2
10
131
-
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f1283e46f7ee4721b1eaa60518f8dddf
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Creator
An entity primarily responsible for making the resource
Belle Silveira Gorski (1877–1930).
Title
A name given to the resource
Portrait of a Woman with a Book.
Description
An account of the resource
Pencil drawing, 10¾ x 6 in.
Although not widely known today, Belle Silveira Gorski made this beautiful, captivating portrait of an unknown sitter in the early 1900s. Drawn with great technical skill, the image proves how the humble pencil can create a work of refinement, precision, and polish, delivering a portrait both crisp and shadowy. The draped shoulders, the ring on her left hand, swirled hair, floral accents, and, of course, the book suggest a woman of style and substance who wouldn’t be out of place in a story by Edith Wharton or Henry James.
I collect drawings of people reading or with books, and this has been hanging in my office for more than twenty years. Its appeal comes not only from its subtlety and virtuosity; it serves as a daily inspiration and antidote to the hectic pace and mindless preoccupations of contemporary life. Here she sits, serene and self-possessed, an elegant reminder to recalibrate every once in a while, make one’s life as beautiful as one can, and definitely, always, have a book at hand.
Source
A related resource from which the described resource is derived
Cheryl Hurley
GCCII
-
https://d1y502jg6fpugt.cloudfront.net/15145/archive/files/b29d0af390a1ff2b91e097bd920b5761.jpg?Expires=1712793600&Signature=vY9AqhjQXHIZU1P1IKptlhJCKrMJ83CxCuOch9XAWLpa7zNDQX4AalrYoEAXeHABbyTck0kvc61ru77Bv%7EI-EsI9jiSw%7EayiZBr%7EI8B0btd6Neh3EZzSKR2c4WHvTH3aom0et1RwjjuXlEhiTPpBn7shEUYnzY8mSkfcNz%7EYQZyMBSJhPnEW3Rk98d4NqVwrsifGZU%7EaBDJSqYUS6MN0a8pIQxTny16bfM24TiPtqqQRfpk3sFje60EIwv96hAgB7Bxdo6ICOUT2lOVbg0-r1rvP2rDZVaYw6i154pGmeG67y%7EvoJKz%7ErFQVPweJGd7COi7QU7x54CzovxMGSEsG9Q__&Key-Pair-Id=K6UGZS9ZTDSZM
f713d1134b12674db03868954fc70693
Dublin Core
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Creator
An entity primarily responsible for making the resource
Ben Shahn (1898–1969).
Title
A name given to the resource
Phoenix.
Date
A point or period of time associated with an event in the lifecycle of the resource
1952.
Description
An account of the resource
Screenprint in black with hand coloring, 30¾ x 22⅜ in. No. 84/100.
Ben Shahn was a visiting lecturer at Smith College when I was an undergraduate there. I was taken by his presence and his attitude about art as a statement of justice and humanity. He was selected for WPA projects and was commissioned to paint murals for numerous public and government buildings around the country. I chose to write my senior thesis about his public murals and was privileged to meet with him to discuss that work.
Shahn was drawn to religious and mythological subjects. The phoenix represents renewal and hope. The minute I saw this print I knew I had to own it. It was the first one I ever bought (on time) and was the start of my print collection. Phoenix has followed me around all these years and remains one of my special treasures.
Source
A related resource from which the described resource is derived
Janice Carlson Oresman
GCCII
-
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5d23aaeb1f96f934f495c23800433844
Dublin Core
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Creator
An entity primarily responsible for making the resource
Blaise Cendrars.
Title
A name given to the resource
Kodak
Publisher
An entity responsible for making the resource available
Librarie Stock
Date
A point or period of time associated with an event in the lifecycle of the resource
1924.
Description
An account of the resource
<p><strong>Designer binding by Pierre-Lucien Martin (1954). Illustration by Francis Picabia.</strong></p>
<div style="text-align:right;" align="center"><em>The fair page, like good food, is nourishing:<br />we wish to linger and graze upon it … </em></div>
<div style="text-align:right;" align="center"><em>the complete book lover knows there can be …<br />the sheer enjoyment of its flavor.</em></div>
<p style="text-align:right;">David Greenhood, “The Book as an Aesthetic<br />Object,” in <em>Fine Print</em> 2:4 (October 1976), 59.</p>
<p>Indeed, the flavor of my collecting interest came to me like a secreted dessert—a treat that has whispered to me and fed me.</p>
<p>I was initially trained in the letterpress and private printing arena. I hold a deep appreciation for typography and a well-set page, but also for the writing and production of an entire book. Eventually my fascination with this led to bookbinding—and as a final path that seemed to hold both printing and binding aloft, to designer binding. My personal aesthetic first led me to the tomes that started my library; growing it has become an unexpected joy. Designer bindings are what I collect, giving Greenhood's <em>nourishment</em> in a sumptuous manner: as a cover to the finest that literature has to offer.</p>
Source
A related resource from which the described resource is derived
Lang Ingalls
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Paris
GCCII
-
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7dc4ae7f0c2aa0de3fcde37e7417bbac
Dublin Core
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Creator
An entity primarily responsible for making the resource
Candida Hӧfer (b. 1944).
Title
A name given to the resource
Trinity College Library Dublin I.
Date
A point or period of time associated with an event in the lifecycle of the resource
2004.
Description
An account of the resource
<p><strong>Chromogenic color print, no. 24/100, 9</strong><strong>¼</strong><strong> x 11</strong><strong>½</strong><strong> in.</strong></p>
<p>Candida Hӧfer’s “photographs are sober and restrained in feel—the atmosphere is disturbed by neither visitors nor users, especially as she forgoes any staging of the locations. The emptiness is imbued with substance by a subtle attention to colour, and the prevailing silence instilled with a metaphysical quality that gives voice to the objects, over and above the eloquence of the furnishings and the pathos of the architecture….” This crisp description of Höfer’s artistry can be found, along with <em>Trinity College Library Dublin I</em>, in her book of photographs, <em>Libraries</em> (2005).</p>
Aside from the brilliance of this composition, which presents Trinity College Library as a "chambered nautilus" of receding spaces, I responded to this photograph, purchased at a satellite fair of Art Basel Miami Beach, because of the library depicted. My graduate thesis was on the art criticism of Samuel Beckett. A further expansion of the scope of the topic to include a wide swath of the writer's critical output necessitated investigations into the “systems” of Dante, Bruno, Vico and Joyce, among other great thinkers. This photograph is a reminder to me of the great erudition that informs all of Beckett's oeuvre, and the venerable institution that helped foster his imagination.
Source
A related resource from which the described resource is derived
Nancy G. Harrison
GCCII
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d5e10ad6daf5e9184e3bc1c4cd2d6766
Dublin Core
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Creator
An entity primarily responsible for making the resource
Carl Sandburg.
Title
A name given to the resource
Autograph postcard signed to Susan Jaffe [Tane].
Date
A point or period of time associated with an event in the lifecycle of the resource
[1959]
Description
An account of the resource
Framed with a photograph of Sandburg and a clipped signature.
In 1959, my father was returning from a business trip, and his seatmate was none other than the poet Carl Sandburg. My father had him sign a postcard for me, and when I met him at the airport, I was too excited to see him to even notice who he was introducing me to. As we were walking away, I realized who I’d just met, and ran back to recite “Fog” to the poet, just as strangers recited “The Raven” to each other on the street during the height of Edgar Allan Poe’s fame.
This postcard is one of my most treasured items. It represents for me what a collection is all about: a connection to the past, and a concrete and living piece of writing.
Source
A related resource from which the described resource is derived
Susan Jaffe Tane
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
[Somewhere between Chicago and New York]
GCCII
-
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4eb4ac1ed3c50f684ac1a4f32a581ab9
Dublin Core
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Creator
An entity primarily responsible for making the resource
Carlo Brogi (1859–1925).
Title
A name given to the resource
Album of albumen photographs of Naples, Pompeii, Capri, Amalfi, Ravello, Paestum, and Corfu. Florence.
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1890
Description
An account of the resource
<p><strong>Each photograph approx. 8 x 10 in.<br /></strong></p>
<p>A souvenir travel album representing highlights in photography of the major architectural and archaeological sites of southern Italy. Carlo Brogi and his son Giacomo, along with the Fratelli Alinari, were Italy’s leading nineteenth-century documentary photographers and prepared elegant albums of original albumen photographs for purchase by mostly British, American and German tourists.</p>
<p>Depicted is a view of Pompeii with Mt. Vesuvius in the background, among the chief destinations for visitors to Naples and environs following Pompeii’s excavation in the mid-eighteenth century.</p>
Collecting travel albums is an adjunct to my interests in photography and European prints, especially of the late Renaissance and Baroque periods.
Source
A related resource from which the described resource is derived
Robert Dance
GCCII
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8231143088f180492432cfc2e6768747
Dublin Core
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Creator
An entity primarily responsible for making the resource
Charles Dickens.
Title
A name given to the resource
“A Dinner at Poplar Walk,” in The Monthly Magazine, or British Register of Politics, Literature, Art, Science, and the Belles Lettres.
Publisher
An entity responsible for making the resource available
A. Robertson
Date
A point or period of time associated with an event in the lifecycle of the resource
1833
Description
An account of the resource
Provenance: The Alain de Suzannet-Kenyon Starling-William Self copy.
Many first attempts in the literary arts are remarkably modest, with little foreshadowing of fame. Charles Dickens’s first appearance in print was so tentative as to now be rarely written of, largely forgotten, and extant in just a few copies in private hands.
“A Dinner at Poplar Walk” is a humorous sketch of a party: a wealthy old bachelor is forced to spend an evening with disagreeable relatives and make a speech. Dickens, years after this story appeared in the Monthly Magazine, said that he left the manuscript “stealthily one evening at twilight, with fear and trembling, into a dark letter-box, in a dark office, up a dark court in Fleet Street.” Published in the December 1833 number of the Monthly Magazine, Dickens was nonetheless never paid for his story—in fact, he had to pay two shillings and sixpence to a bookseller in the Strand to get a copy of his own story in print.
Dickens’s story isn’t a great piece of writing: it’s inferior to both the work of his contemporaries and, of course, to the great fiction that he would soon produce. But despite its shortcomings, the sketch is inspirational. It reminds me that we all made a start at one time and that all artistic and scholarly success began with that first attempt.
Dickens’s story isn’t a great piece of writing: it’s inferior to both the work of his contemporaries and, of course, to the great fiction that he would soon produce. But despite its shortcomings, the sketch is inspirational. It reminds me that we all made a start at one time and that all artistic and scholarly success began with that first attempt.
Source
A related resource from which the described resource is derived
Bruce J. Crawford
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
London
GCCII
-
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b0e00b1eb34eedca31a4438dc75918b4
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d41bffbef5c7130a0416b36131ef7644
Dublin Core
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Creator
An entity primarily responsible for making the resource
Claude Quillet (1602–1661).
Title
A name given to the resource
Callipædia, seu de pulchræ prolis habendæ ratione, poema didacticon.
Publisher
An entity responsible for making the resource available
London: J. Bowyer,
Date
A point or period of time associated with an event in the lifecycle of the resource
1708.
Description
An account of the resource
This unrecorded book from Alexander Pope’s library is the first London edition of a didactic poem published by the French physician and neo-Latin writer Claude Quillet in 1655.
The volume reflects a paradox at the core of my collecting and scholarship: focus generates breadth. I came to the book through my pursuit of anything Popean; this discovery then became an interest in itself. I have now identified and collected most editions of Quillet’s poem in Latin, English, and French across four centuries (including the 1655 Chatsworth copy with manuscript notes by the collector Thomas Dampier).
The work’s connection with Pope helps to explain some lines in his poem An Essay on Man and also offers a poignant hint of his inner life. Pope seems to have purchased this book when he was about twenty and presumably near the peak of his physical powers. Meanwhile, his 4' 6" frame was bent from tuberculosis of the spine, and his literary enemies would soon describe his appearance in the vilest terms. It was in such circumstances that he was reading Callipædia, or (as one translation had it), The Art of [be]Getting Beautiful Children.
Source
A related resource from which the described resource is derived
David L. Vander Meulen
GCCII
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https://d1y502jg6fpugt.cloudfront.net/15145/archive/files/1bd0ff4fb989486c94be2ba9d6680112.jpg?Expires=1712793600&Signature=IXSGPReTZ7elPeFmXM9Y29CQWTsQ-HApRcawVLXesMwpD-U3OrKRZO6BhVu6v9je1ilCpUuuZMQgoLkca-UjeOd2Kl4l0fcvsrySp2zCXIWTO3ukgE8w0FH-ioQtOq%7EsgfHlodw5wNPHbZFn1%7Eemdbm4SiCZO1KZqARRs1Q3bPhNLhb2KojjGXCElYT7jxWSKuderkx%7En1xCbphghayCJ58KNHoumM67h6oeY8gWju8rIxSkeA2RaH6ajZ6OhDWtWkpQLnlrNqinDAF0jWM2s9wykqXx3q9aCcxkGDcgR8PVazJewo2hvTMMHEAhZ4phj8otoCAMzL7SJyJM6szkwQ__&Key-Pair-Id=K6UGZS9ZTDSZM
85c6e67b9813c93122edbd92288fd40d
Dublin Core
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Creator
An entity primarily responsible for making the resource
Cornelius Wytfliet (1555–1597).
Title
A name given to the resource
Descriptionis Ptolemaicae augmentum.
Publisher
An entity responsible for making the resource available
Douai [France],
Date
A point or period of time associated with an event in the lifecycle of the resource
1603.
Description
An account of the resource
Provenance: Nicolas-Claude Fabri de Peiresc (1580–1637), with his cipher stamped on the cover.
This extremely rare work is the first atlas devoted exclusively to the Americas, and contains the first maps of America to have appeared in any book of geography. Cornelius Wytfliet, a Flemish cartographer, created his maps based on writings by contemporary geographers José de Acosta, Richard Hakluyt, Théodore de Bry and Giovanni Battista Ramusio. The work was intended as a supplement to Ptolemy's Geographia, and covers the history of the first European encounters with North and South America, their geography and natural history. The nineteen double-page, engraved maps include the two hemispheres, Patagonia, Chile, Brazil, Peru, Cuba and Jamaica, Florida, Virginia, Canada, Greenland, and Labrador (among others). All this barely one hundred years after Columbus sailed perilously across the seas to discover the New World!
This particular copy is also fascinating for its provenance. Nicholas-Claude Fabri de Peiresc was one of the leading French intellectuals and bibliophiles of his day, friend to Galileo as well as the Cardinal Richelieu, the painter Peter Paul Rubens, and french poet François de Malherbe, among others. He was a counselor to the provincial parliament, a brilliant and prolific man of letters, a talented astronomist and scientist, and one of the most eminent collectors of art and antiquities who ever lived.
As a bibliophile, I find terribly exciting the confluence of this major and groundbreaking atlas having belonged to such a fascinating and erudite individual. Genius touched by genius!
Source
A related resource from which the described resource is derived
Rodolphe Chamonal
GCCII
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cef5374e4ebb33d4614011e094fd88ad
Dublin Core
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Creator
An entity primarily responsible for making the resource
David Antin and Jerome Rothenberg, eds.
Title
A name given to the resource
Some/thing #3, Vol. 2, No. 1,
Date
A point or period of time associated with an event in the lifecycle of the resource
Winter 1966.
Description
An account of the resource
This important “little magazine” of poetry and art was published during a time when little magazines were frequently the voice of the counterculture. A special “Vietnam Assemblage” issue, it features a cover by Andy Warhol and is described as “an overall structure made up of words, a language trap to close—with a state, a process, a system—something afflicting & evading all of us.” The cover is a sheet of real glue-backed, perforated stamps that can be easily torn out and pasted on anything. The contents include works by Charles Bukowski, Allen Ginsberg and Denise Levertov, among many others.
This is my favorite from my collection of 1960s mimeograph and serial publications produced in New York City. It showcases work from an artist I admire who embraced the literary imagination and made it his own. Whether the viewer decides the cover is an extension of Warhol’s “Death and Disaster” series or another of his recycled images attests to the fact that it always takes two to make a book: the creator and the reader.
Source
A related resource from which the described resource is derived
Anne H. Young
GCCII