Fine Art, Modernism, Glass & Asian August 14Th @ 4:00PM
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Two Views, Two Voices: the Stereoscopic Perspective of Photographers Asahel and Edward Curtis Columbia Magazine, Spring 1996: Vol
Two Views, Two Voices: The Stereoscopic Perspective of Photographers Asahel and Edward Curtis Columbia Magazine, Spring 1996: Vol. 10, No. 1 By Stephanie Lile Asahel and Edward Curtis were born into the Victorian Age, during a time of innovation, invention and industrialization in the United States. The brothers were teenagers, Edward, 19, and Asahel, 14, when their family moved from Minnesota to Washington in search of a better life. Edward and his father, Asahel "Johnson" Curtis, were the first members of the family to make the transcontinental journey, settling near Port Orchard in 1887. Mrs. Curtis, Asahel, and his younger sister Eva stayed in Minnesota with the eldest Curtis son, Raymond, through the winter, and then traveled west in the spring of 1888. In that year before statehood the Washington they experienced was a rapidly changing place. The railroad, with the Northern Pacific's first direct transcontinental route to Puget Sound completed in 1887, opened the territory to development. Methods for building hard-surfaced roads, harvesting natural resources and utilizing electricity were already in use throughout the eastern United States. Word of the automobile and telephone, then novelties in personal transport and communication, spread across the country. And in the midst of adapting and bringing existing technologies to the western landscape, Northwesterners at work in the wheat fields, timberlands, and fishing banks of Washington were conjuring technological innovations of their own. The sidehill leveling device used in the wheat harvest, the "Iron Chink" fish cleaning machine, and the deep woods steam donkey were all being put to use. Across America domestic and vocational processes were being mechanized. -
Edward S. Curtis's Tent
“Edward S. Curtis’s Tent” (Cyanotype Work Area, Wyoming - circ. 1907) By Robert Off In Collaboration with Jane Alden Stevens "Los Angeles, Oct. 19 - Edward S. Curtis, internationally known authority on the history of the North American Indian, died today at the home of a daughter, Mrs. Bess Magnuson. His age was 84. Mr. Curtis devoted his life to compiling Indian history. His research was done under the patronage of the late financier, J. Pierpont Morgan. The foreword for the monumental set of Curtis books was written by President Theodore Roosevelt. Mr. Curtis was also widely known as a photographer.” Edward S. Curtis’s obituary in the New York Times (Oct 20, 1952) Table of Contents Introduction Photographs of “Curtis’s Tent” Curtis Information - The Man & Work Cyanotype Process & Illustrations Participant Biographies Historical Box Elements In-Process Photographs Selected Works by Robert Off Introduction I have often been asked where I get the ideas for my roomboxes. In most cases I get them in the middle of the night. My sense is that they are triggered by a subconscious memory which takes me back in to time to some visual experience. However, this box is different in that I can clearly see the thread of my life’s experience in it. As a child I spent untold hours with my father in his darkroom developing black & white photographs. Dad was a very accomplished amateur photographer. He primarily took photographs of his peers and our family. His photographs were not “snap shots” rather they attempted to tell the story of his times and experiences through powerful informal portraits much like the one pictured below. -
F a I Ttjf Z
.4 Z T4FIIiL IF A L-JI TTJF L iJ OF TH -- -(AR'PF.G1L -)u 5TATE EUREU 5TAT15T5 & IMMIGPAflON C:F )D STATL Of WASHINGTON DLP\RTh1ENT OT STATE. DTJREATJ0rSTATISTICS '&INNIGMTION LNJ-LOWELL, 5tCP.ETARY Ok' 5TAf EX OFFIC[O CO14NIS5IONPAL I. KTP. USTS ILAIU.Y F6LLk', DCPUTY COIISS]ONL TABLE OF CONTENTS. Paf)e List of Full Page Illustrations 3 The Evergreen State 5 Our Mountains 9 Washington Forests 15 The Climate 19 Puget Sound 25-38 Ideal for Yachting and Cruising 29 Hood Canal 29 Other Trips 31 Commerce 32 The East Shores 32 The Islands 33 San Juan Group 33 Whidby Island 36 Other Islands 36 Olympic Peninsula . 38 The Harbor Country 40-48 Grays Harbor 43 Willapa Bay 46 Mount Rainier National Park 49 The Columbia River 54 The Inland Empire 63-80 Chief Features 64 How to Reach Them 64 The Yakima Valley 65 The Wenatchee Valley 67 Lake Chelan 68 The Okanogan Highlands 70 The Spokane Country 75 The Wheat Plateau 79 The Walla Walla Country 80 The Columbia River 80 Our Scenic Highways 81-89 The Pacific Highway 81 Sunset Highway 84 Inland Empire Highway 86 Olympic, National Park, and Other Highways 89 A Sportsman's Paradise 91 Cities and Suggested Trips 95 AlaskaOur Ally 112 Map Showing Principal Highways FULL PAGE ILLUSTRATIONS. Cover Design (a water color) Miss Zola F. Gruhike Engravings By Western Engraving & Colortype Co., Seattle THREE-COLOR HALFTONES. Title. Photographer. Page The Rhododendron (C.) Asahel Curtis. -. .Frontispiece Lake Chelan (C.) Kiser Photo Co 8 A Forest Stream Curtis & Miller 16 A Puget Sound Sunset Webster & Stevens 32 Mount Rainier and Mirror LaKe (C.) Curtis & Miller 49 Sunnyside Canal (C.) Asahel Curtis 64 Priest Rapids 80 Columbia River from White Salmon (C.) .Kiser Photo Co 96 ONE-COLOR HALFTONES. -
Oral History Interview with Edward B. Thomas, 1983 April 28-May 10
Oral history interview with Edward B. Thomas, 1983 April 28-May 10 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Edward B. Thomas on April 28 & May 10, 1983. The interview took place in Seattle, Washington, and was conducted by John Olbrantz for the Archives of American Art, Smithsonian Institution. Interview DATE: APRIL 28, 1983 [Tape 1] JOHN OLBRANTZ: Ed, can you tell me a little bit about your background, where you were born, your early childhood experiences, your parents, who your father was, who your mother was, how they came to live in this part of the country? EDWARD THOMAS: Well, I was born in Cosmopolis, Washington, and many times when I've come through customs, when I was much younger and especially at the Mexican border, they would say, "Where were you born?" and I'd say, "Cosmopolis, Washington," they'd say, "Look, bud! Don't get funny with us." (laughter) But there actually is such a place as Cosmopolis, Washington. Nobody had any particular influence upon me, I would say, in my younger years as far as becoming interested in art, and particularly teaching art. I had a very severe illness when I was four and five years old and was confined to bed a lot, and so people brought me tablets and color crayons and pencils and stuff like that. -
The Galleries
THE GALLERIES ART at the convention center A SELF-GUIDED TOUR Enriching Your Visit: Taking the Tour The Public Art Program Washington State Convention Center features approximately The Washington State Convention Center (WSCC) public 100 works of art on public display around four levels of its North and South Gallerias. Several other works are located in art program, perhaps the largest of its kind in the nation, its office and convention lobby areas. Areas of the facility that was established to provide an environment that enriches may not be available to the public due to convention- the experience of all who visit the meeting facility. With well related activities are clearly noted. over 100 works on display, art has been a popular feature since the facility opened in 1988. Initially, art was incorporated into This self-guided, self-paced tour booklet was designed to the original building design with assistance from the state’s direct you to the many different areas where artworks are cur- Percent for the Arts Program. Since then, due to a commit- rently on display. A few of the works listed inthis booklet are ment to provide civic benefits to our community, the WSCC has located outside of the WSCC. offered an ever-changing collection, readily accessible at no This self-tour begins on Level 1 just south of the Convention charge to meeting attendees and the general public. Place entrance. The indicated route will direct you back to the south escalators for easy access to the next level. All areas of In 1997, the board established the WSCC Art Foundation at this tour are also accessible by elevator. -
2016 Annual Report
MoNAMuseum of Northwest Art 2016 ANNUAL REPORT Annual Report 2016 D.indd 24 9/25/17 11:07 AM 3 From the President MISSION STATEMENT 4 Board & Staff The Museum of Northwest Art connects people with the art, diverse cultures and environments of the Northwest. 5 Exhibitions Visitor Testimonials VISION STATEMENT 10 The Museum of Northwest Art enriches lives in our diverse community by fostering essential 11 Acquisitions conversations and encouraging creativity through exhibitions and educational activities that explore the art of the Northwest. 12 MoNA Store COLLECTIONS & EXHIBITIONS 13 Education MoNA collects and exhibits contemporary art from across the Northwest, including Alaska, British Columbia, California, Idaho, Montana, Oregon and Washington. 15 Year in Review 17 Supporters 22 Volunteers Annual Report 2016 D.indd 1 9/25/17 11:07 AM 17,283 visits 42,866 website visits 100% visited for free 427 155 members volunteers 1,404 32 students visited with permanent collection 76 school tours acquisitions monamuseum.org 2 Annual Report 2016 D.indd 2 9/25/17 11:07 AM FROM THE PRESIDENT It is my great pleasure to share with you some of the successes achieved in 2016, made possible by your generous support. Because of you, more members of our community have experienced Northwest art in all of its facets through museum visits, program participation, and attendance at MoNA events and celebrations. MoNA’s commitment to providing free museum admission has fostered a broader and more engaged audience, making the museum accessible to more first-time visitors than ever before. MoNA, with your support, continues to fund significant investments in programming and collections. -
Selections from the State Librarian with Comments Fall 2003 Through Summer 2008
Selections from the State Librarian With comments Fall 2003 through Summer 2008 Each season for the past five years Jan Walsh, Washington State Librarian, has chosen a theme and then selected at least one adult, one young adult, and one children‟s book to fit her topic. The following list is a compilation of her choices with her comments. The season in which each title was selected is listed in parentheses following its citation. Her themes were: Artists of Washington—spring 2004 Beach Reads—summer 2008 The Columbia River through Washington History—fall 2004 Courage—summer 2005 Disasters—fall 2007 Diversity—winter 2006 Exploring Washington—spring 2008 Geology of Washington State—fall 2005 Hidden People—spring 2007 Lewis, Clark, and Seaman—winter 2004 Life in Washington Territory—fall 2003 Mount St. Helens—spring 2005 Mysteries of Washington—fall 2006 Of Beaches and the Sea—winter 2008 The Olympic Peninsula—winter 2007 The Oregon Trail—spring 2006 Spokane and the Inland Empire—summer 2007 Tastes of Washington—summer 2006 Washington through the Photographer‟s Lens—summer 2004 Washington‟s Native People—winter 2005 NW prefixed books are available for check out and interlibrary loan. RARE, R (Reference), and GWA (Governor‟s Writers Award) prefixed books are available to be viewed only at the State Library. All books were in print at the time of Ms. Walsh‟s selection. January 23, 2009 1 Washington Reads 5 year compilation with Jan‟s comments Adult selections Alexie, Sherman. Reservation Blues. Grove Press, 1995. 306 p. (Summer 2007) NW 813.54 ALEXIE 1995; R 813.54 ALEXIE 1995 “The novel, which won the American Book Award in 1996, is a poignant look at the rise and fall of an Indian rock band, Coyote Springs, and the people and spirits that surround it. -
Kimberly Trowbridge: Into the Garden
TM Kimberly Trowbridge: Into the Garden Now on display. Kimberly Trowbridge, Light in the Cedars (Annunciation), 2020. Oil on linen on panel, 48"h x 60"w. Courtesy of Linda Hodges Gallery. Volume 30 March • April 2021 Number 2 www.ArtAccess.com style, and time period. However, the One artist capturing the falling water artwork placement feels intuitive and with a camera and the other painting the the groupings of artworks bring many rush of movement with a brush. questions to mind. The inclusion of Around the corner from the Tobey Clayton James was an unexpected, but paintings are several prints. All are delightful, surprise; almost like seeing a excellent examples of a variety of long-time friend. James studied at printmaking methods, but guests may be the Rhode Island School of Design surprised to encounter a print by Käthe and was later relocated to a camp for Kollwitz. The artwork is from 1899 and conscientious objectors in Oregon during titled “Uprising (Aufruhr)”. The print World War II. Both James and his wife features a group of people marching in Barbara Straker James were friends with unison with a floating figure above them, Morris Graves and they spent many appearing to encourage them to keep years in La Conner, Washington. Three moving forward. The viewer can assume of Clayton’s landscape paintings are on that they are member of the working display. James stopped making sculpture Fay Jones • “Land of Lotus-Eaters,” 1993, etching, 31.5 x 43 inches class, a group that was often a subject for Gift of the Washington Art Consortium through gift and turned to painting, but thankfully the of Safeco Insurance, a member of the Liberty Mutual Group Kollwitz. -
John Michael Lang Fine Books
John Michael Lang Fine Books [email protected] (206) 624 4100 5416 – 20th Avenue NW Seattle, WA 98107 USA 1. Butler, Octavia E. Fledgling. New York: Seven Stories Press, 2005. First edition; first printing. 9" x 5.75". 316pp. Red paper covered hardback boards, in dust wrapper. One corner lightly bumped, very light soiling on the front board, neat ownership signature, else near fine condition. Near fine jacket with a touch of edge wear. This copy signed and briefly inscribed by the author on the title page. Scarce thus: the book was issued in October, 2005, and Butler died in an accident in February, 2006. Butler was one of very few African - American women in the field of science fiction. She won Hugo and Nebula awards and in 1995 she became the first science fiction writer to receive a MacArthur Foundation "Genius" Grant. $125.00 2. Carver, Raymond. What We Talk About When We Talk About Love. New York: Alfred A. Knopf, 1981. 8.25" x 5.75". 159pp. Blue paper covered boards with a dark blue cloth spine, in dust wrapper. Fine condition; fine jacket. Carver's first commercial success. The story "Why Don't You Dance?" was the basis for the 2010 Will Ferrell film Everything Must Go. $75.00 3. [Children’s books] Fryer, Jane Eayre. The Mary Frances Garden Book or Adventures Among the Garden People. Philadelphia : The John C. Winston Company, 1916. First edition. 9" x 6.5". 378pp. Green cloth with a color illustrated label mounted on the front board. Bookplate, else near fine condition. -
Show of Hands
Show of Hands Northwest Women Artists 1880–2010 Maria Frank Abrams Ruth Kelsey Kathleen Gemberling Adkison Alison Keogh Eliza Barchus Maude Kerns Harriet Foster Beecher Sheila Klein Ross Palmer Beecher Gwendolyn Knight Susan Bennerstrom Margot Quan Knight Marsha Burns Margie Livingston Margaret Camfferman Helen Loggie Emily M. Carr Blanche Morgan Losey Lauri Chambers Sherry Markovitz Doris Chase Agnes Martin Diem Chau Ella McBride Elizabeth Colborne Lucinda Parker Show of Hands Northwest Women Artists 1880–2010 Claire Cowie Viola Patterson Louise Crow Mary Ann Peters Imogen Cunningham Susan Point Barbara Matilsky Marita Dingus Mary Randlett Caryn Friedlander Ebba Rapp Anna Gellenbeck Susan Robb Virna Haffer Elizabeth Sandvig Sally Haley Norie Sato Victoria Haven Barbara Sternberger Zama Vanessa Helder Maki Tamura Karin Helmich Barbara Earl Thomas Mary Henry Margaret Tomkins Abby Williams Hill Gail Tremblay Anne Hirondelle Patti Warashina Yvonne Twining Humber Marie Watt Elizabeth Jameson Myra Albert Wiggins Fay Jones Ellen Ziegler Helmi Dagmar Juvonen whatcom museum, bellingham, wa contents This book is published in conjunction with the 6 Foreword exhibition Show of Hands: Northwest Women Artists 1880–2010, organized by the Whatcom Patricia Leach Museum and on view from April 24–August 8, 2010. Funding for the exhibition and the 8 Acknowledgments accompanying catalogue was supported in part with funds provided by the Western 10 A Gathering of Women States Arts Federation (WESTAF) and the Barbara Matilsky National Endowment for the Arts (NEA). The City of Bellingham also generously funded the 52 Checklist of the Exhibition catalogue. Additional support was provided by the Washington Art Consortium (WAC). Published in the United States by 55 Bibliography Whatcom Museum 56 Photographic Credits © 2010 by the Whatcom Museum 121 Prospect Street Bellingham, WA 98225 The copyright of works of art reproduced in www.whatcommuseum.org 56 Lenders to the Exhibition this catalogue is retained by the artists, their heirs, successors, and assignees. -
Lot Description 1 Yu Qing Signed
Fine Art & Antique Auction Previews: Tuesday 10/16, Wednesday 10/17, & Auction Day 10/18 from 12-6PM 15% Buyers Premium In-House 18% Online & Phone Bidding Online Bidding Through LiveAuctioneers 717 S Third St Renton, WA (425) 235-6345 9 Shan Ren Luo Signed Antique Chinese Lot Description Painted Bird Scroll 37.5"x12.5" Image. Total scroll size 66"x16.75". Top hanging bar is 1 Yu Qing Signed Chinese "Cloudy loose. Evident roll creasing. Signed with four Mountain, Water Falls" Sumi Scroll seal chop marks. Painting 39.75"x17.75" Image. Total 10 Shu Hua Wang Signed Chinese Painted Bird scroll size 66"x21.75". & Blossoming Flower Hanging Scroll 2 Liu Yong (1719-1805 Chinese) 56"x25" Image. Total scroll size of 7' long. Attributed Sumi Calligraphy Painted 11 Chinese Huanghuali Wood Carved Scroll 68"x18" Image. Total scroll size Three-Panel Room Screen 69"x56.25". 9'. Gallery framed in shadowbox. Some Carved branch and leaf design on one side. tears to top margin. Finished front and back. 3 Lin Fengmian (1900-1991 Chinese) 11A Chinese Sky & Heaven Gilt Wood Untitled Female Nude Sumi Painted Architectural Hanging Panel 66"x22.5". 19th Scroll 23"x23" Image. Total scroll size century. of 67"x26.75". 12 Korean Ten-Panel Room Screen with Sumi 4 Wu Guanzhong Attributed Chinese Landscape Paintings of Mountains, Temples, Lotus Flower Sumi Painting 22.5"x24.5" Waterfalls, and People 6'3'' Tall x 15'10'' Image. Gallery framed. Wide. Each part of the painting is signed and 5 Pair Li Hongzhang Attributed Chinese titled. -
Oral History Interview with George Tsutakawa, 1983 September 8-19
Oral history interview with George Tsutakawa, 1983 September 8-19 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with George Tsutakawa on September 8, 12, 14 & 19, 1983. The interview took place in Seattle, WA, and was conducted by Martha Kingsbury for the Archives of American Art, Smithsonian Institution. Interview DATE: SEPTEMBER 8, 1983 [Tape 1; Side A] [GEORGE TSUTAKAWA reviewed the transcript and added clarification, particularly about the World War II years. His added comments with his initials are in brackets--Ed.] MARTHA KINGSBURY: George, why don't we start by talking about a lot of biographical matters. I'd like to know about your personal background, your family, your growing up in Seattle and Japan also, education. GEORGE TSUTAKAWA: Uh huh. Well, let's see now. My father was a merchant who came to Seattle in 1905, and he started a small business and eventually he gets involved in fairly large company exporting and importing American goods and Japanese goods. He, as I recall, had business in Japanese food, clothing, art goods, and all sorts of things from Japan, and then in turn he was sending lumber from the Northwest to Japan. He also dealt in scrap metal and just anything. MARTHA KINGSBURY: That he sent to Japan? GEORGE TSUTAKAWA: Yeah, he sent to Japan.