Intima Press recently published a new illustrated edition of “The Minotaur” by Nathaniel Hawthorne–you can read the story at the Fine Books Blog–and we’re sharing below a sampling of this exquisite piece of letterpress printing and design. All images courtesy of Mindy Belloff.
© MAIRA KALMAN, COURTESY OF JULIE SAUL GALLERY
Kalman’s illustration for Stay Up Late.
Author-illustrator Maira Kalman’s bibliography is an impressive one. In addition to creating whimsical covers for the New Yorker, Kalman claims dozens of books to her credit: she debuted in 1985 with the picture book debut, Stay Up Late, and since then titles have included instant classics like Last Stop, Grand Central (1999), Looking at Lincoln (2012), Fireboat (2002), and, even an illustrated picture book called Cake (2018). Each book explores complex topics while maintaining a certain lightheartedness that makes her work accessible to people of all ages, but especially children. In fact, Kalman is adamant that children can handle any subject – slavery, love, even death – as long as it’s done the right way. “There’s always a way to talk to children as long as you are candid and kind,“ Kalman said in an interview with us back in 2014. “You don’t have to scare them beyond their understanding or above their age level.”
Later this month, Atlanta’s High Museum will host an exhibition dedicated to exploring Kalman’s work in a show entitled The Pursuit of Everything: Maira Kalman’s Books for Children. This is the fourth collaboration between the High Museum and the Eric Carle Museum of Picture Book Art in Amherst, Massachusetts, and will span nearly the entirety of Kalman’s career. On loan from various institutions, the 100-piece show features a mix of books, original drawings, manuscripts, and even illustrated correspondence between Kalman and her two-year-old granddaughter.“We are thrilled to partner again with the High to bring children’s picture book art to Atlanta,” said Ellen Keiter, chief curator at The Carle. “Kalman is an astute chronicler of our time as well as someone who makes history accessible.”
“Both captivating and moving, Kalman’s work challenges all of us to rediscover the childlike curiosity that lives deep down inside,” said High director of education Virginia Shearer.
Additionally, Atlanta’s Alliance Theater will present the world premiere of the play “Max Makes a Million,” from June 20-July 21, 2019. Adapted by and directed by Liz Diamond, the play incorporates jazz, poetry, and the visual arts in a tale starring Kalman’s beloved poet puppy character, Max Stravinsky.
The Pursuit of Everything is both a celebration of Kalman’s work and a reaffirmation of the artist’s belief that children deserve honesty in their literature. “It’s absolutely possible to talk about anything with children,” Kalman said. “Because they do understand contradictions, and they do understand sadness and they do understand kindness. There isn’t a child in the world who doesn’t.”
The Pursuit of Everything is on display at the High Museum from June 22 through September 15, 2019.
This story appeared on the Fine Books Blog Friday, March 8, 2019
Though the barometer may suggest otherwise, one of the telltale signs of spring in New York is the annual arrival of Rare Book Week, going on now through March 12. Besides the various pearls for sale among the well-stocked stacks at the three book and ephemera fairs, holding court around Manhattan are a slew of shows and exhibitions dedicated to celebrating the people and things of the book world. One that serious bibliophiles should not miss is the Grolier Club’s exhibition of Pat Pistner’s miniature bindings and books, now on view in the second floor gallery.
The 275-item installation–a misleading number, given that some items, like the 42-volume set of Sherlock Holmes mysteries is counted as one piece–spans the history of texts written on a diminutive scale. A miniature Babylonian cuneiform tablet accounting “plucked” sheep dating from approximately 2340 BCE shares space with sumptuous illuminated Books of Hours and contemporary artists’ books by Timothy Ely and Nancy Gifford. From an archive that currently includes 4,000 items, the Naples, Florida-based bibliophile whittled down her selections to those she said best represented the considerable historical scope of her collection.
“Collecting is so personal,” Pistner told a group during a Wednesday lunchtime tour of the exhibition, which she led along with co-curator Jan Storm van Leeuwen. “Some people focus on one element, but I’ve chosen to take a much broader view, with the goal of collecting the best possible examples of miniature bindings from across history.”
Out of so many tiny treasures bound in gold, silver, and other precious elements, can Pistner possibly have a favorite? “I love all of them, but these are perhaps my most prized,” she said, gesturing to a case containing 16th-century miniatures from France and Italy. She graciously posed for a photograph holding up a liturgical miniature called the Enchiridion p[re] clare ecclesie Sarum, a 1528 tome hailing from the collection of Charles Louis de Bourbon, Duke of Parma. The text dates to the 16th century, but the binding was by Pierre Marcellin Lortic, a 19th-century binder.
Another, less dramatic (but no less significant) prize sits in a wall case in the hallway: a miniature printing of Abraham Lincoln’s Emancipation Proclamation. Issued in 1862, the unassuming single-section pamphlet in tan paper is Lincoln’s preliminary proclamation freeing the slaves and the first printing in book form of the text. In a hurried effort to spread the word, 50,000 copies of this mini were distributed by Union soldiers to African Americans as they marched through the South. “Not many remain in existence,” Pistner explained. This one, like nearly every other item in the exhibition, is an exquisite example, all a reminder of the major role miniature books play in understanding the history of the written word.
“A Matter of Size,” is on view now through May 19. Free lunchtime exhibition tours led by the curator will be held on April 24 at 1 pm and May 18 at 3 pm. No reservations necessary. The accompanying 476-page, fully-illustrated catalogue ($95, Oak Knoll) is a meticulously compiled resource that covers the breadth of Pistner’s collection as well as its place in the bibliosphere.
Images: Top two photos courtesy of the author; bottom, courtesy of Oak Knoll
Special collections libraries, rare booksellers and collectors have embraced Instagram as an ideal platform to virtually share their treasures with the world. Fellow FB&C writer Nate Pedersen wrote the inaugural “rare Books on Instagram” post back in 2016, profiling institutional accounts like those of the British Library (@britishlibrary), the American Antiquarian Society (@americanantiquarian), and others. Follow-up posts looked at librarian accounts and collector feeds. Keeping with that theme, below, in no particular order, are ten noteworthy institutional Instagram accounts that excel at showcasing rare books, manuscripts, and other works on paper.
Don’t have an Instagram account? No problem: All of these accounts are freely accessible to anyone with an internet connection.
La Bibliothèque nationale France (@labnf)
The Barr Smith Library at the University of Adelaide (@uofaspecialcollections)
The New York Public Library (@nypl)
Musée de Cluny (@museecluny)
The Harry Ransom Center (@ransomcenter)
The Emily Dickinson Museum (@emilydickinson.museum)
The Printing Museum (@theprintingmuseum)
The HuntingtonLibrary (@thehuntingtonlibrary)
The Johns Hopkins University (@jhuspecialcollections)
The Alaska Digital Newspaper Project (@alaskahistoricalnewspapers)
Today, the country’s oldest and largest bibliophilic society, the New York-based Grolier Club, will unveil the fruits of a three-and-a-half-year, $5-million renovation of the organization’s entire first floor and exhibition hall with, appropriately, a show highlighting the club’s Francophile roots. French Book Arts: Manuscripts, Books, Bindings, Prints, and Documents, 12th-21st Century includes nearly one hundred items pulled from the Grolier’s rich trove of French books and illuminated manuscripts. Also in the show are six items that once hailed from the collection of the “Prince of Bibliophiles” and club namesake, Jean Grolier (1489-1565).
The exhibition and accompanying book were curated and written by Grolier Club member George Fletcher. A member since 1973, Fletcher’s lifelong love of books led him to the Morgan Library as the Astor Curator of printed books and bindings, followed by a position as director of special collections at the NYPL. In 2013, Fletcher was bestowed with the title of Chevalier dans l’Ordre des Arts et des Lettres by the French government. “As the inaugural exhibition in our new gallery, this is the first that presents a survey of so many areas of French bibliophilia, going back to illuminated manuscripts to contemporary livres d’artistes,” Fletcher explained during a press tour. Expect to see sumptuous illuminated Books of Hours, miniatures by Boyvin, a letter by a distraught Thomas Jefferson to a French bookseller concerning a shipment of waterlogged books, and decorative bindings hailing from the 14th to the 21st centuries.
As to the renovation: it’s a complete overhaul. Previously, the first floor exhibition hall was awash in mauve-toned walls, light wood flooring, and track lighting (see below). Standard-issue glass cases lined the walls while the back of the hall was dominated by a faux-Palladian window, also mauve. The upper balcony, where many of the Grolier Club’s treasures are stored, was flanked by white solid-wood railings. With a client portfolio that includes renovations at places like the New England Conservatory of Music and Boston Symphony Hall, Ann Beha Associates of Boston took up the challenge to update the aesthetics of the space while also addressing conservation issues, lighting, ventilation, and sound systems.
“The Grolier Club put together a nine-member design team task force, and together we examined various issues while also keeping in mind the club’s history and stewardship of collections,” explained Ann Beha at the press preview. “Part of the preparation included hopping in a van and visiting other institutions throughout New York that had also recently undergone renovations, such as the Brooklyn Museum and the Cooper-Hewitt.” Staying true to the Grolier Club’s roots was essential. “The Club prides itself on welcoming the public to free exhibitions and various programs, and this renovation took that into consideration. This design incorporates heritage and technology, welcomes new visitors and promotes scholarship and engagement,” Beha said.
Now, the exhibition hall features custom-built Goppion glass cases lit by LED bulbs, a properly balanced ventilation system, and mahogany-stained floors and wall panels. Gone is the mauve Palladian faux paneling in favor of a multi-paneled video wall, and the wood paneling on the upper balcony has been replaced with glass, allowing visitors on the ground level to fully appreciate the impressive surroundings. Plus, the Grolier’s 60th Street townhouse is handicapped accessible. The hall feels more open and inviting, yet still suffused with the tradition and history of the space. In short: Beha seems to have hit a home run. (Professional photos are being shot Monday, so check back here for images shortly.)
The club invited members earlier this week to tour the hall before it opens to the public as well as to listen to a lecture given on Wednesday night by Carla Hayden, the current Librarian of Congress.
Just as Jean Grolier was known to share his library and its treasures with friends, the public is welcome to revel in the richness of human ingenuity and talent and the newly redesigned hall, too. As an added incentive, Mr. Fletcher will be offering free lunchtime tours of the exhibition today, December 19, and February 1, all from 1-2 p.m. No reservations needed.
Images, from top: Florent Rousseau Binding On:Printing for Kingdom, Empire, and Republic: Treasures from the Archives of the Imprimerie Nationale. Ed. H. G. Fletcher New York, The Grolier Club & Paris: Imprimerie Nationale, 2011; Matisse in a Brugalla Binding Henry de Montherlant. Pasiphaé : Chant de Minos (les Crétois) Gravures originales by Henri Matisse Paris : Martin Fabiani, 1944; Homer. Opera (Greek). Two volumes Venice: Aldus Manutius, after 31 October 1504. Both Collection of The Grolier Club and reproduced with permssion; Grolier Club Exhibition Hall pre-renovation reproduced with permission of Grolier Club; Renovation rendering reproduced with permission of Ann Beha and Grolier Club.
“I am eternally grateful that in the summer of 2000 Bill Reese offered me the opportunity to become an associate at the William Reese Company,” Aretakis said recently. “Over the next fourteen years, I learned from Bill every day. I am proud of the business I built over the past four and a half years [in California], and during that time I learned new skills as I developed a business on my own. I bring these skills, as well as all that I learned from Bill Reese, with me as I return to the Reese Company.”
Aretakis’s official start date was November 1, and he will be manning the Reese booth at the Boston Antiquarian Book Fair November 16-18.
“I am excited to be part of the team that will guide the William Reese Company into the future,” Aretakis said, “and continuing on in Bill’s tradition and adapting to the ever-changing environment of antiquarian bookselling.”
Meanwhile, longtime Reese associates Teri Osborn (a FB&C “Bright Young Bookseller” in 2011) and James McBride (a 2017 BYB) recently launched McBride Rare Books, also in New Haven.
“This certainly is an interesting and exciting time for us,” said McBride and Osborn. “Together, we have a combined experience of nearly two decades in rare books, including academia, librarianship, and the trade. With McBride Rare Books, we look forward to continuing our roles as trusted and valuable members of the antiquarian book trade, working closely with our clients and colleagues.” As they did at Reese, the pair plan to continue focusing on Americana and are making their inaugural appearance as freshly minted bookstore owners at the Boston Book, Print, and Ephemera show on November 17. “It’s a consistently great fair, and we’re very much looking forward to exhibiting.” And though McBride and Osborn have chosen to hang their shingle in New Haven for now, they plan to move to New York City in spring 2019.
As for thoughts concerning Aretakis’s move to Reese: “Nick will be a much-needed steady hand at the tiller,” team McBride said, “and we have no doubt that he will carry the business forward in the finest traditions of the firm.”
Many heartfelt congratulations to all in what appears to be a bright new chapter in the field of antiquarian bookselling.
Image: Floyd Cooper, Illustration for The Blacker the Berry by Joyce Carol Thomas (HarperCollins). Courtesy of NCCIL. © 2008 Floyd Cooper.
Could Macbeth be to Halloween what A Christmas Carol is to Noël? Based on the number performances starring the Thane of Cawdor this month, all signs seem to point to yes. Among the various renditions, Shakespeare’s tragedy exploring the darkest and bloodiest elements of human nature appears in wildly different venues on either ends of the country this month.
Starting October 20 and running through November 3, the Shakespeare Center of Los Angeles opens its “immersive” production of Macbeth. Directed by former Royal Shakespeare Company member Kenn Sabberton, The Tragedie of Macbeth is set in a haunted house where audience members walk through the play as it is happening. The show starts in the Shakespeare Center’s parking garage, which stands in for the mysterious witches’ heath, then winds its way through the castle. Pared down to seventy minutes with nine actors playing everyone from Macbeth to Banquo, the intimate nature of the show limits fifty spectators per performance.
In Cambridge, Massachusetts, catch a glimpse of Macbeth through the fog art installation currently set up at Harvard University’s Arnold Arboretum. Fog x Macbeth takes place on Sunday, October 21 at 5 pm, and like the Shakespeare Center’s adaptation, it is an abridged portrayal. This show is part of a larger exhibition by Japanese fog artist Fujito Nakaya, whose five fog sculptures situated in and around Boston are helping celebrate the twenty-year anniversary of the Emerald Lake Conservancy, a group dedicated to conserving the area’s century-old park system created by Frederick Law Olmstead.
The Actor’s Shakespeare Project (ASP), a Boston-based theater company whose mission is to share Shakespeare’s immortal words with contemporary audiences, uses an adaptation by playwright Migdalia Cruz, whose full play is on stage now through November 11 at Brookline’s United Parish.
Meanwhile, with jets of gray mist pulsing at various intervals as the backdrop, Sunday’s free presentation will take place on the lawn next to the arboretum’s Hunnewell building. Audience members are welcome to bring lawn chairs or blankets and are encouraged to dress for the elements.
And finally, Macbeth was recently staged at a place where both actors and audience members deeply related to the characters they portrayed: Twin Rivers Correctional Institution in Umatilla, Oregon. One of the actors portraying Macbeth is currently serving life in prison for murder. (Reporter Noelle Crombie at the Oregonian goes into great detail about the performance and the organizations that bring acting programs to inmates.)
“I have done the deed” takes on new meaning, doesn’t it?
Photo credit: Nile Scott Shots
“So Matilda’s strong young mind continued to grow, nurtured by the voices of all those authors who had sent their books out into the world like ships on the sea.” That quote and many others extolling the virtues of reading great books comes from Roald Dahl’s Matilda. Originally published on October 1, 1988, Dahl’s now-classic tale of a gifted girl cursed with horrible parents and a tyrannical headmistresses was an immediate success. Receiving the Children’s Book Award in 1989, becoming a major motion picture in 1996, and inspiring the 2010 musical adaptation, Matilda is perhaps Dahl’s best-selling book, with over 17 million copies in print.
Collectors should head to British rare bookseller Peter Harrington who is offering six first editions of Matilda. “In recent years, Matilda has become our top-selling book,” explained Peter Harrington’s son and current owner, Pom. “Matilda is a fabulous spirited girl and the book is loved by adults and children alike.”
Among the six copies offered for sale are two inscribed first editions, one being a presentation copy with, “To all the Briggs, with love, Roald. 9/4/88” at the front. Michael Briggs had operated on Dahl’s spine in 1978, after which the men became good friends. This copy is available for £4,000 ($5,300). The second inscribed copy, available for for £3,500 ($4,630) reads: “Camilla, love Roald Dahl.”
Additionally, Penguin Random House will be releasing special editions of the book on October 4 with new cover images by the book’s original illustrator, Quentin Blake. Each of the three covers features a grown-up Matilda as an astrophysicist, a world traveler, and Chief Executive of the British Library. These 30th anniversary editions are available for pre-order starting at $17.99.
Images: (Top and Middle) Courtesy of Peter Harrington; (Bottom) Courtesy of the British Library Shop.
To examine various similarities and differences between Korean and Western cultures, the show looks at how language is used in both artistic and typographic endeavors. Show organizers paired nineteen Korean and nineteen Western artists to represent their take on a theme through typography, with the goal of highlighting common ground.
Each typographic artwork examines expressions regularly used in both cultures, highlighting that though the translation may not be literally identical, the meaning is generally the same. For example, Korean typeface studio Yang-Jang & Bazbon (양장점) and New York-based calligrapher Margaret Fu were paired up to explore the phrase, “It takes two to tango.” (손바닥도 마주쳐야 소리가 난다.) Yang-Jang & Bazbon’s work shows a close-up of two men in black suits shaking hands against a red background, the whole creating a very Big Brother, almost menacing vibe. Written in slashing Korean characters, the expression back translates into English as “It takes two hands to make a clap,” suggesting that cooperation helps get things done. Meanwhile, Fu’s artwork also shows two hands, though intertwined in a dance-like embrace, with flowing, graceful script spelling out the phrase. The American’s representation is a more literal take on the the expression.
Additionally, a pair of artists was commissioned to create works inspired by “the progress for peace and harmony on the Korean peninsula.”
Found in Translation is at the Gallery Korea at the Korean Cultural Center New York (460 Park Ave at 57th St., NYC). The exhibition is on view through September 10.
Image credits: (Top) Yang-Jang & Bazbon; (Bottom) Margaret Fu