Golden Covers

Tibor Gergely (illustrator)
Tootle
1945
printed book
National Museum of American History, Washington DC

Tibor Gergely (illustrator)
The Taxi That Hurried
1946
printed book
National Museum of American History, Washington DC

Tibor Gergely (illustrator)
A Year In The City
1948
printed book
National Museum of American History, Washington DC

Lenora Fees Combes (illustrator)
Let's Go Shopping
1948
printed book
National Museum of American History, Washington DC

Eloise Wilkin (illustrator)
Come Play House
1948
printed book
National Museum of American History, Washington DC

Cornelius De Witt (illustrator)
Johnny's Machines
1949
printed book
National Museum of American History, Washington DC

Corinne Malvern (illustrator)
Susie's New Stove
1949
printed book
National Museum of American History, Washington DC

Feodor Rojankovsky (illustrator)
Gaston and Josephine
1949
printed book
National Museum of American History, Washington DC

Richard Scarry (illustrator)
Two Little Miners
1949
printed book
National Museum of American History, Washington DC

Corinne Malvern (illustrator)
Doctor Dan
1950
printed book
National Museum of American History, Washington DC

Richard Scarry (illustrator)
Here Comes The Parade
1951
printed book
National Museum of American History, Washington DC

Corinne Malvern (illustrator)
Nurse Nancy
1952
printed book
National Museum of American History, Washington DC

Corinne Malvern (illustrator)
Five Pennies To Spend
1955
printed book
National Museum of American History, Washington DC

Violet LaMont (illustrator)
Let's Save Money
1958
printed book
National Museum of American History, Washington DC

Eloise Wilkin (illustrator)
We Help Daddy
1962
printed book
National Museum of American History, Washington DC

Joan Esley (illustrator)
New Brother, New Sister
1966
printed book
National Museum of American History, Washington DC

from Tristia

[from exile, to his wife at Rome]

Dearest! if you those fair Eyes (wondering) stick

On this strange Character, know, I am sick.

Sick in the skirts of the lost world, where I

Breath hopeless of all Comforts, but to dye.

What heart (think'st thou?) have I in this sad seat

Tormented 'twixt the Sauromate and Gete?

Nor aire nor water please; their very skie

Looks strange and unaccustom'd to my Eye,

I scarce dare breath it, and I know not how

The earth that bears me shewes unpleasant now.

Nor Diet here's, nor lodging for my Ease,

Nor any one that studies a disease;

No friend to comfort me, none to defray

With smooth discourse the Charges of the day.

All tir'd alone I lye, and (thus) what e're

Is absent, and at Rome I fancy here.

– Ovid (43 BC-AD 17), translated by Henry Vaughan (1651)

Giacomo Manzù

Giacomo Manzù
Self Portrait with Model at Bergamo
1942
bronze relief
Hirshhorn Museum, Washington DC

Giacomo Manzù
Crouching Child
1943
bronze
Bristol Museum and Art Gallery

Giacomo Manzù
Bust of Woman
1952
bronze
Estorick Collection, London

Giacomo Manzù
Seated Cardinal
1953
bronze
San Diego Museum of Art

Giacomo Manzù
Sleeping Nymph
ca. 1953
ink on paper
Hirshhorn Museum, Washington DC

Giacomo Manzù
Illustration to Il Falso e Vero Verde
by Salvatore Quasimodo
1954
lithograph
Moderna Museet, Stockholm

Giacomo Manzù
Girl on Chair
1955
bronze
Hirshhorn Museum, Washington DC

Giacomo Manzù
Bust of Inge no. 2
1956
bronze
Hirshhorn Museum, Washington DC

Giacomo Manzù
Study for Salzburg Cathedral Doors
1958
bronze
Hirshhorn Museum, Washington DC

Giacomo Manzù
Third Model for Salzburg Cathedral Doors
1958
bronze
Hirshhorn Museum, Washington DC

Giacomo Manzù
Study for Cardinal
ca. 1958
gouache and ink on paper
Hirshhorn Museum, Washington DC

Giacomo Manzù
Monumental Standing Cardinal
1958
bronze
Hirshhorn Museum, Washington DC

Sanford Roth
Giacomo Manzù
ca. 1959
gelatin silver print
Los Angeles County Museum of Art

Giacomo Manzù
Portrait of Oskar Kokoschka
1960
bronze
Princeton University Art Museum

Giacomo Manzù
Model with Red Skirt
ca. 1963
watercolor and gouache on paper
Hirshhorn Museum, Washington DC

Giacomo Manzù
Pittore con Modella Colore
csa. 1963
gouache on paper
Hirshhorn Museum, Washington DC

Giacomo Manzù
Artist and Model
1964
etching
Art Institute of Chicago

Giacomo Manzù
Dance Step I
1974
etching and aquatint
National Gallery of Australia, Canberra

from Metamorphoses

A babling Nymph that Echo hight: who hearing others talk,

By no meanes can restraine hir tongue but that it needes must walke,

Nor of hir selfe hath powre to ginne to speake to any wight,

Espyde him dryving into toyles the fearefull stagges of flight.

This Echo was a body then and not an onely voyce,

Yet of hir speach she had that time no more than now the choyce.

That is to say of many wordes the latter to repeate.

The cause thereof was Junos wrath. For when that with the feate

She might have often taken Jove in daliance with his Dames,

And that by stealth and unbewares in middes of all his games,

This elfe would with hir tatling talk deteine hir by the way,

Untill that Jove had wrought his will and they were fled away.

The which when Juno did perceyve, she said with wrathfull mood,

This tongue that hath deluded me shall doe thee little good,

For of thy speach but simple use hereafter shalt thou have.

The deede it selfe did straight confirme the threatnings that she gave.

Yet Echo of the former talke doth double oft the ende

And backe again with just report the wordes earst spoken sende.

– Ovid (43 BC-AD 17), translated by Arthur Golding (1567)

Julia Margaret Cameron

Julia Margaret Cameron
Portrait of Julia Jackson
ca. 1864-65
albumen print
Art Institute of Chicago

Julia Margaret Cameron
Portrait of Julia Jackson
ca. 1867
albumen print
Art Institute of Chicago

Julia Margaret Cameron
Portrait of Julia Jackson
(future mother of Virginia Woolf)
1874
albumen print
Art Institute of Chicago

Julia Margaret Cameron
Portrait of Christina Spartali
ca. 1865-70
albumen print
Freer Gallery of Art, Washington DC

Julia Margaret Cameron
Portrait of Mary Fisher
1867
albumen print
Art Institute of Chicago

Julia Margaret Cameron
Saint Joan
1872
albumen print
National Museum of American History,
Washington DC

Julia Margaret Cameron
Portrait of Annie Chinery Cameron
(Julia Margaret Cameron's daughter-in-law)
ca. 1869-70
albumen print
National Museum of American History,
Washington DC

Julia Margaret Cameron
Mary Hillier (The Dream)
1869
albumen print
National Museum of American History,
Washington DC

Julia Margaret Cameron
May Prinsep (Isabel)
1870
albumen print
National Museum of American History,
Washington DC

Julia Margaret Cameron
On Wings of Morning
1877
albumen print
National Museum of American History,
Washington DC

Julia Margaret Cameron
The God of Love
ca. 1865
albumen print
National Museum of American History,
Washington DC

 

Julia Margaret Cameron
Portrait of James Thomas Fields
(American publisher)
1869
albumen print
National Portrait Gallery, Washington DC

Julia Margaret Cameron
Portrait of Henry Wadsworth Longfellow
1868
albumen print
National Portrait Gallery, Washington DC

Julia Margaret Cameron
Prospero and Miranda
ca. 1865
albumen print
National Museum of American History, Washington DC

Julia Margaret Cameron
English Flowers
1873
albumen print
National Gallery of Australia, Canberra

Julia Margaret Cameron
And Enid Sang
1874
albumen print
National Gallery of Australia, Canberra

from Metamorphoses

The Clods, as if Inform'd with some new Soul,

Forthwith take motion, and begin to rowl;

First tops of Lances pierce the teeming Ground,

Whose very Birth tells they are made to Wound:

Then rising Casks their painted Crests display

Whose Form at once shews terrible and gay:

Next may he Shoulders, Breasts, and Arms descry,

Whose brandish'd Spears proclaim some Battle nigh:

Until at length in perfect view appears

A growing Harvest of young Cuirassiers.

Thus we in Theaters, the Scenes withdrew,

When some more solemn Spectacle they shew,

See Images in slow Machines arise,

Still mounting by insensible degrees;

New-peeping Heads our longing View first greet,

And humble Faces levell with our Feet:

Next gliding Trunks are in soft order shown,

And neather Limbs heave upper gently on;

So still their Motion, their Ascent so slow,

You'd justly think they did not move, but grow:

At last their sluggish Feet advanc'd in sight,

Present as Statues in full Bulk and Height:

Mean while we struck with fix'd Amazement stare,

And marvel what strange Conveyance brought 'em there,

Made by Surprize more Statues then they are:

No less astonished doubtfull Cadmus gaz'd,

Doubly, by Wonder, and by Fear amaz'd. 

– Ovid (43 BC-AD 17), translated by John Oldham (before 1683)