2004.07.24
New fingerprints left on The Bride at the Philadelphia Museum of Art
The Bride
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2004.07.25 11:31
CSI: Philadelphia
Fresh fingerprints were placed upon a Duchamp Bride painting in unwatched gallery sometime Friday early afternoon 23 July 2004 while two female guards gossiped in Spanish in adjacent Brancusi gallery.
Professor Aplomb in the Hall with the revolver.
Overweight Cardinal gets stuck in confessional after hearing his own sins.
Marcel and Paul laugh their 'nudist camp' asses off.
2004.07.25 18:11
Lawbreakers? Armed with only paint and paste? or More??
And Duchamp arranged the Arensberg collection within the Philadelphia Museum of Art, hence the Brancusi gallery next to the Duchamp gallery.
The gossiping guards were in the door (to the Brancusi gallery) between two Matisse paintings.
Thumb, index and middle finger of left hand.
Damn, I should have spun that bicycle wheel!!!
2004.07.25
Artifact of Ottopia No. 61
Spiral column from the shrine of Old St. Peter's now in the Chapel of the Pietà
Charles B. McClendon, "The History of the Site of St. Peter's Basilica, Rome" in Perspecta 25: The Yale Architectural Journal (New York: Rizzoli International Publications, Inc., 1989), p. 54.
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2004.07.25
Artifact of Ottopia No. 62
From: John Wilton-Ely
To: lauf-s@quondam.com
Subject: re: Piranesi Campo Marzio in 2 states
Date: 2001.07.05 10:22
Dear Stephen Lauf,
I was fascinated to find your e-mail message regarding your new work on Piranesi's 'Ichnographia' on my return from teaching and reseraching in Italy.
First of all, I must congratulate you on what appears to be a remarkable discovery. I was certainly unaware of another version of the plan although I recall Hind's mention of the existence of the Ashby volume (probably still in the possession of the British School at Rome where he was Director). Naturally, I look forward to the publication of your work on the Ichnographia in August 2001 and, naturally, with regard to what you term 'lines of mutual respect', will treat in strict confidence anything you care to mention in advance.
My intention in publishing the Complete Etchings was not only to make Piranesi's amazing range of achievements easily available to a variety of disciplines and enquirers but to encourage further research and new discoveries like your own. I have never imagined that I had drawn the line below a definitive list of graphic works but one has to establish the 'core' corpus, even if there are bound to be discoveries in the future.
Sadly, with so much to do at home (from where I work now as an independent scholar) after 7 weeks away from correspondence/phone/fax & e-mail, I have simply no time at present to click on the various sites you have indicated. I shall retain your message to do so later.
In the meantime, I imagine you will already be familiar with my 1983 paper on the 'Ichnographia', delivered at the Venice Piranesi Bicentenary conference in 1978. If you cannot get access to it, I would be delighted to send you a photocopy if you let me have your address in due course. (I shall be returning to Italy for vacation about 23rd July.)
With best wishes,
John Wilton-Ely
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