We offer you the following listing of new books entering the Amon Carter Museum of American Art, Research Library, in the month of November. We had a bit of a lean month due to the holiday and staff vacations but still managed to crank out 183 titles. Here are a few selected gems: from 1825, Views in New Haven and Its Vicinity …, an early and diminutive work with hand-colored engravings (only twelve copies reported in WorldCat); Alfonso Ossorio’s Poems and Wood Engravings, ca. 1934, with original prints (some in color); Chromo-mania!: the Art of Chromolithography in Boston, 1840-1910, a gift from the curator of the exhibition at the Boston Athenæum; and, finally, the third set of four photobooks produced by TBW from its Subscription Series featuring the work of Mark Steinmetz, Elaine Stocki, Dru Donovan, and Katy Grannan. Kelly Hunter, library volunteer, contributed the lion’s share of new records this month as she continues her retrospective auction catalog project—these are at the end of the list. All books, with the exception of auction catalogs, are available on the new books cart in the reading room through December. Remember, these books do not circulate outside of the building!
Views in New Haven and Its Vicinity …, 1825
Yesterday library volunteer Jodie Sanders unearthed this turn-of-the-twentieth century article on photographing livestock, particularly sheep and cattle. It comes from the 1899 issue of The American Annual of Photography, an example from the many specialized periodicals on photography that the library collects. We thought we should share this discovery for all you folk taking pictures at the stock show across the street!
Click on the image below to download:
Many of the books in the Nature Bound: Illustrated Botanical Books exhibition feature very delicate, hand-colored illustrations that require an extra level of care. The pigments in the watercolor media used to color the images are very sensitive to light. Exposure to intense light or even lower light levels over a long duration can cause the colors to fade. Though we keep the light levels quite low in the gallery, the duration of the exhibition was long enough to require that we choose new illustrations about halfway through. Early last week we rotated the images on about twenty books. We found that this was not an easy task because it required that the new images continue to work with thematic and aesthetic relationships in the exhibition. In a few cases, it also meant that our art handlers had to create new plastic cradles in order to hold the book open to the new page. But the bonus for our viewers is that they now have the good fortune to see a fresh selection of images. Many of them are at least as, if not more, stunning than the last round. Please come by and take a look!
Yesterday we put the finishing touches on Nature Bound: Illustrated Botanical Books, including applying the vinyl title wall and well as tending to a myriad of other details. This morning the exhibition opened to the public, a few days ahead of its official opening date. Below you see one of the preparators working through the "sticky" process of placing the vinyl on the exhibition's title wall. FYI, I learned that this is the same vinyl that is used for car detailing. The next view shows a very special object in the exhibition: Romeyn Hough's American Woods. Hough spent the good part of his life on this project: he personally collected wood from over 400 species of trees growing in the U.S. to include in what finally came to be fourteen volumes of wood samples and accompanying information. We're showing eight of the wood sample cards in a custom-designed, backlit case, allowing a viewer to study the intricate pattern and color of the wood. The last image shows a section of the finished exhibition installation. All-in-all, I'm pleased. I think visitors will be surprised to find out that between the library collections at the Amon Carter and the Botanic Research Institute of Texas, we have in the cultural district some of the great achievements of botanic illustration.
Today we nearly finished the installation of Nature Bound: Illustrated Botanical Books. Each object on display has a number that connects it with the related object information and discussion that is printed on the large panels that float above each case. Below you see one of the museum's preparators organizing a "deck" of these numbers. Below that you see the installation of the cut vinyl that makes up the title wall. We're getting close!
Yesterday we made a lot of progress toward installing Nature Bound: Illustrated Botanical Books. All the books are now mounted on their cradles and secured to the cases. All the large information panels are also in place. At the tail end of the day, we started setting the light levels in the space. Since this is an exhibition that includes delicate watercolored images, the lights have to be around 5 foot candles in order to preserve the color. In fact, at about half way through the show, we'll have to switch all the illustrations that have watercolor, so there will be an opportunity to see even more spectacular images. Yesterday we also placed the custom case that will show the fascinating samples of wood from Romeyn Hough's American Woods. The case has backlighting that will allow visitors to study the coloring and patterning of the wood. The case is pictured rather murkily in the bottom right hand corner of the image below.
Work continues on the installation of Nature Bound: Illustrated Botanical Books. The exhibition features 41 objects, mainly books, and the museum's installation and preparation crew had to make custom acrylic cradles to display each book. As they installed each cradle, a lot of fine tuning is necessary to hold the pages open to an illustration without damaging the book. Also, each case has different dimensions, requiring that each cradle and book be placed appropriate to the case's size. It's a slow process. Still, I think they finished almost five cases by yesterday. At the tail end of the day, they also brought up the very large text panels in preparation for hanging them above the cases today. Stay tuned ... it's looking good!
Hi library fans,
Yesterday was the first installation day for Nature Bound: Illustrated Botanical Books, an exhibition featuring a who's who list of great illustrated botanical works from the collections of the Amon Carter and the Botanical Research Institute of Texas research libraries. You all have probably learned from reading the various Amon Carter blogs that exhibition planning starts months, even years, before an exhibition opens to the public, so yesterday's install of the first book/case was reason for cheering. I must say, as co-curator for the exhibition, I feel like this is going to be a handsome and informative one, so mark your calendars for opening day, January 29. Here are a few behind-the-scenes shots of the day's activities. Forgive the quality of these, but it's best I could do with my mobile phone.
Today the library added the newest "new" book report to the site. This report details everything the library cataloged in August 2010. Find the report here:
I want to call your attention to a standout title:
TR283 .S53 (Main Stacks)
Shanebrook, Robert L.
Making KODAK film : the illustrated story of state-of-the-art photographic film manufacturing / Robert L. Shanebrook.
Rochester, NY : R.L. Shanebrook, Robert Shanebrook Photography, c2010.
As the preface states, "this book documents how Eastman Kodak Company made film during time period 2007-2010 when the technology had reached its height." Mr. Shanebrook lifts the "silver curtain," an appropriate term which refers to the shroud of secrecy protecting Kodak "silver-based" technologies, to take us on a rare and fascinating behind-the-scenes journey into the technical film manufacturing and research environment at Kodak. The author also provides us with a useful primer on how traditional film photography works. As the imaging industry continues to speed toward digital photography, it's a great time to learn about the important contributions that Kodak has made to film-based photography.
As of today, WorldCat.org reports that the Amon Carter and George Eastman House in Rochester, NY, hold the only institutional copies of this book.
If you’re reading this blog, then there is no doubt you’ve also heard about the recent Ansel Adams attribution "scandal". Not surprisingly, the evidence is piling up against the California man who bought the negatives in question at a garage sale.
We at the Carter are lucky to have over 60 authentic Ansel Adams prints in the permanent collection, many of which are on view in the exhibition Ansel Adams: Eloquent Light through November 7.
Our Photo of the Week is comes from this exhibition. It’s one of Adams’s images of my favorite place in Texas, Big Bend National Park.
Ansel Adams (1902-1984), Santa Elena Canyon, Big Bend National Park, Texas, 1947, printed 1975, gelatin silver print, ©2010 The Ansel Adams Publishing Rights Trust