Scott Fitzgerald’s Tender is the Night with dust jacket is around $6,000. If there is one single thing that is a make or break for book value, it would be the dust jacket. Dust jackets, dust jackets, and more dust jackets! Scott (1896-1940), Tender is the Night, New York: Charles Scribner’s Sons, 1934, first edition with dust jacket, sold for: $8,295 1. “Well …,” he said, and left it at that.Fitzgerald. Anderson tried to escape the throngs of autograph and selfie-seekers, I asked him if he’d ever do something like this again. Malouf made their way down the museum’s marble staircase.Īs Mr. Malouf have decided they could not fully control the objects - that, unlike in movies or novels, the aesthetic has to stand on its own.Īt the opening on Monday, after the American ambassador to Austria praised the exhibition as “delicious” and the Austrian culture minister gave a few blustering remarks, Mr. Anderson was perhaps stretching it when he wrote in the catalog that the emerald’s placement helps to “call attention to the molecular similarities between hexagonal crystal and Shantung silk” in a nearby dress, this “green room” is the only area in the exhibition that plays no games of mood or feeling. Sharp said, to be “the pot into which the brush was dipped to paint every other object.” And while Mr. The 17th-century emerald cut with gold and enamel appears, as Mr.
In a room full of green objects - an emerald, a cigarette case, feathers, bowls, a dress from an Ibsen play, a painting of Salome carrying the head of John the Baptist on a platter - the green appears as so rare and so beautiful that, for a moment, the aesthetic is all that matters. Malouf give up any attempt of mood-making or meaning-finding that the exhibition becomes moving. Unlike a director moving actors around a set, a museum curator cannot dictate how the works will make a viewer feel.
Art curation is a fundamentally different pursuit. Anderson’s onscreen aesthetic is all about creating narratives and moods - of yearning, of melancholy, of passion. You could say that his movies are themselves curatorial acts, assembling objects and sets that draw attention to themselves, rather than blending in.īut Mr. Curation might seem like an easy shift for Mr.
His work has been copied, beloved and aspired to in equal measure (see the popular “ Accidentally Wes Anderson” Instagram account).
Anderson who is more often recognized for a distinct aesthetic. Malouf, who co-founded the cult fashion label Charlotte Corday, is an exceptional designer in her own right, but it is Mr. In one room containing various boxes and containers - including Austrian military chests, German flute cases, and religious containers for crucifixes and scepters - a long museum display case is empty, as an object in its own right. It’s also a show full of puzzles and jokes. The implication is clear: This exhibition is Mr. The show opens with a 17th-century painting by Frans Francken the Younger, in which the artist depicts a “Kunstkammer” - his own collection of sculptures, landscapes, portraits and coins. “This was an incredible headache for them,” he added. A project that was meant to take two and a half weeks took closer to two and a half years, Mr. Things a non-curator would understandably never think about, like the humidity requirements for displaying certain works, or what materials must be used for displays, became stymieing factors.