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Gibson, Mr. John Hardy, Professor Richard M. Haywood, Professor Andrew B. Myers, Professor Maurice J. Quinlan, Mr. Sambrook, and Professor George W. Stone, Jr. A new edition of Johnson's poems, in little more than twenty years since the late Professor D. The present editors decided that a chronological printing of the poems would best show Johnson's development as a poet, and for the same reason we have printed the speeches from the rough drafts of Irene , and the recently recovered first drafts of part of London and of all of The Vanity of Human Wishes as footnotes to the printed versions of these poems.

Where Johnson is translating from an English poem into Latin, we have printed the original also, for the convenience of readers who may not wish to go to another shelf to see how closely Johnson follows his source, or how often or how freely he departs from it. Johnson followed an analogous practice himself, as did Pope before him, by printing passages from Juvenal below the corresponding lines of London. In addition, we have given English translations, whenever they were available, of a great many Latin and a few Greek poems, again with the authority of the eighteenth century, when such translations were furnished for the classical mottoes of the Tatler , the Spectator , and the Rambler.

Except for the epigrams from the Greek Anthology , unsigned translations are by the editors. Following the editorial policy of the Committee, we have made introductions to poems brief, condensed the list of publications of Page xii. Choosing the proper copy text of a poem has often presented serious problems. Except for the two satires, two of his Prologues, Irene , the poems in the Gentleman's Magazine while he was working on the magazine, and his poems in Miss Williams's Miscellanies , he perhaps never saw proofs of a single poem.

It is most unlikely that he saw proofs of any poems in Dodsley or any other anthology, even when, as with Dodsley, he submitted revised versions for publication. Hence, we have adopted a somewhat eclectic policy: we have printed what we believe to be the last text approved by Johnson. Reasons for the decisions are given in the introductory notes to particular poems. During our work on this edition we have become increasingly interested in John Nichols's attribution to Johnson of three early poems in the Gentleman's Magazine , and the subsequent attribution of four more by J.

But evidence has begun to accumulate showing a very close editorial connexion between Nichols and Johnson in writing Page xiii. New manuscripts of importance, new poems, and new attributions of poems now first collected are as follows:. Juvenilia : eleven school-exercises, including the whole of Johnson's translation of Addison's Battle of the Pygmies and Page xiv. London , about one-third of the first, rough draft and. Irene , about lines of draft speeches, Hyde Collection. Two new manuscripts of translations from the Greek Anthology 7. These are important because they show that Langton did not, as was formerly thought, send Johnson's manuscripts directly to the printer.

They show, instead, that he transcribed, or had one of his daughters transcribe, difficult passages, but saved the manuscripts themselves. One by-product of our editing Johnson's poems has been our realization that he had a keen ear for the musical qualities of verse. In his Life of Collins he had commented that clusters of consonants impede the flow of Collins's lines, and this awareness of a danger in English poetry which does not exist in Italian, for example, is shown in corrections in his own poems. A similar problem occurs when hiatus results from two consecutive vowels: in London , l.

Related to Johnson's sensitivity to verbal music was his interest in Pope's experiments in onomatopoeia. In the Life of Pope he quotes this passage from Pope's translation of the Odyssey :. He comments that the movement of the lines may be more determined by the sense than by the sound, and then gives a parody, which we print on p.

As a poet, Johnson is in the direct line of the Augustan tradition. He was not a great enough lyrist to satisfy Blake and A. Housman, though Housman admittedly learned from his poems, 2 but the lyric was not the forte of the neoclassicists, and it is surely no longer necessary to insist that Pope and Dryden were poets. His poetry, like theirs, belongs to the middle range—satirical, didactic, reflective, occasional—a praiseworthy aim of which was to be immediately clear to the average reader.

It was not accidental, therefore, that London was reprinted at least twenty-three times in Johnson's lifetime. When Johnson's poems are collected and arranged in chronological order, it becomes evident that they formed a major part of his writing from his school-days till his death. The first are exercises in translating Horace, Homer, and Virgil, with one or two original efforts also no doubt exercises, the most interesting of which is an ecstatic lyric On the Feast of St. Simon and St. Jude , a type in which Johnson did not indulge later, perhaps because he distrusted such emotional display, and perhaps because in his religious life he was seldom close to the experience of ecstasy.

The occasions on which he wrote verse also show some likeness throughout his career. His wife was jealous of Molly Aston, to whom he addressed a Latin distich. In he wrote verses to Mrs. Thrale on her thirty-fifth birthday. Other poems are addressed to unidentified and perhaps imaginary Stellas. Thrale found his ability to extemporize verses worthy of repeated comment.

Throughout his long life he enjoyed shining in company, and especially in the company of charming women. The stimulus he found in talk with beautiful and intelligent women is responsible for the production of a surprising amount of occasional and humorous verse. The poetic merit of most of this group of poems is perhaps not high. But the mid-eighteenth century was convinced that the merely elegant had as true, though not as important, a place in poetry as the sublime.

Johnson's translations from the classics were made more frequently for his own amusement and exercise. They are almost without exception versions of favourite passages, like the lines from Euripides' Medea , which he turned into both Latin and English, Hector's farewell to Andromache, Horace's Integer Vitae , and almost a hundred scattered epigrams from the Greek Anthology.

The Latin translations from the Anthology are neither much better nor much worse than the version by Hugo Grotius. The Latin is good enough, but not remarkable. The translations into English are in general better. The best, perhaps, is the version of Anacreon's Ninth Ode , which shows considerable gracefulness and felicity.

It was Johnson's favourite Greek poem, and he worked at the translation at intervals for years, with excellent result. His imitations of the classics form the most important group of his poems. The first was much more popular in Johnson's time than was the second, and many absurd things were said, notably by Garrick, about the knottiness and obscurity of the second.

This difference is not difficult to understand. London was a timely poem. Imitation though it is, it presents a sharp attack on the Walpole administration, on the French and Spanish, traditional enemies of the English, and on various vices of the day. The political allusions which are dark now were doubtless clear then, or, if not quite clear, their partial obscurity gave zest to the performance. For a modern reader who can recreate the situation in which the poem was written, it may still be exciting enough.

But to one with less imaginative capacity or historical knowledge, its appeal lies in Johnson's skilful handling of the couplet, in his straight-forwardness and honesty, in the downright but inoffensive didactic or philosophical qualities of the poem. These again, like elegance, are not in themselves, perhaps, enough to make great poetry, but real poetry this is, and the unbiased reader will know Page xviii.

In its lower passages, London suffers from an undeniably academic quality. The imitation of Juvenal assumes the nature of translation and conflicts, like the Orgilio of the poem, with the English satire. Johnson admitted this fault, but was probably too engrossed in other work to change it.

This fault is almost entirely absent from The Vanity of Human Wishes. Democritus, who might be thought an intrusion from the original, really has an intrinsic part in the poem. He is the representative of antiquity criticizing modern times. Furthermore, the poem is undoubtedly more personal than London.

The emotion is deeper, because Johnson is criticizing not one city or one people, but human life itself, as the title indicates clearly enough. His religion was founded on the great tradition of historical Christianity, that life on earth is essentially a conflict and on the whole unhappy, that its purpose is preparation for the world to come. This feeling did not, to be sure, engulf Johnson, for his was a highly social nature; but it was basic in him, and he did not try, either by dissipation or by self-delusion, to escape it.

The ending of The Vanity of Human Wishes is a good example of how Johnson's own ideas transformed his source. Juvenal's conclusion is nobly ethical, Stoical at basis, whereas Johnson's is deeply religious, bringing the poem to a close conformable with his own nature. The topical elements of The Vanity of Human Wishes are somewhat more general than in London , are wider in scope, more important, structurally more essential, and permanently more appealing.

They are really exempla , for this is after all a sermon in the great tradition, of which the text is implicit in the title. Eliot suggests in his essay on the two poems, one of the truly moving pieces in eighteenthcentury poetry. The Vanity of Human Wishes marks the high point of Johnson's didactic poetry.

He never tried the genre again, although he told Boswell that he had imitations of the rest of Juvenal's satires in his head, and might write them down some day. Why he did not is an interesting question. It is true that The Vanity of Human Wishes was less popular than London : it went to no second separate edition, whereas London had gone to a fifth. This may seem unimportant, but Johnson was not insensitive to neglect. Moreover, in the year following the publication of his second satire he began to write the Rambler , which, after a slow start, was highly successful, going through fifteen editions during his lifetime.

He may well have felt that prose was more congenial to him than verse. And perhaps the ill-success of Irene , also in verse and following The Vanity of Human Wishes by less than a month, contributed to this feeling and supported it. He made some profit on the production of Irene and on the first edition, but it was never revived, and was reprinted only three times during his life. His handling of couplets in his second satire shows much growth in ease and force, but the Rambler was to demonstrate that the sonority and balance of his great prose style made that eminently his forte.

In the couplet, Dryden and Pope were both his masters; in prose he was unique. The prologue is another type of poem in which Johnson showed considerable power. The first, written for Garrick, is undoubtedly the best, especially in its survey of the course of English drama, and in its sharp comment on the taste and the power of the audience. Closely allied with the sombre tone of his last prologue are Johnson's epitaphs and elegies. The epitaphs for Phillips and Hogarth and the elegy on Levet demonstrate his ability in this type.

They show a severity which is not popular today, but which is essentially Johnsonian. The realistic qualities of the elegy on Levet are also surprising in this kind of poem, but Johnson felt that truth was more important than a sentimental glow of feeling. His loving preoccupation with the real man is more effective than a vague or conventional eulogy.

Another side of Johnson's nature showed itself only once, and late in life. Its restraint, its sardonic neatness, and its sharp analysis of character combine to make it a poem of first excellence in its field. One must regret that Johnson wrote no more of the sort. Among the occasional poems written for Mrs. Thrale and others are five burlesques and parodies of contemporary English authors: one on Robert Potter, a translator of the Greek tragic dramatists, one on Thomas Warton, and three on Percy.

None of these contain any personal satire; they are purely literary in their aim. They principally ridicule the inversions of mid-eighteenth century poetry, which the three men carried to an absurd extreme. In addition, Percy's admiration of the simplicity of the old ballads, with which he had become well acquainted in preparing his Reliques of Ancient English Poetry , gave to his own imitation, The Hermit of Warkworth , an air of pseudo-simplicity which Johnson disliked.

To Johnson, Percy's new diction was uninteresting and absurd, and much of his matter was also. Johnson's method of parody was to use inane subject matter with the simple diction, and the result is silly, but contagiously funny. Percy never wholly forgave him. In his parody of Warton, Johnson used bathos as well as inversion and unimportant matter. In the burlesque of Potter, Johnson made the mistake, perhaps, of using as material his own favourite passage from the Medea of Euripides, with the result that the poem lacks the contrast between matter and manner which is often the key to successful burlesque.

The poem is also less interesting today since Potter's fame has completely disappeared. Of Johnson's translations from Boethius printed by Mrs. Piozzi, none is particularly noteworthy. Of much greater merit is the translation from Boethius which he made as the motto to the seventh Rambler. This, one of only two poems of purely religious nature which Johnson wrote in English, is deeply sincere and genuinely moving.

It is far superior to any other of Johnson's translations for the Rambler , some sixty of which are attributed to him. One translation deserves special notice here, Johnson's version of Addison's Latin poem, the Battle of the Pygmies and the Cranes. This poem, now printed in its entirety for the first time, is written in a mood nowhere else to be found in his poems, that of quiet fantasy. The conclusion, describing the ghosts of the Pygmies, is wholly delightful.

Johnson's original Latin poems, like the English poems, extend throughout his whole life, from his undergraduate days at Oxford till the month of his death. There is discernible, however, a more steady improvement than in the English poems, which came to flower earlier. His translation of Pope's Messiah , written at Oxford and published without his knowledge in , is wooden and sprinkled with expressions which his contemporaries criticized as unclassical.

His ode Ad Urbanum , addressed to Cave in , is quite as undistinguished. But his Latinity improved and his freedom in the language became more marked as the years passed. He wrote occasional or complimentary verses in Latin till His one political and allegorical satire, Marmor Norfolciense , a violent anti-Hanoverian pamphlet, he no doubt lived to regret, or at least tried to forget. The Latin is intentionally unclassical, since the poem is supposed to be a monkish prophecy. During Johnson's last years he used Latin almost wholly for his own pleasure. Favourite poems like the passage from the Medea , Oldys's Busy, curious, thirsty Fly , or Chalkhill's song from The Compleat Angler he turned into Latin as he translated many favourites into English.

From this it appears that the types of poems having the most lasting appeal to Johnson were those written for his own satisfaction—the didactic poems, the translations, and the personal poems. Johnson learned the technique of poetry from Dryden, from Pope, and from his own hard practice. His heroic couplets are almost always closed, show regular caesuras after the second or third foot, display frequent chiasmus, balance, and antithesis. These qualities make for a sententious and epigrammatic style, which was eminently suited to the didactic poems and to Johnson's nature itself.

His couplets show more of Dryden's ruggedness than Pope's polish, but he learned much from Pope about the felicitous handling of the epigram. The epigram seemed to interest him less as a separate form than as a subordinate to longer satiric or didactic poetry. There is no question that he was more sympathetic with the large scope of Juvenal than with Martial or the Greek epigrammatists. So also his poems are less likely to break up into isolated but memorable quotations than are Pope's.

Perhaps the only quotation from Johnson's poems which has passed into common speech, although Bartlett gives three pages of quotations, is the last couplet of the description of Charles XII in The Vanity of Human Wishes :. His success in heroic couplets is balanced by his nearly complete failure in blank verse. Only Irene and his translation of Aquilio's Page xxiii.

In this connexion it may be noted that outside of Irene Johnson did not attempt narrative or dramatic poetry. There are short narrative passages in both London and The Vanity of Human Wishes , but they are subordinated to the design of the poems. He was not interested in unadorned narrative: all the narrative that he wrote in either prose or verse has an ulterior purpose. He could write about people, for he could comment on their actions, but he could not let them talk without making them awkwardly comment on themselves.

And Johnson's characters cannot talk like human beings. Their stiffness in Irene is not compensated by great poetry which would bring them out of ordinary life. Rarely does a passage rise to the eloquence of Irene's lines:. In Rasselas the lack of realistic talk is at least partly compensated by Johnson's winning earnestness and by the magnificence of his prose style.

Most of Johnson's poetry is interesting, some of it amusing, and much of it moving. There is little bitterness, no satiety, no raw passion in his poems. They are addressed to passionate men, it is Page xxiv. This edition preserves the spelling and punctuation of the printed copy-text of each poem except for typographical errors, but reduces capitalization and italics to modern usage.

A few corrections in punctuation are recorded in the textual notes. In editing poems from manuscript we have supplied punctuation where necessary, and corrected Johnson's slips of the pen. To distinguish between typographical errors or slips of the pen and allowable eighteenth-century spellings, we have throughout relied upon the O. Titles have been supplied for many short poems to which Johnson gave none. Anecdotes — H. Piozzi, Anecdotes of the Late Samuel Johnson , Letters — The Letters of Samuel Johnson , ed.

Chapman, 3 vols. Life — Boswell's Life of Johnson , ed. Hill, revised and enlarged by L. Powell, 6 vols. Miscellanies — Johnsonian Miscellanies , ed. Hill, 2 vols. Poems — The Poems of Samuel Johnson , ed. McAdam, Jr. Thraliana — Thraliana, the Diary of Mrs.

Zio paperone alla ricerca della lampada perduta

Hester Lynch Thrale , ed. Katharine C. Balderston, 2 vols. Page 1. Page 2. Page 3. Hector sent copies of the poem to Boswell in and in , saying it was the earliest of Johnson's poems he had seen. He thought it written between Johnson's fifteenth and sixteenth years.

It is almost certainly the first of Johnson's occasional poems preserved, and is interesting as such. There are some distant echoes of seventeenth-century verse, with which Johnson was familiar. Cleora is unidentified. Published in part by J. Clifford, Young Sam Johnson , p. From Hector's transcripts at Yale. Page 4. The following eleven poems, in a transcription by James Ross, were supplied to Boswell by the nephew of John Wentworth, Johnson's school-master at Stourbridge. They were written during and are among the earliest known of Johnson's verse compositions.

In type, they do not differ much from the customary school exercises of the period, translations from the classics or in one case from a modern Latinist , and original compositions on set subjects. But Johnson evidently did not think enough of them to revise and publish any during his lifetime. In this respect, and in their character as exercises, they differ from the group of eight poems and a fragment given to Boswell by Hector. The original manuscripts of five survive, as well as fragments of two others. Boswell numbered the transcripts, altered titles or made small changes in all of them but printed only two and part of a third, no doubt reserving the rest for his projected edition of Johnson's poems.

Since there is no way of determining the exact order of composition, they are printed in the order that Boswell gave them. Where the holograph is lacking, we follow Ross's transcript, correcting obvious errors. Page 5. Page 6. Not traced. First part from Ross, the remainder from Sotheby's catalogue. The blanks in l. Since the hymn of Menalcas begins with l. The whole begins with l. Page 7. Page 8. Page 9. Page Johnson answered,. And yet I trust I am no blockhead. I afterwards changed the word kill'd into crush'd.

As part of an undergraduate exercise at Oxford, these verses follow a Latin prose composition headed. They were therefore written between 1 November and 12 December , when Johnson left Oxford. Reprinted in Life , I. Reprinted from the manuscript at Pembroke in Poems , p. They are now first printed from the manuscript in the collection of Major Congreve on deposit in the Bodleian Library. I must ask. Text from Boswell's Tour ; reprinted in Anecdotes , p. Johnson, without the knowledge of his son, who was very angry when he heard of it. This printing is not known.


John Husbands, another Pembroke tutor, included the translation in his Miscellany of Poems , Oxford, , p. See J. Clifford, Young Sam Johnson , pp. In April a revised version appeared in the Gentleman's Magazine , p. It was reprinted in the Scots Magazine for August. No connexion between Johnson and Popham is known. In Richard Graves gave Mrs. Thrale a copy transcribed from Husbands, which she copied into Thraliana , p.

On 22 January the St. Samuel Johnson, having been handed about, I enclose you one corrected by his own hand. In this welter of versions, not a great many important variants are involved. But the best text is that of the St. James's Chronicle and it seems closest to Johnson's latest intention. It was therefore followed, with slight corrections, in Poems , p.

Pope's poem is printed below. The recipient of these verses remains unknown. Hector informs me that this was made, almost impromptu, in his presence. Hector to convey privately to them. Printed in Boswell's Life , I. Dated , this is the second of Johnson's poems on the unknown Cleora.

Hector included a transcript of it in his letter to Boswell of 13 October Yale. Now first published. Dorothy Hickman b. The verses were perhaps written then, when Dorothy was seventeen. Dorothy's son, Dr. John Turton, who attended Goldsmith in his last illness, sent the poem to Hawkins, who printed it in Works , , XI. Reprinted in Poems , p.

The manuscript, with an authenticating note by Turton, is in the Hyde Collection. Johnson's first certainly known contribution to the Gentleman's Magazine , this poem was printed in March, , p. Addressed to the publisher, Edward Cave, in his pseudonym of Sylvanus Urban, it is introduced as follows:. All men of sense, as far as we can find, having condemn'd the rude treatment given Mr. Urban by certain booksellers, whose names are not worth the mention already made of them; we hope it will not be thought any ostentation, to let the reader see a few of the pieces sent in his favour by correspondents of all degrees; especially as no objection can be made to some of them, but his being accessory to their publication.

The ode was parodied in the London Magazine for April, p. Both the parody and the translation are printed below. The Latin was reprinted in the Gentleman's Magazine in , verso of the title-page; in Hawkins's Johnson , , p. These lines were written to Mary Aston b. Henry Hervey Aston. In Thraliana , Mrs. In her Anecdotes , Mrs. What prevented Johnson from turning delight into marriage we are not told, unless he had already married Tetty. Molly finally married a naval officer in , and died about Printed in the Gentleman's Magazine , April , p.

The names of Savage, Cave, and Elizabeth Carter are so closely connected in the spring of that Johnson's poems to them may be suspected Page In the same letter he enclosed the manuscript of London. There is no evidence that Johnson knew Cave, Savage, or Miss Carter before he sent in the poems in compliment to them, though he knew them very soon afterwards.

He had, by the summer of , some employment on the Gentleman's Magazine. The lines were anonymous in the Gentleman's Magazine , p. Reprinted in Boswell, Life , I. I would leave my Epigram but have not day-light to transcribe it. It is in reply to Elizabeth Carter's English riddle in the February issue, p. Although Miss Carter was only twenty, her poems had been appearing in the magazine since It has not been previously noted that she replied to Johnson in the next issue, p. As these are the first known verses to be addressed to Johnson, they are reproduced here:.

Boswell marked both versions of Johnson's epigram as acknowledged by him Life , I. They were reprinted in Works, , XI. According to Johnson's note on his fragmentary rough draft, London was published on 12 May , one day earlier than the date hitherto accepted. It was believed during Johnson's life that he had trouble getting the poem published. Derrick wrote A Collection of Original Poems , , p.

Johnson, one of the most elegant writers of the age, author of the New English Dictionary, at first could scarcely find a bookseller, who would publish his fine imitation of Juvenal's third satire. But unless Johnson approached some publishers before he sent the poem to Cave or unless Derrick had London confused with Irene , the tradition cannot be true. Four undated letters to Cave between the middle of March and 6 April Nos.

This was agreed. The relationship between London and Juvenal, and between Johnson's imitation and earlier translations is discussed in the general introduction to this volume. In about a single large sheet of Johnson's rough draft of the poem, apparently the second of two sheets, was discovered by Lt. Isham at Malahide Castle, and is now in the Hyde Collection.

As Johnson had done in his schoolboy translation of Horace, Epode II, he divided the sheet into two columns, using the left-hand for the main body of the poem, ll. He has put line numbers against the published ll. The draft includes some discarded lines and some tentative readings, but shows Johnson writing very rapidly and with a good deal of sureness—having, as usual, done most of his composing in his head.

As a working manuscript of Johnson's first major work, the manuscript is of great importance. Johnson's method of composition will be discussed in more detail in the introduction to the Vanity of Human Wishes , of which the complete rough draft exists. All of our gallerists are masters in their fields. Second, we want the mix of galleries to be geographically diverse. The Salon has played host to many newcomers to New York and sometimes American shows altogether. We try to ensure that international galleries comprise at least 50 percent of the mix.

The curation of the material is the trickiest part. Fine art, mostly from early- to midth century will live harmoniously next to emerging contemporary design. What we hope to put in front of this discerning clientele is an assemblage that helps them form unexpected ideas. Last year, I thought I was seeing a real trend toward shiny design—by which I mean pieces worked in reflective metals—and that seems to be even more in demand this year.

All of our dealers who show Sottsass, Gio Ponti, and new work by Formafantasma virtually sell it out. The fair will be held at Park Avenue Armory from November , Classic designs by international 20th-century masters, as well as works by contemporary artists will be on offer at the fair. The works vary from classic and abstract antiquities to Art Nouveau, Deco, Mid-Century Modern and the s, s, and s and concludes with the latest work of emerging masters.

Recognizing the desire of collectors and interior designers to create environments rather than simply amass objects, The Salon exhibitors are chosen for their precise and creative way of presenting material that both predicts and reflects trends in the international culture of living. Contemporary Glass Hostler Burrows — U. Modern and Contemporary International Design J. Lohmann Gallery — U. Modern Italian Art M. Robert Goossens "Rosebush" chandelier, gilt bronze and rock crystals, circa With 56 participating galleries—11 of which are new to the fair and 30 of which are located outside the U.

One piece she points to is a shockingly deep red armchair from Fredrikson Stallard that looks more like a glorious piece of molten lava rock, called Species III. The chair is made from polyurethane, rubber, glass fibre, and polyester. Maison Rapin, a gallery in Paris, will be bringing a jewelry-like gilt bronze and rock crystal chandelier titled Rosebush by the late designer Robert Goossens, who created jewelry for Chanel, and later, Yves Saint-Laurent.

Modernism, which focused on design from to , ran for more than 25 years in New York, until By Jorge S. Metal is heavy. Metal is strong. Metal is unforgiving. And, as an artistic medium, metal has long been the territory of men. But a new generation of women is challenging this once-manly bastion of the art world, hammering at anvils, wielding torches, and stoking furnaces to unbearable temperatures.

The New York—based artist started out as a jewelry designer, crafting delicate rings and bracelets in silver and gold. But one day, an epiphany struck: Looking at her drawings, she suddenly saw her pieces on a larger scale—as furnishings. I wanted people to touch it, for it to have a function. Her tables and stools rendered in the unlikely forms of cascading feathers, draping alligator skins, and bubbling volcanic lava challenge our notions of weight and mass, begging us to run a hand across their unexpected contours.

Her mushroom shelves and cornutes-horn hooks demand a double take, appearing at first glance not as sculpted objects, but as organic forms dipped in bronze. The common thread, of course, is nature. After creating wax molds from these organic materials, she pours molten bronze heated to 2, degrees Fahrenheit inside, and, after it has cooled, extracts the piece. Then, over a period that can last months, she welds, mends, sculpts, and polishes until she achieves the ideal form. The Heavyweight Irish sculptor Niamh Barry can look downright diminutive when compared with the works she creates.

Her suspended lights blending hand-welded bronze, LED lights, and opal glass tesserae are giants, sometimes elliptical orbits resembling hovering celestial bodies, other times jagged masses that look like erratic scribbles. That the sculptor manipulates such behemoths with her own two hands is hard to fathom. I have had to learn to be disciplined and know my limits.

Though she keeps her original sketch in her head, she allows for spontaneity, hammering and welding the components until they at last take a complex form. And an hour later, the piece is in front of me. Her steel and silver objects are the result of repetitive labor, in which she hammers hundreds or thousands of the same components before welding them together with no preconceived notion of the final form.

Her Propagation Project, a series of forged-steel works coated in beeswax, bend and curl so convincingly that they appear suspended in movement, as if blowing in the wind or drifting through water. Other pieces incorporate organic materials like dried plants, creating a juxtaposition of the permanent and impermanent. Come here to find pieces that are historical, modern, contemporary, and groundbreaking.

From the 19th to the 21st century, the pieces on display here will range from Art Nouveau, to Deco, Mid Century, Modern, and much more. Interior decorators and appreciators will not want to miss the event. There are countless windows just feet away from the sidewalk to peer into while going about one's day. Some voyeurs may want to see something scandalous, but the more design-minded among us simply want a better view of that rock-crystal chandelier, the tassels of a velvet curtain, or the patterns on an antique hand-painted wallpaper. Sometimes it was society ladies in St.

Louis, sometimes it was private art collectors in Russia, or wine growers in Chile. I was cleaning out my desk and I had files and files of clippings of homes that I love. I started out with around rooms and sometimes I couldn't get home owner consent, and some changed their minds.

So it really evolved a lot over time, but it is not comprehensive at all; these are all strictly personal choices. Donald Judd. They were the only decoration he allowed in the loft, though he, of course, designed all the furniture. It was her favorite room. Joanne De Palma. Together, they collected fine Aesthetic Movement antiques, both English and American. But what makes the cavernous library sing are the colors: the teal blue Donegal carpet, the William Morris fabric on the walls, and the cornice glazed in layers of pale blue and green. An acknowledged expert in 18th-century French decorative arts, designer Robert Couturier was thrilled to be able to create a Louis XVI—style house for clients in Borough Park Brooklyn, complete with paneled boiserie and antiques from the best Paris dealers.

Annabelle Selldorf. Architect Annabelle Selldorf, a master at reconfiguring old buildings like the Neue Galerie for new uses, only once was asked to turn a YMCA into a duplex loft. Collectors naturally gravitate to designer Sandra Nunnerley because she studied art and architecture in New Zealand and worked in art galleries in Sydney, Paris, London, and New York. For a serious photography connoisseur, she gutted an Upper East Side apartment and opted for an open plan, with beige linen walls to display important contemporary pictures, ceramics, and African masks. Nunnerley designed the black slate fireplace and snakeskin ottoman.

Photography By Courtesy Of Rizzoli. Adrian Sassoon — U. Agostini, tells the crowded courtroom, as the hearing begins in Berkshire County Superior Court. It does not look likely. Back in the city, the auction houses are readying their big November sales. While I, of course, look askance at such gauche spectacle, I love attending the previews, spending time with works that may never again see the light of day in my lifetime.

The Berkshire Museum works end up not being sold. At the 11th hour, a Massachusetts appeals court judge halts their sale, and they are replaced in the showroom by other works. Opponents of the deaccessioning live to fight another day. A work by Keith Haring, and 1, children, on view outside an under-construction skyscraper in Hudson Yards. The award for most peculiar auction preview goes to Phillips, which hangs from 15 Hudson Yards a byfoot mural of the Statue of Liberty that Keith Haring made in with 1, children. The house is planning to sell it privately to benefit the CityKids Foundation.

It takes me more than 30 minutes to find it! It is a tower of stairwells, and it is the worst thing I have ever seen. There are two big-ticket shows this month. One is the Laura Owens retrospective at the Whitney, which disappoints. However, the Toyin Ojih Odutola show at the Whitney is superb.

The other big event is Performa, which is in full swing. The show has it all. Curator Jens Hoffmann appears onstage in a burgundy blazer, black bowtie, and a blonde wig from which dust explodes when he shakes it. Things keep happening. A basketball team dribbles on and off stage, two small marching bands march through, and at one point an auctioneer is selling off paintings—by Katherine Bernhardt, Chloe Wise, and others—though various people including Wise herself!

Two more highlights: On the 5th, I run the New York City marathon, and it is probably the most fun I have ever had in my life. For four hours, I sweat and swear along the streets of the five boroughs, very moved by the huge crowds in every single neighborhood. The For days, I can barely walk. It is a beautiful installation, with paintings of the writer throughout his life and a small statue of the man himself on a pedestal, framed by flowers and candles. Browse a preview of the works on display.

Image courtesy of David Gill Gallery. Image courtesy of Modernity Gallery. Image courtesy of Giustini Stagetti Galleria O. Image courtesy of Twenty First Gallery. Image courtesy of Priveekollektie Contemporary Art Design. Image courtesy of Galerie Negropontes. How Designers Are Creating a Pastoral Setting in Their Interiors Designers are cultivating a new look for their most spectacular interiors— and greenery is the secret ingredient. By Vicky Lowry. They wrapped the space entirely in sisal and embedded a huge palm tree below the surface of a raised floor.

Houseplants have been proven to make us feel calmer and more relaxed and provide fresh air. And, of course, a soaring green tree in the middle of an industrial loft makes a design statement. To that end, Danish designer Oliver Gustav gives his lean interiors a touch of whimsy with delicate ficus trees. The Milan home of designer Antonino Sciortino features very tall succulents. Andre Herrero, an architect, and Charlap Hyman, an interior designer, are always exploring inventive ways to bring nature inside.

In a Brooklyn residence, for instance, they placed a terra-cotta planter in the shape of a chair by artist Chris Wolston in the center of the living room and installed a mature potted palm in the red-and-white master bath. To conjure the indoor-outdoor vibe of an authentic midcentury modern home in the Hollywood Hills, they trucked in houseplants—enough to fill a nursery. Palm leaves fanned out from behind the custom-made banquette. Philodendron, stephanotis, and a mad variety of ferns sprouted from built-in flower boxes.

The book Wonder Plants 2 Lannoo is a lesson in both potted-plant decor and diligent maintenance. Twenty homes, spanning five continents, are presented with practical tips on keeping healthy specimens, design advice, and a numbered index for each species featured inside. Courtesy Lannoo. The sculptural and atmospheric possibilities of indoor plants are, of course, as varied as their species. By Eduardo Merlo.

As part of their unique line of programming, The Salon will present several ancillary events that will support the main production. This new phase in our era of artistic creation rejects notions of minimalism long sought after by artists throughout history. Instead, these pieces evoke whimsical emotions through sometimes chaotic optics. Take Surrealist Head by Alexander Calder , circa This piece rejects all conventions of forgery, instead a suspended sculpture that focuses instead on the absurd. The piece features a dramatically subtle curve, upholstered in a sleek blue and featuring popsicle-stick legs.

This showing will include an array of pieces, including Fruiting Habits, a bed featuring an assortment of flamboyant hues, most notably a cream pink accenting otherwise white framework and a variable-colored bedspread complete with a custom wave pattern. Fruiting Habits even includes its own light installation: a single bulb sprouting from the framework and hanging atop the bed. This piece features shades of pink, orange, teal, and includes a variety of textures seemingly clashing and contrasting one another simultaneously.

In terms of pottery, the J. This glass creation features what appears to be a pair of loosely opened lips, an accompanying red gradient only adding to the perception. However, Innuendo evokes much more than observations of sexuality, for one can get lost in the neutral contrast of red to white created by the use of blank space. The Salon Fair only happens once a year, and the directors are committed to showcasing of relevant trends in the design world. By Angela M. Drut likens the luminous creations to clouds; others see them as sculptures.

We recently caught up with the Tel Aviv-based Serfaty to talk about her elaborate design process. Her meticulously crafted commissions are not in great supply. Each piece takes up to six months to make from conceptualization to completion. After sketching out a design, she will make a mock-up of it—a massing model of sorts—in paper. Next, the lattice-like creation is covered in layers of airbrushed polymer, which shrink to the structure and obscure the web of glass and lighting elements within. The forms are covered in handmade felt crafted from fibers gathered from all over the world.

The high-end art dealer was on her way to New York City, where she. Ancient castles, cathedrals and churches also make great subjects. Jewelry in New York — CitiDex — Jewelry in New York jewelry new nyc,jewellery,bracelets,necklaces,diamonds,earrings,ring,engagement ring,pendants,wedding bands,silver,gold,gifts. Neo-expressionist artist Hunt Slonem, known for his vibrant and colorful.

By Alfred Sisley. Students on this course will now also r. Recent advances in metadata standardization help us do so: the Berliner Intellectuelle research group Bauman Rare Books offers an extraordinary selection of rare books and autographs in all fields. Visit us online, at our galleries in New York or Las Vegas, or call us.

While Born-Free is predominately a vintage chopper venue, there is always a good showing of vintage, racing and other styles of customs. The anonymous caller is suing Gore under claims to right of publicity, which gives individuals the right to control how his or her name, image, or likeness is used commercially. The early warriors were quite different from the later samurai who relied almost exclusively on their skill with the sword.

A half-figure with the gesture of an Orant, thought to portray the Virgin Mary, was found in the Coemeterium Maius on the Via Nomentana. The building was discovered in a Roman military and trading town called Dura Europos modern day Syria , situated on the peripheries of the empire and on the borderline with Sasanian Persia.

Indian artist Neelam Gupta names this painting after the lush beginnings of spring. Pentagram star rainbow with yin and yang spirals forming universal heart. It expresses the mythological root of the original cultures of the American continent — the metamorphosis between peyote and maize.

Now that the new art season has begun. In the meantime, the. Art Deco — Wikipedia — Art Deco, sometimes referred to as Deco, is a style of visual arts, architecture and design that first appeared in France just before World War I. Art Deco influenced. Art market — The 18th century: In the 18th century the so-called Grand Tour became a rite of passage for aristocratic young men.

The journey typically involved three. How Modern Art Serves the Rich More art is being produced and sold than ever before, at ever higher prices. Photo: Lalique. Korban, known for his romantic, fashion-influenced interiors, will create a one-of-a-kind curated installation using select Lalique crystal pieces. The installation will be made up of silk carpeting; velvet, suede and floral walls; custom straw marquetry[ and cashmere upholstery.

Top: Untitled Red Seated , , by Natasha Law hangs over the sofa in the eclectically and impeccably decorated space. Styling by Lauren Bah. Blair Voltz Clarke and Alistair Clarke are proof that opposites really do attract.

Their three-bedroom Manhattan apartment, which they share with their daughters, Poppy and Georgina, and a frisky cockapoo, is the perfect expression of their wildly divergent yet thoroughly impeccable tastes. Surrounding the table is a masking-tape floor installation by artist Sun Kwak. The cupboards, it should be noted, are crammed with his French porcelain, Japanese lacquer and gilt bronzes. Robinson — they performed a gut renovation that included restoring the original hardwood floors, hidden beneath linoleum, and removing walls to create an open living-dining area.

Y la encontraron. Es inevitable no plantearse ciertas cuestiones la primera vez que uno se enfrenta a alguna de las creaciones de Garrido Gallery. De arriba a abjo: mesa Oval Crystal; consola Aristas. Una vez que ya lo tienes hay que adaptarlo a una funcionali-. Disfrutemos entonces mientras podamos. Fifty-six galleries from 11 countries will show wares ranging from classic and abstract antiquities to Art Nouveau, Deco, Mid Century Modern and the s, '80s and '90s, culminating in the latest work of emerging masters. Easy chair model 93 designed by Brockmann Petersen for Poul M. Jessen, Denmark.

Courtesy of Modernity Gallery. Barry—a self-confessed pyromaniac who picked up her first welding torch in —produces some 30 unique pieces a year. Each of those is the product of many hours of arduous metal-working, such as welding, annealing, quenching, and hammering. The latter, says Barry, is by far the most aggressive and physically demanding aspect of the creative process. The LED bulbs within throw off a light that glows at 2, Kelvin, the color of natural fire, which has been concealed by hundreds of hand-cut, hand-polished pieces of glass.

The current work in progress, she says, marks a bit of a departure from past work. I have actually started working with a heavier bronze and there is now a pronounced curvature of the bronze face, which I have not done before. I have also fused the join points of the rings so you cannot really see where one line ends and the other begins so that the whole piece will read as a continuum, which is something else that I have not done before. The whole thing will have a much more organic feel.

Al ComicCon, la grande fiera del fumetto, dove si ritrovano appassionati di Marvel, ma non solo, Johnnie Walker ha lanciato una serie di nuove bottiglie di whisky, ispirate ai personaggi della serie Tv Trono di Spade come dalle avventure del suo mondo fantastico. Si possono provare cocktail originali al bar, del mixologist Fred Dex, con dj entrare nella Lounge che rievoca la famosa Playboy Mansion. Propone una cena con tutto il cast, oltre che una serata a teatro e al suo backstage.

Presso la sua piscina si scoprono pure cabanas sensuali piene di glamour. E' prediletto tra gli altri anche dallo stilista Zac Posen. Vi si festeggia la cerimonia di Arti, Tikka e Haar, al ritmo di musica da DJ ispirata da quella indiana contemporanea. A ottobre arriveranno le T-shirt e camicie, mentre, oltre al carattere di Janky, stanno lavorando a uno nuovo personaggio: Hench. Soul of a Nation: Art in the Age of Black Power at the Brooklyn Museum This knockout retrospective, up through February 3, offers the chance to view pieces—paintings, prints, sculptures, and performances—created by 60 black artists between and , a period of vibrant innovation, resistance, and awakening.

Some of the images in this traveling exhibit by Mann right, in present her family, as always, and some probe the violent racial history of the South. All are arresting, gorgeous, and essential. It opens November 16 at this L. The year-old Jamaican artist—known for sumptuous, tapestry-like pieces whose surfaces incorporate materials like toy guns, glitter, and lace—has her most substantial exhibit to date. Amid an installation meant to reference a night garden, she presents work made over the last five years, including Dead Tree in a Forest above , from On view November 9.

This New York—based fair takes over the Park Avenue Armory between November 8 and 12, featuring over 50 booths from galleries around the world, with work by artists such as the ecofocused Paula Hayes and the fashion designer—turned— furniture visionary Rich Mnisi his couch, left.

Expect to find everything from classic antiquities to Art Deco, midcentury modern, and contemporary pieces. By Angela Schuster. Few gallerists have had as great an impact on the evolution of the luxury design market as it currently exists as London-based aesthete David Gill.

Since opening your first shop, have you noticed any major shifts in the market for design? Definitely, in terms of an exponential growth in awareness of design as art among collectors, particularly when it comes to the secondary market. There has always been a strong primary market for custom design. When it comes to designers of the past as well as those working currently, people are no longer looking at design as something to simply to enjoy living with but are viewing it as art in itself, as something to collect, especially when it comes to unique pieces or limited-edition pieces.

You have collaborated with a number of prominent designers. How did these projects come about? In many, many different ways. With Donald Judd, for instance, we had quite a number of conversations about design before I began showing his Minimalist aluminum furniture in the late s. The same for Zaha Hadid.

I had known her for two decades before we chose to collaborate. With [noted architect] Daniel Libeskind, he recently approached me to see if we might work together on a project. But, I am always on the lookout for work that would like to have that would fit with what I am trying to say visually. Are there young artists you are excited about? There are. And we often make discoveries there. Among the talents that have come to us recently is a ceramicist, Lena Peters, who is now represented by the gallery. On the evening of October 18, at the Karma Lounge, guests to the VIP Party can enjoy champagne and see a truly unique, newly debuted Revero on display from 7 p.

On October 19, from 12 p. Karma will be displaying its new special edition Revero at this renowned design event that welcomes the world's finest international galleries exhibiting historical, modern and contemporary furniture, groundbreaking design and late 19th through 21st century art. Meet Karma Automotive and Karma Revero Karma Automotive designs, engineers, assembles and markets luxury electric vehicles, all from its Southern California base of operations. Founded in and employing nearly 1, people worldwide, Karma Automotive is committed to elevating and growing the luxury mobility experience for its customers and draws on global relationships and technology partners to achieve this.

Named Green Car Journal's Luxury Green Car of the Year, Karma Revero is a luxury electric car powered by dual electric motors that embodies the company's goals of offering leading automotive design, technology, customization and an outstanding customer experience. Learn more about Karma Automotive and Revero at www. Founded by co-principals Chinmaya Misra and Apurva Pande, the firm has continuously put the big idea at the forefront of their architecture services and champions design in every space.

After matric I studied textile design at Port Elizabeth Technikon. We reconnected in Cape Town and shared a common vision of starting a business. I love the freedom of creating my own work. I am fortunate to be doing what I love; it motivates me to get up in the morning. My latest series, Umthwalo, is an ode to women and the load they carry. By Coco Romack. From left: a cabinet and low chair, part of the Ore Streams collection. Furniture Designs for Doomsday What does furniture design look like in a dystopia?


The desk, table, cabinet, low chair, shelf, lamp, wastebasket and cubicle walls are all made from dead stock and recycled materials. Their design alludes to a potentially not-so-distant future in which the largest metal reserves have been hollowed from the earth to fulfill ever-growing consumer demands and are no longer mined but found in existing products, like building materials, appliances and electronics.

A chair, welded from aluminum and coated with metallic car paint, includes components of a dissected mobile phone. Six empty computer towers merge with transparent glass to form a functional standing cabinet. Throughout, gold sourced from electronic detritus is incorporated as a bright finish, most apparently as coating inside a leather rubbish bin. And the seventh edition is getting ready to run at the Park Avenue Armory on November 8 through Bespoke works by the latter two artists take center stage in the booth of Benoist Drut of New York—based Maison Gerard. The growing demand for personal enlightenment?

Bokor suggests it is largely in response to the increasing cookie-cutter nature of so much new real estate. In apertura di servizio vedete un dettaglio del tappeto Bacteria di Campana Brothers, realizzato in lana di banano e lana e mostrato qui nella variante nera e oro. Anche questo tappeto fa parte di Notturno I. Dal , i fratelli Fernando nato nel e Humberto nato nel Campana hanno consolidato la loro carriera raggiungendo il riconoscimento nazionale e internazionale.

No wonder, then, that the galleries dedicated to its art and artefacts are as sumptuous as its past. Much to our pleasure, the curators are no slaves to the past, either, introducing contemporary works on paper to the displays — and, with them, a dialogue between cultures old and new. Details: ; britishmuseum. Featuring work by more than 1, artists, including Marc Quinn and Turner prize-winner Richard Deacon.

Details: affordableartfair. The results by Ron Arad, Andrew Logan and more are varied, vibrant and very good. Details: cureparkinsons. Details: modernshows. Details: londonartweek. Details: 00 33 1 42 99 20 20; artcurial. Details: finearts-paris. Details: 00 33 1 40 76 85 85; christies.

Luxor-y item: Charles Ede exhibits a 3,year-old sarcophagus mask with elegant painted make-up found in the Egyptian city known in ancient times as Thebes. Details: ; tefaf. Details: ; thesalonny. Photograph by Timothy Doyon. Fifty-six galleries from 11 countries will showcase collectible art and design pieces, ranging from vintage to contemporary items across furniture, lighting, glass and ceramics, as well as decorative and fine art. Reinier Bosch's bench that appears to be melting main image , presented by Priveekollektie Contemporary Art and Design; ceramics by Hitomi Hosono; and crafted furniture by late Italian architect Gio Ponti will also be among not-to-miss items.

The offering of vintage wares will span all of the major 20th-century movements, from art nouveau and art deco, through mid-century modern to the s, s and s. Among the vintage collector's items at The Salon will be this rare adjustable lamp by Poul Henningsen, designed for Louis Poulsen and displayed by Modernity, Stockholm. Examples like a adjustable lamp designed by Poul Henningsen for Louis Poulsen and a set of home products by Viennese Secessionist designer Kalomon Moser will feature. Works by late Italian architect Gio Ponti, such as this cabinet, will be displayed by Nicholas Kilner.

A set of site-specific installations will also be created for the event. This year's collectors lounge will be bring together mid-century furniture and contemporary designs from London's Charles Burnand. Our highlights from the edition included bumpy concrete-fibre benches by Beirut-based designer Najla El Zein, a light sculpture formed from porcelain shards by London artist Barnaby Barford, and ebonised walnut furniture by Ireland's Joseph Walsh. Today, CovetED explores a bit more about the extraordinary dynamics of the event as well as some of the best places to visit in the city that are predominately design oriented.

Classic designs will be one of the main themes of the event, where visitors will have the opportunity to get the know the work of the greatest international masters of the 20th century as well as the latest and creative work of up and coming artists. Nevertheless, one will also be able to see numerous abstract antiquities and works of art based in the Art Nouveau, Art Deco, Mid-Century Modern and other art movements. It grants the chance for collectors and interior designers alike to create meaningful environments rather than simply put objects together with no narrative behind their design.

For this to happen fluidly, The Salon selected exhibitors based on their precision and creativity and their aptitude to present material that both predicts and reflects trends in the international culture of living. Visitors will find classic designs by international Twentieth Century masters as well as works by contemporary artists. Offerings range from classic and abstract antiquities to Art Nouveau; Deco; Midcentury Modern; and the s, s and s, culminating in the latest work of emerging masters.

Courtesy Phoenix Ancient Art. Future Perfect United States. Recognizing the desire of collectors and interior designers to create environments rather than simply amass objects, the Salon exhibitors are chosen for their precise and creative way of presenting material that both predicts and reflects trends in the international. Courtesy Karl Kemp Antiques. Ultimately, the Salon is curated on the premise that collectors and designers insist on a vibrant, uncommon array of styles, materials, and periods, as long as the quality is impeccable.

Copyright: Agence Phar. Beylard et V. A full exhibitor list is available at www. Visitors will find classic designs by the great international 20th century masters, as well as creative works by today's most innovative young artists. Below are many booths from the edition.

Collericamente Vostro "Braccio di Ferro"

In the overdeveloped landscape of New York, Park Avenue Armory stands out for its remarkable conservation efforts and to this day remains one of the largest buildings to have its interiors survive intact. Are you from New York originally? New Yorker, born and bred. What are the qualifications of being a New Yorker? Having the ability to suffer bad diner coffee.

Having olfactory reminiscences from the smell of the pretzel vendors with their charred chestnuts on Fifth Avenue in the holiday season. Most importantly, watching the Guggenheim being built and wanting to roller skate down the ramps! For me the excitement is in seeing how the fair evolves each year.

Our exhibitors up their game — the ultimate compliment is being told that a piece is being put aside for months to bring to the fair. We have that, too. Do you have a favorite bar where visitors could unwind after a long day at the Salon? I recommend the ginger margarita.

For warmer weather, the rooftop bar at The Public with its degree views that go on forever is the spot! New York is world famous for its pizza and bagels. For bagels head to Black Seed — artisanal not, traditional. There are four locations, all downtown. For elegant dining, Vaucluse is perfection! Can you recommend one art museum and one non-art museum and explain why you chose them? The exhibitions are gorgeously curated and thoughtful and never overwhelming. Everyone should go there. What is your favorite neighborhood in New York and why?

Central Park. See a corny musical on Broadway. The crowds and pace of life in New York can quickly become claustrophobic and stressful. Semplice, dare alla sua linea di vestiti, al suo negozio, alla sua catena un nome italiano. Tree fungus identification includes not only taking a good look at the fungus, but also taking a look at the surrounding habitat. The growth of fungi is intricately linked to its surroundings. Hi, I log on to your blogs like every week meli melo olivia palermo 5 — Journal by Covet Chic.

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Let me take you through a typical game day, with an evening game scheduled for Woodsmeister and westbrook will continue to update you during the week, and Jason and I will continue to do the weekend updates. Depending on the day or how the schedule works out, you could seeing a series preview, and AL Central review, a Top Indians profile, a Minor League Update, or something topical. The Quick Recap will have links to the boxscores, the WPA Graph, and the game thread s Roll Call, as well as some quick commentary on what just happened. This is designed to be a reaction thread, where you can decompress, commiserate or celebrate, and otherwise talk with other Tribe fans about what you just saw.

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