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