a far superior copy to those usually found. Roth, The Book of 101 Books 134. The Open Book 154. (#165446) 11. Lewis CARROLL Alice’s Adventures in Wonderland. Through the Looking Glass. [4], xi, [3], 182, [4]; xxii, [8], 211, [5] pp. Two volumes. With illustrations by John Tenniel. 8vo., each volume bound in recent deluxe full morocco. New York: The Limited Editions Club, 1932, 1935. $ 1500.00 A handsome edition of these classics in which the Tenniel illustrations have been re-engraved from the originals especially for this edition by Frederic Warde. Printed at the Printing House of William Edwin Rudge. Typography by Frederic Warde. Fine copies. LEC 36, 65. (#103142) 13. Raymond CHARMAISON Les Jardins Précieux. Preface by Henri de Régnier. [vi], [8] pp. Illustrated with 8 full-page colour pochoir plates by Charmaison, plus coloured cover illustration and one black and white title illustration. Folio, 490 x 335 mm, bound in original publisher’s printed paper folding chemise, preserved in new cloth folding box. Paris: Chez Meynial, 5 November 1919. $ 7500.00 First Edition. One of 8 copies accompanied by an original watercolour, this “La Treille Rose.” A colourful example of Deco luxuriousness, which only pochoir printing under the guidance of Jean Saudé could achieve.
Load more

Recommended publications
  • Annual Report 2018–2019 Artmuseum.Princeton.Edu
    Image Credits Kristina Giasi 3, 13–15, 20, 23–26, 28, 31–38, 40, 45, 48–50, 77–81, 83–86, 88, 90–95, 97, 99 Emile Askey Cover, 1, 2, 5–8, 39, 41, 42, 44, 60, 62, 63, 65–67, 72 Lauren Larsen 11, 16, 22 Alan Huo 17 Ans Narwaz 18, 19, 89 Intersection 21 Greg Heins 29 Jeffrey Evans4, 10, 43, 47, 51 (detail), 53–57, 59, 61, 69, 73, 75 Ralph Koch 52 Christopher Gardner 58 James Prinz Photography 76 Cara Bramson 82, 87 Laura Pedrick 96, 98 Bruce M. White 74 Martin Senn 71 2 Keith Haring, American, 1958–1990. Dog, 1983. Enamel paint on incised wood. The Schorr Family Collection / © The Keith Haring Foundation 4 Frank Stella, American, born 1936. Had Gadya: Front Cover, 1984. Hand-coloring and hand-cut collage with lithograph, linocut, and screenprint. Collection of Preston H. Haskell, Class of 1960 / © 2017 Frank Stella / Artists Rights Society (ARS), New York 12 Paul Wyse, Canadian, born United States, born 1970, after a photograph by Timothy Greenfield-Sanders, American, born 1952. Toni Morrison (aka Chloe Anthony Wofford), 2017. Oil on canvas. Princeton University / © Paul Wyse 43 Sally Mann, American, born 1951. Under Blueberry Hill, 1991. Gelatin silver print. Museum purchase, Philip F. Maritz, Class of 1983, Photography Acquisitions Fund 2016-46 / © Sally Mann, Courtesy of Gagosian Gallery © Helen Frankenthaler Foundation 9, 46, 68, 70 © Taiye Idahor 47 © Titus Kaphar 58 © The Estate of Diane Arbus LLC 59 © Jeff Whetstone 61 © Vesna Pavlovic´ 62 © David Hockney 64 © The Henry Moore Foundation / Artists Rights Society (ARS), New York 65 © Mary Lee Bendolph / Artist Rights Society (ARS), New York 67 © Susan Point 69 © 1973 Charles White Archive 71 © Zilia Sánchez 73 The paper is Opus 100 lb.
    [Show full text]
  • Press Release (PDF)
    G A G O S I A N G A L L E R Y August 29, 2016 The critic and curator Philip Rawson, an eloquent guide to the means and methods of drawing over the ages, points out that until the Italian Quattrocento, no European sculptor was supposed to be able to draw. In the medieval period, only those sculptors who also worked in two dimensions drew habitually; any other sculptor who needed, say, to show a client a proposed design hired a draftsman to make one. And when sculptors began to make drawings (for their own use or to guide assistants), they tended to do so without thinking of the format of the paper as a frame to which the image should relate. Instead, the image was generally treated as an independent motif, composed of mutually related units and placed anywhere on the sheet. In this approach, the space of the paper outside the image was not incorporated into the design but functioned like the open, empty space around actual sculptures. ... In contrast, Rawson observes, painters' drawings have tended to treat the usually rectangular format of the paper as a frame to which the image content relates. —John Elderfield Gagosian Gallery is pleased to present “Plane.Site,” a cross-generational exhibition of modern and contemporary artists organized by Sam Orlofsky to inaugurate the San Francisco gallery. (Continue to page2) 6 5 7 H O W A R D S T R E E T S A N F R A N C I S C O C A 9 4 1 0 5 T .
    [Show full text]
  • Copyright by Cary Cordova 2005
    Copyright by Cary Cordova 2005 The Dissertation Committee for Cary Cordova Certifies that this is the approved version of the following dissertation: THE HEART OF THE MISSION: LATINO ART AND IDENTITY IN SAN FRANCISCO Committee: Steven D. Hoelscher, Co-Supervisor Shelley Fisher Fishkin, Co-Supervisor Janet Davis David Montejano Deborah Paredez Shirley Thompson THE HEART OF THE MISSION: LATINO ART AND IDENTITY IN SAN FRANCISCO by Cary Cordova, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December, 2005 Dedication To my parents, Jennifer Feeley and Solomon Cordova, and to our beloved San Francisco family of “beatnik” and “avant-garde” friends, Nancy Eichler, Ed and Anna Everett, Ellen Kernigan, and José Ramón Lerma. Acknowledgements For as long as I can remember, my most meaningful encounters with history emerged from first-hand accounts – autobiographies, diaries, articles, oral histories, scratchy recordings, and scraps of paper. This dissertation is a product of my encounters with many people, who made history a constant presence in my life. I am grateful to an expansive community of people who have assisted me with this project. This dissertation would not have been possible without the many people who sat down with me for countless hours to record their oral histories: Cesar Ascarrunz, Francisco Camplis, Luis Cervantes, Susan Cervantes, Maruja Cid, Carlos Cordova, Daniel del Solar, Martha Estrella, Juan Fuentes, Rupert Garcia, Yolanda Garfias Woo, Amelia “Mia” Galaviz de Gonzalez, Juan Gonzales, José Ramón Lerma, Andres Lopez, Yolanda Lopez, Carlos Loarca, Alejandro Murguía, Michael Nolan, Patricia Rodriguez, Peter Rodriguez, Nina Serrano, and René Yañez.
    [Show full text]
  • ENG 351 Lecture 33 1 Let's Finish Discussing Gwendolyn Brooks. I
    ENG 351 Lecture 33 1 Let’s finish discussing Gwendolyn Brooks. I would like your indulgence to make up for last time. I really was blind. It was — and one of you saved my life, with my visual migraine which sent me into something of a panic. Something else I’ve learned is you should never — you should never read a poem in public that you haven’t read for many years. It can sneak up on you and kick you, and that’s what this poem did. I haven’t looked at The Chicago Defender poem for a long, long, long time. And here I am, half blinded, and then I got emotional at the end of it. So I apologize for that and see if I can get through this with a decent reading. That happened to me one time before with a poem called “April Inventory” by W. D. Snodgrass. And sometimes, you know, poetry has a — has a way of getting to you, whether you want it to or not. But let me — it’s a good poem. It’s only a few minutes long. If you can bear with it, I wanted to get that on in the lesson. This was the poem that I asked Gwendolyn Brooks why she didn’t read it while she was here and she said she no longer liked the ending of it. So I particularly want you to pay attention to the ending of it. She asked me why I liked it and I said because I’m from Little Rock, and then she inquired, “How old were you in 1957?” And when I told her I was eleven, it was okay.
    [Show full text]
  • University Interscholastic League Literary Criticism Contest • Invitational a • 2021
    University Interscholastic League Literary Criticism Contest • Invitational A • 2021 Part 1: Knowledge of Literary Terms and of Literary History 30 items (1 point each) 1. A line of verse consisting of five feet that char- 6. The repetition of initial consonant sounds or any acterizes serious English language verse since vowel sounds in successive or closely associated Chaucer's time is known as syllables is recognized as A) hexameter. A) alliteration. B) pentameter. B) assonance. C) pentastich. C) consonance. D) tetralogy. D) resonance. E) tetrameter. E) sigmatism. 2. The trope, one of Kenneth Burke's four master 7. In Greek mythology, not among the nine daugh- tropes, in which a part signifies the whole or the ters of Mnemosyne and Zeus, known collectively whole signifies the part is called as the Muses, is A) chiasmus. A) Calliope. B) hyperbole. B) Erato. C) litotes. C) Polyhymnia. D) synecdoche. D) Urania. E) zeugma. E) Zoe. 3. Considered by some to be the most important Irish 8. A chronicle, usually autobiographical, presenting poet since William Butler Yeats, the poet and cele- the life story of a rascal of low degree engaged brated translator of the Old English folk epic Beo- in menial tasks and making his living more wulf who was awarded the 1995 Nobel Prize for through his wit than his industry, and tending to Literature is be episodic and structureless, is known as a (n) A) Samuel Beckett. A) epistolary novel. B) Seamus Heaney. B) novel of character. C) C. S. Lewis. C) novel of manners. D) Spike Milligan. D) novel of the soil.
    [Show full text]
  • Get This Week's Gazette
    LIBRARY OF CONGRESS Volume 14, No. 30 A Weekly Newspaper for the Library Staff September 5, 2003 Librarian Names Louise Glück 12th Poet Laureate ouise Glück, an award-winning laureate’s offi ce during the next year.” author of nine books of poetry, is Glück succeeds Poets Laureate Billy Lthe 12th poet to be named to the Collins, Robert Pinsky, Robert Hass, Stan- Library’s offi ce of Poet Laureate Consul- ley Kunitz, Rita Dove, Mona Van Duyn, tant in Poetry. She will open the Library’s Joseph Brodsky, Mark Strand, Howard annual literary series on Tuesday, Oct. Nemerov, Richard Wilbur and Robert 21, with a reading of her work. Penn Warren. On Wednesday, Oct. 22, she will host Her nine books of poetry include a Favorite Poem reading with Frank “The Seven Ages” (Ecco Press, 2001); Bidart and former Poet Laureate Robert “Vita Nova” (1999), which was awarded Pinsky. In addition to programming a The New Yorker magazine’s Book Award new reading series for younger poets, in Poetry; “Meadowlands” (1996); “The Glück will participate in Library events Wild Iris” (1992), which received the in February and again in May. Pulitzer Prize and the Poetry Society Louise Glück In announcing the appointment, of America’s William Carlos Williams Librarian of Congress James H. Bill- Award; “Ararat” (1990), which received ington said, “Louise Glück will bring to series of book-length poetic cycles. Her the Library’s Rebekah Johnson Bobbitt the Library of Congress a strong, vivid, prize-winning poetry and her great inter- National Prize for Poetry; and “The Tri- deep poetic voice, accomplished in a est in young poets will enliven the poet GLÜCK, Continues on page 12 Surgeon General Opens Hispanic Month Events ice Admiral Richard H.
    [Show full text]
  • 20-A Richard Diebenkorn, Cityscape I, 1963
    RICHARD DIEBENKORN [1922–1993] 20a Cityscape I, 1963 Although often derided by those who embraced the native ten- no human figure in this painting. But like it, Cityscape I compels dency toward realism, abstract painting was avidly pursued by us to think about man’s effect on the natural world. Diebenkorn artists after World War II. In the hands of talented painters such leaves us with an impression of a landscape that has been as Jackson Pollack, Robert Motherwell, and Richard Diebenkorn, civilized — but only in part. abstract art displayed a robust energy and creative dynamism Cityscape I’s large canvas has a composition organized by geo- that was equal to America’s emergence as the new major metric planes of colored rectangles and stripes. Colorful, boxy player on the international stage. Unlike the art produced under houses run along a strip of road that divides the two sides of the fascist or communist regimes, which tended to be ideological painting: a man-made environment to the left, and open, pre- and narrowly didactic, abstract art focused on art itself and the sumably undeveloped, land to the right. This road, which travels pleasure of its creation. Richard Diebenkorn was a painter who almost from the bottom of the picture to the top, should allow moved from abstraction to figurative painting and then back the viewer to scan the painting quickly, but Diebenkorn has used again. If his work has any theme it is the light and atmosphere some artistic devices to make the journey a reflective one. of the West Coast.
    [Show full text]
  • Norton Antkology O F a Merican Iterature
    Norton Antkology o f A merican iterature FIFTH EDITION VOLUME 2 Nina Baym, General Editor SWANLUND ENDOWED CHAIR AND CENTER FOR ADVANCED STUDY PROFESSOR OF ENGLISH UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN W • W • NORTON & COMPANY • New York • London Editor: Julia Reidhead Developmental Editor/Associate Managing Editor: Marian Johnson Production Manager: Diane O'Connor Manuscript Editors: Candace Levy, Alice Falk, Kurt Wildermuth, Kate Lovelady Instructor's Manual and Website Editor: Anna Karvellas Editorial Assistants: Tara Parmiter, Katharine Nicholson Ings Cover and Text Design: Antonina Krass Art Research: Neil Ryder Hoos Permissions: Virginia Creeden Copyright© 1998, 1994, 1989, 1985, 1979 byW. W. Norton & Company, Inc. All rights reserved. Printed in the United States of America. The text of this book is composed in Fairfield Medium with the display set in Bernhard Modern. Composition by Binghamton Valley Composition. Manufacturing by R. R. Donnelley & Sons. Cover illustration: Detail from City Activities with Dance Hall, from America Today (1930), by Thomas Hart Benton. Collection, The Equitable Life Assurance Society of the United States. Since this page cannot legibly accommodate all the copyright notices, pages 2895- 2903 constitute an extension of the copyright page. ISBN 0-393-95872-8 (pbk.) W. W. Norton & Company, Inc., 500 Fifth Avenue, New York, N.Y. 10110 http://ww\v. wwnorton.com W. W. Norton & Company Ltd., 10 Coptic Street, London WCIA IPU 12 3 4 5 6 7 8 9 0 Contents PREFACE TO THE FIFTH EDITION xxix ACKNOWLEDGMENTS xxxiii American Literature 1865-1914 I Introduction 1 Timeline 16 SAMUEL L. CLEMENS (Mark Twain) (1835-1910) 18 The Notorious Jumping Frog of Calaveras County 21 Roughing It 25 [The Story of the Old Ram] 25 Adventures of Huckleberry Finn 28 [The Art of Authorship ] 217 How to Tell a Story 218 Fenimore Cooper's Literary Offences 221 BRET HARTE (1836-1902) 230 The Outcasts of Poker Flat 231 W.
    [Show full text]
  • 33 Years FREE but Not Cheap
    faLL 2012 33 Years FREE but not cheap Hay Bale Feeder Diana Suttenfield 2 Issue 134 Vol. XXXIV, No. 3 Established May 1979 Now on the Web! Contents www.shepherdstowngoodnewspaper.org PUBLISHER Shepherdstown Ministerial Association see ARTWORKS in color! Fall 2012 EXECUTIVE EDITOR Randall W. Tremba Essays, Art & Poetry EDITORS 3 Song of Peace for 9/11. By Randall Tremba Nan Broadhurst Libby Howard 9 Freedom’s Defining Moment. By Dan Vermilya and Keith Snyder Sue Kennedy Mark Madison Wendy Mopsik 11–13 ARTWORKS Fran Skiles. By Nan Broadhurst Sarah Soltow Claire Stuart 14 POETRY Shepherdstown 250th Anthology Ed Zahniser 16 Thomas Shepherd Walks at Midnight. By Georgia Lee McElhaney PRE-PRODUCTION EDITOR Libby Howard 17 EARTHBEAT “Earth Beatles.” By Mark Madison SENIOR DESIGNER 20 Hunger and Other Games for Children. By Sarah Soltow Melinda Schmitt DIGITAL IMAGE EDITOR People, Places & Things Nan Doss PHOTOGRAPHER 4 The Making of an Orchestra. By Wendy Mopsik Jessie Schmitt 5 Jay Hurley. By Sue Kennedy TYPISTS Kathy Reid 6 Pronunciator. By Sarah Soltow COPY EDITORS 7 The Joy Line Railroad. By Todd Cotgreave Rie Wilson Claire Stuart 8 Exploring the Spaces Between Fact and Fiction. By Stephen Willingham PROOFREADERS 10 England—Seen Through Raindrops. By Claire Stuart Betty Lou Bryant John Foxen 15 Georgia Lee McElhaney. By Margaret Demer DISTRIBUTION 18 Marker Dedication, Bee Line March. John E. Stealey III Lex Miller TREASURER 19 Driving Marvin Hamlisch. By Mike Henderson Alex Shaw DESIGN & LAYOUT Faith, Hope & Charity Brandon Cornwell, HBP,
    [Show full text]
  • In Living Color: Andy Warhol & Contemporary Printmaking
    NEWS RELEASE 2200 Dodge Street, Omaha, Nebraska 68102 Phone: 402-342-3300 Fax: 402-342-2376 www.joslyn.org For Immediate Release Contact: Amy Rummel, Director of Marketing and Public Relations October 3, 2014 (402) 661-3822 or [email protected] Andy Warhol & Contemporary Printmaking from the Collections of Jordan D. Schnitzer and his Family Foundation Exhibition of Pop Art Premieres at Joslyn Art Museum (Omaha, NE) – Reflecting a range of aesthetic concerns and conceptual underpinnings, In Living Color: Andy Warhol and Contemporary Printmaking from the Collections of Jordan D. Schnitzer and his Family Foundation highlights artists who invest in the power of their palettes. Dispatching a seemingly endless array of colors, Andy Warhol depicted the world with the volume turned up. His example reverberates throughout contemporary printmaking. This exhibition, organized and traveled by Joslyn Art Museum, includes over 110 -more- IMAGE ABOVE: Andy Warhol (American, 1928-1987), Marilyn Monroe (Marilyn) (II.25), AP edition C/Z, 1967, screen print, 36 x 36 inches, Collection of the Jordan Schnitzer Family Foundation, 2001.51d; © 2014 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York; Marilyn Monroe™; Rights of Publicity and Persona Rights: The Estate of Marilyn Monroe, LLC add 1-1-1-1 In Living Color: Andy Warhol & Contemporary Printmaking from the Collections of Jordan D. Schnitzer and his Family Foundation works by Warhol and 16 other artists working since 1945, including John Baldessari, Ross Bleckner, Louise Bourgeois, Helen Frankenthaler, Keith Haring, and Richard Diebenkorn. In Living Color premieres nationally at Joslyn Art Museum on October 11 and continues through January 11.
    [Show full text]
  • Leonard Bernstein (1918-1990)
    NOTES ON THE PROGRAM An Introduction Voltaire and Bernstein’s Candide plunge us from a fool’s world of naiveté to a pain- ful world of war, natural disasters, tragedy, fear of commitment, fear of facts, all cast under a cloud of faux sentimentality—yet with a wink towards truth and love. What an honor it is for The Knights to celebrate Leonard Bernstein in his musical home of Tanglewood with a work that encompasses all of his brilliant contradictions. Bernstein was both a man of his century and ahead of his time—socially, politically, and musically—which makes his centennial feel youthful and timely if not timeless. He lived through some of the world’s darkest times of war, fear, and terror, and his outpouring of joy, love, humor, love, generosity, love, and truth spill from him like it has from only a few geniuses before him. “You’ve been a fool, and so have I.... We’re neither pure, nor wise, nor good” (Voltaire, Candide). Bernstein found a fellow optimis- tic jester in Voltaire. Voltaire wrote “It is love; love, the comfort of the human species, the preserver of the universe, the soul of all sentient beings, love, tender love.” Bernstein’s music embodies this senti- ment. Together, they show us many beautiful and joyous puzzle pieces that connect our imperfect best-of-all-possible-worlds. ERIC JACOBSEN, THE KNIGHTS Leonard Bernstein (1918-1990) “Candide” A Very Brief History Bernstein composed Candide from 1954 through August 1956, with Hershy Kay assisting with the orchestration; the libretto was by Lillian Hellman, based on the novella Candide, ou l’Optimisme, by Voltaire, the pen name of François-Marie Arouet (1694-1778).
    [Show full text]
  • Lovell, Wayne Thiebaud's California
    ISSN: 2471-6839 Cite this article: Margaretta M. Lovell, “City, River, Mountain: Wayne Thiebaud’s California,” Panorama: Journal of the Association of Historians of American Art 3, no. 2 (Fall 2017), https://doi.org/10.24926/24716839.1602. City, River, Mountain: Wayne Thiebaud’s California Margaretta M. Lovell , Jay D. McEvoy, Jr., Professor of American Art, University of California, Berkeley For decades now, art historians, critics, art enthusiasts, gallerists, and readers of The New Yorker have been very familiar with Wayne Thiebaud’s cakes, pies, deli counters, and gum ball machines. His reputation was firmly established with food paintings such as Around the Cake and Delicatessen Counter in the early 1960s (figs. 1, 2). Usually associated loosely (and somewhat erroneously) with the Pop Art movement, these upbeat paintings with their bright colors, their common everyday, very American food subjects, sly geometry, shallow depth of field, and wry humor are frequently exhibited, published, and commented on.1 Less well-known, and virtually unremarked on by art historians, are the extraordinary landscapes that have resulted from his pursuit of this genre. This essay touches on continuities between Thiebaud’s food paintings and his landscape paintings, and on the ways his landscapes broach the seemingly irreconcilable differences between abstraction and representation. Centrally, it engages the ways in which his landscape paintings, focusing on the ecologies of California, engage major human concerns about place, space, and habitation. Figures 1, 2. Left: Wayne Thiebaud, Around the Cakes, 1962. Oil on canvas, 22 1/8 x 28 1/16 in. (56.2 x 71.2 cm).
    [Show full text]