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Journal articles on the topic 'Artists' books – private collections'
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1
Boer, Tanja de. "The Museum of the Book in the Hague." Art Libraries Journal 25, no. 1 (2000): 19–24. http://dx.doi.org/10.1017/s0307472200011408.
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Established in 1960, the Museum van het Boek is known for its holdings and exhibitions of Western book art from the last 110 years. Building on the starter collections of two donors, a private printer and a bibliophile, the Museum’s acquisitions now focus mainly on modern book art. More than 25,000 of the 450,000 objects in the Museum are books showing the development of standard Dutch publishing, the work of individual book illustrators, type designers and calligraphers, contemporary Dutch private presses and artists’ books. There is also considerable foreign material, notably from Germany and Great Britain.
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Pitenina, V. "Artistic and stylistic peculiarities of the graphic work of Petro Lapyn, illustrator of the children's books in the first third of the 20th century." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 193–99. http://dx.doi.org/10.33838/naoma.27.2018.193-199.
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The beginning of the 20th century is a period of creative and printing experiments in the Ukrainian art. New generation of Ukrainian books was born in this period. The illustration of the children's books was a significant part of this process. Famous Ukrainian graphic artists, such as H. Narbut, M. Zhuk, O. Sudomora, V. Kononchuk, took part in the creation of a new Ukrainian children's book. Some little-known artists also worked with them, and their creativity was an important part of the artistic process. Petro Lapyn was one of those artists. From 1917 to 1929, he worked with the famous publishing houses, such as Vernyhora, Derzhavne Vydavnytstvo, Proliski, Knyhospilka and Rukh. Children's books, illustrated by P. Lapyn, are kept in the funds of the Pedagogical Museum of Ukraine, the National Library of Ukraine for Children, Ivan Fedorov Book Chamber of Ukraine and private collections. We have found about 30 of his projects. But the information about the artist himself and his life is quite limited. One of the first books he illustrated was the poem of S. Rudanskyi «Vovk, Sobaka ta Kit» («The Wolf, the Dog, and the Cat»), published in black and white in 1918. This early Petro Lapyn's work revealed his artistic outstanding peculiarities: vibrant linear drawing, harmonious combination of text and illustrations, variety of graphic techniques and skills in the representation of characteristic features. The high point of the artist's career is the illustration of «Crows and Owls», I. Franko’s fairy tale, printed in 1926 (Kharkiv, Rukh). It demonstrates the animalistic works of the artist. There are typical structural elements in fairy tale books: vignettes, drop caps. P. Lapyn uses decorative handwritten fonts and silhouette drawings for them. His graphic creations are full of emotions. Specific features of his work are: humour, emotionality, anthropomorphism, careful attitude towards literary material, and consistently high level of drawing.
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Jagersma, Rindert, and Joanna Rozendaal. "Female Book Ownership in the Eighteenth-Century Dutch Republic." Quaerendo 50, no. 1-2 (June 4, 2020): 109–40. http://dx.doi.org/10.1163/15700690-12341463.
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Abstract This article analyses the private library book sale catalogue of paper-cutting artist (knipkunstenaar) Johanna Koerten (1650-1715), one of the most famous artists in the Dutch Republic. The study draws on data gathered for the ERC-funded MEDIATE project (Measuring Enlightenment: Disseminating Ideas, Authors and Texts in Europe, 1665-1830). The bibliometric approach of this digital humanities project uses book sale catalogues to study the circulation of books and ideas in eighteenth-century Europe. This article analyses the catalogue of Koerten, her background and professional interests, the ‘femininity’ of female book collections in general, and the problems and opportunities one faces when using bibliometric data on book sale catalogues.
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Di Benedetto, Claudio. "The Uffizi Library: a collection that documents collections." Art Libraries Journal 35, no. 2 (2010): 4–7. http://dx.doi.org/10.1017/s0307472200016321.
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The Biblioteca degli Uffizi acts as a documentary ‘black box’ for all the notable collecting that has taken place in Florence during the past 500 years. The Library’s collections stretch from the autograph 22-year diary of the 15th-century painter Neri di Bicci and the different editions of Vasari’s Lives of the painters, through the inventories and lists of objects acquired and held successively by the Medici, the House of Hapsburg-Lorraine and the new Italian united kingdom, and to all the memoirs and plans and catalogues of the directors and ‘royal antiquarians’ of the Uffizi Gallery. In addition it contains major works on art history, artists, public and private art collections, exhibitions and many related topics. The Library holds 77,000 printed books and more than 440 manuscripts; its catalogue is shared with the IRIS consortium of art history and humanities libraries and contributes to artlibraries.net through this shared bibliographic database. Several digitisation projects have already been completed or are currently in progress.
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Bolotova, Alexandra I. "The Tretyakov Gallery Library." Art Libraries Journal 17, no. 2 (1992): 24–26. http://dx.doi.org/10.1017/s0307472200007781.
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The Library of the Tretyakov Gallery in Moscow contains over 50,000 books on Russian and foreign art. The collections date back to the gift, in 1899, of the library of P. M. Tretyakov. From 1918, the Library and the Gallery received the benefit of State support; the Library gained books from private collections and as a result of the closure of other museums, and it continued to receive donations. From 1931, copies of Russian publications on art were received on legal deposit, and many publications are additionally acquired in exchange for copies of the Gallery’s own publications. As well as books, the Library contains collections of manuscripts, of press-cuttings, and of exhibition invitation cards and posters. The Library maintains several card indexes, on Soviet art and the participation of Soviet artists in exhibitions, and of journal articles, illustrations, illustrators, and exhibition catalogues. The Library has itself published several reference books.
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Velikodnaya, Irina L. "Collection of Autographs." Bibliotekovedenie [Library and Information Science (Russia)] 1, no. 1 (February 28, 2016): 55–59. http://dx.doi.org/10.25281/0869-608x-2016-1-1-55-59.
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The review considers two new editions, connected by the theme of autographs, - “The Bibliophile Garland to Anna Akhmatova. To the 125th Birth Anniversary: the Autographs in the Collection of M. Seslavinsky” and “The Art of Autograph. Inscriptions of Writers and Artists in the Private Collections of Russian Bibliophiles”, published in 2014-2015. Description and identification of the autograph, its introduction into scientific use, as well as its study are relevant problems of today, as the accumulated handwritten material of this kind requires samples of cataloguing. The Russian collectors propose to comprehend such material accumulated in private collections, publish previously unknown autographs, manuscripts, epistolary heritage of Russian poets, writers and artists. Peer-reviewed publications are required in the work of experts - literary critics, art historians, book historians, culturologists, students of specialized educational institutions, and all the interested in the history of the Russian culture.
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Ulemnova, Olga L. "A.F. Mantel’s Art Collection in Museums of the Volga Region: Reconstruction Experience." Observatory of Culture 16, no. 4 (September 13, 2019): 386–405. http://dx.doi.org/10.25281/2072-3156-2019-16-4-386-405.
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A characteristic feature of the artistic life of Russia at the turn of the 19th—20th centuries was the growth in the number of private art collections and the expansion of the social composition of collectors due to the addition of industrialists, merchants and intellectuals. After the Russian Revolution of 1917, these collections became one of the important sources in the formation of art collections of metropolitan and provincial museums of Russia. The article is devoted to one of the most interesting private collections of the Kazan province — the collection of A.F. Mantel, formed at the beginning of the 20th century from paintings and graphics by the leading masters of the World of Art association: A.N. Benois, I.Ya. Bilibin, A.F. Gaush, B.M. Kustodiev, D.I. Mitrokhin, G.I. Narbut, N.K. Roerich and others. The article reveals the fates of once famous works of the artists from the World of Art association, which were shown at the association’s exhibitions and published in well-known books, magazines and almanacs such as Apollo, Libra, Rosehip, At Dawn and others. A.F. Mantel’s collection played an important role in the formation of museums in several cities of the Volga region — Kazan, Tetyushi, Kozmodemyansk — becoming one of the sources of contemporary national art collections. Due to various reasons, the most of the collection, including the part received by museums, was lost in the late 1910s — 1930s. Relying on archival and literary sources and museum collections, the author, for the first time, managed to restore, with a high degree of accuracy, the composition of the part of A.F. Mantel’s collection that was purchased for museums of Tetyushi and Kozmodemyansk, and to clarify the composition of the Kazan Museum’s collection.
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Batil qızı Sadıqova, Aytac. "Miniature art and its development characteristics in Azerbaijan." SCIENTIFIC WORK 15, no. 3 (March 24, 2021): 87–90. http://dx.doi.org/10.36719/2663-4619/64/87-90.
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The history of miniature art dates back to ancient times. This art in itself combines many fields of art. One of the main characteristics of miniature art is the ability to describe the events in the books in the form of plots. In this field, more Tabriz artists have managed to create unique pearls of art. The unique specimens created by the masters of Tabriz are now kept in various museums and private collections around the world. Each of these preserved specimens has its own aesthetic and artistic value. The article thoroughly analyzes their general artistic characteristics. Key words: Miniature, development, formation, color, shape, effect, composition
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Editorial, Article. "M. Seslavinsky’s Gift to the Russian State Library." Bibliotekovedenie [Library and Information Science (Russia)], no. 2 (April 1, 2009): 130. http://dx.doi.org/10.25281/0869-608x-2009-0-2-130.
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Head of the Federal Agency for Press and Mass Media Communications of the Russian Federation M. Seslavinsky (Rospechat) presented albums and collection of books to the Russian State Library on February, 4, 2009. These interesting examples of bookbinding and series of ex-librises were created by known artists for his private library.
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Silverman, Willa Z. "Esthetic Languages of the Book in Fin-de-Siècle France: Japonisme, Symbolism, and Art Nouveau in the Private Library of Henri Vever." Quaerendo 48, no. 3 (October 22, 2018): 179–205. http://dx.doi.org/10.1163/15700690-12341410.
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Abstract The private diaries written between 1898 and 1901 by the French jeweler, art collector, and bibliophile Henri Vever (1854-1942) provide fresh evidence about how important late-nineteenth century esthetic ‘languages’ (japonisme, Symbolism, Art Nouveau) were appropriated by artists committed to renewing the decorative arts; the diaries also address the meaning and status of books. For Vever, his extensive collection of Japanese pattern albums served, above all, a utilitarian function, as design primers and sources of information about printing and engraving techniques for craft modernizers. At the same time, included in the physical space of his ‘Japanese library’ and in line with Symbolist esthetics, Japanese books were, to Vever, suggestive bibelots, whose evocative powers were enhanced through inclusion in harmonious decors. Vever’s experiments in Art Nouveau book design, finally, reveal his additional conception of the book as both surface to be decorated and space of artistic collaboration underscoring the equality of all arts.
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Bedran, Marina. "Art of the Counter-Archive: Rosângela Rennó's Books and the Secret Files of the Dictatorship." ARTMargins 12, no. 1 (February 1, 2023): 26–50. http://dx.doi.org/10.1162/artm_a_00336.
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Abstract This article examines Brazilian artist Rosângela Rennó's books 2005–510117385–5 and A01 [COD.19.1.1.43] – A27 [S | COD.23], which engage with photographs stolen from public collections in Rio de Janeiro. Both books triggered a conversation about institutional precarity and its effects on national memory and cultural heritage—one that took place a few years before the 2018 fire at Rio de Janeiro's Museu Nacional, which destroyed much of its invaluable archive of twenty million items and was understood as a national tragedy. It discusses Rennó's books in light of 1960s and 1970s Latin American Conceptualisms, arguing that they propose new ways of understanding the secret files of the 1964–85 dictatorship—a still unresolved issue in Brazil. Tackling the dynamics of public museums, private collections, and incentive laws and activating the generative potential of circulation, Rennó's work provides both a commentary on the role of institutions and national memory and at the same time a warning against the unregulated circulation of the neoliberal market. Ultimately, it offers a critique of the archive's potential to be coopted to authoritarian ends and a model for a public, circulating counter-archive of collective memories.
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Samarin, Alexander Y. "Fundamental Study of the Legendary Bibliophile Edition." Bibliotekovedenie [Library and Information Science (Russia)] 67, no. 6 (December 27, 2018): 655–61. http://dx.doi.org/10.25281/0869-608x-2018-67-6-655-661.
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The article presents the analysis of the new book of the famous bibliophile, researcher and populariser of rare books and bibliophilism, the Chairman of the National Union of Bibliophiles M.V. Seslavinsky about the history of creation, specific aspects of publishing and art design of the famous bibliophilic edition “Cantata” by A.A. Sidorov (Moscow, 1921). Comic verses of the future famous bibliologist and art critic, corresponding member of the Academy of Sciences of the USSR became the text for the first edition of the Russian society of the friends of books (1920—1929), the largest Association of booklovers of the 1920s. Two small runs totalled only 20 copies. The study is based primarily on the copies of “Cantata” preserved in the state collections (the Russian State Library, the State Tretyakov Gallery) and private collections, including the M.V. Seslavinsky’s one. The discovery of new documents on the history of the publication allowed restoring the list of owners of the autographed copies. Using the copy-by-copy method, the researcher succeeded in describing the numerous design options of the rarity of bibliophile publishing. The use of art-historical methods allowed to finally establish that the prototype for the image on the engraving “Bibliophile in 1920” (artist N.B. Baklanov, engraver I.N. Pavlov) was A.N. Benoit, the famous painter. The author introduces into circulation the handwritten poetic epistles of A.A. Sidorov to the owners of the autographed copies and other unique materials about preparation for printing, distribution and provenance of “Cantata”. In general, it can be concluded that M.V. Seslavinsky’s approaches to the analysis of “Cantata” can become basic in the study of bibliophile book as a special cultural phenomenon and trend in book publishing.
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Protsiv, Mykola. "ZINOVY STOKALKO (BEREZHAN). UNKNOWN… UNDISCOVERED… UNEXPLORED…" Naukovì zapiski Nacìonalʹnogo unìversitetu "Ostrozʹka akademìâ". Serìâ Ìstoričnì nauki 1 (December 17, 2020): 240–45. http://dx.doi.org/10.25264/2409-6806-2020-31-240-245.
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The article considers the activities of the famous bandura player, modernist poet, student activist and doctor, doctor of medicine, and student of Berezhany gymnasium – Zinoviy Shtokalko (Berezhan). Who is he? His father’s genes to some extent determined the life path of his son Zinoviy. In my subjective opinion, I defined them as follows: Doctor. Bandurist! Writer… Artist? .. Punctuation rather shows my understanding of Zinoviy Shtokalko as of today. Attention is focused on his stay in Germany (study at the Ludwig-Maximilian University in Munich; public activities in the field of international student movement led by the Ukrainian student community, the Foreign Students Associations; edition of weekly issue “Students news” & its publications, poetic creativity and concert activity of a bandura player) and the USA (professional activity as a doctor; concert and artistic activity of a bandura player, preservation and popularization of bandura art; literary work). Based on original documents from the funds of Berezhany Museum of Local Lore and private collections, some aspects of the biography have been clarified (period of study at the Lviv Medical Institute, arrival in the USA, performances as a bandura player in the USA). According to the research results, the catalog “Zinoviy Shtokalko (Berezhan) and his family in the Berezhany Museum of Local Lore and in private collections” was published. It includes 358 original photos, letters, books, documents and objects. All of that covers quite a wide time range (1891–2020). “Geographical” coverage is the following: Berezhany, Brody, Kalne, Lviv, Sokal, Munich, Canada, Germany, USA… Research continues: unrecognized photos, negatives and photo albums, unread letters from the family, manuscripts of Zinoviy’s father – priest Pavel Shtokalko, and documents in the archives of various institutions are awaiting processing.
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Williams, R. B., and P. G. Moore. "An annotated catalogue of the marine biological paintings of Thomas Alan Stephenson (1898–1961)." Archives of Natural History 38, no. 2 (October 2011): 242–66. http://dx.doi.org/10.3366/anh.2011.0032.
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Thomas Alan Stephenson (1898–1961) was a greatly gifted marine biologist and artist. The British sea anemones (1928, 1935) and his essay on beauty in nature and art, Seashore life and pattern (1944), both of which he illustrated himself, are his best-known works. A participant with his wife Anne in the Great Barrier Reef Expedition of 1928–1929, the couple subsequently travelled world-wide studying rocky-shore zonation patterns, summarized eleven years after Stephenson's death in Life between tidemarks on rocky shores (1972). During those travels Stephenson painted marine organisms (mostly invertebrates and algae) and shorescapes, many of which were reproduced in books and scientific papers. His paintings represent a valuable artistic and scientific resource of international significance that deserves to be better known. Some are listed in the catalogues prepared for a memorial exhibition in 1964. Others were discovered from letters between Stephenson and museum curators, and yet more were identified from further diverse sources. Catalogued here are 99 paintings on various marine themes in watercolour, gouache or oil, of which 55 are known in institutional collections or in private hands; the rest could not be traced. Yet more marine biological artworks probably remain undocumented.
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Ostrovskyi, Oleksandr. "LUCHINO VISCONTI'S PRIVATE LIBRARY AS A WAY TO UNDERSTAND THE CREATIVE BIOGRAPHY OF THE ARTIST." UKRAINIAN CULTURAL STUDIES, no. 2 (13) (2023): 43–47. http://dx.doi.org/10.17721/ucs.2023.2(13).08.
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The relevance of the research is due to the lack of research attention to the phenomenon of the artist’s private library which is both an influential and representative component of his/her creative work. The purpose of the article is to study the interconnections between the private library of the Italian theater and film director Luchino Visconti and his work. The main tasks were the systematization and analysis of the available descriptions of the director's book collection. The approaches to the research of private libraries of other personalities were analyzed. The possibility of analyzing a private library without direct interaction with books-artifacts has been proven. Attention was paid to the idea of “reproducing” the artist’s personality in the books of one’s library. The impact on the personality of those books that could have been chosen by him/her, but remained unread, has been revealed. The importance of all, without exception, books stored in a private library is argued. The article proposes the method of systematization of L. Visconti's private library collection by author, title, year of publication, impact of the text in his works, and topic. As a result of the research, quantitative indicators that were formed for each of the categories confirm or refute the director's statements regarding certain influences on him. Identified significant replenishment of the library collection after 1944 coincides with the start of the director's work in cinema and the final move to Italy. Since almost two-thirds of the library collection are devoted to theatre L. Visconti's significant interest in theatrical topics has been identified. This deepens the idea of the theatricality of his thinking. The influence of some authors on the director's work has been confirmed: in particular, the library has many books by W. Shakespeare and M. Proust, whose impact was mentioned by Italian director on many occasions in his interviews. Analysis of the library collection has shown L. Visconti's interest in the theory and history of music and literature which allows researchers to unfold in his filmography the usage of the form-creating methods inherent to these arts. The conclusion is that a private library can be an important source to expand the researcher's understanding of the artist's creative biography. It is hypothesized that such a way of analysis and systematization can be applied to the research of creative biographies of other personalities.
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Ruhé, Harry. "Artists’ books." Art Libraries Journal 12, no. 1 (1987): 45–46. http://dx.doi.org/10.1017/s030747220000506x.
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Artists’ books have been exhibited several times in the Netherlands since the late 1970s, notably at the Van Reekummuseum at Apeldoorn. They can be purchased from Galerie A in Amsterdam, and collections can be found in several Dutch museums including the Stedelijk Museum, the Stedelijk Van Abbemuseum, and the Groninger Museum, although problems associated with storage and conservation tend to inhibit access.
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Árnadóttir, Arndís S. "Art history or literature? Documenting Icelandic artists’ books." Art Libraries Journal 25, no. 1 (2000): 10–14. http://dx.doi.org/10.1017/s0307472200011378.
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The project of creating a catalogue of Nordic collections holding artists’ books, initiated at ARLIS/Norden’s annual meeting in Helsinki in May 1996, was the starting point for a survey of the material held in Icelandic art libraries. This focused on the type and size of the collections of artists’ books in four art institutions covering twentieth century art in Iceland, and examined the current documentation standards applied to artists’ books in Icelandic collections and the extent of national bibliographic control.
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Myers, Ann K. D., and William Andrew Myers. "Opening Artists’ Books to the User: An Example with Potential Approaches." RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 15, no. 1 (March 1, 2014): 56–67. http://dx.doi.org/10.5860/rbm.15.1.415.
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Artists’ books are an increasingly popular collecting area both for art libraries and for special collections. Their experimentation with the book form and emphasis on hand techniques for production dovetail nicely with early printed book collections, highlighting modern approaches to bookmaking techniques that have been used for hundreds of years. The 2010 OCLC Research Survey Taking Our Pulse identified artists’ books as “the specific area most frequently named” for new collecting in special collections.2 In this paper we will discuss a specimen artist’s book and various issues and approaches to cataloging it. Artists’ books pose particular challenges to special collections . . .
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Newington, Linda. "Nostalgia and renewal: collections and collaborations." Art Libraries Journal 35, no. 1 (2010): 41–46. http://dx.doi.org/10.1017/s0307472200016278.
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This article describes some unusual ways of working with the special collections in the University of Southampton Library of Winchester School of Art. Two of these collections have proved particularly fruitful: numerous successful activities centred on the Knitting Reference Library have aroused great interest, and there is now a strategic aim of making it the primary research resource for knitting for artists, students, and researchers in the University, and also for the wider community locally, nationally and globally. The contents of the Artists’ Books Collection too are being shared with a new audience, through exhibitions, events and participation at artists’ books fairs.
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McLeland, D. Courtenay. "Artists’ Books Collection Development: Considerations for New Selectors and Collections." RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 18, no. 2 (November 8, 2017): 80. http://dx.doi.org/10.5860/rbm.18.2.80.
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In the 2010 survey Taking Our Pulse: The OCLC Research Survey of Special Collections and Archives, artists’ books were the specific genre most often identified as a new collecting area within library special collections departments. For librarians at institutions without an artists’ books collection, beginning and sustaining the growth of a new collection can be an exciting and challenging opportunity to become acquainted with an additional area of specialized knowledge. Other librarians may be at institutions that possess a fledgling collection of artists’ books but find that collecting priorities or guidelines need to be determined prior to more active collection development efforts. In the fall of 2016, with the goal of identifying current and established collection models, the author visited librarians working with collections of artists’ books, distributed an online survey, and conducted a selective literature review. This article presents patterns identified in the survey results.
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Serapionova, Elena P. "F. A. Malyavinʼs panting in Czech collections." Slavic Almanac, no. 3-4 (2021): 475–79. http://dx.doi.org/10.31168/2073-5731.2021.3-4.7.02.
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The review deals with a scientific catalog of works by the Russian artist, a native of the peasant family, of Filipp Andreevich Malyavin, published in Prague, which are kept in state and private collections in the Czech Republic. In addition to the actual catalog of works, the book includes scientific articles, reference materials, indexes, bibliography. The book is richly illustrated. The articles explain the reasons for finding a large number of Malyavinʼs works in the Czech Republic, analyze the phenomenon of Russian post-war and post-revolutionary immigration, reveal the details of the life and creative path of the artist, his connections with Czechoslovakia.
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Lowe, Tyne. "Artists’ Books and the Problem of Digital Preservation." Preservation, Digital Technology & Culture 46, no. 4 (December 6, 2017): 132–35. http://dx.doi.org/10.1515/pdtc-2017-0019.
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Abstract:Artists’ books have become a popular genre for many institutions collecting art objects and unique books. The attempt to preserve the physical artists’ books often competes with the desire to extend user access to these highly tactile works. Partial digitization of artists’ books has allowed many institutions to cultivate an online presence for these collections, increasing access without compromising the physical integrity of the objects. However, creation of digital surrogates for artists’ books often sacrifices the authenticity and access to the intellectual content of the work. The challenge of digital preservation for artists’ books demonstrates the shortcomings of digital reformatting for works that may be intellectual and artistic.
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Soleymani, Mona. "Artists' Books in Australian Collections: An investigation of materials, methods and meanings in the work of contemporary Australian book artists." Axon: Creative Explorations 13, no. 1 (July 24, 2023): 1–16. http://dx.doi.org/10.54375/001/faqwb0rdeh.
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This paper presents the findings of a case study designed to understand more about materials, methods and themes of Australian artists’ books and their preservation issues in collections. Artists use a huge diversity of materials and methods in the creation of artists’ books, which might make these books difficult to preserve in a library or gallery collection context. Based on interviews with five prominent Australian book artists, collectors and curators, this paper suggests that artists choose materials that reflect or express the artistic, social, and political themes of their work, as well as the long historical traditions of bookbinding, printmaking, printing, typography etc, that their work continues. However, the interviewees were also very engaged in the issues of collecting, curating, and preserving these materials. The findings of this study confirm that access to archived information about the artist’s themes, intention, and working methods would be invaluable for all aspects of collection management. Thus, there is a need to have a coherent written policies to set rules for what to include or exclude from an artists’ books policy in libraries and art collections in Australia.
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Barata, Ana. "Resources for Latin American art in the Gulbenkian Art Library." Art Libraries Journal 37, no. 4 (2012): 21–23. http://dx.doi.org/10.1017/s0307472200017697.
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From its creation in 1968 the Gulbenkian Art Library has possessed a number of special collections, and these have been enriched through major bequests or through acquisition. Currently there are about 180 collections with relevance for the study of Portuguese art and culture: they include private libraries, the private archives of Portuguese artists and architects, and photographic archives. Material in the special collections is available through the library’s catalogue and some have already been digitised and are available on the internet, depending on their copyright terms and conditions. Among these special collections two have special relevance to the study of the history of Brazilian art and architecture: the collection of Portuguese tiles and the Robert Smith Collection.
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Foden-Lenahan, Erica, Gustavo Grandal Montero, and Ana Paula Hirata Tanaka. "Defending the aesthetic: the conservation of an artists’ book." Art Libraries Journal 38, no. 1 (2013): 32–37. http://dx.doi.org/10.1017/s0307472200017855.
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Modern and contemporary books, easily replaceable in the internet age, are weeded from collections and disposed of because of their poor quality materials and construction. For an art library, where obsolescence is rarely an issue, the 20th- and 21st-century book can be a problem. Rare and seminal works in our collections are crumbling because they are acidic or perhaps they just cannot withstand the handling (and photocopying). We have become alert to the conservation of books from the hand-press period, but do not always know what to do with recent publications, or we cannot afford to undertake the measures necessary. As the artist’s book as an art form reaches its 50th birthday, we highlight the conservation of one such volume, in hopes of opening up discussion about the care of our contemporary treasures.
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Wasserman, Krystyna. "The National Museum of Women in the Arts Library and Research Center." Art Libraries Journal 13, no. 3 (1988): 10–13. http://dx.doi.org/10.1017/s0307472200005757.
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The National Museum of Women in the Arts was established in Washington in 1981 to make known the achievements of women in the visual arts. Its Library and Research Center plays a central part in the Museum’s essentially educative role, providing information on art by women primarily by means of one of the largest specialised collections of materials on women’s art. This includes extensive archival files and a number of special collections. Ongoing projects include the compilation of a database on women artists, an inventory of works of art by women in private and public collections, and an index to women artists documented in group exhibition catalogues. The activities of the Library and Research Center demonstrate how this and other art libraries can counteract the neglect of women in the arts.
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Mahurter, Sarah, and Susan Johanknecht. "The birth of an exhibition." Art Libraries Journal 25, no. 1 (2000): 33–36. http://dx.doi.org/10.1017/s0307472200011433.
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The recent exhibition James Joyce’s typewriter and other stories: books at the London Institute was jointly curated by a librarian and an academic tutor. The aim was to demonstrate how six special collections in the London Institute’s Libraries and Learning Resources were relevant to the courses the students follow. In parallel, students from the Institute’s Book Arts MA created artists’ books influenced by one of the collections, and these were displayed in the exhibition alongside work by bookbinding and print media students.
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Buyak, Halyna. "Bookplate in the works of Bohdan Khavarivskyi (THE 1990s)." Scientific Papers of the Kamianets-Podilskyi National Ivan Ohiienko University. History 39 (April 6, 2023): 256–67. http://dx.doi.org/10.32626/2309-2254.2023-39.256-267.
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The aim of the study is to analyze the bookplate as a component of Bohdan Khavarivskyi’s cultural and artistic heritage in the 1990s. Th e research methodology is based on the principles of historicism, objectivity, scientifi city, and systematicity. Th e methods used are generalization, quantitative, historical and comparative, chronological, retrospective, and local history. Th e scientifi c novelty is based on the fact that the author is the fi rst in Ukrainian historiography to comprehensively analyze the problem under study, to fi nd out its impact on the crea tive work of famous Ukrainian artists in the fi eld of bookplate. Conclusions. B. Khavarivskyi was not only personally actively involved in cultural and artistic aff airs, but also tried to popu- larize the creative work of famous artists of Ternopil region in the fi eld of bookplates, which was important for libraries and museums. Th e bookplates preserved in the private collection of B. Khavarivskyi’s are individual bookplates associated with the libraries of certain individuals. Th e artist sought to familiarize a wide audience with the art of bookplates, to show works of diff erent content, form, and technique. He actively involved students who were members of the literary and artistic club «Silver Octaves» in the creation of the bookplate. In the early 1990s, not only the subject matter of the bookplate changed dramatically, but also its plotting: histori- cal motifs, everyday scenes, portraits of writers, artists, and actors. B. Khavarivskyi was directly involved in the exposition of bookplates «Let’s Give Ukraine Back to Our Children», which was to feature bookplates by more than twenty professional artists of Ukraine. He initiated the celeb- ration of the 125th anniversary of the birth of B. Lepkyi, a writer and public fi gure, and prepared the All-Ukrainian exhibition «Cranes Return Home» (the life and work of B. Lepkyi in the book- plate), which invited artists from Ukraine and the diaspora. Th e collection of book miniatures «Shevchenkiana in the bookplates of Ukrainian artists», presented by twelve authors, had a rather positive response among artists. Th e artistic events initiated by B. Khavarivsky contri- buted to the popularization of the original national culture, attracting small graphic artists to popularize their creative potential.
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Andres, Hanna, and Mariia Lutska. "Features of Private Art Collecting in Ukraine in 1990s–2000s." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 29 (December 17, 2020): 66–71. http://dx.doi.org/10.33838/naoma.29.2020.66-71.
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The article analyzes private art collecting in 1990s–2000s in Ukraine. It is important to mention that collecting works of art in Ukraine of the time indicated in the article does not have comprehensive coverage. The complexity of the study of this issue is also due to the closeness and limitation of access to private collections. The collapse of the USSR, the transition from a totalitarian regime to democracy and the establishment of a market economy in Ukraine contributed to the formation and creation of private collections of artistic works. At this time, three main branches of non-state collecting begin to form: private collections, corporate collections of institutions (banks, insurance companies) and foundations. In the early 1990s the practice of collecting works by banks came to Ukraine from the West. Ukrincombank, Southern Bank, Gradobank, etc. were involved in that work. The interest of private individuals in forming their own collections also begins with Ukraine’s acquisition of Independence, but gains momentum in the early 2000s. The art collections were represented by E. Dymshyts, L. Bereznitsky, A. Adamovsky, I. Voronov, V. Pinchuk and others. One of the most important collections began to be initiated by Boris and Tatiana Hrynyov family of in 1996. Their idea of the collection arose from the concept of Kharkiv artists. In the circle of their interests — the art of Soviet nonconformists and Ukrainian contemporary art. Foundations of art appeared in Ukraine after the proclamation of Independence in 1991. These are non-governmental and non-profit organizations, established by private or corporate enti- ties. Important foundations in Ukraine, that have their own collections of art, are Soviart, Alexander Feldman Foundation, Stedley Art Foundation etc. The collections of the 1990s and 2000s are very important for the history of Ukrainian art and collecting. The collectors of this period have played a key role in preserving the artistic heritage of Independent Ukraine.
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Christensen, Charlotte. "The Prince, the Noblemen and the Painter: Collectionso Works of Art in Copenhagen Between 1800 and 1848." Artium Quaestiones, no. 34 (December 27, 2023): 81–109. http://dx.doi.org/10.14746/aq.2023.34.3.
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The history of collecting in Denmark and Norway in the 19th century is intimately connected with the history of the painters and sculptors active during that period. Only in Copenhagen were the Royal and private collections accessible to the artists, for whom copying paintings by Old Masters formed an important part of their curriculum. Major collectors of the Age were Prince Christian Frederik (later King Christian VIII of Denmark), who mainly acquired paintings and sculptures by contemporary artists, and the portrait painter Christian Albrecht Jensen, whose preference was to buy and sell the works of Old Masters. In Copenhagen, the collections of the Counts Moltke, which mainly consisted of works by Dutch painters, was open to the public, while the Royal Collection (today a part of Statens Museum for Kunst) could only be visited from 1827 onwards. None of the three collections dealt with in the present article have survived until today, while the works of art and the antiques belonging to the sculptor Bertel Thorvaldsen are at present housed in the museum bearing his name.
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Cox, Justin, and Stephanie Kitchen. "African Books Collective: African Published Books in the North." African Research & Documentation 136 (2019): 4–9. http://dx.doi.org/10.1017/s0305862x00022056.
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This is a presentation about the African Books Collective that for some 30 years has distributed African published academic, literary and children's books around the world. The aim of the paper is to provide some insights into how books published in Africa are making their way to libraries with collections on Africa, and to discuss current and future trends; it being understood that ‘decolonising library collections’, the theme of this conference, would by rights involve acquiring and maintaining materials from outside the global North.Upon its creation in 1990, ABC represented a large number of university presses on the continent and independent publishers, some of which are large firms still trading today. Today few university presses are trading or publishing new books. This work was largely picked-up by private independent publishers and research institutes such as CODESRIA, OSSREA, the Institute of Southern African Studies and others.
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Kelly, Jamie, Eli Suzukovich, and Lauren Fitts Lauer. "Chicago Area Archaeological Collections at the Field Museum." Midcontinental Journal of Archaeology 49, no. 1 (2024): 25–43. http://dx.doi.org/10.5406/23274271.49.1.03.
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Abstract From surface finds to excavated collections, the Field Museum cares for thousands of archaeological items from the Chicago area. The collections reflect those put together by several key antiquarians in the nineteenth and early twentieth centuries, materials recovered by early archaeologists starting in the 1920s using the Chicago Field Method, and material resulting from a pre–cultural resource management salvage excavation in the 1950s. The collections also include donations in the twentieth century by private individuals. This article contextualizes the history of these archaeological collections and their impact on recent studies and descendant communities, including the Hočąk, Baxoje, Nutachi, Jiwere, Myaamia, Kickapoo, Kaskaskia, and Potawatomi. In so doing, we outline how the provenance of these collections reflects temporal trends of museum archaeology and curation and how various epistemologies are being brought to bear by recent work of archaeologists and Indigenous artists and craftspeople.
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Browar, Lisa, and Marvin J. Taylor. "EDITORS' NOTE." RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 1, no. 1 (March 1, 2000): 11–12. http://dx.doi.org/10.5860/rbm.1.1.169.
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When we assumed the editorship of this professional journal we asked each other, “what's so special about special collections?” For that matter, “who cares about the rare books, manuscripts, and other artifacts that fall under the rubric of ‘cultural heritage’?” We had a hunch that these seemingly disingenuous questions, when put to a cross-section of scholars, students, booksellers, archivists, collectors, artists, authors, curators, publishers, photographers, filmmakers, performance artists and, of course, librarians, would provoke thoughtful anecdotes, lively discourse, and passionate disputation. We were not wrong. The responses we received yield evidence of a broad constituency. Despite differing approaches to cultural . . .
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Nicholson, Joseph R. "Making Personal Libraries More Public: A Study of the Technical Processing of Personal Libraries in ARL Institutions." RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 11, no. 2 (September 1, 2010): 106–33. http://dx.doi.org/10.5860/rbm.11.2.336.
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The personal libraries of writers, scholars, artists, and other well-known people occupy an ambiguous place within the special collections areas of libraries that assume custody of them after their owners’ deaths. Ostensibly collections of books, they often contain letters, postcards, pamphlets, receipts, programs, and other ephemera that are more commonly found among personal papers arranged by archival standards. The pages of the volumes within personal libraries can exhibit annotations by former owners consisting of a few sparse underlining marks or, in other cases, dense marginalia that constitute a layer of manuscript materials lying atop a bedrock of published works. The . . .
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Anikeeva, Tatiana, and Ilona Chmilevskaya. "TURKIC MANUSCRIPTS FROM PRIVATE COLLECTIONS OF ALHAJIKENT (KAYAKENT DISTRICT, REPUBLIC OF DAGESTAN)." History, Archeology and Ethnography of the Caucasus 18, no. 4 (December 25, 2022): 899–907. http://dx.doi.org/10.32653/ch184899-907.
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As part of the research project of the RSCF No. 22-18-00295 “Electronic library of Arabographic manuscripts from archival, library, museum and private collections of Russia”, the authors conducted an archeographic expedition in the summer of 2022 to the Kayakent, Akhtynsky and Suleiman-Stalsky districts of the Republic of Dagestan with the aim to identify private and mosque collections of manuscripts and books for their subsequent description and digitization. Two private collections, belonging to K.M. Kamalov and Sh.Yu. Magomedov, were identified in the Kayakent district of Dagestan. They comprise around forty volumes of manuscripts and early printed books, as well as handwritten documents: assembly records, letters, registration of legal transactions, etc. Both collections have a common origin and are fragments of collections belonging to local religious figures: the last pre-revolutionary qadi of the village of Alhajikent, Qadi-Agay and his relatives Abuzar-qadi, local alim of the first half of the 19th century, Abdul Wahab Sheikh and Sheikh Mirza. The part of the collection of Sh.Yu. Magomedov was lost in the 1980s. The content of the collections is mainly represented by works in Arabic in the fields of grammar and stylistics of the Arabic language, Muslim law, dogmatics, occult sciences. Due to the loss of its part, the Sh.Yu. Magomedov’s collection covers the period between 1747-1748 to the first third of the 19th century, while in the collection of Kamalov K.M. there are earlier copies of manuscripts, which, according to paleographic characteristics, can be attributed to the middle of the 17th century. Our paper focuses on the few manuscripts in the Turkic languages, identified in the collections.
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Starre, Jan H. E. van der. "Automation at the RKD: a short overview." Art Libraries Journal 23, no. 2 (1998): 15–17. http://dx.doi.org/10.1017/s0307472200010919.
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The Netherlands Institute for Art History (RKD) is one of the largest art documentation centres in the world. It maintains collections of millions of reproductions and press clippings, as well as housing a sizeable library of approximately 400,000 books. In the past decade the RKD has begun setting up various automated systems for the management of these collections. The major systems in operation are the automated library with some 30,000 records online and accessible for visitors, a database with bio- and bibliographical information on artists, and the recently initiated image database. Plans for the future include in-house and web access to all databases, continued improvement and expansion of the systems, retrospective conversion of parts of the collections and publication of CD-ROMs.
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Kawo, Hassen Muhammad. "Islamic Manuscript Collections in Ethiopia." Islamic Africa 6, no. 1-2 (July 6, 2015): 192–200. http://dx.doi.org/10.1163/21540993-00602012.
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Ethiopian Muslims introduced literary culture and manuscript collection in the mosques after the introduction of Islam in the seventh century. Books stored and preserved in a bookshelves known as taqet (Arabic, tāqat, shelf). This clearly shows African endogenous culture of preserving textual material that before the introduction of European models for archives and museums. This article demonstrates the collection of Islamic manuscripts in Ethiopian state archives and private collections and illustrates their challenges with recommendation to rescue the collections.
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Speight, Elaine, and Charles Quick. "“Fragile Possibilities”: The Role of the Artist’s Book in Public Art." Arts 9, no. 1 (February 27, 2020): 32. http://dx.doi.org/10.3390/arts9010032.
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Writing during the millennium, not long after the installation of Antony Gormley’s The Angel of the North, artist and publisher Simon Cutts criticised the dominance of monumentalism within the field of public art. Decrying the lack of critical engagement offered by public sculpture, he called for an alternative approach, focussed upon process rather than product. Almost two decades later, it could be argued that mainstream understandings of public art have expanded to incorporate more ephemeral approaches, such as performance, sound art and social interventions. Within this context, the artist’s book has come to occupy a significant role within the production, dissemination and interpretation of such work. This has been accompanied by a growing interest in the artist’s book as a public artwork in its own right. These two distinct yet interrelated approaches form the subject of our essay. Drawing on examples of artists’ books held in the Special Collections at Manchester Metropolitan University and the library collections at Henry Moore Institute as well as from our own curatorial practice, we argue that, far from ancillary artefacts, artists’ books play a pivotal role within the production of public art and provide an important space in which to critically engage with the complexities of place.
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Géger, Melinda. "Dél-Dunántúli szakrális emlékek. Kiállítás a Rippl-Rónai Múzeumban, 2014. január 30 – április 10." Kaposvári Rippl-Rónai Múzeum Közleményei, no. 3 (2014): 287–96. http://dx.doi.org/10.26080/krrmkozl.2014.3.287.
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In 2014, special religious relic exhibition of art was displayed in the Rippl-Rónai Museum, Kaposvár. Some of the exhibited material came from those museums’ collections found in South Transdanubia, while others were from private collections. The main aim of the exhibition was to find the local religious relics, again. Principally, this exhibition based on those relics which were moved by Sándor Klempa, the bishop of Veszprém from different Somogy County Baroque churches to the Diocese Collection, Veszprém in the 1950-60s. One of the most important part of the exhibition were those works painted by the most significant religious artists, István Dorffmaister and some church-related works from Rippl-Rónai Ödön’s collection were also exhibited.
40
Carter, Sarah, and Alex O’Keefe. "Revealing Invisible Collections: Implementing the ARLIS/NA Artists’ Books Thesaurus to Provide Online Access." Art Documentation: Journal of the Art Libraries Society of North America 37, no. 2 (September 2018): 159–75. http://dx.doi.org/10.1086/700008.
Full text
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Ng, Ashton. "Bibliophilia: the Passion of Ming Dynasty Private Book Collectors." Ming Qing Yanjiu 24, no. 2 (October 13, 2020): 279–300. http://dx.doi.org/10.1163/24684791-12340051.
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Abstract In the Ming dynasty (1368–1644), book collecting evolved from an elite pastime into a widespread obsession. ‘Bibliophilia’—the passionate love for books—drove many book collectors to exhaust their fortunes or even trade their concubines for books. As books became indispensable towards gaining respectability in Chinese society, scholars, merchants, and landowners ensured that their residences were thoroughly infused with the prestigious “fragrance of books”. Some literati even regarded book collecting as a man’s most important undertaking in life. Ming private book collectors broke away from tradition and made their private collections available for others to view, exchange, or copy, greatly promoting the circulation of books. Through their incredible attention to the collection, classification, storage, and proofreading of books, Ming bibliophiles contributed enormously to the preservation and transmission of Chinese culture.
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Bradford, Clare, Catherine Sly, and Xu Daozhi. "Ubby’s Underdogs: A Transformative Vision of Australian Community." Papers: Explorations into Children's Literature 24, no. 1 (January 1, 2016): 101–31. http://dx.doi.org/10.21153/pecl2016vol24no1art1112.
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In Black Words White Page (2004), his seminal study of Aboriginal cultural production in Australia, Adam Shoemaker notes that ‘when Oodgeroo Noonuccal’s first collection of poetry appeared in print in 1964, a new phase of cultural communication began in Australia’ (2004, p. 5). The ‘new phase’ to which Shoemaker refers pertains to the many plays, collections of poetry and novels by Aboriginal authors published between 1964 and 1988 and directed to Australian and international audiences. Flying under the radar of scholarly attention, Aboriginal authors and artists also produced significant numbers of children’s books during this time, including Wilf Reeves and Olga Miller’s The Legends of Moonie Jarl, published by Jacaranda Press in 1964 (see O’Conor 2007), Oodgeroo Noonuccal’s Stradbroke Dreamtime (1972), and the picture books of Dick Roughsey and many other Aboriginal authors and artists (see Bradford 2001, pp. 159-90).
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Sachkova, G. S. "Private Libraries in Russia: A.S. Norov’ Library." Izvestiya of Saratov University. History. International Relations 11, no. 1 (2011): 34–39. http://dx.doi.org/10.18500/1819-4907-2011-11-1-34-39.
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Private book collections – is an integral part of the cultural environment of the Russian educated society of the first half of the XIX century. The library of an outstanding state and political figure, a scholar, an ardent bibliophile A.S. Norov is a book treasury. In the article the process of the collecting his two libraries is considered. The article also considers the manuscripts and books of those libraries, discloses the reasons induced the owner of these magnificent libraries to sell them. It is noted that A.S. Pushkin used A.S. Norov’s library during his work on «The History of Pugachev». A collection of manuscripts by Norov, together with other private collections of the XIX century, made the manuscript stock of Russian state library.
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Kempe, Deborah, Deirdre E. Lawrence, and Milan R. Hughston. "Latin American art resources north of the border: an overview of the collections of the New York Art Resources Consortium (NYARC)." Art Libraries Journal 37, no. 4 (2012): 5–14. http://dx.doi.org/10.1017/s0307472200017673.
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The New York Art Resources Consortium (NYARC), consisting of The Frick Art Reference Library and the libraries of the Brooklyn Museum and the Museum of Modern Art (MoMA), houses significant collections of material on Latin American art that document the cultural history of Mexico, Central America, the Caribbean and South America, as well as the foundation of New York City as an epicenter of US Latino and Latin American cultural production since the 19th century. Ranging from historic archeological photographs to contemporary artists’ books, the holdings of the NYARC libraries are varied in their scope and record the contributions of Latin American and Latino artists to the international art scene. With the creation of Arcade, the shared online catalog of the Frick, MoMA and Brooklyn Museum, the ‘collective collection’ of material about and from Latin America has been strengthened in ways both expected and unanticipated. Techniques for integrating Latin American bibliographic information into discovery platforms, strategies for increasing the visibility of these collections, and ideas for providing improved access to the Latin American subset of the NYARC collections are being explored, and many further opportunities exist to engage in co-operative collection development in this area, across the NYARC consortium and with other peer institutions.
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Wateren, Jan van der. "Connections and collections: Britain’s National Art Library and the former USSR." Art Libraries Journal 17, no. 2 (1992): 32–36. http://dx.doi.org/10.1017/s0307472200007811.
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The National Art Library’s coverage of Russian and Soviet art is extensive if uneven, comprising some 20,000 titles. These include approximately 100 serials from the former USSR, a small number of manuscripts, some significant livres d’artistes, illustrated and illustrated childrens’ books, and many exhibition catalogues. The important Larionov/Gontcharova collection was begun when the Museum purchased certain items from an exhibition it organised itself in 1926; many more items (including part of the artists’ library) were acquired in 1961, and yet more have been added since. The Library’s collections of printed ephemera include work by El Lissitsky and Rodchenko. The collections in the Library, which are being developed partly through exchange, are complemented by examples of Russian fine and decorative arts in the collections of the Victoria and Albert Museum - the home of the National Art Library.
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Jankevičiūtė, Giedrė, and Osvaldas Daugelis. "Collecting Art in the Turmoil of War: Lithuania in 1939–1944." Art History & Criticism 16, no. 1 (December 1, 2020): 35–63. http://dx.doi.org/10.2478/mik-2020-0003.
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SummaryThe article deals with the growth of the art collections of the Lithuanian national and municipal museums during WWII, a period traditionally seen as particularly unfavourable for cultural activities. During this period, the dynamics of Lithuanian museum art collections were maintained by two main sources. The first was caused by nationalist politics, or, more precisely, one of its priorities to support Lithuanian art by acquiring artworks from contemporaries. The exception to this strategy is the attention given to the multicultural art scene of Vilnius, partly Jewish, but especially Polish art, which led to the purchase of Polish artists’ works for the Vilnius Municipal Museum and the Vytautas the Great Museum of Culture in Kaunas, which had the status of a national art collection. The second important source was the nationalisation of private property during the Soviet occupation of 1940–1941. This process enabled the Lithuanian museums to enrich their collections with valuable objets d’art first of all, but also with paintings, sculptures and graphic prints. Due to the nationalisation of manor property, the collections of provincial museums, primarily Šiauliai Aušra and Samogitian Museum Alka in Telšiai, significantly increased. The wave of emigration of Lithuanian citizens to the West at the end of the Second World War was also a favourable factor in expanding museum collections, as both artists and owners of their works left a number of valuables to museums as depositors. On the other hand, some museum valuables were transported from Vilnius to Poland in 1945–1948 by the wave of the so-called repatriation of former Vilnius residents who had Polish citizenship in 1930s. The article systematises previously published data and provides new information in order to reconstruct the dynamics of the growth of Lithuanian museum art collections caused by radical political changes, which took place in the mid 20th century.
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Lowther, D. A. "The first painting of the red panda (Ailurus fulgens) in Europe? Natural history and artistic patronage in early nineteenth-century India." Archives of Natural History 48, no. 2 (October 2021): 368–76. http://dx.doi.org/10.3366/anh.2021.0728.
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Throughout the late eighteenth and early nineteenth centuries, British East India Company officials, based in the Indian subcontinent, amassed huge collections of natural history images. One of the largest collections, consisting of many thousands of individual paintings commissioned mainly from Indian artists between 1790 and 1823, was formed by Major-General Thomas Hardwicke. Some of these later formed the basis of John Edward Gray’s Illustrations of Indian zoology, but the vast majority remained unpublished. This paper focuses on one of these images, a detailed watercolour of the red panda ( Ailurus fulgens), painted to accompany a scientific description of the species which Hardwicke sent from Bengal to the Linnean Society of London in 1820. The painting pre-dates Frédéric Cuvier’s description of the animal by four years, and is almost certainly the first image of the red panda to have arrived in Europe. This paper sets the painting in the context of Hardwicke’s career as a naturalist and private patron of Indian artists, highlighting both his role as an early investigator of Indian zoology and the importance of “Company Art” in the accrual of scientific information.
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Butler, Angie. "Visceral Language: A Phenomenological Approach to Contemporary Letterpress-Printed Artist’s Book Practice in the UK." Arts 8, no. 4 (November 15, 2019): 151. http://dx.doi.org/10.3390/arts8040151.
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The decline of commercial letterpress printing and technological advances in industry were major influential factors with respect to the establishment of independent small presses in the United Kingdom (UK). Although unlike work from commercial, private or fine press printers, utilisation of the letterpress process embedded a phenomenological approach to artist-led publishing where physicality and experience of using the letterpress process was reflected within the practice of making artists’ books and printed matter. Major concepts and inclusion of tools, equipment, technologies and studio methods used in historical small publishing practice can be considered in relation to today’s practitioners making letterpress-printed artists’ books to understand how skills are learnt and developed to support the evolution of a reflexive approach within contemporary practice.
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Gwara, Scott. "Collections, Compilations, and Convolutes of Medieval and Renaissance Manuscript Fragments in North America before ca. 1900." Fragmentology, no. 3 (December 2020): 73–139. http://dx.doi.org/10.24446/dlll.
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Using evidence drawn from S. de Ricci and W. J. Wilson’s Census of Medieval and Renaissance Manuscripts in the United States and Canada, American auction records, private library catalogues, public exhibition catalogues, and manuscript fragments surviving in American institutional libraries, this article documents nineteenth-century collections of medieval and Renaissance manuscript fragments in North America before ca. 1900. Surprisingly few fragments can be identified, and most of the private collections have disappeared. The manuscript constituents are found in multiple private libraries, two universities (New York University and Cornell University), and one Learned Society (Massachusetts Historical Society). The fragment collections reflect the collecting genres documented in England in the same period, including albums of discrete fragments, grangerized books, and individual miniatures or “cuttings” (sometimes framed). A distinction is drawn between undecorated text fragments and illuminated ones, explained by aesthetic and scholarly collecting motivations. An interest in text fragments, often from binding waste, can be documented from the 1880s.
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Avrin, Leila. "Hebraica Now! The Book Arts, 1991-1993." Judaica Librarianship 8, no. 1 (September 1, 1994): 154–61. http://dx.doi.org/10.14263/2330-2976.1261.
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There have been several positive developments in the areas of Hebrew typography, fine and private printing, and artists' books from 1991 to 1993. The paper discusses recent typefaces by the Jerusalem designer Zvi Narkiss; the typographic experiments of Ariel Wardi, former head of the Printing Department of Hadassah College of Technology in Jerusalem, as well as a new Hebrew display letter, "Hillel," designed by Scott-Martin Kosofsky for the Harvard Hillel Sabbath Songbook. The works of two private presses are examined: that of the Santa Monica private printer Jacob Samuel in a book illustrated by Micha Ulmann, and that of Jerusalem's designer-bookbinder, Yehuda Miklaf. Two significant artists' books have appeared recently: Maftir Yonah, a limited hand-printed edition with calligraphy by David Moss and etchings by Mordechai Beck, printed at the Jerusalem Print Workshop, and The Six Days of Creation, a work in monoprint, with calligraphy and drawing by Malla Carl. Another milestone is the 1992 Hebrew translation by Israel's veteran printing expert, Gideon Stern, of the printer's manual, Bruckmann's Handbuch der Drucktechnik as Sefer ha-defus. It includes the history and essentials of Hebrew typography and serves as an invaluable reference work for the new generation of Hebrew printers.