→ John Dee, Aby Warburg, library as a portrait and a bit about tomorrow.

With tomorrow approaching fast, I was intending to write something suitably pro-European. Unfortunately, I am not a very politically eloquent person. Even yesterday's BBC debate failed to inspire me with their power of speech on the subject.

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As result, I was flicking though the notes from the events I had attended recently. (It is that time of the year, when there is a lot happening!). I was lucky to be part of two exceptional events in the past two weeks: a Book History Research Network study day Collections within Collections at UCL organized by Anne Welsh (trully the happiest librarian I have ever met!) and Aby Warburg 150: Work, Legacy, Promise conference at the Warburg Institute. The common thread that ran though those days was that of a collection, a unique curated group of objects and ways of approaching it, organizing it, working with it.

Aby M. Warburg, «Mnemosyne-Atlas», 1924 – 1929
Mnemosyne-Atlas, Boards of the Rembrandt-Exhibition, 1926 | Photography | ©

Book History Research Network is run by ever-amazingly organised Catherine Armstrong from Loughborough University. The study day Collections within Collections was attended by a small but enthusiastic international group of researchers from various libraries across Europe, speaking about book collections: some being as big as Hospitaller Order's Library in Malta, others being as small as a parochial English library with six books. I was interested in the collection as an identity, in particular. The common denominator in each private library is the collector, after all. Kate Birkwood (Royal College of Physicians) spoke about John Dee’s library and Alison Walker (British Library) spoke about reconstructing Sir Hans Sloane’s library. Each of them mentioned collection as a sense of self. There is currently an excellent exhibition at the Royal College of Physicians  Scholar, courtier, magician: the lost library of John Dee, which illustrates the idea very well: carefully selected and very heavily annotated books draw Dee’s life paths and interests. The exhibition is supplemented by three very informative films, which are certainly worth watching. 

Dee built, and lost, one of the greatest private libraries of 16th century England. He claimed to own over 3,000 books and 1,000 manuscripts, which he kept at his home in Mortlake near London, on the River Thames.
The authors and subjects of Dee’s books are wide-ranging, and reflect his extraordinary breadth of knowledge and expertise. They include diverse topics such as mathematics, natural history, music, astronomy, military history, cryptography, ancient history and alchemy.
These books give us an extraordinary insight into Dee’s interests and beliefs – often in his own words – through his hand-written illustrations and annotations.

Predictions of solar and lunar eclipses to 1606. Eclipsium omnium ab anno Domini 1554 usque in annum Domini 1606 accurata descriptio et pictura | Cyprian von Leowitz, published Augusburg, 1556 | Royal College of Physicians

Aby Warburg 150: Work, Legacy, Promise conference started a Tuesday later with screening of a wonderful documentary by Judith Wechsler  Aby Warburg: Metamotphosis and Memory. Aby Warburg was a book collector and his greatest legacy is his library now housed at Warburg Institute. The library represents Warburg's distinctive interdisciplinary vision not only though the type of works it contains, but also though the unique system of classification he envisioned:

The categories of Image, Word, Orientation and Action constitute the main divisions of the Warburg Institute Library and encapsulate its aim: to study the tenacity of symbols and images in European art and architecture (Image, 1st floor); the persistence of motifs and forms in Western languages and literatures (Word, 2nd floor); the gradual transition, in Western thought, from magical beliefs to religion, science and philosophy (Orientation, 3rd & 4th floor) and the survival and transformation of ancient patterns in social customs and political institutions (Action, 4th floor).
In other words the Library was to lead from the visual image, as the first stage in human's awareness (Image), to language (Word) and then to religion, science and philosophy, all of them products of humanity's search for Orientation which influences patterns of behaviour and actions, the subject matter of history (Action).

Warburg Library plan

The library is a joy to visit! Fluid intuitive system of filing images (for example) creates unexpected parallels, not unlike those in his Bilderatlas Mnemosyne. The idea of juxtaposition and layering seems to play an important role here. A small but curious exhibition on display illustrates Warburg’s interconnected way of working, when each of his projects was conceived as part of a greater totality.

Systems of Warburg Library.

Library recreates the collector behind it. Private or public, it is a representation of the mind, the individual, the society which curated it and found importance in certain titles, orders, systems, but not the others. Warburg’s or Dee’s collections are their portraits, in a certain way. What portrait does my library paint?

PS.

And the referendum?

"I am not an Athenian or a Greek, but a citizen of the world." (Socrates)

"When life ends up breathtakingly fucked, you can generally trace it back to one big, bad decision. The one that sent you down the road to Shitsburg.” (Deadpool)

Fingers crossed for tomorrow. 




[Egidija]

GUEST POST: Becoming The Book (Chloe Spicer/ObjectBook)

Becoming The Book

My work, as a bookish artist and time spent working/lurking in libraries can be summed up with this primary objective: I want to become a book. 

Still from 002 is The Book (installation), 2015

I’m not exactly sure what that means yet. I think people imagine that I’m envisaging wrapping myself in a large fold of red leather, and will spend a few years lying on a shelf somewhere quietly cultivating a dusty aroma. Sure, actually that sounds like great fun, but I think of being or ‘becoming book’ as a sort of spiritual practice or human evolutionary plan which is beyond, but intrinsically linked to, the codex. I want to be a book, but I want you all to be books too.  

Books for the Body I, 2015 (Digital Print)

A universal accessibility for The Book

Although sounding slightly dystopian, my latter aim is not entirely selfish. Books have huge accessibility problems: I love books, but they hurt me. They play hard to get. I can forgive the paper cuts, but it seems particularly cruel as a bibliophile that I experience painful visual disturbances when reading - text literally dances on the page.

This is an interesting symptom of my neurodiversity, but there are countless other differences in eye sight or physical ability and neurological diversity that can make reading a book bloody hard, before we even consider the need for education and access to books themselves. It seems quite remarkable that any of us can nestle into that cosy armchair with the fireplace, slippers, cup of cocoa/glass of whisky and a good read. There must be a better way. What can the book of the future do to address these issues? Can there be a universal accessibility for the book?
 

Raver at The Library Rave, 2015

Books as multisensory experience

Books have special sensory power. In order to read a book, and to decide that it is worth the effort, I really need positive tactile feedback.  They need to be against my skin, in fact even that seems like a cop out – I need books under my skin, to absorb the content and bookish ‘essence’; e-book screens are entirely unfit for purpose.

I’ve learned that despite my love for diversity, I am not an inclusive book lover. There are many books that just aren’t book enough for me: e-books, textbooks & magazines – anything that doesn’t feel good hasn’t got a chance. Books need to offer a sensory experience.

The Library Rave, 2015

Seeking a universal and multisensory accessibility whilst holding onto the tactile nature of books is the keystone of my practice. This is a lifelong research project, which I develop through participatory events, workshops and installations to explore human experiences and requirements of books, and to pilot my methods of becoming book. I live for the stories that appear out of these interventions. I’ve met people who confess to having compulsively nibbled the corners of pages as a child or who fell in love at a library self-service machine, this all seems desperately important somehow.

 
So what would this bookish future look like? 

How will we become books? Crude methods like immersing in shredded Book Baths (2010) or wearing Book Art Hats (2014), which toyed with absorption through bodily contact (if we place books on our heads, will some of the knowledge fall out?), have evolved into practical bio-tech solutions like DNA as Data Storage (2015) where I considered rewriting the body’s junk DNA with books. What would it mean to use our bodies as data storage devices? Could the volumes we embody subconsciously provide wisdom or alter our characters? Families could choose to take responsibility for the storage of particular genres of books. On having children, these libraries would merge, and grow with each generation, eventually becoming a global genetic library.

The DNA method is universal, but a tad disconcerting which leads us to a more palatable solution: Edible Books (2015) - rice paper books printed with edible ink/pens and bound with strawberry laces, or as in Books for the Body (2015) miniature leather bound books. Digesting information is a popular and accessible way of becoming a book (if you eat seeds a tree will grow inside you…), although its unclear how the digestive system would allow for retention of information.

BYOBBBBBQ (Bring your own book book burning BBQ) (2015) is a ritualistic ceremony for books which have come to the end of their lives. I believe that when you place a book in the fire, the text rises in the smoke, which participants then inhale (or consume by cooking over the ashes) enabling the books to live on within them. This follows the eastern worlds insight into text burning as a spiritual act, rather than one of censorship.

The Library Rave (Image credit Mindy Lee)

 
But in looking for a multisensory accessibility The Library Rave (2015) offers the cumulative method: an audio book silent disco, offering a bookish experience for all the senses (Join the rave at the BALTIC Book Market June 18-19).

Dance round the library to the bookish anthems of Fahrenheit 451 and The Library of Babel over music, as you rave with books and handheld disco light. Wear your entry wristband, drop an e (book), and maybe just maybe we’ll all become books by way of sensory overload.

Image credit: UAL

You are invited to join Object Book 26th May for a tempestuous evening of cocktails, cinema and books:

Book Flick Nights: I’ll Drown my Book.
Celebrate Shakespeare400 with book art workshops, literary refreshments and a bookish screening of an art-house take on The Tempest.
The Colour House Theatre, London SW19 6.45pm £12/£10 [goo.gl/TlV8gG]
 

Facebook.com/ObjectBook
@Object_Book
ChloeSpicer.co.uk
@ChloeSpicerArt

the web within a book the book within a web

Recently we have been asked by the British Library to submit our site http://collectiveinvestigations.tumblr.com for the http://www.webarchive.org.uk/. This has got me thinking about how the internet has a vast wealth of data that a library could potentially collect. They currently hold 14,929 websites represeting 27.48TB of data which is a small portion of the 957,324,487 websites that are currently on the internet. (http://www.internetlivestats.com) 

‘The UK Web Archive contains websites that publish research, that reflect the diversity of lives, interests and activities throughout the UK, and demonstrate web innovation. This includes "grey literature" sites: those that carry briefings, reports, policy statements, and other ephemeral but significant forms of information. Because websites are revisited and snapshots ("instances") taken at regular intervals, readers can see how a website evolves over time. The archive is free to view, accessed directly from the Web itself and, since archiving began in 2004, has collected thousands of websites.’ (http://www.webarchive.org.uk/)

It is interesting how the the websites are given book like qualities. Collected by a library and presented to readers, in much the same way they would collect and catalogue a book. 

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I have been looking at some artists and projects that explore this notion of collecting and the place the internet and the library have in relation to this. 

One of them being Chris Gibson from our collective with his work the Unassuming Collection. 

The book holds within it links to books that can be read online. Using the form of the book to collect and present these other books. The book becomes a library. A library of texts that sits between both an online collection and a physical one.

the unassuming collection - Chris Gibson

‘The Unassuming Collection is a paperback comprised of double-page spreads, featuring a disjointed but unfolding narrative on the left hand and a visual fragment (marginalia, an image, isolated text) taken from an existing book, on the right. The story refers to an imaginary library, but the images are taken from existing books. Below the right hand text is a QR code leading to a location where the book can be borrowed online, turning the fictional collection into an actual one.
The artwork emphasises the book’s role as archive – or keeper much more than its pages belie.’ (http://chrisgibsonart.blogspot.co.uk/2014/05/in-progress-unassuming-collection.html)

Another project I have come across is the Library of the Printed Web. http://libraryoftheprintedweb.tumblr.com

Library of the Printed Web is a physical archive and Tumblr devoted to web-to-print artists’ books, zines and other printout matter. It is also the publisher of Printed Web. Founded by Paul Soulellis in 2013, Library of the Printed Web is “web culture articulated as printed artifact,” characterized as an “accumulation of accumulations,” much of it printed on demand. It has also been described as an archive of archives. Techniques for appropriating web content used by artists in the collection include grabbing, hunting, scraping and performing, detailed by Soulellis in “Search, Compile, Publish,” and later referenced by Alessandro Ludovico.

They have collected together a lot of really interesting projects that like Chris’ book straddle that physical/digital divide. 

Experimental Publishing Studio at Rhode Island School of Design, COOKING WITH DOG, a one-hour Google doc book. With Jordan Hu, Drew Litowitz, Jane Long, Zhurong Qian, Francesca Capone, Mina Park, Stephanie Low, Ming Zhen, Lizzy Lim, Gyu Won Lee, Julie Rhee, Yoo Jin Jang. Spring 2015.

Mishka Henner, _IMG01 Australian-troops-passing-014.jpg. Self-published, PoD, 2014. Edition of 97 signed books and a 5x7 silver gelatin print. 740 pages.

[George]

OpenLibrary and the endless library

Welcome back after our summer break, we hope you had a nice few weeks!

To ease us back, I thought I'd start with a gentle post about one of my all-time favourite websites - OpenLibrary.org. For the uninitiated the goal of OpenLibrary is to be "an open, editable library catalog, building towards a web page for every book ever published".

As well as being a catalogue, OpenLibrary also contains millions of scanned copies of books that can either be downloaded, borrowed or read online completely for free. Below is a  selection of the the books to read and books to borrow.

This library is a huge resource -  according to the stats for the past month they had over 7m unique visitors, who borrowed over 95,000 books!

Open library is a resource I have used in three art projects (twice as integral parts of the work and once in the background):

For The Good Reader: Between the Lines, I created a narrative about Paris comparing my own recollections to the stifled descriptions from travel guides. Using a QR code reader readers can borrow electronic copies of each of the guidebooks referred to.

For The Unassuming Collection I created a fictional narrative about a library, illustrated by images from existing books. A QR code on each page linked to the full book behind each of the illustrations. The intention was to create a real library that sat behind the fictional one.

The third way I have used Open Library is to catalogue a small collection of books that was part of an exhibition called Folles de leur Corps at Cafe Gallery Projects, by Sharon Kivland. This was a great way to group the books so a more permanent record could be kept.

I hope this post has given a suggestion of the artistic possibilities of OpenLibrary - the potential of it seems immense to me.

[Chris]

GUEST POST: Annotated treasures at the Library of Amgueddfa Cymru – National Museum Wales

This months guest post is from Jennifer Evans the Assistant Librarian at the Amgueddfa Cymru – National Museum Wales. She also keeps a beautiful blog of gems from their collection which is definitely worth looking at: http://www.museumwales.ac.uk/blog/?cat=1784

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The Library at Amgueddfa Cymru - National Museum Wales

The Library at Amgueddfa Cymru – National Museum Wales primarily holds collections that reflect the museum’s curatorial departments; Art, Archaeology & Numismatics, Industry and the Natural Sciences. However, over the years we have been the welcome recipient of several generous loans and donations and have built up a collection of some very unusual and eclectic early books.  

Special Collections in the Library at Amgueddfa Cymru - National Museum Wales

However, today I’d like to share a selection of items we hold that are absolutely unique. These are annotated books, and whereas normally this would fill any decent Librarian with dread, these items were annotated long ago and one always hopes, by the owner. 

Instructions for collecting and preserving insects; particularly moths and butterflies by William Curtis [1771]

This 1771 edition of Instructions for collecting and preserving insects; particularly moths and butterflies by William Curtis [1771] has been annotated with the most exquisite watercolour insects. We do not know who added these drawings but we think we know why; another edition we hold, has a plate of illustrations but this one does not and therefore someone has copied the illustrations [plus many others] into the margins. 

We have a strong collection of early natural history books greatly enhanced by the Willoughby Gardner Donation bequeathed to the museum in 1953. Included in this collection are our only two incunabula [pre-1501 books], as well as writings by Conrad Gesner and other 16^th and 17^th century writers. Gardner’s interests were varied, but he had a most particular penchant for bees, wasps and butterflies, evident in the exceptional insect and Aurelian works by, among others, Moses Harris, Benjamin Wilkes and Thomas Moffet. 

Cambria Depicta by William Pugh [1816] is an observant and amusing account of a walking tour of North Wales

We also have a strong collection of Welsh topographical books; these late 18^th and early 19^th century tours of Wales are mostly accounts written by well-to-do early tourists, mainly from England, and together with some very interesting illustrations, they provide an invaluable picture of the country at this time. And within this collection is a copy of Cambria Depicta [1816] by Edward Pugh.

This is an observant and amusing account of a walking tour of North Wales; the book contains 68 various engravings, and gives very detailed descriptions of a journey that took the author almost 10 years to complete. It offers a unique insight to the history and poetry of the time, and is therefore considered to be a true representation of North Wales two hundred years ago.

Before this book ever came to us, someone had written extensive notes and sketched exquisite drawings in the margins. These are no random doodles, all drawings and written notes relate specifically to the text itself.

This two volumed work, Memoirs of Lord Bolingbroke  by George Wingrove Cooke [1836]  is an example of fore-edge painting

This last example of annotated books concerns fore-edge paintings; images painted onto either of the three fore-edges of a book.

This two volume work, Memoirs of Lord Bolingbroke, by George Wingrove Cooke, [1836] is an example of “single disappearing fore-edge painting”. Single, because the painting appears only on one edge of the book. Disappearing, because the painting was done when the pages of the books were slightly bent over, thereby allowing the image to be painted along the very edge of the pages. When the image dries the book is allowed back into its original state and the image effectively disappears.

Memoirs of Lord Bolingbroke  by George Wingrove Cooke [1836] Volume I showing fore-edge painting of Caernarfon Castle

Memoirs of Lord Bolingbroke  by George Wingrove Cooke [1836] Volume II showing fore-edge painting of Conwy Castle

The earliest fore-edge paintings date as far back as the 10th century and were mostly symbolic designs. Early English examples, believed to date from the 14th century, presented heraldic designs in gold and other colors. The first known example of a disappearing fore-edge painting like these, where the painting is not visible when the book is closed, dates from around 1649. The earliest signed and dated example is from 1653. These books were purchased specifically because of their fore-edge paintings, the two volumes have watercolour images depicting Caernarfon Castle and Conwy Castle. 

To conclude, and still on the subject of unique books, the following photographs show some surprising items we have found nestled between the pages: 

Hayward's Botanist's pocket book by W.R. Hayward [this edition 1930]

Insectorum sive minimorum animalium theatrum [Theatre of Insects] by Thomas Moffet [this edition 1634]

The Fern Paradise by Francis George Heath [1876]

We are resigned to the fact that we will probably never know who painted the marginalia and fore-edge images and most certainly will never know who placed the butterfly wings, scorpion sketch and ferns between the pages of these books. But, this very fact makes these mysterious and wonderful additions to our special collections.

We love to Blog and Tweet about our Library Collections! 

Please follow us here:

http://www.museumwales.ac.uk/blog/?cat=1784

https://twitter.com/amgueddfa_lib

Jennifer Evans

Assitant Librarian

Amgueddfa Cymru – National Museum Wales

jennifer.evans@museumwales.ac.uk

All photographs taken by the author

Copyright Amgueddfa Cymru – National Museum Wales

Libraries as a Source of Inspiration

Recently Collective Investigations have been working with the visitors of South Lambeth Library to produce an experimental video about handling books. I've also been working at Leeds College of Art library on a new book work created for the venue, as part of their Library Interventions series.

All this work in and for libraries made me question why we go back to them again and again as a creative source.

Could it be the space itself? Although each venue is different, I have been lucky enough to work in some very attractive libraries, particularly the very modern Clapham library (whose collection spirals round a central chamber, much like the Guggenheim Museum in New York) and Senate House library, part of the University of Central London (a space that is grand, but surprisingly intimate - full of wood-panelling and hidden so spaces). A friend once said that books create habitats, so perhaps even the most bland of library spaces are enlivened aesthetically by their collections? 

Clapham Library. Image source: Facebook

Guggenheim Museum. Image source: Wikipedia

Could it be their contents? Am I drawn to the books themselves? This is undoubtedly a factor. To be surrounded by an all-you-can-read supply of books is still an exciting prospect for me. All that potential! Books are always a source of inspiration, whether it's nonfiction (you'll find me in the Self Help section) or the imagination of others - one of the reasons I make books is because I've always been inspired by them. 

Senate House Library. Image source: Wikipedia

Could it be their public nature? I feel like libraries are a place of chance encounter because the visitors who use them and the staff who man them can be so diverse. I feel like I generally move in circles with people from a similar walk of life to me, however libraries can be places for conversation with those from very different backgrounds and viewpoints to my own. Also the collection in a library reflects the local community, introducing me to ideas and perspectives I would never have stumbled upon online or during the course of an ordinary day. 

Could it be their ethos? In principal public libraries are free and open - generally free of charge and accessible to all. What other environments are as egalitarian as this? Coming into a place, sitting down and reading for the afternoon, or taking a book away is a refreshing experience. When I'm between places (between home and work for example) I often find myself in coffee shops. These seem like between-spaces for me, but they come at a price (allbeit a modest one). Perhaps if there were libraries on my way that were open the same hours, I might find myself there! But then, that said, there are not a lot of libraries that could feed my caffeine addiction. 

{Chris}

marbled pages

Vintage 19th c. marbled paper, Gloster pattern. A

Continuing my theme on printing techniques and methods of production I'm going to write about marbling. While being beautiful it is also really interesting and most of us I imagine are familiar with seeing it as endpapers in books. 

Marblers at work and illustrations of marbling equipment. B

The basics of marbling is to float coloured inks on water and then manipulate them into a pattern. Paper is then applied to the surface of the water and a print is taken.

Two pages of waka poems by Ōshikōchi Mitsune (859?-925?) C

One of the oldest examples of marbled paper is from this manuscript. Here are two pages of waka poems by Ōshikōchi Mitsune (859?-925?). 20cm height, 32cm wide. Silver, Gold, Color, and ink on suminagashi paper. From a copy of the Sanjurokunin Kashu or "Thirty-Six Immortal Poets" kept in the Hongan-ji Temple, Kyoto. It was presented to the Emperor Shirakawa on his sixtieth birthday in 1118 C.E. 1.

An early possible reference to marbling is found in a compilation completed in 986 CE called: 文房四谱 Wen Fang Si Pu or "Four Treasures of the Scholar's Study" edited by the 10th century scholar-official 蘇易簡 Su Yijian (957-995 CE). 

This compilation contains information on inkstick, inkstone, ink brush, and paper in China, which are collectively called the four treasures of the study. The text mentions a kind of decorative paper called 流沙箋 liu sha jian meaning “drifting-sand” or “flowing-sand notepaper" that was made in what is now the region of Sichuan. 2.

Sheets of silhouette and marbled papers from an Album Amicorum, Prague 1600. D

Fast forward to the 17th century and marbled paper comes to Europe through travelers from the middle east who collected marbled papers in books called 'Album Amicorum'. These albums acted like scrapbooks or travel journals and contain a wide variety of Turkish of Persian marbled papers. 3.

Album Amicorum of Marcus Conrad von Rehlingen E

The art of marbling became increasing popular by the 19th century and books were published exploring this art form like: Charles Woolnough's: The Art of Marbling (1853).

The Whole Art of Marbling as Applied to Paper, Book Edges, etc. Charles W. Woolnough, 1881 F

As well as its purely decorative use marbled paper has some interesting and creative outlets in book arts and in literature. One most famous one is Laurence Stere's 'The Life and Opinions of Tristram Shandy, Gentleman'. One marble page appears in the book. This mysterious page at the time must have been sensational. In 1759 peoples contact, especially in Britain to marbled papers would have been very limited,  'commercial production in England did not begin until the 1770s' 3.

The marbled page from the first edition of Tristram Shandy. G

But the marbled page has significance to the book, in the page opposite sterne tells the reader that the next marbled page is the 'motly emblem of my work'—the page communicating visually that his work is endlessly variable, endlessly open to chance." 4.

Various editions of Tristram Shandy, showing the variety of the marbled page. G

In each edition of the book the marbled page is different. "Each marbling is unique, as is each reading of Tristram Shandy. It is fitting that your copy of Tristram Shandy is different from mine, since your subjective experience of the book is different." 5.

For more information on the variety of marbled papers visit: http://content.lib.washington.edu/dpweb/patterns.html who hold a great digital resource of marbled paper types. 

[George]

References:

1. Chambers, Ann (1991). Suminagashi: The Japanese Art of Marbling. Thames & Hudson

2. Su, Yijian. (2008). Wen Fang Si Pu. Shi dai wen yi chu ban she

3. Wolfe, R. (1990). Marbled Paper: It's History, Techniques, and Patterns: with Special Reference to the relationship of Marbling to Bookbinding in Europe and the Western World.

4. Sterne, L (1759) The Life and Opinions of Tristram Shandy, Gentleman

5. De Voogd, P. Laurence Sterne, the marbled page, and ‘the use of accidents’,” in A Journal of Verbal/Visual Enquiry

Illustrations:

A. http://digitalcollections.lib.washington.edu/cdm/singleitem/collection/dp/id/71/rec/10

B.  l'Encyclopedie of Denis Diderot and Jean le Rond d'Alembert. Vol. IV p. 275-6 (1768).

C. http://en.wikipedia.org/wiki/Paper_marbling#mediaviewer/File:36poets_collection_MITSUNE1.JPG

D. http://goran.baarnhielm.net/Islam/stambok.jpg

E. http://www.rarebooksdigest.com/wp-content/uploads/2012/10/marble-Album-Amicorum2.jpg

F. http://www.metmuseum.org/collection/the-collection-online/search/591856

G. http://www.laurencesternetrust.org.uk/exhibition.php?id=100