All posts in “library”

Building a Digital Collection: The Photographs and Lists of William H. Lautz Antique Porcelains

Do you ever wonder how Seattle Art Museum acquired enough porcelain objects to fill an entire room? Through my Directed Fieldwork (DFW) at the University of Washington I decided to illuminate a piece of the provenance story behind some of SAM’s porcelain objects in the beloved Porcelain Room.

Not much is known about the New York dealer, William H. Lautz’s life outside of the porcelain world, however William Lautz was a key figure in the growth of eighteenth-century porcelain in the United States during the 1940s and 50s. I’ve created a digital collection of porcelain object photographs and associated descriptive lists from the New York dealer, William H. Lautz Antique Porcelains, from the physical collection held in SAM’s Dorothy Stimson Bullitt Library.


As a dealer of European porcelain, Lautz helped form the Warda Stevens Stout Collection at the Dixon Gallery and Gardens in Memphis1, the Martha and Henry Isaacson collection in Seattle, and the Blanche M. Harnan Ceramic Collection, also in Seattle; the latter two now located partially at the Seattle Art Museum.


Both Martha Isaacson and Blanche Harnan were founding members of the Seattle Ceramic Society, which stimulated the collection of European porcelain through study groups. Their stated goal was to collect European porcelain worthy of exhibition at the Seattle Art Museum. To that end, they connected with important dealers in the field.

In the mid-1950s, Lautz sent barrels of porcelain to the Seattle Ceramic Society, accompanied by photographs and descriptive lists of the pieces. In turn, the Ceramic Society members selected pieces and returned empty barrels to Lautz with checks for their purchases. This method became known as the “Seattle Scheme” and continued while the Seattle Ceramic Society members grew their individual collections.2

Over time, the Seattle Ceramic Society and its members held five exhibitions of their European porcelain collections at the Seattle Art Museum between 1949 and 1964. Many active members of the Ceramic Society donated pieces of their collection to the Seattle Art Museum, including the aforementioned Martha and Henry Isaacson and Blanche M. Harnan, along with Dorothy Condon Falknor, DeEtte McAuslan Stuart, and Kenneth and Priscilla Klepser.

To create this digital collection, I scanned all of Lautz’s photographs into JPEGs and all of his descriptive lists into PDFs. Using Adobe Acrobat’s OCR function, I made the lists keyword searchable. I then created a spreadsheet with the associated metadata for each file to improve online navigation and searching. The files and associated metadata are now available on Shared Shelf Commons, which allows you to browse and view them alongside contributions from many other institutions.

Once the collection was in Shared Shelf Commons, I used Omeka to create an online exhibition by linking photos of the Lautz pieces that ended up at SAM with their descriptions. By providing online access to William H. Lautz Antique Porcelains photographs and descriptive lists I hope to encourage researchers and others to investigate the porcelain objects in SAM’s collection and to visit the Porcelain Room at SAM to see some of the objects in person.

–Nicole Sonett, Intern, Dorothy Stimson Bullitt Library

Note: We want to thank Julie Emerson, the former Ruth J. Nutt Curator of Decorative Arts at the Seattle Art Museum, for her assistance in identifying porcelain objects from William H. Lautz Antique Porcelains that are now featured in SAM’s Porcelain Room.

1 Nelson, Christina H., and Letitia Roberts. A History of Eighteenth-Century German Porcelain: The Warda Stevens Stout Collection. Memphis: Dixon Gallery and Gardens; Easthampton, MA; New York: Hudson Hills Press, 2013.
2 Sebastian Kuhn in “Collecting Culture: The Taste for Eighteenth-Century German Porcelain,” in Cassidy-Geiger, Maureen et al. The Arnhold Collection of Meissen Porcelain, 1710-50. New York, NY: Frick Collection in association with D. Giles London, 2008.
Photos: Natali Wiseman.

Learn More about Indigo through Resources at the McCaw Foundation Library

Textile artists have been using indigo, a type of dye, for thousands of years, mastering methods of creating beautiful patterns with this deep blue color. A visit to the Asian Art Museum’s exhibition, Mood Indigo: Textiles from Around the World features striking hues and the multitude of ways in which indigo manifests in various materials. If your visit leaves you yearning to learn more about the indigo-dying process, we’ve got what you need!

The McCaw Library at the Seattle Asian Art Museum provides resources to visitors about works in our collection and in special exhibitions. During the run of Mood Indigo, the library features a number of titles about indigo, its processes, and methods of application. Because the McCaw Foundation Library is one of the few libraries in the region to focus specifically on Asian art, many of our resources are not available anywhere else in the Pacific Northwest.

Check out this selection of resources related to indigo and its uses in Asian textiles

Shibori and Chinese Indigo Batik

Arimatsu shibori: a Japanese tradition of Indigo Dyeing by Bonnie F. Abiko
(Rochester, MI: Meadow Brook Art Gallery, Oakland University, 1995).
In the early 17th century, Shokuru Takeda settled in Arimatsu, a small town on the road to the capital city, Kyoto. There he created Arimmatxu shibori, the now-famous stunning indigo designs expressed on fabric using shibori dye-resist techniques. This book, written in English with many color pictures of this special fabric, tells engaging stories of how and where it came into being and influenced the development of Japanese textile design.

Designs of Chinese Indigo Batik by Pu Lu
(New York: Lee Publishers Group; Beijing, China: New World Press, 1981).
Indigo batik has a long history among the common people of China, particularly in the remote southwestern provinces of Guizhou and Yunnan. It has been an integral part of the social customs and folk art of the area. This book, written in English, details the methods, materials, and history of making Chinese indigo batik. It includes many images of designs used in creating these beautiful and socially significant pieces.

Genshi tennen no nuno = 原始・天然の布 by Okamura Kichiemon
(Osaka, Japan: Sansai, 1981).
This elegant two-volume set includes a wide variety of fabric samples, many of them using indigo dye. The captions are written in Japanese. This book will fascinate both artists and scholars.

Kasuri no michi: fujimoto hitoshi korekushon by Hitoshi Fujimoto
(Tokyo : Mainichi Shinbunsha, 1984).
Kasuri is the Japanese term for ikat weaving. Yarn threads are tied before they are dyed. Tying “masks” the part of the thread that is knotted, and so it will resist the dye. The pattern used when tying the knots creates the finished patterns which will be woven into the cloth. Sometimes only the weft yarn is tied; when both the weft and warp yarns are tied, it is called double kasuri–a technique which can yield designs that range from simplistic to marvelously complex and pictorial. This book, written in Japanese, contains descriptions and images detailing the creation of these textiles, and color images of finished pieces.

indigo-books4

Jidai Resshu Kasuri = 時代裂集 絣
Peruse a wide selection of ikat textile samples, most of them using indigo dye. The stunning variety of designs is captivating: some are intricate and representational, while others are simple yet graceful. Japanese captions often are paired with English translations. This is a must-see!

The McCaw Foundation Library is open to the public, Thursdays and Fridays, 2–5 pm and Saturdays, 10 am–2 pm (through September 3). Beginning September 10, our Saturday hours are extended from 10 am–5 pm.

Kate Nack, Library Volunteer, McCaw Foundation Library for Asian Art

Manson F. Backus: Print Collector, Book Collector

Did you know that the Bullitt Library is accessible to the public and often highlights books and resources related to our exhibitions for visitors to view? Visit the latest book installation related to Graphic Masters: Dürer, Rembrandt, Hogarth, Goya, Picasso, R. Crumb, on view just outside the Bullitt Library on the fifth floor of the Seattle Art Museum during the library’s public hours: Wednesday–Friday, 10 am–4 pm. Graphic Masters closes August 28, so hurry up and see it soon!

A Collector’s Collection

Several of the etchings by Rembrandt van Rijn (Dutch, 1606–1669) in the exhibition, Graphic Masters, are part of the Seattle Art Museum’s Manson F. Backus Memorial Collection. Manson Franklin Backus (American, 1853–1935) was a well-known, successful Seattle banker and philanthropist that, toward the later part of his life, became a learned collector of art objects. He traveled extensively to Europe and beyond amassing a large collection, over twenty-five years, of fine prints, other types of art, and a substantial library to support his learning.

Self Portrait with Saskia by Rembrandt

His engraving and etching collection was regarded with much esteem in the region. He regularly loaned prints to exhibitions at the Seattle Fine Art Society—an organization that would ultimately become the Seattle Art Museum—and then to the museum itself. In 1935, upon his death, his collection of more than 300 etchings and engravings was bequeathed to the Seattle Art Museum. Selected works from this collection have been exhibited over the years, notably in Manson F. Backus Memorial Exhibition: Etchings and Engravings in 1935; a three-part exhibition—Manson F. Backus Memorial Collection of Etchings by Masters—shown in 1937; and more recently, European Masters: The Treasures of Seattle, the companion exhibition to Rembrandt, Van Dyck, Gainsborough: The Treasures of Kenwood House, London in 2013.

“. . . a collector of etchings must be something of an artist in appreciation. . . . and judging by the prints on the walls of the entrance hall and the library of Mr. Backus’ Highlands home, his appreciation has been wide and sure.”
—“Second Hobby, Done Well, Is Found In M.F. Backus’ Etching Collection,” Seattle Sunday Times (February 1, 1931)

A Collector’s Library
In 1935, upon Backus’ passing, in addition to the print collection bequeathed, his extensive library on artists, technical aspects, and the collecting of prints was received by the Seattle Art Museum Library. The collection ranges from important titles of the 18th and 19th century, to titles that were likely purchased not long before his death. Each contains his distinctive bookplate that states: “Ex Libris, Confido in Deo [Trust in God], Manson Franklin Backus” and depicts a coat of arms with three doves and a chevron. We are pleased to be able to present a small sampling from the approximately 160 volumes that were willed to the library.

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Among his library are a number of fine editions, but none is more unique and interesting than Etchings: A Collection of 50 Invitation Cards Sent by Eminent Artists and Etchers to Art Patrons, a bound volume of collected invitation cards and etchings. Included within is an etching by William Hogarth (English, 1697–1764) and original sepia drawings by Clarkson Frederick Stanfield, R.A. (English, 1793–1867) after Rembrandt and Meindert Hobbema (Dutch, 1638–1709). Not a lot of information is known about this work. An advertisement tucked into the volume confirms that the firm of George Bayntun in Bath, Somerset, England, bound the work, and that this was done sometime around 1900, but the person who compiled the collection is unknown. Additionally, no other edition of this work is known.

Hogarth print

—Traci Timmons, Librarian, Dorothy Stimson Bullitt Library

Building a Digital Collection: Annual Reports at Seattle Art Museum

The following post is from two students who have been interning at SAM’s Dorothy Stimson Bullitt Library while completing their Master of Library and Information Science degrees at the University of Washington’s Information School.

We are Michael Besozzi and Kate Hanske, and we have been working with Librarian Traci Timmons in the Dorothy Stimson Bullitt Library on an exciting digital initiative for the culminating work of our degree program. At the University of Washington’s iSchool, every student must complete a Capstone project, which should apply classroom theory to address a real-world information problem. For our Capstone work, we decided to tackle an information gap presented by access to SAM’s institutional annual reports.

Dating back to 1932, the reports include information about specific accessions, ongoing museum activities, exhibitions, and other special events in addition to the financial statements for the year. In a survey of nearly 900 American museums and cultural institutions, only 171 host their annual reports online. Out of those 171 institutions, many have unaccountable gaps between years of published reports. In the library, we saw an opportunity for SAM to create a unique digital collection and exhibition that includes every annual report in the museum’s history. We decided to aim for three outcomes for the digital collection: accessibility, transparency, and posterity.

The Bullitt Library is composed of “open” and “closed” stacks. The “open” stacks consist of shelves containing materials that any member of the public, from curators to visitors, can browse and handle without the assistance of a staff member. The “closed” stacks, located in a back room, contain a number of historical special collections materials. Due to the fragility of special collections materials, the closed stacks are only accessible by staff and designated volunteers. Located in those closed stacks are the Seattle Art Museum’s annual reports, dated from 1932 to the present.

SAM Libraries Annual Reports Archives

In order to access a report from a particular year, a visitor must have a staff member physically walk into the collection, pull out the box from the time range, and bring it to the patron, who must browse the materials in the box for the desired information. Requests for annual reports are common, ranging from staff members attempting to research financial records to visitors researching the history of the museum and the museum’s collections.

Annual Reports 1940s

Typically, a patron will perform a search that will require several boxes to be pulled at one time, which can also take up a lot of physical space in the small library. To add to the problem, the physical annual reports are not easily searchable: if a patron wants to locate a specific individual, exhibition, or piece from the collection, the user must usually go through multiple boxes (and other resources) in order to find what they need. This process can be time-consuming and frustrating! Further, the frequent physical handling of the documents, particularly the most aged and fragile, can cause irreversible damage over time.

Annual Reports 1950s & 1960s

Annual Reports 1970s

The completion of this digitization project empowers patrons to conduct research with the reports without being physically present in the library and without requiring the assistance of library staff and volunteers. The reports are more fully accessible to the public, which facilitates institutional transparency, and they are preserved digitally for posterity.

To create this collection, we scanned all 71 annual reports into the PDF file format and ran a program to make sure that the documents themselves are searchable. We then created a spreadsheet to store essential metadata (title, contributors, year, etc.) for the files to make the collection easy to navigate in an online environment. We uploaded these files and the associated metadata to the online repository and platform called Shared Shelf Commons, which allows these items to be browse-able and view-able alongside contributions from a variety of other institutions.

Annual Reports 1980s

Annual Reports 1990s

Once the collection was made available in Shared Shelf Commons, we set about building an exhibition using another digital scholarship and web publishing platform called Omeka.net, which allows users to build digital collections and create online exhibitions. With Omeka.net, we were able to customize the exhibition display, organizing the reports by decade, and share the narrative history of the museum as told through the reports themselves. This is the first online collection of its kind for SAM and we are incredibly excited to finally make it available!

—Kate Hanske and Michael Besozzi, Dorothy Stimson Bullitt Library Interns

You can explore the annual reports via the Omeka website here.

You can explore the annual reports in Shared Shelf Commons here.

And watch a short video overview of the project here.

Photos: Natali Wiseman.

19th-Century European Depictions of Africans: A Book Installation

During the run of Kehinde Wiley: A New Republic, whose work addresses ideas about identity and representation, the Bullitt Library is featuring a book installation that considers ways in which people of Africa were depicted in 19th-century book illustrations. The works in this installation, considered “costume books,” depict African subjects with an emphasis on clothing, published with the intent of educating an otherwise unacquainted audience. This tradition, derived from European 16th-century illustrated costume books, was created to satisfy a demand for information on dress and manners of both homeland and foreign lands. The depictions of non-European subjects, though beautiful in their presentation, are problematic in that they project a distinctly Western perspective and a lack of drawing from firsthand observation.

19th-Century European Depictions of Africans

Le Costume Historique: Cinq Cents Planches, Trois Cents en Couleurs, or et Argent, Deux Cents en Camaïeu…

19th-Century European Depictions of Africans

Published in Paris by the firm of Firmin-Didot et Frères between 1876 and 1888, Le Costume Historique: Cinq Cents Planches, Trois Cents en Couleurs, or et Argent, Deux Cents en Camaïeu… by Auguste Racinet (French, 1825–1893) was considered the most wide-ranging study of clothing of its time. Here, Racinet depicts “Senegalese tribesmen and women, from the lands by the River Senegal in Western Sudan” who “are a handsome people who take great care of their appearance.” And although Racinet’s work is an exceptional example of chromolithography, images like the ones shown are derived from a long illustrative tradition whereby images of “exotic” peoples were based on written accounts or secondhand drawings.

19th-Century European Depictions of Africans

Another work published by Firmin-Didot et Frères is Costumes Anciens et Modernes, a 19th-century reproduction of Cesare Vecellio’s (Italian, 1521–1601) Habiti Antichi et Moderni di Tutto il Mondo, an early costume book published in Venice in an expanded edition in 1598. Firmin-Didot’s version is written in Italian and French and covers the same geographic regions covered by Vecellio’s work.

In this example, we see an ordinary African woman: “Africana di Mediocre Conditione/Africaine de Condition Inférieure.” Referring to Vecellio’s original depictions, one scholar has noted that the images of African costumes, in particular,

“…were participating in ‘translations’ of African dress into costumes for European paintings and theatre. During this process, they accumulated new meanings. The dressed figures were copied from art objects with varying degrees of removal from immediate African encounters and combined with texts from published travel narratives to create mythic bricolages of Africans.”

19th-Century European Depictions of Africans

The Clothing of the Renaissance World: Europe, Asia, Africa, the Americas: Cesare Vecellio’s Habiti Antichi et Moderni

19th-Century European Depictions of Africans

Costumes Anciens et Modernes

Additionally, when a comparison is made between Vecellio’s original image and Firmin-Didot’s replication of this particular subject, we see the result is a distinctly more Europeanized version.

This book installation is on view just outside the Bullitt Library on the fifth floor of the Seattle Art Museum during the library’s public hours: Wednesday-Friday, 10 am-4 pm.

—Traci Timmons, Librarian, Dorothy Stimson Bullitt Library

Images: Le Costume Historique: Cinq Cents Planches, Trois Cents en Couleurs, or et Argent, Deux Cents en Camaïeu… 1876-1888, Paris: Firmin-Didot, Auguste Racinet, French, 1825–1893, SPCOL GT 513 R23 v. 2. The Clothing of the Renaissance World: Europe, Asia, Africa, the Americas: Cesare Vecellio’s Habiti Antichi et Moderni, 2008 London; New York: Thames and Hudson, Margaret F. Rosenthal, American (birth date unknown), Ann Rosalind Rosenthal, American (birth date unknown), GT 509 V42 C57 2008. Costumes Anciens et Modernes = Habiti antichi et moderni di tutto il mondo, 1859-60, Paris: Firmin-Didot, Cesare Vecellio, Italian, 1521-1601, Ambroise Firmin-Didot, French, 1790-1876, From a private collection. Photos: Natali Wiseman.

The Seattle Art Museum in Fiction

“Fiction is the lie through which we tell the truth.” — Albert Camus

It all started when a museum visitor asked our public relations department about a book title he was trying to track down. His email stated, “I don’t know the book, don’t know the author, but a few pages into it I did know Seattle Art Museum was the setting of a murder mystery themed around art… and it was a wonderful read.” His request was sent to SAM’s Bullitt Library where we quickly realized we had no compiled list of fictional books where the museum was mentioned—but, we probably should! So, we set out to construct a list and discover how fiction expresses SAM’s truth.

After combing through novels featuring the museum, it became apparent that SAM is most often the setting for intrigue and romance. If you consider that our Brotman Forum has a car hurtling through the air, intrigue certainly represents an aspect of SAM’s truth, but I think the romantic side is more subtle. The artist, Pablo Picasso, said “Art is a lie that tells the truth.” Considering Picasso’s idea of art, SAM’s romantic truth may be in every installation. The emotions each exhibition brings forth give the audience the opportunity to allow an exploration of their own feelings, making it a perfect place to find true love.

Seattle Art Museum is often mentioned in passing in novels that take place in the Seattle area. The museum is such an iconic feature of the city that authors often mention it to set the atmosphere of the scene. In fact artist Jonathan Borofsky’s Hammering Man—a work owned by the City of Seattle but situated directly in front of the museum—is often described in scenes of downtown Seattle. Conducting a search of SAM in fiction gives many results. By reading through each one, I was able to establish the context and importance the museum actually had in the plot of the book.

Old Scores by Aaron Elkins

A series that particularly features the Seattle Art Museum is the Chris Norgren Mysteries series by Washington-state author, Aaron Elkins. In this series, a Seattle Art Museum curator often finds himself involved in art’s shady underworld.

Noteworthy novels that feature SAM in order to establish an atmosphere of exciting intrigue or provide a backdrop for dramatic romance include: Long Overdue by Jeff Ayers, which features both SAM and the Seattle Public Library, includes a rambling lunatic who accuses SAM of running a mind-jamming device from the museum, and Dating Can Be Deadly by Wendy Roberts, uses SAM as a popular date night spot for a potential killer.

A Glancing Light by Arron Elkins

Weeding through this list, I was able narrow it down to an introductory top twenty list. If you’re looking to further your experience of SAM’s truth with fiction we have compiled a list of novels that either feature SAM or just briefly mention the museum. This list is by no means exhaustive, but this top twenty list sets out to reflect fiction’s truths about SAM. The list features a short synopsis of SAM’s role in each book and is presented in alphabetical order here. I was unable to read all of the novels listed, so I encourage people to submit their reviews to give more context, and suggest any additional titles to add.

Suggestions may be sent to libraries@seattleartmuseum.org. We look forward to hearing from you!

—Jenatha Bruchon, Library Intern, Seattle Art Museum Libraries

P.S. As for the book our visitor was after, it was Old Scores by Aaron Elkins.

Masks in the Bullitt Library’s Collection

The Seattle Art Museum’s current exhibition, Disguise, examines 21st-century evolutions of the African mask and explores contemporary forms of disguise. For this latest book installation from the Dorothy Stimson Bullitt Library, we drew upon unique works in our Special Collections related to masks. They run the gamut between the restraint of an early 20th-century collection catalogue and the intensity of an early 21st-century work that delights the senses.

Masks Alone

les_arts_sauvages1

Portier, André and François Poncetton. Les Arts Sauvages: Afrique. Paris: Editions Albert Morancé, 1956. SPCOL OSZ NB 1080 P6.

Les Arts Sauvages: Afrique is a large folio edition that focuses its attention on the form of each mask, leaving context to our imagination. It was first published in Paris in 1927, and is authored by the French academics, André Portier (French, 1886–1969) and François Poncetton (French, 1875 or 1877–1950). It includes fifty loose-leaf collotype photographic plates printed in sepia, some overprinted with color. An elaborate, beautifully produced collection catalogue, this work displays the collections of important artists, critics, and writers of the French Surrealist and Dada movements.

Two examples of the overprinted color plates are on currently on view: Masque Pongwé (Gabon), from the collection of Stéphen-Charles Chauvet, (French, 1885-1950), known for his authorship of the first illustrated compendium on Easter Island; and Masque Man (Côte d’Ivoire), from the collection of Paul Éluard, (French, 1895-1952), the French surrealist poet.

Soundsuits in a Box

nick_cave1

From Cave, Nick. Soundsuits Boxfolio. Chicago: Soundsuit Shop, 2006. SPCOL N 6537 C447 S68 2009.

“The wearers and their masks participate in a consuming spectacle: sounds, smells, the audience and the setting all play essential roles.” —Herman Burssens, African Faces: An Homage to the African Mask

Unlike the quiet, reflective nature of Les Arts Sauvages: Afrique, this artist’s book by Nick Cave (American, 1961–) has movement, makes noise, and shows us masks represented in a totally different way from that of more traditional books.

From Cave, Nick. Soundsuits Boxfolio. Chicago: Soundsuit Shop, 2006. SPCOL N 6537 C447 S68 2009.

From Cave, Nick. Soundsuits Boxfolio. Chicago: Soundsuit Shop, 2006. SPCOL N 6537 C447 S68 2009.

This Boxfolio is a rare, wonderful, instance of an artist leaving a remnant behind after a show. In 2011, artist Nick Cave held a solo exhibition at the Seattle Art Museum and this work ultimately ended up in the Bullitt Library. Best described as an artist’s book, this work contains a diverse and fascinating assortment: an iron-on patch, lenticular image, magnet, pin, blow-up punching bag, set of playing cards, set of postcards, hanging ornament, booklet, fiber optic wand, and a Viewmaster. Cave’s Soundsuit Shop tells us that “Nick’s 2006 exhibitions were accompanied by this Boxfolio which, like the Soundsuit, is a collection of unexpected items that make sound when shaken.”

Two of Nick Cave’s Soundsuits are on view in the exhibition, Disguise: Masks and Global African Art, which runs through September 7, 2015.

– Traci Timmons, Librarian, Dorothy Stimson Bullitt Library

The book installation, Masks in the Bullitt Library’s Collection, is on view just outside the Bullitt Library on the fifth floor of the Seattle Art Museum, during the library’s public hours: Wednesday-Friday, 10 am-4 pm. (Please note the library will be closed July 1-3, 2015.)

Maps of Time and Place at the McCaw Foundation Library

A map is a visual depiction of a particular place, and it is a reflection of the perspectives of the time in which it was made. We can better understand the way people in a particular era saw the world – and their place in it – by looking at the maps they used.

A New Map of Asia from the Latest Observations: Most Humbly Inscribed to the Right Honbe. George Earl of Warrington, 1721. London: D. Browne. SPCOL G 7400 I710 S4. Donated by Frank Bayley, acquired from the collection of former SAM Curator of Japanese Art, William Jay Rathbun.

A New Map of Asia from the Latest Observations: Most Humbly Inscribed to the Right Honbe. George Earl of Warrington, 1721. London: D. Browne. SPCOL G 7400 I710 S4. Donated by Frank Bayley, acquired from the collection of former SAM Curator of Japanese Art, William Jay Rathbun.

John Senex’s (English, 1678-1740) New Map of Asia, which dates from 1721, is a representation of the technical information available at the time. It also provides insight into the way European explorers viewed the countries in Asia and their relationships to each other. Senex was a geographer to Queen Anne (1665-1714), and one of 18th century England’s best known map makers. His map of Asia contains a lot of information.

Detail from A New Map of Asia from the Latest Observations: Most Humbly Inscribed to the Right Honbe. George Earl of Warrington, 1721. London: D. Browne. SPCOL G 7400 I710 S4. Donated by Frank Bayley, acquired from the collection of former SAM Curator of Japanese Art, William Jay Rathbun.

Detail from A New Map of Asia from the Latest Observations: Most Humbly Inscribed to the Right Honbe. George Earl of Warrington, 1721. London: D. Browne. SPCOL G 7400 I710 S4. Donated by Frank Bayley, acquired from the collection of former SAM Curator of Japanese Art, William Jay Rathbun.

It spans a vast geographical area from the tip of North Africa and part of the Mediterranean in the west to Indonesia and Japan in the east; from what is now Mongolia in the north to New Holland (now called Australia) in the south. It notes the currents along the east coast of Southeast Asia, the Philippines, and the Indian Ocean. Areas that were most thoroughly explored by the 18th-century English are the ones that include the most detail; those that were not as well-known are more generally depicted, such as the “Land of Less” and “Company’s Land,” which are shown as large, indistinct land masses, as is the “Eastern Ocean” to the north of them. In the upper left corner, a cartouche includes two people in stylized Asian dress, surrounded by representations of some typical animals and plants.

Suseon Jeondo (Whole Map of Seoul), between 1861 and 1887. Seoul, Korea: publisher unknown. SPCOL G 7904 S4. Donated by Kimerly Rorschach.

Suseon Jeondo (Whole Map of Seoul), between 1861 and 1887. Seoul, Korea: publisher unknown. SPCOL G 7904 S4. Donated by Kimerly Rorschach.

Similarly, cartographer Jeongho Kim’s (Korean, active 1834-1864) Suseon Jeondo (Map of Seoul) shows us what was important in Korea in 1845, during the Joseon Dynasty. This is a map drawn by someone intimately familiar with the area and the people and practices that characterized the time in which it was made and used. The use of Chinese characters is typical of formal documentation of that time.

Detail from Suseon Jeondo (Whole Map of Seoul), between 1861 and 1887. Seoul, Korea: publisher unknown. SPCOL G 7904 S4. Donated by Kimerly Rorschach.

Detail from Suseon Jeondo (Whole Map of Seoul), between 1861 and 1887. Seoul, Korea: publisher unknown. SPCOL G 7904 S4. Donated by Kimerly Rorschach.

The wood-block print map of Hanyang (Seoul) thoroughly surveys the entire city: major roads, facilities, and villages are realistically represented more or less to scale. These precisely depicted everyday elements of the city are ringed by symbolic portrayals of larger-than-life mountains, creating a significant contrast. These mountains, traditionally a symbolic connection between the sky and the authority of the king, are intentionally drawn larger than to scale to emphasize their connection to the heavens.

We invite you to see these maps in person at the McCaw Foundation Library at the Asian Art Museum. The library’s public hours for the summer are: Thursdays and Fridays, 2 PM – 5 PM; Saturdays 10 AM – 2 PM. (Please note that the library is closed July 2-5, 2015.)

– Kate Nack, Library Volunteer, McCaw Foundation Library for Asian Art

Bibliography:
Kim, Jeongho. A map of Seoul in the period of Joseon Dynasty. Seoul: J. Kim, ca. 1845.
Senex, John. A new map of Asia: from the latest observations. London: D. Browne, 1721.

Sharing the Beauty and Diversity of Asian Art through Books

Books and catalogues about the collections and exhibitions at the Asian Art Museum are available at the McCaw Foundation Library. The library participates in an exchange program with museum libraries around the world, providing SAM’s exhibition catalogues in return for theirs. Engaging, beautiful, and diverse, each of these catalogues provides a captivating glimpse into the wider world of Asian art. You are invited to visit the McCaw Foundation Library to enjoy these and more resources to expand your knowledge and understanding of Asian art.

Book Cover: Chŏng-hye Pak et al. Celebrating Events with Banquets and Ceremonies in the Joseon Dynasty. Seoul: National Museum of Korea, 2011.

Book Cover: Chŏng-hye Pak et al. Celebrating Events with Banquets and Ceremonies in the Joseon Dynasty. Seoul: National Museum of Korea, 2011.

Celebrating Events with Banquets and Ceremonies in the Joseon Dynasty. Chŏng-hye Pak et al. Seoul: National Museum of Korea, 2011.

The National Museum of Korea celebrated its 100th anniversary in 2009 with the exhibition Scenes of Banquets and Ceremonies of the Joseon Dynasty.  The Joseon Dynasty ruled over a united Korean Peninsula for more than 500 years, from 1392 through 1910. This catalogue is rich in visual descriptions of the traditional celebratory feasts, or janchi, which were characteristic events of Korea’s Joseon Dynasty. Celebratory rites and festivities of the Joseon royal court, and celebratory customs among the Joseon people and government officials are rendered in beautiful and exacting detail.  Images in the catalogue include photographs and drawings of the special clothing worn to various ceremonies, among them a headdress for a first birthday celebration and a wedding veil. The catalogue includes detailed descriptions of the events, and essays that provide cultural detail and context.

Book Cover: Bromberg, Anne et al. The Arts of India, Southeast Asia, and the Himalayas at the Dallas Museum of Art. Dallas: Dallas Museum of Art, 2013.

Book Cover: Bromberg, Anne et al. The Arts of India, Southeast Asia, and the Himalayas at the Dallas Museum of Art. Dallas: Dallas Museum of Art, 2013.

The Arts of India, Southeast Asia, and the Himalayas. Bromberg, Anne et al. Dallas: Dallas Museum of Art, 2013.

The Dallas Museum of Art’s collection of South Asian art includes nearly 500 works, including Indian Hindu and Buddhist sculptures, Himalayan Buddhist bronze sculptures and ritual objects, artwork from Southeast Asia, and decorative arts from India’s Mughal period. This book details the cultural and artistic significance of works ranging from Tibetan thangkas and Indian miniature paintings, to stone sculptures and bronzes. Relating these works to one another through interconnecting narratives and cross-references, the text provides a broad cultural history of the region.

Book Cover: Strong, Susan. Painting for the Mughal Emperor: The Art of the Book 1560-1660. London: Victoria & Albert Museum, 2002.

Book Cover: Strong, Susan. Painting for the Mughal Emperor: The Art of the Book 1560-1660. London: Victoria & Albert Museum, 2002.

Painting for the Mughal Emperor: The Art of the Book. Strong, Susan. London: Victoria & Albert Museum, 2002.

A unique blend of Indian, Persian, and Islamic styles, Mughal painting reached its golden age during the reigns of the emperors Akbar, Jahangir, and Shah Jahan in the 16th and 17th centuries. This gloriously illustrated book is the first to examine the Victoria & Albert Museum’s remarkable collection of Mughal paintings. The text contains fascinating research, and images include: elaborately detailed battle scenes, scenes of court life, a remarkable series of portraits, studies of wildlife, and decorative borders.

Book Cover: Yiu, Josh. A Fuller View of China: Chinese Art in the Seattle Art Museum. Seattle: Seattle Art Museum, 2014.

Book Cover: Yiu, Josh. A Fuller View of China: Chinese Art in the Seattle Art Museum. Seattle: Seattle Art Museum, 2014.

A Fuller View of China: Chinese Art in the Seattle Art Museum. Yiu, Josh. Seattle: Seattle Art Museum, 2014.

In 1933, Dr. Richard Fuller founded the Seattle Art Museum and began to exhibit his collection of textiles, porcelain, and Buddhist sculpture.  From the beginning, Dr. Fuller’s collection has been particularly rich in Chinese art, notably sculpture; and over time it broadened to encompass a wide variety of art including: Japanese art, Northwest modern art, European and American painting, and decorative arts. This book, written by SAM’s former Foster Foundation Curator of Chinese Art, Josh Yiu, studies the growth of the Chinese art collection, and includes fascinating analysis of single pieces and the collection as a whole. Color plates throughout capture many unique and beautiful pieces that comprise the collection.

The Soul of Anime: Collaborative Creativity and Japan’s Media Success Story. Condry, Ian. Durham, N.C.: Duke University Press, 2013.

The Soul of Anime investigates the rise of anime as a worldwide pop culture sensation. This systematic cultural study was informed by interviews with artists at some of Tokyo’s leading animation studios. It discusses how anime’s fictional characters and worlds become platforms for collaborative creativity, and that it has grown out of a collective social energy. Mostly text, this book takes on a visual phenomenon with eagerness and passion.

Book Cover: Koyama-Richard, Brigitte. One Thousand Years of Manga.  Paris; New York: Flammarion, 2014.

Book Cover: Koyama-Richard, Brigitte. One Thousand Years of Manga. Paris; New York: Flammarion, 2014.

One Thousand Years of Manga. Koyama-Richard, Brigitte. Paris; New York: Flammarion, 2014.

Manga originated in Japan in 1814, gained steam in the 1950s, and continues to evolve in today’s popular culture. Earlier echoes of manga can be seen in centuries-old temple paintings and medieval scrolls.  This book is a both a textual account of the history of manga and a visual delight. It contains over 400 illustrations – some rare, some familiar, all charming.

Book Cover: Osaki, Tomohiro. Art Will Thrill You!: The Essence of Modern Japanese Art. Tokyo: The National Museum of Modern Art, 2012.

Book Cover: Osaki, Tomohiro. Art Will Thrill You!: The Essence of Modern Japanese Art. Tokyo: The National Museum of Modern Art, 2012.

Art Will Thrill You! The Essence of Modern Japanese Art. Osaki, Tomohiro. Tokyo: The National Museum of Modern Art, 2012.

The National Museum of Modern Art in Tokyo celebrated its 60th anniversary in 2012. To mark the occasion, it presented a major retrospective of its Japanese modern art collection. The emphasis on Japanese art of 1950s showcases pieces that transcend genre boundaries, in a period when artists collaborated in experimentation and mutual development.  This book includes text in Japanese, and images of paintings, sculptures, and photographs.

Book Cover: Mr. by Mr. Tokyo: Kaikai Kiki, 2003.

Book Cover: Mr. by Mr. Tokyo: Kaikai Kiki, 2003.

Mr. by Mr. Tokyo: Kaikai Kiki, 2003.

Taking his name from the national baseball superstar Shigeo Nagashima’s alias “Mister,” Mr. began as the protégé of Takashi Murakami, and has worked as an artist for over eight years.  Mr.’s works are “Japanese” in their anime-inspired, large-eyed characters and flat color fields.  This book is written in Japanese and contains full-color images of painting, and black & white photographs.

– Kate Nack, Library Volunteer, McCaw Foundation Library for Asian Art