The organiser of the art fair is Partner’s 2000 Ltd., Sándor Galambos, Managing Director and Kati Galambos, Organiser
Phone: +36 1 248 1335, Phone / Telefax: +36 1 319 3369
E-mail: HYPERLINK “mailto:info@budapestartfair.hu”info@budapestartfair.hu
Internet: HYPERLINK “http://www.budapestartfair.hu/”www.budapestartfair.hu
Upon request we are pleased to provide more information and photos, please call Rita Lepsényi, Communications Manager of the exhibition at +36 30 2000 339 or send an e-mail to HYPERLINK “mailto:press@budapestartfair.hu”press@budapestartfair.hu.
The main sponsor of the exhibition is CIB Bank Zrt., our sponsors are Hungarian National Tourist Office and Budapest Tourist Office, our media partners are Artmagazin, Europlakát-Avenir, The Budapest Times / Budapester Zeitung, Le Journal Francophone, Rossziszkij Kurier, and Index.hu.

“The completion of the Alsdorf Galleries is vital to our presentation of Asian art, and it deepens our commitment to serving a global population. How fitting that Asian art will now fill the very center of the Art Institute, serving as a link between the existing museum and the Modern Wing,” said James Cuno, President and Eloise W. Martin Director of the Art Institute of Chicago. “We are thrilled that so many treasures from the Alsdorf Collection will finally be on permanent display, thanks to Marilynn Alsdorf’s exceptional generosity.”

“The Art Institute is home to one of the world’s strongest holdings of Asian Art,” said Alsdorf Associate Curator Madhuvanti Ghose. “Because of space limitations, however, visitors have rarely been able to see the full strength and depth of the collection. The Alsdorf Collection stands out as a true jewel among the museum’s holdings, internationally recognized for its scope, beauty, and quality. I am thrilled be a part of this massive project of unveiling this collection and showcasing it for museum visitors.”

The Alsdorf Galleries represent the complete transformation of Gunsaulus Hall, previously a windowless walkway filled with the museum’s collection of European arms and armor. Gunsaulus Hall was built over the railroad tracks that pass under the Art Institute in 1916. The original windows were bricked over in the 1930s because of the amount of soot and dirt created by the train lines. Now renovated by Renzo Piano, the Alsdorf Galleries are a light-filled space with views of Millennium Park and the Chicago skyline. Piano opened a 56-foot section of the original walls, increased the height of the ceiling, and added new, light wood flooring. The result is a clean and modern space that brings the existing building of the Art Institute into a dialogue with the Modern Wing. The Harding Arms and Armor collection, formerly occupying Gunsaulus Hall, will once again be on display in the museum when the renovations to the Art Institute’s European painting and sculpture galleries are complete in 2010.

The new Asian art spaces extend from existing galleries that house the art of China, Japan, and Korea. A full connection to the new galleries is created by the axis between the famous large Buddha, in the entry space to the Asian galleries, and the 12th-Century stone Buddha from South India in the center of the Alsdorf Galleries. On this axis viewers will find exquisite objects of Himalayan art, many of which have not been seen on view since the 2003 exhibition Himalayas: An Aesthetic Adventure. The center of the Alsdorf Galleries feature works from one of the strongest sections of the museum’s collection of South Asian art: classical and medieval Indian sculpture. Works in this area represent not only the diversity of Indian culture itself but also focus on religious subjects.

The new Galleries of Indian and Islamic Art on the north end of McKinlock Court contain later works of Indian art representative of pre-1947 India and also its Imperial Mughal and royal past. Works from Middle Eastern and Islamic cultures of South Asia complete the redesigned space. These galleries will feature rotating exhibitions featuring works from such countries as Burma, Thailand, Cambodia, Vietnam, and Indonesia, allowing the museum to present focused displays of work from these cultures and time periods.

This rejuvenated emphasis on the Asian art collection completes the second phase of the most ambitious renovation and reinstallation project in Art Institute history, coinciding with the construction of the Modern Wing. The Alsdorf Galleries and the Galleries of Indian and Islamic Art will be launched with an exclusive gala event on December 12, 2008, and they open to the public on December 13, 2008.

Gallery president, Erik Don, along with art director, Oswaldo Agudelo, has created a unique environment where both artists and collectors can come together. Here, it is not only about the economic benefits, but also about the sharing of ideas, making D & G Fine Art in Wynwood a cultural breeding ground where art can be freely expressed.

It is during this edition of Art Basel Miami Beach where well known artists in Latin America and Europe are solidifying their already recognized talent and D & G Fine Art is excited to bring some of the greatest emerging talents to Wynwood at 540 N.W. 28th Street.

Artist A/k/rona of Colombia will be showcased. With his surreal and abstract paintings, he has become a star among collectors in Dubai, where he was chosen as one of the best during the Emirates art fair.

Jorge Jimenez Deredia of Costa Rica will be showing his monumental sculptures. Jimenez Deredia has seen his works in Saint Peter’s Basilica, commissioned by the Vatican. During this year’s Basel, he will present his latest and most representative pieces.

Peruvian Paolo Cordano comes with his particular dose of abstract art, inspired by the pre-Columbian period. It is the force and impacts of his chosen color palette that identifies him as a great artist.

Marjolein van der Sluis of Holland is known for her subtle oneiric art and her particular use of pastels. For his part, Spaniard Ruperto Cabrera, uses the images of well known works of art and mutates them into a classic and modern mix, which has already taken him into some of the biggest auction houses.

Also from Spain is Pilar Cocero. She brings her singular vision of the world and its majestic landscapes, interpreted in her use of color and light.

Gustavo Duque, fresh off his recent successes in South and Central America, appears renewed and confident with his pieces, in which the horse serves as the central theme.

Eloisa Castellanos, of Cuba, appears with her altered states of consciousness and her Eastern influences. Always playful in her use of color, her work shows an almost monochrome scheme. This is in stark contrast to the works of Colombian Helbert Ortiz, for whom the warm and intense colors of his native land are the bases of his inspiration. Almost always using the female shape as an example of perfection, Ortiz incorporates it as his primal concept of beauty.

For the most demanding of collectors, Miami’s D & G Fine Art in Wynwood also features several pieces, such as “Revolution”, by Marc Chagall, “The Girl”, by Pierre Auguste Renoir, and “The Painter and his Muse”, by Pablo Picasso. It also features pieces by Maurice Utrillo, Norman Rockwell, Camille Pissarro and Alfred Sisley.

D & G Fine Art provides a variety of services. These include the rating, certification, investigation, printing and editing of books and lithographs. Additionally, it includes a successful guidance program for the buying and selling of artwork for collectors. D & G Fine Art is proud to provide investment expertise in this very sophisticated art investment medium.

All of the artists featured within D & G Fine Art are widely known and recognized for their trajectory, putting them side by side along many of the greats that can be found in some of the worlds most prestigious auction houses.

With the guidance of Oswaldo Agudelo, your visit to the gallery will not only be stepping into the world of art history. It will also be an opportunity to receive a complete assessment of how the art world works and what are the best investment options within this sophisticated and passionate trade.

Every year, Art Basel gauges what will be the next “Big Thing” in the art world in the coming months. D & G Fine Art finds itself in the privileged position of being a part of that process, making its mark at the highest of levels, both for artists and collectors.

http://www.dgfineart.com/

Paul and Harriet Gratz have chosen Fisherman’s Mark as the recipient of a portion of the proceeds generated by this season’s celebration and exhibition. Fisherman’s Mark is a broad-based social services organization located in Lambertville, New Jersey, that provides invaluable support to families and individuals in need. Whether through its emergency support services, its accredited child care program or its various empowerment programs, Fisherman’s Mark makes a meaningful difference to many lives. Profits from every painting purchased during the exhibition will directly benefit Fisherman’s Mark through a single contribution by the gallery to the organization. For more information go to www.fishermansmark.org.

Paul Gratz, owner and head-conservator of Gratz Gallery, trained at the Pennsylvania Academy of the Fine Arts, among other places. It was at the Academy that he gained his interest in painters from the Academy and, ever since, has been collecting work by Academy artists. Gratz’s expertise has been focused on Pennsylvania painters’ significant and important contribution to the American Impressionist movement. This year’s holiday exhibition features works by many of the members of The New Hope Circle, the group of painters from the geographic area of the Delaware Valley surrounding New Hope. Art historian Sam Hunter first wrote of this group in his 1984 book and exhibition catalog American Impressionism: The New Hope Circle for The Museum of Art, Fort Lauderdale, Florida. Today, the New Hope Circle is recognized nationally, if not internationally, as among the most eminent of the contributing groups to the American Impressionist art movement.

†The Philadelphia Ten, founded in 1917, provided a forum for professional camaraderie and aggressive self-promotion among women artists in a male-dominated art establishment. Many had studied at the Philadelphia School of Design (now Moore College of Art and Design). Fewer were students at the Pennsylvania Academy of the Fine Arts. Formally organized before women had the constitutional right to vote in the United States, The Philadelphia Ten enjoyed a hugely successful annual exhibition schedule in its nearly thirty-year lifespan. Given their important and impressive place in the history of American Impressionism, Gratz has developed a keen interest in this group of women artists for both the aesthetic quality and investment value of their work. A variety of canvases of various Philadelphia Ten members are included in the December exhibition.

†A catalog of the show will be available on the Gratz Gallery & Conservation Studio Web site prior to the event. The Gallery will be closed from Wednesday, December 3 through December 6 for the installation of the exhibition.

†Located at 30 West Bridge Street in New Hope, The Gratz Gallery and Conservation Studio specializes in 19th- and 20th- century American paintings. In addition to art investment we also offer custom framing, and run a conservation studio specializing in the treatment and stabilization of oil paintings. We have over thirty years of conservation experience and have worked with an array of museums, historical societies, universities, government institutions, churches and private collections. The gallery is open Wednesdays through Saturdays, 10 a.m. to 6 p.m. and Sundays, noon to 6 p.m., as well as by appointment. Call (215) 862-4300, or visit the Gratz Gallery and Conservation Studio Web site at www.gratzgallery.com.

Trenerry was born in 1899 in Adelaide, son of a butcher descended from Cornish immigrants who arrived in South Australia some time earlier in the nineteenth century. There he grew up and studied at various private art schools, and briefly the South Australian School of Arts and Crafts.

His career began well in the early 1920s with regular exhibitions and sales, and in 1922-23 he made one of his rare excursions interstate, staying for 12-18 months in Sydney, where he studied at the Julian Ashton School and became friends with Elioth Gruner. However it was the influence of Heysen, in whose footsteps Trenerry followed with a painting expedition to the Flinders Ranges in 1930 out of which his unique vision evolved.

Shortly after this trip he discovered the south coast region of Aldinga and Port Willunga, where during the 1930s his painterly language, allied with a gypsy-like existence amongst plains, hills, dilapidated farms and gently undulating dirt roads, began to blossom into a much bolder and poetic body of work. By the early 1940s he had become more impoverished financially, but with no falling away of a fierce dedication to painting, even if it meant occasional use of cheap materials such as powder pigments and, it was rumoured, plaster of Paris. Finally, the onset of Huntington’s Chorea, whose symptoms resembled extreme drunkenness, further added to his social alienation and neglect, and death in virtual anonymity at a home for incurables in 1958.

This exhibition focuses principally on Trenerry’s last fifteen years during which he painted more to please himself than for the odd exhibition through which sales became progressively sporadic. His paintings especially of the 1940s until his disease prevented him working by the end of the decade are daring and visionary. Blue outlines and heavy surfaces exude an emotionally obsessive alla prima involvement with the act of painting. With their dry, chalky surfaces and subtlety of light, they have often been compared to the work of van Gogh and Monet; although of course Trenerry never saw original examples of either.

The Gallery – which features art exhibits that rotate quarterly throughout the year - is located at 975 F Street, NW and is open to the public Monday-Friday from 8am-6pm. The opening reception will be held on December 5, 2008 from 6-8pm.

This special exhibition will showcase artwork by children coping with the emotional stress and trauma of cancer and its treatment. Children with cancer are living with the daily realities of chemotherapy, radiation and surgery. Tracy’s Kids is an art therapy program which creates a safe environment for children to share their deepest feelings and gain a sense of control when other areas of life may feel out of control. The program sends art therapists to meet with the children at the time of diagnosis and work with them throughout their treatment, both inside and outside the hospital. Creating artwork also helps young patients imagine and prepare for a time when they are cancer free. For more information: www.tracyskids.org.

About Carroll Square

Carroll Square is a magnificent Trophy Class development that led the revitalization of the historic F Street corridor in downtown Washington, DC. This building masterfully integrates historic facades with modern office and retail space, along with a unique public art gallery and subsidized artists’ studios. Akridge worked on the project with numerous public and private stakeholders for almost 20 years. Its doors opened in January 2007. Carroll Square has won many awards including the Mayor’s Award for Historic Preservation and the Downtown Business Improvement District’s Momentum Award. For more information: www.carrollsquare.com.

About Hemphill

Hemphill Fine Arts opened in September of 1993 as a commercial gallery and has set the standard for the representation and exhibition of contemporary art in Washington, DC. The gallery’s exhibition schedule features contemporary art ranging from emerging to mid-career to established artists. In addition, the gallery mounts exhibitions of contemporary artists, historically significant artwork, and socially relevant subjects. Hemphill Fine Arts offers advisory and consulting services to corporate and private clients, providing assistance in the consideration, acquisition, and presentation of fine art. Hemphill Fine Arts is located at 1515 14th Street, NW, Washington, DC. Gallery hours are Tuesday through Saturday from 10:00 am - 5:00 pm and by appointment. For more information, visit www.hemphillfinearts.com or call 202.234.5601.

About Akridge

Akridge is a comprehensive real estate services company that provides acquisition, development, construction management, asset management, property management, leasing, and consulting services throughout the Washington region. For eight of the last nine years, Akridge has been ranked the number one real estate firm in the country, among firms of similar size, for Client satisfaction by CEL & Associates and the Building Owners and Managers Association. The firm is recognized by the Washington Business Journal as the ‘Best Place to Work’ in Washington. Since 1974, the company’s projects have encompassed over 11 million square feet of space in the greater Washington region. For more information, please visit www.akridge.com.

A spectacular display of many of the greatest treasures of early Christianity from around the world, Picturing the Bible includes major loans from the Vatican, the Bargello and the Laurentian Library in Florence, the British Museum, the Louvre, the Metropolitan Museum of Art, New York, and a number of other international institutions. A landmark event both for scholarship on the Early Christian era and for the broader appreciation of this crucial period in world history, this exhibition is the first major review of third-to sixth-century Christian art since The Age of Spirituality at the Metropolitan Museum of Art in 1977. There have been many important advances in scholarship since then, as well as a considerable number of new archaeological discoveries, all of which this exhibition fully reassesses.

Commented Timothy Potts, director of the Kimbell Art Museum: “The origins of Christianity have been a very active area of research in recent years from a variety of perspectives—historical, theological, and artistic. But there has never been an exhibition that brings this new evidence together, allowing visitors to see in the works of art themselves how and why a distinctively Christian visual artistic culture emerged. In Picturing the Bible we see how the early Christians drew upon pagan and Old Testament motifs to express their new faith; we witness the interplay between the earliest artistic representations of biblical themes and the doctrinal debates among early Church Fathers over the correct interpretation of scripture; and in the process come face to face with many of the finest and most treasured images that have survived from the tumultuous centuries when Christianity emerged from persecution to become the state religion of the Roman Empire. Assembling so many of the most important masterpieces of early Christian art has been a major challenge—especially the fragile early Bibles, ivories, and gold glass—and presents a spectacle of early Christian life that is unlikely to be repeated in our lifetime.”

No Christian images are known to date before the beginning of the third century A.D., and it seems unlikely that the small Christian community created distinctive works of art illustrating or expressing their beliefs before that date. By the early third century, however, Christians had begun to borrow Old Testament motifs that were regarded as having special Christian significance, such as images of Abraham and Isaac, Jonah, and Daniel, as well as symbolic images, including the Good Shepherd and the fish, the latter an allusion to Jesus (“ichthys,” “fish” in Greek, being an acrostic for “Jesus Christ, son of God, savior”). Although very rare in the third century, pictorial scenes from the life of Jesus were evidently being developed, and by the fourth century, extensive illustrations of the New Testament were being created in a variety of media, including catacomb paintings, mosaics, sarcophagi, ivories, and no doubt Bibles, although none survives till the following century. By the sixth century, many of these early, innovative images had been replaced by conventional depictions of the life and miracles of Jesus.

Picturing the Bible brings together a wide range of material in an attempt to help clarify the questions of how Christians in the Greco-Roman period illustrated their religious beliefs, including frescoes, marble sculpture and sarcophagi, silver vessels and reliquaries, carved ivories, engraved gold glass, bronze sculpture, seals in semiprecious stones, illustrated Bibles, and decorated crosses.

Among the highly important treasures in the exhibition are several that have never or rarely been lent before, such as the spectacular, gem-encrusted gold cross presented by the emperor Justin II to Pope John III in the late sixth century, on loan from the Treasury of Saint Peter’s in Vatican City. This cross functioned as a reliquary, containing a piece of the True Cross.

Another important reliquary comes from the Museo Diocesano of Milan. An extremely rare silver reliquary, the “Capsella” of San Nazaro was discovered in 1578, when Saint Carlo Borromeo, the archbishop of Milan, ordered the exploration of the area beneath the high altar of the church of San Nazaro (the fourth-century Basilica Apostolorum). One of the largest silver reliquaries of the Early Christian period, this box from San Nazaro combines sacred Christian imagery from the Old and New Testaments with imperial iconography. The Roman chiton and short, fringed hair worn by Christ while teaching, and the scene of the enthroned Virgin holding the Christ Child, recall the classicizing tradition of the imperial court.

Also crafted in silver are two plates depicting scenes from the life of David, on loan from the Metropolitan Museum of Art. Part of a series of nine plates, these fine silver objects were discovered in a hoard in Cyprus in 1902. Decorated in relief, the Byzantine fashion of the figures and the five official stamps on the underside of each plate, applied to only the highest quality Byzantine silver, reveal the plates’ origins and date them securely to the reign of Emperor Heraclius (r. 610–41). Most likely they were intended as imperial gifts.

Carved sculpture, both in stone and in ivory, also form an integral part of the exhibition. From the Museo Nazionale del Bargello in Florence is the ivory diptych of Adam Naming the Animals and the Miracles of St. Paul, one of the masterpieces of their collection. Imposing sarcophagi with scenes of the life and ministry of Christ as well as depictions of Daniel, Jonah, and other figures of both the Old and New Testaments on loan from the Vatican Museums, Trier, Arles, and Algeria are also part of the exhibition.

Illustrated manuscripts are among the rarest and most treasured objects in the exhibition. Only a handful of illustrated Bibles from the sixth century have survived, and an unprecedented three of these are included in the exhibition. The Rabbula Gospels, on loan from the Biblioteca Medicea Laurenziana in Florence, were inscribed by a monk named Rabbula in a Syrian monastery, who in 586 A.D. recorded the moment when he had finished the manuscript. The Bibliothèque Nationale de France is lending an illustrated folio—only five of which are extant—from the fragmentary Greek Sinope Gospels, the entire text of which is written in gold on purple-dyed vellum. On loan from the British Library are several fragments of the Cotton Genesis, a Greek manuscript probably produced in Egypt. Although the manuscript was tragically reduced to fragments in 1731 during a fire in the Cotton Library, several fragments survived.

For further details go to the auction website here:
https://artandentrepreneurship.credit-suisse.com/index.php

Works by the following artists are included in the auction:
* Allora & Calzadilla
* André Pretorius
* Anonymous
* Cao Fei
* David Benjamin Sherry
* Gonzalez & Russom
* Heman Chong
* Latifa Echakhch
* Mai-Thu Perret
* Mamiko Otsubo
* Matthew Smith
* Michael Bauer
* Nicola Gobbetto
* Pavel Pepperstein
* Plamen Dejanoff
* Thukral & Tagra
* Tzu Nyen Ho

All the works on offer can be viewed, and online bids submitted for the works here:
https://artandentrepreneurship.credit-suisse.com/page/auction/auction.php?artist=120

Form for telephone and absentee bids can be found here:
https://artandentrepreneurship.credit-suisse.com/page/guideToBidding/Bid_Formular.pdf

As the nation’s largest private art and design university, the Academy of Art University has brought emerging artists from across the world to San Francisco for nearly eight decades. Even amid a sharp economic downturn, all bidders at this year’s non-profit, fund-raising Fine Art auction confirmed San Francisco’s status as one of the top emerging art centers in the world. In addition, these informed collectors spoke volumes about the dazzling artistry of AAU faculty and alumni works newly placed in hundreds of homes.

“The incredible turnout and lively bidding at the 2008 Faculty & Alumni Fine Art auction far exceeded my expectations,” says Dr. Elisa Stephens, President of the Academy of Art University. “The phenomenal generosity that so many collectors showed towards AAU’s emerging artists in the midst of economic uncertainty is truly inspiring. I look forward to passing these scholarships directly on to deserving AAU School of Fine Art students through our merit-based juries at the 2009 Annual Spring Show this coming May.”

Each year, the Academy of Art University’s Annual Faculty & Alumni Fine Art auction offers guests a unique opportunity to support emerging student artists by bidding on works graciously provided by some of the finest internationally collected artists from the Bay Area. Many of the featured AAU Faculty and Alumni from the 2008 auction, including Erik Blome, Margaret Keelan, Laurie Kersey, Po Pin Lin, Carolyn Meyer, Kevin Moore, Craig Nelson, Siddharth Parasnis, Tae Park, Bill Rhea, and Peter Schifrin have representation at esteemed galleries nationwide and have earned coveted accolades in wide-ranging competitions and publications. As in past years, half of the proceeds from the 13th Annual Faculty & Alumni Fine Art auction will benefit students through the Fine Art Student Scholarship Fund, with the rest going directly to the artists themselves.

TOP-SELLING ARTISTS
Zachary Zdrale came to the Academy of Art University’s School of Fine Art Painting MFA program after many years of avoiding a career in fine art out of fear. Concluding that if he could “make great, tightly rendered, and life-like figure paintings I would be happy no matter how poor I was,” and discovering work such as this was possible in the contemporary art market when visiting John Pence Gallery in San Francisco, Zdrale pursued his dream at the Academy. By the time of his graduation, Zdrale won the prestigious First Place in MFA Painting Award at the 2006 AAU Annual Spring Show. His stirring mastery in figurative realism echoes the classical traditions of the Renaissance, imparting an aesthetic of stillness and silence to Zdrale’s modern day models. Now a prominent artist at the John Pence Gallery, Zdrale has also exhibited at the Eleanor Ettinger Gallery in New York, NY; the Wendt Gallery in Laguna Beach, CA; and the 2008 Oil Painters of America National Juried Exhibition at Dana Gallery in Missoula, Montana. Crediting the “excellent instructors” at AAU in establishing a successful career as a fine artist, Zdrale himself now teaches rising young artists as a School of Fine Art instructor.

Earl Enriquez first experienced the ambition to become an artist growing up as a child in the Philippines. Fusing his awe for such honored talents as Bernini, Caravaggio, and Velazquez with influences from contemporary sculptors Eugene Daub and Bruce Wolfe, Enriquez has built an impressive following for his bronze figurative sculpture on both sides of the Pacific. Enriquez attended the Academy of Art University as a student and now teaches in the School of Fine Art Sculpture. Thinking of his students, Enriquez shares, “The energy of their youth, the untainted imagination, and with every student a different mind, with a different logic and taste: put a group of them together and the variety you get to see!”

As one of California’s most sought-after plein-air painting artists, Brian Blood has excited and inspired fine art collectors for over two decades. Since graduating from the Academy of Art University and becoming a faculty member in the School of Fine Art, Blood’s signature California landscapes have been featured in a multitude of publications including American Artist, Art of the West, Plein Air, and Southwest Art. Blood devotes much of his time to teaching popular workshops near his home in Pebble Beach. His recent achievements include the Best Local Artist Award, the Artist’s Choice Award, and the People’s Choice Award at the 2008 Carmel Art Festival in Carmel, CA; the Southwest Art Award of Excellence; showing at the 96th Annual California Art Club’s Gold Medal Exhibition; the 2005 People’s Choice Award at the Napa Valley Museum in Yountville, CA; and the Landscape Award of Excellence at Greenhouse Gallery of Fine Art’s 2005 Salon International in San Antonio, TX. Blood was recently honored as an Outstanding Alumnus and awarded an Honorary Doctor of Humane Letters from the Academy of Art University.

www.academyart.edu

The Metropolitan Museum’s extraordinary holdings of Dutch paintings include works by Frans Hals, Rembrandt van Rijn, Johannes Vermeer, Pieter de Hooch, Gerard ter Borch, and others. This lively and accessible account traces the formation of the Metropolitan’s collection from its beginnings in 1871 to the present day.

The book discusses the key role of prominent philanthropists Henry G. Marquand, Henry O. and Louisine Havemeyer, Collis Potter and Arabella Huntington, Benjamin Altman, Michael Friedsam, Jules Bache, Robert Lehman, Jack and Belle Linsky, and Frits and Rita Markus.

The publication accompanies an exhibition at The Metropolitan Museum of Art through January 6, 2008.

EsmÈe Quodbach is research assistnat in the Department of European Paintings at The Metropolitan Museum of Art and Assistant to the Director of the Center for the History of Collecting in America at the Frick Collection in New York.

For more information contact Yale University Press online at www.yalebooks.com.