A PREVIOUSLY UNSEEN PORTRAIT OF PRINCE WILLIAM AND PRINCE HARRY BY FERGUS GREER AND A PORTRAIT OF TRACEY EMIN BY DAVID BAILEY WILL FORM PART OF A NEW GALLERY DISPLAY HIGHLIGHTING THE PHOTOGRAPHS RECENTLY ACQUIRED BY THE NATIONAL PORTRAIT GALLERY, LONDON. EIGHTEEN BY TWELVE: RECENT PHOTOGRAPHIC ACQUISITIONS FROM 7.FEBRUARY IN ROOM 41a WILL SHOW EIGHTEEN PRINTS BY TWELVE CONTEMPORARY PHOTOGRAPHERS, ALL ON DISPLAY FOR THE FIRST TIME AT THE GALLERY. EVERY YEAR THE NATIONAL PORTRAIT GALLERY ACQUIRES A DIVERSE SELECTION OF PHOTOGRAPHIC PORTRAITS WHICH OFFER A VISUAL REFLECTION OF CONTEMPORARY BRITISH LIFE AND CULTURE. THE SITTERS IN THIS DISPLAY INCLUDE RECENT PORTRAITS OF POPULAR SCIENTIST BRIAN COX, POET CHRISTOPHER REID, ACTORS BENEDICT CUMBERPATCH, ANDY SERKIS AND MACKENZIE CROOK AND SINGER SONGWRITER K T TUNSTALL. THE DISPLAY WILL ALSO INCLUDE COMEDIENNE CATHERINE TATE, CONTEMPORARY SINGER M I A, POET LAUREATE CAROL ANN DUFFY, NEWSPAPER EXECUTIVE REBEKAH WADE, COMEDIAN RONNIE CORBETT, ARTIST FRANK AUERBACH, AND FILM DIRECTOR TERENCE DAVIES. SEEN IN THE DISPLAY FOR THE FIRST TIME IS AN INFORMAL DOUBLE PORTRAIT OF PRINCES WILLIAM AND HARRY TAKEN AT THE COMMANDANTS HOUSE AT THE ROYAL MILITARY ACADEMY, SANDHURST. PHOTOGRAPHER FERGUS GREER WAS COMMISSIONED BY CLARENCE HOUSE TO TAKE THE PORTRAIT IN DECEMBER 2006 IN PREPARATION FOR THE CONCERT FOR DIANA IN 2007, BUT THE PHOTOGRAPH WAS NOT PUBLISHED. THE PORTRAIT IS ONLY THE SECOND DOUBLE PORTRAIT OF THE TWO PRINCES TO ENTER THE GALLERY'S COLLECTION, THE FIRST A FORMAL COMMISSIONED PORTRAIT BY ARTIST NICKY PHILLIPS WAS UNVEILED IN 2010. THE PHOTOGRAPHS COLLECTION CONSISTS OF MORE THAN 20,000 ORIGINAL PHOTOGRAPHIC IMAGES DATING FROM THE 1840s TO THE PRESENT DAY. FOUNDED IN 1856, THE AIM OF THE NATIONAL PORTRAIT GALLERY IS TO COLLECT PORTRAITS OF FAMOUS EN AND WOMEN WHO HAVE MADE AND ARE MAKING BRITISH HISTORY AND CULTURE.

NATIONAL PORTRAIT GALLERY UNVEILS PORTRAIT OF PRINCES WILLIAM AND HARRY

A PREVIOUSLY UNSEEN PORTRAIT OF PRINCE WILLIAM AND PRINCE HARRY BY FERGUS GREER AND A PORTRAIT OF TRACEY EMIN BY DAVID BAILEY WILL FORM PART OF A NEW GALLERY DISPLAY HIGHLIGHTING THE PHOTOGRAPHS RECENTLY ACQUIRED BY THE NATIONAL PORTRAIT GALLERY, LONDON. EIGHTEEN BY TWELVE: RECENT PHOTOGRAPHIC ACQUISITIONS FROM 7.FEBRUARY IN ROOM 41a WILL SHOW EIGHTEEN PRINTS BY TWELVE CONTEMPORARY PHOTOGRAPHERS, ALL ON DISPLAY FOR THE FIRST TIME AT THE GALLERY. EVERY YEAR THE NATIONAL PORTRAIT GALLERY ACQUIRES A DIVERSE SELECTION OF PHOTOGRAPHIC PORTRAITS WHICH OFFER A VISUAL REFLECTION OF CONTEMPORARY BRITISH LIFE AND CULTURE. THE SITTERS IN THIS DISPLAY INCLUDE RECENT PORTRAITS OF POPULAR SCIENTIST BRIAN COX, POET CHRISTOPHER REID, ACTORS BENEDICT CUMBERPATCH, ANDY SERKIS AND MACKENZIE CROOK AND SINGER SONGWRITER K T TUNSTALL. THE DISPLAY WILL ALSO INCLUDE COMEDIENNE CATHERINE TATE, CONTEMPORARY SINGER M I A, POET LAUREATE CAROL ANN DUFFY, NEWSPAPER EXECUTIVE REBEKAH WADE, COMEDIAN RONNIE CORBETT, ARTIST FRANK AUERBACH, AND FILM DIRECTOR TERENCE DAVIES. SEEN IN THE DISPLAY FOR THE FIRST TIME IS AN INFORMAL DOUBLE PORTRAIT OF PRINCES WILLIAM AND HARRY TAKEN AT THE COMMANDANTS HOUSE AT THE ROYAL MILITARY ACADEMY, SANDHURST. PHOTOGRAPHER FERGUS GREER WAS COMMISSIONED BY CLARENCE HOUSE TO TAKE THE PORTRAIT IN DECEMBER 2006 IN PREPARATION FOR THE CONCERT FOR DIANA IN 2007, BUT THE PHOTOGRAPH WAS NOT PUBLISHED. THE PORTRAIT IS ONLY THE SECOND DOUBLE PORTRAIT OF THE TWO PRINCES TO ENTER THE GALLERY'S COLLECTION, THE FIRST A FORMAL COMMISSIONED PORTRAIT BY ARTIST NICKY PHILLIPS WAS UNVEILED IN 2010. THE PHOTOGRAPHS COLLECTION CONSISTS OF MORE THAN 20,000 ORIGINAL PHOTOGRAPHIC IMAGES DATING FROM THE 1840s TO THE PRESENT DAY. FOUNDED IN 1856, THE AIM OF THE NATIONAL PORTRAIT GALLERY IS TO COLLECT PORTRAITS OF FAMOUS EN AND WOMEN WHO HAVE MADE AND ARE MAKING BRITISH HISTORY AND CULTURE.

NATIONAL PORTRAIT GALLERY UNVEILS PORTRAIT OF PRINCES WILLIAM AND HARRY

'PICTURING A PASSION' PRESENTS HISTORICAL PHOTOGRAPHS OF THE FRYE FOUNDING COLLECTION OF LATE 19th AND EARLY 20th CENTURY PAINTINGS AS IT WAS DISPLAYED IN THE SEATTLE HOME OF CHARLES FRYE AND HIS WIFE EMMA. THE EXHIBITION OF 23 BLACK AND WHITE PHOTOGRAPHS IS ON VIEW 15.JANUARY THROUGH 6.MARCH.2011. MUSEUM FOUNDERS CHARLES AND EMMA FRYE MOVED FROM AN IOWA FARMING COMMUNITY TO SEATTLE IN 1888, AND SOON ESTABLISHED MEATPACKING, CATTLE RANCHING AND AGRICULTURAL BUSINESSES THROUGHOUT THE PACIFIC NORTHWEST AND ALASKA. THE COUPLE MAY HAVE BEEN INSPIRED TO COLLECT ART AFTER ATTENDING THE 1893 WORLD COLUMBIAN EXPOSITION IN CHICAGO. SIXTEEN YEARS LATER, THEY LENT ONE OF THEIR PAINTINGS, LEON PERRAULT'S MARGUERITS, TO SEATTLE'S ALASKA YUKON PACIFIC EXHIBITION. DURING THEIR FIRST TRIP TO EUROPE IN THE EARLY SUMMER OF 1914, THE FRYE'S ACQUIRED GERMAN, DUTCH AND A FEW FRENCH CANVASES. THEY RETURNED TO THE CONTINENT FOUR TIMES IN THE NEXT 11 YEARS, AND DEEPENED THEIR ENTHUSIASM FOR ART THROUGH FRIENDSHIPS WITH AMERICAN ARTISTS INCLUDING HENRY RASCHEN AND EUSTACE ZIEGLER. THE FRYES HOUSED THEIR BURGEONING COLLECTION IN THEIR SEATTLE HOME AT 722 NINTH AVENUE. IN 1914, THE COUPLE ADDED A GALLERY ANNEX TO THEIR HOME, IN WHICH THEY HUNG PAINTINGS 'SALON STYLE', FROM FLOOR TO CEILING. THEY USED CURTAINS TO COVER A NUMBER OF WORKS, DRAMATICALLY REVEALING THE HIDDEN PAINTINGS TO DINNER GUESTS WHILE PIPING MUSIC INTO THE GALLERY; OPERAS AND SONATAS SWIRLED AROUND THE LANDSCAPES AND PORTRAITS THEY CHERISHED. THE FRYES ALSO INSTALLED A NUMBER OF ARTWORKS IN THEIR BUSINESS OFFICES, AN ARRANGEMENT THAT HAD TRAGIC CONSEQUENCES IN 1943, WHEN A B-29 SUPERFORTRESS BOMBER, UNDER SECRET DEVELOPMENT AT BOEING, CRASHED INTO FRYE HEADQUARTERS. THIRTY-TWO PEOPLE WERE KILLED, THE RESULTING FIRE SEVERELY DAMAGED THE PLANT AND AN UNKNOWN NUMBER OF PAINTINGS WERE DESTROYED. MOST OF THE FRYE BUSINESS FILES, INCLUDING ARCHIVAL RECORDS OF THE ART COLLECTION, WERE ALSO LOST. AFTER CHARLES AND EMMA FRYE DIED, THEIR COLLECTION, TOTALING 232 WORKS, WAS GIFTED TO THE PEOPLE OF SEATTLE IN PERPETUITY AND TODAY FORMS A LIVING LEGACY AS THE FOUNDING COLLECTION AT THE FRYE ART MUSEUM, WHICH OPENED IN 1952.

FRY FOUNDING COLLECTION PRESENTS 'PICTURING A PASSION'

'PICTURING A PASSION' PRESENTS HISTORICAL PHOTOGRAPHS OF THE FRYE FOUNDING COLLECTION OF LATE 19th AND EARLY 20th CENTURY PAINTINGS AS IT WAS DISPLAYED IN THE SEATTLE HOME OF CHARLES FRYE AND HIS WIFE EMMA. THE EXHIBITION OF 23 BLACK AND WHITE PHOTOGRAPHS IS ON VIEW 15.JANUARY THROUGH 6.MARCH.2011. MUSEUM FOUNDERS CHARLES AND EMMA FRYE MOVED FROM AN IOWA FARMING COMMUNITY TO SEATTLE IN 1888, AND SOON ESTABLISHED MEATPACKING, CATTLE RANCHING AND AGRICULTURAL BUSINESSES THROUGHOUT THE PACIFIC NORTHWEST AND ALASKA. THE COUPLE MAY HAVE BEEN INSPIRED TO COLLECT ART AFTER ATTENDING THE 1893 WORLD COLUMBIAN EXPOSITION IN CHICAGO. SIXTEEN YEARS LATER, THEY LENT ONE OF THEIR PAINTINGS, LEON PERRAULT'S MARGUERITS, TO SEATTLE'S ALASKA YUKON PACIFIC EXHIBITION. DURING THEIR FIRST TRIP TO EUROPE IN THE EARLY SUMMER OF 1914, THE FRYE'S ACQUIRED GERMAN, DUTCH AND A FEW FRENCH CANVASES. THEY RETURNED TO THE CONTINENT FOUR TIMES IN THE NEXT 11 YEARS, AND DEEPENED THEIR ENTHUSIASM FOR ART THROUGH FRIENDSHIPS WITH AMERICAN ARTISTS INCLUDING HENRY RASCHEN AND EUSTACE ZIEGLER. THE FRYES HOUSED THEIR BURGEONING COLLECTION IN THEIR SEATTLE HOME AT 722 NINTH AVENUE. IN 1914, THE COUPLE ADDED A GALLERY ANNEX TO THEIR HOME, IN WHICH THEY HUNG PAINTINGS 'SALON STYLE', FROM FLOOR TO CEILING. THEY USED CURTAINS TO COVER A NUMBER OF WORKS, DRAMATICALLY REVEALING THE HIDDEN PAINTINGS TO DINNER GUESTS WHILE PIPING MUSIC INTO THE GALLERY; OPERAS AND SONATAS SWIRLED AROUND THE LANDSCAPES AND PORTRAITS THEY CHERISHED. THE FRYES ALSO INSTALLED A NUMBER OF ARTWORKS IN THEIR BUSINESS OFFICES, AN ARRANGEMENT THAT HAD TRAGIC CONSEQUENCES IN 1943, WHEN A B-29 SUPERFORTRESS BOMBER, UNDER SECRET DEVELOPMENT AT BOEING, CRASHED INTO FRYE HEADQUARTERS. THIRTY-TWO PEOPLE WERE KILLED, THE RESULTING FIRE SEVERELY DAMAGED THE PLANT AND AN UNKNOWN NUMBER OF PAINTINGS WERE DESTROYED. MOST OF THE FRYE BUSINESS FILES, INCLUDING ARCHIVAL RECORDS OF THE ART COLLECTION, WERE ALSO LOST. AFTER CHARLES AND EMMA FRYE DIED, THEIR COLLECTION, TOTALING 232 WORKS, WAS GIFTED TO THE PEOPLE OF SEATTLE IN PERPETUITY AND TODAY FORMS A LIVING LEGACY AS THE FOUNDING COLLECTION AT THE FRYE ART MUSEUM, WHICH OPENED IN 1952.

FRY FOUNDING COLLECTION PRESENTS 'PICTURING A PASSION'

WHEN SCARLETT JOHANSSON WAS NAMED AS THE FACE OF MOET & CHANDON IN 2009 SHE POSED IN A GOLDEN GOWN. IMAGES FROM THE NEW 2011 CAMPAIGN HAVE BEEN RELEASED WHICH SHOW THE EFFERVESCENT BLONDE IN A STUNNING ROBIN'S EGG BLUE EVENING GOWN SURROUNDED BU CHAMPAGNE FLUTES. THE IMAGES SHOT BY PHOTOGRAPHER TIM WALKER WERE TAKEN AT TRIANON, AN IMPRESSIVE RESIDENCE BUILT BY JEAN-REMY MOET BETWEEN 1805-1817 ON THE MOET & CHANDON ESTATE IN EPERNAY, FRANCE. THE NEW CAMPAIGN CONSISTS OF THREE PHOTOGRAPHS WHICH WILL BE IN PRINT, OUTDOOR AND ONLINE ADVERTISEMENTS.

SCARLETT JOHANSSON FOR MOET & CHANDON 2011

WHEN SCARLETT JOHANSSON WAS NAMED AS THE FACE OF MOET & CHANDON IN 2009 SHE POSED IN A GOLDEN GOWN. IMAGES FROM THE NEW 2011 CAMPAIGN HAVE BEEN RELEASED WHICH SHOW THE EFFERVESCENT BLONDE IN A STUNNING ROBIN'S EGG BLUE EVENING GOWN SURROUNDED BU CHAMPAGNE FLUTES. THE IMAGES SHOT BY PHOTOGRAPHER TIM WALKER WERE TAKEN AT TRIANON, AN IMPRESSIVE RESIDENCE BUILT BY JEAN-REMY MOET BETWEEN 1805-1817 ON THE MOET & CHANDON ESTATE IN EPERNAY, FRANCE. THE NEW CAMPAIGN CONSISTS OF THREE PHOTOGRAPHS WHICH WILL BE IN PRINT, OUTDOOR AND ONLINE ADVERTISEMENTS.

SCARLETT JOHANSSON FOR MOET & CHANDON 2011

A PHOTOGRAPHIC MURAL BY ARTIST NORMAN ROCKWELL HAS BEEN RETURNED TO ITS FORMER HOME IN VERMONT'S CAPITAL, DRAWING A CLOSE TO A YEARLONG DISPUTE BETWEEN STATE OFFICIALS AND A MUSEUM WHERE IT HUNG FOR 23 YEARS. THE BLACK AND WHITE PHOTOGRAPH, 'MAPLE SUGARING IN VERMONT', DEPICTS A SUGAR HOUSE WITH SMOKE RISING FROM ITS CHIMNEY AS MEN, INCLUDING ROCKWELL HIMSELF, TEND SAP BUCKETS HANGING ON MAPLE TREES OUTSIDE. MADE IN 1947, THE 5x7 FOOT MURAL WAS COMMISSIONED BY ROCKWELL FRIEND COL HENRY FAIRFAX AYRES, WHO LENT IT TO THE STATE FOR DISPLAY. THE FAMED ILLUSTRATOR, WHOSE PAINTINGS OF FARM SCENES, APPLE CHEEKED CHILDREN AND SLICES OF AMERICANA APPEARED FOR DECADES IN THE SATURDAY EVENING POST, DIED IN 1978. FOR ABOUT 14 YEARS, HE LIVES IN VERMONT, WHERE HE STRUCK UP A FRIENDSHIP WITH AYRES, A WEST POINT GRAD AND WAR VETERAN WHO WAS CHAIRMAN OF THE VERMONT SUGAR MAKERS ASSOCIATION AND IS WIDELY CREDITED WITH IMPROVING MAPLE SUGARING METHODS. THE MURAL HUNG IN THE LOBBY OF THE STATE AGENCY OF AGRICULTURE BUILDING IN MONTPELIER FOR YEARS. IN 1987, THE STATE LENT IT TO THE NORMAN ROCKWELL MUSEUM OF VERMONT BECAUSE OF BUILDING RENOVATION HAD DISPLACED IT. AT THE RUTLAND MUSEUM, IT CAME TO ANCHOR AN EXHIBIT POPULAR WITH FOLIAGE-VIEWING VISITORS AND ROCKWELL BUFFS. THE STATE NEVER SOUGHT TO RECLAIM IT. BUT LAST YEAR, AGRICULTURE SECRETARY ROGER ALLBEE, WHO KNEW OF THE LOAN FROM TWIN BROTHER RONALD, WHO HELD THE AGRICULTURE SECRETARY JOB BEFORE HIM, BEGAN MAKING INQUIRIES AT THE MUSEUM. 'THEY SAY 'NE WE OWN IT', SAID ALLBEE, STANDING IN FRONT OF THE MURAL MONDAY. THE MUSEUM'S CURATOR, RACHEL LYNES-BELL, SAYS IT WASN'T AS SIMPLE AS THAT. 'IT'S NOT LIKE WE'VE HAD IT FOR A COUPLE OF YEARS. WE'VE HAD IT FOR 23 YEARS. YOU'D WALK INTO THE MUSEUM AND BOOM, IT WAS WHAT YOU SAW, ALONG WITH A WHITE-UP ABOUT THE MURAL AND THE REASONS BEHIND IT AND THE MAN IT WAS GIFTED TO', SHE SAID. 'WE HAD TO DIG AND FIND EVERY ARCHIVE WE COULD, BECAUSE WE HAD IT SO LONG. HAVING SOMETHING THAT'S THE CENTER-POINT OF A COLLECTION FOR 23 YEARS, IT'S SOMETHING THAT HAS TO BE RESEARCHED. THAT WAS THE ONLY RELUCTANCE WE HAD. WE THOUGH IT WAS A TRAGEDY BECAUSE WE'VE GROWN SUCH TIES TO IT', SHE ADDED. AT FIRST, THE MUSEUM CHALLENGED THE STATE TO PROVE OWNERSHIP. THE STATE ATTORNEY GENERAL'S OFFICE WAS ENLISTED, DOING RESEARCH ON THE MURAL'S PROVENANCE AND CONTACTING AYRES' GRANDSON, WHO WANTED IT RETURNED TO THE STATE AND OFFERED TO SUE THE MUSEUM TO RECLAIM IT IF ALL ELSE FAILED. LAST WEEK, IT WAS HUNG IN A SECOND-FLOOR HALLWAY OF THE AGENCY OF AGRICULTURE'S OFFICE BUILDING, ACROSS THE STREET FROM THE STATE HOUSE. 'THE MURAL IS LOVELY AND AN AUTHENTIC REPRESENTATION OF SUGARING IN VERMONT, OUR SIGNATURE PRODUCT', ALLBEE SAID. HE'S THRILLED TO HAVE IT BACK IN THE CAPITAL. THE MUSEUM'S CURATOR ISN'T. 'IT'LL BE SEEN MORE AT THE ROCKWELL MUSEUM THAN IT WILL BE OVER AT THE DEPARTMENT OF AGRICULTURE. BUT IT'S NOT MY PLACE TO SAY EITHER', SHE SAID.

NORMAN ROCKWELL MURAL RETURNED TO ITS ORIGINAL HOME

A PHOTOGRAPHIC MURAL BY ARTIST NORMAN ROCKWELL HAS BEEN RETURNED TO ITS FORMER HOME IN VERMONT'S CAPITAL, DRAWING A CLOSE TO A YEARLONG DISPUTE BETWEEN STATE OFFICIALS AND A MUSEUM WHERE IT HUNG FOR 23 YEARS. THE BLACK AND WHITE PHOTOGRAPH, 'MAPLE SUGARING IN VERMONT', DEPICTS A SUGAR HOUSE WITH SMOKE RISING FROM ITS CHIMNEY AS MEN, INCLUDING ROCKWELL HIMSELF, TEND SAP BUCKETS HANGING ON MAPLE TREES OUTSIDE. MADE IN 1947, THE 5x7 FOOT MURAL WAS COMMISSIONED BY ROCKWELL FRIEND COL HENRY FAIRFAX AYRES, WHO LENT IT TO THE STATE FOR DISPLAY. THE FAMED ILLUSTRATOR, WHOSE PAINTINGS OF FARM SCENES, APPLE CHEEKED CHILDREN AND SLICES OF AMERICANA APPEARED FOR DECADES IN THE SATURDAY EVENING POST, DIED IN 1978. FOR ABOUT 14 YEARS, HE LIVES IN VERMONT, WHERE HE STRUCK UP A FRIENDSHIP WITH AYRES, A WEST POINT GRAD AND WAR VETERAN WHO WAS CHAIRMAN OF THE VERMONT SUGAR MAKERS ASSOCIATION AND IS WIDELY CREDITED WITH IMPROVING MAPLE SUGARING METHODS. THE MURAL HUNG IN THE LOBBY OF THE STATE AGENCY OF AGRICULTURE BUILDING IN MONTPELIER FOR YEARS. IN 1987, THE STATE LENT IT TO THE NORMAN ROCKWELL MUSEUM OF VERMONT BECAUSE OF BUILDING RENOVATION HAD DISPLACED IT. AT THE RUTLAND MUSEUM, IT CAME TO ANCHOR AN EXHIBIT POPULAR WITH FOLIAGE-VIEWING VISITORS AND ROCKWELL BUFFS. THE STATE NEVER SOUGHT TO RECLAIM IT. BUT LAST YEAR, AGRICULTURE SECRETARY ROGER ALLBEE, WHO KNEW OF THE LOAN FROM TWIN BROTHER RONALD, WHO HELD THE AGRICULTURE SECRETARY JOB BEFORE HIM, BEGAN MAKING INQUIRIES AT THE MUSEUM. 'THEY SAY 'NE WE OWN IT', SAID ALLBEE, STANDING IN FRONT OF THE MURAL MONDAY. THE MUSEUM'S CURATOR, RACHEL LYNES-BELL, SAYS IT WASN'T AS SIMPLE AS THAT. 'IT'S NOT LIKE WE'VE HAD IT FOR A COUPLE OF YEARS. WE'VE HAD IT FOR 23 YEARS. YOU'D WALK INTO THE MUSEUM AND BOOM, IT WAS WHAT YOU SAW, ALONG WITH A WHITE-UP ABOUT THE MURAL AND THE REASONS BEHIND IT AND THE MAN IT WAS GIFTED TO', SHE SAID. 'WE HAD TO DIG AND FIND EVERY ARCHIVE WE COULD, BECAUSE WE HAD IT SO LONG. HAVING SOMETHING THAT'S THE CENTER-POINT OF A COLLECTION FOR 23 YEARS, IT'S SOMETHING THAT HAS TO BE RESEARCHED. THAT WAS THE ONLY RELUCTANCE WE HAD. WE THOUGH IT WAS A TRAGEDY BECAUSE WE'VE GROWN SUCH TIES TO IT', SHE ADDED. AT FIRST, THE MUSEUM CHALLENGED THE STATE TO PROVE OWNERSHIP. THE STATE ATTORNEY GENERAL'S OFFICE WAS ENLISTED, DOING RESEARCH ON THE MURAL'S PROVENANCE AND CONTACTING AYRES' GRANDSON, WHO WANTED IT RETURNED TO THE STATE AND OFFERED TO SUE THE MUSEUM TO RECLAIM IT IF ALL ELSE FAILED. LAST WEEK, IT WAS HUNG IN A SECOND-FLOOR HALLWAY OF THE AGENCY OF AGRICULTURE'S OFFICE BUILDING, ACROSS THE STREET FROM THE STATE HOUSE. 'THE MURAL IS LOVELY AND AN AUTHENTIC REPRESENTATION OF SUGARING IN VERMONT, OUR SIGNATURE PRODUCT', ALLBEE SAID. HE'S THRILLED TO HAVE IT BACK IN THE CAPITAL. THE MUSEUM'S CURATOR ISN'T. 'IT'LL BE SEEN MORE AT THE ROCKWELL MUSEUM THAN IT WILL BE OVER AT THE DEPARTMENT OF AGRICULTURE. BUT IT'S NOT MY PLACE TO SAY EITHER', SHE SAID.

NORMAN ROCKWELL MURAL RETURNED TO ITS ORIGINAL HOME

FAMED PHOTOGRAPHER CECIL BEATON DIDN'T JUST SHOOT PICTURES FOR VOGUE AND VANITY FAIR, HE ALSO MINGLED WITH THE CREAM OF 20th CENTURY SOCIETY. AND HE KEPT NOTES. CECIL BEATON KEPT EXACTING DIARIES OF HIS DAILY LIFE AND ALSO AMASSED DOZENS OF SCRAPBOOKS NOW HELD BY SOTHEBY'S LONDON. A NEW BOOK FROM ASSOULINE REVEALS THESE SCRAPBOOKS TO THE PUBLIC. THE 400 PAGES CONTAINS OVER 600 IMAGES INCLUDING HIS OWN PRINTS AND CLIPPINGS FROM MAGAZINES, NEWSPAPERS AND PLAYBILLS, IT'S AN ASSEMBLAGE OF A FABULOUS AND WELL-LIVED LIFE. THE BOOK WAS ASSEMBLED BY JAMES DANZIGER, THE DIRECTOR OF PHOTOGRAPHY AT THE LONDON SUNDAY TIMES MAGAZINES, FEATURES EDITOR OF VANITY FAIR, AND DIRECTOR OF MAGNUM NEW YORK. IT GOES ON SALE NEXT WEEK AND SELLS FOR $250.

ASSOULINE PRESENTS NEW BOOK ON CECIL BEATON

FAMED PHOTOGRAPHER CECIL BEATON DIDN'T JUST SHOOT PICTURES FOR VOGUE AND VANITY FAIR, HE ALSO MINGLED WITH THE CREAM OF 20th CENTURY SOCIETY. AND HE KEPT NOTES. CECIL BEATON KEPT EXACTING DIARIES OF HIS DAILY LIFE AND ALSO AMASSED DOZENS OF SCRAPBOOKS NOW HELD BY SOTHEBY'S LONDON. A NEW BOOK FROM ASSOULINE REVEALS THESE SCRAPBOOKS TO THE PUBLIC. THE 400 PAGES CONTAINS OVER 600 IMAGES INCLUDING HIS OWN PRINTS AND CLIPPINGS FROM MAGAZINES, NEWSPAPERS AND PLAYBILLS, IT'S AN ASSEMBLAGE OF A FABULOUS AND WELL-LIVED LIFE. THE BOOK WAS ASSEMBLED BY JAMES DANZIGER, THE DIRECTOR OF PHOTOGRAPHY AT THE LONDON SUNDAY TIMES MAGAZINES, FEATURES EDITOR OF VANITY FAIR, AND DIRECTOR OF MAGNUM NEW YORK. IT GOES ON SALE NEXT WEEK AND SELLS FOR $250.

ASSOULINE PRESENTS NEW BOOK ON CECIL BEATON

ONE OF THE FIRST MAJOR EXHIBITION IN THE UNITED STATES OF THE BOLD WORK OF CONTEMPORARY PHOTOGRAPHER SALLY MANN OPENED AT THE VIRGINIA MUSEUM OF FINE ARTS (VMFA) ON 13.NOVEMBER. EXCLUSIVE TO RICHMOND, THE EXHIBITION WILL CONTINUE UNTIL 23.JANUARY.2011. FOCUSING OF THE THEME OF THE BODY, THE EXHIBITION WILL REVOLVE AROUND SEVERAL ENTIRELY NEW SERIES WHILE ALSO INCORPORATING LITTLE-KNOWN EARLY WORKS. MANN IS ADMIRED FOR HER PASSIONATE USE OF PHOTOGRAPHY TO ADDRESS ISSUES OF LOVE AND LOSS, EXPRESSED IN IMAGES OF HER CHILDREN AND SOUTHERN LANDSCAPES. HER RECENT WORK USES OBSOLETE PHOTOGRAPHIC METHODS AND NEARLY ABSTRACT IMAGES TO PUSH THE LIMITS OF HER MEDIUM AND TO DIG DEEPER INTO THEMES OF MORTALITY AND VULNERABILITY. THE IMAGES INCLUDE SEVERAL POWERFUL SERIES OF SELF-PORTRAITS, AN ENTIRELY NEW SUBJECT IN HER WORK, AND FIGURE STUDIES OF HER HUSBAND. SOME OF THE WORKS IN THE EXHIBITION INCLUDE NUDITY AND OTHER GRAPHIC MATERIAL, VIEWER DISCRETION IS ADVISED. SELF-EXAMINATION, AGING, DEATH, AND DECAY ARE SOME OF THE SUBJECTS OF THE EXHIBITION, AND THESE ARE BALANCED BY THEMES OF BEAUTY, LOVE, TRUST AND THE HOPEFULNESS OF YOUTH. AMONG THE WORKS ARE PORTRAITS OF MANN'S HUSBAND, WHO SUFFERS FROM A DEGENERATIVE MUSCLE DISEASE. THESE ARE JUXTAPOSED WITH COLOURFUL IMAGES OF HER CHILDREN, FORMING A POIGNANT COMPARISON BETWEEN YOUTHFUL EVANESCENCE AND THE EXPRESSIVE CAPACITY OF THE MATURE ADULT BODY. OTHER WORKS OFFER ADDITIONAL PERSPECTIVES ON THE THEMES OF AGING AND MORTALITY. MADE DURING A TRIP TO THE UNIVERSITY OF TENNESSEE FOR FORENSIC ANTHROPOLOGY CENTER, MANN'S 'BODY FARM' IMAGES EXPLORE HER FASCINATION WITH THE THIN LINE BETWEEN ANIMATE AND INANIMATE, FORM AND MATTER. MULTI-PART SELF-PORTRAITS REPRESENT MANN'S FIRST EXTENDED EXPLORATION OF HER OWN FACE AS A SUBJECT. TWO SELF-PORTRAIT PIECES CONSIST OF MULTIPLE UNIQUE PHOTOGRAPHS PRINTED ON BLACK GLASS, A FORMAT KNOWN AS AMBROTYPES, ARRANGED IN MONUMENTAL GRIDS OF MANN'S LIKENESS.
FOR MORE INFORMATION VISIT www.vmfa.state.va.us

VIRGINIA MUSEUM OF FINE ARTS PRESENTS SALLY MANN EXHIBITION

ONE OF THE FIRST MAJOR EXHIBITION IN THE UNITED STATES OF THE BOLD WORK OF CONTEMPORARY PHOTOGRAPHER SALLY MANN OPENED AT THE VIRGINIA MUSEUM OF FINE ARTS (VMFA) ON 13.NOVEMBER. EXCLUSIVE TO RICHMOND, THE EXHIBITION WILL CONTINUE UNTIL 23.JANUARY.2011. FOCUSING OF THE THEME OF THE BODY, THE EXHIBITION WILL REVOLVE AROUND SEVERAL ENTIRELY NEW SERIES WHILE ALSO INCORPORATING LITTLE-KNOWN EARLY WORKS. MANN IS ADMIRED FOR HER PASSIONATE USE OF PHOTOGRAPHY TO ADDRESS ISSUES OF LOVE AND LOSS, EXPRESSED IN IMAGES OF HER CHILDREN AND SOUTHERN LANDSCAPES. HER RECENT WORK USES OBSOLETE PHOTOGRAPHIC METHODS AND NEARLY ABSTRACT IMAGES TO PUSH THE LIMITS OF HER MEDIUM AND TO DIG DEEPER INTO THEMES OF MORTALITY AND VULNERABILITY. THE IMAGES INCLUDE SEVERAL POWERFUL SERIES OF SELF-PORTRAITS, AN ENTIRELY NEW SUBJECT IN HER WORK, AND FIGURE STUDIES OF HER HUSBAND. SOME OF THE WORKS IN THE EXHIBITION INCLUDE NUDITY AND OTHER GRAPHIC MATERIAL, VIEWER DISCRETION IS ADVISED. SELF-EXAMINATION, AGING, DEATH, AND DECAY ARE SOME OF THE SUBJECTS OF THE EXHIBITION, AND THESE ARE BALANCED BY THEMES OF BEAUTY, LOVE, TRUST AND THE HOPEFULNESS OF YOUTH. AMONG THE WORKS ARE PORTRAITS OF MANN'S HUSBAND, WHO SUFFERS FROM A DEGENERATIVE MUSCLE DISEASE. THESE ARE JUXTAPOSED WITH COLOURFUL IMAGES OF HER CHILDREN, FORMING A POIGNANT COMPARISON BETWEEN YOUTHFUL EVANESCENCE AND THE EXPRESSIVE CAPACITY OF THE MATURE ADULT BODY. OTHER WORKS OFFER ADDITIONAL PERSPECTIVES ON THE THEMES OF AGING AND MORTALITY. MADE DURING A TRIP TO THE UNIVERSITY OF TENNESSEE FOR FORENSIC ANTHROPOLOGY CENTER, MANN'S 'BODY FARM' IMAGES EXPLORE HER FASCINATION WITH THE THIN LINE BETWEEN ANIMATE AND INANIMATE, FORM AND MATTER. MULTI-PART SELF-PORTRAITS REPRESENT MANN'S FIRST EXTENDED EXPLORATION OF HER OWN FACE AS A SUBJECT. TWO SELF-PORTRAIT PIECES CONSIST OF MULTIPLE UNIQUE PHOTOGRAPHS PRINTED ON BLACK GLASS, A FORMAT KNOWN AS AMBROTYPES, ARRANGED IN MONUMENTAL GRIDS OF MANN'S LIKENESS.
FOR MORE INFORMATION VISIT www.vmfa.state.va.us

VIRGINIA MUSEUM OF FINE ARTS PRESENTS SALLY MANN EXHIBITION

A COLLECTION OF MORE THAN 100 PREVIOUSLY UNPUBLISHED PHOTOS OF MARILYN MONROE CAN BE SEEN FOR THE FIRST TIME IN A NEW BOOK 'MARILYN: AUGUST 1953'. THE BOOK, PUBLISHED THIS WEEK BY CALLA EDITIONS, FEATURES DIGITALLY RESTORED BLACK AND WHITE IMAGES TAKEN DURING THE SUMMER OF 1953 OF A THEN 27 YEAR OLD MONROE. THE PHOTOS WERE SHOT BY JOHN VACHON, ON ASSIGNMENT FOR LOOK MAGAZINE IN ALBERTA, CANADA, WHERE MONROE WAS FILMING 'RIVER OF NO RETURN' WITH ROBERT MITCHUM. AN ANKLE INJURY PREVENTED MONROE FROM FILMING, ALLOWING VACHON TO HAVE SEVERAL DAYS TO SHOOT THE HOLLYWOOD ICON. ONLY THREE PHOTOS FROM THE HISTORIC SESSIONS WERE PUBLISHED IN AN OCTOBER 1953 LOOK STORY. THE BOOK WILL FEATURE PHOTOS OF MONROE AND THEN FIANCE, BASEBALL LEGEND JOE DIMAGGIO SNUGGLING. VACHON IS THOUGHT TO BE THE ONLY PHOTOGRAPHER THE PAIR FORMALLY POSED FOR. IN ANOTHER OF THE PICTURES, A COMICALLY FRIGHTENED-LOOKING MONROE IS IN THE CLUTCHES OF A TAXIDERMY BEAR. VACHON'S IMAGES OF MONROE WERE INCLUDED IN THE FIVE MILLION PHOTOGRAPH ARCHIVE DONATED TO THE LIBRARY OF CONGRESS AFTER LOOK FOLDED IN 1971.

NEW MARILYN MONROE BOOK PRESENTS UNSEEN PHOTOS

A COLLECTION OF MORE THAN 100 PREVIOUSLY UNPUBLISHED PHOTOS OF MARILYN MONROE CAN BE SEEN FOR THE FIRST TIME IN A NEW BOOK 'MARILYN: AUGUST 1953'. THE BOOK, PUBLISHED THIS WEEK BY CALLA EDITIONS, FEATURES DIGITALLY RESTORED BLACK AND WHITE IMAGES TAKEN DURING THE SUMMER OF 1953 OF A THEN 27 YEAR OLD MONROE. THE PHOTOS WERE SHOT BY JOHN VACHON, ON ASSIGNMENT FOR LOOK MAGAZINE IN ALBERTA, CANADA, WHERE MONROE WAS FILMING 'RIVER OF NO RETURN' WITH ROBERT MITCHUM. AN ANKLE INJURY PREVENTED MONROE FROM FILMING, ALLOWING VACHON TO HAVE SEVERAL DAYS TO SHOOT THE HOLLYWOOD ICON. ONLY THREE PHOTOS FROM THE HISTORIC SESSIONS WERE PUBLISHED IN AN OCTOBER 1953 LOOK STORY. THE BOOK WILL FEATURE PHOTOS OF MONROE AND THEN FIANCE, BASEBALL LEGEND JOE DIMAGGIO SNUGGLING. VACHON IS THOUGHT TO BE THE ONLY PHOTOGRAPHER THE PAIR FORMALLY POSED FOR. IN ANOTHER OF THE PICTURES, A COMICALLY FRIGHTENED-LOOKING MONROE IS IN THE CLUTCHES OF A TAXIDERMY BEAR. VACHON'S IMAGES OF MONROE WERE INCLUDED IN THE FIVE MILLION PHOTOGRAPH ARCHIVE DONATED TO THE LIBRARY OF CONGRESS AFTER LOOK FOLDED IN 1971.

NEW MARILYN MONROE BOOK PRESENTS UNSEEN PHOTOS

A CACOPHONY OF STUFFED ANIMALS DRAMATICALLY SPOT-LIT ONTO A WALL TO FORM A PORTRAIT SILHOUETTE OF THE LATE FASHION ICON ISABELLA BLOW HAS BEEN ACQUIRED BY THE NATIONAL PORTRAIT GALLERY. THE UNUSUAL PORTRAIT MADE OF 15 TAXIDERMY ANIMALS (INCLUDING BIRDS, A RAT AND A SNAKE), WOOD AND FAKE MOSS, TOGETHER WITH A HEEL FROM ONE OF BLOW'S OWN MANOLO BLAHNIK SHOES AND HER TRADEMARK LIPSTICK, IS A VIVID COMBINATION OF SCULPTURE, INSTALLATION AND LIGHT PROJECTION. IN THE RESULTING SILHOUETTE OF A HEAD, ISABELLA BLOW APPEARS TO BE WEARING ONE OF THE EXTRAORDINARY HATS DESIGNED FOR HER BY PHILLIP TREACY, WHICH OFTEN FEATURED TAXIDERMY. THE ARTISTS WERE FASCINATED BY WHAT THEY SAW AS BLOW'S GOTHIC QUALITY AND CHOSE TO DEPICT HER HEAD AS THOUGH ON A STAKE, INCORPORATING A RAVEN AND THE SPECIES OF RAT ASSOCIATED WITH THE BLACK DEATH. THE WORK HAS BEEN DONATED TO THE GALLERY BY THE ESTATE OF ISABELLA BLOW, WHO DIED IN 2007, AND THE ARTISTS TIM NOBLE AND SUE WEBSTER WHO CREATED IT FROM LIFE ON 2002. THE RESULT OF THEIR FRIENDSHIP WITH BLOW, THIS IS THE ONLY PORTRAIT BY THE ARTISTS OF A PERSON OTHER THAN THEMSELVES. AS A JOURNALIST, STYLIST AND MUSE, ISABELLA BLOW (1958-2007) WAS A LEADING FIGURE IN THE DEVELOPMENT OF BRITISH FASHION IN THE 1990s AND 2000s. SHE IS CREDITED WITH DISCOVERING AND PROMOTING THE CAREERS OF IMPORTANT BRITISH DESIGNERS INCLUDING ALEXANDER MCQUEEN, HUSSEIN CHALAYAN, THE WORLD'S LEADING MILLINER PHILIP TREACY, AND THE PHOTOGRAPHER JUERGEN TELLER.

NATIONAL PORTRAIT GALLERY ACQUIRES ISABELLA BLOW PORTRAIT

A CACOPHONY OF STUFFED ANIMALS DRAMATICALLY SPOT-LIT ONTO A WALL TO FORM A PORTRAIT SILHOUETTE OF THE LATE FASHION ICON ISABELLA BLOW HAS BEEN ACQUIRED BY THE NATIONAL PORTRAIT GALLERY. THE UNUSUAL PORTRAIT MADE OF 15 TAXIDERMY ANIMALS (INCLUDING BIRDS, A RAT AND A SNAKE), WOOD AND FAKE MOSS, TOGETHER WITH A HEEL FROM ONE OF BLOW'S OWN MANOLO BLAHNIK SHOES AND HER TRADEMARK LIPSTICK, IS A VIVID COMBINATION OF SCULPTURE, INSTALLATION AND LIGHT PROJECTION. IN THE RESULTING SILHOUETTE OF A HEAD, ISABELLA BLOW APPEARS TO BE WEARING ONE OF THE EXTRAORDINARY HATS DESIGNED FOR HER BY PHILLIP TREACY, WHICH OFTEN FEATURED TAXIDERMY. THE ARTISTS WERE FASCINATED BY WHAT THEY SAW AS BLOW'S GOTHIC QUALITY AND CHOSE TO DEPICT HER HEAD AS THOUGH ON A STAKE, INCORPORATING A RAVEN AND THE SPECIES OF RAT ASSOCIATED WITH THE BLACK DEATH. THE WORK HAS BEEN DONATED TO THE GALLERY BY THE ESTATE OF ISABELLA BLOW, WHO DIED IN 2007, AND THE ARTISTS TIM NOBLE AND SUE WEBSTER WHO CREATED IT FROM LIFE ON 2002. THE RESULT OF THEIR FRIENDSHIP WITH BLOW, THIS IS THE ONLY PORTRAIT BY THE ARTISTS OF A PERSON OTHER THAN THEMSELVES. AS A JOURNALIST, STYLIST AND MUSE, ISABELLA BLOW (1958-2007) WAS A LEADING FIGURE IN THE DEVELOPMENT OF BRITISH FASHION IN THE 1990s AND 2000s. SHE IS CREDITED WITH DISCOVERING AND PROMOTING THE CAREERS OF IMPORTANT BRITISH DESIGNERS INCLUDING ALEXANDER MCQUEEN, HUSSEIN CHALAYAN, THE WORLD'S LEADING MILLINER PHILIP TREACY, AND THE PHOTOGRAPHER JUERGEN TELLER.

NATIONAL PORTRAIT GALLERY ACQUIRES ISABELLA BLOW PORTRAIT

TOMMY HILFIGER GETS THE ASSOULINE TREATMENT IN A STUNNING NEW LUXURY BOOK THAT CELEBRATES BOTH THE MAN AND THE ICONIC BRAND. THE NEW LUXURY BOOK TAKES A LOOK AT 25 YEARS OF HILFIGER FASHION. THE SPECIAL EDITION FROM ASSOULINE'S ULTIMATE COLLECTION USES A PHOTO-ALBUM FORMAT TO CAPTURE THE ESSENCE OF A DESIGNER AND HIS ALL-AMERICAN STYLE. 'THIS BOOK IS A CULMINATION OF MY LIFE'S WORK, SHARING SOME OF MY INNERMOST THOUGHTS THROUGHOUT THE YEARS', SAID TOMMY HILFIGER. 'THE TOMMY HILFIGER BRAND HAS EXISTED FOR 25 YEARS, BUT I'VE BEEN DESIGNING ALL MY LIFE. THIS BOOK IS THE EQUIVALENT OF ME TELLING A FRIEND ABOUT MY FAMILY, HOW I GOT TO WHERE I AM TODAY, AND WHERE I WANT TO GO FROM HERE. MY HOPE IS THAT EVERYONE HAS AS MUCH FUN READING IT AS I DID MAKING IT.' THE BOOK MEASURES 14X17 AND HAS 144 PAGES WITH MORE THAN 200 ILLUSTRATIONS, 65 OF WHICH ARE TIPPED IN BY HAND. THE BOOK COMES IN A LINEN CLAMSHELL PRESENTATION BOX WITH AN EMBROIDERED FLAG LOGO WITH GOLD STITCHING. IT IS A LIMITED EDITION OF 1,000 AND EACH ONE SELLS FOR $550.

ASSOULINE PRESENTS NEW BOOK ABOUT TOMMY HILFIGER

TOMMY HILFIGER GETS THE ASSOULINE TREATMENT IN A STUNNING NEW LUXURY BOOK THAT CELEBRATES BOTH THE MAN AND THE ICONIC BRAND. THE NEW LUXURY BOOK TAKES A LOOK AT 25 YEARS OF HILFIGER FASHION. THE SPECIAL EDITION FROM ASSOULINE'S ULTIMATE COLLECTION USES A PHOTO-ALBUM FORMAT TO CAPTURE THE ESSENCE OF A DESIGNER AND HIS ALL-AMERICAN STYLE. 'THIS BOOK IS A CULMINATION OF MY LIFE'S WORK, SHARING SOME OF MY INNERMOST THOUGHTS THROUGHOUT THE YEARS', SAID TOMMY HILFIGER. 'THE TOMMY HILFIGER BRAND HAS EXISTED FOR 25 YEARS, BUT I'VE BEEN DESIGNING ALL MY LIFE. THIS BOOK IS THE EQUIVALENT OF ME TELLING A FRIEND ABOUT MY FAMILY, HOW I GOT TO WHERE I AM TODAY, AND WHERE I WANT TO GO FROM HERE. MY HOPE IS THAT EVERYONE HAS AS MUCH FUN READING IT AS I DID MAKING IT.' THE BOOK MEASURES 14X17 AND HAS 144 PAGES WITH MORE THAN 200 ILLUSTRATIONS, 65 OF WHICH ARE TIPPED IN BY HAND. THE BOOK COMES IN A LINEN CLAMSHELL PRESENTATION BOX WITH AN EMBROIDERED FLAG LOGO WITH GOLD STITCHING. IT IS A LIMITED EDITION OF 1,000 AND EACH ONE SELLS FOR $550.

ASSOULINE PRESENTS NEW BOOK ABOUT TOMMY HILFIGER

A GROUP REPRESENTING ANSEL ADAMS SUED A FRESNO MAN MONDAY FOR SELLING PRINTS AND POSTERS UNDER THE NAME OF THE FAMED NATURE PHOTOGRAPHER, THE LATEST SALVO IN A DISPUTE OVER GLASS NEGATIVES BOUGHT AT A GARAGE SALE AND PURPORTED TO BE ADAMS' LOST WORKS. THE LAWSUIT, FILLED IN FEDERAL DISTRICT COURT IN SAN FRANSISCO BY THE ANSEL ADAMS PUBLISHING RIGHTS TRUST, SEEKS TO STOP RICK NORSIGIAN AND CONSULTING FIRM PRS MEDIA PARTNERS FROM USING ADAMS' NAME, LIKENESS AND TRADEMARK IN THEIR EFFORTS TO SELL PRINTS AND POSTERS NOT AUTHORIZED OR ENDORSED BY THE TRUST. THE SUIT ALLEGES TRADEMARK INFRINGEMENT, FALSE ADVERTISING, TRADEMARK DILUTION, UNFAIR COMPETITION AND OTHER CLAIMS. IT DOES NOT SPECIFY DAMAGES BUT ASKS THE COURT TO ORDER THE DEFENDANTS TO PAY RESTITUTION PF THEIR PROFITS FROM ANY SALES, AS WELL AS AWARD ANY OTHER MONETARY RELIEF. NORSIGIAN'S LAWYER, ARNOLD PETER, SAID THE LAWSUIT HAS NO MERIT AND IS DESIGNED TO HARASS HIS CLIENT AND 'SILENCE THIS DEBATE'. 'WE ARE DISAPPOINTED THAT THE ANSEL ADAMS PUBLISHING GROUP RIGHTS TRUST HAS DECIDED TO RESORT TO THE COURTS IN ORDER TO RESOLVE WHAT, IN OUR VIEW, IS A DEBATE THAT SHOULD BE RESOLVED BY ART AND FORENSIC EXPERTS', PETER SAID IN A STATEMENT. NORSIGIAN SAYS THAT HE BOUGHT THE NEGATIVES 10 YEARS AGO AT A FRESNO GARAGE SALE FOR $45. HE NOTICED THEY RESEMBLED ADAMS' ICONIC PHOTOGRAPHS OF YOSEMITE NATIONAL PARK AND HIRED PETER TO ASSEMBLE A TEAM OF EXPERTS TO AUTHENTICATE THEM. LAST MONTH PETER ANNOUNCED THAT HIS TEAM STUDIED THE 65 NEGATIVES FOR SIX MONTHS AND CONCLUDED 'BEYOND A REASONABLE DOUBT' THAT THE PHOTOS WERE ADAMS' EARLY WORK, BELIEVED TO HAVE BEEN DESTROYED IN A 1937 FIRE AT HIS YOSEMITE STUDIO. NORSIGIAN HAS SET UP A WEBSITE TO SELL PRINTS MADE FROM SOME OF THE NEGATIVES, FROM $45 FOR A POSTER TO $7,500 FOR A DARKROOM PRINT WITH A CERTIFICATE OF AUTHENTICITY. A BEVERLY HILLS ART GALLERY OWNED BY DAVID W STREETS PLANS TO HOLD A PUBLIC VIEWING OF PART OF THE COLLECTION NEXT MONTH. ADAMS' REPRESENTATIVES HAVE NEVER BOUGHT THE CLAIM, CALLING IT A FRAUD. THE LAWSUIT IS THE LATEST ACTION TO STOP WHAT THEY BELIEVE IS A 'SCAM'. THE SUIT ALSO SAYS THERE IS 'SUBSTANTIAL EVIDENCE' SUGGESTING THE NEGATIVES WERE CREATED BY ANOTHER PHOTOGRAPHER, EARL BROOKS, WHOSE NIECE CAME FORWARD JUST DAYS AFTER PETER'S ANNOUNCEMENT TO SAY SHE HAD A PHOTO OF HER UNCLE'S THAT LOOKED IDENTICAL TO ONE OF THE NEGATIVES. THE LAWSUIT FURTHER SAYS THAT EVEN IF THEY WERE ADAMS' NEGATIVES, THE PRINTS AND POSTERS BEING CREATED FROM THEM AREN'T THE PHOTOGRAPHER'S WORKS, 'BUT ARE DERIVATIVE WORKS AT BEST'. THE SUIT SAYS THE DEFENDANTS ARE IMPROPERLY AND UNLAWFULLY TRADING ON ADAMS TRADEMARK AND DELIBERATELY CONFUSING CONSUMERS. ADAMS ESTABLISHED THE TRUST IN 1976 TO PROTECT THE INTEGRITY OF HIS WORK AND PRESERVE HIS ARTISTIC LEGACY. ADAMS' BLACK AND WHITE PHOTOGRAPHS, PRIMARILY OF THE AMERICAN WEST, ARE WIDELY REPRODUCED ON CALENDERS AND POSTERS AND IN COFFEE-TABLE BOOKS, WHILE HIS PRINTS ARE COVETED BY COLLECTORS. HIS PRINT 'CLEARING WINTER STORM, YOSEMITE NATIONAL PARK' BROUGHT $722,500 AT AUCTION THIS SUMMER IN NEW YORK, A RECORD FOR 20th CENTURY PHOTOGRAPHY.

ANSEL ADAMS' GROUP SUES OVER GARAGE FIND

A GROUP REPRESENTING ANSEL ADAMS SUED A FRESNO MAN MONDAY FOR SELLING PRINTS AND POSTERS UNDER THE NAME OF THE FAMED NATURE PHOTOGRAPHER, THE LATEST SALVO IN A DISPUTE OVER GLASS NEGATIVES BOUGHT AT A GARAGE SALE AND PURPORTED TO BE ADAMS' LOST WORKS. THE LAWSUIT, FILLED IN FEDERAL DISTRICT COURT IN SAN FRANSISCO BY THE ANSEL ADAMS PUBLISHING RIGHTS TRUST, SEEKS TO STOP RICK NORSIGIAN AND CONSULTING FIRM PRS MEDIA PARTNERS FROM USING ADAMS' NAME, LIKENESS AND TRADEMARK IN THEIR EFFORTS TO SELL PRINTS AND POSTERS NOT AUTHORIZED OR ENDORSED BY THE TRUST. THE SUIT ALLEGES TRADEMARK INFRINGEMENT, FALSE ADVERTISING, TRADEMARK DILUTION, UNFAIR COMPETITION AND OTHER CLAIMS. IT DOES NOT SPECIFY DAMAGES BUT ASKS THE COURT TO ORDER THE DEFENDANTS TO PAY RESTITUTION PF THEIR PROFITS FROM ANY SALES, AS WELL AS AWARD ANY OTHER MONETARY RELIEF. NORSIGIAN'S LAWYER, ARNOLD PETER, SAID THE LAWSUIT HAS NO MERIT AND IS DESIGNED TO HARASS HIS CLIENT AND 'SILENCE THIS DEBATE'. 'WE ARE DISAPPOINTED THAT THE ANSEL ADAMS PUBLISHING GROUP RIGHTS TRUST HAS DECIDED TO RESORT TO THE COURTS IN ORDER TO RESOLVE WHAT, IN OUR VIEW, IS A DEBATE THAT SHOULD BE RESOLVED BY ART AND FORENSIC EXPERTS', PETER SAID IN A STATEMENT. NORSIGIAN SAYS THAT HE BOUGHT THE NEGATIVES 10 YEARS AGO AT A FRESNO GARAGE SALE FOR $45. HE NOTICED THEY RESEMBLED ADAMS' ICONIC PHOTOGRAPHS OF YOSEMITE NATIONAL PARK AND HIRED PETER TO ASSEMBLE A TEAM OF EXPERTS TO AUTHENTICATE THEM. LAST MONTH PETER ANNOUNCED THAT HIS TEAM STUDIED THE 65 NEGATIVES FOR SIX MONTHS AND CONCLUDED 'BEYOND A REASONABLE DOUBT' THAT THE PHOTOS WERE ADAMS' EARLY WORK, BELIEVED TO HAVE BEEN DESTROYED IN A 1937 FIRE AT HIS YOSEMITE STUDIO. NORSIGIAN HAS SET UP A WEBSITE TO SELL PRINTS MADE FROM SOME OF THE NEGATIVES, FROM $45 FOR A POSTER TO $7,500 FOR A DARKROOM PRINT WITH A CERTIFICATE OF AUTHENTICITY. A BEVERLY HILLS ART GALLERY OWNED BY DAVID W STREETS PLANS TO HOLD A PUBLIC VIEWING OF PART OF THE COLLECTION NEXT MONTH. ADAMS' REPRESENTATIVES HAVE NEVER BOUGHT THE CLAIM, CALLING IT A FRAUD. THE LAWSUIT IS THE LATEST ACTION TO STOP WHAT THEY BELIEVE IS A 'SCAM'. THE SUIT ALSO SAYS THERE IS 'SUBSTANTIAL EVIDENCE' SUGGESTING THE NEGATIVES WERE CREATED BY ANOTHER PHOTOGRAPHER, EARL BROOKS, WHOSE NIECE CAME FORWARD JUST DAYS AFTER PETER'S ANNOUNCEMENT TO SAY SHE HAD A PHOTO OF HER UNCLE'S THAT LOOKED IDENTICAL TO ONE OF THE NEGATIVES. THE LAWSUIT FURTHER SAYS THAT EVEN IF THEY WERE ADAMS' NEGATIVES, THE PRINTS AND POSTERS BEING CREATED FROM THEM AREN'T THE PHOTOGRAPHER'S WORKS, 'BUT ARE DERIVATIVE WORKS AT BEST'. THE SUIT SAYS THE DEFENDANTS ARE IMPROPERLY AND UNLAWFULLY TRADING ON ADAMS TRADEMARK AND DELIBERATELY CONFUSING CONSUMERS. ADAMS ESTABLISHED THE TRUST IN 1976 TO PROTECT THE INTEGRITY OF HIS WORK AND PRESERVE HIS ARTISTIC LEGACY. ADAMS' BLACK AND WHITE PHOTOGRAPHS, PRIMARILY OF THE AMERICAN WEST, ARE WIDELY REPRODUCED ON CALENDERS AND POSTERS AND IN COFFEE-TABLE BOOKS, WHILE HIS PRINTS ARE COVETED BY COLLECTORS. HIS PRINT 'CLEARING WINTER STORM, YOSEMITE NATIONAL PARK' BROUGHT $722,500 AT AUCTION THIS SUMMER IN NEW YORK, A RECORD FOR 20th CENTURY PHOTOGRAPHY.

ANSEL ADAMS' GROUP SUES OVER GARAGE FIND